Trans-Tasman Art

However, with more imagination and courage the painting would perhaps reach a higher standard. Other works such as copper and bronze sculptures have already reached a high standard and this should be maintained.

Although having basically the same aim as the NZU Fine Arts Exhibition, the Trans Tasman Art competition (sponsored by the ANZ Bank and held at Shell House August 16-27) differed in that it attracted a higher standard of paintings.

Cash prizes were offered and this is perhaps a good reason for the standard achieved compared with the NZU Fine Arts Exhibition, which was intended to display the work of New Zealand university artists generally.

It is interesting to note that six of the eight prizes offered were won by Australian artists. It is also interesting to note that New Zealand artists appeared to lack the originality of the Australian artists.

First prize was shared by Richard Frizzell (Canterbury) with "Clustered Forms" and Allan Fox (Royal Melbourne Institute of Technology) with "Figure in Landscape."

"Clustered Forms" appeared to be a mixture of Miro and Pollock and consisted of spheres of yellow, grey and black on a thick white back. The oils were applied thickly and gave an interesting and pleasing effect.

"Figure in Landscape" consisted of different-shaped blocks of mainly varying shades of brown with greys and black. Use of such colours and forms gave the work a simplicity which lacked great depth but would be pleasing to most viewers.

A colourful but technically scrappy work by Dianne Latham (Melbourne) entitled "Three Figures" won third prize. The colours and the movement did give the painting a life which made it stand out from the rest.

Roger Thlbali (Monash, Melbourne) was unfortunate not to win a major prize with "Sweeney Among the Nightingales." The artist made use of red-browns in portraying the central subject with semi-abstract objects in the background.

Lyn Tonkes's (Melbourne) "Footballers," with its thick whites, movement and semi-abstract forms was impressive. A khaki landscape, "Landscape 1, Maryborough," was well worth mention, as was Peter Wichman's "War Mother."

Overall, the exhibition was successful and it is encouraging to see the interest and enthusiasm on the part of both students and public in promoting such a good cause—contemporary New Zealand painting.