'Mothers’ exhibition

Press, 15 February 1982, Page 17

'Mothers’ exhibition

“Mothers.” Exhibition at the Robert McDougall Art Gallery until-February 21.' Reviewed by Heather McPherson. T " .

Few roles need be worn so constantly nor cover so many demands as the 24 hours , a’day,: seven days a week role’of the mother.

.This travelling exhibition gathered by The Women's Gallery (Wellington) is work by women who may or may not have chosen a mother’s role but as artists must come to terms with conflicts, in their choice — and particularly conflicts involving a less than total submergence in this most approved of woman’s place. In-both media and impact “Mothers” is a varied, collection. Disappointingly ’ and dismissively hung squashed along a corridor and two bays at the McDougall, its treatment here ironically demonstrates the point of its existence.

As if hi a stately home the old , masters of the permanent collection pose spaciously in the end drawingroom, dignified, but eventually remote' and somewhat dull: The women’s work, as if relegated to the kitchen, is

crowded and cluttered and has raw bits here and there, but is more vibrant. Painting predominates: there are also etchings, ceramic sculpture, pencil and ink drawings, constructions, applique, and photographs. Catalogue texts survey motherhood as a subject in New Zealand painting and aspects of it in Western art, while an essay by Robin McKinlay argues the need for a re-evaluation of the role of mothers in our society. The show’s hanging illustrates the thesis. Some catalogued works have not been hung at all, others are unlabelled or wrongly labelled. Large paintings have insufficient room to view them, small works are bundled together, artists’ works are separated from each other and collective coherence.

The catalogue also includes reproductions, poems, lists of films and books on motherhood, and women's art, to emphasise The

Women’s Gallery policy that art grows out of our lives, and that women’s lives, particularly mothers' lives, have scarcely been touched as subject matter. A note on The ’Women's Gallery completes a handsome booklet, a resource in itself. Not all of the - work is equally satisfying; some artist have shown more interesting or powerful pieces than they are represented by here. But as aspects of a theme there are fascinating glimpses and recognitions to suggest the wealth of shared experience and associations yet to be explored. It is a pity the McDougall gallery did not recognise the potential of a new source and force in the art of the 80s. Its lack of consideration for work by women emphasises the need for that redefinition sought by The Womens Gallery, of “not only what is female but also what is the human experience."