Séraphine Pick's lush watercolour offers a utopian vision in the car park elevator.
As you ride between floors in the elevator from the Gallery car park, you'll also be transported to an inner world of the artist's imagination. Pick's painting depicts groups of bathers in a pool surrounded by bush, with a canopy of kaponga, or silver tree fern, overhead: it's concerned with the failure of utopian dreams. Commissioned to fit the proportions of the elevator, the original watercolour has been made into a large-scale digital print which immerses you in the detail of the brushwork – enabling you to revel in its blots and blooms, its drips and transparent washes.
Natalia Saegusa: Tomorrow Still Comes/He Rā Anō Ki Tua
A fragmented and poetic wall painting by Natalia Saegusa.
Marie Shannon: The Aachen Faxes, Christchurch remix
Marie Shannon's sound work contemplates love, loss, and the longing for emotional connection across distance.
Séraphine Pick: Tell Me More
Séraphine Pick's original and imaginative practice has made her one of New Zealand's most highly regarded painters.
Séraphine Pick: assumed identities
The celebrated faces gracing two of the paintings in Séraphine Pick's Brooke Gifford Gallery exhibition late last year wore expressions that were hard to pin down. Defensive, evasive and devoid of their customary charisma, the only thing they clearly conveyed was their wish to be somewhere – anywhere – else.
Olivia Spencer Bower: Views from the Mainland
A selection of watercolours by one of Canterbury’s most treasured artists.
Doris Lusk: An Inventive Eye
In the strange, stunned afterlife that ticked slowly by in the first few years following Christchurch’s February 2011 earthquake, a curious note of recognition sounded through the shock and loss. As a massive programme of demolitions relentlessly hollowed out the city, many buildings were incompletely removed and lingered on for months as melancholy remains – stumps abandoned in a forlorn urban forest. Hideous, sculptural, beautiful; they bore compelling resemblance to a body of paintings created in the city more than three decades earlier.
Exquisite Treasure Revealed
Canterbury Museum holds two albums compiled by Diamond Harbour artist Margaret Stoddart. The older of the two, containing images featured in this Bulletin, and itself currently exhibited in the Gallery, covers the period 1886–96. The album is handsomely bound in maroon, and stamped M.O.S. in gold. It contains a sort of travelogue by way of black and white photographs set amongst decorative painting, mostly of native flora, with some locality and date information.
W.A. Sutton: Watercolours of Italy
An exhibition featuring a selection of works from Bill Sutton's 1973–4 Italian sojourn, highlighting his exquisite skill as a draughtsman and watercolourist.
The Gallery's Watercolour Collection had modest beginnings, but over the past 70 years it has grown steadily by gift and purchase and, of all the Collections, still maintains a largely traditional emphasis. When the Gallery opened in June 1932, just 28 of the 128 paintings on display were watercolours and, of these, 11 were by British artists and 17 by New Zealanders. Among the mostly nineteenth century British watercolours were those by Helen Allingham, Edgar Bundy, Matthew Hale, Laura Knight, William Lee Hankey and Ernest Waterlow. In contrast, the New Zealand watercolours were by mostly contemporary or early twentieth century artists and included works by James Cook, Olivia Spencer Bower, Margaret Stoddart, Maude Sherwood, Eleanor Hughes and Alfred Walsh. The foundation Watercolour Collection included two paintings of larger than usual dimensions. William Lee Hankey's We've been in the Meadows all day (1184 x 878mm) and Charles N. Worsley's Mount Sefton (996 x 1105mm) are still greater in scale than any other work in the Watercolour Collection.