Peter Madden
b.1966
Crouches with moths
- 2010
- Found photographs, paper, wood, plastic, baked clay, paint, gold leaf
- Purchased 2011
- 830 x 700 x 500mm
- 2011/225
Tags: black (color), insects, people (agents), plants (living organisms), skeleton and skeleton components, trees
In classical times, a gold coin was inserted into a dead person's mouth as a ‘Charon’s obol’, a ritualistic payment for the ferry ride across the river Acheron to the underworld. With its blackened skeleton, crawling flies and shroud-like canopy of moths (cut free from the pages of National Geographic magazines), this work evokes an atmosphere of death and decay – but a closer look also reveals small signs of regeneration.
(Unseen: The Changing Collection, 18 December 2015 – 19 June 2016)
Exhibition History
Related reading: Unseen: the changing collection
Notes
Kauri tree landscape by Colin McCahon
This article first appeared as 'Mighty kauris inspired McCahon' in The Press on 10 February 2015.
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NUD CYCLADIC I by Sarah Lucas
This article first appeared as 'A visible means of support' in The Press on 26 September 2014.
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How Did You Do That?
How often have you stood in front of an art work and wondered how the artist did that?
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Lift of a gift
Staff here at the Gallery have enjoyed finally getting the opportunity to see Dust, Smoke and Rainbows (2013), a major new painting gifted by Shane Cotton, which was brought out of storage to be photographed recently.
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There is only one direction by Colin McCahon
This article appeared as 'Divine Innovation' in the The Press on 31 August 2012.
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Populate! update #8 (face up)
The waning sun and lowering weather have one nice side-effect, which is to create the perfect conditions for viewing Peter Stichbury's backlit billboard NDE, newly installed on Worcester Boulevard.
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A major boon to the Gallery in the direct aftermath of the earthquake
English artist Sarah Lucas was installing her show in Two Rooms, Auckland, when the 22 February earthquake struck.
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Max's gift
In early 2010 Max Gimblett announced his intention to give the Gallery a substantial gift of works on paper. The only complication was that someone had to go and select them...
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Subtly engaging security
We've all heard the stories about confusions occurring on the edge where art meets life. The London cleaning lady, for instance, who threw out hundreds of cigarette butts that turned out to be a Damien Hirst. Naturally, no self-respecting gallery professional wants to see their favourite artworks confused with mere stuff.