REUBEN PATERSON by Milford Galleries

KARL MAUGHAN The Lost Path

Preview Friday 26th February from 5:30pm Opens Saturday 27th February 27th February - 24th March, 2010

REUBEN PATERSON The Water Between Us

Preview Friday 21st May, Artist will attend 22nd May - 16 June, 2010 www.milfordgalleries.co.nz

Milford Galleries Dunedin 18 Dowling Street (03) 477 7727 info@milfordhouse.co.nz

1. REUBEN PATERSON, Karangahake (2010) glitter o

on canvas, stretcher (v x h x d): 2000 x 2000 x 38 mm

1. DETAIL VIEW REUBEN PATERSON, Karangahake (2010)

2. REUBEN PATERSON, Öwhäroa (2010) glitter on c

canvas, stretcher (v x h x d): 1525 x 1220 x 35 mm

2. DETAIL VIEW REUBEN PATERSON, Öwhäroa (2010)

3. REUBEN PATERSON, Water to Fish (2010) glitter on

n canvas, stretcher (v x h x d): 1680 x 1800 x 38 mm

3. DETAIL VIEW REUBEN PATERSON, Water to Fish (2010)

4. REUBEN PATERSON, Fish to Water (2010) glitter o

on linen, stretcher (v x h x d): 1018 x 1526 x 35 mm

4. DETAIL VIEW REUBEN PATERSON, Fish to Water (2010)

5. REUBEN PATERSON Gourds (2010), installation; 14 dried gourds, polyurethane foam, sequins, pins, gourd sizes variable

5. DETAIL VIEW REUBEN PATERSON, Gourds (2010)

6. INSTALLATION VIEW REUBEN PATERSON, The Water Between Us - I - XXV (2010)

) , 25 individual works, glitter on canvas, frame (v x h x d): 232 x 232 x 35 mm each

REUBEN PATERSON, The Water Between Us - III (2010) glitter on canvas, frame (v x h x d): 232 x 232 x 35 mm

REUBEN PATERSON, The Water Between Us - IV (2010) glitter on canvas, frame (v x h x d): 232 x 232 x 35 mm

REUBEN PATERSON, The Water Between Us - XI (2010) glitter on canvas, frame (v x h x d): 232 x 232 x 35 mm

REUBEN PATERSON, The Water Between Us - XII (2010) glitter on canvas, frame (v x h x d): 232 x 232 x 35 mm

REUBEN PATERSON, The Water Between Us - XV (2010) glitter on canvas, frame (v x h x d): 232 x 232 x 35 mm

REUBEN PATERSON, The Water Between Us - XVI (2010) glitter on canvas, frame (v x h x d): 232 x 232 x 35 mm

REUBEN PATERSON, The Water Between Us - XXIII (2010) glitter on canvas, frame (v x h x d): 232 x 232 x 35 mm

REUBEN PATERSON, The Water Between Us - XXIV (2010) glitter on canvas, frame (v x h x d): 232 x 232 x 35 mm

Reuben Paterson pioneering use of glitter and the stylistic breadth, reach and social content of his work has firmly established him as one of New Zealand’s most significant contemporary artists. In “The Water Between Us” Paterson engages directly with environmental issues, revealing that figurative impulse and abstract dialogues can be co-joined. He evidences painterly concerns, conclusively demonstrating that glitter is – in the right hands - as able to control and present space, depth and volume as more traditional mediums do without forgoing any of the unique light reflective, interactive and sculptural qualities it also possesses. He uses water as a metaphor and as a symbol. He recognises and is attuned to the historical, social and political realities of its use and abuse. In “Karangahake” Paterson is explicitly acknowledging the physical division of the gorge, its important role as a route and a barrier in Maori society. He is also speaking to and of the alterations and consequences caused by gold mining in the Karangahake Gorge. Although the 1875 gold rush at Waikino was short lived, later on it became the site of the Waihi Gold Mining Company’s huge battery complex from 1896-1952, arguably one of the most industrialised sites ever in NZ. But places and towns once prominent no longer exist. Traditions and cultural practices too have been washed away, superseded or corrupted, and marginalised. The gorge separated the Eastern iwi from the Bay of Plenty (which is Paterson’s tribal rohe) from the Hauraki iwi. It divided one from the other and none could enter without first being welcomed, announced and admitted. In “Karangahake” light shimmers, slashing and dividing the water. Multiple metaphors emerge and narratives develop that attain complexity with knowledge of what have gone before. The “Owharoa” waterfall is located in the gorge and the area around it was consistently mined from 1875-1941 by various companies. What was once a major food source (Owharoa means food for a journey, lasting a long time) was polluted and altered forever. In both works, Paterson uses an abstract language to capture flux and change and does so in such a way that we recognise how literal it all is. He goes under water in “Fish to Water” and “Water to Fish”. In a virtuoso display of capabilities, he implies the presence of water by replicating and building natural environments which are strongly suggestive of aquariums but equally could be simply contained environments. Although, as in “Karangahake” and “Owharoa”, his palette is tightly restricted and limited, now he uses perspective, tone, volume and spatial depth. A wondrous world emerges, life begins.

