Although Wayne Barrar’s ongoing exploration of the landscape is primarily executed through the lens of a camera, it is from the vantage point of both science and art that he pursues his ideas. Barrar first graduated with a Bachelor of Science from the University of Canterbury in 1979 before later completing a Postgraduate Diploma of Fine Arts at Elam School of Fine Arts in 1996 and an MDes (2005) from Massey University.
Lisa Crowley practises a peculiar type of landscape photography, one concerned with place, but place laden with human experience. She chooses politically charged sites with significant histories, yet her images offer little or no discernible evidence of locality, past events or current tension. Instead she invokes the conventions of romantic landscape painting and 19th century scenic photography, directly raising the question of the medium’s real ability to document a place and expose its history. A picture of a heap of felled trees can be simply a picture of piled natural debris; its significance can only be materialised by human experience, she suggests.
Décor often says a lot about people’s social position, their taste, their interests and perhaps what they do for a living. The creator of the Peanuts cartoons, Charles Schultz, once exhorted people to dress up their living spaces: “Decorate your home”, he said, “it gives the illusion that your life is more interesting than it really is.” Painter Graham Fletcher has chosen to explore the connotations of the use of South Pacific elements in interior decoration for his recent Doctorate in Fine Arts, and the Lounge Room Tribalism series is the result.
Challenged by Art Collection curator Michael Dunn to make his best work for the Engineering atrium in 2002, Elam-graduate Paul Hartigan surpassed his earlier, multicoloured forays into neon. Named the best public sculpture in Auckland in 2006, Colony has its origin in the artist’s memory of drifting in a long boat beneath the vaulted ceiling of glowworm lights on a childhood visit to Waitomo Caves. Despite the quotidian nature of the commission, Paul's sculpture still impresses with its energy and impact, the hectic squiggles of persimmon-coloured light miraculously produced by bent glass tubes mired in cement.
By the time Gavin Hipkins staged his exhibition The Colony at The Gus Fisher Gallery in 2002, he had become well-known for his distinctive technique of printing entire rolls of film uncut in continuous strips, known as falls, hung together to provide a dense grid of images.
A childhood in Dunedin gave painter Frances Hodgkins a life-long aversion to cold weather. The south of France was her usual destination as soon as dreary English winters began to bite, but in the middle of the Depression she ventured instead to Baleares, the third largest of the Balearic Islands off the coast of the Spanish town of Valencia in the West Mediterranean. Better known now for the dance parties and rave culture that made it iconic in the late 1990s, the Balearic capital of Ibiza was fascinating to Hodgkins for its Roman, Phoenician and Carthiginian remains, and its famous whitewashed architecture.
Liverpudlian by birth, William Mathew Hodgkins followed the goldrush from Victoria to Otago in 1862. His marriage in Dunedin three years later produced six children, including a daughter, Frances, whose fame and artistic success have eclipsed her father’s accomplishment. Yet in nineteenth century New Zealand, Hodgkins senior was an artistic colossus, exhibiting widely at art societies throughout the country and publishing his lectures on art in the daily newspapers. As a self-taught watercolourist, his concern about his lack of drawing skills led him to concentrate on atmospheric effects, taking his cue from Joseph Mallord William Turner whose work in the National Gallery in London he described as “a mine of artistic wealth”.
In 1986, Merimeri Penfold, Senior Lecturer in Māori, had just published the groundbreaking Penguin book Women and the Arts in New Zealand with Elizabeth Eastmond in the Art History department. Reproducing works by forty women, of whom six were Māori, this influential book took an unashamedly feminist approach, redressing the absence of women (and Māori) artists from previous histories of New Zealand art. The authors’ statement on the imprint page stated the political intent of the project explicitly: “We should also like to acknowledge the crucial importance of the women’s movement for the basic conception of this book and for many of the perspectives adopted.”
McCahon’s left-handed writing wins no prizes for neatness. In Let us possess one world, lower case letters crowd together, shuffled by punctuation into a tripartite scheme so that one world is hoisted proudly on a stem above the mirrored halves below. Whereas the staid pronouncements of his earlier word paintings (I Am and I and Thou) were freighted with significance by the use of cubist capitals, this looping script dips into the sensuality of the source, John Donne’s seventeenth century love poem.
Google noted New Zealand artist Roger Mortimer’s name and you will disappear down a rabbit hole into a tale of medieval manoeuvering. His 14th century ancestor, Roger de Mortimer, was an English nobleman who was strategically married off at 14 to the equally youthful Joan de Geneville. She later had the good fortune to inherit property in the Welsh Marches and Ireland as well as the 11th century Ludlow Castle in Shropshire. With this wealth behind him, Baron Roger started the Despenser War, leading Marcher lords in a revolt against King Edward II. Unfortunately for him, the attempt to overthrow King Edward failed, and Baron Roger found himself chained up in the Tower of London. Helped by his mistress Isabella, King Edward’s queen consort, he managed to escape to France where he rallied troops to invade England and depose Edward, having him murdered at Berkeley Castle. Three years later in 1330, Edward’s eldest son got his revenge, and Roger de Mortimer was taken to Tyburn where he was hung without trial at the age of 43.
