Gingko lithographs

Press, 8 June 1989, Page 20

Gingko lithographs

Lithographs from the Gingko Workshop — Michael Reed, Jason Greig, Kathryn Madill, Riduan Tomkins, Jule Einhorn and Bill Hammond, at the Gingko Gallery, May 23 to June 10. Reviewed by Cassandra M. Fusco. Jule Einhorn’s adept hand is behind this exhibition, a unified, highly competent execution beneath a variety of marks, individually distinct and collectively stimulating. Feelings expressed and objects depicted are technically precise and visually engaging; none are prosaically photographic. Kathryn Madill, known for mezzotints, translates her private world and imagery to lithography with spontaneity, in brilliant primaries on an intimate scale. Dreamlike aspects permeate “Jungle Rock” and “Aaroo.” “a.e.i.0.u.” conjures warm, secure childhood associations whilst the literary “Emily Dickinson” evokes feelings of female maturity and isolation.

“Monument to an unknown Coffeetable.” I, 11, 111 and IV, is restlessly angular and demonstrates the sophisticated mark and colour associated with Michael Reed exploring abstract movement. The more recent “Islands on the Edge,” completed since his return from Mexico, continues the exploration. Riduan Tomkins’ paintings often suggest a sense of isolation and vastness. In his first lithographic experience, these feelings are again transmitted. Two miniatures convey insectlike humans, marginalised in apparently vast red and yellow expanses, as much mindscapes as physical environments. Hammond continues to investigate fantastic art. Lithography has heightened the edge and rawness of his mark, suggestive of modern experience. Einhorn’s “Summer Kites” is a joyous lifeforce in brilliant hues. Vigorous in mark and subtle in colour, “A Garden” was executed at the

conclusion of her Tamarind Institute course and shows Einhorn bigger and bolder. By contrast, Greig’s monotones (inspired by Edgar Allan Poe) arrest and involve. Beautifully drawn, Greig’s works suggest a menacing world. People — contorted in startled alarm, intense and resentful of our intrusion — stare back. The average New Zealander could identify with these works, recognising the prevailing political and social uncertainty which leaves many pessimistic, insecure and directionless. Increased awareness and understanding of modern society, as represented and explored by individuals, are always worth viewing. This exhibition offers variety and the opportunity to adjust from one artist to another. Changes occur as much in individuals as they do in periods of art. Galleries in Christchurch could be more energetic in their support and celebration of change.