Download - SummerCatalogueweb

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WARWICK HENDERSON GALLERY32 Bath St, Parnell, Auckland, NZ P/F. +64 9 309 7513 E. [email protected] W. www.warwickhenderson.co.nz

17. JUSTIN

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, Bach at Onetangi (D

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Summer Catalogue 2005 - 2006Opening December 13th 2005 – 29th January 2006

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PREFACE

All works in this catalogue are unconditionally guaranteed and sold with certified authenticity and provenance. These paintings in many cases have taken over six months to source and have come from the artists, private

collections and estates from within New Zealand and internationally.All paintings are available for immediate sale.

WARWICK HENDERSON GALLERY32 Bath St, Parnell, Auckland, New Zealand

Established 1980P/F. +64 9 309 7513

[email protected]. www.warwickhenderson.co.nz

Text by Warwick Henderson, Rebecca Smidt and Kat LeeDesign by Warwick Henderson and Rebecca Steedman

Edited by Warwick Henderson

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Warwick Henderson GallerySummer Catalogue 2005 - 2006

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1. WILLIAM J REED (1908-1996)Lake Hawea, WanakaWatercolourc. 1930's43 x 54 cm

William Reed’s profile as an artist has risen considerably since the release and sale by auction and exhibition, many of his works from "estate" during the last few years. Reed was one of New Zealand’s first "political" or "Anti War" painters. A work Armageddon (1935) was included in the major New Zealand art exhibition of 1936 which coincided with the opening of the National Art Gallery and Dominion Museum in Wellington. Reed's painting must have seemed incongruous among the hundreds of portraits and "fair-weather" landscapes which adorned the walls of the new Gallery. One of Reed's influences was Paul Nash (1889-1946) from England, yet his works were obviously never considered among the more than 200 British contemporary art works chosen for inclusion in the exhibition. Nothing akin to Nash’s work or even Reed's appeared amidst the ‘Sussex windmills’, ‘Richmond castles’, ‘milking times’, ‘evening rivers’, ‘daisies and buttercups’1 from the British contemporary artists.

While Reed is associated with war and Biblical studies, his strength lay with his exquisite gouache and watercolour

paintings. A contemporary and friend of Rita Angus, he along with Olivia Spencer-Bower and others established a South Island "regionalist" style which is apparent in Lake Hawea, Wanaka. The seeds of a departure from the impressionistic school of Art dominated by artists such as Archibald Nicoll, Margaret Stoddart, Evelyn Page and Sydney Lough Thompson were planted by artists such as William James Reed. Rita Angus and Christopher Perkins championed a new movement where "hard clear light was viewed as a unique characteristic of New Zealand landscape."2

During his career Reed presented a large body of works in oil covering a variety of subject matter but his watercolour works on paper are clearly of the highest quality from this foundation period of New Zealand art history.

1 Catalogue 1936, Art Exhibition, National Art Gallery and Dominion Museum, Wellington.

2 The Guide ACAG. Scala Publishers, 2001. p. 103

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In a 1951 article entitled From Charles Heaphy to Frances Hodgkins1 E.H. McCormick speculated as to who would succeed the two artists mentioned above? The most likely artists he suggested were John Weeks and T.A. McCormack, such was Weeks' stature and reputation at this time. Despite Eric McCormick’s endorsement, Weeks reputation stalled through to his death in 1965, although he was awarded an O.B.E for services to art in 1958. He was also accorded an individual biography in the NZ Encyclopedia published in 1966 by the Government printer, along with Francis Hodgkins, Charles Heaphy, Charles Goldie and Petrus Van Der Velden.

The fact remains John Weeks was a major New Zealand artist who possessed outstanding talent, but it is said he never recovered from a serious fire, which destroyed a large proportion of his life’s work in his studio at Elam Art School in 1955. From this time his output was limited and his influence as a painter fell away at the tide of a new generation fighting for credibility, acceptance, and survival. Included in this first wave were the artists McCahon and Woollaston although ironically it was John Weeks who first experimented with abstraction and expressionism in New Zealand the 1930’s.

