Justin Jade Morgan in conjunction with PAULNACHE, Gisborne, NZ presents…
TOOLS OF THE TRADE
Opening: Friday, 7th of March, 6:00PM
Exhibition: 7-29 March 2014 at PAULNACHE Upstairs 89 Grey Street Gisborne 4010 NZ
Featuring Rohan Wealleans, Ryan Ballinger, Gary Peters, Reuben Paterson, Roger Boyce, Tiffany Singh, Mark Harvey, Samin Son, Marc Freeman, Sanjay Theodore, Bevan Shaw, Raewyn Turner, Scott Gardiner, Hye Rim Lee, Shannon Novak, Ben Pearce, Janine Randerson, Marie Shannon, Douglas Stichbury, Ian-John Hutchinson, Zena Elliot, Chris Wells, Evan Woodruffe, Matt Arbuckle, Judy Millar, Otis Frizzell, Sian Torrington, Megan Dunn, Michelle Osbourne, Juan Ford, David Creed, Angela Rossitto, Shane McGrath, Matt Couper, Brydee Rood, James R Ford, Matt Randall, Mark Curtis, Mike Weston, White Fungus, Baye Riddell, Sonya Lacey, Ged Guy, Jamie Chapman, Diane Scott, Anne-Marie Jean, Glenn Burrell, Denise, Batchelor, Paul Walsh, Isla Osborne, Carman Rogers, Ian Clothier, Teresa Goodin, Rozanna Lee, Matt Dowman, Douglas Stichbury, Amber Pearson, Glen Snow, Tony Nicholls, Josephine Cachemaille, James Ormsby, Mike Tupaea and more…
Heidi Brickell completed an MFA at Elam in 2011. She has exhibited in solo and group exhibitions at Artspace, Rm Gallery, Ferari Space, Window Gallery, George Fraser Gallery, The Audio Foundation, Cross Street Studios, and has had writing published in Gambia Castle’s Reader #11 ‘Field Trips in Artificial Weather’ , Papakura Art Gallery’s ‘Animal Incarnations’ in accompaniment to the exhibition of the same name, and is awaiting the release of another written piece in Auckland art publication ‘Magasine #4: Interviews’. This is her first solo exhibition with Paul Nache.
The loneliness of the spectator: Standing in front of a painting, we are alone. How we experience the painting is not universal but individual; the image will rouse personal memories, associations, and cultural meanings, giving us our unique view. We can share our appreciation, our rush of feelings, our intrigue about the work with others, swapping interpretations and pointing out areas of fascination, but our whole experience of the painting will remain a personal embodiment. Unable to completely communicate our experience and have our own view vindicated by others leaves us alone and open to doubt and uncertainty. We attempt to follow the artist’s language, guess at the associations and meanings dripping from particular marks and representations, but we’re only guessing. This uncertainty about the image is what keeps it fluid, open to the possibilities either surfacing from our prolonged study or from hearing others’ opinions. Being unable to reach a consensus, incapable of tying the painting to a specific definition, prevents the story from finishing and keeps the work vital. Woodruffe’s paintings present an area of exchange between us and the world, where we can trade experiences and knowledge back and forth across the image. They do not represent a specific happening that the artist is trying to communicate to you, the spectator. Rather, they are sites of negotiation that encourage you to converse with them through your particular cultural and personal history; they encourage a conversation, an unfolding story that is yours alone. Contact the Gallery to request a price list. The exhibition runs from the 7th of February until the 1st of March 2014.
Evan Woodruffe, ‘On the Beach’ Series, Watercolour and mixed media on paper, 30 x 21cm unframed Email a purchase enquiry
PAULNACHE and Matthew Couper present ‘BURDEN’ tableau 2014 (00:01:24)
We are excited to officially welcome Auckland based artist Justin Jade Morgan into the ‘Family’.
Justin’s practice dovetails between group collaborations, individual pieces and extended projects. Developing performative pieces, installations, drawings, audio and photographic works that explore the relationship between physical objects and life as performance. His personal projects have featured in the Govett Brewster Art Gallery, The Dowse, Lopdell House Gallery (NZ), the Border Museum (Slovenia), Digital Fringe 08 (Melbourne), 3rd ‘Arhipelag’ International Contemporary Arts Festival (Solvenia & Italy), International Museum of Collage, Mexico and ‘ArtColle’, France with residencies and other temporary projects taking place in France, Germany, Slovenia, Australia and New Zealand.
Justin’s inaugural exhibition ‘Tools of the Trade’ opens at PAULNACHE on First Friday 7 March 2014, 6:00PM. He plans to attend the opening.
Check out his work now online at paulnache-justinjademorgan:
IMG. Table Tennis vs Table Tennis, 2014 onwards
NEWS: Upon recent return from Europe, artist Matt Arbuckle will be exhibiting works produced in Germany. Matt is based in Berlin, however will be showing throughout New Zealand during early 2014. His solo exhibition ‘Slug ind Lettuce’ opens at PAULNACHE 3 January 2014. Film shot and cut by Motif films and the artist.
