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Time

When:

Wed 20 Apr 2016, 10:00am–3:00pm
Thu 21 Apr 2016, 10:00am–3:00pm
Fri 22 Apr 2016, 10:00am–3:00pm
Sat 23 Apr 2016, 10:00am–3:00pm
Tue 26 Apr 2016, 10:00am–3:00pm

Where: Railway Street Studios, 8 Railway St, Newmarket, Auckland

Restrictions: All Ages

Ticket Information:

  • Admission: Free

Listed by: fionacable

Gibbons’ works are based on observation and as such speak of the artist’s accumulated impressions of personal experience in spite of their apparent abstraction. It may be a place, a painting, a pattern which enters his subconscious to be transformed into these paintings and begin a conversation. Although these works are often inspired by natural elements, for example, sea, night, horizons, they are not symbolic and are not intended to depict a particular place. Rather, the works are a dialogue in paint. The artist uses colour, rhythmic movement, mark making, layering and stripping back to discuss permanence, memory, motion and time. He works with media chosen specifically for it’s materiality to explore these concepts in a physical way.

Time is an inherent factor both in the technical process and the mood of each work. The larger paintings are more urgent and energetic, requiring the artist to work quickly and with large, rhythmic, rolling movements while the paint and pigment are malleable. The gestural brushstrokes, requiring movement of the artist’s whole body, give the impression that the finished piece is a captured instant, perpetually in the present.

The brushwork of the sand paintings is more deliberate, exploring the concept of permanence or lack thereof as the sea erodes the land. The paint and sand are applied thickly, layered up to a liquid solid and after some time stripped back to reveal a new state beneath. Timing is critical. The process of layering up and stripping back leaves us with an interesting divide and paradoxically it seems that liquid is the stronger element.

In the most recent smaller works, the tone of the conversation has changed and is more controlled. These delicately constructed works continue to explore the effects of layering and stripping back of liquid colour. The viewer is seduced by the subtlety of the compositions which seem to convey both lightness and weight.

The tight constraint of the masked border is recurrent in all of these works. The paint often seems impatient to break this boundary and in some cases does, reminding us of the physicality of the medium. Indeed, the paper stock, paintbrush, humidity, the time frame, and the human imperfections are integral to the uniqueness of each work. The visceral physicality of paint is pure pleasure for the artist in an increasingly digital world.

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