Rodney Fumpston

Press, 25 July 1984, Page 6

Rodney Fumpston

“Fumpston: A Decade.” Prints and drawings by Rodney Fumpston at the Canterbury Society of Arts until July 29. Reviewed by John Burrell. Rodney Fumpston is an Auckland artist who is held in high regard as a printmaker in the North Island, where he is well known for works of technical accomplishment and great delicacy in colour. This touring exhibition was organised by the Sarjeant Gallery in Wanganui, in conjunction with the Queen Elizabeth II Arts Council and the Art Gallery Directors’ Council. It presents 74 works in the large Mair Gallery of the C.S.A. It is inevitable that such a large body of work will look cramped when shown in one room, as in spite of the Mair’s size, the works are hung almost frame to frame. The viewing space sings with harmonious tinted colour, and the selection impresses with its display of different etching, aquatint, and surface colour combinations, alongside

graphic drawings and collapses. In spite of this range, this collection of 10 years work does not contain the diversity one might expect What is also surprising is the amount of weak work in the exhibition, work which does not stand up to close scrutiny. This is usually through the images being too simple and lacking in tension of visual dynamics, without content beyond technical expertise. Some of the different series, such as those of flowers and of Proust’s “Jean Santeuil” are incredibly boring and vacuous, as are the pointless “Learning Etchings.” Others like the “Egypt” series of pyramids usually contain enough subtleties to bear up to repeated viewings. The real surprises of this exhibition are the graphite “Garden Drawings.” They, and the drawings and prints of pyramids, show Fumpston’s mark making at its best, going beyond creating tasteful accessories for

decor, for matching curtains and sofa. In these Fumpston uses graphite and painting techniques to suggest the shimmering effects of light on the desert sands and in garden vegetation. Their vigour and tonal range gives them a rawness not found in many of the other more precious works. Unfortunately, Fumpston’s enterprising combinations of different intaglio and surface colour techniques causes him, in may cases, to rely on a pretty ordinary repertoire of gestural marks and geometrical compositions. Well over half of this exhibition does not merit a second glance, and Fumpston’s combination of colours are pretty obvious, and not nearly as adventurous as those of some other artists such as Philip Trusttum or Grant Banbury. Nevertheless, because of Fumpston’s reputation and because of its size, a detailed inspection of this very colourful exhibition is worth while.