Conceal Reveal (Squared)

The only regret I have about Conceal Reveal, an exhibition by sisters Mags Meechang and Angela Meecham, is my delay in experiencing this riot of colour and texture on now through the weekend at Southland Museum and Art Gallery in Invercargill.

Relaxing on the cushioned seating in the middle of The Community Gallery, I allow my brain to soak up the deliciousness of Meechang's and Meecham's works. Wow, where do I start.

Angela Meecham considers her works almost geological, with layers built up and concealed over time, waiting to be revealed. She loves texture, lots of crunchy, bubbly, stringy, gorgeous texture. I mostly associate such surfaces with darker brooding works or earth-toned paintings. Meecham, however, loves colour. Her combination of rich 3-D surfaces and colour is stunning ---a word overused, but so applicable here. It is nearly impossible to choose my favourite of her 15 piece display.

I'm especially attracted to her Transition series, which is reminiscent of strata of earth and rock seen roadside when a hillside has been dug into for a highway. Meecham incorporates beautiful, vibrant colour yet retains an earthiness to her compositions. Transition Red really suits me, only because red is my favourite colour. However, Transition Blue and Transition Gold are equally mysterious and elegant.

As a figurative artist, I'm also enchanted by Angela's sets of three series, especially Threads, Attire, Turnout. Great imagination, skill and forethought are evident in the use of sparkling fibre to "draw" exquisite profiles of women presumably arranging their hair, clothing and makeup.

The colours in Mags Meechangs offerings are in your face...but in a most wonderful way!!

The thick layers and dribble of paint in Generations Investigated-Facts Revealed is reminiscent of Pollock, while the explorative nature of Synthesis and Fragmentation, one of Meechangs more subdued works, is equally rewarding.

Few Have The Complete Freedom To Choose and It's In There Somewhere, bright and bold works with thick acrylic, corrugations, and fabric are compelling viewing. They may be my favourites, but then I also admire her "Generations" and "Synthesis" pieces as well.

Canvas mounted dyed silks Boys Day Out and Girls Night Out accentuate Mags many artistic abilities, and are examples of a great sense of humour found in several works.

I've said enough and don't want to delay getting this posted. I strongly urge you!!! Please make the time to see Conceal Reveal before it's closing on Sunday 29 March. But stay tuned. This upcoming week I'm privileged to have Mags and Angela visit my studio. I hope to post more about these talented sisters soon.

On Faith and Of Men

Entering City Gallery on Don Street to see Glory, Visions of Faith, I look forward to viewing works by Gabrielle Thomas and Michelle Dawson. To my surprise, I am treated to a considerable collection from artists of faith with varied approaches to and interpretation of the exhibition scripture, Psalm 34:3 "Glorify the Lord with me; let us exalt his name together."

Proudly, as if a standard-bearer for the exposition, stands Stuart King's steel crucifix sculpture Stauros in the middle of Gallery I.

Clearly, Michelle Dawson enjoys experimenting with diverse surfaces and varied approaches in her medley of textured contemporary acrylics. The grittiness of Torn, with rust, blacks, and blues on a rough concrete-like support is beautifully formed.

The Way, an acrylic on paper effectively demonstrates Shannon Thomson's graphic abilities, including stencil-like effects in this chic composition. Thomson seems to be equally adept with her camera and has several photographic offerings on view.

Nearby are the carefully textured, meticulously crafted Winds of Change, an acrylic by Anne Grindell. Her precise yet gentle style is evident in her lovely acrylic on paper landscapes as well.

Steeped in Samoan-Pacifica influenced culture, Lyle Penisula presents his energetic vision of the invisible spirit world in The Unseen Realm. The viewer witnesses the earthly battle between heavenly angels and hellish demons in this bold painting of reds, black, white and tan. The work is real treat to behold.

Surrounding this drama on one side is Cross, an adventuresome canvas by Ian Wright, who has taken to painting only a few years ago, and on the other, Gina Van Wichen's Emerging Night. This abstract is fascinating because of the use of pure, saturated colours, with a sense of mystery masterfully maintained. Van Wichen, a tutor at Southern Institute of Technology, and a well-respected juror to Southland art contests, is my favourite discovery of this exhibition. IAM, a small, but potent acrylic on canvas, Jesus Iconography, a gouache in the Eastern orthodox tradition, and The Last Supper, a pastel on paper, also confirms Van Wichen's many abilities. I truly hope to see her exhibit her talent more often.

