INTERPLAY – a group exhibition
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Interplay
Pam Brabants, David H Brown, Gary Peters, Laura Ann Woodward
Friday 5 November - Sunday 14 November
Twentysix, 26 Constable Street, Newtown, Wellington
“Interplay brings together four artists all connected through Toi Pōneke Arts Centre. Each with their own visual language using shapes, gestural marks, figuration, objects, colour, and handstitched and line work. Across these diverse works is an intricacy and precision that makes me lean in, and recognise the fruitfulness of working within specific boundaries.” - Lynn Davidson (excerpt from A Poet Looks at Interplay)
About the artists:
Pam Brabants works in various mediums, including pencil drawings incorporating text, sculpture, found objects, and hand-stitched textiles. She excavates the lives of artists that have gone before her, plays with idioms, collects parts of overheard conversations, and trawls her own wonky lived experience. She questions the contradictions of human behaviour through a not always steady feminist lens using pathos, irony and humour.
David H Brown incorporates formal and socio-conscious elements in his geometric painting and 3-dimensional works. Using farming materials to inform his work, Brown seeks conversation exploring the contradictory relationship between humans, animals, and their shared environment. Recent digital works look to describe a new space of possibility, discovery and hope in these uncertain times.
Gary Peters’ previous works were bright, flat, hard-edged and geometric, responding to external spaces. These now give way to equally colourful, intuitive, loose and fumbled paintings that reveal Peters’ mark-making visual language. Responding to internal space and seeking to embrace his awkwardness Peters isn’t making pictures; he’s making paintings.
Laura Ann Woodward interrogates the structure of knitted fabric and creates impossible maze-like spaces. Buildings and blankets are brought together as layers of colourful protection. Their shared repetitive design and calculated forms lend them to Woodward’s meticulously hard-edged geometry.