Weeks established a whole movement (The Auckland School) in the 1930’s, which was largely born from his

studies overseas with the cubist artist Andre L’Hote. He also experimented with a variety of media and styles being one of the first New Zealand artists to regularly use egg tempera, a medium rarely used here. While Weeks is well known for his King Country landscapes, which are arguably the finest renditions of this area by any artist, Weeks was also extremely skilled in his handling of the “still life”. During a review of the National Gallery Art Exhibition in 1950, critic Margaret Garland pinpointed a small John Weeks still life. “There is a pleasant but rather sweet little still life done in the Cezanne manner by John Weeks, which commands attention. The freshness of this painting is a pleasure”.2

The same comments could well apply to the still life featured in this catalogue. A delightful and fresh work imbued with a vibrant palette. His small work is an excellent example of John Weeks' arresting ability with seemingly benign subject matter. Individuality and a unique palette were features of John Weeks’ painting and his work is a wonderful addition to any New Zealand art collection.

1 Garland, M., New Zealand Painting in the National Art Gallery p.135

2 From Charles Heaphy to Francis Hodgkins: McCormick, EH., New Zealand Arts Yearbook 1951, Wingfield

Press p.151

2. JOHN WEEKS O.B.E (1888 - 1965)Still LifeTempera on boardc. 1940's30.7 x 40.7 cm

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Following the footsteps of many leading New Zealand artists such as Frances Hodgkins, Peter McIntyre travelledextensively at an early age. He joined a circus at one stage in France in the 1930’s sketching circus performers, and travelled throughout Europe. After the Second World War the East opened up to Western travellers, fuelled by the establishment of airlines, post-war trade and travel, particularly to the British colonies. McIntyre visited Hong Kong in the 1960’s during which time this exotic land seemed a foreign and exiting mystery to a New Zealand audience.

Chinese Junks is a romantic depiction of a far away land. Through atmospheric dawn light McIntyre renders a cluster of boats returning with their daily yield. As they moor in the murky harbour, the fading moonlight and flickering remnants of Chinese lanterns spill light across the water. McIntyre records the reflective beauty with great delicacy through a soft and cool palette.1 "At evening the high-sterned junks sailed out of the fishing grounds as they have for a thousand years. They look still as they looked when Marco Polo saw them. Throughout the night their lanterns, brightly lit to attract the fish, sparkled and twinkled in their hundreds across the sea like a lighted city afloat. At morning, their great triple sails spread to the sun, they came sailing in stately as beautiful as swans."2

McIntyre’s exotic rendering of this unique country conveys and captures the romanticism of an Eastern travel experience, a stark contrast to his rugged New Zealand landscape paintings.

1 McIntyre, Peter The Painted Years (1962) Reed Publishers, Wellington. Page 193

2 Ibid Page 193 - 194

3. PETER MCINTYRE (1862-1932)Chinese Junks and HouseboatsWatercolourc. 196050 x 63 cm

4. ALICE F WHYTEKing Country Landscape

Oil on boardc. 1970

38.5 x 48.5 cm

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Two of the most prominent contemporary New Zealand landscape painters to emerge from the 1950’s were Colin McCahon and Toss Woollaston. While each displayed a unique and individual approach to their tasks, another artist to emerge in a less obvious manner in the 1960’s was Trevor Moffitt. In 1968 Moffitt showed a series of Rakaia River paintings at "Several Arts" Gallery in Christchurch. A reviewer stated "Moffitt shifted from Miners to riverbeds to his detriment – these paintings shorn of a story looked too self-sufficient to justify such repetition"1 Whether this comment produced any lasting effects on Moffitt’s career is doubtful although figurative paintings and allegories dominated his oeuvre for the majority of his career.

The "less is more" approach to successful brushwork is a rare skill which the artist has converted successfully to this extended landscape series. The painting here "Paeroa Gorge No 8" is an unusual "Birdseye" view of this magnificent South Island river an area which Moffitt eventually became a spokesperson for in relation to its conservation. Moffitt’s robust painterly style supported him well during the completion of this series, where his broad, thick brushstrokes emphasise the natural and raw quality of this unique landscape.

A preoccupation with the human condition has been explored thoroughly through Trevor Moffitt’s comprehensive

5. TREVOR MOFFITT (b. 1936)Overdose, Down and Out (Human Condition series II)oil on hardboard199558.5 x 49.5 cm

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6. TREVOR MOFFITT (b. 1936)Paeroa Gorge No 8 (Rakaia River Series I)Oil on board196457 x 87 cm

Human Condition series of work. Human Condition I, II and III comprise over 100 works. Moffitt’s more famous folklore series of paintings such as such as McKenzie, Miners, Graham etc depict “an authentic national vision"2 whereas the Human Condition series are globally relevant and accessible.