City Gallery Manager Gabrielle Thomas showcases her faith and ability in Doors of the Heart, This is Jesus, a figurative work, and Freedom, which is an imposing diptyche of stylised wings on panels of dark turning into light.

Caren Ward rewards the observer with her straightforward, beautifully subtle works, Hope, Trust, and Prodigal. Brydie Baxter's mixed media Joy and acrylic Precious to God are also displayed; as are Chris Love Thomson's distinctive acrylic, For God So Loved the World, and Barb Ellison's, What's on Your Heart, Lord.

I like the display of Youth and Student Art. Dominque Maheno's red-toned paper mache, declares his faith in Believe. Brent Jamieson proclaims the enormity of divine power in Uncontainable, a mixed media 3-d on canvas. The Tapanui Youth Group collaborates in their colourful and vibrant acrylics My God is So Big and Eternal. Jane Stuart's I Am along with Lindsey Wilding's confident, bold screenprint, Life round out the youthful contributions.

Standing at the youth display area, I spy the Blokes Art exhibition in Gallery 2. Oh, boy. I can't wait!!

Gender-specific, Blokes Art, is chocked full of works by incredibly talented Southland men.

I'm first drawn to John Cutt's pastel, Light as a Feather. Subtly hued, the feather seems almost real, touchable. Providing refreshing emerald contrast is Tony Green's Summers Eve, Thompson Bush, a deftly composed acrylic. It offers areas of precision, but is not overworked. It's good to see Tony's graphite on paper, Old Puerua Church. Russel Everett's neighbouring charcoal sketches are a welcome change of pace, especially his Study of Liquid.

Dave Dustin, justifiably proud of his stunning prints, offers the visitor a chance to handle and study a print plate for his etching Glenorchy Wharf. Cabbage Tree, a lino print, features vibrant blue lines representing Southland wind blowing the fronds Impressive mastery of several media is shown in Wakatipu Skies, created using water colour, etching print and lino print. Stream, a woodblock print, won the 2008 Most Interesting Use of a Medium at Southland Art Society's Provincial Pride in 2008.

Stuart King, who also contributes to the show in Gallery I, has three stone carvings in the men's exhibition. I love the spare, blockish shapes carved out of the green coloured stone in Turtle Released, and Two Modes. My favourite of his would have to be Wisdom Tree. It is roughly pyramidal with interesting manipulation of wood and Oamaru stone.

Central Southland College Student Allan Mollison shows off his remarkable creative aptitude including his amazingly mature oils of Robyn Broughton and Sir Edmund Hillary. And I'm especially impressed with his graphite on paper, Memories-after CF Goldie. The literature on Mollison suggests he paints his images from photographs. I look forward to seeing his live model works in the future. The only way for this talent is up!

The softer application style of Brian Rumage works really well in Cavalcade Rider. Close by are Colin Gray's acrylic landscapes. My pick is McKinnon Pass on Milford Track. Around the corner is Gordon Duston's grand watercolour Finding the Outlet, Lake Ruatapu, Westland.

I really like Rob Smith's metal craft and sculpture works of copper, stainless steel, iron, and stone. His unique presentation of a well known landmark in Mitre Peak is beautiful with varying treatments of copper.

Coming back to Southland after tertiary studies, Daniel Monteath's regard for rococo styled art is expertly realised in his acrylics Woman Study #14, and Woman Study #16. And then there is Ray Kennedy's, colourful and lively acrylics. I like the gentleness of Granddaughter at Colac Bay.

When you come to City Gallery to see these shows, be sure to allow considerable time for browsing. With all the wonderful variety of artists and works, it would be a real shame to rush. But you'd better not wait!! Both exhibitions end April 1. No fooling. Sorry. Couldn't resist.

Reflections on Chiaroni

It's unmistakeable. Gregori Chiaroni is very proud of his Italian-New Zealand heritage. Clearly proclaimed on his website, "Gregori Chiaroni " is Greg Mc Donald's trademarked Italian moniker, using his mother's family name.

