Art

Mature and Mediocre

by Rosemary Young

Works ranging from the mature to the [unclear: ediocre] are included in the exhibition of [unclear: rt] work from the Wellington Teachers training College.

Jenny Hooker's two screen prints stood [unclear: o] the fore among the mature. In her works, which suggest natural derivation, she [unclear: andles] colour well, especially in numbers [unclear: 4] x 10 (bird print). Anne Bondys' screen [unclear: print] was of a similar nature called wood [unclear: igeon].

Figure sketches by Barbara Street were mixed bag, for in some areas she seemed [unclear: ompetent], but not overall.

Of an interesting array of photographs, [unclear: hose] of Geoff Kennedy titled "The Guitar [unclear: layers]" were the most appealling. This was thoughtful study which caught the im-[unclear: agination] and drew one in, adding a dim- [unclear: sion]. The photographs by Chris Draye [unclear: ere] also interesting, but more objective. [unclear: ou] could only look, not penetrate.

In three dimensions, a fish mobile by [unclear: oss] Pearson was lively and well balanced. The tonal contrast—the positive/negative [unclear: f] black and white—was well effected with [unclear: fficient] complexity to give dimension without clutter.

Many of the works are obviously those [unclear: f] developing artists—in this context I would cite the work of Rosemary Little whose "Kingdom of Yestaman" series were [unclear: f] a racy and unusual style, verging on the [unclear: icture]-book illustration. These works were [unclear: ard] to gauge and left one wondering just [unclear: hat] Miss Little is aiming at. Semi-realistic, [unclear: ney] showed a healthy disrespect for many [unclear: f] the "rules" especially proportion. They merged with a Klee-like quality; yet it would be unfair to categorise her work as [unclear: ertaining] to this or that artist. She has style of her own, which, if well and [unclear: oughtfully] developed, could be worth [unclear: atching].

The obviously Cubist-orientated works of [unclear: elen] Carkeek fall easily into the style of [unclear: asso] and Braque. This serves no purpose [unclear: t] all, and the works emerge in a studied [unclear: onstipated] manner. Little is given of the artist herself. Where Helen Carkeek fails, [unclear: osemary] Little succeeds, and yet superficially, the reverse would seem the case, for Miss Carkeeks work is sophisticated.

Among the more abstract works are the paintings of Roy Foxall. His "aftermath" and "fireball" were both motive exhibits. One could sense a real relationship between subject and painting. When Rosenbury, the foremost American art critic was in New Zealand last year he was questioned about the relationship of title to work, and he claimed that there need be no more relationship than that of a ship and its name.

The "Queen Mary" does not have to look like Queen Mary, and if it did it would be more of an insult than anything else. This attitude could well free Roy Foxall's paintings of any inhibitions they may have.

Sam Hunt's "Bandit King and Queen" were two simple carved figures which were both refreshing and pleasing. Also rather fun.

Mention must be made of Kathy Codinet's series of Samsan prints, which were a series of attractive motifs. This idea could be developed beyond its present usage without actually aborting the original design.

Rosemary Littles two paintings "Grandmother Creasy", and "Peasants We" were lively, but lacked technical competence.

The exhibition is interesting and many of the works are for sale. Included are rock design, carving, weaving, sculpture and a mobile, as well as the usual paintings and drawings. They are on display in the Lecture Block Foyer until the 27 June.