"Wings", by Neil Dawson.
• "New and recent work" (Milford Galleries
Milford is presenting a show of new works by leading New
Zealand artists, with all five providing delights for the
Andy Leleisi'uao's paintings continue his mysterious,
evocative narratives, dominated by bold black and white
images accented in red. The personal language and mythology
used show an underworld, its characters breaking free into an
upper, exterior landscape in a series of forcefully worked
A Pasifika mythology is also presented in two powerful
photographic images by Shigeyuki Kihara, whose other work
explores early photographic tourist myth-making in the
Reuben Paterson's mastery of the unusual, demanding medium of
glitter is well shown in three works inspired by textiles,
and even more so in the cascading flow of Owharoa.
Neil Dawson's two fine, metallic wall sculptures use a
repeated motif of birds in flight to form angel wings and
vortices. In an extrapolation on his previous play with light
and shadow, he has painted the backs of these works in
fluorescent colour, allowing a softly coloured reflected wash
to cushion the works on the wall behind.
Michael Hight completes the exhibition with four deft
pastoral scenes. It is the largest of these which tops the
display - a sumptuous epic panorama of the Taramakau River
that excellently displays the artist's eye and hand.
"From Quarantine Island", by Inge Doesburg.
• "New works", Inge Doesburg and Greg Lewis(The
At first glance, pairing Greg Lewis, best known for his
strong, low-key portraits, and Inge Doesburg, with her
delicate, shimmering landscapes, seems an odd idea. The
Artist's Room gallery shows, however, that it is an inspired
Whether by design or coincidence, the two artists have closed
in style. Inge Doesburg's broad, panoramic vistas have gained
weight and substance, while retaining the spinning airiness
in which skies becomes tangible, voluminous yet solid. There
has been considerable experimentation in the materials used
as bases for the works, with several landscapes being
presented as if painted on to ceramic plates, and other works
layered on copper sheet. The latter of these works are most
impressive, with the sheen of the metal adding a deep
lustrous glow to the landforms depicted.
Greg Lewis, meanwhile, has presented an array of different
works. Portraits are still present, on this occasion four
character studies taken from stills of spaghetti Westerns.
Several graphite images are also displayed, using the
artist's conceit of framing them as pages torn from some old
book. Most interestingly, though, Lewis has produced a
handful of mountain landscapes, their subject and style
blending and merging effectively with those of Doesburg.
Lewis' works are capped by a large, impressive character
study of a nocturnal hunter.
"One third of a picture, point #4", by Mizuho Nishioka.
• "We're not getting out of here alive, or, The land
show" (Blue Oyster Gallery)
"The land show" is an apt subtitle for the group show at Blue
Oyster. Though employing many different media and styles, the
nine artists' works are all directly or indirectly connected
to human impact upon the land.
One of Sophie Jerram's "men of the land", a life-sized
photographic cut-out of a rural worker, welcomes visitors to
Other photographic works on display include Mizuho Nishioka's
cold, effective studies of human marks on the landscape, and
Karim Sahai's effective juxtaposition of urban and rural
North Korean scenes.
Mark Bolland adds to the photographic mix with three images,
notably an atmospheric, misty image of Lovers' Leap on Otago
Videos make up a third of the works on display, with works by
Jane Zusters, Kate Belton and Max Bellamy.
Bellamy's disorienting work, with its drift of power pylons
passing to the thrum of an electronic ambient soundscape is
perhaps the most notable of these.
The two final works are a quixotic kinetic work by Johnathon
Titheridge and a large-scale floor map by Sebastian Warne.
The latter's primal river valley flooded with a river of hot
glue unnervingly but effectively conjures up connotations of
bodily fluid as much as river flow, again connecting us with