Overdose Down and Out depicts a teenager’s fall from grace where a downward spiral of drugs and alcohol bring a young woman to the very brink of death. The artist’s uncompromising manner has left little to the imagination as he plumbs the depths of temptation and fragility. Behind the vulnerable and prone girl, a warm light beckons tantalizingly through the porch. The nostalgic 1950’s bungalow glows

like a secure beacon, which is emphasised by the nakedness of the figure. This light is a metaphor for vice or virtue – a doorway to heaven or hell - you choose your own path.

1 P Young ‘Review’ Ascent, Caxton Publishing, Vol no.2 July 1968 p. 76

2 J Reed quoted in R Haese, Rebels and Precursors, Penguin/Lane 1981. P. 280

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Through Brown’s images we are encouraged to reflect upon New Zealand’s changing identity in the wake of technology and the emergence of a global culture. Brown’s imagery refers to the importance of the family structure in contemporary society, the endurance of our environment, but simultaneously its fragility in the hands of modern man.

Denys Trussell’s poem Dance of the Origin is recited in Impassive Stone.3 This lyrical statement reaffirms the connection between man and the land, an issue heartfelt by the artist. The archetypal family is rendered in front of Old Man Rock, a local landmark recurrent in Brown’s recent paintings, as well as Pahia Hill, another familiar motif. The rugged terrain of Brown’s Southland surroundings is apparent, the weather-beaten landscape of battered trees and blustery winds are combined in this metaphorical homage to nature.

"Art is straight talking, unabashed, avoiding decoration and sophistication."1 These sentiments are apparent in Don’t Just Stand Around, which is both an affirmative statement, encouraging the viewer to aim high in life’s ambitions, and a demand from the frustrated, singlet clad protagonist. 2 In no uncertain terms the builder depicted is told "get your arse into gear" as Brown depicts the frustrating dilemma of waiting for results, and relying upon someone else to pull-through. In contrast to the peripheral text that commands

action from another, Brown renders his figure descending a ladder which is precariously balanced on the giant personal affirmation "I Can."

Brown says: "a man saws a hole into the sky while berated by two onlookers. A tree fern and pigeon balance in a box precariously. Whilst it’s tempting to say this reflects builders working on the artist’s property it is also and allegory with filthy language and simple tools often replaced by electric saws and nail guns these days. "

The New painting Survival Song A addresses environmental issues in which the ark symbol from Brown’s 1970s paintings has been reworked to convey a secular message. Survival Song A is a product of Brown’s new environment where the symbolic dove has been replaced by a kureru or native pigeon. Brown sends a stark warning with two simple icons; the ark’s animals and birdlife have diminished, over time will our native wood pigeon survive?

1Malcolm Burgess, ‘Letters to McCahon’ New Zealand Herald,

30 Jul 2003

2 Artist’s statement, September 2005

3Nigel Brown was commissioned to illustrate a new edition

of Trussell’s poetry in 2004.

9. NIGEL BROWN (b. 1949)Survival Song B (illustrated below)Oil on linen200434 x 24.5 cm

8. NIGEL BROWN (b. 1949)Don’t Just Stand AroundAcrylic on linen200489 x 59 cm

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As a female Maori artist and activist, Robyn Kahukiwa’s protest is manifest in the visual arts. Her narrative is made accessible through powerful imagery rendered in a graphic style. This poster-style approach utilizes the surface of the canvas to emphasize the two dimensional quality of the work. Text is often included to articulate a point. These combined elements are revealed in the seminal work Hikoi 2004. During the 2004 Hikoi march a thirty thousand strong body of people walked from Cape Reinga to The Capital in united opposition to the Labour Government’s foreshore and seabed legislation. This historical event is recorded in Kahukiwa’s commemorative canvas. Not only does Hikoi 2004 reflect the artist’s personal position on this contentious issue, but also the collective kaupapa of all those present on the march.

The large-scale canvas is the ideal medium for Kahukiwa to deliver her message. A Tino Rangitiratanga flag is the backdrop upon which united Maori figures are depicted. In a show of solidarity, verbal quips proclaim their protest. Historic political text emphasizes Kahukiwa’s position and lends context to the piece, while simultaneously creating a korero between the artist and viewer.

The compositional arrangement of mostly wahine bust-length figures further invokes a sense of connectedness. Anchored by a central male warrior protaganist and mokopuna waving the Maori flag of independence, the unified consciousness of Maori is apparent.

Robyn Kahukiwa is a significant voice for the indigenous people of Aotearoa. She is working fervently towards the continuum of Maori culture.

