Peter Trevelyan - Survey #4

Peter Trevelyan discusses his work Survey #4.

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Commentary
Above Ground

Above Ground

I go into the Gallery. Haven’t been there in a while. Building closed. It was open to begin with. Civil Defence HQ in the weeks following the shock that laid the city low and who knew glass could be so strong, so resilient? Then the Gallery closed. It was cordoned off, behind wire netting. Something was going on in there. Someone said something had cracked in the basement. Someone said they needed to insert a layer of bouncy forgiving rubber beneath glass and concrete, ready for any future slapdown.

Commentary
City of Shadows and Stories

City of Shadows and Stories

If cities are the ground into which we plant stories, the soil of Ōtautahi – later Christchurch – is undergoing a protracted tilling season. Five years is a long unsettlement in human terms; on a geological (or indeed narratological) scale, time moves more gradually. Christchurch exists today as a rich aggregation of narratives, propping up physical edifices of crumbling stone and cardboard.

Exhibition
Above Ground

Above Ground

An exhibition exploring the impact of architecture, imagination and memory.

Article
Shifting Lines

Shifting Lines

It's where we live: the encrusted surface of a molten planet, rotating on its own axis, circling round the star that gives our daylight. Geographically, it's a mapped-out city at the edge of a plain, bordered by sea and rising, broken geological features. Zooming in further, it's a neighbourhood, a street, a shelter – all things existing at first as outlines, drawings, plans. And it's a body: portable abode of mind, spirit, psyche (however we choose to view these things); the breathing physical location of unique identity and passage.

Exhibition
Shifting Lines

Shifting Lines

Six artists use line to investigate space and structure in unexpected ways.

Article
De-Building

De-Building

For many passers-by, Christchurch art Gallery is identified by its dramatic glass façade—the public face it presents to the world. but De-Building is an exhibition that offers a very different view. bringing together the work of fourteen artists from new Zealand and farther afield, this group exhibition draws inspiration from the working spaces gallery-goers seldom see: the workshops, loading bays and back corridors; the scruffy, half-defined zones.

Collection
Private Lodgings
William Sutton Private Lodgings
Prominent Christchurch painter Bill Sutton was an influential teacher from 1949 to 1979 at the University of Canterbury School of Fine Arts. Sutton has chosen here a restricted palette – ochre, brown and black – to portray this aged wooden façade under streetlight glare, with a reflected neon glow of red. The Manchester Private Hotel, already rundown when Sutton painted it in 1954, was a somewhat disreputable boarding house on the corner of Manchester and Southwark Streets on the outskirts of central Christchurch. Belonging to a series of paintings that Sutton made depicting old, inner city buildings, it conveys the imprint of memory and the local past. (Above ground, 2015)
Collection
The Drawbridge, Plate VII (second state) from the series Invenzioni Capric di Carceri
Giovanni Battista Piranesi The Drawbridge, Plate VII (second state) from the series Invenzioni Capric di Carceri
Giovanni Battista Piranesi’s The Drawbridge is one of sixteen plates from a folio of prints depicting imaginary prisons that has repeatedly haunted and inspired writers, artists and architects for over two and a half centuries. Three of Piranesi’s Carceri engravings, for example, were included in Alfred H. Barr’s exhibition Fantastic Art, Dada, Surrealism at the Museum of Modern Art in New York in 1936. First issued in 1749–50, but attracting little attention to begin with, the series was republished with heavily reworked plates in 1761, yielding darker, more detailed and more resolved prints that brought an attendant increase to their public reception and acclaim. (Above ground, 2015)
Collection
Queen’s Visit
Ivy G Fife Queen’s Visit
Many artists have depicted this city’s urban spaces, including Ivy Fife, who studied at the Canterbury College School of Art from 1920 to 1931 and taught there from 1936 until 1959. Fife’s studio apartment was in the nearby St. Elmo Courts, from where the bird’s-eye view was painted. Fife also captured the clamour of Christchurch’s railway station on Moorhouse Avenue during the new Queen’s royal visit. Opened in 1877, the station had been a handsome structure, but by 1954 its Venetian gothic arches were under lean-to additions and its brick warmth covered in paint. Demolition came five years later; its replacement, a landmark modernist building, was itself demolished after the Christchurch earthquakes. (Above ground, 2015)
Collection
Veduta della Gran Curia Innocenziana
Giovanni Battista Piranesi Veduta della Gran Curia Innocenziana
Giovanni Battista Piranesi, son of a Venetian stone- mason and master builder, trained in architecture and stage design before moving to Rome and training there as an engraver. Producing many picturesque Grand Tour views of Rome, he was hugely influential on the classical revival in European architecture. In Rome in 1755 he befriended the visiting architect Robert Adam, who praised Piranesi in a letter to his brother in London: '[S]o amazing and ingenious fancies as he has produced in the different plans of the Temples, Baths and Palaces and other buildings I never saw and are the greatest fund for inspiring and instilling invention in any lover of architecture that can be imagined.' (Above ground, 2015)
Collection
View Of Cathedral Square From Hereford Street
James Fitzgerald View Of Cathedral Square From Hereford Street
James Fitzgerald moved from England to Auckland in 1903, and then twenty years later to Christchurch, where he established his own commercial art studio. His watercolour view captures Christchurch’s Cathedral Square at its most architecturally cohesive and complete. Many will remember the United Service Hotel at left, built in 1884–85, demolished 1990; fewer will recall the neoclassical Bank of New Zealand building at right, designed in 1866, demolished 1963. While it is possible to lament our general cultural attitude to architectural heritage, it is also difficult to imagine anything here, even if it had been protected, as capable of surviving the 2010-11 earthquakes that hit the city. (Above ground, 2015)
Collection
Factory At Widnes
L S Lowry Factory At Widnes
L. S. Lowry’s vision of manufacturing England saw his canvases filled with factories, tenements, steeples and smokestacks, and typically rhythmic, spilling crowds. Factory at Widnes is one of Lowry’s least populated industrial landscapes, and one of his tightest, most minimal constructions; an unexpectedly deserted space within his brimming tribute to the waning industrial north. Factory at Widnes was seen in London in 1956 by the prominent Christchurch architect and arts supporter Heathcote Helmore, who arranged for it to be shown at the 1957 Canterbury Society of Arts exhibition, from where it was purchased. Lowry was at that time Britain’s most famous living artist. (Above ground, 2015)