Works on paper

30 January – 28 February 2009


Two Rooms presents the opening show for the year with works on paper, featuring four visiting artists from Europe and USA and three from New Zealand

Kevin Appel

Two Rooms Artist in Residence in 2008, Kevin Appel (USA) has made a new body of work for this exhibition.

In this new series, Appel reflects on the nature books of the sixties he viewed as a young boy. There is an emotional and institutional quality to the past photos particularly present in the slight fuzziness of the images themselves and the printed method. Using these as background, he creates his familiar architectural assemblages using abstracted motifs, collage, and pattern combined with complex spatial layering. He views these as constructions or proposals for spaces on top of natural settings. The use of animals further complicates the figure- ground relationship and brings in narrative elements pertaining to the natural world, loss, and connection.

Widely exhibited internationally, his work is held in many international collections including the Saatchi Collection, Museum of Modern Art in New York, and the Los Angeles Museum of Contemporary Art. Previous exhibitions include Description without place; a survey of Kevin’s practice between 2001-03 at the Museo Rufino Tamayo in Mexico City.

Joachim Bandau, born in Cologne, Germany in 1936, belongs to an esteemed and diverse group of German artists, which includes Gerhard Richter, Joseph Beuys, and Imi Knoebel, who came out of the Kunstakademie Düsseldorf in 1961. Bandau has had an uninterrupted schedule of major museum and gallery exhibitions throughout Europe dating back over forty-five years; his work is included in over thirty major Public Collections in Germany and Switzerland.

Begun in 1983, his series of watercolors are created using a precise addition of transparent rectangles of gray wash over one another to create a unified black field that plays tricks with our depth of field. The layers give a sculptural element to the work that refer to his earlier practice. They also have an allusion to time- lapse photographs, with their black centres defying a sense of focus.

Frank Gerritz has been recognised as one of the leading contemporary non- figurative artist’s from Germany. His works have mainly been exhibited in the United States as well as Germany and Switzerland. Forthcoming Museum exhibitions include two Group exhibitions taken from the German Lafrenz Collection. They will take place at the Neues Museum Weserburg, in Bremen from early May and at the Hamburger Kunsthalle, Galerie der Gegenwart in Hamburg from May 16th.

Gerritz has created a series of drawings for Two Rooms Gallery. As in all his two dimensional work he uses many layers of graphite to create dense subtley reflective black surfaces.

In every type of work Gerritz creates the surface play of his drawings by means of intense hand-processing. Carried out using the soft Faber castell 9b pencil on paper, MDF or walls, the drawings perpetuate the artistic working process as a preceding action in time. The visibility of this process is important to Gerritz. Dense regular lines of hatching are drawn in close-set rows overlapping and adjacent to one another. Gradually the support material is completely covered with graphite disappearing in its pure materiality and yet remaining present to sensory perception. “Anna-Catharina Gebbers” Drawing as Process

Jane Harris

Born in Dorset, England, in 1956, Harris lives and works in France. She has had solo exhibitions at Hales Gallery, London; the Southampton City Art Gallery, England; Jack Shainman Gallery, New York, Kontainer Gallery, Los Angeles, Galerie Hollenbach, Stuttgart and the Aldrich Contemporary Museum, Connecticut.

“I have been making watercolours, using the ellipse as my common motif, for as long as I have been making oil paintings and pencil (graphite) drawings. However the elliptical shapes in the watercolours are not edged in the same way and so one could say they retain their pure form. The dynamic incidents occur within the form itself and through the patterns of repeat ellipses butting up against one another or overlapping. It has always been my intention to emphasise as strongly as possible the particular qualities of the medium I am using. To this end, with the watercolours I make pools of colour which when dry form areas that are more densely saturated than others. Because I always mix my colours they can also separate when dry, so forming unforeseen patinas, like oil on water or eroding metal. This results in spatial ambiguities both across the pattern of forms and within the individual ellipses themselves, a common thread which runs through all my work.”

In his latest works Noel Ivanoff examines the constituent elements of paint and the process of simultaneously making both paint and painting. He uses a circular grinding tool, a levigator, that applies, mixes and grinds pigment with binder all at the same time. The works are executed in one movement – in a form of action painting that acknowledges domestic and commercial modes of production.

Born in 1963 in Lower Hutt, Ivanoff studied at Otago Polytechnic before moving to London where he trained at the St Martins School of Art in the mid-1980’s. In 1999, he completed a Masters degree at the University of Auckland and is now Head of Fine Arts and Photography at Whitecliffe College of Art and Design. A three-time finalist of the James Wallace awards his work is also included in the Chartwell Collection and in many private collections. Simon Morris’s paintings are elegant sparse abstractions made according to a predetermined process that maps the passing of time. He has established himself as a leading proponent of geometric abstraction with a strong interest its history. His works intentionally restrict scale and palette but have expanded the notion of geometry to include the dimension of time.

Simon Morris is based in Wellington where he lectures at Massey University. His work is held in the collections of Auckland City Art Gallery, Chartwell Collection, Waikato Museum of Art and History, Wellington City Council and the Museum of New Zealand Te Papa Tongarewa. Major architectural collaborations include The New Dowse Gallery with Athfiield architects, and University of Otago School of Medicine and Health Science. His most recent exhibitions include Telecom Prospect 2007 at City Gallery Wellington. ‘YO, MO’ Modernism part 1, CCNOA Brussels and ‘Is it right to not like modern art’, Te Manawa Palmerston North

Jeena Shin‘s latest works on paper, continue her interest in the folded plane and acknowledge the influence of the of the ancient craft of origami. These works are partly Marquette’s for major wall drawing projects, which she will realise this year at Dunedin Public Art gallery, Art Space, Auckland, and Te Tuhi, Manakau

“Her works critically examine the spatial properties that inhere in a reticulated network of fold lines. They also probe the visual and spatial resonances produced by varying the intensities of a single colour. Her works acknowledge that colour is deceptive, relative, and duplicitous.” Rachel Carley

Born in Seoul, Korea in 1973, Jeena Shin holds a Bachelor of Fine Arts from Elam Art School 1993-97 and a Master of Fine Arts from the Royal Melbourne Institute of Technology, 1999-2000. She has exhibited widely throughout New Zealand and internationally, including Telecom Prospect 2007, City Gallery Wellington, ‘YO, MO’ Modernism part 2, CCNOA Brussels.

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