Nau mai, haere mai, welcome to EyeContact. You are invited to respond to reviews and contribute to discussion by registering to participate.

JH

Double Vision, Double Vision

AA
View Discussion

Probably these works are best in a home where their ambiguity is most pronounced. At Starkwhite they are clearly ‘art' and highly aesthetic. No one is likely to go looking for the missing remote control in the gallery space. In a house surrounded by other domestic accoutrements on the other hand, the box forms - not the wall components - would throw you. They are harder perhaps to worship as surrogate status symbols, and obviously mischievous.

Auckland

 

Matt Henry

Doppelgänger

 

16 April - 14 May 2009

 

This exhibition by New Plymouth artist Matt Henry teases out the confusing similarities between minimalist sculpture and elegant sound systems, or monochromatic minimalist painting (under glass) and flat plasma screens. These ambiguous geometric forms are presented in the two upstairs rooms that overlook K’ Rd, approximately mirroring of each other in their placement within the adjacent spaces.

These pristine box-or-slablike sculptures on the floor have a remarkable finish. They look sharply crisp, each edge or plane of their form looking almost hallucinatory in their hyper-reality. More perfect than perfect in their formality.

The leadless ‘sound systems’ are accompanied by a painting/sculpture hybrid where painted, glass covered canvas panels are float-mounted and framed. In one room the panel is a fluro lime green that has associations with outdoor TV sport broadcasts. In the other, the colouration of that panel is a very dark grey. You could confuse it with black caught in a raking light.

While they look vaguely like plasma screens, they are really thick and clunky in comparison. Closer to paintings that ridicule the presentational formats of ‘sensitive’ painting by being deliberately gross in their proportion and frame colour, they become bizarre fetish objects, items devoid of function that look store bought and not obviously ‘art’. They look impressively expensive.

Probably these works are best in a home where their ambiguity is most pronounced. At Starkwhite they are clearly ‘art’ and highly aesthetic. No one is likely to go looking for the missing remote control in the gallery space. In a house surrounded by other domestic accoutrements on the other hand, the box forms - not the wall components - would throw you. They are harder perhaps to worship as surrogate status symbols, and obviously mischievous.

- John Hurrell

Print | Facebook | Twitter | Email

 

Recent Posts by John Hurrell

JH

The Latest ‘White Fungus’

Taipei

White Fungus #16

 

Edited by Ron Hanson
Art directed by Mark Hanson

Published in Taipei, Jan 2019

JH

A Digression is Not a Distraction

SPLIT / FOUNTAIN

Auckland

 

distracted-reader
Time to Think Like a Mountain



Issue #3, Split / Fountain 2018

JH

Sydney-based Art Journal

diˈvan: A Journal of Accounts (Art / Culture / Theory)

Issue #4

Edited by Alan Cruickshank


Published by diˈvan and University of NSW Art and Design, July 2018

JH

The Eighth ‘Reading Room’

AUCKLAND ART GALLERY TOI O TAMAKI

Reading Room: A Journal of Art and Culture

 

Issue #8: Politics in Denial

 

Edited by Christina Barton, Natasha Conland, Wystan Curnow

 

Auckland Art Gallery Toi o Tamaki, 2018