Review by Julian McKinnon

“Five painters 2009” was held at the New Zealand Academy of Fine Arts from August 28-30. The artists on show, Jane Blackmore, Anne-Marie Jean, Anna Stitchbury, Michael McCormack, and Matt Guild banded together to present a large scale exhibition that filled the entirety of the Academy’s galleries. The Exhibition’s duration, all too brief, was no reflection of the quality of what was on offer; all of the exhibiting artists had presented a significant number of artworks that were finished and presented professionally. The only drawback was that more people wouldn’t have the opportunity to see this body of work. According to Anne-Marie Jean however, the fleeting nature of the exhibition motivated people to prioritise seeing it.

The artwork on display was eclectic, ranging from Guild’s hyper-realist images of domestic kiwiana and rural Arcadia, to Anna Stitchbury’s largely abstract decorative creations. Whilst there was little common ground in the stylistic approach to painting, there was a consistent enthusiasm for the exhibition, the group, and painting itself. “Stylistically nothing competes, and all of the works are large and confident.” said Stitchbury. To the casual observer the differences in subject matter and painting style could make the exhibition appear disjointed, though a viewer with a broad appreciation for painting in all of its forms would experience this diversity as a sensory treat. On this subject Michael McCormack said: “A true artist or lover of art will be open-minded enough to appreciate all painting, be it purely abstract or hyper-realist representational work”.

Beyond the obvious differences in stylistic approach, the artists shared a belief in each other and the work “We collectively cover a broad spectrum of styles, but our artwork and our personalities work together.” said Matt Guild. This degree of personal cohesion appears to have been significant when the exhibition was hung “Things really came together at the hanging stage. It was like making a collaborative art work and a really creative experience. We got drawn into bigger picture of the exhibition as a whole.”Said Anne-Marie Jean “The more we get to know each other the more we develop a level of trust.”She added. This being the second consecutive year that the artists have held this show, that trust and cohesion has had some opportunity to grow.
In an intriguing and cooperative touch the works were interspersed throughout the gallery, rather than separated into showing areas by artist. The effect guided the viewer to observe each of the artists work in equal measure. My first impressions were of a vast, well presented show with a diverse range of work on display.

Matt Guild’s “Hamilton Beach Milkshake”, an exceptional photo-realistic rendering of the classic milkshake machine capturing detail down to the reflections in the chrome trim, immediately grabbed my attention. The detailing was impressive and demonstrated a huge sophistication of technique and a great deal of patience. When asked why he chose photo-realism Matt said: “I think that’s part of my character – my sock draw isn’t organized, but when it comes to creating things I like precision. The technical challenge of photo realism does it for me.” He discussed the food element recurrent in a number of his works “As Kiwi’s we relate around food. Watties sauce, Weet-Bix, and Jaffa’s capture the essence of Kiwiana. I wanted to transpose that aspect of kiwi culture into art.” He discussed his interest in pop art, Warhol, and Lichtenstein “In some ways what I’m doing has a Warhol influence with a kiwi inflection.” He said. Guild also discussed his representations of kiwi arcadia, vehicles in paddocks and rural scenes. “I’m interested by images that evoke a childhood memory, and give a sense of nostalgia.” He explained. His subject matter is so much a part of the New Zealand experience that few would not find some aspect of their past reflected in his images.

Jane Blackmore’s works, landscapes reduced to a hazy streamlined aesthetic impression, use a restricted and dark palette. They communicate enough visually to give the viewer a distinct landscape, though leave out representational detail for the sake of graceful simplicity. In some instances they’re driven to the brink of abstraction. “At one point I explored pure abstraction, though I couldn’t get immersed into it in the same way I do with these works.” Jane said whilst indicating one of her brooding landscapes. The stylistic effect is smooth, absorbing, and easy to appreciate. There is a moody, emotional presence to some of them, which strikes an inner chord. “Most of my works explore similar subject matter, so I’m working in a familiar zone. That said I think there’s a balance to be struck between working in an identifiable style and maintaining artistic integrity. Sometimes I have to go completely all out in my emotional engagement with a painting to stay true to my artistic impulses. Often those works which touch my emotional core get the best reactions from viewers”. With many complements and more than a few sales, viewers were clearly responding to her work. Given the aesthetic beauty and subtle elegance of her work, it wasn’t difficult to see why.

