Glen Hayward
Aotearoa New Zealand, b.1974
Typo
- 2006
- Timber and twink
- Gift of the artist, 2013
- 113 x 70 x 16mm
- 2013/005
Tags: electric switches, white (color)
Works of art aren’t as well behaved as they used to be. Once upon a time, they stayed where they were put, hanging obediently off picture rails or perching politely on pedestals. Since the arrival of the Duchampian readymade, however, many require a second glance to distinguish them from the world around them, as everyday objects are pressed into service in new, perspective-tilting contexts. There’s another kind of work too, the type Glen Hayward is known for: the readymade’s stealthier cousin. Meticulously, even obsessively, crafted to resemble objects you wouldn’t give another glance, these unobtrusive double agents aim to blend in, adding a subversive frisson to the gallery experience.
(Unseen: The Changing Collection, 18 December 2015 – 19 June 2016)
Exhibition History
![Image: uploads/2022_07/2013_005.jpg](/media/cache/39/1a/391a20444631d961f37b3b1019dfdd23.jpg)
Related reading: Unseen: the changing collection
Notes
![Fresh from The Matrix](/media/cache/c6/8b/c68b82c0354949b5549564e07c6d2bbe.jpg)
Fresh from The Matrix
Right on time for the opening at 209 Tuam Street tonight of the Glen Hayward/Yvonne Todd combo White Collar, the courier's just dropped off a box of City Gallery's fresh-from-the-printer catalogues about Glen's work.
Notes
![Hiding in plain sight](/media/cache/80/45/8045d0f78c83891d784a38afdee48d54.jpg)
Hiding in plain sight
We've all heard the stories about confusions occurring on the edge where art meets life.
Article
![Hidden in Plain Sight](/media/cache/b5/a0/b5a000ef619eaffd3214262f2fc0b5ff.jpg)
Hidden in Plain Sight
In 1997, I went to see an exhibition called White Out, curated by William McAloon for Auckland Art Gallery’s contemporary space. The show’s subtitle unambiguously promised ‘Recent Works by Seven Artists’, but as I completed my circuit I realised I’d come up one maker short.
Exhibition
Unseen: The Changing Collection
A selection of exciting recent additions to Christchurch's public art collection.
My Favourite
![Peter Stichbury's NDE](/media/cache/a1/76/a1762b6e0081660f25ede53abee98e5b.jpg)
Peter Stichbury's NDE
Anna Worthington chooses her favourite work from the Gallery collection.
Collection
![Untitled](/media/cache/a6/dc/a6dc31f6142491279c8176e938ca78c7.jpg)
Leigh Martin Untitled
For the exhibition Yellow Moon: He Marama Kōwhai (28 October 2017 – 28 October 2018) this work was displayed with the following label:
How does it make you feel, this much yellow? Auckland-based Leigh Martin invites us into something big and simple – to feel and experience this colour strongly, up close, glowing, without distraction. Although minimalist it is not empty or silent, and feels generous; a vast surface loaded with carefully poured and layered colour.
Notes
![Kauri tree landscape by Colin McCahon](/media/cache/d1/ed/d1ed9b9e003b7cb96e86d5d0ac438e86.jpg)
Kauri tree landscape by Colin McCahon
This article first appeared as 'Mighty kauris inspired McCahon' in The Press on 10 February 2015.
Collection
![Cerulean Slipping](/media/cache/7d/1c/7d1c8e5616c9ca08530c9f86707adc4c.jpg)
Marie Le Lievre Cerulean Slipping
Ōtautahi Christchurch-based artist Marie Le Lievre’s Cerulean Slipping invites the viewer into the mysterious exploratory pleasures of her painting process. Employing crisp, hard edges alongside blurred boundaries and well-orchestrated liquid merge, it blends semi-controlled and unpredictable procedures. The result hints at mapping, rivers and flood plains, as well as chemical reactions or microscopic examination, while at the same time suggesting a multi-layered imaginative state.
(Perilous: Unheard Stories from the Collection, 6 August 2022- )
Collection
![Dead Head](/media/cache/68/7d/687dc26b09975f95eb1f1260ba429eca.jpg)
Tjalling de Vries Dead Head
Intrigued by the deceptions inherent in the act of painting, Tjalling de Vries often exposes tricks of the trade that usually pass unnoticed, while incorporating falsehoods of his own – like painted-on masking tape, counterfeit spills or creases and intricately layered surfaces designed to confuse and misdirect the eye. In Dead Head, transparent polyethylene takes the place of a canvas support, destabilising the picture plane as a site of illusion and suspended disbelief and allowing a view ‘through’ the painting to the wooden stretcher behind.
