Impressive exhibition

Press, 6 November 1984, Page 20

Impressive exhibition

Untitled etchings and lithographs, by Sue Cooke, a submission for the diploma in fine arts with honours, at the Bealey Gallery, until November 11, Reviewed by Jonathan Smart. This exhibition of 15 etchings and lithographs completes Sue Cooke’s requirements for gaining a diploma in fine arts with honours and along with detailed written documentation of the year’s work will be assessed by tutors from the Art School. Happily, judging by the red stickers dotting the gallery walls, in the eyes of some people, Sue Cooke has already passed. After three years teaching by Barry Cleavin and Denise Copeland, her knowledge of printmaking seems thorough and her technique exemplary. From the smallest print (barely 2cm by ’scm) to the largest (some 30cm by 70cm) the variety of her mark-making is tremendous. Whether it be a hazy aquatint sky, scratched drypoint vegetation, or frantic areas of greasy tusche crayon sometimes smudged by cardboard, the quality of her line is consistently high. At times the effect is one of delicacy. With the prints numbered by increasing size, the first three draw us inwards through their intimate scale. In print No. 3, close inspection reveals tiny lattice-like patterns resembling cracks in a fragile glaze. Formed by ink rubbed into cooled and cracked shellac (one of Sue Cooke’s stopping-out agents) these marks epitomise the attention that is lavished on every detail of these small,

whimsical works. These are marks for arts or aesthetics’ sake which are successful because of their elegance as well as their cleverly manipulated scale. As the works get bigger an emotive response to landscape becomes clear. Etched lines like raised welts strike across the paper. Grasslands and hillsides are slashed by line, and in print No. 15, any references to landscape are overwhelmed by dark gestural marks of terrific turbulence and tension. However, as in the smaller works, Sue Cooke’s line is not always so agitated. In print No. 10 it approaches the quality of delicate doodle, and in No. 5, 11 and 12 it is almost lyrical, gently describing the forms of hillside, tree, and sky. In these latter prints a hazy atmospheric perspective or depth has been suggested by subtle changes in tone from light grey to black. This is achieved by varying the time allowed the acid to eat into the plate. The longer and deeper the etching process, the more ink the area can hold and the darker the image becomes. Compositional devices such as low viewpoints also help to create a realistic sense of space. In No. 5 we look up at a line of hills that dominate the skyline. The ridge is darkened to make the rugged silhouette seem closer and for similar effect, the horizon line is lowered so that we see less sky than we would expect. Finally, the feeling of looking up is heightened by hanging this and most of the

i other works, just above eye- ’ level. I In spite of spatial consi traints the whole exhibition is hung sympathetically. It is not prohibitively overcrowded, and the prints > have been simply but very effectively mounted and 1 framed. They look better in i the warm intimacy of the Bealey Gallery than they would have in the cool, concrete-block grandeur of the C.S.A. Neither the theme nor the techniques used in this show are new. Most of us respond in some way to our surroundings and Marilyn Webb has recorded her reactions to the Otago landscape in printmaking medium very similar to Sue Cooke’s. But, while Marilyn Webb describes changes in the Lake Mahinierangi landscape largely via colouristic or more recently, symbolic means, Sue Cooke relies principally on line. For unlike Marilyn Webb, she feels best working only with vigorous contrasts of black and white, and has not used colour since early art school days. Also rejected then, was the concept of titles. They narrow the reaction of one’s audience more than they offer possibly valuable clues to stimulate their response. The only problem with this view is that if Sue Cooke values her intentions as an artist and wants to convey these to others, the works must speak very clearly for -themselves. In this show some do and some do not. But this percentage should increase as she gains in both experience and confidence.