Wide Selection In Group Show

Press, Volume CII, Issue 30289, 15 November 1963, Page 25

Wide Selection In Group Show

The 1963 Group Show, at the Durham Street Art Gallery until November 24. again provides a w’ide selection of work from all parts of the country that is a veritable microcosm of New Zealand painting. Accordingly there is very little that is new or unexpected, for one of the distinguishing marks of the average New Zealand painter is the tenacity with which he retains a style once he has developed it, preserving it as carefully as if it were a historic monument. Another aspect of the New Zealand art scene which is strongly apparent is that an abundance of talent for producing painting is coupled with an amazing sameness and slightness of content in the works produced. It is not a matter of uniformity of style, for all sorts of powerful and vital international styles are reduced by New Zealand painters to a sort of simple-hearted (or simpleminded?) amiability. The isolation of New Zealand and the lack of intense and meaningful artistic experience here shows nowhere more than in the tendency of our painters to present a smiling face to the world in their work, trusting that this will cover up any lack of thoughts or beliefs. Few are willing to taekle big problems. and therefore few make any progress. This habit of dealing in simple, easily-recognised feelings takes another path, too. There are a smaller number of painters who believe that a display of emotional turbulence will pass for original thought But the emotions displayed are usually selfpity and frustration—emotions readily engendered in any sensitive personality by the New Zealand artistic milieu and, not inappropriately, often accepted as evidence of a true New Zealand spirit Yet fortunately there are a few painters here and there who, in response to no encouragement or demand from either the art public or the art establishment, try to extend the range of their thought and sensibility and to develop their style accordingly. Luminous Colour One is M. T. Woollaston, whose pace is sometimes so slow that he seems to have stopped. But a backwards

glance invariably shows that he has moved forward, and so it is with his landscapes in the Group Show. In these his colour becomes increasingly luminous and sensuous and curiously elusive in its harmonies. Others are Rudolf Gopas and Quentin Macfarlane, who have struck out in new colour directions. Mr Gopas is working in haunting and mysterious harmonies built around purple, though the tiny forms which coruscate in this atmospheric colour seem to lack the degree of precision needed to realise the full intensity of the expression. Mr Macfarlane has turned away from his earth colours to brilliant primaries used in a subtle, minor-key way, and with the change in colour has come greater strength and simplicity of form. Among the other Christchurch painters. Alan Oliver show’s some very thoughtful but fresh drawings; David Graham has another red painting similar to his one in the Hay’s show and a blue one. where an attempt to add a free accent does not come off; and Edward Bracey in his two more recent works shows signs of ridding himself of the compositional bogy which causes his earlier works to rush into the centre and disappear down the plughole. Most interesting of a group of Auckland works are Patrick Hanly’s pungent monotypes, which are perhaps the most impressive work seen here since his return to New’ Zealand. The exhibition also contains pottery, sculpture, weaving and architectural designs. Prices for paintings range from four to 150g>ns. —J.N.K.