(Unseen: The Changing Collection, 18 December 2015 – 19 June 2016)
Notes
![NUD CYCLADIC I by Sarah Lucas](/media/cache/f6/d2/f6d2278b90da35ef7db080499a9ce4ee.jpg)
NUD CYCLADIC I by Sarah Lucas
This article first appeared as 'A visible means of support' in The Press on 26 September 2014.
Collection
![Bucket, Croagnes](/media/cache/60/58/6058cbf69340aa74e3418bfed53d88e1.jpg)
Bill Culbert Bucket, Croagnes
Since the early 1970s, Bill Culbert has explored the creative possibilities of light, capturing it in wine glasses, windows, lightbulbs, fluorescent tubes and even – as here – a simple plastic bucket. Set down on grass and fallen leaves in a wooded area close to Culbert’s home in France, this unassuming prop takes on a glowing, transcendent beauty as the sunlight fills and illuminates it.
(Unseen: The Changing Collection, 18 December 2015 – 19 June 2016)
Notes
![How Did You Do That?](/media/cache/74/ad/74adaa072773f0488c66fdb8a5db6605.jpg)
How Did You Do That?
How often have you stood in front of an art work and wondered how the artist did that?
Notes
![Lift of a gift](/media/cache/2a/30/2a30d480f54c3cf9c5955134724dba0e.jpg)
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.
Collection
![Kauri tree landscape](/media/cache/d1/ed/d1ed9b9e003b7cb96e86d5d0ac438e86.jpg)
Colin McCahon Kauri tree landscape
In 1958 poet and arts patron Charles Brasch, a great supporter of McCahon, said of the Titirangi works: 'These Auckland paintings seem an entirely new departure. The colour and light of Auckland are different from those of the rest of New Zealand; they are more atmospheric, they seem to have an independent, airy existence of their own, and they break up the uniform mass of solid bodies, hills or forests or water, into a kind of brilliant prismatic dance. Some of the paintings are explorations, evocations, of the kauri forest of the Waitakeres. In some you seem to be inside the forest, discovering the structure of individual trees, with their great shaft trunks, their balloon-like cones, and the shafts of light that play among them. In others you look at the forest from outside, as it rises like a wall before you, built up of cylinders and cubes of lighter and darker colour, with its wild jagged outlines against the sky.'
(From the Sun Deck: McCahon’s Titirangi, 17 September 2016 – 6 February 2017)
Collection
![Monument #15](/media/cache/b3/16/b316f2b3e9c27112e010010bc75957c0.jpg)
Callum Morton Monument #15
Australian artist Callum Morton is renowned for works that recast structures and building materials as repositories for human dreams and memories. Here, modern architecture’s humblest unit – the cinder-block – receives a rainbow paint-job that confuses and complicates its purpose. Are these the building blocks of a brighter future or the wistful relics of a destroyed utopia?
(Unseen: The Changing Collection, 18 December 2015 – 19 June 2016)
Collection
![Red Form](/media/cache/8f/0c/8f0cb73af98cba8b132a9ab1d7a76b8b.jpg)
Glen Hayward Red Form
Works of art aren’t as well behaved as they used to be. Once upon a time, they stayed where they were put, hanging obediently off picture rails or perching politely on pedestals. Since the arrival of the Duchampian readymade, however, many require a second glance to distinguish them from the world around them, as everyday objects are pressed into service in new, perspective-tilting contexts. There’s another kind of work too, the type Glen Hayward is known for: the readymade’s stealthier cousin. Meticulously, even obsessively, crafted to resemble objects you wouldn’t give another glance, these unobtrusive double agents aim to blend in, adding a subversive frisson to the gallery experience.
(Unseen: The Changing Collection, 18 December 2015 – 19 June 2016)
Collection
![Dust, Smoke and Rainbows](/media/cache/b6/9d/b69d6dc465b66a0d7502955fc8d46b85.jpg)
Shane Cotton Dust, Smoke and Rainbows
Made following the 2020/11 earthquakes, Shane Cotton’s painting crackles with a supernatural energy. It reveals a swirling, in-between space that recalls the Māori concept of te kore, the void, a realm of potential. Within a canvas full of trailing smoke, dust clouds and gleaming rainbows, physical matter and ideas collide, allowing for connections across time and space. Cotton includes a reference to a modernist carving by Northland artist Clive Arlidge, acknowledging how earlier generations of Māori artists contribute to the whakapapa (genealogy) of today’s artists. Part-ruin, part-vision, the work is charged with echoes of the recent and distant past – and full of anticipation about what may come next.
