1976-9 BERRY STREET CANVASES - Philip TRUSTTUM
October - End of March 2017
Around this time Philip Trusttum had moved away from hard board oil paintings towards unstretched canvas and acrylic. His Berry Street home he occupied with his family was a small bungalow he was in the process of upgrading.
The paintings became images which reflected the state in situ. As he was altering the spaces he painted half stripped walls and doorways, measuring tools and family dart boards, recording time spent building and family activities.
Most of these paintings are large, but like his renovations some paintings become more fragments cut up for variation offering a range of scaled works for sale and exhibition.
The paintings became images which reflected the state in situ. As he was altering the spaces he painted half stripped walls and doorways, measuring tools and family dart boards, recording time spent building and family activities.
Most of these paintings are large, but like his renovations some paintings become more fragments cut up for variation offering a range of scaled works for sale and exhibition.
TRUSTTUM'S CALLIGRAPHIC LETTERS (circa 2001)
12 December 2014 to 22 February 2015
We have 'decked the walls' of our Front Gallery -floor to ceiling- with 101 of these small vibrant paintings on canvas. Letters, words, names and visual fragments make each work dynamically different and collectively the showing is visually stunning.
The small calligraphic works are priced $3,000.00 or less depending on size.
OUT OF THE TREASURE CHEST Never before seen Drawings by Joan GREHAN
5th November to 7th December 2014
Joan Grehan originally from Wanganui lived abroad within Australia, Europe, Africa and the Middle East for more than thirty five years returning frequently to visit and later to resettle in New Zealand. During Joan Grehan’s life up until she unexpectedly died in November 2007 she maintained a prolific commitment to art her making.
If not painting, wherever Joan Grehan paused she drew. Some of these drawings became source work for paintings but mostly they stand alone as moments and sights captured with deft skill. These drawings exhibited at the WHMilbank Gallery are immediate and pure in their purpose and style.
These drawings from Joan Grehan’s Estate are all for sale and have been very reasonably priced.
To keep it simple, but with a few exceptions, works with a signature are priced higher than those without.
Drawings with a signature; $150.00
Drawings with no signature; $100.00
Some smaller drawings will be negotiated at a lower figure.
Multiple purchases will be discounted in accordance with number being purchased.
A few works will be priced higher and will be labelled accordingly.
WHM.
If not painting, wherever Joan Grehan paused she drew. Some of these drawings became source work for paintings but mostly they stand alone as moments and sights captured with deft skill. These drawings exhibited at the WHMilbank Gallery are immediate and pure in their purpose and style.
These drawings from Joan Grehan’s Estate are all for sale and have been very reasonably priced.
To keep it simple, but with a few exceptions, works with a signature are priced higher than those without.
Drawings with a signature; $150.00
Drawings with no signature; $100.00
Some smaller drawings will be negotiated at a lower figure.
Multiple purchases will be discounted in accordance with number being purchased.
A few works will be priced higher and will be labelled accordingly.
WHM.
CLUSTERS 24th September and will close on 31st October 2014.
Working with clusters of new works and some stock clusters this is a rich kaleidoscope of work by around 28 artists.
They include Jo Blog; Emma Camden; Garry Currin; Simon Edwards; Fane Flaws; Rowan Gardiner; Glen Harwood; Lance Hayes; Glen Hutchins; Adrian Jackman; Raewyne Johnson; Tony Lane & Martin Poppelwell; Steve McFarlane; Ross Mitchell-Anyon; David Murray; Simon Ogden; Nicol Sanders O’Shea; Joanna Pegler; Prakash Patel; Paul Rayner; James Ross; David Sarich; Jeff Thomson; David Traub; Philip Trusttum; Lorraine Webb; Gail Edmonds; Carmen Simmonds
They include Jo Blog; Emma Camden; Garry Currin; Simon Edwards; Fane Flaws; Rowan Gardiner; Glen Harwood; Lance Hayes; Glen Hutchins; Adrian Jackman; Raewyne Johnson; Tony Lane & Martin Poppelwell; Steve McFarlane; Ross Mitchell-Anyon; David Murray; Simon Ogden; Nicol Sanders O’Shea; Joanna Pegler; Prakash Patel; Paul Rayner; James Ross; David Sarich; Jeff Thomson; David Traub; Philip Trusttum; Lorraine Webb; Gail Edmonds; Carmen Simmonds
RIPPLE IRON The Art of Jeff THOMSON 12th July to the 31st August 2014
WHMilbank Gallery is delighted to show this exhibition of corrugated iron (or ripple iron as it is called in Australia) by Jeff THOMSON.
These recent works continue from his work currently at the Sarjeant on the Quay which opened in May.
We are especially pleased to exhibit the “Ladder Trilogy” which won a second place at the Fieldays No.8 Wire National Art Award. All works on this exhibition are available for purchase.
REVEAL 10th May runs to the 10th July 2014
This is a mixed gathering of artists; chosen to focus on some of the functions of a dealer gallery, or the work itself. Each artist has been playfully allocated a pivot word each one starting with RE. When the label for each artist is read the relationship between them, their work and this Gallery’s layered functions may be better REVEALED. But if not the exhibition at least forms a fascinating and diverse mix of works – past and present.
