Leigh Martin
b.1964
Untitled
- 2009
- Pigmented resin on wood
- Purchased 2015
- 2300 x 2100mm
- 2015/001
Tags: abstraction, yellow (color)
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.
Exhibition History
Unseen: The Changing Collection 18 December 2015 – 19 June 2016
The paint in Leigh Martin’s latest works is applied not with a brush or palette knife, but via the slow and mysterious shifts of gravity. Poured onto a prepared board, which is rocked to disperse colour across the surface, the paint’s viscosity becomes as significant as its colour. As this process is repeated, the resulting residues offer a sense of depth, while a final layer of ‘interference paint’ allows the surface to oscillate as we move around it. It is, as Martin has said, “[t]here, and simultaneously not there. Mute. Silenced.”
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.