(Absence, May 2023)
Collection
![Closed circuit](/media/cache/32/5a/325af85652814946f489f1d691a36cd2.jpg)
Glen Hayward Closed circuit
Works of art aren’t as well behaved as they used to be. Once upon a time, they stayed where they were put, hanging obediently off picture rails or perching politely on pedestals. Since the arrival of the Duchampian readymade, however, many require a second glance to distinguish them from the world around them, as everyday objects are pressed into service in new, perspective-tilting contexts. There’s another kind of work too, the type Glen Hayward is known for: the readymade’s stealthier cousin. Meticulously, even obsessively, crafted to resemble objects you wouldn’t give another glance, these unobtrusive double agents aim to blend in, adding a subversive frisson to the gallery experience.
(Unseen: The Changing Collection, 18 December 2015 – 19 June 2016)
Collection
![NDE](/media/cache/eb/2c/eb2cdb1160869a515b2b38c48b870543.jpg)
Peter Stichbury NDE
There’s a strangely ahistorical quality to Peter Stichbury’s paintings. While his subjects are clearly contemporary personalities, the weight of the art-historical past stands behind his approach to portraiture. In this powerful image, a young woman is depicted with a thousand-yard-stare –has something has happened in the past that she has not yet come to terms with in the present?
(Now, Then, Next: Time and the Contemporary, 15 June 2019 – 8 March 2020)
Collection
![Untitled](/media/cache/48/e2/48e2404dadb705aa86c682b72b046de7.jpg)
Brenda Nightingale Untitled
In 2012, a suite of Christchurch artist Brenda Nightingale’s delicate, brooding ‘Christchurch Hills’ watercolours were reproduced in a limited edition publication, which was given away for free as part of Christchurch Art Gallery’s post-quake Outer Spaces programme. Focusing on the Port Hills that dominate the city’s southern skyline, Nightingale’s paintings subvert the picturesque conventions of the watercolour tradition; privileging, instead of idealised vistas, the often-ordinary objects that complicate our readings of them – lamp-posts, rubbish bins and walking track signs. Here, the trigonometric station at Godley Head offers an unexpected interruption to the view out across the Banks Peninsula headlands. (Unseen: The Changing Collection, 18 December 2015 – 19 June 2016)
Collection
![The Saviour](/media/cache/cb/13/cb1333525c062f06267a00649bb0fc5e.jpg)
Wayne Youle The Saviour
In the weeks and months that followed the devastating earthquake on 22 February 2011, many Christchurch people looked in vain for a ‘hero on a white horse’ to lead the city out of crisis. Galloping creakily to nowhere, Wayne Youle’s riderless Saviour punctures the notion of a knight in shining armour. Instead, it emphasises his belief that this city’s salvation lies in the hands of ordinary people: all those who stayed – through choice or necessity – and contributed to the recovery in countless, unsung ways.
(Unseen: The Changing Collection, 18 December 2015 – 19 June 2016)
Notes
![There is only one direction by Colin McCahon](/media/cache/cd/a4/cda4d7faf319708ad3a661512558f121.jpg)
There is only one direction by Colin McCahon
This article appeared as 'Divine Innovation' in the The Press on 31 August 2012.
Collection
![Latimer Square, Christchurch, 2012, from Adaptation, 2011 - 2012](/media/cache/f3/5d/f35d43fb519bfebfa16b4b29de76ca54.jpg)
Tim J. Veling Latimer Square, Christchurch, 2012, from Adaptation, 2011 - 2012
Tim J. Veling's photographs of post-quake Christchurch are studies in memory and transformation. From a body of work titled Adaptation, this nocturnal image reveals the strangeness of the transitional city, not least its moments of surprising, eerie beauty.