ARTISTS included
Matt DUTTON RE-alignment; Fane FLAWS RE-defined; Malcolm HARRISON RE-arranged; Lance HAYES RE-cycled; Glen HUTCHINS RE-turned; Amos LANGDOWN RE-joice; Neville MAWHINNEY RE-assembled; Barbara McPHAIL RE-membered; Joanna PEGLAR RE-viewed; Simon RAY RE-located; John SCOTT RE-imbued; Michael SMITHER RE-linquished; James Lawson STEWART RE-discovered; Philip TRUSTTUM RE-distribute.
Lance HAYES RE-cycled
Since opening in 2007 this Gallery has been fortunate to handle the remarkable sculpture that Hayes has produced under his own name or with his stunning woven cat works, under the banner of Penni Wyse. His work is always carried in stock and he is regularly included in thematic and solo exhibitions.
All of Lances work is a tour-de- force of craftsmanship and extra ordinary patience and “Harry Fat”, the most recent piece to join our stock, is quite exceptional on both counts and has been some 2 years in the making
Be it wood or electrical wire the RE-cycled substance of his materials and the forming and connecting are (in formal modernist tradition) observably evident but the refinement of his finish is impeccable.
With the arrival of “Fat Cat” it is timely to bring to join it on the floor the other three of Lances work in stock.
Glen HUTCHINS RE-turned
In 1999 Whanganui born Hutchins emerged with a dynamic abstract expressionist style and a BFA from Whanganui Polytechnic. After overseas travel he moved to Auckland in 2000 where he completed Post Graduate then Masters Studies at Ilam School of Arts. The next 10 years were spent securing a Diploma in Teaching then teaching and exhibiting in and around Auckland.
And now, in 2014 Glen has RE-turned to Whanganui with his wife and children and is represented here with two large 2001 paintings marking his point of departure – and a set of seven 2013 small studies, still richly expressive but with social political overtones, and perhaps a hint of things to come.
In 1999 Whanganui born Hutchins emerged with a dynamic abstract expressionist style and a BFA from Whanganui Polytechnic. After overseas travel he moved to Auckland in 2000 where he completed Post Graduate then Masters Studies at Ilam School of Arts. The next 10 years were spent securing a Diploma in Teaching then teaching and exhibiting in and around Auckland.
And now, in 2014 Glen has RE-turned to Whanganui with his wife and children and is represented here with two large 2001 paintings marking his point of departure – and a set of seven 2013 small studies, still richly expressive but with social political overtones, and perhaps a hint of things to come.
Matt DUTTON RE-alignment
This Gallery has been pleased to represent this local artist’s work since opening in 2007. His work is always carried in stock and he is regularly included in thematic and solo exhibitions.
Here we have responded to a very new and significant shift in Matt’s painting processes and have chosen to bring these first examples of his refreshing interpretations worked from found historical plans of tools to our viewers. His lineal forms float with subtle clarity within a softly toned ground formed by loosely brushing down thin layers of paint of many complimentary hues. As a result these elegantly constructed paintings present a noted RE-alignment by Matt from previous work.
This Gallery has been pleased to represent this local artist’s work since opening in 2007. His work is always carried in stock and he is regularly included in thematic and solo exhibitions.
Here we have responded to a very new and significant shift in Matt’s painting processes and have chosen to bring these first examples of his refreshing interpretations worked from found historical plans of tools to our viewers. His lineal forms float with subtle clarity within a softly toned ground formed by loosely brushing down thin layers of paint of many complimentary hues. As a result these elegantly constructed paintings present a noted RE-alignment by Matt from previous work.
John SCOTT RE-imbue
This painting, for sale on behalf of a local resident, is a visual feast using text, gold leaf, colour and strong form to RE-imbue, in a contemporary rich pictorial format, the substance of the words that flow within the 17th Century English Poet, John Milton’s poem On His Blindness.
This painting, for sale on behalf of a local resident, is a visual feast using text, gold leaf, colour and strong form to RE-imbue, in a contemporary rich pictorial format, the substance of the words that flow within the 17th Century English Poet, John Milton’s poem On His Blindness.
John Milton 1608 - 1674
When I consider how my light is spent
Ere half my days in this dark world and wide,
And that one talent which is death to hide
Lodg'd with me useless, though my soul more bent
To serve therewith my Maker, and present
My true account, lest he returning chide,
"Doth God exact day-labour, light denied?"
I fondly ask. But Patience, to prevent
That murmur, soon replies: "God doth not need
Either man's work or his own gifts: who best
Bear his mild yoke, they serve him best. His state
Is kingly; thousands at his bidding speed
And post o'er land and ocean without rest:
They also serve who only stand and wait."
When I consider how my light is spent
Ere half my days in this dark world and wide,
And that one talent which is death to hide
Lodg'd with me useless, though my soul more bent
To serve therewith my Maker, and present
My true account, lest he returning chide,
"Doth God exact day-labour, light denied?"
I fondly ask. But Patience, to prevent
That murmur, soon replies: "God doth not need
Either man's work or his own gifts: who best
Bear his mild yoke, they serve him best. His state
Is kingly; thousands at his bidding speed
And post o'er land and ocean without rest:
They also serve who only stand and wait."
The painting is one from the first major series on this subject, produced by John Scott here in Whanganui shortly after arriving in 1985 to become Director of the Whanganui Community Polytechnic. Scott was a pivotal force for the arts here in Whanganui, developing the polytechnic into a vital institution with a powerful Fine and Applied Arts focus which, along with the Sarjeant played a key role attracting artist to Whanganui and thereby building the depth of Art Community Whanganui enjoys today. Scott actively maintained his creativity and established a considerable national profile and being of Maori decent engaged within that fraternity also.
