(Olga)
The latest body of work from Michael Greaves, now on display at Olga, marks a new direction for the artist.
This is by no means a surprise; Greaves has changed the apparent direction of his artistic style on numerous occasions throughout his career, the changes showing the versatility of the artist while simultaneously appearing as a wilful subversion of a normal career trajectory in the arts. These are no mere developments on a theme, but are volte-face manoeuvres, explorations of new areas for the artist.
The latest display of work is firmly centred on the surreal and metaphysical, stage sets with blank spheres set against oceanic backgrounds. The spheres as harshly lit, their ominous enigmatic forms drawing to mind the work of both de Chirico and Magritte in their presentation of disruptive solids within a seemingly innocent, non-threatening backdrop. Features within this background seem to provide clues: a palm tree, a gate post, even motion blur as if the painting is of a view from a moving vehicle catch the imagination, as do the works’ cryptic titles. The pieces become metaphors for the ungraspable essence of existence, of the chasm between the seen and unseen, the experienced and the intuited.
(Fe29 Gallery)
Fe29 is presenting a group show, "After the Storm", to lead us out of winter and into spring. Printed works by John Drawbridge, Kristin O’Sullivan Peren and Robert Macdonald sit alongside cast bronzes by Marte Szirmay and Bill Hayes in the exhibition, forming an impressive whole.
Szirmay’s sculptural works are a frequent addition to Fe29’s exhibitions, and the organic swirls and botanical forms of Lost Rivers and Cloud Dome sit well within the display. Hayes’s forms also have a biological inspiration, with gilled cone creatures looking like gargantuan cyberpunk plankton. The pieces are attractive and capture a certain wry humour. In several of Hayes’s works, bronze has somehow been fired around ceramic "eggs" creating an intriguing combination of textures and materials.
The printmaking which surrounds these pieces is equally eye-catching.
O’Sullivan Peren’s sugarlifts and monotypes use pure undulating lines of ink to create deep sombre landscapes, most effectively in Untitled #2.
Macdonald’s etchings, in contrast, are detailed scenes reminiscent of classical mythology. John Drawbridge straddles the gap, producing hypnotising studies of light and dark ranging from landscapes to formal abstractions, while also creating studies from classical art and charming small figurative pieces. Of the latter works, Woman Resting is a lovely example.
( (Brett McDowell Gallery)
Joanna Margaret Paul was a much-treasured, multi-talented artist. Though born in Hamilton, she had a long association with Dunedin, and it’s not too much of a stretch to consider her one of our own.
Brett McDowell Gallery is currently showing an exhibition of work by Paul, much of it never previously on display in a gallery setting. The works are pieces from the collection of the artist’s longtime friend Bernadette Hall, and the exhibition marks the launch of a small book, Spring in the Parapara, curated by Hall and featuring Paul’s artwork and poetry.
The works in the exhibition range across several of the artist’s styles and across a significant part of her career, from the mid-1970s to mid-1990s. Among the images on display are an impressive pencil landscape of Otago Peninsula and a mixed-media work depicting Rangitoto Island. Nearby, a strongly lined ink sketch leads us into a series of still-life works. Several fine flower studies in watercolour are shown among these.
Also on show is a rare semi-abstract work, an environmentally themed four-panel piece which becomes more engaging with repeated viewing. The star of the display, however, is a tall mixed-media work combining still life and landscape, Sufficiencies of Life.
By James Dignan