(Unseen: The Changing Collection, 18 December 2015 – 19 June 2016)
Collection
![River Pool, Somerset](/media/cache/de/3c/de3c1f5a6ffde6671a50b28d5c71be6d.jpg)
Frances Hodgkins River Pool, Somerset
This work belongs to a small group of related compositions from the same viewpoint, thought to have been painted by Frances Hodgkins while she stayed at The Croft, a cottage in Somerset owned by the writer Geoffrey Gorer. Completed in Hodgkins’ distinctive style, in which form and colour are blended to create an intense and lyrical impression of place, it rewards sustained viewing with a gradual unfolding of content – trees, reflective water, a model boat. Considered one of New Zealand’s greatest painters, Hodgkins pursued her practice with originality and tenacity, noting: “[I]t is so easy to paint like your master & to think other people’s thoughts, the difficulty is to be yourself, assimilate all that is helpful but keep your own individuality, as your most precious possession – it is one’s only chance.”
(Unseen: The Changing Collection, 18 December 2015 – 19 June 2016)
Collection
![Red house](/media/cache/a9/ed/a9ed2118f01169256c6f822ea0e2fec1.jpg)
Stephen Bambury Red house
Stephen Bambury has said of the titles he gives his works: “I like to put down a scent that can be followed.” In this case, that trail leads us towards the Russian painter Kazimir Malevich (1879–1935), who in 1932 painted a work he named Red House. Malevich’s suprematism – geometric forms painted in a limited palette to represent the supremacy of ‘pure feeling’ – sought to reset the ‘givens’ of painting and perception, recognising how the relationship between two-dimensional objects on a pictorial plane could suggest movement, volume and symbolic meaning. On longer looking, the initial flatness of Bambury’s simplified house motif – which recurs frequently throughout his practice – gives way to a sense of perspectival depth, opening the image up to considerations of shelter and containment.
(Unseen: The Changing Collection, 18 December 2015 – 19 June 2016)
Notes
![Populate! update #8 (face up)](/media/cache/bd/07/bd074be8f0b1674471a924e5f38aadfd.jpg)
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.
Notes
![A major boon to the Gallery in the direct aftermath of the earthquake](/media/cache/31/35/31358b109475555996a678dfdf22689a.jpg)
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.
Notes
![Max's gift](/media/cache/83/fb/83fbda56a6fbf6fa76363a03a14b0fa5.jpg)
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...
Notes
![Subtly engaging security](/media/cache/7e/6c/7e6c327785407dc53fccfb4faca55765.jpg)
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.
Collection
![Depot](/media/cache/47/40/47408ca8168c70c65cd3dc57bd286478.jpg)
Philip Trusttum Depot
In 2009, renowned Christchurch painter Philip Trusttum surprised us with an exceptionally generous offer: a gift of twenty paintings, selected by the Gallery and with no limitation on scale or value. The first ten works entered the collection the following year, and rumbling in amongst them was Depot, this colossal gas-guzzler of a painting that hums with Trusttum’s trademark physical energy. The audacious scale belies the work’s diminutive origins; the artist found his inspiration in the toy trucks his young grandson William played with in his studio.
Collection
![Sydney Harbour](/media/cache/e6/46/e6462e76d1052fa71258b85da505ca74.jpg)
Don Peebles Sydney Harbour
Don Peebles travelled to Sydney in 1950, in search of a more modern art training than was available to him in Wellington. (‘Nothing much was going on in Wellington other than us being taught to draw a foot that looked like a foot,’) he said. His teacher John Passmore (1904–1984) introduced his students to early twentieth-century European modernism: Bonnard and Picasso, Cézanne and cubism. ‘That was modernism to me. That was the latest thing as far as I knew in those days.’ Passmore also encouraged his students to paint around the waterfront, a regular subject for his own work in the early 1950s. Sydney Harbour reveals Peebles moving towards the abstraction that would characterise his mature work, but not yet completely there (he made his first completely abstract work a few years later in London). A Cézanne-esque concern for planes, facets and the structure of forms is evident, even while buildings, water and distant hills remain visible.
(March 2016)
Collection
![rainwob ii](/media/cache/b9/13/b9136bae075e01e13b1936f24d55fdc3.jpg)
Francis Upritchard rainwob ii
The work on the three tables at the centre of this room is part of a series of sculptures artist Francis Upritchard has described as “an attempt at an unsuccessful utopia”. Like the flipped-back word in its title, it seems to set off in one direction – towards a kind of visionary, psychedelic paradise – but overturns our expectations to arrive somewhere much less certain. Locked away in intensely private reveries, the delicate, marionette-like figures that inhabit it are curiously enigmatic: part-primeval bog people, part-countercultural prophets, they live out their radiant existences somewhere between the ancient unknowable past and the distant unknowable future.
