JH

Wild Cards

AA
View Discussion

As an installation Deck: First Cut works well. A room full of these works on only the walls would look tediously regular - for as relief sculpture you don't want to see too many in succession. However on the floor as part of a ‘pack', a large number (i.e. over three) seem more unpredictable. Looking down on the curved planar edges helps enormously. It is also interesting looking through the holes at what the curved stainless steel reveals of its own form.

Christchurch

 

Neil Dawson

Deck: First Cut

 

May 12 - June 7 2009

 

In Jonathan Smart’s front gallery Dawson presents two sets of six card replicas: greatly enlarged playing cards of screen printed powder coated paint on stainless steel. Just under knee height they are curved so they can stand upright on the floor. Or, using holes in the corners, they can also be hung on walls. The patterns and designs on both sides are meticulously reproduced from the smaller originals

Actually they are a lot more than just highly ornate, enlarged playing card facsimiles. They have been very cleverly cut so that - in one case - there are three concentric rectangles (plus a circle) bent in alternating concave or convex alignments. For six types of card Dawson has invented six permutations of cut-out and bent formation.

Some are sliced rectangles (frames inside frames); others are circles or diamonds inside rectangles; others still are sets of lines radiating from points. Usually they play with the elaborately intricate ornamentation on the card’s back, delineating some of the dominant motif contours.

With these inventive works, Dawson takes something terribly commonplace and makes it extraordinarily interesting. All of a sudden you want to examine playing cards and their Arts and Crafts designs. You start to wonder about their history.

As an installation Deck: First Cut works well. A room full of these works on only the walls would look tediously regular - for as relief sculpture you don’t want to see too many in succession. However on the floor as part of a ‘pack’, a large number (i.e. over three) seem more unpredictable. Looking down on the curved planar edges helps enormously. It is also interesting looking through the holes at what the curved stainless steel reveals of its own form.

Placed this way with one on the wall and eleven on the floor, they look better than they would suspended in mid air on invisible wires, a possibility which Dawson might have considered. They seem like a herd of animals, originally two by two as in Noah’s Ark but now intermingling. An excellent sculpture show.

John Hurrell

 

Print | Facebook | Twitter | Email

 

Recent Posts by John Hurrell

JH
Stephen Bambury, Twenty Thirty (IX) (Night/Day) 2023. Lacquer & chemical action on two copper panels on ply, 170 x 340 mm

Bambury Show at Clark

TRISH CLARK GALLERY

Auckland

 

Stephen Bambury
Slow Burn (Redux)


20 March - 18 May 2024

JH
Installation view of Ava Seymour's Domestic Wild at Te Uru, Titirangi.

I Taut I Taw a Puddy Tat.

TE URU WAITAKERE CONTEMPORARY GALLERY

Titirangi

 

Ava Seymour
Domestic Wild


9 March - 26 May 2024

JH
Still from Gregory Bennett's animated film, Folding of the Time, 2024. Courtesy of Gregory Bennett.

Bennett and Vor-stellen Partnership

TE WAI NGUTU KĀKĀ GALLERY

Tamaki Makaurau


Gregory Bennett, Vor-stellen
Folding of the Time


20 April - 4 May 2024

JH
Installation view of Fiona Connor's Thump at Coastal Signs

Fiona Connor’s ‘Thump’

COASTAL SIGNS

Auckland

Fiona Connor

Thump

18 April 2024 - 25 May 2024