Ralph Hotere, '1984’

Press, 21 March 1984, Page 24

Ralph Hotere, '1984’

Ralph Hotere, “1984.” Twelve paintings at the Robert McDougall Art Gallery. Until April 22. Reviewed by John Hurrell. Ralph Hotere’s dozen small paintings in the “Paperchase” exhibition all feature the image of a vertically positioned Polaris missile. All involve the use of paper in their construction, but are unusual because the paper is stuck on to sheets of polished stainless steel.

The paper and steel faces of these paintings are then painted, drawn, or stenciled upon or else have circular striations buffed upon them from the disc of an anglegrinder. Many of the paintings also have marks burnt upon them through the use of an oxy-acetylene torch.

This is a lively collection of works from Hotere. Much of his work in recent years has grown tired and sterile, with his combinations of gestural and more formally arranged marks growing predictable and lack lustre, and turning into self-carica-ture. However, in this show he is full of surprises and

wit, at least within the realms of technical innovation. In terms of methods of mark-making this exhibition is full of visual treats, for these works are exciting as decorative objects. What they fail to do is convince as harbingers of nuclear catastrophe. They remain, in essence, ornamental diversions, for while each work features a long, narrow vertically phallic shape, which is labelled Polaris, they convey no sense of impending disaster that a newspaper photograph might convey. Instead they seem overtly sexual and slyly amusing. Part of the problem is in the title of these works, painting in reverse letters on each of them, “1984.” Now that time is here, to refer to it now seems very passe, if not banal and tiresome. It is hard to take these works seriously at a literal level. Even more unfortunate is the framing, which uses deliberately recycled and eroded timber. Although almost all of the paintings have impact as highly in-

ventive arrangements of words, marks and shapes, they still have difficulty competing with the very contrived weathered wood around them. For all their topicality as references to conservatory issues, these frames remind one of sculptures made of driftwood, and are just as distracting as old fashioned frames made of gilted plaster and wood.

Despite these problems, these paintings are enjoyable viewing, even if their underlying thematic concepts are somewhat dull when expressed in painterly terms. They are too seductively beautiful and escapist to convey any genuine sense of alarm. Obviously their literal content has little pertinence as to whether they succeed or fail as attractive objects. Although they are not cosy or slick, these works cannot disturb. Thus their very strength as objects of contemplation severely thwarts the political thrust they convey, and on this count, they fail.