Chris Charteris Exhibitions

The Review

28 Jul - 26 Sept 2018

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Exhibition Works

Carrick Green
Karl Maughan Carrick Green (2014)
Karl Maughan Mihiwaka (2018)
Still Rise
Yukari Kaihori Still Rise (2017)
Sweet Dreams IV
Yukari Kaihori Sweet Dreams IV (2017)
Sweet Dreams I
Yukari Kaihori Sweet Dreams I (2018)
Nine Fathoms Passage
Peter James Smith Nine Fathoms Passage (2017)
Rukuhia II
Brett Graham Rukuhia II (2009)
Harry Watson Banishment (2013)
E Kau Ki Te Tai E
Israel Tangaroa Birch E Kau Ki Te Tai E (2018)
Kura Pounamu
Israel Tangaroa Birch Kura Pounamu (2010)
Chris Charteris Beacon (2018)
Ceremonial Object [22169]
Chris Charteris Ceremonial Object [22169] (2018)
Ancestral Connection
Robert Jahnke Ancestral Connection (2004)
Ngā Manu a Māui: The Birds of Māui IV
Robert Jahnke Ngā Manu a Māui: The Birds of Māui IV (2009-12)
John Edgar Discus (2014)
Toroa (Black)
Mike Crawford Toroa (Black) (2018)
Blossom XI
Galia Amsel Blossom XI (2016)
Neil Dawson Atmosphere (2018)
Murmur Dome (Silver)
Neil Dawson Murmur Dome (Silver) (2018)
Mirror (Green/Gold Flip)
Neil Dawson Mirror (Green/Gold Flip) (2018)
Plain Song: Columns of Light - Winter Sun
J S Parker Plain Song: Columns of Light - Winter Sun (2016)
Undertone People of Angipani
Andy Leleisi'uao Undertone People of Angipani (2016)
Lawrence 16-IV-01
Michael Hight Lawrence 16-IV-01 (2001)
Michael Hight Oakura (2017)
Michael Hight Ohinemuri (2012)
Scratch Blue
Mark Mitchell Scratch Blue (2018)
Man Made Man
Terry Stringer Man Made Man (2017)
Picasso Model
Terry Stringer Picasso Model (2015)
An Allegory of Time (Maquette)
Terry Stringer An Allegory of Time (Maquette) (2017)

Exhibition Text

The Review 2018 includes new works from Yukari Kaihori, Neil Dawson, Israel Birch, Mark Mitchell, Karl Maughan and Chris Charteris.

Suspended in space, Atmosphere (released in two scales, 710 mm and 1500 mm diameter) is Neil Dawson’s first spherical work since the iconic, just reinstalled, Ferns globe in Wellington. It is a beguiling masterwork: silver outside, gold inside. With the contribution of direct lighting or the mutable roles performed by daylight and sunshine an additional shadow presence adds a considerable additional site specific element.

At once deft, organic and fluid, conjuring strong suggestions with still life and landscape elements Yukari Kaihori animates her works with visual rhythms. Kaihori also reveals flat surface contrasts and builds wondrous illusionary spaces where surprising depths appear.

In two substantial and important paintings, Karl Maughan explores the landscape and architecture of the garden as much as the quintessential languages of colour.

Israel Birch uses light, etching, repeated pattern, surface illusions and infinite spatial distance: the results are magical and ever-changing. In E Kau Ki Te Tai E repeated circles, carved marks, altering tone and text overlay combine, beginning a visual experience which alters every time the viewer looks.

The Review 2018 has a substantial sculptural component – Chris Charteris’ pounamu lightbox, Brett Graham’s carved taniwha Rukuhia II, John Edgar’s South Canterbury volcanic basalt Discus, Harry Watson’s carved and painted Banishment, Robert Jahnke’s mirror on the past and the kauri peg Ancestral Connection, Terry Stringer’s trick of the eye, morphing figurative forms.

Michael Hight’s outstanding stylistic virtuosity is again demonstrated in Lawrence and Oakura. Galia Amsel’s Blossom evokes the beauty of fruit flowering, Mike Crawford’s Toroa (Black) is a courageous triumph of form.

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