Bill Hammond - Living Large 6
An introduction to Bill Hammond's Living Large 6 (1995), narrated by New Zealand actor Miranda Harcourt.
Related reading: Bill Hammond
22 October 2007
The long-awaited exhibition is a spectacular survey of more than two decades of work by one of New Zealand's leading contemporary painters.
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.
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.”
An exciting opportunity to see new work by leading Canterbury artists Tony de Lautour, Jason Greig and Bill Hammond
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.
Fourteen artists with connections to the Mainland are represented in an exhibition that explores the dark underbelly of the region's genteel appearance.