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

JH

Simon Morris’ Poured Paintings

AA
View Discussion
Simon Morris' 'I Watch the Falling Light' as installed at Two Rooms. Photo: Sam Hartnett Simon Morris' 'I Watch the Falling Light' as installed at Two Rooms. Photo: Sam Hartnett Simon Morris' 'I Watch the Falling Light' as installed at Two Rooms. Photo: Sam Hartnett Simon Morris' 'I Watch the Falling Light' as installed at Two Rooms. Photo: Sam Hartnett Simon Morris' 'I Watch the Falling Light' as installed at Two Rooms. Photo: Sam Hartnett Simon Morris, Falling Light (pale Naples), 2018, acrylic on wood, 2000 x 1000 mm. Photo: Sam Hartnett Simon Morris, Walking Drawing (pale Naples), 2018, wall drawing, dimensions variable. Photo: Sam Hartnett Simon Morris, Falling Light (pink orange), 2018, acrylic on wood, 2000 x 1000 mm. Photo: Sam Hartnett Simon Morris, Walking Drawing (pink orange), 2018, wall drawing, dimensions variable. Photo: Sam Hartnett Simon Morris, Falling Light (red oxide), 2018, acrylic on wood, 2000 x 1000 mm. Photo: Sam Hartnett Simon Morris, Walking Drawing (red oxide), 2018, wall drawing, dimensions variable. Photo: Sam Hartnett Simon Morris, Falling Light (yellow), 2018, acrylic on wood, 2000 x 1000 mm. Photo: Sam Hartnett Simon Morris, Walking Drawing (yellow), 2018, wall drawing, dimensions variable. Photo: Sam Hartnett

With both types of painting (they feature the same colours), the viewer's proximity is an essential factor. Far more important I think than their gazing on a distant vista, even though the colour there is more saturated. Nearness provides pleasure in examining surface or pigment modulation, and delight in the contingent behaviours of the liquid medium. Light within thin paint on a pale support is a crucial element, but so is structure and evocative, underlying, patterned texture.

Auckland

 

Simon Morris
I Watch the Falling Light

 

27 April - 26 May 2018

Resulting from experiments he carried out while having a residency in the Headlands Centre in San Francisco, these new poured paintings — besides referencing the wonderful installation he made a couple of years ago in Chrisstchurch Art Gallery—vaguely allude to the techniques of Dale Frank or Larry Poons, with the pouring technique of making a horizontal wooden support (bearing applied runny viscous paint) suddenly vertical and left that way to dry.

Here he uses transparent glossy glazes of yellows, reds, browns, and oranges to showcase the underlying woodgrain patterns of the Scandinavian plywood made from Baltic Birch or Popular. He cleverly uses the given whorls, ripples, zigzags and knotholes as found drawings, presented via large vertical panels of diluted glossy colour, hung low to suggest standing human figures. You have to stand close to enjoy the woody supports. Morris is of Norwegian descent, so they become a kind of comparatively quickly made, self portrait.

Morris’s use of warm thin colours references summer sunlight pouring down through the treetops of San Francisco forests. Yet for me, as so much of his practice has been about pigment intensity and light anyway, the support here is of special interest. The centrally located knotholes, dark little islands, become dramatic features that seem coincidentally to be like body parts like mouths or other orifices. There is a subtle surreal component that one rarely sees in Morris, that perhaps leads to sexual interpretations, and not light (or paint application process) at all. It is wonderfully ambiguous work.

The other elements in Morris‘ exhibition are his much smaller, delicate, wall paintings—complex horizontal grid patterns that seem to have been made with stencils. They are not pristine, the paint drips and oozes, giving them a touch of the unexpected—but are only detectable when you get up near. Possessing an intricate architectural quality, they are suggestive of the struts supporting plane wings, or stacked wafers with reinforcing beams, presenting modulated bars and different heights. With the supporting white wall peeping through between tiny attached rectangles they are quite gorgeous.

With both types of painting (they feature the same colours), the viewer’s proximity is an essential factor. Far more important I think than their gazing on a distant vista, even though the colour there is more saturated. Nearness provides pleasure in examining surface or pigment modulation, and delight in the contingent behaviours of the liquid medium. Light within thin paint on a pale support is a crucial element, but so is structure and evocative, underlying, patterned texture.

John Hurrell

Print | Facebook | Twitter | Email

 

Recent Posts by John Hurrell

JH
Yuk King Tan, Crisis Of The Ordinary, 2019, string, collected protests objects from Hong Kong, Korea and New Zealand, dimensions variable. Photo: Sam Hartnett

Yuk King Tan in Auckland

STARKWHITE

Auckland

 

Yuk King Tan
Crisis of the Ordinary

 

21 August - 7 September 2019

JH
Fiona Clark, Chris Dickenson, Mr America 1970, Mr Universe 1974 and Grand Prix 1980 winner, Auckland, 1980, Vintage C-Type handprint on Agfacolor Paper, printed 1981, 250 x 365 mm (paper size).

An Unusual Pairing

MICHAEL LETT

Auckland

 

Dan Arps and Fiona Clark
Fiona Clark and Dan Arps

 

31 July - 31 August 2019

JH
Joyce Campbell, Flightdream, 2015 (installation view). Image © the artist and Two Rooms, Auckland. Photograph by Sam Hartnett.

The Slipping Away

GUS FISHER GALLERY

Auckland

 

Group exhibition

The Slipping Away



6 July - 7 September 2019

JH
A still from Richard Billingham's Ray and Liz. The image shows Lol, played by Tony Way.,

NZIFF ’19 Overall

Auckland

 

New Zealand International Film Festival
Various theatres around Auckland

 

18 July - 4 August 2019