also featuring: Koren Cross and Mikoyan Vekula
Mark Cross: Works in Transit April 10 - May 6 2012 Born in Auckland, Mark Cross began making art during his mid teens. At the age of 23 he moved with his family to his wife’s village, Liku, on the island of Niue. It was during these early years that a strong philosophic and stylistic foundation was established for his career as an artist. Disillusionment with the what he saw as the institutional nature of the art scene in New Zealand was one formative driving force for Cross. Niue’s isolation concentrated his mind and allowed him to develop his work in an individualistic way. Although the work is very specific in its detail, reference is restricted to the use of local elements. These are used for the creation of a timeless, lateral world where his figures act out and question the foibles of humanity but never try to proffer answers. The linear (European) perspective of history has been replaced by a cyclical understanding of time. His works, with their signature minuteness of detail and yet often spartan spaces, are characterised by an almost other-worldly quality and have the quality of visionary parables. The paintings often warn of the dire ecological imperatives that face both a small island and a planet. Mark Cross has achieved through his work a uniqueness that avoids the trappings of regionalism, so often associated with realism, and replaces them with an acutely perceptive worldview. During the nineties the artist ventured into other areas of art production with the establishment of a sculpture park in the rain forest in the east of Niue. A collaboration with his wife and several other artists, crafts people and musicians, saw the creation of the Shrine to Abundance, an installation inside a shipping container that toured Australia, New Zealand and Rarotonga. Cross’s paintings, however, are his main focus and are to be found in numerous private and corporate collections in Australasia, America and Europe. Cross now divides his time between studios in Niue and New Zealand.
Youth and Entropy Oil on Canvas 120 x 61 cm The freshness and vitality of youth is juxtaposed with the idea of entropy suggesting how easy it would be through ignorance and complacency for mankind to just burn itself out if greater thought isn’t given to waste and sustainable energy.
Lua and Segomo, War Gods in Spring Oil on Linen 190 x 136 cm This goes back to an idea that has come up in my work from time to time, ie the tension between two opposites. Whether they be conflicts within the individual, between individuals or communities or between nations this seems to be an omnipresent state in the psychology of the human zeitgeist. There are no answers here and these two war gods that I have arbitrarily named as Lua, a minor Roman Goddess and Segomo a Gallic god are poised forever to be in conflict and neither will ever be pulled into the water, suggesting that humanity’s penchant for war may never be overcome. Serendipitously, the landscape source in this painting, although not important to the idea, is on the Fluela Pass a few kilometres above Davos, where the EU, the IMF and the global powers have recently argued about what to do with the world economy.
Gyre Vortex, Jetsam Collection Oil on Canvas 151 x 101 cm This painting refers to the several oceanic gyres around that world, current systems that tend to collect in their vortex’s the detritus of the consumer societies which surround them. Most poignant to Pacific and to the world is the North Pacific Ocean Gyre - often called the Pacific Garbage Patch - which collects the consumer junk from North America and Asia creating huge floating masses of mainly plastic in its convergence zone North of Hawaii. This plastic does not decompose for many thousands of years but breaks down into ever smaller particles which are consumed into the food chain at every level. I have used recent garbage here for visual effect but it is a metaphor for the broken down polymers and other chemical sludge that permeate the upper columns of these oceanic vortexes. This, while using the pristinely clear waters of Niue ironically suggests what the Northern Pacific must have been like and warning the South Pacific of what it could be like without attention paid to such issues.