He became Director of the Christchurch Polytechnic in the mid 1990’s and currently lives there.
He became Director of the Christchurch Polytechnic in the mid 1990’s and currently lives there.
Barbara McPHAIL RE-membered
Margaret Edith Barbara McPhail was nearly 90 when she died in 2009 and she had lived in Wanganui all her life. Up until she retired Barbara had devoted her life to teaching and then she joined the Wanganui Arts Society and over the next4 decades became quite a remarkable painter. Her work always had a lively freshness about it (often too fresh for the sensibilities of some of her Arts Society colleagues when nearly always turning up with still wet paintings, to exhibitions).
Here Barbara is RE-membered by two very accomplished paintings; both have been placed with this Gallery to be sold on behalf of owners. The large painting of the Whanganui River looking up to Sparrow Cliff (a scene she frequently returned to) is thought by the owner to be over 30 years old and has been greatly loved. This makes it an early and from my wide knowledge of Barbara’s work it is unquestionably one of her best resoled. paintings
The more recent painting of sheep is Barbara at her typically more expressive with a wonderful sky and a fine dynamic example of her looser style. Bought after her death the owner is planning overseas travel so is very keenly priced.
Margaret Edith Barbara McPhail was nearly 90 when she died in 2009 and she had lived in Wanganui all her life. Up until she retired Barbara had devoted her life to teaching and then she joined the Wanganui Arts Society and over the next4 decades became quite a remarkable painter. Her work always had a lively freshness about it (often too fresh for the sensibilities of some of her Arts Society colleagues when nearly always turning up with still wet paintings, to exhibitions).
Here Barbara is RE-membered by two very accomplished paintings; both have been placed with this Gallery to be sold on behalf of owners. The large painting of the Whanganui River looking up to Sparrow Cliff (a scene she frequently returned to) is thought by the owner to be over 30 years old and has been greatly loved. This makes it an early and from my wide knowledge of Barbara’s work it is unquestionably one of her best resoled. paintings
The more recent painting of sheep is Barbara at her typically more expressive with a wonderful sky and a fine dynamic example of her looser style. Bought after her death the owner is planning overseas travel so is very keenly priced.
“STUDIO WHM SOUNDS” presents BUY BY/BYE BYE COVER
20th March to the 4th of May 2014
This exhibition opened on Thursday 20th March at 5pm as my “Open Studios” feature and continues through to the 4th of May 2014.
A diverse group of artists and designers, were invited to join this studio and create the artwork for a fictitious ALBUM sleeve, in either LP or CD format.
As I wanted to keep the parameters as wide open as possible the only expectation was that artists work to the actual LP or CD size.
Interestingly I found that a number of the invited artists had already made actual Album or CD covers so a special section - THE REAL DEAL forms part of the exhibition - music included. Some works are for sale.
Wrapping around the exhibition is an eclectic selection of Album covers from my personal collection – many chosen as a result of my magpie like attraction to Covers. Also those interested are able to peruse a wide selection of album cover art books that I have gathered over past decades.
My passion for contemporary music and ‘Cover Art’ goes way back. The very first exhibition I curated at the SARJEANT GALLERY was “LP COVER ART” – a stylistic survey of covers. This was back in 1976 and it toured nationally.
Jo BLOGG; Des BOVEY; Russell BROWN; Britt BUNKLEY; Bill CARDEN-HORTON; Sue COOKE; Matt DUTTON; Garry CURRIN; Fane FLAWS; Fred from Germany; Hayden FRITCHELY; Dick FRIZZELL; Andrea GARDNER; Rowan GARDNER; Rachael GARLAND; Jo GIDDENS; Garry GEORGE; Lynn HURST; Adrian JACKMAN; Cecelia KUMEROA; Colleen MARIA LENIHAN; LUIGI; Catherine MACDONALD; Mike MARSH; Sarah MAXEY; Chris MOISA; Scott McFARLANE; Prakash PATEL; Ben PEARCE; Mark RAYNER; Paul RAYNER; Joseph SALMON; David SARICH; A SCHMIDT; Guy SCOULLAR; Margaret SILVERWOOD; Angela TIER; Ahu TE UA; David TRAUB; Philip TRUSTTUM and Lorraine WEBB. I thank the artists for their contributions.
A diverse group of artists and designers, were invited to join this studio and create the artwork for a fictitious ALBUM sleeve, in either LP or CD format.
As I wanted to keep the parameters as wide open as possible the only expectation was that artists work to the actual LP or CD size.
Interestingly I found that a number of the invited artists had already made actual Album or CD covers so a special section - THE REAL DEAL forms part of the exhibition - music included. Some works are for sale.
Wrapping around the exhibition is an eclectic selection of Album covers from my personal collection – many chosen as a result of my magpie like attraction to Covers. Also those interested are able to peruse a wide selection of album cover art books that I have gathered over past decades.
My passion for contemporary music and ‘Cover Art’ goes way back. The very first exhibition I curated at the SARJEANT GALLERY was “LP COVER ART” – a stylistic survey of covers. This was back in 1976 and it toured nationally.