(Unseen: The Changing Collection, 18 December 2015 – 19 June 2016)
Collection
![Crouches with moths](/media/cache/af/1e/af1e8b01a707c5d4d9ea7faf291af865.jpg)
Peter Madden Crouches with moths
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)
Collection
![NUD CYCLADIC 1](/media/cache/f6/d2/f6d2278b90da35ef7db080499a9ce4ee.jpg)
Sarah Lucas NUD CYCLADIC 1
Depending on your perspective, this curvy work by Sarah Lucas shifts between elegant Classical sensuality and in-your-face sexiness. It was inspired in part by the stylised and strangely modern female figurines of the Cycladic culture, which flourished on the islands of the central Aegean during the Early Bronze Age. Sarah made her tightly entwined sculpture from fluff-stuffed pantyhose, complete with associations of eroticism and control. It’s a cheeky invitation to consider society’s expectations about appearance, gender and sexuality.
(Perilous: Unheard Stories from the Collection, 6 August 2022- 21 July 2024)
Collection
![Springing Fern](/media/cache/a5/bc/a5bc60942bc9e4061f9a6b180645589f.jpg)
Eileen Mayo Springing Fern
English-born Eileen Mayo excelled across a remarkable range of media, including drawing, linocuts, wood engraving, lithography, tapestry and silk screening. She also became a sought-after commercial designer, known for exquisitely detailed and balanced images that appeared on stamps and coins in Australia and New Zealand. Mayo had lived in New Zealand for twenty years when she made this screenprint of young fern fronds in the lush native bush. One of her last prints, it combines an enduring appreciation of the natural world with extraordinary technical ability, conveying not only the beauty of the plants she depicts, but a sense of their place within a complex and interconnected ecosystem.
(Unseen: The Changing Collection, 18 December 2015 – 19 June 2016)
Collection
![Shrink wrap](/media/cache/52/d9/52d95df96ec5bb33a25af101cacc2b35.jpg)
Glen Hayward Shrink wrap
Works of art aren’t as well behaved as they used to be. Once upon a time, they stayed where they were put, hanging obediently off picture rails or perching politely on pedestals. Since the arrival of the Duchampian readymade, however, many require a second glance to distinguish them from the world around them, as everyday objects are pressed into service in new, perspective-tilting contexts. There’s another kind of work too, the type Glen Hayward is known for: the readymade’s stealthier cousin. Meticulously, even obsessively, crafted to resemble objects you wouldn’t give another glance, these unobtrusive double agents aim to blend in, adding a subversive frisson to the gallery experience.
(Unseen: The Changing Collection, 18 December 2015 – 19 June 2016)
Collection
![Untitled [Quentin (Kin) Woollaston Shearing]](/media/cache/33/86/338642f1becefe7b75f41cf061ce9c19.jpg)
Toss Woollaston Untitled [Quentin (Kin) Woollaston Shearing]
Toss Woollaston grew up in a farming family in the small Taranaki settlement of Toko and began his working life as a seasonal fruit and tobacco picker. In this ink drawing, he depicts his younger brother, Kin, shearing a sheep. His black singlet and dynamic form summon the rhythms of the shearing shed during what was then a boom time for wool production in Aotearoa New Zealand.
He Kapuka Oneone – A Handful of Soil (from August 2024)
Collection
![Disasters of War - 2 - The Sting of the Real. The Lives of All Children Our Shame.](/media/cache/d7/30/d730eb804e85b94bc9e56c4c44ca5268.jpg)
Max Gimblett Disasters of War - 2 - The Sting of the Real. The Lives of All Children Our Shame.
Collection
![Certainty](/media/cache/8d/b7/8db7900cc111194ab5445d76313b28cc.jpg)
Max Gimblett Certainty
For the exhibition Yellow Moon: He Marama Kōwhai (28 October 2017 – 28 October 2018) this work was displayed with the following label:
Max Gimblett is a New Zealand artist living in New York who makes art for contemplation and healing. For him, the art-making process embraces awareness of the unknown and the idea of being part of something bigger. He says: “Human is a tiny part of things. The ocean, the unconscious – these are things that are not knowable. Sometimes you can participate in a work from and in that source.” Gimblett also values “the curiosity that’s endless in beginning a drawing or a painting”, and attempts “to find a voice that will deliver the maximum content in the cleanest, clearest aesthetics”.
