B.

Gordon Walters is best-known for work that fused the influence of European modernist art and Māori and Pacific art forms, particularly the koru motif of painted kōwhaiwhai rafter designs. Walters’ influences from European modernism included the hard-edged geometric abstractions of Victor Vasarely and Auguste Herbin, seen while in Europe in 1950–51. Walters made his first optically charged ‘koru paintings’ in 1956, but didn’t show them until 1966 when he first exhibited this painting in Auckland.

Walters’ adaptation of the koru has been both admired and criticised by cultural commentators. Walters himself, when discussing the motif, increasingly focused on the fine mechanics of abstraction:

'What I’ve done to the form is push it more in the direction of geometry. So that I can have in my painting not only a positive/negative effect of black and white, but I can also have a working of vertical and horizontal, which is equally important.' (Op + Pop, 6 February – 19 June 2016)

Op + Pop 6 February – 19 June 2016

British artist Bridget Riley is a leading name in the op art movement. Her work came to international attention in 1965 when included in an exhibition called The Responsive Eye at the Museum of Modern Art in New York, alongside artists including Victor Vasarely and Josef Albers.

Riley’s earliest op art paintings in black and white had a major impact on 1960s fashion, advertising and design. She increasingly used colour in her work from 1967 onwards, when she also began using simplified forms, often vertical straight or wavy lines, and colour variation and contrast that produced a sense of movement.

Op + Pop 6 February – 19 June 2016

Packed with an energetic sense of movement, Simon Morris’s painting gives the effect of a boldly rhythmic musical score. Its pattern, appearing at first to be random or chaotic, is found to be sequenced and repeating, and with diagonals regularly breaking up the picture plane.

Morris builds on the legacy of pioneering New Zealand geometric abstractionists such as Carl Sydow and Gordon Walters. This optical sequence was generated by a mathematical formula, which he says “creates images that I wouldn’t come up with myself. It’s like the system partly makes the work.”

Carl Sydow has used these 20 cubes, each tilted onto one edge, to explore form, surface texture and the presence of objects within space. Taken individually, each object is distinct, as the 'light' falls in a different way on every surface, but together they form an engaging abstract pattern. Sydow created the work with a combination of precise ink drawing and the use of letrafilm, a system of ready-made transfers. The effect creates the illusion that the work is three-dimensional. Sydow's formal investigation of abstract properties such as colour, line, tone, volume and movement reflect the influence of Constructivism on his work. Born in Takapau, in the central Hawkes Bay, Sydow studied at the Schools of Fine Arts at both the University of Canterbury and Auckland University. After graduating, he went to the Royal College of Art, London, on an Arts Council grant from 1964 to 1966. Sydow regularly exhibited with The Group in Christchurch and was a founding member of the Sculptors’ Group, formed in 1970.

Bill Culbert’s high school art teacher asked his students to stand in a dark room, then went outside. The sunlight streamed through the keyhole, projecting a tiny image of him – upside down and waving – on the room’s far wall. From that moment, Culbert was excited by light’s power to transform how we see the world. These sculptures were some of the first he made exploring the possibilities of electric light. In Celeste, he placed a lightbulb into a dark box full of tiny holes, then put that inside a bigger Perspex box so that it generates multiple ‘ghost’ bulbs on the outside. Reflection 1 tests the line between reality and illusion, as another bulb repeats itself into infinity. Culbert liked ordinary, everyday materials best, believing they left more room for the imagination.

(Wheriko - Brilliant! 17 May 2019 – 16 February 2020)

New Zealand painter Gordon Walters started making his optically charged paintings in 1956, four years before the British painter Bridget Riley, op art’s principal exponent, began working with similar ideas. Walters’ explorations owed much to his study of Māori and Papua New Guinean art and their positive/ negative treatment of space, and to the abstract modernist painting he had seen while in Europe in 1950–51. Although best-known for his koru (fern bud motif ) paintings, his later, more simplified works remained equally visually challenging.

(Op + Pop, 6 February – 19 June 2016)

Like a Gordon Walters painting doing the cancan, Julia Morison’s Tootoo makes ready to kick the high-minded formalism out of abstract painting and take the viewer on a wild, exhilarating dance. Folding and reversing on itself, and playing with positive and negative space, the work's elaborate structure creates a powerful visual conundrum. (Op + Pop, 6 February – 19 June 2016)

This work is one a series of screenprints, the name of which reflects Mervyn Williams’ love of Johann Sebastian Bach’s music and also refers to variations in colour. He has said that Chromatic Variations IX can be looked at as if it was a Tibetan mandala, rather than simply being a design. Williams’ painting and printing have always centred on formal abstraction. In the Chromatic Variations series he abstracted forms in a complex manner and experimented with different colours in each print. Williams was born in Whakatane in the Eastern Bay of Plenty. In 1956 he met artist Ted Dutch (b. 1928) who got him interested in silk-screen work. Williams studied at Elam School of Fine Arts in Auckland. He won First Prize in the Graphic Section of the Hay’s Art Award in 1966 and was represented in the ‘International Biennale Exhibition of Graphic Art’ in Tokyo in 1966 and 1972. Williams also won the New Zealand Print Council Samarkand Award in 1969.