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Estella Castle (NZ)
About the works
Estella Castle’s painting practice appears to be that of the conventional European portraitist. It is not. The paintings have all the hallmarks of the portrait genre with their isolation of the figure in a neutral setting, the faithfully represented of physical characteristics, the… Read more
Gill Gatfield (NZ)
Silhouette (2011) public artwork
Gill Gatfield (NZ), Silhouette, 2011; Smales Farm Station Public Art Award 2011
There is something for the eye, the hand and the head.
Gill Gatfield was jury-selected and commissioned to create “Silhouette” as the result of winning a public competition in 2010. The judging… Read more
Isn’t it my turn, 1976
Tony Fomison’s mysterious painting of a giant head looming over a green field, accompanied by two diminutive figures comes from one of the strongest and most distinctive periods of his career. It is a time when many of the European influences he absorbed a decade earlier… Read more
Spirits Bay, 2002-2004
“Spirits Bay” by Shane Cotton (b. 1964) looks out to sea. Given there is no correct way to look at a Cotton from this period, no one path for connecting its distributed parts, I find myself starting with its wide flat horizon, its division into a… Read more
In This Lost and Forsaken Land
“In This Lost and Forsaken Land” comes from a period where Peter Robinson was provocatively questioning the effectiveness and legitimacy of using Maori motifs in personal, organisational and national identity gambits.
In the past decade the sovereignty debate has focused on seabed and foreshore ownership. In… Read more
Vacation Screen, 1987
Pat Hanly’s account of how he returned from Europe in the early 1960s, ostensibly en-route to Australia, only to be captured by en epiphany of light and colour and the condition of the country on Torbay beach, is probably well-known. But this rare screen from 1987… Read more
Column of Light, 2001-2002
Column of Light
is painting as architecture. It has the scale of domestic architecture at nearly four metres high; and it echoes the construction methods of built forms with its stacked seven panels. But anyone familiar with Bambury’s work will also find associations to the piling… Read more