NEW & RECENT WORKS
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Transcript of NEW & RECENT WORKS
10 November - 5 December 2012
DAWSON • HIGHT • KIHARA LELEISI’UAO • PATERSON
Milford Galleries Dunedin18 Dowling Street (03) 477 7727 [email protected]
www.milfordgalleries.co.nz
New & Recent Works
ANDY LELEISI’UAO, Rainbolic Quotidian (2010/12)acrylic on canvas, stretcher: 1013 x 760 x 35 mm 1
2 ANDY LELEISI’UAO, Rainbolic Vivacity (2010/12)acrylic on canvas, stretcher: 1013 x 760 x 35 mm
ANDY LELEISI’UAO, Assembled Harmony (2009)acrylic on canvas, stretcher: 1013 x 760 x 35 mm 3
4 ANDY LELEISI’UAO, Rainbolic Nimbus (2010/12)acrylic on canvas, stretcher: 1013 x 760 x 35 mm
SHIGEYUKI KIHARA, How King Malietoa Forbid Cannibalism (2004)chromogenic print, frame: 837 x 706 x 35 mm, edition of 5 5
6 SHIGEYUKI KIHARA, Fue Tagata; Ghostly Bodies (2004)chromogenic print, frame: 837 x 706 x 35 mm, edition of 5
SHIGEYUKI KIHARA, Ulugali’i Samoa; Samoan Couple (2005)chromogenic print, frame: 1045 x 827 x 35 mm, edition of 5
SHIGEYUKI KIHARA, My Samoan Girl (2005)chromogenic print, frame: 1045 x 827 x 35 mm, edition of 5 7
8
REUBEN PATERSON, Button Down (2012)glitter & synthetic polymer on canvas, stretcher (ø x d): 1504 x 38 mm 9
10 REUBEN PATERSON, Ginger Beer (2011)glitter & synthetic polymer on canvas, stretcher: 1500 x 1500 x 37 mm
REUBEN PATERSON, Owharoa (2010)glitter & synthetic polymer on canvas, stretcher: 1525 x 1220 x 35 mm11
12 REUBEN PATERSON, This is My Bed (2012)glitter & synthetic polymer on canvas, stretcher: 844 x 711 x 35 mm
MICHAEL HIGHT, Mount Pisa (2012)oil on linen, stretcher: 608 x 1370 x 33 mm13
14 MICHAEL HIGHT, Taramakau River (2012)oil on linen, stretcher: 1525 x 1980 x 33 mm
MICHAEL HIGHT, Mataura River (2012)oil on linen, stretcher: 608 x 1370 x 33 mm15
16 MICHAEL HIGHT, Coronet Peak (2011)oil on linen, stretcher: 760 x 1220 x 33 mm
Michael Hight’s Taramakau River portrays a land that may appear empty at first glance, but
whose richness is revealed in the nuances of his brushwork, the strength of his composition
and the subtleties of his conversation about the very nature of the land and our relationship
to it. Power poles follow the natural lines of the gorge, acting as visual signposts for the eye to
rest upon. The sharp lines and regular geometry of the hives are obviously at odds with the
weathered mountain tops, soft bush outlines and meandering river shingle, yet do not seem
out of place due to Hight’s use of tones that mimic the natural surroundings.
The silhouetted profiles seen in Andy Leleisi’uao’s Rainbolic paintings create cavernous
mindscapes inhabited by creatures that are borne of dreams or nightmares. Each painting is
linked by common motifs of horned and winged beings, rainbow speckles and glowing red
hearts, creating a powerful and complex narrative stream for Leleisi’uao’s invented world.
Reminiscent of rock drawings, hieroglyphs and shadow-paintings, the universality of his forms
tap into our own humanity and the histories that underlie it.
As well as winning the 2012 Wallace Arts Trust Paramount Award, Shigeyuki Kihara was
awarded a Next Generation Award by the New Zealand Arts Foundation in October. The
works on display in this exhibition are from two bodies of work produced in 2004-5: Vavau:
Tales of Ancient Samoa and Fa’a Fafine: In a Manner of a Woman. Kihara’s self-portraits
confront the viewer with issues of the colonial and post-colonial gaze, gender identities and
European constructs of ‘the other’.
Over the past decade, Reuben Paterson has firmly established himself as one of New
Zealand’s most exciting contemporary artists. He uses his glitter paintings to examine ideas of
self-identity, ways of seeing and the social fabrics found in New Zealand. As well as
addressing historical and contemporary issues surrounding land use, Owharoa suggests the
role of water as a cleansing medium in Maori cultural practices. The waterfall itself is from the
Karangahake Gorge, part of the rohe (land, region) specific to Paterson’s iwi. His textile-
patterned works are inspired in part by fabrics worn by his mother and grandmother; Paterson
states that the “patterns and fabrics represent our genealogy” (1) and as such views them as
much a part of his whakapapa as the kowhaiwhai patterns and carvings from his father’s
wharenui.
Neil Dawson is one of New Zealand’s most successful sculptors on both the national and
international stage. He tricks the viewers’ eyes into seeing smooth, swirling curves where there
exist straight lines and multiple angles. His precise use of fractal images in the Vortex works
draws the gaze over and again into the centre of the work, the illusion of movement
enhanced by the curvature of the sculpture’s surface. The smaller Swirls reverse this effect as
the motifs expand out from a singular starting point.
1. Dan Chappell, “Diamond Dust and Ancestral Stories,” Art News, Spring 2011, Vol 31 #3, pp 74-77
All prices are NZD and include GST; Prices are current at the time of the exhibition
E X H I B I T I O N P R I C E L I S T
ANDY LELEISI ’UAO
1 Rainbolic Quotidian (2010/12) 4,500
2 Rainbolic Vivacity (2010/12) 4,500
3 Assembled Harmony (2009) 4,500
4 Rainbolic Nimbus (2010/12) 4,500
SHIGEYUKI KIHARA
5 How King Malietoa Forbid Cannibalism (2004), ed of 5 4,050
6 Fue Tagata; Ghostly Bodies (2004), ed of 5 4,050
7 My Samoan Girl (2005), ed of 5 4,350
8 Ulugali'i Samoa; Samoan Couple (2005), ed of 5 4,350
REUBEN PATERSON
9 Button Down (2012) 18,000
10 Ginger Beer (2011) 17,500
11 Owharoa (2010) 12,500
12 This is My Bed (2012) 9,500
MICHAEL HIGHT
13 Mount Pisa (2012) 15,000
14 Taramakau River (2012) 40,000
15 Mataura River (2012) 15,000
16 Coronet Peak (2011) 15,000
NEIL DAWSON
17 Vortex 4 (2012) 32,500
18 Wings (2012) 16,500