11. ROBYN KAHUKIWADifference Celebrated (with Rainbow)Oil on stretched canvas76 x 61 cm2005

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12. PHILIP TRUSTTUM Up Front (Lawnmowing Series) Acrylic on canvas 1989-2000 251 x 205 cm

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Trusttum’s technical aptitude and perception for colour, form and composition was recognized over forty years ago under the tutelage of Rudolph Gopas.1 Throughout his prolific career Trusttum has combined the diverse influence of Gopas, Van Gogh, Picasso, Kandinsky, Klimt and Klee through his lively, charismatic subjects.

Trusttum’s canvasses are an arena for action, laid out across the floor the artist approaches from above, allowing him unrestrained expressive freedom. Trusttum often represents ordinary tasks (such as lawn mowing) as wildly exotic activities, the paintings typically graphic in style, with line and colour being the dominant force for expression.

Up Front is a virtuoso canvas from the Lawn Mowing Series, where Trusttum’s mower-man is akin to an Anime action character. Mechanical mayhem dominates the image, where the majority is dedicated to the spinning whirl of the mower’s blade which appears to have a mind of its

own. Peering over the crazed machine, the mower-man is resolute in his approach, looming ominously above from his statuesque position.

The menacing quality of the mower is reinforced by Trusttum’s militarily inspired palette. Hues of muddy green and brown are interrupted by sharply defined areas of black, specifically in the mower’s eyes, brows and earmuffs. Otherwise, broad areas of colour suggest shapes rather than definitive outlines.

An extensive reference library ensures endless inspiration for the artist who looks to decorative patterns from across the globe. In this instance an illustrated history of Japan provided the basis for the series in which the frenzied protagonist passionately attacks the humble lawn.

1 TJ McNamara The New Zealand Herald Wednesday October 15, 2003.

13. PHILIP TRUSTTUMPhilip 2 (illustration to right)Acrylic on canvas200163 x 48 cm

15. MERVYN WILLIAMSPrecept (Gold)Acrylic on canvas2005126 x 109 cm

NEED TO SCAN PIC FROM SLIDE... SIMILAR BUT NOT TH ESAME.

Several new paintings produced by distinguished New Zealand artist Mervyn Williams indicate this artist continues to push out boundaries and develop fresh ideas. Although both Precept (Gold) and Focus employ the circle and cross forms, icons which have proved enduring throughout Williams’ long and innovative career. Williams paintings for 2005 somehow reach further heights and levels of sophistication, seemingly not considered possible when

viewing earlier works.

Precept (Gold) combines the cross and circle in a subtle reference to Buddhist notions of karma.2 The artist summons the symbolic potency of these forms as iconic emblems which have signified meaning throughout history and across cultures. The radiant yellow palette creates a dynamic intensity “….it is as if the canvas is in fact a polished metal surface rather than mere paint and canvas.”3 With Focus the artist explores symbolism in relation to abstraction. The origins of this work lie in Odyssey, a large wooden construction in the collection of the Auckland Art Gallery. Williams states: “these new paintings often involve a cross

form within the circle, creating an emblematic, heraldic interpretation.”1

Williams’ paintings question our perception of reality, his canvases appear three dimensional due to gradual tonal variety and shifts in his palette. They both emit and contain light, such is his mastery of chiaroscuro.4 This oscillation between light and shade gives his two dimensional surfaces the appearance of tactility. The diverse influences of Caravaggio, Gerhardt, Richter, Reinhardt and Rothko are evident in Williams’ abstract explorations of trompe-l’oeil.5

Williams continues in his unrelenting exploration of three dimensional qualities, surface tension, and light portrayed on a two dimensional surface.

1 Artists statement November 2005

2 Conversation with the artist 18/11/2005 – the Karmic mentality of what goes around comes around.

3 Artist’s statement November 2005.

4 Chiaroscuro (Italian): The technique of using light and shade in pictorial representation to articulate

depth and shadow

5 Trompe-l’oeil “trick the eye” (French): A style of painting which gives the appearance of three

dimensionality or photographic realism.

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14. MERVYN WILLIAMS (b. 1940) FocusAcrylic on canvas200580 x 80 cm

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Through contemporary renderings of traditional Maori subject matter John Walsh creates an ethereal sense of timelessness. God of the Foreshore exposes Walsh’s position as a contemporary Maori artist straddling the margins of traditional Maori mythology and contemporary western art practice.