EXHIBITION PRICELIST 1

Karangahake (2010)

22,500

Ōwhāroa (2010)

12,500

Water to Fish (2010)

18,000

Fish to Water (2010)

12,000

Gourds (2010)

The Water Between Us – I – XXV (2010)*

POA each 750

*For a complete set of individual images of "The Water Between Us" series, please contact info@milfordhouse.co.nz

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

REUBEN PATERSON b. 1973, lives Auckland The glitter paintings of Reuben Paterson are extremely seductive, attracting viewers like magpies to shiny objects of promise. They hint at the ideas of beauty as a magnet for visual attraction. The sparkling glitter enables the artist to explore much more than merely the twinkling light qualities of the material. Its intrinsic character transcends the everyday, the mundane or the worldly, and now implies the celestial, the spiritual and the celebratory. (1) Patersons’s decorative traditional kowhaiwhai designs in glitter dust suggest “the assured defiance of Maori culture in the face of loss”. But they also “emit an air of melancholy”. (2) “A Maori motif is often the centre of reclamation.” In traditional painting or kowhaiwhai these motifs could allude to elements of Nature. “The main visual function was genealogical.” They provided the connections between all parts of the meeting house and, by utilising the images of Nature, reinforced the intimate genealogical and holistic relationship between humankind and the environment. (3) Paterson continues the contemporary tradition of resuscitating and updating traditional Maori motifs by the use of non-traditional media that can be seen in the work of artists such as Sandy Adsett, Cliff Whiting and Buck Nin. His work extends the traditional Maori use of design and pattern, of weaving and layering. They may resemble glittering piupiu or fishing net or a swatch of fabric, or a detail from an haute-couture creation. Fashion is a strong influence. He states: “it is an art form that combines aspects of decorative art and industrial design and a definite part of popular culture that permeates our social history. It is a symbolic system, a protective clothing form and a kind of performance art.” (4) Born in Auckland, New Zealand 1973. Ngati Rangitihi, hapu of Te Arawa and Tuhoe tribes. Bachelor of Fine Arts, Elam School of Fine Arts, University of Auckland, 1997. Awarded the Moet et Chandon Fellowship to Avize, France 1997, the youngest recipient and the second Maori to receive the award. In 2005 he won the Development Prize in the Wallace Art Awards - the prize a three-month residency with the International Studio & Curatorial Program (ISCP) in New York valued at $15,000. Paterson has been exhibiting since 1995 and more recently has had numerous prestigious public exhibitions: in 2000 he was represented at the 8th Festival of Pacific Arts Biennale d’Art Contemporian, Noumea, New Caledonia. In 2001 his work was shown at Te Tuhi, Auckland; Te Wa - the space, Wanganui; Auckland Art Gallery; Wellington City Art Gallery; Pataka, Porirua. In July 2002 he exhibited at Te Papa Tongarewa, Museum of New Zealand, Wellington and in 2005 he was selected to exhibit in the International Biennale of Contemporary Art at the National Gallery in Prague. glossary: - kowhaiwhai: painted rafter panels on the ceiling of the whare nui. - whare nui: the main house on Maori land. The history Maori lives in the carved, woven and painted panels within the house. The whare nui is seen as a body, where Maori meet, protected. (4) - piupiu: traditional skirt (noun); as a verb it describes the movement of the garment – to wave about, move to and fro.)