Leaf Gatherers Oil on Linen 300 x 100 cm
Undertaken over a 7 month period in Niue Island, this painting borrows from sources as diverse photos of the Pearl Harbour attack, the Tibetan landscape and the figures posed with pandanus paintings has little to do with the individual elements within them. The discussion in this paintin ated. This, through the title, I have likened to the process of entropy whereby, if something cann fact that hydro-carbons are a major cause of global warming while those who will be most affec level the painting is a dire warning that the world must invest more in the development of susta tributed to global warming are often the ones that are mostly affected by it.
as stock-piled junk awaiting shipment after Niue’s 2004 cyclone, smoke from black and white s leaf in Niue. The diversity of these sources underscores the fact that the purpose of all my figure ng is about the fast declining availability of fossil fuels and the consumer world they have crenot be sustained by its energy source, it will die out. It also draws attention to the well established cted by this - eg communities in the Pacific - are contributing very little to the problem. So on one ainable alternative energy sources, while always being reminded that, those who have not con-
Buoyant in the Convergence Zone Oil on Canvas 31 x 91 cm Likening the nude to plastic jetsam, she is about to float ashore in the ocean current convergence zone. Other detritus has already washed ashore in a pristine sandy cove reminiscent of the coast of Niue.
Refugees from Complacency Oil on Canvas 152 x 50 cm A comment on complacency being the source of mankind’s many woes, this painting is meant to be more positive in that the protagonists are escaping that psychological state of mind into a world that might be more aware of the more destructive antics of humanity . This perhaps reflects the international realisation that over-population and the pollution it causes, cannot be sustained - the first step to doing something about it. It was also conceived during what we now know as the Arab Spring, where, starting with Tunisia, the masses gave up on being complacent.
Complacency’s Profile Oil on Canvas 122 x 51 cm This is a sweeping generalisation that the most pressing problems in the world today are the result of complacency of the masses not to mention the people with the power to change things. So we have here a group of young people entertained by something outside the painting frame (perhaps television) while oblivious to an open dump-site of consumer garbage being burnt off behind them.
The Confluence of Ages Oil on Canvas 76 x 76 cm Here the 400 BC ruins of Delos Island in Greece are juxtaposed with the vapour trails of jets presumably on their way to Athens Airport, thus the anthropological confluence reflected also in the compositional one although the vanishing points are slightly off-set. I have avoided architecture in my work but that is because the buildings in our Pacific homes are so new, where in Europe, the age of man’s constructs have all but reverted some of the buildings into the natural landscape making them some kind of hybrid, semi-organic element, not purely landscape and not purely architecture. This is a fascinating new element for me to use in future ponderings on humanity.
Solo exhibitions 2005 Sheep Country Real Gallery Auckland 2004 Heta: Power and Fragility. Photographs SOCA gallery Auckland
1993 Anomalies John Leech Gallery, Auckland 1991 John Leech Gallery, Auckland 1989
Heta: Power and Fragility. Photographs Whangarei Art Museum Wide Island. Paintings of Central Otago. Milford Gallery, Dunedin 2003 Recent Works John Leech Gallery Auckland 2002 Have We Offended Te Manawa, Museum and Art Gallery Cook islands National Museum, Cook Is 1998 Haleiwa Gallery, Hawaii 1997 Woodcuts John Leech Gallery, Auckland
Auckland Society of Arts, Auckland North Gallery, Whangarei Baycourt Cultural Centre, Tauranga 1989 Auckland Society of Arts, Auckland North Gallery, Whangarei Baycourt Cultural Centre, Tauranga 1988 Canterbury Society of Arts, Christchurch Huanaki Cultural Centre, Niue 1987 QEII Arts Council Funded touring exhibition NSA Whangarei
