Paul Radford paintings

Press, 23 April 1986, Page 28

Paul Radford paintings

New Paintings, by Paul Radford, at the Brooke Gifford Gallery, until May 2. Reviewed by John Hurrell.

Thirteen acrylic paintings on rag paper are presented by the Auckland artist, Paul Radford, at the Brooke Gifford Gallery. From a distance these paintings look like crayon or pastel drawing because bright colour is used to form uncomplicated patterns within human shapes, or within the contouring lines themselves. Three thematic variations make up a continuous suite that is much simpler and less disparate than Radford’s last show in Christchurch. Blob-like figures which look like cartoon ghosts or mummies pose as proud owners in front of mockcubist automobiles. Sometimes they instead hold bicycles or dance in pairs.

Radford’s whimsical paintings contain refer-

ences to European painters of the 1950 s such as Dubuffet, Appel and Horst Antes, as well as to earlier figures such as Leger. The works deliberately avoid references to New Zealand motifs, and yet these paintings seem in general to be concerned with signs. Gloved hands and classical columns serve as cultural symbols rather than being present for formal or decorative reasons. Some of Radford’s paintings .lampoon this nations obsession with cars. They reflect New Zealanders’ preoccupation with creating their own identities though material acquisitions, and seem to comment on New Zealand’s own lack of a tangible identify as a place. In his renderings of figures, the surface qualities are patterned and emphasised, or else are inflated as forms to be like hot-air balloons. They have little substance be-

neath their thin skips.

Even though stylisticly these paintings are far removed from the types of art that usually raise questions of national identity and spiritual values, and may to some look flippant, Radford’s images of dancing shadows and amoeba-like humans have a subtle cutting edge. They hint that a sad desperation may exist within our national persona. The method of drawing is so unexpectedly combined with psychological undercurrents that in spite of the intense colours, this is not really a joyful or funny exhibition. It is rather one which uses metaphorical signs that are introspective and reflective in their nature.

Elegantly presented, this is a fine exhibition of consistently well-crafted and keenly nuanced images that deserve to be contemplated.