Works from seminal and emerging artists from around the globe, roundabout incorporated some really great works for me. The works all held up technically for me, conceptually as a show however, it felt quite staid. I actually enjoyed that aspect though. It was nice to wander around and let each work tell it's story. The pieces spanned many thought provoking areas. There was many signs and icons used, many of which were eastern and I wish that I knew and understood what these were. Some large pieces of work from Bhutan, India and Tibet looked almost like historical pieces with contemporary elements. Almost Kama Sutra type and other religious iconography in one piece by artist "Gade", of Tibet clashes with or perhaps becomes overlaid with modern imagery, helicopters, soldiers, guns and aeroplanes occupying the body of the laid down demoness. In the middle of the room stands 3 bright sculptures. The elephant and the dinosaur, (Japan, China), must surely appeal to children and as I am standing there this is evident when a school trip comes through, I love the comment from one girl, "wow this must have taken so much time".
I then go over to the pieces that brought me to the show in the first place. Huang Yan's work of chinese landscape face painting summer and winter.
2 large pieces which when I saw them in print I thought were photographs but now I see are oil on canvas. The large works sit beside each other and I am glad I got to see them in person.
This room feels entirely Eastern with the colour palette and the icons and signs used with in each work, one artist in the corner of the room is german but still follows these themes. Michael Parakowhai's work entitled Kiripaka stands in the entrance way, I look at the women assistant standing opposite, I look at Kiripaka, I look at the women standing opposite, I look at Kiripaka, I think if I had a question I would want to ask Kiripaka, he appears guard like in all his dark depth but he still looks approachable to me. The work of Feng Bin (china), entitled dance, is not something I would usually like however, the hues of warmth, the watery feel and the lapping of purple against red against yellow against orange makes me feel really contented. I love that it lies on silk, not on a canvas, a canvas would seem too harsh, too rough, too solid for it's delicateness. From what I can tell without going around again there is almost no craft objects, aside from the considerably amazing maori carvings in some of the entrance ways, which I have to say blow my mind in there execution. The only other I can remember is the textile piece, a large silk embroidery from bhutan, which is incredibly intricate and colourful, it doesn't say machine embroidered so as a piece if it was by hand it is amazing craftsmanship and crosses very nicely into the art world as a craft piece. In this show which has started it's world tour from wellington, NZ, the curatorial process that must have been involved would have been epic to say the least but I think it must have been a very satisfying job with so many incredible pieces. I wonder if the NZ pieces stand out for me because I am a New Zealander and I understand the signs more so than say for instance, the eastern pieces. Some of them are truly exciting to see in person. The stand out piece for me to see not from a book is the Fiona Pardington Hei Tiki C-type print. I have always loved this image and it was so nice to see it for myself finally. I also really enjoyed the large colourful piece by Chris heaphy called Sea of Tranquility. Acrylic on linen including figures, hands, skulls, bombs, signs that all, when you stand back, make up a skull.
One of my favourite works at the show were the vessels made by Pinaree Sanpitak of Thailand. They are bronze large vessels with the replicated shape common to that of the female breast. It is black on the outside and gold leaf on the inside.
The upstairs of the gallery is truly exciting, I can't keep up, I want to run around and then go once more but slowly. I must go back to this show I can't take it all in today. The C-print, a pure white scape of fragility and poise from Lisa Reihana, entitled, Camarillo, blows me away. I can't stop staring. The almost bird like nose of the stunning, slim, pale women in the image , corresponds with her feathered bustle. The piece was described by Reihana as "strong women", and I feel that my usage of the word 'fragility', can sit nicely beside that. Even though the meanings are different.
66 smallish works on paper called "Animal mysteries volume 3-part1', is a remarkable and sort of pop culture series from the Australian artist, Eugene Carchesio. My favourite is the watercolour of a parrot/man/boxer! Of course as a recovering bogan/gothic from the south island of NZ, I can't go past skulls in work either. Small studies of birds, kangaroos, grasshoppers, monkeys and others greet each other through pen, pencil, paint and watercolour in a very polite manner.
This is my feelings so far on the show but like I say I need to re-visit. There were rooms I never made it to and pieces I didn't get to spend enough time with. I find the set up of the show manageable, and some rooms stand out for me as I am sure varies amongst all the visitors. if you are on the trail of this show I think it is a really well worth while one to spend some time at.