Walsh attended Ilam School of Fine Arts during the early 1970’s, and then worked on Marae restoration projects and teaching roles. Walsh’s personal exposure to Maori taonga was critical to his success as a curator at Te Papa as well as in his own art practice. Walsh refers to Maori wood and stone carvings when rendering the mask-like appearance of his figures.1

Distorted human forms with tiki, manaia or marikihau heads often appear in Walsh’s panoramas, in this instance the God of the Foreshore is depicted in the foreground. The intense palette recalls the geographic wonders of Aotearoa; jade coloured mineral pools and hazy thermal vistas lend an atmospheric quality to Walsh’s primeval imagery. References

to the sublime are apparent in the tumbling waterfall of clouds, flora and fauna that cascade through the land, sea and sky; Papa, Moana and Rangi.

Through dramatic dreamscapes Walsh weaves issues of contemporary relevance including ancient beings, gods and demigods who coexist in a fantasy vision. Mystical scenes lure the viewer into a portal of Maori culture. A dreamy palette conjures notions of a prehistoric period, when man and nature combined and Gods and spirits shared the cosmos in harmony with humankind.2

Walsh depicts the unspoken connection that binds contemporary Maori to genealogical history; the essence of Maoridom that lies in the ancestral past, is at once the gateway to the future.

1 Dunn, Michael New Zealand Painting A Concise History Auckland University Press 2003. Page 194

2 ibid

16. JOHN WALSH (b. 1954)God of the Foreshoreoil on board2003130 x 130 cm

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Justin Summerton recently completed a painting sojourn on Auckland’s Waiheke Island, and this painting Bach at Onetangi is a major work from this series. " One feature of Waiheke Island is the relatively large number of traditional old "Kiwi Baches" built from fibrolite, demolition timber, or parts of houses which have been transported from Auckland and are now nestled deep in the bush clad hills.

Here Summerton has depicted such a location, the small bach buried in the hillside near Onetangi beach: "When I was living on Waiheke Island - I got into a routine of going to Onetangi beach in the mornings to go for a walk, run, or if lucky, a surf. Right in front of me there was this bach on the headland – stuck up there in the bush. There are in reality other bach's around the headland, but I removed them in the painting to intensify the feeling of isolation. I thought the bach and the sub-tropical fauna so very New Zealand - the archetypal north island escape cottage."1

In this large painting multiple layers of oil paint are built upon one another through ‘scumbling’ (an abrupt technique to achieve vivid colour and build texture) which imbues the work with a lively tactility, refracting and reflecting light from the surface. Flickers of light dart through dense native bush,

as vibrant greens leap from behind deep hues of native flora. By removing other buildings in the area Summerton has emphasised the verdant hilly nature of the Waiheke landscape and aggrandised the isolated attraction of this ultimate "bolt hole."

"I wanted to evoke the feeling of ludicrous isolation - like D.H.Lawrence's short story 'The man who loved islands' - about a man who drifts away from society and goes out to these tiny channel islands - he keeps leaving the island he's on for smaller ones… In the end its just him and a goat". Its snowing on his last island and he disappears into the whiteness."2

Behind Summerton’s picturesque canvases there often lies a more complex message. Unfortunately baches such as the one depicted here are fast disappearing. Summerton draws a line in the sand with this depiction of what may not survive if protection is sacrificed for development.

1 Justin Summerton, Artist’s statement 8 November, 2005

2 Justin Summerton, Artist’s statement 8 November, 2005

17. JUSTIN SUMMERTON (b. 1968)Bach at OnetangiOil on Canvas2005167 x 122 cm

18. JUSTIN SUMMERTON (b. 1968)Auckland Island (illustrated below)

Oil on board2005

34.5 x 46 cm

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19. SIMON KAAN (b. 1971)UntitledOil on board200368.5 x 92.5 cm

As a Ngai Tahu and Chinese descendant, lineage is an integral part of Simon Kaan’s connection to the land. This connection is realized in the mapping of identity and genealogy Kaan undertakes in his artistic practice. In the untitled work from 2003 a personal journey of this nature takes place as the artist travels within the landscape of his work.

Sky, land and sea are central elements in Kaan’s composition, demarcated by a horizon line from which the points of departure can be compared to that of a musical composition.1 A rhythm is established by a linear flow, which draws the viewer through the reduced landscape. A waka shaped vessel in the foreground symbolizes the artist. Its location within the landscape refers to Kaans’ position in relation to his genealogy. Fragmented landforms symbolize these genealogies:

“I notice the relationship between landforms – especially in the area of Dunedin I’m from. They are all ancestors and the relationship between them is like a conversation.”2

High above the land a moth form is depicted as a carrier of spirits; a messenger to the ancestors,3 likewise this painting

is indicative of Kaan’s desire to locate himself as both an individual and a member of this shared sacred history.