About the change, Chiaroni remarks, "The trademark was about making sure the name was carried on as there aren't that many of us in New Zealand. Also, it was a way of acknowledging my mother's side. I have carried the McDonald name all my life because society says that is what you do. I ask why? All of us come from two people so why not acknowledge both your mother and your father."

In an already crowded art world, the distinct name helps set him apart from other artists. Challenged initially by others about the swap, Chiaroni insisted on keeping the name. No one could give a good reason not to. He discovered when he looked for "Greg McDonald" on searched engines, it was really common . The switch helps in marketing his work. There is only one Gregori Chiaroni.

"In the end everybody saw what I was doing was a good thing. Of course they used to joke around and give me a bit of a hard time...but now they think its choice," reflects Gregori.

His great-grandfather, Mansueto Chiaroni, was proprietor of an art and framing business in Invercargill established soon after coming to New Zealand in the 1890's. It was located above the present Wensleys bike shop, and his great uncle, likewise, set up an art gallery in Dunedin. With an uncle Peter and a cousin Luca interested in art during Gregori's youth, perhaps it was a natural for him to pursue a BFA from Otago Polytechnic.

Born in the "Southern-most city in the world", this Invercargill-born artist is equally proud of his Southern roots. Chiaroni says, "I loved growing up in Southland. My school life was amazingly good and I made the best friends. I love Southland and I am extremely proud of where I come from. The people there are the best you will meet anywhere.

"I was blessed to have met my mentor and great friend there when I was a young man. His name is Johnny Penisula. He is the kindest, most humble man I know. I look up to him and I am heavily influenced by his work. Although I express that influence on my work in my way. He understands my work, he knows not to ask the usual silly questions, like who is that or do you know that person. Instead he just looks and finds his own meaning. I will be forever grateful for the knowledge he has bestowed on me, and I will always cherish our friendship. Over the years we have become very close.

When asked which other artists he admires, he responds, all the New Zealand artists that are making a good comfortable living as an artist, that are living the dream.

Chiaroni envisages joining their ranks soon. He continues, "At the moment I am not making a living from my work. This is the ultimate goal for me...I am on the right track I think, but at the moment its hard to concentrate full time on my work because I am teaching in Singapore. I have been mostly concentrating on completing commission work I have picked up over here from expats. I live here with my partner, Tahlee Henry.

"We would like to travel from here also...we will return to NZ one day and eventually we would love to set up in Rarotonga. I'd like to complete a masters in fine arts when we return to NZ. Other goals I have are to own a restaurant gallery, buy a house, get married and have lots of children!

"I have been offered a show with the Agora Gallery in New York City. I haven't committed to a date because I just can't say when Ill have enough work completed." He adds that he looks to confirm a date with them soon. "All I can say right now is watch this space."

When asked about a possible spiritual aspect to his work, because of the sensitively rendered image of Christ on his website, Gregori acknowledges, "My work is spiritual. I am a spiritual person. I'm not convinced in any one religion. I'm a free thinker and I respect everyone's right to believe in what ever they want. I believe in people and being a good person no matter what your religion or race."

Reflections is the latest Chiaroni exhibition on now until 27 March at The Bank Gallery. Many works are of Maori or Pacific people and deal with racial themes, for example, the blond haired brown eyed and brown haired blue eyed duo in the fun and funky Sweet Mix Kids. Others are interpretations of environmental and global challenges. All but one of his paintings on offer are bigger than life and demand attention.

The one smaller exception is my favourite, Wahine Rangatahi. I like the striking contrast of shadows on the mahogany coloured face against a background reminiscent of oceanic blues. The only thing that deterred from the brilliance, unfortunately, is the florescent lighting illuminating it and thereby muting the colours a bit.

Multi-Culture Aotearoa is a bit of an enigma in that the two canvases of this diptych are rendered in two distinct styles. The yellow hued scripted background is a unifying element in both pieces. Is the decidedly different approach to the figures in the separate panels deliberate? The Pacific/Maori man with blue eyes is brooding, very stylistic with drips and treated with looser applications of media. I love the vibrancy and implied texture of this figure. The lovely, sunny-faced woman on the other panel is more in keeping with the smoothly brushed surfaces of Chiaroni's other deftly painted figures. Is this a portend of the painter's future artistic direction? Please, go have a look and tell me what you think of this striking diptych.

