Nau mai, haere mai, welcome to EyeContact. You are invited to respond to reviews and contribute to discussion by registering to participate.

JH

Compositionally Provisional Lundberg

AA
View Discussion
Patrick Lundberg, No title, 2014, gesso, acrylic and varnish on air-dried clay. Dimensions variable, 11 parts. Seen here in the eastern room. Patrick Lundberg, No title, detail, 2014, gesso, acrylic and varnish on air-dried clay. Dimensions variable, 13 parts. Seen here in the eastern room. Patrick Lundberg, No title, 2014, gesso, acrylic and varnish on air-dried clay. Dimensions variable, 13 parts. Seen here in the western room. Patrick Lundberg, No title, detail, 2014, gesso, acrylic and varnish on air-dried clay. Dimensions variable, 13 parts. Seen here in the western room. Patrick Lundberg, No title, 2014, gesso, acrylic, pencil and varnish on wood. Dimensions variable, 13 parts. Seen here in the western room. Patrick Lundberg, No title, 2014, (detail), gesso, acrylic, pencil and varnish on wood. Dimensions variable, 13 parts. Seen here in the western room.

So balls versus cylinders: one greatly outnumbering the other. They look like fun in terms of arrangements, asymmetrical or balanced. One can toy with lots of compositional possibilities in terms of comparing surface markings, distances between, sequencing of qualities, repeated configurations, total gestalt, contrasting alignments, and patterns in linear or spatial configurations.

Auckland

 

Patrick Lundberg
No Future Probable

 

4 October - 25 October 2014

The latest Patrick Lundberg exhibition at Ivan Anthony’s features four of his minimalist ‘pin’ paintings, works with around a dozen moveable components that can be positioned on a wall any way the installer (owner, borrower or gallerist) likes. As before, some of the pin-able elements made by this year’s Frances Hodgkins Fellow are tiny coloured spheres, but most are slightly curved cylinders (a bit like cigarette filters) that lie flat against the wall (not projecting out at rightangles). One work is entirely tiny balls, while the other three are mostly painted bent rods with one sphere added.

Lundberg‘s work is in the northern end of the Anthony premises - in the two small rooms that are on each side of the office - two works in each on opposite walls.

The western room (facing K’ Rd) has two 13 pin works. One is all coloured spheres, three of which are black - the rest yellow. Each of the yellow balls has a standard ‘vocabulary’ (repertoire) made of ten marks made with a very fine brush. These include a curved ‘smiley’ line, a blue dash, a grey ‘cloud’, a row of black dots, and a blue smudge.

The other work on the far wall is of a dozen bent cylinders and one black ball, positioned (like those in the other room) on the periphery. The cylinders are with both hot and cold colours, four have two colours butted together, and a couple have fine herringbone textures.

In the eastern room the two remaining works again have predominantly cylindrical elements. One has a solitary red ball on the edge of the configuration while the plethora of cylinders are cool in chroma - mainly blues and greens. The other has a blue solo ball with the cylinders being hot in colour temperature. This playoff of contrasting forms could be intended as a formal structuring device or some kind of sociological /psychological metaphor.

Lundberg has hung these paintings so that the components are positioned on a vertical / horizontally aligned grid. You are reminded of Mondrian’s little flickering bars. The compositions tend to have an ‘empty’ centre.

So balls versus cylinders: one greatly outnumbering the other. They look like fun in terms of arrangements, asymmetrical or balanced. One can toy with lots of compositional possibilities in terms of comparing surface markings, distances between, sequencing of qualities, repeated configurations, total gestalt, contrasting alignments, and patterns in linear or spatial configurations.

Plus in their interaction with architecture they can fit into a room’s awkward ‘dead spaces’ where art doesn’t normally venture - unconventional walls usually deemed unusable. They are an exciting contribution to contemporary New Zealand painting: invisible from a distance but a sure delight close up.

John Hurrell

Print | Facebook | Twitter | Email

 

Recent Posts by John Hurrell

JH
Carlos Cruz-Diez, Chromointerference, 2020, (install view) Aotea Centre Wrap, Aotea Square commissioned by Te Tuhi, Auckland, and Auckland Live presented in association with Auckland Arts Festival 2020 © Adagp, Paris 2020 photo by Sam Hartnett

Aotea Square Light Show

Aotea Square (Auckland Arts Festival)

Auckland

 

Carlos Cruz-Diez
Chromointerference

 

11 March - 29 March 2020 (sunset to 11 pm)

JH
Gretchen Albrecht, Torrent, 1988, gouache and collage on paper, 1520 x 2440 mm

Large Albrecht Collages

TWO ROOMS

Auckland

 

Gretchen Albrecht
Collages 1988-1989

 

6 March - 9 April 2020

JH
Ronnie van Hout, Ghosting, 2020,  painted MDF and pvc pipe, painted cast rigid urethane resin, expanded urethane foam, CNC expanded polystyrene, urethane spray, clothing, wigs, glass eyes,  3000 x 3000 x 3000 mm

Thoughtful van Hout

IVAN ANTHONY GALLERY

Auckland

 

Ronnie van Hout
Ghosting

 

4 March - 4 April 2020

JH
Louise Henderson, Cubist Still Life, 1954, Auckland Art Gallery Toi o Tāmaki, purchased 2019

Touring Henderson Survey

AUCKLAND ART GALLERY TOI O TAMAKI

Auckland

 

Louise Henderson
From Life


2 November 2019 - 8 March 2020