“Over time my work has created for me a space in which to move. A place to travel around and to communicate within. It is often a simple space and often quiet. It helps me to generate an understanding of my positioning on this planet, and is a reflection of philosophies, some stemming from such things as family and friends, seascapes and landscapes. Some would say a place to stand and others a space to move.”4

Working in oils, Kaan’s palette is minimal. Black is used to create simplified silhouettes of form and is thinned out to provide a delicate wash across the surface. Evoking a sense of the Orient, this effect adds a unique meditative quality to Kaans work.

1 Virgina Were 'Waka and Wave' Art News, Winter, 2004

2 Simon Kaan quoted in Were, 'Waka and Wave'

3 Ibid

4 http://www.southproject.org/Wellington/speakerbios.htm

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Fatu Feu’u’s contemporary experiences are interwoven with spiritual and ancestral properties in the two new works Va Fanua and Untitled Painted Sculpture. As a sculptor, painter and printmaker Feu’u communicates Fa’asamoa - the values intrinsic to Samoan spirituality.

This painted wooden sculpture is a continuation of the Alapika series (2005). ‘Ala’ translates as track, and ‘Pika’ as culture, thus this work considers notions of tracking culture.1 The dominant symbols are the male and female forms which are referenced in the fa’amaliao and frangipani flower. These symbols derive from Feu’u’s observations of Lapita pottery and carved petroglyphs.

Through Alapika Feu’u intended to challenge conventional anthropology that defines the ‘Pacific Triangle’ according to traces of Lapita pottery.2 Feu’u suggests this limiting geographic imposition is redundant, and that Pacific cultural migration, which he deems is descendent from Samoa, is a much wider, in fact global phenomenon.

Similarly, Epeli Hau’ofa - a Pacific scholar - describes the Pacific as a vast expanding place that has been misinterpreted by historians.3 Through artists and ‘grass roots’ intellectuals like Feu’u historical mistruths are redressed.4

Va Fanua means "respect for the land" 5 and recalls the grid pattern of a traditional siapo cloth. It relates to the cultivation of land, in the Polynesian tradition of planting and harvesting according to the lunar cycle.6 The frigate bird and stylised fish motifs reinforce the migration theme while short, staccato background cross hatches invoke the tatau process.

As va’aomanu - vessels of knowledge - these works typify Feu’u’s combination of memory, migration and reconciliation articulated through his distinctive symbolic language.7

1 Conversation with the artist June 2005

2 Pacific Triangle: the area that encompasses

what is generally defined as ‘Polynesia’ (Hawaii,

Samoa, The Cook Islands, Tonga, Tahiti, Rapanui

and Aotearoa)

3 Epeli Hao’ofa ‘Our Sea of Islands’ A New

Oceania: Rediscovering Our Sea of Islands, 1993,

Fiji, Page 7

4 ibid Page 11

5 Conversation with the Artist. November 2005

6 ibid

7 Kate Gallagher Fatu Feu’u: ‘O le tautai Samoa

20. FATU FEU'U (b. 1946)Untitled sculptureMarcrocarpa and acrylic2005200 x 55 cm

21. (See illustration on back cover)

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22. NICK WALL (b. 1973)The Guiding Light (diptych)Acrylic, gesso, acrylic & synthetic polymer, pencil & photoluminescent paint on linen200550.5 x 50.5 cm x 2

Young New Zealand artist Nick Wall creates minimalist paintings dedicated to the spiritual harmony inherent in Eastern philosophies. While the paintings are based on balanced proportions and compositional simplicity, his message is more complex. Wall’s new work, Guiding Light, reveals that seemingly simplistic surfaces belie depth and meaning.

Harmonious images consider the implications of balance in both art and life, and as such, the juxtaposition of the positive and negative resonates throughout his oeuvre. The most obvious contrast in Guiding Light is between the circle and the rectangle on either panel of the diptych. Wall’s artistic practice is indebted to ‘sacred geometry’ – the use of geometric shapes to understand the universe. Additionally, there is a reference to yin and yang and positive and negative; linear is balanced by circular, and vacancy is balanced by presence.

Colour becomes a subject; its subtle presence or notable absence is characteristic of his style. In Guiding Light an apparently muted palette of near transparent grey and yellow is enlivened through Wall’s use of glow-in-the- dark pigment. This inclusion has dual significance; it is a fun addition to the art work, and it convenes both light and the structure of life beneath the self.1 Like a ghostly presence beneath the

glowing pigment Wall’s detailed ground is exposed beneath the layers of acrylic paint.

