Fine arts review

In the last two weeks of March. Wellington art viewers had three opportunities to consider current Wellington art trends. There was, first, an exhibition of painting, sculpture and prints by Rita. Tim and Jean Angus held at the Centre Gallery. March 13 to 23; secondly, the Unity Art Festival Exhibition of painting, pottery and prints held at the Theatre. Aro Street, on March 22 and 23; and. finally, the pottery exhibition of works by Paul Melser, in the Centre Gallery. opened March 27.

Since its opening a few years ago the Centre Gallery has brought to Wellington a great number and variety of exhibitions of New Zealand artists. Although restricted by size (there are two small rooms) it has the advantage of being centrally situated thus enabling the public to view without the difficulty of transport as is the case for the Academy and the National Galleries in Buckle Street. It has also the advantage of enabling the lesser-known artists to have either solo or small joint exhibitions at a price within their range. Entrance is free and the exhibitions have always been, worth seeing for both the connoisseur and the dilettante.

The Angus Exhibition contained paintings by Rita, sculpture by Tim. and fabric printing by Jean. The paintings were all realistic landscapes and figures in deep colours and Rousseau-like static forms. The sculpture was mainly small pieces of abstract design to be used as pendants, earrings and for other similar uses.

Fabric printing does not appeal to me as a creative art media, but the works on display showed interesting colour's and design. There were handbags and other articles usually found in the "knick-knack" shops produced by purely commercial artists with their mass production.

The Unity Exhibition was of works by well-known Wellington artists and included names such as John Pine Snadden, Juliet Peters, Paul Melser, Peter Coates and John Drawbridge. The exhibition was not up to the standard and reputation of the exhibitors. Only one or two works of each artist were on show and most of these were disappointing. There were several lithographs, seriagraphs and water colours, a wide selection of poetry and a few oils and other mixed media displayed.

The best painting on show was Emblem III, an oil by Snadden. It consisted of a thick impasto of reddy-browns with a central blue and khaki block form divided by a conical black line. One of his water colours, Track, had interesting, bright. Ivon Hitchens-like colours, and another, Roots, with its plain, pale colours and simple line, had a definite Japanese air.

Ravaged Landscape (gouache-college) by Peter Coates gave more the impression of bring quiet pastures, with its pale-coloured blocks, than its title suggests. Juliet Peters had on display pale lifeless lithographs typical of her work. Nude (oil) by Julie Van Helden, a large work of a standing nude figure outlined in browns on a white background, made an interesting study. Richard Russell's painting consisted of two abstract oils—the red explosion of Today and the blue peace of Tomorrow. There were three works by John Drawbridge in an uncommon media—aquatint—all similar, black with white to grey parallel lines traced through.

In the ceramic section, with two exceptions—David Parker's Pot and Helen Mason's Platter—Paul Melser's works stood fax above the rest in originality, form and design.

A few years ago it was. Mirek Smiseck, of Nelson, who was "discovered" to the pottery world; today it is Paul Melser, whose work, though not yet up to the technical standards of potters such as Smiseck and Du Fresne, has caused considerable excitement in pottery circles.

His solo exhibition at the Centre Gallery contained 356 exhibits which, although closely spaced, formed an impressive sight for viewers. The variety of exhibits ranged from small simple ashtrays to large garden pots. Many of the shapes and designs were repeated, but with considerable variety in glazes. Particularly impressive were his wine sets (especially the blue glazed), his square pots, which ranged from four inches high to narrower two feet high, Pot X (from the Light Collection) and a conical pot with an upright circular base.

All three exhibitions showed works with a variety of techniques, colour, design and form. Most successful In sales was the last. but this could well reflect on the public interest rather than the works. However, all three brought art to the Wellington public. At present it is in need of their support and encouragement.

M. J. R. Gaffikin.