Art seen: January 28

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PBellamy.JPG
‘‘Southern Waters'', Pauline Bellamy (Bellamys Gallery)The landscapes of the South have always been a very important element in the art of Pauline Bellamy, most notably around her twin homes of Macandrew Bay and St Bathans.

In this current exhibition, Bellamy has travelled slightly further, to explore the coastal and bush-clad world of Southland and Fiordland.

The works, oil paintings accompanied by a small number of etchings, are firmly grounded in their location; they tell of the region's geography, its isolation, and its beauty.

Given this emphasis on the scenic beauty of the South, it is surprising that one of the standout pieces on display is a strong depiction of Mataura's mill, the water tumbling past solid blocks of building.

The painting's power is enhanced by the fine choice of heavily grained frame.

A further fine work strongly hints at the presence of population, a twisted foreground macrocarpa counterbalancing the skyline of Invercargill, glimpsed in the blue distance.

It is the natural scenery which dominates, however, with bush streams boldly depicted in swirls of colourful brush strokes.

The etchings form a counterpoint, with their studies of bird life.

Two final works beautifully emphasise the emptiness of the land; impressionistic beach scenes, the sand solid and sullen under gestural sweeps of stormy sky.


 

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MHight.JPG

‘‘Aurora, part 1'' (Milford Galleries Dunedin)

‘‘Aurora, Part One'' is, in many ways, a stock show rather than a standard exhibition, in that it is largely displaying previously exhibited work, but the work in question is definitely worth a second look.

Drawn from the works of some 20 top New Zealand artists, the exhibition is a fine display of artwork in a variety of media, ranging from Reuben Paterson's glittering explorations of retro design through to Paul Dibble's massive, stylised steel and bronze tree sculpture.

There are many stars in this show, unsurprisingly given the talent that Milford Galleries has to call on.

Wistful landscapes by Dick Frizzell nestle by a strong, word-framed Nigel Brown painting.

John Edgar's sensuous discs of polished stone stand close by fine glasswork by Mike Crawford and Ann Robinson.

Mystical, powerful photographic works by Lisa Reihana lie alongside Yuki Kihara's more subtle explorations of history and ancestry.

Not all the works are by artists who have been widely seen in the South.

One particularly striking work is a large op-art abstract by Israel Birch, Te Wai-a-Rangi.

This piece, in glossy lacquer on steel, provides a wonderful hypnotic undulation of metallic blues, justifying its title.


 

“XXX”, by Danny Brisbane
“XXX”, by Danny Brisbane

‘‘New Works/Into the Woods'', Danny Brisbane and Shinsuke Saito (Kiki Beware Cafe)

Kiki Beware Cafe, in the heart of George St, is hosting a joint exhibition by Danny Brisbane and Shinsuke Saito.

The exhibition is constantly in flux; as works are sold they are replaced by more pieces.

On the day I visited, the majority of the works on display were by Brisbane, caricatured portraits in graphite with occasional coloured pencil work for contrast, and two larger collaged works.

Danny Brisbane's portraits are appealing, with just the right touch of humour.

They are sharp, wry caricatures, revealing a considerable amount of their subjects' inner selves.

To put it plainly, they have character.

The drawings are created from a mixture of original sources: the faces of friends, the famous, and from found photographs.

The collages are also interesting works, though their lack of direct focus leads to them perhaps being in the shadow of of Brisbane's other displayed work.

The exhibition is completed by a small number of pieces, also in graphite, by Shinsuke Saito.

These well-drawn works have an air of whimsical magic realism, exploring a wooded landscape where things are more than they might be expected to be.

Saito's image of a fox passing through the heart of a tree is particularly memorable.

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