Pat Unger paintings

Press, 13 June 1984, Page 28

Pat Unger paintings

“Images seen when visiting the northern hemisphere.” — Paintings by Pat Unger at the Canterbury Society of Arts until June 17. Reviewed by John Burrell.

Fifteen works by Pat Unger in the small Caraday room at the C.S.A. demonstate her ability to combine collage techniques with watercolour, acrylic, and enamel paint.' Using methods of painting application made well known in New Zealand by Patrick Hanly and Ralph Hotere, these are mainly decorative works, rich in deep darkish colours, that seem to be searching for something to say, but which don’t know how to go about it.

The American sources of some of the images seem to be Jasper Johns and Larry Rivers, especially with the use of stencils, the American flag, and historical personages such as one ‘Madame Moitessier” who figures predominantly in many of the works. Curiously there is an ambivalence present in some of the paintings, in which contradictory emotions about the subject matter are left unresolved and wavering. Some of the paintings deal with the theme of America and Vietnam. One work, “Sentimentality,” features a pencil drawing based on a well known “Life” magazine photograph of a medic giving a w’ounded soldier water. An

originally compelling photograph loses its rawness and takes on a sweetened lyrical quality when it is turned into a drawing. The blushing self-conscious irony of the title suggests that the artist is aware of the inappropriateness of her technique but still refuses to abandon it.

Another painting, “The Middle Class,” features Madame Moitessier holding a catalogue at a gallery opening, and seems to be ridiculing the very audience the artist is expecting to buy her own paintings. The odd thing is that all these works are half-hearted, too comfortably tasteful and marketable, to convey dramatically the indignation that is hinted at as being behind them. This is an exhibition which is confused in its concerns to be colourful and painterly, and yet still use language. There is no consistent metaphor apparent in the use of stencils to record time and place, only the presence of mannerisms that have been long overused since the 19605.

Only through a conspicuous increase in scale, and perhaps through the use of silkscreens and photography, can Pat Unger’s interest in being painterly be resolved with her political interests. Given her exhibiting experience and art school training, she should be capable of far more striking images than those presented in this exhibition.