Milford Galleries Dunedin18 Dowling Street (03) 477 7727 info@milfordhouse.co.nz

www.milfordgalleries.co.nz

11 MAY - 5 JUNE 2013

EDWARDS PATERSONRASTORFER REES SCOTTTAUREREWA WALDROM

LARGE WORKS 2

SIMON EDWARDS, The Secret Strength of Things (2012)diptych; acrylic & oil on aluminium, panels: 1820 x 1450 x 13 mm each, overall size: 1820 x 1920 x 13 mm1

SIMON EDWARDS, The Secret Strength of Things (2012)diptych; acrylic & oil on aluminium, panels: 1820 x 1450 x 13 mm each, overall size: 1820 x 1920 x 13 mm

SIMON EDWARDS, The Secret Strength of Things (2012)diptych; acrylic & oil on aluminium, panels: 1820 x 1450 x 13 mm each1

SIMON EDWARDS, The Secret Strength of Things (2012)diptych; acrylic & oil on aluminium, panels: 1820 x 1450 x 13 mm each

LORENE TAUREREWA, Inherited Bodies 3 (2005)oil on canvas, stretcher: 1798 x 1598 x 57 mm2

LORENE TAUREREWA, Inherited Bodies 3 (2005)oil on canvas, stretcher: 1798 x 1598 x 57 mm

IAN SCOTT, Lattice No. 249 (2013)acrylic on canvas, stretcher: 1980 x 1980 x 43 mm3

IAN SCOTT, Lattice No. 249 (2013)acrylic on canvas, stretcher: 1980 x 1980 x 43 mm

LORRAINE RASTORFER, Black Pearl (2010)triptych; acrylic on board, panels: 1800 x 1200 x 43 mm each4

LORRAINE RASTORFER, Black Pearl (2010)triptych; acrylic on board, panels: 1800 x 1200 x 43 mm each

REUBEN PATERSON, Whakapapa: Get Down on Your Knees (Reconfigured) (2009)tetraptych; glitter & synthetic polymer on canvas, stretchers: 2000 x 2000 x 36 mm each, overall size: 2000 x 8000 x 36 mm5

REUBEN PATERSON, Whakapapa: Get Down on Your Knees (Reconfigured) (2009)tetraptych; glitter & synthetic polymer on canvas, stretchers: 2000 x 2000 x 36 mm each, overall size: 2000 x 8000 x 36 mm

GARY WALDROM, Stone Mansion (2009/10)oil on canvas, stretcher: 1222 x 1834 x 33 mm6

GARY WALDROM, Stone Mansion (2009/10)oil on canvas, stretcher: 1222 x 1834 x 33 mm

ELIZABETH REES, Just Now (1997)oil on canvas, frame: 1745 x 2055 x 75 mm7

ELIZABETH REES, Just Now (1997)oil on canvas, frame: 1745 x 2055 x 75 mm

New York-based Lorene Taurerewa forges a remarkable, unnerving, connection

between the traditions of portraiture and the psycho-drama of the sitter. Central

to her work is the psychology of the subject and around this is built a world of

unease. Contradictions abound – in Inherited Bodies 3 (2005) the figure is

monumental, the gaze disarmingly certain yet indirect, a bird is softly held up by

fingers but then silence arises, time becomes arrested and we enter the dissolves

and depths of human nature.

Elizabeth Rees in Just Now (1997) explores the relationship between the body,

mind and environment in which we exist. The palette for the figure and the

landscape are one and the same – a metaphor is built, profound feelings of

isolation and apprehension emerge right alongside the paradoxes of motivation

and (in)decision.

Stone Mansion (2009/10) is both familiar and strange – where are we, what year is

this, why are these men smiling as if they know something we don’t? Gary

Waldrom provides a fragment of an unspecified narrative, suggesting something

portentous is about to happen or already has. He imbues his works with a dream-

state, peopling them with personalities and characters who are not to be trusted.

Part-fact, part-fiction, “Stone Mansion” exists in the chasms of dream and the

absurdities of personality.

The Secret Strength of Things (2012) is the largest landscape work completed to

date by Simon Edwards. It shows him (once again) to be a master of layering

surfaces so that “forms revealed as being as vaporous and ephemeral as the air

itself, and the work a play with the sublime, the atmospheric effects of nature

able to reflect and inspire imagination.” (1)

Black Pearl (2010) is a marvellously ambiguous, breath-taking work. Lorraine

Rastorfer’s pioneering, distinctive technique of layering and combing paint results

in shimmering textures, charged atmospheres, complexity of movement, gestural

All prices are NZD and include GST; Prices are current at the time of the exhibition

weaving and beautiful tonal variations. It’s as if we are witnessing a phenomenon

– is it cloth flying or an aurora? Is that a landscape below?

Reuben Paterson’s Whakapapa – Get down on your knees (reconfigured) (2009)

was first shown in the 6th Asia Triennial of Contemporary Art in Brisbane and then

again in the Bottled Lightning survey exhibition at the Gus Fisher Gallery, University

of Auckland, 2012. It combines – in Paterson’s now mature, characteristic manner

– geometric, weaving and carving patterns, fabric designs with dialogues about

the passages of time and genealogy. This major work has plural realities and uses

the chromatic qualities of glitter with remarkable authority.

Ian Scott’s Lattice Series is one of the most profound and important on-going

series of abstract works in NZ art. In Lattice No. 249 (2013) Scott establishes optical

illusions of depth and space with defined fields of colour, building contradictions

and visual tensions with diagonal bands that weave over and under.

1. Mark Amery, Cantabrians building on the Past, Dominion Post, 2007

E X H I B I T I O N P R I C E L I S T

1 SIMON EDWARDS, The Secret Strength of Things (2012) 22,500

2 IAN SCOTT, Lattice 249 (2013) 30,000

3 LORENE TAUREREWA, Inherited Bodies 3 (2005) 7,500

4 LORRAINE RASTORFER, Black Pearl (2010) 24,000

5 REUBEN PATERSON, Whakapapa: Get Down on Your Knees (Reconfigured) (2009) POA

6 GARY WALDROM, Stone Mansion (2009/10) 17,500

7 ELIZABETH REES, Just Now (1997) 25,000