Sarah Munro completed her Doctorate in Fine Arts at The University of Auckland’s Elam School of Fine Arts in 2005 and was the Frances Hodgkins Fellow at the University of Otago the following year. As a multi-media artist, she oscillates in her work between two and three dimensions and encompasses several art disciplines including painting, sculpture, photography and digital technology. Bought for the University of Auckland’s Art Collection in 2003, Socket successfully embraces many of these diverse facets of Munro’s art practice. The subject is a painted portrait of the artist’s half-brother, yet the materials and techniques employed by Munro leave Socket as an art object that lies far from the traditional notion of what constitutes a portrait. The shaped support of the work is constructed from finely shaped blocks of polyester foam overlaid with fibreglass that Munro applies by hand. The surface is then painstakingly ground back, puttied and sanded until it reaches a smooth, lustrous perfection. The painted representation of the subject’s face is applied to the shaped ground in a similarly technical but time-consuming manner with the assistance of a digital painting machine.
Mixed media artist Alexis Neal is consistently drawn to depicting objects of taonga as she sees them possessing a wairua or spirit beyond their physical presence. The treasures included in the semi-circular mezzotint entitled Treasured (1997) include ear pendants, a carved piece of bone and a shell necklace. These are not cheap, throw-away items of jewellery purchased from a ubiquitous mall jewellery store but are objects to be worn, treasured and adored.
After two years in New York, preceded by study at Carnegie Mellon University in Pittsburgh, Richard Orjis returned to New Zealand in 2004 and began a Master of Fine Arts at Elam School of Fine Arts. Flower Idol featured in his 2006 graduate exhibition but was already familiar, having appeared on the invitation card for that year’s postgraduate information evenings. Purchased for The University of Auckland Art Collection in 2008, Flower Idol continues its close association with the University, hanging prominently in the NICAI Student Centre.
Developing an abiding love for the natural and life sciences during two years of medical intermediate studies at Otago University in 1961 and 1962, Peter Peryer moved back to Auckland and finished his bachelor’s degree majoring in English and Education.
The daughter of a realist painter, Jude Rae was enrolled in art classes at the Julian Ashton Art School in Sydney at the age of 11 years. Despite the school being located in The Rocks, near the Museum of Contemporary Art, the Julian Ashton approach to art education is traditional, with strong emphasis on drawing skills. Introduced to the work of the Old Masters there, Jude Rae went on to study for a degree in Art History at Sydney University which she completed in 1981. Soon after, she returned to painting, working in a style influenced by the artists of the Northern European Renaissance and seventeenth century French still life painting, as well as by the French philosopher Maurice Merleau-Ponty’s ideas about the phenomenology of perception.
Printed by Theo Schoon in Kees Hos’s studio in Auckland in 1965, this collograph was made by gluing the cut-out patterns onto wood, and then applying ink with a paintbrush before pressing paper down on top. Captured by Bauhaus ideas which emphasised the equality of art and craft, Schoon had studied only briefly at the Rotterdam Art Academy and Canterbury College School of Art, before beginning his own journey of intrepid exploration of artistic media.
There is a lot that is familiar in Peter Siddell’s landscape paintings. Long horizons, Victorian architecture, waterways and volcanic cones. They all look like bits of Auckland we know, although you can’t quite finger where. Probably not the suburb you grew up in but possibly one you visited a few times. Perhaps it was before the old mansion was pulled down, or the new tower went up? Even the way the light plays across the landscape. This is the artist’s city and his scenes have become so familiar that the real Auckland sometimes looks a lot like his paintings.
With a background as a commercial photographer and shop assistant in a wig salon, Yvonne Todd is well versed in artifice and masquerade. She completed her BFA at Elam School of Fine Arts in 2001, the year before she won New Zealand’s art world’s highest art accolade, the Walters Prize, awarded to her by Venice Biennale curator Harald Szeeman. Her Sea of Tranquility series from that year posed beauty consultants collected up from Auckland department stores against black backgrounds like so many Stepford Wives. She has continued to foreground the performance of femininity ever since, although her practice is centred more generally on the business of image-making itself.
Two Auckland brothers, John and Charles Tole, are the northern equivalent of Rita Angus. Neither of them had any formal art school training although they both associated with the Elam painter John Weeks (1886-1975). The Tole brothers lived together at 12 Seaview Road in Remuera and developed their own credo in art which they revealed to University of Auckland’s Kurt von Meier in 1964: “We have always been intensely interested in modern developments in style and technique, yet we think these elements should not be arbitrarily or consciously striven for but should emerge and flow freely from the subject matter and from the artist’s creative intuition towards the expression and communication of his message.”
The emergence in the 1950s of Gordon Walters as one of our most important pioneers of abstract art, along with the likes of Don Peebles and Milan Mrkusich, signalled an important cultural transition in New Zealand. As critic Francis Pound has argued, it was a shift away from the literary influences of the nationalist landscape painters towards the flat planes of architecture and design, from the rustic countryside to urban modernism.
Variations of the curving stem and bulb form of the koru made their earliest appearances in Gordon Walters’ work in the mid-1950s. Joining the Government Printing Office in Wellington in 1954, he prepared gouache studies after work and at weekends. A decade earlier, Dutch Indonesian artist Theo Schoon (1915-1985) had introduced him to Ngai Tahu rock art and invited him to South Canterbury to view the drawings in Weka Pass. What he saw there inspired the later Mäori designs in Walters’ work.
Originary moments of modernism in New Zealand art are usually recounted anecdotally - Toss Woollaston in Nelson asking if he could copy Flora Scales’s notes taken in classes at the Hans Hofmann School in Munich or Colin McCahon encountering Mary CockburnMercer hobbling around on crutches in Melbourne in 1951.
As part of the third Auckland Triennial, Chinese art collective the Long March Project has raised questions around the importance of having a Chinatown to create a sense of community and identity for a growing community of Chinese migrants living in Auckland. But New Zealand also has a significant community of Chinese people who were born here and for artists such as Wong Sing Tai (aka Harry Wong) and his younger brother Brent Wong, cultural identity never played an obvious role in their work.