Interviewed for the May 1966 edition of the Barry Lett newsletter to coincide with his Auckland Festival exhibition, Don Binney responded affirmatively when asked if there was a peculiar sort of light in New Zealand that influenced his way of seeing. The interviewer was summarising Auckland Art Gallery director Peter Tomory’s introduction to a catalogue of painting shown at the Commonwealth Institute in London in 1965: “in these islands, the Pacific light burns and bleaches, so that in high summer, black and white predominate”. Don had only been out of the country a few times to Australia, but he reported “seeing New Zealand for the first time after two weeks away…one had the impression of an iron land, strong and clear in this light.” As a fiercely nationalist painter, Don Binney laboured to try and convey the power and simplicity of that vision.
Pregnant with mystery, this huge image of a hei tiki glowing against a dark background is magnetically attractive. It is one of a range of Cinderella artefacts – those deemed by curators as too imperfect to exhibit – brought to light by Ngai Tahu photographer Fiona Pardington. Working towards her MFA at the Elam School of Fine Arts in 2002-2003, she trawled through collections of her iwi’s taonga at Auckland Museum and Okains Bay Mäori and Colonial Museum on Banks Peninsula. It took her up to 18 months to seek and obtain permission from each relevant hapu to photograph their taonga for this project.
It was in the mid-1960s that Barbara Tuck studied at the University’s Elam School of Fine Arts. And during her time at art school, Tuck developed her skills and stylistic approach to art. Fifty years on, this style combines multiple narratives, aerial perspectives and eye-catching, dreamy colours. Her heady landscapes are magically mystical, glinting at magpie onlookers.