This article first appeared as 'Painting offers a multiverse of symbols' in The Press on 21 June 2017.
Driving Without a Licence
Peter Robinson: I may be wrong about this, but I believe that we were the last generation to experience the primacy of painting at art school. What I mean by this is that when we were at Ilam, students had to compete to get into departments. As crazy as it sounds now, there was a very clear hierarchy: painting was the most popular discipline and afforded the most esteem, sculpture second, then film, print, design and photography somewhere down the line. Can you remember why you ended up choosing sculpture? And furthermore why you ended up being a painter? Do you think your training as a sculptor affected the way you think about or approach painting that is different to someone who was trained formally as a painter?
I’ve been involved in supporting Christchurch Art Gallery for few years now. The Gallery is special to me because it is such a fantastic place. We’ve all wanted to band together, support it and help it get back on its feet following the earthquakes..
Art makes me think. It makes me happy and enriches my life. It stretches my brain to enable me to understand more or to enjoy art.
The Gallery has an incredible team of forty Volunteer Guides – and we want more! We’re currently seeking expressions of interest for ten enthusiastic individuals to join us.
In early March we were lucky enough to have the incredibly talented Grayson Gilmour performing at the Gallery, supported by the equally talented Purple Pilgrims and New Dawn. I love these gigs, but there is a lot of work to be done behind the scenes to make sure that, by the time the public walk in the door, the foyer is gig ready. The process normally feels like a long, slow marathon with a sprint at the final corner. So here’s a guide to how you too can get the NZI Foyer gig-ready in five (or six) easy steps.
US V THEM: Tony de Lautour
Welcome to the low brow, high art world of Tony de Lautour’s paintings, sculptures and ceramics.
For the exhibition Untitled #1050 (25 November 2017 – 14 October 2018) this work was displayed with the following label:
“The form I use in my painting is not really the Māori koru; I think of it in terms of a line ending in a circle and then I break this sometimes. I use free circles. What I have done to the form really is to push it in a direction of geometry so that in my painting I can have not only a positive negative effect of black and white, but also a working of vertical and horizontal which is equally important.”
—Gordon Walters, 1975