Wall’s titles often have religious connotations (such as Guiding Light). However, rather than calling upon some higher status, Wall summons the self for solace in an age he deems religion and spirituality to be separate.2 This individualist sentiment is intrinsic to Wall’s fusion of contemporary humanism and Eastern philosophies.

American abstract expressionist Robert Motherwell recalled past compositions throughout his career, similarly, Wall employs this composition annually: "This composition is dear to me, it represents the self in all its dualism and singularities."3

Guiding Light allows for nocturnal luminosity through glowing pigment, while retaining the peaceful purity of Zen living. Wall’s images are contemplative and invite meditation. However the artist does not dictate a personal response, therefore the expansive quality of such abstract art allows the viewer the ultimate interpretation.

1 Artist’s statement 02/11/2005

2 Conversation with the artist 30/09/05

3 Artist’s statement 02/11/2005

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Ancestral heritage is the central theme in Jenny Rendall’s Tamatea series, a body of work dedicated to the journey of Tamatea, a legendary Maori chief. Tamatea was the grandson of the tohunga of the Takatimu waka, which voyaged to Aotearoa from the Pacific,1 and these paintings record the landmarks of his journeys throughout the artist’s local area.

As an emerging artist of Ngäi Tahu descent, personal iwi is a feature of Rendall’s paintings. By recording the landmarks and natural flora that Tamatea encountered on his journey, Rendall maps her own whakapapa within the region of ‘her hapu which stem from the Te Tai Poutini, Araiteuru and Murihiku regions’. Throughout the Tamatea series Rendall depicts plant species that are magnified to produce a pixilated effect within her paintings. Te Whänau Horoeka - as the title suggests - is concerned with this particular species of Lancewood. In previous works from this series both land

forms and plants were depicted, however in this image the plant species is the primary focus. In Te Whänau Horoeka botanic studies are emphasized by Rendall’s pixilated squares; plant forms emerge from both micro and macro observations, which become focused studies of branches, and eventually mature trees. Each delicate green detail is arranged against an oceanic metallic blue background.

The connection to land is central to Maori belief, and Rendall’s study of her homeland involves the exploration of her ancestry and genealogy. Similarly to other Maori artists such as Shane Cotton, Simon Kaan and Robyn Kahukiwa, Jenny Rendall’s artistry allows her to engage in a significant and meaningful way with her whakapapa.

1 Artist’s statement 31.01.05

23. JENNY RENDALL (b. 1961)Te Whänau HoroekaMixed media on canvas200580 x 60 cm

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24. BARRY LETT (b. 1940)Brown Dog (illustrated above)Oil on cut out board200572 x 50 cm

Barry Lett is a well known figure in the history of New Zealand art, and in the 1970s he was regarded as one of the country’s most respected art dealers, before retiring to concentrate on his own art.

In 1983 Lett embarked on a series of public murals including an important commission for Nga Tapuwae College. At Nga Tapuwae Lett encountered Maori carvers who exposed him to wooden sculpture, and fuelled his interest in this media.

As well as Maori carving, Lett looks to nature, and as a committed member of the Tawharanui Open Sanction Society the artist often refers to the natural environment. As well as bronze Lett has worked with a variety of man-made and natural materials such as wood, scoria and stones gathered from the New Zealand coastline.

Lett’s Brown Dog represents ideas he has explored throughout his career; specifically guardianship, colour and simplification

toward two dimensional form. Lett’s dogs reiterate his concerns for protecting what is dear "they are guardians," he says, "of both people and the environment." The theme of guardianship emerged following the birth of the artist’s first child, when domicile subjects made their way into his compositions. In the mid 1990s Lett explored naïve forms rendered in assembled relief paintings on custom wood.

The major bronze “Sail Away (large)” is a homage to Pat Hanly who was a friend of Lett’s and one of the first artists he represented in his early days as an art dealer. Lett often went sailing with Hanly and this is the inspiration for this significant Bronze sculpture. Lett was also an assistant to Pat Hanly whose legacy is apparent in Lett’s fine palette and gradual reduction of form found within his painted objects.

25. BARRY LETTSail Away (Large) (illustrated opposite)

Bronze ed. 6 A/P2005

131 x 11.5 x 114 cm

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Song Bird was created from a 'ready-made' found original, in this case a discarded and road distressed bottle top. This special cap was chosen from several possible candidates in a one by one elimination contest.

