Peter Robinson – Defunct Mnemonics

I don’t know how many times I have peered over the staircase on my way up to {Suite} and thought that this was some off-limits-to-Amanda storage space where art gets put when there isn’t any putting space left in the other galleries. Hello Peter McLeavey Gallery!

Peter Robinson
Defunct Mnemonics (detail) 2012
Felt and wood, 125 objects

Peter Robinson’s current show here is Defunct Mnemonics (pick tricky words why don’tcha), the title is almost as incomprehensible as the Fustigation of the Hierophant thank you (other Peter) Pete Gorman. Although I haven’t seen anything like this from Peter Robinson before, it isn’t really departing from his previous work so much in that it isn’t recognisable as his.

These sticks of various shapes and sizes are made of felt cut and glued together over dowelling to make them stronger. They represent tokotoko (googling this took me to a super Mario definition which I read as Super Maorio…) which are carved walking sticks that are speaking sticks, held by whoever is speaking. I vaguely remember these from a visit to Mataura Marae, being held by the Kaumatua as they addressed our class of nervous hungry-for-hungi 8 year olds.

Peter Robinson
Defunct Mnemonics (detail) 2012
Felt and wood, 125 objects

The work is confronting, it fills the space. It lounges about in the door ways so that you hover apprehensively at the entrance; nudges your toes when you get drawn in to the textures to remind you that it was there first, and would you mind where you plant those dirty greying converse sneakers.

They look very soft and tactile, yet almost mechanical with ridges and cogs that suggest they all work together as one large machine. They are all one work, for sale as a family of 125 tokotoko of varying shapes and constructions. The close up image below gives the impression of a spine, interlocking perfectly, naturally, creamy white bleached and stripped bare of protective outer living layers.

Peter Robinson
Defunct Mnemonics (detail) 2012
Felt and wood, 125 objects

They were just screaming to be made in to a large pile of striped pick up sticks, but I thought that would probably be a silly idea to act on. Instead I just hopped around the room between them and craned my neck through the door, straddling one of the works to talk to the lovely lady minding the gallery which she informs me has been running for 46 years! It is such a lovely space, that whole building is just one big art within art, oh how lovely.

Peter Robinson
Defunct Mnemonics (detail) 2012
Felt and wood, 125 objects

Robinson’s work Gravitas Lite was shown at the 18th Biennale of Sydney, a polystyrene monolithic menagerie of light as air heaviness draped across beams like towering ice bergs.  Its smooth cut lines make it look sturdy but it is so fragile, imagine it in Wellington in 140km winds, imagine it on fire! Apparently that stuff burns well.

Peter Robinson
Gravitas Lite (detail)
Polystyrene, installation view
Photo from ArtAsiaPacific

Deep Inside – Documentation

Deep Inside shows at the Hamish McKay Gallery until the 13th of October. The poster is pretty ace, so like a book cover the show had to be pretty ace as well. The first thing I saw upon advancing up the stairs was a video work, and I was so ermagehrd excited that I walked straight past in search of more and never actually watched it. Because then I saw this…

Mikala Dwyer
Methylated Spiritual,  2012
mixed media (detail)

Mikala Dwyer’s work was my favourite, I really can’t be fucked with the big square oil monochromes by E Newman flaccid on the walls, who wants to fanny about with that when you can look at your own reflection? Dwyer’s work was everything, and I just viewed everything else through it.

I spent a lot of time looking at this work, its different elements that ranged from fecal glazed thumbed ceramic circles to terracotta fingering holes with textile pony tails and drinking straws. The sheets of creaming soda perspex created a brilliant 1970’s filter through which to view the distorting spectacle of the rest of the show.

Mikala Dwyer
Methylated Spiritual, 2012
mixed media
Documentation by Hamish McKay Gallery

Looking at the work in the photograph above, with all reference points to scale removed aside from the meths bottle (but its probably an elaborate tiny reproduction, who knows) this would make an elaborate pointy and potentially hazardous necklace. Because this work was so physically engaging, documenting it accurately is a real challenge.

Documenting a work usually begins with you standing at the opposite wall getting the whole work to fit within the frame. This seems unnecessarily formal, but I guess if you don’t take it all in then what are the limitations on how close up you take the photograph? How relevant is the holistic pano view compared to the physical viewing and interaction? What insights can you take from that distant and far removed perspective?

