By John Fuller
Then and Now, Here and Nowhere – Adam Art Gallery, Victoria University Campus, Kelburn.
3 February – 12 April 2015
Artists: Gavin Hipkins, Peter Trevelyan, Shaun Waugh, Kates Woods and Brent Wong
The Adam Gallery is my favourite place for contemplating art in Wellington. Somehow, it works for me on a number of levels. The Adam flatters average art and makes great art shine. Perhaps that is what a well designed gallery is supposed to do. The current exhibitions (all three) are packed full of great art, so go and take a look, I can’t say much more than that.
This review will focus on “Then and now, Here and Nowhere”. The exhibition only features a few works, and plays on an interesting strategy of locating pieces from different artists and different generations side by side, challenging the viewer to think about what may have changed and what remains constant. Brent Wong’s arresting surrealist pieces from the late 60’s sit surprisingly comfortably with Kate Wood’s very contemporary and rather hypnotic video work, or her 3D photographic studies, which exist slightly awkwardly I feel, somewhere between kitsch and the sublime. Both artists attempt to fool around with the mind of the viewer, spark the imagination, question reality. Both do this successfully and both complement one another, despite the generational rift.
Gavin Hipkins and Shaun Waugh use photography to play similar games. Hipkins large work, “The Model (1999), is a dynamic series of small photographs featuring mathematical multi-faceted objects from the Victoria University Mathematics Department. The work can be reconfigured each time it is installed. It dominates the entire double level wall inside the Adam entry foyer and could arguably be called sculpture. Waugh plays with surrealism, but exploits digital technology to replace paint and brush. Again both these artists sit comfortably beside Wong in spite of time.
Arguably the odd one out in this picture is Peter Trevelyan. His sculptural piece is not typical of other work I have seen before. It plays on the notion of concealment, secret hiding places, in this case a cut out book amongst other books on a table. Of course the concealed compartment contains a small and delicate lattice type structure he is so well known for. For me, and I may be missing something here, this work does not sit well with Wong, but then again that may be the whole idea.
How have times changed? Artists have creative tools in 2015 that Brent Wong would not have even been able to imagine in 1969, yet he was able to create a surreal world with his paint, a world that shares so much with the work of these contemporary artists. It makes one wonder what he could do with an iMac and a digital camera.
Image. The Keeper. Brent Wong. (1969-75), oil on board