Jo BLOGG; Des BOVEY; Russell BROWN; Britt BUNKLEY; Bill CARDEN-HORTON; Sue COOKE; Matt DUTTON; Garry CURRIN; Fane FLAWS; Fred from Germany; Hayden FRITCHELY; Dick FRIZZELL; Andrea GARDNER; Rowan GARDNER; Rachael GARLAND; Jo GIDDENS; Garry GEORGE; Lynn HURST; Adrian JACKMAN; Cecelia KUMEROA; Colleen MARIA LENIHAN; LUIGI; Catherine MACDONALD; Mike MARSH; Sarah MAXEY; Chris MOISA; Scott McFARLANE; Prakash PATEL; Ben PEARCE; Mark RAYNER; Paul RAYNER; Joseph SALMON; David SARICH; A SCHMIDT; Guy SCOULLAR; Margaret SILVERWOOD; Angela TIER; Ahu TE UA; David TRAUB; Philip TRUSTTUM and Lorraine WEBB. I thank the artists for their contributions.
PHILIP TRUSTTUM Self Portraits 1972/3
12th February to 12th March 2014
FRONT GALLERY -
For the first time ever all of this rare set of 16 oils are on view at the WHMilbank Gallery.
During 1973 Philip Trusttum, in the midst of developing and exhibiting the dynamic and most publicly successful "HOUSE & GARDEN" series, also went back to basics and painted 16 self-portraits as a direct response to experiencing first hand the reality of works by Europe's Post-Impressionist Masters such as van Gogh, Cezanne, Matisse, Gauguin, Soutine etc.
These remarkable self-portraits range from dark and brooding through the self effacing, the iconic and at times the lyrical. They are however paintings that the artist has had strong mixed feelings about, due in large part to the negative feedback he received after completing them, from his art school tutor and mentor Rudi Gopas.The impact of this was devastating causing Trusttum to turn them face to the wall for several decades.
More recently he has been more open to their reconsideration and has sold a few privately. With the help of the artist and owners of some works WHMilbank Gallery is delighted to be able 40 years after they were painted to exhibit all sixteen in their first exhibition.
For the first time ever all of this rare set of 16 oils are on view at the WHMilbank Gallery.
During 1973 Philip Trusttum, in the midst of developing and exhibiting the dynamic and most publicly successful "HOUSE & GARDEN" series, also went back to basics and painted 16 self-portraits as a direct response to experiencing first hand the reality of works by Europe's Post-Impressionist Masters such as van Gogh, Cezanne, Matisse, Gauguin, Soutine etc.
These remarkable self-portraits range from dark and brooding through the self effacing, the iconic and at times the lyrical. They are however paintings that the artist has had strong mixed feelings about, due in large part to the negative feedback he received after completing them, from his art school tutor and mentor Rudi Gopas.The impact of this was devastating causing Trusttum to turn them face to the wall for several decades.
More recently he has been more open to their reconsideration and has sold a few privately. With the help of the artist and owners of some works WHMilbank Gallery is delighted to be able 40 years after they were painted to exhibit all sixteen in their first exhibition.
Compass + Points
20 October to 24 November 2013
Compass Points brings together the work of eight New Zealand artists - some with work new to WHMilbank Gallery, and some drawn from stock.
NORTH
Scott McFarlane & Warren Viscoe
WEST Lance Hayes & Paul Rayner + Jo Blogg & Fane Flaws EAST
Simon Edwards & Julia Morrison
SOUTH
Scott McFarlane & Warren Viscoe
WEST Lance Hayes & Paul Rayner + Jo Blogg & Fane Flaws EAST
Simon Edwards & Julia Morrison
SOUTH
North
Scott McFarlane
Scott was born in Wellington in 1966 and lives in Northland. He completed a Diploma of Fine Arts, (Honours) Otago School of Art in 1993. He has exhibited regularly in New Zealand in private and public galleries and has works in numerous private and public collections.
Scott has been living in Northland for a number of years. Last year the WHMilbank Gallery showed his work for the first time along with Garry Currin and Catherine Macdonald. Here we include three new paintings.
Scott has been living in Northland for a number of years. Last year the WHMilbank Gallery showed his work for the first time along with Garry Currin and Catherine Macdonald. Here we include three new paintings.
Warren Viscoe
Warren Viscoe was born in Auckland, New Zealand, in 1935 and grew up in Whangarei and Auckland. After training as a builder in the 1950s, he studied at art schools in London, Toronto and Auckland. Since returning to New Zealand in 1962 he has lived with his wife Pierrette, and two sons Clovis and Reuben, in Auckland. He has had fourteen solo shows in the Peter McLeavey Gallery, Wellington, and numerous solo exhibitions elsewhere. Over the past three decades Viscoe has worked as a teacher, a jeweller, a toy-maker, an interior designer, and a builder.
The sculpture of Warren Viscoe offers a unique and layered glimpse into the fabric of New Zealand life. It is as significant to this nation's art as the pohutakawa tree is to our natural landscape. This national icon clings tenaciously to our rugged coastline, and despite its wiry, windswept form it generates festive shows of dazzling bloom. So it is with Viscoe, who has clung to and sustained his life as both family man and artist. The weathering experiences of everyday living inform his remarkable sculptures. Time and again over the last three decades, these experiences have 'bloomed' into large and wonderfully hand-fashioned sculptural installations.
The sculpture of Warren Viscoe offers a unique and layered glimpse into the fabric of New Zealand life. It is as significant to this nation's art as the pohutakawa tree is to our natural landscape. This national icon clings tenaciously to our rugged coastline, and despite its wiry, windswept form it generates festive shows of dazzling bloom. So it is with Viscoe, who has clung to and sustained his life as both family man and artist. The weathering experiences of everyday living inform his remarkable sculptures. Time and again over the last three decades, these experiences have 'bloomed' into large and wonderfully hand-fashioned sculptural installations.
