Bill Hammond
Aotearoa New Zealand, b.1947, d.2021
Specified Departures
- 1988
- Lithograph
- Purchased, 1989
- 430 x 535mm
- 89/147
Tags: animals, birds (animals), hair, jewelry, men (male humans), monochrome, mythical or legendary beings, pendants (jewelry), people (agents), profiles (figures), zigzags
Exhibition History
Painters As Printmakers, 19 October 2007 - 20 January 2008
Bill Hammond has worked with a variety of print mediums since the early 1980s when he attended night classes in etching at Christchurch Polytechnic. Since then, he has also worked with screenprints and, more importantly, lithography. The psychological intensity of the interior view in this lithograph is heightened by Hammond’s use of sharp, angular perspectives. As with many of Hammond’s paintings from the 1980s, the scene is populated with edgy, bizarre-looking characters.
Hammond trained as an artist at the University of Canterbury School of Fine Arts in the late 1960s. He began painting and exhibiting his work in the early 1980s. Printmaking has had a presence alongside his activity as a painter since this period, and he has worked closely with two Christchurch print workshops – Gingko Print Workshop and PaperGraphica.
Related reading: Bill Hammond
Notes
RIP Bill
All of us at Christchurch Art Gallery Te Puna o Waiwhetū were very saddened to hear of the death of Bill Hammond over the weekend. Bill’s contribution to the art of Aotearoa New Zealand was original and unforgettable and he occupied a special, beloved place within the arts communities of Christchurch and Lyttelton.
Notes
A Bird in the Hand
The Christchurch Art Gallery Foundation is honoured to assist the Gallery in acquiring Bill Hammond's Bone Yard Open Home for its permanent collection. But, we need your help!
Notes
De Lautour / Greig / Hammond
An exhibition of recent work by Tony de Lautour, Jason Greig and Bill Hammond opens at our NG space on Madras street tomorrow. These artists have had limited opportunities to show their work since the quakes so this exhibition is well worth a visit if you have the time.
Here's a taster of some of their work.
Commentary
The Edge of the Sea
A vision of New Zealand’s past from 1995:
Europeans first imagined New Zealand as “a garden and a pasture in which the best elements of British society might grow into an ideal nation”... When the smoke of the colonists’ fires cleared at the end of the 19th century, New Zealand had become a different country. Māori had lost their most precious life-support system. Only in the hilliest places did the forest still come down to the sea. Huge slices of the ancient ecosystem were missing, evicted and extinguished. Our histories, however, have had neither the sense of place nor ecological consciousness to explain what has happened.
Commentary
Doctor Jazz Stomp and the Webb Lane Sound
“Bill Hammond is long, lithe and tired, and was born several years ago. Is currently pursuing a Fine Arts course and trying hard to catch up. He is deeply interested in the aesthetic implications of sleep, sports the Rat-Chewed Look in coiffures for ’68, and dreams about blind mice in bikinis. He has never been known to sing outside the confines of his bedroom. Shows a marked but languid preference for the subtle textural nuances and dynamic shadings of washboard, cowbell, woodblocks, claves, cymbal, spoons, thimbles, tambourine, and the palms of the hands in percussive contact.”
Article
A miscellany of observable illustrations
Romantic notions of gothic leanings, the legacy of Tony Fomison, devotion to rock sub-genres and an eye to the past are familiar and sound reasons to group Tony de Lautour, Jason Greig and Bill Hammond together in one exhibition, but De Lautour / Greig / Hammond is to feature new and recent work. Could all this change? What nuances will be developed or abandoned? Will rich veins be further mined? We can only speculate and accept that even the artists concerned can't answer these questions. For the artist, every work is a new endeavour, a new beginning. What may appear to the public, the critic or the art historian as a smooth, seamless flow of images is for them an unpredictable process where the only boundaries are those that they choose to invent.
