John Parker Exhibitions

New Works

6 Feb - 2 Mar 2016

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Artists

Exhibition Works

Eagle Series #2
Bridie Henderson Eagle Series #2 (2015)
Owl Series #1
Bridie Henderson Owl Series #1 (2015)
Eagle Series #1
Bridie Henderson Eagle Series #1 (2015)
Kea
Nigel Brown Kea (2015)
Pied Stilt
Nigel Brown Pied Stilt (2015)
Mohoua
Nigel Brown Mohoua (2015)
Korimako [20146]
Nigel Brown Korimako [20146] (2015)
Aroha Kiwi II
Nigel Brown Aroha Kiwi II (2015)
Rakiura: Acker's Point
Michael Hight Rakiura: Acker's Point (2016)
Rakiura: Maori Beach
Michael Hight Rakiura: Maori Beach (2016)
Awhakaueroa - The Wharenui at Kai Iwi
Justin Boroughs Awhakaueroa - The Wharenui at Kai Iwi (2016)
Red Grandstand and Mount Alfred
Justin Boroughs Red Grandstand and Mount Alfred (2016)
Gold Grooved Orb [15-32]
John Parker Gold Grooved Orb [15-32] (2015)
Gold Grooved Orb [15-33]
John Parker Gold Grooved Orb [15-33] (2015)
Matt White Grooved Orb [15-27]
John Parker Matt White Grooved Orb [15-27] (2015)
Matt White Grooved Orb [15-25]
John Parker Matt White Grooved Orb [15-25] (2015)
Matt White Grooved Orb [15-29]
John Parker Matt White Grooved Orb [15-29] (2015)
Leaf Lei
Emily Siddell Leaf Lei (2015)
Leaf Garland
Emily Siddell Leaf Garland (2015)
Teeth Garland
Emily Siddell Teeth Garland (2015)
Tuuranga
Zena Elliott Tuuranga (2015)
Vitality
Zena Elliott Vitality (2015)
Leader Ship
Zena Elliott Leader Ship (2015)
Instill
Zena Elliott Instill (2015)
Perseverance
Zena Elliott Perseverance (2015)
Jarrod
Katherine Smyth Jarrod (2015)
Puff
Katherine Smyth Puff (2015)
Bellbird
Katherine Smyth Bellbird (2015)
Tui #1
Katherine Smyth Tui #1 (2015)
Tui #2
Katherine Smyth Tui #2 (2015)
Esau
Katherine Smyth Esau (2015)

Exhibition Text

New Works 2016 is comprised of two groupings – paintings and ceramics - each with much in common.

Zena Elliott and Nigel Brown are united by the plural construction of identity and culture. Both are using metaphor. Elliott’s visual language uses pattern and colour dynamics and the formalities of architectural shaping. Brown recasts his (once) archetypical conqueror and exploiter of the environment as one who now cares for and nurtures it.

Michael Hight’s starkly silhouetted, dream-state, surreal expositions of Stewart Island (Rakiura) resonate with sharply inflected particularities. Justin Borough uses contradiction and contrast, the processes of neglect, decay and context, to commence a sequence of questions about what we value and how we come to see what is actually going on.

Central to both Bridie Henderson and Emily Siddell’s acclaimed works have been an extended, inventive necklace series, each quite different in character and treatment. These contain numerous cultural metaphors and symbols. Each is imbued with emotion, memory and hope.

John Parker’s Grooved Orbs are quintessential objects that function in space, harnessing the air about them and containing profound visual rhythms that seem to rise and fall.

Katherine Smyth talks back to Nigel Brown’s environmental dialogues in works that eloquently combine the virtues of portraiture and the whimsy of singular personality.