‘Reversible paintings’

Press, 19 July 1983, Page 14

‘Reversible paintings’

Michael Armstrong. “Reversible Paintings” at the C.S.A. until July 24. Reviewed by John Hurrell. This is the first exhibition Mike Armstrong has had in Christchurch since he won the Waimairi Art Award last March, and it presents a splendid opportunity for the public to look at his work in closer detail. The format of the six paintings on display in the upstairs Northern gallery of the C.S.A. is that of cut-out pieces of canvas, vaguely worm-like in shape, which are loosely attached to the walls by invisible nylon threads. Each canvas has its own unique shape which is arranged in an improvised fashion by the artist as he is putting up his show. Because paint is applied on both sides, he can twist and buckle the canvas, or turn it over by suddenly changing the direction of the form, and expose different patterns of colour on the reverse side. Thus each work has the potential of presenting a wide choice of configurations, and can actually be

changed a number of times during a single exhibition, looking like a different work on each occasion.

Curiously, some configurations work better than others. Almost all the canvas shapes suggest the fluidity of large sweeping brush strokes, but those which abruptly change direction and which contain unexpected lifted triangular folds of painted material, seem more dynamic and less limp. The quality of the paint marks themselves suggest intertwined jungle forms, such as vines and trees, but using pinks, blues and yellows. These forms often seem to duplicate the canvas shape which encloses them, and yet do not disrupt the cohesiveness of the actual support. Unlike much of his earlier work, here the colour is more controlled and not overworked. The unprimed canvas peeking through allows the raw paint to breathe in all but a few works. The exceptions bear elements of handwriting which seem superfluous, as they intrude on the other

forms around them. Occasionally the paintings are enlivened further by the use of collaged pieces of paper. The variety of paint used within each work is actually surprising. Some parts seem harsh and clashing in their colour combinations, and others are softer, and more harmoniously related. Contrasts in complementary colours and in tone values emphasise the three-dimen-sional folds of the canvas and how it turns over from one side to the other. The excitement of seeing so many large works makes this Armstrong’s most interesting exhibition to date. All but the single small work appear well conceived and their painting sufficiently restrained. While they show the influence of a wide range of sources, such as Philip Trusttum and Frank Stella, as well as Matisse, each work has the authority of Armstrong’s own voice. The exuberance of the bold shapes and the energy of the paint application make this confident exhibition one that is likely to be remembered.