West
Lance Hayes
Lance lives in Whanganui and completed a Sculpture major at Whanganui Polytechnic in the 1990s. Currently he teaches Art and Woodwork at Cullinane College. His sculpture is generally highly crafted, coming into existence through lengthy and painstaking hand building processes. A "new" cat was scheduled for this exhibition but time did not allow its completion - perhaps for the Xmas Gem show.
Paul Rayner
While perhaps better known these days for his witty and at times cutting portraits (both in paint and hand built and glazed ceramic) of popular culture personalities, he has also - since graduating in Fine Arts from Auckland University in the late 1980s - maintained a keen interest in making disciplined observational studies.
Through the 1990s he produced a large series of watercolour studies around the lower reaches of the Whanganui River, and then focused sequences daily of at least one pastel drawing of Crown Lynn cups, and then with the same discipline a series of horse watercolours from life.
In 2010 I invited Paul to participate in an exhibition celebrating the Raetihi Ratana Church - he responded with two fine watercolours. Though always active with The Rayner Brothers Gallery which he co-operates with his brother Mark, Paul maintains a high national profile exhibiting in Auckland and in Wellington - at the Bowen Galleries.
Here Paul is turning his hand to observing in watercolour ceramic jugs and vases as 'head scaled' portraits and has just turned two of Raewyne's Ross Mitchell-Anyon jugs into a delightful dual portrait. He returned the jugs when he dropped off the paintings, and they look too good adjacent the painting - to take home - so they are here on loan for the duration of the exhibition.
Through the 1990s he produced a large series of watercolour studies around the lower reaches of the Whanganui River, and then focused sequences daily of at least one pastel drawing of Crown Lynn cups, and then with the same discipline a series of horse watercolours from life.
In 2010 I invited Paul to participate in an exhibition celebrating the Raetihi Ratana Church - he responded with two fine watercolours. Though always active with The Rayner Brothers Gallery which he co-operates with his brother Mark, Paul maintains a high national profile exhibiting in Auckland and in Wellington - at the Bowen Galleries.
Here Paul is turning his hand to observing in watercolour ceramic jugs and vases as 'head scaled' portraits and has just turned two of Raewyne's Ross Mitchell-Anyon jugs into a delightful dual portrait. He returned the jugs when he dropped off the paintings, and they look too good adjacent the painting - to take home - so they are here on loan for the duration of the exhibition.
East
Jo Blogg
"Once upon a time, long long ago, two sad and unwanted ceramic pigs found themselves in a brown cardboard box
(lot #100), at the weekly Wednesday auction..." - Jo Blogg, 'All things bright and beautiful'.
(lot #100), at the weekly Wednesday auction..." - Jo Blogg, 'All things bright and beautiful'.
Fane Flaws
Fane lives in Napier and has a long and well-established reputation as both a graphic designer and artist as well as for being a member of the music industry. Here his engagement runs way back to groups such as "Blerta" and "The Crocodiles".
In 2012 I included Fane in a group exhibition of Hawkes Bay-associated artists curated for the Hastings Art Gallery which was titled EAST. In my essay I reflected on Flaws' creative engagement with the Kiwi vernacular, recycling building materials yet nodding in aesthetic substance to Europe and with the Dada movement (i.e. Arp). Flaws' submission for that exhibition was "A Kludge of Atoms - Large Remolition #2". Of these 30 Atoms Fane made this playful observation - "Piles of pre-loved detritus, flush with their own private histories, were then instinctively remolished into this kludge of absurdity vibrating atomic icons."
Through and since this exhibition most of these 30 Atoms sold but I am pleased to include four of them in this exhibition, along with two new larger works that have evolved from the Atom series. This new series he has called "Formicons" referencing one of the key elements from which they are constructed.
In 2012 I included Fane in a group exhibition of Hawkes Bay-associated artists curated for the Hastings Art Gallery which was titled EAST. In my essay I reflected on Flaws' creative engagement with the Kiwi vernacular, recycling building materials yet nodding in aesthetic substance to Europe and with the Dada movement (i.e. Arp). Flaws' submission for that exhibition was "A Kludge of Atoms - Large Remolition #2". Of these 30 Atoms Fane made this playful observation - "Piles of pre-loved detritus, flush with their own private histories, were then instinctively remolished into this kludge of absurdity vibrating atomic icons."
Through and since this exhibition most of these 30 Atoms sold but I am pleased to include four of them in this exhibition, along with two new larger works that have evolved from the Atom series. This new series he has called "Formicons" referencing one of the key elements from which they are constructed.
South
Simon Edwards
Julia Morrison
Julia is a Christchurch-based artist with a major national profile. She is one of a number of artists who creates designs for the Loom Fabric Design company. Blue Spiral is one of their carpets and we have carpets by other designers in stock.
Philip TRUSTTUM recent drawings
25 August to 16 October 2013
Since Christchurch's devastating February 23012 earthquake destroyed the Trusttum family home Philip has been constrained from making his usually large canvas paintings due to a much reduced studio space. Undaunted he turned back to drawing working on the handmade paper used in Trade Aid books. He quickly began filling the pages of these modest books numbering each drawing and each book as he progressed. The drawings began as close observations of the characters that populated Hieronymus Bosch's fantastical painting "Garden of Heavenly Delights" As the books filled Trusttums creative vision took over and the characters and content increasingly became his own. Armed with an increasing number of contemporary finger puppets and other small toys the drawings first moved from black to coloured inks as these forms did battle on the page with the colours singing as only Trusttum can make them. Then to be expected he became frustrated with the scale of the page and glued one, then another and ultimately multiple pages to accommodate each drawing. These progressed up to works become more than a meter square and these multi sheet drawings 'fell' out of their book and a selection have become the works now on exhibition.