(1). Rhoda Fowler, “The Wharenui that Dad Built,” Te Tuhi, 2001 (2). David Broker, Eyeline magazine concerning Biennale Noumea 2000 (4). Artist Statement (1997)

Reuben Paterson 2010 CV P a g e |1

Milford Galleries Dunedin

www.milfordgalleries.co.nz

REUBEN PATERSON b. 1973, lives Auckland EDUCATION 2000 1997

Auckland College of Education Post Graduate Diploma of Teaching (Primary). University of Auckland: Elam School of Fine Arts Bachelor of Fine Arts. (Major in painting, Minor in Art History)

SELECTED SOLO EXHIBITIONS 2010 2008 2007

2006

2005

2004

2003

2001

Milford Gallery, Dunedin Gow Langsford Gallery, Auckland Peep Show, Milford Galleries Dunedin The Painter's Lot, milford galleries queenstown Gow Langsford Gallery Reuben Paterson: When the Sun Rises and the Shadows Flee, Dunedin Public Art Gallery New Work, 64zero3 Gallery, Christchurch Square2, Wellington City Gallery Aha te Mea Nui? What is the Greatest thing?, Dunedin Public Art Gallery He Aha te Mea Nui? What is the Greatest thing?, Institute of Modern Art, Brisbane He Aha te Mea Nui? What is the Greatest thing?, Institute of Modern Art, Brisbane (Permanent Art installation) The Art Café, Ikaria, Greece Narcissus, Gow Langsford Gallery Auckland Christchurch Biennial Art and Industry for the Project Echo curated by Tessa Giblin at Riccarton House, Christchurch The Customs of Tripping , Milford Galleries Dunedin Gow Langsford Gallery,Sydney, Australia New Zealand Fashion Week In collaboration with WORLD Parliament Buildings Foreign Affairs Building, The Beehive, Wellington Dunedin Public Art Gallery Window Running concurrently with Milford Gallery Dunedin: When Paradise is not enough, Milford Galleries Dunedin Gow Langsford Gallery, Auckland Cameo Project, Te Tuhi, Pakuranga, Auckland

SELECTED GROUP EXHIBITIONS 2010 2009

2008 2008

The Beauty of Distance: Songs of Survival in a Precarious Age, 17th Biennale of Sydney, Cockatoo Island APT6: The 6th Asia Pacific Triennial of Contemporary Art (APT6, Queensland Art Gallery and Gallery of Modern Art, Brisbane Milford Galleries Queenstown - Masterworks E Tu Ake, (European touring exhibition) Te Papa Tongarewa, Museum of New Zealand, Blue Planet, Christchurch Art Gallery Together Alone: Australian and New Zealand Fashion, National Gallery of Victoria, Melbourne, Australia Move Me, Webbs Auction House, Reference Section, Whakatane District Museum and Gallery Am I Scared, Boy (eh): collection works from then and now, Govett - Brewster Art Gallery, New Plymouth Te Tataitanga/Bind Together, Southwest School of Art and Craft, Texas, America. Pacifica, Cambridge University of Anthropology and Archaeology Cambridge England Are you Right not to like Modern Art?, Te Manawa Museum, Palmerston North Spring Catalogue Exhibition, Gow Langsford Gallery, Auckland Dispelling the Myth: a look at changing attitudes towards Death, Te Manawa Museum, Palmerston North E Tü Ake:StandingStrong The National Museum of New Zealand Te Papa Tongarewa, Wellington Dateline: Contemporary Art from the Pacific, Govett Brewster Gallery, New Plymouth, Dateline: Contemporary Art from the Pacific, Galerie der Stadt Sindelfingen, Maichingen, Germany

