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

JH

When Artifice Creates Nature

AA
View Discussion
Grant Stevens, The Waterfalls, 2016-18, archival ink on archival paper, ongoing series, each 825 x 550 mm Grant Stevens, The Waterfalls, 2016-18, archival ink on archival paper, ongoing series, each 825 x 550 mm Grant Stevens, The Waterfalls, 2016-18, archival ink on archival paper, ongoing series, each 825 x 550 mm Grant Stevens, The Waterfalls, 2016-18, archival ink on archival paper, ongoing series, each 825 x 550 mm Grant Stevens, The Waterfalls, 2016-18, archival ink on archival paper, ongoing series, each 825 x 550 mm Grant Stevens, The Waterfalls, 2016-18, archival ink on archival paper, ongoing series, each 825 x 550 mm Grant Stevens, The Waterfalls, 2016-18, archival ink on archival paper, ongoing series, each 825 x 550 mm

They look digitally enhanced but are not, while still confirming the generic qualities they are popularly known for—their reputations colouring their on site experience. They share multiple group characteristics, and their points of individuality the viewer has to walk back and forth to discover. Yet overall it is a sense of a community of images that dominates.

Auckland

 

Grant Stevens
The Mountain and the Waterfalls

 

1 September - 29 September 2018

The Mountain is the first thing you notice when you enter the space. It is like earlier Grant Stevens works that used clusters of words hovering in space—spatially positioned by computer—in that the lighting of its digitally constructed mountain peak on a big freestanding screen, the mountain’s weather conditions, and the time of sunlit day or moonlit night (things you notice as the ‘camera’ moves around it) are determined by random programming.

While you might miss the earlier humour of the emotionally evocative (appropriated) language and the silky eroticism of the speaking voices, this is an absorbing work with a different conceptual alignment. Words are still present: only this time they are your words (not his), in your thinking head (not on his screens or prints)—as you analyse the shifting vista.

The Waterfalls are lined up on the wall opposite the screen. They are images Stevens made by photographing spectacular waterfalls located in bush sites that are surrounded by lush vegetation and mossy rocks—popular with tourists and other photographers—that he found by Googling. He has trekked to each one and made his own ‘perfect’ romantic landscape, celebrating the sublime as typified by each cascading torrent and letting the descending water blur into milky strings by controlling the exposure time. They look digitally enhanced but are not, while still confirming the generic qualities they are popularly known for—their reputations colouring their on site experience. They share multiple group characteristics, and their points of individuality the viewer has to walk back and forth to discover. Yet overall it is a sense of a community of images that dominates. 

While The Waterfalls downplay individuality, emphasising group attributes, The Mountain spotlights the moment the viewer walks in the door and encounters the moving image on the screen—the randomly concocted qualities of light and weather affecting the digitally rendered peak at that specific time. Each brief time span has its own unusual properties, particular to that moment. There are many many computer generated variations, and no loop. The viewer stands in front and lets the image pan from right to left, revealing the changing swathes of orange coloured light on the rocky crag. Enjoying the special uniqueness of that instant, that is unlikely to be experienced again.

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