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Raymond McIntyre: A Modernist View
Dynamic and progressive paintings and woodcuts from one of Aotearoa’s New Zealand foremost modernist artists.
Living Archives
Archives that tell stories about artists and history in Aotearoa
Whāia te Taniwha
Māori artists consider the enduring relevance of taniwha in Aotearoa.
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Notes
Continuous positive I by Shannon Williamson
This article first appeared as 'A delicate look at how the body works' in The Press on 27 November 2017.
Collection
Julia Morison Rhombus B4
For the exhibition Untitled #1050 (25 November 2017 – 14 October 2018) this work was displayed with the following label:
“I was working in formal abstraction and paring everything down and peeling everything away until there was virtually nothing there. Then I stopped work and started building everything up again. […]
“What interests me is that it’s a structure of opposites and so it’s a structure that is all encompassing. The opposites are held in tension and balance. It’s hierarchical, and therefore very unfashionable, but I don’t actually see you can avoid hierarchy if you’re constantly organising and ordering. Just putting one thing in front of another is a hierarchical process. The structure is like a map to work by, so that everything is seen in relation to its opposite or to the other parts. It just seemed a more holistic way for me to work.”
—Julia Morison, 1991
Collection
Tony Fomison Captain Ahab, peg-legged hunter of the white whale
In Herman Melville’s famous 1851 novel Moby Dick, the troubled captain of a whaling ship becomes so obsessed with the whale that crushed his leg he spends all his time on deck, desperate to catch a glimpse, or even the scent, of his quarry. Ahab dominates our view in this brooding painting by Tony Fomison, bracing his whalebone leg against the ocean’s swell. Every line of Ahab’s body is focussed on the sea, but Moby Dick, the object of his “quenchless feud”, and the ultimate cause of his downfall, is nowhere to be seen.
(Absence, May 2023)