Reuben Paterson 2010 CV

P a g e |2

Milford Galleries Dunedin

www.milfordgalleries.co.nz

Dateline: Contemporary Art from the Pacific , Stadtgalerie, Kiel, Germany: Pacifica, Cambridge University of Anthropology and Archaeology, Cambridge England 2007 Dateline: Contemporary Art from the Pacific, NBA Neuer Berliner Kunstverein, Berlin Time Warp: NZ Artists and the Logie Collection, Christchurch City Art Gallery, New Zealand News From Islands, Campbell Town Art Centre, Sydney Pacifica, Cambridge University of Anthropology and Archaeology Cambridge England: In Fluorescence, Gow Langsford Gallery Love is the Key, Inanui Gallery, Rarotonga 2006 Te Hue Ipu – Artifact and Artwork, Pataka, Porirua, New Zealand Master Works, Milford Galleries Queenstown nEUclear reactions, CAB Centro de Arte Caja De Burgos, Burgos, Spain; Museu d'Art Contemporani de Barcelona Plaça dels Àngels, Barcelona Object, Milford Galleries Dunedin Te Hue Ipu, Pataka Gallery, Porirua Te Hue Ipu, Whangarei Art Museum, Whangerei 2005 Parallel Practices, Hawkes Bay Exhibition Centre, Hawkes Bay The Walters Show, Pataka, Poriru nEUclear reactions, Prague Biennial, Chzeqe Republic:, IBCA Tau Ana, Waikato Museum, Hamilton In Flower, 64ZERO3 Gallery, Christchurch YMCA, Saergent Art Gallery, Wanganui 2004 9th Pacific Biennale, Palau Islands, Pacific Ocean Micronesia Transit of Venus, Milford Galleries Dunedin "Wish You Were Here" Hazlehurst Gallery, Sydne Flowerpower, Pataka Gallery, Porirua Ike and thanks for all the Ika, Artspace Auckland (Traveling from Lithuania through Rarotonga to New Zealand) Tau Ana, Wanganui Art Museum, Hamilton Abstraction, Milford Gallery, Dunedin 2003 Ike, and thanks for the Ika, Rarotongan Cultural Centre Wallace Art Awards, Auckland Museum; Massey University Art on the Buses, Auckland Lithuania Maori in Lithuania, Lithuanian Siuolaikinio Meno Center, Lituania Sargeant Gallery Art Auction, Whanganui Contemporary Perspective in Portraiture, Te Tuhi – The Mark, Auckland MADGE – Mothers Against Genetic Engineering Art Auction Taiaawhio: Te Tiimatanga, Museum of New Zealand, Te Papa Tongarewa, Wellington, Flaunt – Art, Fashion, and Culture, Auckland City Art Gallery, Auckland 2002 Mac Artworks H.I.V/AIDS Charity Auction, Sun Alliance Building, Auckland Westmere Art Auction, Warwick Henderson Gallery, Auckland Contemporary Acquisitions, The New Gallery (annex of the National gallery) Auckland, Wallace Art Awards, Auckland Museum; Massey University The Koru and Kowhaiwhai, Contemporary Renaissance of Kowhaiwhai Painting, Pataka Gallery, Porirua Abstraction, Milford Galleries, Dunedin Taiaawhio: Te Tiimatanga, Museum of New Zealand, Te Papa Tongarewa, Wellington: Dale Frank, Richard Thompson, Paul Hartigan and Reuben Paterson, Gow Langsford Gallery, Auckland 2001 Techno Maori, Wellington City Art Gallery; Pataka Gallery Purangiaho, Auckland City Art Gallery Mana Tangata, Te Wa, Wanganu Maori Art, Awataha Marae, Northcote 2000 The 8th Festival of pacific Arts Biennale d’Art Contemporian, Tijibaou Arts and Cultural Centre,Noumea, New Caledonia. 1997 Peter Hills, the Art Fair Murders, Auckland City Art Gallery Step on it, Christopher Moore Gallery, Wellington 1996 Quartet, Four to the Fore, 23A Gallery, Auckland 1995 Salute Pierre ET Gilles, George Fraser Gallery, Auckland Pilot Error, 23A Gallery, Auckland Reuben Paterson 2010 CV Milford Galleries Dunedin www.milfordgalleries.co.nz P a g e |3