In an almost forensic pursuit and with extreme enlargement, vigorous mark-marking details are revealed which mimic the artist's trademark graphic gestures. By further modification, soft pink Candyfloss clouds cling and hover ethereally, evoking a strange post apocalyptic Tarawera mist.

Finally transformed, the elected object is recontextualised where a new identity becomes undeniably, a 'Hartigan' original.

The Tondo image set amongst a sea of glossy black suggests Asian lacquer panels, 'hoop' tapestries made by society women from a previous epoch, as well as battered and fatigued enamel advertising signs of the early 20th Century.

Such exploration of electronic print imagining is highly indicative of this artist's new realm. Hartigan has used photography, silkscreen and lithography mediums adeptly since establishing his own artistic identity during the early 1970s.

26. PAUL HARTIGANSong BirdC-type print edition 3/32003118 x 114 cm

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27. JOSEPHINE CACHEMAILLE (b. 1971)The Middle of NowhereMixed media on canvas on board2005162 x 81 cm

28. GRANT CORBISHLEYN.1173.S-5.D.05Mixed media on board2005105 x 32 cm

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29. ROBYN GIBSON (b. 1960)Pool and Sixty Five TowelsAcrylic on linen2005106 x 92 cm

30. EION STEVENS (b. 1952)The Secret Mountains

oil on prepared board2004

30 x 35 cm

Publications Available from Warwick Henderson Gallery - prices vary

31. PHILIPPA BLAIR (b. 1945)Flight PathOil on canvas1999122 x 151 cm

Fine Art Catalogue2003 SOLD OUT

Spring Catalogue 2005April Shin 2004 Philip Trusttum 2005 Rozi Demant 2005 Autumn Catalogue 2005

Philippa Blair 2004 Nigel Brown 2005 Robyn Kahukiwa Book 12 ContemporaryNew Zealand Artists 2004

Summer Catalogue2002 - 2003 SOLD OUT

Summer Catalogue2003 - 2004

Summer Catalogue2004 - 2005

New Zealand Painting1900 - 1950

Fatu Feu'u 2004 Nigel BrownI Am

Robyn Kahukiwa

Eion Stevens

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ARTIST TITLE CATALOGUE # PAGE #

Blair, Philippa Flight Path 31 26

Brown, Nigel Survival Song B 9 9

Brown, Nigel Don’t Just Stand Around 8 9

Brown, Nigel Impressive Stone 7 8

Cachemaille, Josephine The Middle of Nowhere 27 25

Corbishley, Grant N.1173.S-5.D.05 28 25

Feu’u, Fatu Untitled sculpture 20 19

Feu’u, Fatu Va Fanua 21 28

Feu’u, Fatu Va I Moana 32 28

Gibson, Robyn Pool and Sixty Five Towels 29 26

Hartigan, Paul Song Bird 26 24

Kaan, Simon Untitled 19 18

Kahukiwa, Robyn Difference Celebrated (with Rainbow) 11 11

Kahukiwa, Robyn Hikoi 2004 10 10

Lett, Barry Sail Away (Large) 25 23

Lett, Barry Brown Dog 24 22

McIntyre, Peter Junks, Hong Kong #1 3 5

Moffitt, Trevor Overdose Down and Out (Human Condition series II) 5 6

Moffitt, Trevor Paeroa Gorge No B 6 7

Reed, William Lake Hawea, Wanaka 1 3

Rendall, Jenny Te Whänau Horoeka 23 21

Stevens, Eion The Secret Mountains 30 26

Summerton, Justin Ruin on Rock 18 17

Summerton, Justin Bach at Onetangi 17 17

Trusttum, Philip Philip 2 13 13

Trusttum, Philip Up Front (Lawnmowing Series) 12 12

Wall, Nick The Guiding Light (diptych) 22 20

Walsh, John God of the Foreshore 16 16

Weeks, John Still Life 2 4

Whyte, Alice King Country Landscape 4 5

Williams, Mervyn Precept (Gold) 15 14

Williams, Mervyn Beacon 14 15

Warwick Henderson GalleryIndex Summer Catalogue 2005 - 2006


NB - There are other works in this catalogue which were not available for inclusion at the time of publication. Please refer to price list enclosed for additional fine artworks.


21. FATU FEU’U, Va Fanua, Woodcut edition of 60, 2005, 105 x 75 cm

32. FATU FEU’U, Va I Moana, Woodcut edition of 60, 2005, 105 x 75 cm