HAMISH HORSLEY - Back to Here
11 February to 17th March 2013
Hamish Horsley's work embraces the spirit and energy of nature, landscape and culture, conveying harmony and reflection. The rhythms, layers and forms and the living symbols that spring from the natural world are the underlying essence for his work as a sculptor, painter and photographer. Hamish's strong environmental and philisophical beliefs lie beneath his articulate creative vision. The accessibility of his work is one of it's defining features.
Born and raised in Whanganui, Hamish headed overseas after studies at Ilam School of Art, returning briefly in the late 1960's to coordinate Whanganui's successful "Serenity Arts Festival" before leaving for further travels in SE Asia and India. Resuming his fine art studies in London in 1976, he graduated from the Royal College of Art in 1986, with a Master's Degree in Sculpture.
Based in London for the past 30 years working as a professional artist and teacher, Hamish has built an impressive reputation with many significant and often monumental public art commissions and private projects.
His work is found throughout the UK, Northern Europe, the Middle East and more recently India, Vietnam and Thailand (where he teaches art and creative practice at Walailak University).
An extensive traveller, Hamish's frequent visits to Tibet and his deep empathy for that country's culture and faith, resulted in the commissioning of one of his most iconic works, 'The Tibetan Peace Garden'. Situated beside the Imperial War Museum in central London, it was opened in 1999 by the Dalai Lama.
These links also reachd Whanganui when in 1996 his exhibition of photographs titled, "Near to Heaven, Travels through Tibet", was shown at the Sarjeant Gallery. As part of the exhibition, Hamish broughtthree Tibetan monks to make a Sand Mandela under the Sarjeant's dome. An astonishing success, the eventdrew upwards of 15,000 visitors in 10 days. The photographic works now form part of the Sarjeant's collection.
After rediscovering New Zealand's magical landscapes during recent visits, Hamish made the decision to move back here permanently. He packed the entire contents of his London home and sculptor's studio and shipped it all to New Zealand, and is currently living in the Coromandel. Although Hamish has yet to find a permanent home for his studio he has begun work on a new collection of painting and sculpture that integrate his past and present with the landscape and culture of Aotearoa.
Based in London for the past 30 years working as a professional artist and teacher, Hamish has built an impressive reputation with many significant and often monumental public art commissions and private projects.
His work is found throughout the UK, Northern Europe, the Middle East and more recently India, Vietnam and Thailand (where he teaches art and creative practice at Walailak University).
An extensive traveller, Hamish's frequent visits to Tibet and his deep empathy for that country's culture and faith, resulted in the commissioning of one of his most iconic works, 'The Tibetan Peace Garden'. Situated beside the Imperial War Museum in central London, it was opened in 1999 by the Dalai Lama.
These links also reachd Whanganui when in 1996 his exhibition of photographs titled, "Near to Heaven, Travels through Tibet", was shown at the Sarjeant Gallery. As part of the exhibition, Hamish broughtthree Tibetan monks to make a Sand Mandela under the Sarjeant's dome. An astonishing success, the eventdrew upwards of 15,000 visitors in 10 days. The photographic works now form part of the Sarjeant's collection.
After rediscovering New Zealand's magical landscapes during recent visits, Hamish made the decision to move back here permanently. He packed the entire contents of his London home and sculptor's studio and shipped it all to New Zealand, and is currently living in the Coromandel. Although Hamish has yet to find a permanent home for his studio he has begun work on a new collection of painting and sculpture that integrate his past and present with the landscape and culture of Aotearoa.
THREE SHADES OF GREY
Garry Currin + Scott McFarlane + Catherine MacDonald
1st December 2012 - 2nd February 2012
ICARUS - Scott McFarlane
- Garry CURRIN Salvage
- Scott McFARLANE The First Rays of the Morning Sun
- Catherine MACDONALD Furniture
Here though they have shaped their own exhibition within this small space each with their own title.
Works will be retained asgallery STOCK after the exhibition closes
SALVAGE
Artist Garry Currin's first exhibition in his old hometown of Wanganui is a sea narrative, a storyboard idea about the foundering of the cargo ship 'Port Bowen' which ran aground at Castlecliff Beach on Wanganui's west coast on July 18,1939.
The stranded ship remained there for 3 years in which time it was slowly dismantled, much of the material being used for the war effort.
The series, titled SALVAGE, is a collection of creative responses to aural history; stories told to Currin as a child by both his mother and his grandmother and is a departure from his moody and enigmatic landscapes as he brings more figurative and representational elements into these works.
Currin says, "I have worked to capture the sound of those stories. The sirens and the waves,the cold, the fires, the giant on the beach, the watching and the waiting".
The stranded ship remained there for 3 years in which time it was slowly dismantled, much of the material being used for the war effort.
The series, titled SALVAGE, is a collection of creative responses to aural history; stories told to Currin as a child by both his mother and his grandmother and is a departure from his moody and enigmatic landscapes as he brings more figurative and representational elements into these works.
Currin says, "I have worked to capture the sound of those stories. The sirens and the waves,the cold, the fires, the giant on the beach, the watching and the waiting".
UPDATE: Ten Years On
FRONT GALLERY
2nd November - 25th November 2012
A group show featuring a selection of Whanganui Quay School of Arts graduates from 2002 and 2003 - an 'update' of their art practice and subsequent careers, a decade since their graduation.
