Yuki Kihara Exhibitions

Dibble / Kihara / Williams

26 Jul - 20 Aug 2014

Show All


Exhibition Works

Soft Geometric Medium
Paul Dibble Soft Geometric Medium (2008)
The Greeting
Paul Dibble The Greeting (2014)
Soft Geometric Model
Paul Dibble Soft Geometric Model (2007)
Bathers Study 2
Paul Dibble Bathers Study 2 (2013/14)
Off Shore
Paul Dibble Off Shore (2012)
Aquatic Centre, Tuanaimato
Yuki Kihara Aquatic Centre, Tuanaimato (2013)
Agelu i Tausi Catholic Church After Cyclone Evan, Mulivai Safata
Yuki Kihara Agelu i Tausi Catholic Church After Cyclone Evan, Mulivai Safata (2013)
Plantation, Lalomanu
Yuki Kihara Plantation, Lalomanu (2013)
Old Courthouse, Apia
Yuki Kihara Old Courthouse, Apia (2013)
Mau Headquarters, Vaimoso
Yuki Kihara Mau Headquarters, Vaimoso (2013)
Following Blue
Mervyn Williams Following Blue (2009)
Mervyn Williams Calculation (2002)
Flashpoint (Gold)
Mervyn Williams Flashpoint (Gold) (2012)
Grey Fable
Mervyn Williams Grey Fable (2002)
Mervyn Williams Astral (1996)
Mervyn Williams Divisions (1993)

Exhibition Text

Paul Dibble’s geometric sculptures are organic and sinuous, and the bronze has a sense of plasticity and malleability. The negative space employed by Dibble creates works that are finely balanced but which still celebrate the fundamental weightiness of the medium. The rich patina has a tactile beauty and its dark glow lends life to the abstracted forms.

The four works from Wallace Award winner Shigeyuki Kihara come from her 2013 series Where do we come from? What are we? Where are we going? Referencing 19th century, staged photographic postcards of the ‘South Seas’, they show Kihara (as her character ‘Salome’) standing witness to scenes of political, historical and cultural importance in present-day Samoa - a Samoa far removed from the Pacific paradise fashioned by colonial powers and modern-day travel brochures.

Mervyn Williams defies the flat surface of the painted canvas by creating illusory planes of perspective and three dimensional forms that only truly exist as plays of light and perception. Utilising the optical trickery of advancing and receding colours, his paintings suggest depth and protrusion; the use of circular forms and concentric circles further enhances this illusion.