Kathy Barber is renowned for the depth and stillness of her paint surfaces. Using techniques that owe their visual origins to Japanese calligraphy, aided by a patient building of layers, her works possess a meditative quality.
Jacqui Colley’s paintings in this exhibition offer a powerful antidote to a screen saturated world, inviting a deeper, multi-sensory engagement and a tangible connection to human history, and a connection to the physical world.
Zealandia is a largely submerged continent located in the southwest Pacific Ocean, mostly hidden beneath the waves, with only a few islands like New Zealand and New Caledonia breaking the surface. Geologically, it's characterized by its unique crustal structure and its separation from the ancient supercontinent Gondwana. This series of paintings is inspired by, and references places of interest to all of us.
Throughout her art practice of more than 40 years, Bridget Bidwill has been dedicated to depicting the landscape. The hills, valleys, stones, rocks and shadows; the dark, the light, and the reflections, the trees, grasses and clouds all appear in her paintings in pieces, shards of glass, a challenge to reassemble.
In July, Auckland painter Tony Lane mounted an exhibition at a medieval church in Ribadavia, Spain.
In July, Auckland painter Tony Lane will exhibit a suite of paintings at Igrexia de Santa Maria Magdalena, a medieval church in Ribadavia, a town in the Northern Spanish province of Ourense. In advance of this exhibition, and to rain a little Spanish sunshine down on Auckland, we are presenting Serenidade, a companion exhibition here.
In this postmodern age of appropriation and sampling, Martin Ball has added another dimension to the reworking of historical imagery. He chooses to work from his studio, drawing from secondary and tertiary sources, reinterpreting and reinventing along the way.
Fresh from the studio and in advance of his upcoming exhibition, we present three exceptional figurative by Martin Ball
There is something of the alchemist about Greer Twiss, as he pours, bends and fashions the basest of materials into some of our most precious
works of contemporary art.
Beyond the edge of the world there’s a space where emptiness and substance neatly overlap, where past and future form a continuous, endless loop. And, hovering about, there are signs no one has ever read, chords no one has ever heard.
Our endless and impossible journey towards home is in fact our home
Orexart is privileged to re-present a selection of some of the extraordinary and powerful work Philippa Blair produced during the late nineties and early noughties in the studio she made with husband John Porter, in Venice California.
A spin-off exhibition based on our presentation at Aoteaora Art Fair in April
Visit us a Booth G08 at the Aoteaora Art Fair Viaduct Events Centre
Mikhail Gherman is the Co-Founder and Creative Director of Karen Walker. The Captains Series is his first gallery exhibition, and offers up a collision of some of Gherman’s perennial obsessions: outsiders; junkshop art genres; solitary men; and a news cycle bursting with violence.
Some small but perfectly formed works from our artists’ studios and archives
Our summer hang features key works by some of our represented artists
Tony Lane's paintings resist casual interpretation. The work is complex, the symbols elusive. All paintings are abstract, even representational ones. The elements of a painting are symbolic, a kind of shorthand, for the artist’s concerns.
Philippa Blair is an architect, surveyor, scientist, sculptor, dancer, horse rider, musician, linguist, teacher, mother; in truth she is an artist who brings all the attributes of the former to the table of the latter. Moreover, she is fearless, always has been, still is, her life is tied to her art.
The paintings of Kathy Barber are derived from a montage of memories just out of reach, swirled together as a type of utopian landscape. The large sweeping gestures she has affectionately coined as ‘sidewinders’ help flood all the works with a light reminiscent of Turner.
Encompassing images from around Whangarei and the Kaipara as well as Westland in the South Island artist and mathematician Peter James Smith is always inventive, always discovering, and here presents us with some of the largest single piece canvases he has ever completed.
Through a collection of intuitive landscape paintings on heavy canvas Dr Leonie Ngahuia Mansbridge explores her connection to whenua as intertwined with her own whakapapa.
Jacqui Colley’s artworks are dynamic acts of painting and remembering. Each one is a visual statement within which are embedded moments of deliberation and serendipity, a fitting together of thoughts, actions, and reactions to the physical immediacy of making.
Prakash Patel describes himself as feeling out of place – everywhere. At first glance, his paintings appear deeply and consciously steeped in his Indian heritage, with their repeating patterns and motifs and the bright, iridescent colours. On closer inspection, they offer something more universal.
TRANSITION is an exhibition of powerful, tondo-shaped works. Dynamic and enigmatic, these paintings pulsate with an energy that is unique to Wolfgramm’s practice.
Growing up in the Past is an exploration of the artist’s childhood experiences, both real and imaginary, in Banks Peninsula.
Dagmar Dyck's work is inspired by her cultural heritage and explore textile practices of Tonga including bark cloth mats, baskets and clothing. In this exhibition, falanoa, Dagmar examines the construction methods used in the Tongan feminine art forms, called koloa. She translates some of this ancestral knowledge into contemporary art forms and colours using the medium of painting and weaving to voice her own story of ‘being Tongan’ in Aotearoa. The title itself, devised by the artist, draws together the concept of talanoa (storytelling) with fala (woven textiles).
15 November – 10 December 2022
Memories, and the experiences that trigger them, provide the backdrop for Martin Ball’s new paintings. As a youth growing up in West Auckland in the 1960s he was familiar with the tracks, and the waterfalls and streams in the Waitakere Ranges. In those formative years his interest in painting such scenes was informed by artists such as Petrus van der Velden and Diego Velazquez. Over fifty years later he has revisited the images.
25 October – 12 November 2022
Goat Island or Te Hawere-a-Maki, the marine reserve, is close to Richard’s studio. Are these a painterly response? Perhaps it is as the painter Brett Whitely said, “I’m not going to talk to you about my paintings, just look at them if you want to know about them”. Orexart is very pleased to show these new paintings by Richard Adams.
Take your time to ‘know about them’.
