↘ Frances Hodgkins Bridesmaids 1930. Oil on canvas. Collection of Auckland Art Gallery Toi o Tāmaki, gift of Lucy Carrington Wertheim, 1948 ↘↘ Martin Whitworth, Fear Theme 1, 2020, collage ↘↘↘ Kim Lowe, Korari, 2020, Ink and acrylic on harakeke paper ↘↘↘↘ Hamish Reid, The Moons of Selena, 2019, digital print ↘↘↘↘↘ Sarah Harper, Blind Spot, 2019, ceramic ↘↘↘↘↘↘ Installation image of WestFarbe: Paint vs Colour at Two Rooms. Curated by Christoph Dahlhausen
I love the subverted symmetry. They’re so even but they’re so off at the same time. It feeds into my love of having something perfect but throwing it off-kilter. Bridesmaids is also a favourite because of how it makes you feel. There’s something incredibly odd about it. Fashion Designer Karen Walker on Hodgkins’ Bridesmaids. The Spinoff, 27 September 2019, Christchurch Art Gallery Te Puna o Waiwhetū Martin's work boasts enough chewy ideas to keep you thinking long after leaving the gallery space and more sheer graphic skill than most painters could shake a brush at, Whitworth's paintings are cram-packed with jarring leaps between modelled forms, flat zones of colour, collage elements, even sculpture… Justin Paton on Whitworth’s art, Art New Zealand, Winter 1996, number 79, pp.33-35, City Art I particularly like the positivity and generosity of spirit inherent in the works and their celebration of New Zealand’s true diversity where so much contemporary art of a political bent is full of anger. These gentle pieces make a soothing alternative, and also remind us that the Chinese have been contributing to our society for as long as there has been a European presence… Andrew Paul Wood reviews Kim Lowe in 2010. eyecontactsite.com, Ilam Campus Gallery Hamish’s art is a mixture of real life and figments of his imagination. ‘Art is a feast and famine type of industry. You have to put yourself out there to get a response.’ Shelley Topp, ‘Hamish Takes Plunge into Art,’ North Canterbury News, 30 January, 2020 Combining elements of discomfort and spirituality, and often using text and repeating motifs in simplified landscape platforms, Harper is eager to address issues such as feminism, hierarchy, bullying, social justice, connection and celebration of the underdog. sarahharper.co.nz Sarah Harper & Dael Foy, Yin and Yang, Orion Powerhouse, Akaroa, until 15 March Painting isn’t always a flat work on the wall. Among artists and art historians there have been serious discussions, as to when a painting becomes an object or is sculpture. The transition between these viewpoints can be very stimulating and expanding. WestFarbe: Paint vs Colour. Text, image credit and copyright, Christoph Dahlhausen. tworooms.co.nz COCA Gallery
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