"This piece is a visual image of the fastest growing population of people in Aotearoa today. Pakeha, Maori, Asian and Pacific Island sweet mix kids. The population of Aotearoa aged between 1 and 30 and of mixed ethnicity is the highest it has ever been since the migration of Europeans, Pacific Islanders and Asian peoples to Aotearoa began. Embrace it, enjoy it, live it", enthuses Gregori.

What thoughts come to you as you as you view of the works on display at the upstairs venue on Bank Corner in Invercargill. Other pieces in the show include 50/50, Surround Them With Knowledge, Youth Culture, Within Whose Hands Does Our Future Trust? I'd love to know which one is your favourite. You are welcome to post your thoughts here in the "comments" below.

Reflections, an imposing, well-considered exhibition showcasing the promising talent of Southland-bred Gregori Chiaroni, ends 27 March.

The Bank Art Gallery . 21 The Crescent Invercargill . Phone 03 218 6634

Open Weekdays 10 to 5

The Balance of Deow

When I first see A Balance of Options, an exhibition by Deow, aka Danny Owen, in Riverton last month, I am sure this must certainly be work by the same artist that had a show in SIT Arcade in Invercargill a few years back. The urban, edgy graffiti influence is still apparent, but now the works are sophisticated, a bit more tamed. I am really pleased to see the progress.

A whole slew of events prevent me from writing a review before the exhibition ends, the main thing...misplacing my notes from the first visit! I still can't locate them after extensive searching. Such is life. I arrange an interview this week with Deow in his office/studio/classroom over at the YMCA Education on Levin Street in Invercargill, with the idea that I'll incorporate a review and and learn more about this fascinating Southern artist.

The first thing that strikes me about Deow is his exuberance, the forthrightness, and the steady, earnest gaze of his eyes. And that strong, right-up-and-out-there handshake. Walking into his class, I see there is no doubt that this is where creativity rules. Graffiti on walls and boards and canvas are everywhere. It's a riot of lines, shapes, writing and colour.

He is eager to discuss his passions, which are many, yet interrelated.

I ask Deow about his art. And, to please explain an intriguing Artist Statement which includes, "the heady anarchic days of youth are now tempered by the years: the outpourings mellowed by the experience and joy of life. Expression has taken on a new life, legitimacy and a new currency of meaning". How has all this happened?

Deow recalls a childhood where he is creatively competitive with his cousins, scribbling comics, cartoons, which leads to a flair for graffiti. The tagging begins in 1999 in Anaheim, California, when he shifts there to be with his father. Then it's back to New Zealand. He is an overstayer. It's time to come home. To his roots.

About four years ago, he begins sketching in notebooks. At least 100 A4's are "chockered full of ideas". Soon, he becomes aware of "legitimate" art in galleries and exhibitions. And when he assesses the prices, he says to himself, "I can do this!"

Thus is birthed the idea for his first show Art to Facts in the SIT Arcade Gallery. "I made some good money!" And now, the current one is deemed a success, with 70 percent of the paintings on display sold. He likes it that he now makes a living out of something that was once considered rebellious.

Right after the first exhibition, Deow starts working as a tutor at the Y teaching numeracy and literacy skills. And he teaches his unique style of creating to "kids lacking direction". He is passionate about his work with the youth...talks about their problems and possible solutions and the whys of tagging. There are three basic reasons for tagging, Deow tells me: pure joy of vandalism, territoriality, and rebellious expression, which is really a masked cry for help.

He is now also older, wiser...gone are the days of anarchy and raw rebellion and hate for the world. He has buried a few friends and has personally come face to face with death, even on Southland's mean streets. "I appreciate life a lot more". He is man who seems at peace with himself. "I'm a man of creativity instead of destruction". He likes the slower Southland lifestyle, considering himself more a man of nature. On a "quest for self-sufficiency", Deow now likes to grow his own organic vegetables.

We now discuss his art. So, who are your influences? Your mentors?

He admires Salvadore Dali, Caravaggio, and DAIM, a German graffiti artist. His mentor, Wayne Patterson, inspires him to study the masters, the classics. I think this must account in part for the new sophistication in his newest works. And his dad, who is a graphic designer, also encourages him.

Your paintings portray a variety of styles that I'd like you to talk on. I ask him to tell me if he disagrees with my classifications. He does not.