Limbo Of The Journeyman centers around a large oil painting on loose canvas of the same title, painted in the artist’s Las Vegas studio. It continues Couper’s interest in developing art as a ‘cultural currency’ while showing autobiographical features of his life in the USA and his ongoing dialogue and relationship to anachronistic art practices. Couper’s association with the notion of a journeyman (the artistic development between an apprentice and a master) is brought to the fore, singling out his context, journey – both physically and intellectually – and the trials and tribulations of his career path since immigrating to the USA in 2010. Accompanying the large oil painting are several new examples of Couper’s now-familiar Spanish-Colonial-based paintings on metal, canvas and a series of objects relating to the refuse of an artist’s practice – empty solvent cans, burnt-out incandescent bulbs and empty paint tubes. These works act as physical ephemera, usually cast aside, but now recycled and transformed into precious objects. ‘…These dark subjects are depicted with the objectivity of an outsider, but there are no solutions, no excuses — it’s more of a recap of the current state of affairs. Mixed with the artist’s experiences and survival struggles in both Las Vegas and New Zealand, the works function as elaborate journal entries.’ - art critic Jenessa Kenway. (Las Vegas CityLife). Viewers familiar with Couper’s art practice will be able to see new artworks en masse relating to recent art works and exhibitions The Auckland Art Fair at the Cloud in Auckland, Recent Devotional Paintings, a survey exhibition curated by US art writer John Seed at The Quad Gallery, Riverside, California, USA; and his touring exhibition Thirty-Three, currently on display at The Tauranga Art Gallery, Tauranga.
Matt Arbuckle’s work explores a dialogue between the construction and deconstruction of a painting. The narrative is one of space and perspective, where planes and illusion of depth are the topic for discourse, rather than direct representation. The viewer is therefore denied obvious footholds for interpretation, encouraging the experience to be dictated by an individual’s visual sensation and perception. The foundation of these paintings is the concept of accessibility for all. The blatant and at times aggressive marks encourage the experience of these paintings to not be over conceptulaised, but rather a celebration of painting for paintings sake. Arbuckle is a New Zealand painter who since been based in Berlin has reflected on the visual boundaries on where he appropriates his subject matter- ‘the comic strip’. From this initial strip, he began developing the forms he had extracted from comic iconography to hold more ambiguous forms; deconstructing and stripping back the subject matter of the figures to a simpler, more holistic forms. Whilst including painterly devises such as comic like features of framing, emulating a sense of narrative while also spatially challenging the plans of the painting. ‘’I have become increasingly interested in how narrative and a history of marks within the painting occupy a realm that is distinctly visual and not reliant on articulation through language. Marks obtaining movement and presence that question the viewer’s sensation and perception of image’’. Arbuckle’s works attest to the wonders of abandoned structures around Berlin that have inspired him. While exploring the Bärenquell brauerei in Schöneweide, Arbuckle came across stacks of books filled with paper and documents. He collected them on multiple visits, and these pages became grounds for a new series of playful drawings that seek to observe and give presence to the discarded material of abandoned sites. His solo exhibition ‘Slug ind Lettuce’ opens at PAULNACHE 3 January 2014. Watch a short film shot and cut by Motif films and the artist.
PAULNACHE presents a significant release from the Adsett Estate - eight paintings from the artists ‘Black and Blue All Over’ and ‘Sympathy Letters’ series, previously exhibited at GRANTPIRIE, Sydney, AUS. Mary Alice Lee writes: Whilst each painting in Black and Blue All Over has its unique attributes, it is nevertheless a series, like all Adsett’s work. But in what sense can the term be applied? Certainly the paintings were made in an order, and numbered consecutively (1-11). But if by “serial” we mean that the paintings can only be understood in succession (i.e. the mathematical sense), then that term is too limiting. I prefer the definition of series from the field of Electronics: a configuration of two or more components connected in a circuit so that the same current flows in turn through each of them. This definition turns on the notion of a link (Latin serere = to link), and of a process (flowing current). Here the components are multiple, since there are several recurring elements within the paintings themselves: the prevailing coloration of washed out blue and black, the squares or segments of rectangle, long wedge-shapes, debris from the studio floor, and most importantly, the dark-painted stretcher edges, some of which create a bruised black line around the face of the canvas. The current that flows through them all is, of course, the operation of these elements in each painting. Superficially set up to look the same throughout, the elements fool us by operating differently in each canvas. This is the reverse of a figurative series, such as, for example, Sid Nolan’s Ned Kelly series in Canberra, where all the paintings operate in the same way whilst having different figures and settings. This last observation brings me to the concept of narrative. When we use that term, we usually think of work like the Nolan series, where there is represented action and events. But that sense of “narrative” is what takes Painting into close parallel with Literature, a fact celebrated in the classical tradition of ut pictura poesis. Adsett’s work invokes another sense of “narrative”: the act, or process of narrating itself (carrying over from ancient rhetoric). Thus, meaning does not inhere in whether there are black square signs, or yellow rectangle signs, but in what they do. The squares with a horizontal slot like that of a letter-box in painting Nos. 3 and 4 remind us of the black mask, symbol of Kelly in the Nolan series, for the reason that Adsett intends them to. Black and Blue All Over pays homage to those paintings and to the historical events they interpret, along with the current archaeological dig at Glenrowan and the information it is bringing to light. But if there is a little wry humour in that mask shape, Adsett is not using it as a symbol. Nolan, we know, borrowed it from Moholy-Nagy and Malevich, so that for Nolan it became not only Kelly’s emblem, but also that of early Modernist Painting. When Adsett makes black squares - and they are in, or rather, under all his paintings - he is overtly working inside that modernist tradition, undermining it from within, if you like. Images are phantoms that cannot hold in his work, since black will read either as a discrete figure on a blue ground, or as a glimpse of a foundation layer that continues unseen below.
Contact the Gallery for purchase info +64 6 867 9721
Peter Adsett / Paulus McKinnon
Opening: Friday 20 December 2014
Exhibition: 20-28 December 2013
PAULNACHE, Gisborne, New Zealand
IMG X Tom Teutenberg