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

JH

Maddie Leach at St Paul St

AA
View Discussion
Maddie Leach, St Paul, 2016, Maratoto rock and bronze plaque. Rock loaned by Stone Direct, St Johns, Auckland. Photo: Sam Hartnett On wall, Maddie Leach, Binningup meteriote (replica). Loaned by Dr Alex Bevan, western Australia Museum. Photo; Sam Hartnett Maddie Leach, Binningup meteriote (replica). Loaned by Dr Alex Bevan, western Australia Museum. Photo; Sam Hartnett Maddie Leach, From where she was standing, 2016, HD video, #D scan and render by RM Surveys Ltd., Perth. Photo: Sam Hartnett On wall, Maddie Leach, 28th October 2834, 2015, HD video (00.28.34), and on seat, From where she was standing, 2016, publication. Photo: Sam Hartnett Maddie Leach, From where she was standing, 2016, publication. Photo: Sam Hartnett Maddie Leach, St Paul, 2016, Maratoto rock and bronze plaque. Rock loaned by Stone Direct, St Johns, Auckland. Photo: Sam Hartnett Maddie Leach, St Paul, 2016, Maratoto rock and bronze plaque. Rock loaned by Stone Direct, St Johns, Auckland. Photo: Sam Hartnett

Looking at the plaque outside the entrance to St Paul St Gallery, one reads that Saint Paul is the patron of authors, evangelists, journalists, missionaries, musicians, public workers, publishers, rope and saddlemakers, tentmakers and writers. Obviously you are invited to work your way through that list, checking whether Leach's project demonstrates those properties which somehow might be anchored to the Maratoto boulder and its 'siblings'.

Auckland

 

Maddie Leach
From where she was standing

 

19 February - 24 March 2016

A collection of rocks (fake and real); moving images of rocks; plaques placed alongside rocks; a video showing a censored fax (being reproduced on a lithographic rock) about a plaque; plus a (hard copy) published sequence of blogs about all of these: this exhibition by Maddie Leach invites you to examine these elements and find coherence, to eliminate disruptive disparities - such as physical distance - and tightly pull conceptual threads so they come together.

In 2014 Leach had a residency at Spaced, in Mandurah, Western Australia where during her research she heard about the Battle of Pinjarra (1834), a colonial massacre of the Noongar people. On the site of that calamitous event, the local aluminium mining company, ALCOA, has donated a large boulder monument, and a plaque the wording of which remains highly contentious and unresolved. (eg. Can a ‘massacre’ be a ‘battle’?) The boulder she has filmed and scanned to make a digital video projection, its 3D form rotating in Gallery Two.

At the local museum Leach also investigated a 488g chondrite meteorite that passed as a sonic-booming fire ball over Pinjarra in 1984, and landed on a local beach - something she first noticed on the museum website. A three dimensional reproduction of this projectile is also displayed in Gallery Two, opposite the HD video of the scanned boulder memorial.

Around the corner in the St Paul St (AUT) foyer is the video of the making of a lithographic print (of a hand drawing of a redacted fax from the local council, sent to a plaque maker about the memorial for the Battle of Pinjarra). Nearby are copies of the blog publication on a seat. Outside near the footpath is a large rock from Maratoto (in Coromandel) that is temporarily installed. With its plaque, Leach commemorates the alleged symbolic attributes of St Paul the Apostle.

For my money the strongest and weakest works here are in the AUT foyer. In the video, 28 October 2884, the laborious preparation of the stone surface (a rock from Bavaria) in readiness for the drawing and then the ink is fascinating, as it becomes a metaphor for the slow erosion of denial, the setting up of the ground for the arrival of truth.

The publication, From where she was standing, is (in my view) self indulgent and waffly with its series of eight weekly posts, but not as much a ‘shaggy dog story’ as her earlier If you find the good oil let us know publication and project. This project has much more focus in the way it builds up to the significance of the censored fax - and believe or not - is less convoluted, with fewer rambling digressions. And it is probably intended (in its drawn out nature) to be a readable equivalent of the lithographic video. Real time is an essential component for both.

Looking at the plaque outside the entrance to St Paul St Gallery, one reads that Saint Paul is the patron of authors, evangelists, journalists, missionaries, musicians, public workers, publishers, rope and saddlemakers, tentmakers and writers. Obviously you are invited to work your way through that list, checking whether Leach’s project demonstrates those properties which somehow might be anchored to the Maratoto boulder and its ‘siblings’. For an imaginative person there are ways they all fit into this complicated configuration of exhibits, Leach operating under the Saint’s tutelage, investigating under his guidance.

John Hurrell

Print | Facebook | Twitter | Email

 

Recent Posts by John Hurrell

JH
Installation of Jeena Shin's Movement Image Time exhibition at Two Rooms. Photo: Sam Hartnett

Shin Works on Canvas and Paper

TWO ROOMS

Auckland

 

Jeena Shin
Movement Image Time

 

27 October - 25 November

JH
John Stezaker, Marriage (Film Portrait Collage) CVI, 2013, collage, 30.3 x 23.3 cm. Image courtesy of the artist and The Approach, London.

Repulsively Enchanting Stezaker

CITY GALLERY WELLINGTON

Wellington

 

John Stezaker
Lost World

 

26 August -19 November 2017

JH
Tomislav Nikolic, How Long Must We Live Right Before We Don't Even Have To Try (Role Model), 2017: #1, mixed medai; #2, mixed media; #3, mixed media;

Tomislav Nikolic Paintings

FOX JENSEN MCCRORY

Auckland

 

Tomislav Nikolic

How long must we live right before we don’t even have to try

12 October - 11 November 2017

JH
Phil Dadson: Notation  Series #6 (961), painting; Tonethrone, instrument; HEADSUP@961: 23.8.16, projection

Dadson at Headlands

AUDIO FOUNDATION

Auckland

 

Phil Dadson
Shiver Me Timbres: Solos and Collaborations with a Multi-Voiced Instrument

 

5 October - 28 October 2017