2024 SUMMER SHOW
Following on from our recent small works show, we present you with a collection of spectacular large scale works that are either new or recent arrivals.
We are thrilled with this year's variety of artists whose styles and mediums are so diverse yet, when shown together, spark a conversation. It is almost as if there are shows within shows.
It begins with Kate MacKenzie's beautiful and surrealist portraits of women communing with the natural world around them. Then we move on to Jae Frew's exquisite portraits of taxidermied endangered and extinct native birds, set against Victorian wallpaper backdrops and heavily framed in native timber, also made by the artist. Above these is Mat Scott's giant 2.8m long feather carved out of Kauri hangs protectively over them. The unnatural stiffness of Frew's portraits, a critique on colonial practices sits adjacent to Simon Kerr's chaotic piece, At The Bottom Of Everything. This is a seminal painting by Kerr, who spent 19 years incarcerated, offering his unique view of our justice system.
On the end wall we have a commanding diptych of Doubtful Sound. It is titled, Safe Passage and painted in a pared-back, modernist style by Sean Beldon. The sublime magnificence Beldon presents of the New Zealand landscape sits in contrast to Michael Moore's paintings of the humble Ti Kōuka or Cabbage Tree. Moore presents us with the idea of identity as New Zealanders, through our close association with the land in general and Ti Kōuka in particular.
It begins with Kate MacKenzie's beautiful and surrealist portraits of women communing with the natural world around them. Then we move on to Jae Frew's exquisite portraits of taxidermied endangered and extinct native birds, set against Victorian wallpaper backdrops and heavily framed in native timber, also made by the artist. Above these is Mat Scott's giant 2.8m long feather carved out of Kauri hangs protectively over them. The unnatural stiffness of Frew's portraits, a critique on colonial practices sits adjacent to Simon Kerr's chaotic piece, At The Bottom Of Everything. This is a seminal painting by Kerr, who spent 19 years incarcerated, offering his unique view of our justice system.
On the end wall we have a commanding diptych of Doubtful Sound. It is titled, Safe Passage and painted in a pared-back, modernist style by Sean Beldon. The sublime magnificence Beldon presents of the New Zealand landscape sits in contrast to Michael Moore's paintings of the humble Ti Kōuka or Cabbage Tree. Moore presents us with the idea of identity as New Zealanders, through our close association with the land in general and Ti Kōuka in particular.