1996 Premier Gallery, Hawaii
ASA Auckland WSA Hamilton 1985
1995 Life Stills John Leech Gallery, Auckland 1994
Molesworth Gallery Wellington
Group Exhibitions 2011
Form, Space, Tone Pierre Peeters Gallery, Auckland, New Zealand, 18 – 31 May
Canterbury Society of Arts, Christchurch
2005 Invitation Lightbox Exhibition: (Foreshore Archive) SOCA Gallery
XPO Exhibitions/John Leech Gallery, Auckland
Invitational Screen Exhibition: (Six Days and the Pacific)
2003
1984
Exiles in Paradise With Mahiriki Tangaroa Beachcomber Gallery, Rarotonga
Molesworth Gallery, Wellington
2002 Tulana Mahu Installation Cook Island National Museum 2001 Tulana Mahu Installation Manawatu Museum and Art Gallery, NZ 2000 Tulana Mahu Installation Sydney Olympic Arts Festival, Australia 1999-2000 Tulana Mahu Installation Asia Pacific Triennial, Queensland Art Gallery, Australia 1996 Nukututaha: Art From Niue The Lane Gallery Auckland
1992 Joint exhibition/book launch Blue Angle Gallery Auckland 1990 NZ Realists Charlotte H Galleries, Auckland 1989 NZ Artists Mezzanine Gallery, Brisbane 1986 Denis Cohn Gallery, Auckland
Awards and Grants 2006 Winner of the Auckland section of the travelling Coexistence exhibition originated in Jerusalem
1996
1991 Merit Award, Birkenhead Trust Art Award
Landscapes Gow Langsford Gallery, Auckland
1990 Winner of the Central King Country Visual Arts Trust Award
1995
1989 Winner of the Waitakere Licensing Trust Art Award
Drawings; Joint exhibition with John Pule The Lane Gallery, Auckland 1993-1994
1987 QEII Arts Council, New Artist Promotion Scheme Winner of the Bledisloe Medal for Landscape
Real Vision Robert McDougall Art Gallery, Chrischurch
1985 Finalist, Team MacMillan Ford Art Award
1993
1984 Finalist, Team MacMillan Ford Art Award
Portray Portrait; Morgan le Fay Gallery, Auckland
1983 Winner of the Polynesian Airlines Short Story Award
Publications 2002 Introduction to Mark Cross Have We Offended 2000 “The Hyper-Decentralisation and Dissolving of Art Frameworks� Australia Pacific History Conference Online Contribution. National Museum of Australia 1999 Tahiono Art Collective; The Paradox of Isolation Australia Art Monthly 1993 Liku and the New Hiapo of John Pule Art New Zealand Magazine 1983 Time on this Island Tusitala Magazine Collections Public: Waitakere Licencing Trust Auckland University Gallery on the Seam, Jerusulem Corporate: Fletcher Challenge, NZ Glaxo, NZ Skellerup Group, NZ Reef Group, NZ Private: Various collections in; NZ, Australia,USA, Panama, Canada, Japan, Britian and Europe
Special Projects
2002 Artist in Residence with the British Consul to the Cook Islands 1999-2003 Organised, Curated and participated in the Tulana Mahu (Shrine to Abundance) installation in Niue and shipped to Brisbane, Sydney, Auckland, Palmerston North and the Cook Islands 1997 Established the Hikulagi Sculpture Park with Funding from the ASPCF Helped construct first sculpture Odesyk by Mikoyan Vekula at Hikulagi Began construction on “Protean Habitat” an ongoing project at Hikulagi Established, coordinated and participated in “Hiapo Foou” a tapa cloth revival project under taken by Kolene Cross and funded by the NZ High Commission to Niue 1996 Established the Tahiono Arts Collective, Niue Island Opened Gallery and Cooperative Sculpture workshop
Koren Cross
Most of Koren Cross’s work stems from a hiapo (tapa cloth) revival project she did in collaboration with her mother Ahi in the late 1990’s. The making of hiapo in Niue had all but ceased although the knowledge was not completely lost and with the help of an exploratory trip to Tonga, the making of the bark cloth was reignited in Niue. Prior to this project Koren had developed a complex repertoire of her own personal motifry drawn from traditional Niuean and other Pacific tapa and tattoo design. Once the skills to produce the hiapo were developed these designs were transferred onto the laboriously produced cloth using modern dyes in order to give the traditional medium a contemporary feel. Apart from creating exquisitely small hiapo artworks for the Tahiono Art Gallery, her mother’s gallery in Niue, Koren rarely exhibits in New Zealand.