First, your "Diffident" works-- Industrial Revolution, accompanied by a poem, "Many years Ago", features Che Guevara and Fidel Castro. And then there's Deow-struction, also with poetry, seems to exam the roll of oil in the Middle East conflict.

Says Deow, "Industrial Revolution is inspired by a song Many Years Ago by Immortal Technique, a Peruvian rapper that I admire, and who speaks out against American imperialism. No offense intended."

I ask Deow why I should be offended?

"I don't like Americans."

Really? Why's that.

"Well, I don't like that the US government has so much influence in the world."

I'm not offended. A democracy allows for a difference of opinion, and the opportunity to express that difference.

Deow tells me he has studied books written about Castro and Guevara. That is why he admires them.

I query if he is aware that both men are responsible for the deaths of lots of people as well. Some innocent.

Yes, perhaps, but Deow admires their passion for change.

Tell me about Deow-struction, which I consider to be graphic and poignant.

Deow says it highlights the destruction caused by American's greed for oil.

I concede to myself that, indeed, America does take her share of oil and then some. Perhaps another emblem instead of Shell Oil is a better choice for this gritty, well painted work (I really like it), because Royal Dutch Shell, well...is basically Dutch. I don't mention this to him, wanting to keep the interview friendly. Deow is still smiling. So earnest. So open. So passionate about life. I hope he hangs onto that.

Next, I ask Deow about the "Humourous" pieces, the first entitled The Tagger and the Watcher featuring Buckwheat and Alfalfa from the vintage American comedy series Our Gang.

"This one", explains Deow, "has definite racial undercurrents". He continues that the black guy is doing the dirty deed of tagging. The white guy, is supposed to be the lookout, and not doing a very good job...has that "deer in the headlight" look of getting caught, and lets his black friend down.

Another work of the humour genre Jump the Dripping Blood Pools has a Smurf in the midst of vibrant splashes and sprays of red paint.

"The title is a spontaneous name suggested by one of the ladies at the Riverton Art Centre while we are setting up the exhibition," says Deow, " and is a salute to childhood."

Please talk about the "Disturbing" works, such as Kids with Guns, done in airbrushed ink and is framed and behind glass. I like Deow's inked series. This one is soft, yet portrays a chilling scenario of a child pointing a gun at the viewer.

Deows responds, "I've got friends that are really against guns and I've got friends who are hunters. I only take my camera when I go hunting with them.

"This piece is in response to one of my friends who is gun crazy. He's teaching his kids to love guns by giving them toy guns. He's even given one of his young kids a slug gun, which could kill a small animal."

RG's Ink, an urban, edgy ink airbrush of two presumed gangsters is likewise disturbing. Disturbing. Challenging. Excellent composition.

"This was just a couple of my good friends. The tattoos are actually carbon black taken from car exhaust and rubbed on their bodies. We were just taking the piss out of gangsters one lazy Sunday".

I was so surprised to find "Movie Star Portraits" of Audrey Hepburn, Frank Sinatra, and Miles Davis, simply entitled with numbers, I tell him. These airbrushed inks are so beautiful and rich. They almost seem to be out of place with the rest of the exhibition. But, I like them. A hint of another direction for Deow to explore.

Deow says that these are actually works from a current project using airbrush venturi. Right now he's working on a piece featuring "Gollum" from "Lord of the Rings". His success with this new medium has encouraged him to do more portraits.

And, lastly, the " Beautiful Ones". Beautiful in the sense that they are relaxing or just plain fun. Tell me about South Sea Left Hand Goodness, and the companion work Milos-Once in a Blue Moon. Both are lush. Beautiful. Could hang easily in a gallery or look stunning in the typical modern lounge. Not a bit of graffiti angst here.

"Milos died last month", states Deow. "He had a diabetic seizure and died on the waves. The poem hanging under the painting is a eulogy I was unable to read at his funeral. " "Left hand goodness" is apparently a term for surf waves seen everyday on the South Coast. A "once-in-a-blue-moon" wave is a perfectly beautiful wave that breaks on Milo's point, which used to be called Nick's point on around the foreshore from Colac Bay.

Deow talks a little about his other passion...surfing. To get to the Milos point, you have to do a lot of walking, a few kilometres along the shoreline. You can't drive to it; there are no public access roads. But he deems it worth the effort, and speaks of beautiful waves, spumes, and the great time he has surfing.