2nd November - 25th November 2012
A group show featuring a selection of Whanganui Quay School of Arts graduates from 2002 and 2003 - an 'update' of their art practice and subsequent careers, a decade since their graduation.
Ben Pearce + Daniel Clifford + David MacDonald + Katrina Langdon + Rachael Garland + Vanessa Edwards
Erna Stachl + Katey Pitwood + Eva Schmaus + Sanit Klamchanuan + Nicola Hemphill + Nichola McMullen
Aly Scott + Amber McFadyen + Jenniffer Fernyhough + Carmen Simmonds + Claire Lundon
Erna Stachl + Katey Pitwood + Eva Schmaus + Sanit Klamchanuan + Nicola Hemphill + Nichola McMullen
Aly Scott + Amber McFadyen + Jenniffer Fernyhough + Carmen Simmonds + Claire Lundon
SELECTED GLASS ART
28 September - 28 October 2012
Featuring work by:
Jo Auld, Emma Camden, Gail Edmonds, David Murray, David Traub
This show coincides with the Wanganui Festival of Glass
JAMES ROBINSON - Recent paintings and Drawings
July 6 to August 26 2012
FALLING 2011 - Mixed Media on Canvas
James Robinson studied at the Otago School of Fine Arts, graduating with a Bachelor of Fine Arts in 2000 with a major in painting.
In September 2007 Robinson was the winner of the paramount award at the Wallace Art Awards and as recipient of this award James undertook a residency in New York with the International Studio and Curatorial programme.
Robinson returned to New Zealand in 2008 to be artist-in-residence at Tylee Cottage in Wanganui.
Robinson has exhibited extensively in both New Zealand and overseas.
WHMilbank Gallery is delighted to present this latest collection of Paintings and Drawings, including work from the 2011 Wairua Series.
All enquiries welcomed.
HIDDEN IN PLAIN SIGHT - Images of the Unnoticed - RICHARD WOTTON
May 19th to June 30th 2012
INTRODUCTION
I first met Richard Wotton in 1976, a year after I began working at the Sarjeant Gallery as exhibitions technician. Richard had shown his photographs to the Sarjeant’s director, renowned art historian Gordon Brown, who scheduled an exhibition into the 1977 programme. By the time the exhibition neared, Brown had left and, as acting director, I had the pleasure of working with Richard installing his work. On becoming director in 1978, my interest in New Zealand photography generally and Richard’s work in particular became an important focus for the Sarjeant. Over the next decade, his work was included in both group and solo shows and regularly acquired for the Sarjeant’s significant and growing collection.
In 1985, the Sarjeant organised jointly with the then Manawatu Art Gallery a survey selection of his 1980s work, which was shown in both institutions. Wotton’s photography had clearly been gaining attention beyond Wanganui from the mid-1970s to the late 1980s, as is well demonstrated by this following exhibition track record: Solo – The Gallery Coffee House, Wanganui,1976; the Sarjeant Gallery, 1977; Antipodes Gallery, Wellington, 1979; Invited Artist, Wanganui Potters Exhibition, Sarjeant Gallery, 1983; and group PhotoForum members’ exhibitions in both Auckland and Wellington from 1976 to 1984. He also had a solo show at Real Pictures Gallery, Auckland, in 1985.
Late in 1987, I employed Richard as the Sarjeant’s photographer and designer, a decision that was of great benefit to the institution but, I suspect, one that may have contributed to his drift from actively pursuing his personal photography from the late 1980s until his re-engagement with the medium in 2006 – but now digitally. However, in 1990, Richard did have an entry in the United Photographic Award, a national event hosted by the Sarjeant Gallery, and in 1997 the Sarjeant exhibited a suite of works called Insides Out: Contemporary panoramic photographs.
Since my position at the Sarjeant was disestablished in 2006, I’ve reinvented myself as an art dealer, appraiser and valuer, exhibition curator and coordinator and operate the WHMilbank Gallery here in Wanganui. In 2009, I felt privileged when Richard approached me to exhibit a selection of his Travelling Lightseries of digital colour prints of images taken during a 2008 trip through Southeast Asia. Following this, he self-published a stunning book of his 2010 Vietnam images, and now, over the past six months, I have watched with great relish the accumulation of the images that will grace this publication and our planned May 2012 exhibition.
I am delighted that Peter Ireland, New Zealand’s foremost photography curator, commentator, critic and writer, has looked at and written eloquently about this new body of work by Richard and trust that this invaluable focus will encourage further ventures into revealing our unseen New Zealand.
Bill Milbank
A SUMMER HARVEST1st December 2011 to 20th February 2012
"A Rich Picking From Stock and Other Sources"
FRONT GALLERY
Selected from new and existing stock, an eye catching and eclectic selection of both 2D and 3D works from local and national artists.
Also on display are a wonderful selection of works from the Anna Rutherford collection of "House of Bianchini Ferier" designs - which are complemented alongside works from Anna Rutherford. There is also a wall of selected Trusttum collages, drawings and a magnificent 1974 painting.
Individual works from this exhibition are below - please click on image for details.
FRONT GALLERY
Selected from new and existing stock, an eye catching and eclectic selection of both 2D and 3D works from local and national artists.
Also on display are a wonderful selection of works from the Anna Rutherford collection of "House of Bianchini Ferier" designs - which are complemented alongside works from Anna Rutherford. There is also a wall of selected Trusttum collages, drawings and a magnificent 1974 painting.