RESIDENCIES & AWARDS 2005 2006 2005 2004 1997

Wallace Art Awards, Development Prize Finalist, Castteleon City Arts Council Arts Prize, Castelleon, Spain International Studio Curatorial Program, Three month residency as part of the James Wallace Art Awards Development Prize, Manhattan, New York Ikaria, Greece. Two month residency to create permanent installation at The Art Caf, Kampos. Punatapu Lodge. Two month residency, Queenstown, New Zealand Moet et Chandon Fellowship. Two month residency, Avize, France Moet and Chandon Award

COLLECTIONS Auckland City Art Gallery Te Papa Tongerero, Wellington, Dunedin Public Gallery The Dowse Art Museum Dowse trust Christchurch Art Gallery National Gallery of Australia

SELECTED BIBLIOGRAPHY & MEDIA 2007

Seeto, Aaron., News from Islands, Exhibition Catalogue, Campelltown Arts Centre, Australia, 2007 Smith, Hunana (ed), Taiawhio II: Contemporary Maori Artists, Te Papa Press, 2007 2005 Watson, Aaron, Sparkle that shines, Artzone, No. 12, November 2005 - January 2006, p. 43 â&#x20AC;&#x201C; 49 Barragn, NEUclear Reactions in International Biennale of Contemporary Art [Catalogue], National Gallery Prague, 2005, p. 60 â&#x20AC;&#x201C; 61 Clifford, Andrew, Reuben Patersons glittering career, The New Zealand Herald, 13 April, 2005 Ngahiraka Mason, Open for Interpretation, Art New Zealand, Spring 2005 Paterson, Reuben, Meeting Dionysus, Art News, Summer 2005, p. 72 - 73 2004 Dignan, James, Abstraction and Still Life: An Overview, Milford Galleries, 2004 Dingwall, Richard, Family tribute woven from ancestral strands, Otago Daily Times, July 17, 2004 Ghirelli, Paola. A touch of sparkle, Herald Supplement, 23 September, 2004 Harris, Geoff, Maori Artists Exhibit at Leading Edge of New Era, The Northern Advocate, January 7, 2004 Hill , Peter, Trading Spaces in The Sydney Morning Herald, Spectrum, February 14-15, 2004, p. 9 Leonie, Bridie, Kick your shoes off, do not fear, The Listener, August 28, 2004 Loxley, Anne, Results uneven when fishing for blue chips, The Sydney Morning Herald, February 24, 2004 p12 Tahua, Daniel, Reuben Paterson, Cause Celebre Magazine, April/May, 2004 2003 Bridgeman, Shelley, Glitz & Glamour, New Zealand House & Garden, July 2003 Burgess, Malcom, Darkness behind the glitter, The New Zealand Herald, May 18, 2003 Fowler, R, Portraiture: The Art of Social Commentary, exhibition catalogue, Te-Tuhi, Auckland, 2003 McEnteer, John, Fashioning links, Tuu Mai Magazine, November 2003 McNamara, T.J., All that glitters is not gold, The New Zealand Herald, May 22, 2003 2001 Fowler, R, The Wharenui that Dad Built, exhibition catalogue, Te-Tuhi, Auckland, 2001 Mason N. & Kisler M. (ed.) Purangiaho: Seeing Clearly, Auckland Art Gallery Toi o Tamaki, Auckland, 2001 Rae B., The Mark of Fisher, The New Zealand Herald, April 16, 2001, p. B5 2000/1 Broker D., Chic Pacifique, Eyeline: Contemporary Visual Arts, no. 44, Summer 2000/2001 2000 Mason N., New Horizons: Future Directions, Biennale DArt Contempoarian de Noumea, Noumea Pacifique, 2000 1997 Baskett P, Fine French Fellows, The New Zealand Herald, March 19, p. B9. Paton-Tapsell, B., Fashion and Whakapapa, Mana Magazine, Issue 16, June/July 1997

Reuben Paterson 2010 CV P a g e |4

Milford Galleries Dunedin