Anna Stitchbury’s works combine paint with textured Fabric. Stencilling, silkscreen, and gold leaf all have a role to play alongside conventional painting. Her works are decorative, fun, and funky. “Coming from a textile background I don’t find it satisfying to work paint straight on to canvas. I start with a seed of an idea and apply paint and texture to the canvas. Texture really adds complexity to the work, though it’s out of my control. There’s an element of surprise in how it comes out, it builds on itself. The process is very organic.” Her approach to making art and her personality seem to match the vibrancy and quirkiness of her work. “If I had to call my art by a genre it would be romantic comedy. It’s something light that you may not remember in ten years, but really enjoy at the time. She’s happy with terms like: decorative, playful, and pretty being applied to her work. “Serious artists tend to run away from such labels. I don’t have a problem with that – I come from a design background”. It’s not that Anna isn’t professional, dedicated and committed to being an artist, more that she prioritises spontaneity, creative expression and fun. “I just don’t take myself too seriously. I just really enjoy painting and want to pass on to viewer some form of feeling, especially happiness.” With that goal in mind, the work she was exhibiting clearly hit the mark, offering a light and enjoyable point of difference to viewers.

Michael McCormack’s street scenes and forest sketches are highly representational, though they steer away from photo-realism. Paying homage to the post impressionists, Derrain, Gauguin, and Vlaminck, McCormack uses colour in a way you wouldn’t see in a natural setting. Deep reds, purples, splashes of orange are present, but woven into the colour scheme with a subtle sensibility that leaves the viewer initially unaware of the unnatural hues. Wellington city features largely in McCormack’s work, though evidently this is more about his experience of being in a place than the city itself. “I’m concerned with catching the essence of a moment in time, and the light present in that moment, more than any particular place. That said I love Wellington, I chose to live here when I came to New Zealand” said McCormack, originally from Ireland. “I draw inspiration from the transformative effect light has on colour. Light enhances colour. I work with light, perspective, and composition to invite people into the painting.” McCormack goes on to explain other sources of inspiration that have influenced this latest body of work: “I have always loved the free use of colour of Paul Gauguin, his violets and mauves especially. My Kaitoke Bush paintings are influenced by this use of colour, German expressionism too to some degree and also the approach of fellow 5 painters exhibitor Anne-Marie Jean. McCormack’s more usual subject matter are street paintings. “I have always really related to Edward Hopper’s work, though when I saw it in the flesh I found the paint quality a little disappointing. Nonetheless the way he captured light was extremely compelling.” For all of the references McCormack’s work is very much his own, weaving light, colour and perspective to make an inviting representation that gives the viewer much more once they scratch the surface.

Without any discredit to the standard of the other artists’ work, to my eye the most captivating artist on show was Anne-Marie Jean. Her work has an expressive grace and painterly depth that can elude the viewer at first glance. Brushwork that initially appears loose, almost careless, draws the viewer into a deep almost meditative reverie after a few moments of observation. Her works give the viewer just enough to grasp their representational elements: landscape, trees, and foliage before they delve into a deep conversation between paint and canvas. It seems like the artist’s concerns were at least as engaged with this dialogue as the nominal subject matter. Areas of primed canvas appear through the paintwork, giving an element of rawness, though they read every bit as much a part of the work as those painted to a likeness of flowers. The works operate in a zone between sketch-like depictions of forms, and something bordering on abstract expressionism. It’s of little surprise that Jean lists Cy Twombly and Joan Mitchell amongst her influences. “I want people to be aware that I’m painting. I do a lot of sketching and I want my work to retain a sense of drawing” said Jean. “The painting is started from a visual or experiential cue, but I like to let the painting inform what comes next. It becomes a conversation” she added. The excellent painterly qualities of these works grew on me more and more as I browsed the gallery. We discussed her interest in and inspiration from nature, bushwalking, and her tendency to work on a large scale “Larger scale works can envelop your senses. When you’re out in nature your whole body is engaged, big paintings can emulate this” she said. Jean went on to discuss the emotional aspects of paint and what can be achieved with it. “I’m in love with painting and what can be achieved with it. I can’t predict who’s going to like my paintings – there doesn’t seem to be a particular type of person, though people who do like it really like it passionately.”

The show was sponsored by Grant Thornton, Kensington Swan, PrintStop Plus, Jackson Estate Wine and Billionaires Catering. “Their sponsorship was what secured the show for us and contributed to making it such a success.” said Anne-Marie Jean. Evidently it was a great success for the artists, attracting a large number of regular followers and support as well as a whole new audience. Matt Guild in summarising said “A key thing about the show was getting our work out there and gaining exposure. We’re all working on our own careers, but also working together. Five artists have a broad appeal, and there’s more momentum and energy behind it than in a solo show. As this is the second time we’ve had the show, People follow the concept. We’re all committed to getting a 3rd installment to happen”. Wellington’s art viewing public will welcome a third edition, and the opportunity to see this talented group of artists take their collaborative efforts further.