I just wanna be me Fibre Dye on Mulberry 135 x 95 cm
I know you can hear me Fibre Dye on Mulberry 85 x 78 cm
Late Fibre Dye on Mulberry 57 x 150 cm
Mikoyan Vekula
MIKOYAN VEKULA was born in Niue but grew up in Wellington, New Zealand. Having gained graphic skills Mikoyan pursued his passion for the Arts and returned to his homeland in 1992-1997. From there, the artist re-established his cultural links and developed a self awareness that allowed him to freely express himself through a rigorous discipline of self training and education. The isolation of Niue and his closeness to nature also allowed him to develop his own unique style and techniques away from urban Pacific influences. In essence his artworks depict Pacific and Aotearoa/New Zealand styles with a mixture of Asian, Australian Aborigine and Native American influences. This amalgam of cultural influences are manifest in detailed textures and dynamic bold colours creating a fresh, unique superficially traditional but with a contemporary feel too them. The artist strives to depict his life experiences and visions through this unique multicultural hieroglyphia. His versatility is expressed with attention to detail through exotic etchings, paintings, Oamaru stone sculptures, pen and ink drawings, tapa and tattoo designs on timber, canvas, tapa and the body, once more seemingly traditional but actually highly personal. Most frequently he “tattoos” these designs into Oak and Rimu using a poker iron. In 1996 the artist created a 5 metre circular sculpture installation of six 2.5 metre totem poles at the Hikulangi Sculpture Park in Niue, the first of a growing number of sculptures there. Mikoyan’s works have been exhibited both nationally and internationally and are in private, corporate and Museum collections.
Motu Kehe: Once living life of sanctions whole new spectrum of opportunities provide choices unlimited. Religion connection realigns in N.Z. Pokerwork on Wood: 45 x 140 cm
Atama Taane: Children of Niue looked after by the gods when men at war failed to return. Diamonds in the rough... “in the lower end of this image you will see the strong lineal root structure of earth�... Pokerwork on Wood: 90 x 18 cm
Fine Tula: Changing of the colonisation, changing of the times... pagan gods disappearance. Pokerwork on Wood: 90 x 18 cm
Fatapi : Hive bees in surrounding bush “old bushman smoked often to deter bees from eating you alive�.
Tolu Niu: Three coconuts 200 commercial uses.
Pokerwork on Wood: 80 x 32 cm
Pokerwork on Wood: 80 x 32 cm
Lima Ata: Ancestral Warriors. Warrior Gods. Gods of religion phasing out of old traditional beliefs and bringing in new.
Ana Ana: Inspired by the past where many lived in Caves, outside war and famine ravaged plenty.
Pokerwork on Wood: 65 x 14 cm
Pokerwork on Wood: 65 x 14 cm
Viko Taha: Tattoo depicted. Copper representing the ships coming into Niue “in the heart of this image you will see the swirling seas, tides, sea life� and where ships sunk in Hakupu, Vaiea, Avatele.
Fetu Tatau: Inspiration to travel from island to island your star of guidance .
Mixed Media 91 x 30 cm
Mixed Media 91 x 30 cm
Akau Vale: Village spokesperson peace stick. Guardian land. Pokerwork and Acrylic on Wood 150 x 10 cm
Price list
Mark Cross 1
Youth and Entropy
2
Lua and Segomo, War Gods in Spring
3
Gyre Vortex, Jetsom Collection
4
Leaf Gatherers
5
Buoyant in the Convergence Zone
6
Refugees from Complacency
7
Complacency’s Profile
8
The Confluence of Ages
Sold
$48,000
$45,000
Sold
$12,000
$25,000
$18,500 $14,500
Koren Cross 9
I just wanna be me
$2,850
10
I know you can hear me
$2,400
11
Late
$2,850
Mikoyan Vekula 12
Motu Kehe
13
Atama Taane
$1,750
14
Fine Tula
$1,750
15
Fatapi
$1,750
16
Tolu Niu
$1,750
12
Lima Ata
13
Ana Ana
$1,750
14
Viko Taha
$1,750
15
Fetu Tatau
$1,750
16
Akau Vale
$1,800
www.ppg.net.nz
$2,850
$1,750