Collection
![Ocean Wheel](/media/cache/f5/04/f504aa01baa4e310fb265cf63f0c6f91.jpg)
Max Gimblett Ocean Wheel
“The inherent mystery of painting and drawing. It not being a skill or a talent but rather an enquiry, speculation, probing the depths, searching for a way into the plane. Whatever you are thinking, in Mind, becomes a translation when flattened into the plane, there is thinking in paint, in gesture, into the plane which is unlike any other activity in life. It is mute, silent, rather like being in the sea, under the surface, and looking upwards into the sun striking low through the waters.” —Max Gimblett (Max Gimblett: Ocean Wheel 1 August – 15 November 2020)
Collection
![Christ in Majesty - after Fra Angelico](/media/cache/ad/11/ad11e13a28416b19fd9e69f11a3b895b.jpg)
Max Gimblett Christ in Majesty - after Fra Angelico
At its simplest, a quatrefoil is constructed from four perfect, intersecting circles. Found in both Eastern and Western religious art, it has also been used to order and understand the physical world, most familiarly through the quartered segments of the clock and compass. Once described as a secular artist with a great respect for religious traditions, Max Gimblett has frequently opted for this shape over the more usual – but no less arbitrary – rectangular canvas. Here he combines it with gleaming gold leaf that has been finely scored to create a painting that seems to rush out towards us while simultaneously drawing us into its centre. Though his work is abstract, Gimblett’s title summons up the view of an enthroned Christ as depicted by the early Renaissance painter and friar Fra Angelico; surrounded by a shimmering aureole of golden light, radiating knowledge, power and glory.
(Unseen: The Changing Collection, 18 December 2015 – 19 June 2016)
Collection
![Grandparents at Okains](/media/cache/6a/aa/6aaa54946dd6b6e369408719dbc1beda.jpg)
Jeffrey Harris Grandparents at Okains
Between 1974 and 1977 Jeffrey created twenty-four extraordinary, jewel like paintings based on photographs of his relatives, marshalled together for the obligatory snapshots to mark important family occasions. In this case it’s the artist’s grandparents who are lined up before a car and buildings at Okains Bay in their Sunday best. In this series, known as Harris’s ‘Icons’, Jeffrey drew on the fifteenth-century religious paintings of Sienese artist Stefano di Giovanni di Consolo (il Sassetta). His admiration of Sassetta’s paintings can be seen in the luminous colours and spatial clarity of Grandparents at Okains.
(Jeffrey Harris: The Gift, 1 October 2022 – 12 March 2023)
Notes
![Max's Gift](/media/cache/da/22/da226ea9ffeb5ab281b65c6bef5a0c9d.jpg)
Max's Gift
Having the opportunity to spend over a week in New York recently to work closely with the artist Max Gimblett and his studio assistants in making a selection from Max's extensive collection of works on paper for a gift to Christchurch Art Gallery rates as one of the highlights of my job as a curator.
Notes
![New York](/media/cache/2c/f0/2cf0c177fc65c301d2548b5e80bbeada.jpg)
New York
Curator Peter Vangioni and I have been in New York City since last Wednesday, selecting a gift of works on paper from New Zealand artist Max Gimblett, who has been resident in New York for some 35 years.
Article
![Brought to Light](/media/cache/60/9a/609a902effb85812d76e8736d7d0a077.jpg)
Brought to Light
Finally, it's finished! It is now four months since we closed the doors on the previous incarnation of Christchurch Art Gallery's collection exhibition, and the intervening period has been a very busy time for all our staff. When Christchurch Art Gallery opened in 2003, the plan, reiterated in the Paradigm Shift document of 2006, was to refresh the hang of the collection galleries after five years. Since then the display has of course not remained entirely static, and visitors will have noticed regular changes as new works entered the collection, light-sensitive works were changed and small focus exhibitions created. But Brought to Light: A New View of the Collection is something altogether more-a refreshment of our entire collection display (not just what, but why) and a re-evaluation of the physical space of the galleries themselves.
Collection
![Wanton Eye](/media/cache/9d/f2/9df229f3044a915f95ea9baef51a5590.jpg)
Barbara Tuck Wanton Eye
Shifting fluidly between abstraction and representation, Barbara Tuck’s intricate, interwoven paintings trace an imaginative path through real landscapes – the ancient mountains, rivers and valleys of New Zealand’s South Island. With multiple horizon-lines, oscillating viewpoints and lyrical juxtapositions, she reinvents this much-painted terrain, inviting us into a startling and enthralling dreamworld.
(Unseen: The Changing Collection, 18 December 2015 – 19 June 2016)