Individual works from this exhibition are below - please click on image for details.
A SUMMER HARVEST - individual works
(click on images for details)
TRUSTTUM WALL
December 2011
An selective small exhibition of works from the Trusttum stockroom on display in the Front gallery.
3 drawings from the 1970s and 1980s are alongside 2 boldly executed small scale collages from the mid 1970s.
These are offset by a large rich oil painting from 1974.
All enquiries welcome.
3 drawings from the 1970s and 1980s are alongside 2 boldly executed small scale collages from the mid 1970s.
These are offset by a large rich oil painting from 1974.
All enquiries welcome.
OFF THE BENCH
Philip Trusttum Showroom
28th August to 20th November 2011
This exhibition is complimentary to the exhibition "DON'T THE BOYS PLAY WELL" on show at the Sarjeant gallery during the same time period.
Anna Rutherford Collection
December 2011
A selection of works from the Anna Rutherford Collection of original designs from the "House of Bianchini Ferrier" with artists such as Raoul Dufy and Roberts Bonfils. These works are displayed alongside some vibrant pastel works by artist Anna Rutherford.
CHRISTCHURCH CONTINGENT
28th August to 20th November 2011
CHRISTCHURCH CONTINGENT in the Front Gallery
This exhibition draws on work held in stock by a number of Christchurch based artists including Barry Cleavin, Simon Edwards, Ross Gray, Julia Morison, Simon Ogden, Eion Stevens and Philip Trusttum.
Christchurch's plight is etched on the minds of us all with the devastation the city and it's people have suffered from the major earthquakes that have impacted the region over the past year and affected all of these artists in varying ways. WHMilbank Gallery felt it very appropriate to gather together their work as a means of acknowledging their situation and encouraging public interest and support in their work.
It coincides with a significant collection of works by Christchurch artist Philip Trusttum held 'on loan' for years being transferred into the permanent custodianship and stock of WHMilbank Gallery.
To give a powerful and direct Christchurch focus, the pivotal work and the cornerstone for the exhibition is a major Trusttum acrylic on canvas painting "PLAN OF CHRISTCHURCH" 1978/79. It is a massive 3200mm x 2400mm richly painted 'plan' of the city. This work was amongst a number of Philip Trusttum's important works that have recently become part of our stock. Also this year WHMilbank Gallery has taken into stock works by Simon Edwards, a younger emerging realistic painter who has been making his presence increasingly known over the last decade. Likewise, after several years in operation, WHMilbank Gallery has at last got the work of master printmaker Barry Cleavin in stock.
Please click on the images below to view the works in this exhibition. All enquiries are welcomed.
Christchurch's plight is etched on the minds of us all with the devastation the city and it's people have suffered from the major earthquakes that have impacted the region over the past year and affected all of these artists in varying ways. WHMilbank Gallery felt it very appropriate to gather together their work as a means of acknowledging their situation and encouraging public interest and support in their work.
It coincides with a significant collection of works by Christchurch artist Philip Trusttum held 'on loan' for years being transferred into the permanent custodianship and stock of WHMilbank Gallery.
To give a powerful and direct Christchurch focus, the pivotal work and the cornerstone for the exhibition is a major Trusttum acrylic on canvas painting "PLAN OF CHRISTCHURCH" 1978/79. It is a massive 3200mm x 2400mm richly painted 'plan' of the city. This work was amongst a number of Philip Trusttum's important works that have recently become part of our stock. Also this year WHMilbank Gallery has taken into stock works by Simon Edwards, a younger emerging realistic painter who has been making his presence increasingly known over the last decade. Likewise, after several years in operation, WHMilbank Gallery has at last got the work of master printmaker Barry Cleavin in stock.
Please click on the images below to view the works in this exhibition. All enquiries are welcomed.
ANIMAL ANTICS
21st June to 21st August 2011
An eclectic gathering of animal-like art by local and nationally based artists
Animals have for centuries attracted the attention of artists and it is no different today, though some new readings resulting from the liberation of postmodernism are being loaded upon our genetically close relatives. In recent years the most realistic of depictions of animals often with an almost human presence through the oddest genetic morphing in have been present in exhibitions both internationally and locally.
This small FRONT GALLERY exhibition gathers together a few examples from the ever changing fauna grab-bag that have recently attracted Bill Milbank's attention.
Artists included are Russell Brown, Gail Edmonds, Joan Grehan, Catherine Macdonald, Fiona McGowan, Simon Ogden, Paul Rayner, John Roy, Erna Stachl, Philip Trusttum, Michel Tuffery, Clovis Viscoe, Denys Watkinns and Penni Wyse.
Please feel free to enquire about any of these works as many are retained in Stock.
Animals have for centuries attracted the attention of artists and it is no different today, though some new readings resulting from the liberation of postmodernism are being loaded upon our genetically close relatives. In recent years the most realistic of depictions of animals often with an almost human presence through the oddest genetic morphing in have been present in exhibitions both internationally and locally.
This small FRONT GALLERY exhibition gathers together a few examples from the ever changing fauna grab-bag that have recently attracted Bill Milbank's attention.
Artists included are Russell Brown, Gail Edmonds, Joan Grehan, Catherine Macdonald, Fiona McGowan, Simon Ogden, Paul Rayner, John Roy, Erna Stachl, Philip Trusttum, Michel Tuffery, Clovis Viscoe, Denys Watkinns and Penni Wyse.
Please feel free to enquire about any of these works as many are retained in Stock.
