Tootill’s iconographic New Zealand house speaks of the suburban dream and the metaphor of his work has both a social, political and cultural vernacular.

The illusion of grandeur conveyed by modernist features such as the Jetsons like carport are juxtaposed with the conformity of mass production. ‘That modernism, however was only tinkering with the façade, with the occasional coloured panel, the use of stone slabs and the same flashy design feature.’ (1)

There is a strong narrative content and message reflected in titles such as ‘Railway Sleepers’, ‘Whare’ and ‘Park Drive’. The language of advertising references both the conventions of the era and also is a powerful reminder of democracy – that the opportunity to own a home existed for all, sharply at variance with today’s circumstances for many that are hopeful.

Tootill’s flattened treatment of both colour and surface echo the spot colour used in newspaper advertising and simplistic screen-printing processes of the 1950s.

The starkness surrounding these dwellings is reinforced by the treatment of foliage described as angular black forms. The windows are treated in a similar manner and therefore the view to the interior is entirely absent. ‘When I first started looking at different ways that I could paint them, I put in curtains or Venetian blinds, but this made them look like homes rather than houses. ‘ (2)

Tootill’s inventiveness in symbols and motifs extends to the use of unexpected materials, such as the iconic Kiwi confection “Hundreds and Thousands” in ‘Green Door’ and the koru skies of ‘Te Puea Place’.

These works reach across the political, economic and cultural climate of New Zealand society from the time of the 1950s new economic zones being established to the present situation whereby becoming a homeowner is unattainable for entire segments of the population. These hopes and dreams are simply not possible for many faced with the reality of soaring house prices and the debt of education. One could argue that this major social experiment opened as many doors as it closed and this dream became the suburban reality.

The ultimate persuasive power of Tootill’s work is revealed in the layers of contradiction. We begin viewing his work with eyes of memory, nostalgia and hope but then ultimately comprehend what once was generally possible is now denied and thus there emerges a harsher reality in a culture of unease and suburban circumstance.

(1) John Daly Peoples, National Business Review 30 May 2003
(2) Malcolm Burgess, ‘Home on the Range’, New Zealand Herald, 29 May 2003