Laura Elliott takes a look at exhibitions in Queenstown and Otago.
(Hullabaloo Art Space, Cromwell)
Water cascades over craggy rock, falling in a silvery mist and sheen to the river below, at times powerful and relentless, then quiet and calm, a place of solitude and solace.
Artist Gail de Jong is a master at capturing the unique terrain and spirit of Central Otago, but there’s always been a particular beauty to her water imagery; the eye is drawn to the deep pools and glittering surfaces, as the rivers flow through the gold and dust of the hills and plains.
De Jong shares the same love and affinity for the region’s winding rivers as the late poet Brian Turner, and each painting in her new solo show, “River”, is titled after a line of Turner’s poetry.
In the large central canvas, Always You Can Hear a River Somewhere Singing, de Jong employs her signature technique of multiple layers of highly textural paint, creating the illusion of weathered schist and sunbaked grass, as if the artwork has emerged from the depths of the very elements it depicts.
As you move around the gallery space, the light catches on glints of silver within the paint, mimicking the glint of sunlight on stone and water.
The exhibition includes several works where de Jong paints directly on to the lids of old metal drums, creating a portal window on to each scene, the embossed numbers on the lid adding to a sense of looking back into history with I Walk By the River Which Talks in My Sleep.
“The Birds”, Group Show
(Gallery Thirty Three, Wanaka)
From the wise old owl of literature to the rising phoenix of mythology, the appearance and behaviour of birds have always held powerful meaning in art, culture and superstition.
In the new group show, “The Birds”, avian imagery and visual storytelling take centre stage, with majestic sculptural works and incredibly intricate paintings, pastels and woodcuts.
Sculptor Robbie Nairn’s Kererū, perched on pohutakawa driftwood, is sleek and serene, the pared-back detail only emphasising the aura of calm dignity.
Likewise, the cast bronze owl in Josh Olley’s O-Pen conveys a vivid sense of personality as it tightly clutches its quill pen, gazing directly at the viewer with varying degrees of scepticism and disapproval.
Anna Evans’ Grove of Dodona and Calchas Messengers are the sort of paintings that draw viewers in and hold them spellbound, two of many stand-out works in the collection.
Perfectly capturing the low glow of light through the leaves, Evans’ portals on to a flowering wilderness are the setting of fairy tales, a haven thrumming with possibility and mystery, as delicate birds swoop through the trees or hide amidst the grass.
Her images reference the practice of ornithomancy, or the reading of omens in the movement and sounds of birds, and each work is named after a seer from Greek mythology.
Also featuring striking works from Michel Tuffery, Ben Reid, Thomas Barter, Tessa Barringer and Peter Miller, “The Birds” opens tomorrow at Wanaka’s Gallery Thirty Three.
“Bloom”, Group Show
(Milford Galleries, Queenstown)
As we head into autumn, the walls are still in bloom at Queenstown’s Milford Galleries.
From dark florals to abstract fields and sprawling gardens, “Bloom” is a celebration of colour and texture, and a deep dive into the life cycles and symbolism of the plant world.
Flowers are an intrinsic part of an ecosystem that sustains us, both physically and spiritually, and floral imagery is woven into the customs and patterns of human history.
In Karl Maughan’s large-scale canvases, incredibly vibrant flower bushes seem to burst outward from the picture plane, his gardens appearing to flourish and grow, almost taking over the environment around them.
Dick Frizzell’s still life flowers are equally beautiful, with delicate stems and velvety petals, but in contrast to that lush wildness, here nature is harnessed, posed and arranged for the human eye.
Still Life in a Glass Vase is elegant and dramatic, with the light source directed at a trio of picked blooms, and the monochromatic dark background introduces a slightly fragile, melancholic note. As gorgeous as the flowers are, it’s a temporary beauty that will fade quickly, and as with all living things, the end awaits in that dark unknown.
Among the multitude of talents on display, it’s always a privilege to see Aiko Robinson’s work, and her clusters of ink and watercolour flowers are lovely.
Robinson’s powerful art frequently explores sexuality, sensuality and intimate connection, and that same sense of joy and effervescent life shines through her floral imagery.
