Hangar re-opening exhibition
A group show of friends
Hangar Art and Framing have reopened their gallery with a group exhibition. Situated in a Villa at Cross St in the Regent, Hangar has dedicated three rooms to gallery display.
Northland artist Chris Wilkie shows his talent in the ethereal ‘Waiata in Light’, a painting with kokako set against a southern scene, it is rich and luminous. His skill continues with the darker ‘Big Fish Eat Little Fish’, a homage to Brueghel.
Waikato’s Russell Shaw confronts the viewer with multiple imagery and lashings of colour. ‘Lifestyle (B)locks’ depicts an alien environment, clone like figures swarming over a once peaceful rural scene. The vibrant portrait ‘Welcome to (y)our wor(l)d’ shows how glorious paint can be.
The oval paintings by Robert Scott seamlessly blend humans into the landscape. ‘Man in Crops’ has a farmer in his field with a sense of summer stillness. The last Moa is a coy ‘what if” moment. Scott is the well known musician in Flying Nun bands the Clean and the Bats.
The large oil painting ‘Barbeque at Nephilims’ by Barry Squire has ancient references. Relaxing giants float in a toxic looking sulphuric yellow whilst a sphinx roasts a feast fit for Nephilim. Classic themes also unfold in the magnificent ceramic sculpture ‘Of Gods and Sex’ a collaborative piece by Rosie Parsonson and Richard Darbyshire. An erotic image of Leda and the swan adorns the vase which is crowned with an elegant double headed black swan.
Megan Corbett exhibits solar etchings in vintage frames. ‘Puzzled’ and ‘Impediments’ are beautifully rendered works echoing themes of memory and poignant statements of loss.
‘Te Ahi ko Mau’ by Toi Te Rito Maihi is a commanding work that teases the eye with bright geometric lines writhing across the wall. It is a masterful painting and now rare, as Maihi focuses her creativity on weaving.
Geometric abstraction is also a focus in Richard Cranenburgh’s paintings. He describes relationships with linear motifs, layers of color and texture overlaid with gold and copper leaf.
Filani Macassey paints with soil and clay pigments on tapa, her painting is organic, earthen and well considered. She describes her work as Pacifica influenced by Braque.
‘Tall Cloud fall’ by Alex Smith recalls McCahon, chromatic and layered, produced with an assured sense of rhythm. Smith paints and constructs to achieve a desired rendering.
Waipu artist Brett a’ Courts practice is painterly brushed, poured, dribbled and collaged. A’courts process is a search into the spiritual iconography of contemporary NZ painting. ‘Dead Shag at Johnstones’ point is a strong overview of mortality, referencing the nature and biblical themes.
Well known artist Scott McFarlane paints beyond landscape but with the earthy hues of a Northland summer drought, his figures dance and contort across the surface. ‘Lipstick Index’ is an intimate masterpiece.
Dianne Trewin’s paintings are typical of Aboriginal artist renderings. Snakeskin is a elongated work, whilst her untitled work is rendered in dark crimsons and inky night tones.
The figures and animals in Peter Geekie’s paintings are both thoughtful and comical they wait patiently for the play to start. Geekie draws us into subconscious, dreamlike depths.
Ted Hardy ‘s carving ‘fish finger’ was a totara fence post and now sits alongside Akke Tiemersma’s ceramic gargoyles on the mantelpiece.
Hangar Gallery will continue show exhibitions that offer a point of difference.