Mikala Dwyer
Methylated Spiritual, 2012
mixed media (less detail)

As soon as you stop viewing and start documenting, everything about your interaction with the art changes. With camera in hand I stopped thinking about the work as a whole; I was far more interested in the reflections it made, shifting focus between its surface and the images is contained reflecting the rest of the show through wavering panels of perspex.

Mikala Dwyer
Methylated Spiritual  2012
mixed media (detail)

I’ve struggled in the past to see photography as anything more than documentation as that is all I’ve used it for. That stage lasted longer than my rap music stage, I don’t know what that says about me.

Bugssth

The woman at Bowen Galleries remembered me, usually nobody does. I think I’m like a 4/10 on the scale of ‘memorable’. You’ve come in here before, why yes, and I always ask about the same artist because I want to make awkward conversation. Yeah thats me.

Caligo Memnon
Stephen Allwood
9 panels, 1020 x 1020 mm, 2012
Bowen galleries

Steven Allwood’s Insecta is a collection of insects. It is what is is really. They are painted really nicely although I don’t like the ones with the wooden frames painted in, they look a bit naff. A bit Etsy.

The amount of people who paint butterflies as pretty butterflies has made it very hard for me to see them as anything other than that. So often they are available en masse en bulke from those stores where you buy wedding gifts and mother’s day presents on a $20 canvas so you can literally litter your walls with them. To make these work you need to get as far away from that as possible, and although these are painted well, the intent just doesn’t shine through. I think the works are just too likeable to be allowed further likes. LIKE like.

The insects however, are painted expressively, impressionistic easy dreamy strokes each pinned with a tiny swirl of white against the canvas. The bugs are wonderful, the arrangements on the wall more like a natural swarm than a museum display. I think the bugs are great, it would be good to see these made on a smaller scale in larger numbers, or just to see him play with scale and arrangement on the wall more. Lovesth the bugth.

Vespula Vulgaris
20 panels, 2000 x 1720 mm, 2012
Stephen Allwood
Bowen Galleries

Peta Larkin The_Net

I have been meaning to see these works at Bartley and Company for weeks since the show opened. I haven’t seen works by this artist before, and from the thumbnails I thought it was Martin Thompson.

His work on the wall visible from the bar at Midnight Espresso, pink pixel fractal, up way too high to see. It doesn’t make the vegan nachos taste better, or drown out the sound of the waitress’ screaming ‘turkish tofuuuu buuuun’ bouncing of the walls competing with the inappropriately loud drum n bass,  but its pretty cool. Boo Midnight.

STREAMING ATA I_2012
year: 2012
size: 1015 x 610 mm
media: acrylic on perspex Courtesy of Bartley and Company Art, Wellington

Did_you_ever_name_files_like_this.doc

These works are incredible, I couldn’t pick a favourite. It took me a few advances and retreats with furrowed brow to figure out the glass was behind the work and not in front, quite an illusion. Squares of perfectly flat black paint pixels in a beautiful digitally inspired tukutuku.  In the coloured works, the paint was applied so that at times it oozed felt tip fluoro green through the tapestry canvas like a playdough spaghetti haircut.

EXPLORER (2012)
year: 2012
size: 960 x 660 mm
media: acrylic on mesh on canvas                                    Courtesy of Bartley and Company Art, Wellington

The qualities of fabric in these works are what I like the most; twisting and warping, sagging on walls like old tapestry, so vibrant in neons and black. Looking for symbols within these is like a word search. The first thing I saw was a Marae; reduced down to a few squares, the matapihi looking out from beneath out stretched ribs are instantly recognisable. Art that is Kiwi in a way that isn’t kitsch isn’t something I get the pleasure of seeing, and I feel privileged that I can see in those squares what others may not. Like the  llamatron lama lurking amongst the other symbols pew pew pew.

The marriage of modern and traditional, digital and analog, past and present reminds me of Rachel Rakena‘s work. She is also represented by Bartley and Company, her video works and installations are very poignant.

Lisa Reihana‘s website is unfortunately not as awesome as it once was, or rather it isn’t there. Such a shame it was so damn cool. I saw some of her video works at Te Papa, Mai i te aroha, ko te aroha, Te Ara a Hine. The video portraits are very engaging, and it was the first of her works I had physically been in front of. I think my love for these artists is a hangover from art school, you’re always going to like (says I) works that deal with mediums you know about in depth.

I can’t tell you my name but I can show you where you should scratch me! Head, followed by belly and chin, ta.

I can’t think of many things cooler than a dog that chills out outside an art gallery. Old brown eyed girl you are beautiful, thanks for the affection.