I'm surprised by Indefinite Graffs, a water colour on a gallery wrap canvas that doesn't really look like a watercolour painting. It is an explosion of colour. Quite beautiful. Almost evokes a sense of something floral.

This one was an experiment and "a way to keep my word" to a shop keeper that sells him supplies. I have to say I do not quite understand Deow's explanation of this, but I really like the result.

I smile when I ask Deow about Buzzy Buzzy Bee Pollen Sue Me. It is simply a really happy piece of a Kiwi favourite. Gaye Larson, an assistant over at Riverton Arts Centre, says it is a really popular piece.

This piece explores Kiwiana and "is a nod to current copyright issues in New Zealand", says Deow. And one "buzzy" means "trippy". He says this piece is daring someone to sue him over copyright infringement issues.

I ask the artist to tell me about DAPS, a diptych of blues, grass, waves, leaves, Koru and other Maori motifs.

The patterns in this piece symbolises the Maori sentiment, "I would rather die like the hammerhead shark than the octopus". In this collaboration, Phicks does the side representing earth and fire, whilst Deow paints the water and wind side.

I then get Deow to tell about collaborations with Phicks.

Deow explains that during his first exhibition, Phicks wrote a guestbook note that was truly inspiring and so they now work together on commissions and murals, including this piece.

Where to from here, Deow?

His next project is a film documentary on South Coast surfing. He's taking the proceeds from this latest exhibition and buying an underwater camera. He hopes to have the filmwork viewed in Invercargill's movie theatre on completion of this project at the end of this year. And, he's welcome back next year to the Riverton Arts Centre.

Deow, aka Danny Owen. I like him. Certainly he and I agree to disagree on some things. That's good. Mostly, though, I really like his art. It is gritty, edgy, urban, beautiful, funny, and sad...an amazing array of emotions evoked by this young Southland artist finding his creative voice. Watch out world!! Here comes Deow!!!

Into the Thick of Things

I'm back in the thick of things and happily so. If you want to know the where's and why's of my absence from the blogging scene, please visit my post on my personal art blog http://beverlyclaridge.blogspot.com. However, even though I was otherwise detained, the art world churns on. And thankfully so.

"Technical glitches" prevented me from posting information on the edgy and urban, Deow exhibition entitled A Balance of Options over at the Riverton Art Centre, which closed 28 Feb. However, I look forward to an interview with Deow aka Danny Owen next week to find out more about his intriguing works. Review of his show and interview observations coming soon!

Three other exhibitions starting this week in Invercargill are worth a look. I'll be visiting Glory-Visions of Faith by Gabrielle Thomas and Michelle Dawson, as well as Blokes Art over at City Gallery this upcoming week. A review will be posted regarding these two shows before they close.

Today, I visited Reflections, an exhibition by Gregori Chiaroni over at The Bank Art Gallery. I get to have a question and answer with the artist, hopefully this weekend, and so will soon post that along with a review on his current exhibition.

Don't forget the exhibitions over at Southland Museum and Art Gallery all destined for future commentary on this blog.

In the Community Gallery until 29 March 09 is Conceal Reveal by mixed media artist sisters Mags Meechang and Angela Meecham . Next, starting 3 April, is painter Gaye McElroy, followed 8 May with Rural Relics by wood and bronze sculptor, Roddy McMillan.

In Gallery 2 is Imagining Papua New Guinea, featuring prints from a traveling exhibition from the National Gallery of Australia till 19th April 2009.

Chris Adams's exhibition The Sub Antarctic of New Zealand, and other Mezzotints starts 13 March.

I understand that sometime in the upcoming month or so out at Anderson Park Art Gallery, John Husband and Paul Lindsey are presenting a tentatively entitled exhibition Two Blokes Paint the South Again. Stay tuned for developments there. This is definitely something to look forward to.

So, we have plenteous art here available for all Southerners to view this coming week and beyond!

I'm thinking about changing the title of this blog just a wee bit to An American in Paradise: Observation and Information on Great South Visual Arts. This idea was suggested to me by my friend Robin McNeill as being more positive and magnificent sounding than Deep South. Perhaps it's a worthy suggestion. What do you think? I'd love to know.