Featuring numerous new sculptural works by Paul Dibble, Terry Stringer and Chris Charteris, the Wakatipu Chronicle develops conversations about texture, presence and pattern that are further seen and felt in the impressive ceramics of Phil Brooks.
In new works by Leanne Morrison, Peata Larkin, Darryn George and Dick Frizzell, the rhythms of intersecting lines are explored. Israel Birch, Robert Jahnke (The Wallace Arts Trust Paramount Award Winner 2019) and Neil Dawson use repetition and light refraction as key rhythmic devices.
Lisa Reihana’s Ka Mate is an atmospheric lightbox drawn from Tai Whetuki House of Death Redux (featured at Toronto Biennale). Yuki Kihara (just announced as New Zealand’s Venice Biennale 2021 representative) explores the links between Samoa and Ngati Kahungunu of Hawkes Bay in a memorable lenticular photograph EFKS Church, Maraenui.
Harry Watson’s sculptural relief paintings are parables and tales of absence and loss, of belief and hope. Joanna Braithwaite’s narrative of impending loss is delivered with rare poignancy and distinctive political bite.
Russell Moses’ and Elizabeth Thomson’s work simultaneously advance and recede. Darry George delivers a view from above, the tukutuku pattern (as a biblical metaphor) dividing the sea and rising up.
Karl Maughan’s Omihi is a visual poem of place. Michael Hight’s dream-like Rangitata Valley is a surreal combination of the mundane and menacing.