John Pule, Kehe tau hauaga foou (To all new arrivals), 2007.
Pules painting Kehe tau hauaga foou translated To All New Arrival plays on the depiction of landscape and culture. The overall painting mimics a landscape showcasing moments of conflict, and relationship constructing a world of confusion. The confusion in the painting is emulated using contemporary and historical contexts driving the work to speaks to the audience, this is done symbolically and an instructive way. Pules wanted to encapsulate how bombs and nuclear testing are contrasted with pollution and global warming in the artwork which is consistently portrayed throughout the work. This was successfully portrayed through the repetitive blue structures paired with the wavy uniformed lines underneath. Pule effortlessly communicates his intention through the use traced figures, prominent environment, time and place. These are shown explicitly through eloquent use of the elements and principles of design: Line, Shape, Colour, Emphasis, Scale and Movement.
Shane Cotton, Free Fall, 2006.
Cottons painting Free Fall works on representation of arrival and departure this is evidently symbolic throughout the artwork with the use of a bird and an aeroplane. The artwork uses scale as a way to overwhelm the audience in a sense of focus; using the conceptual elements of the bird, aeroplane, textural landscape and blurriness as individual focal points of connectedness creating a movement for the viewer. The artwork uses figures as anchors to showcases the intention with clarity to reinforce that concept of arrival and departure. Cotton achieves this effortlessly with the use of clear figures, shape, text and atmospheric elements. These are shown explicitly through expressive use of the elements and principles of design: Shape, Form, Texture, Value, Contrast, Emphasis, Scale and Movement.
John Vea, Import/Export, 2008.
Veas sculpture Import/Export constructs physical labour in the context of Pacific workers in agriculture and construction industry and their under-representation in New Zealand’s economy. The artwork targets the notion of the temporary entry to plant, harvest and pack crops in New Zealand. This is shown evidently through the sculptural elements of the materials being wooden crates and the plastered contents inside described by Vea as ‘urban taros’ mimicking simplified vegetable roots. These sculptural forms were meaningful in presenting the Pacific workers of the industry both significant to the core of the industry but overlooked. Vea achieves this through fluent use of the elements and principles of design: Form, Colour, Texture, Emphasis, Pattern and Contrast.
María Nepomuceno, Grande Boca, 2013.
Nepomucenos installation Grade Boca translated to ‘Big Mouth’ eludes loud expressions regarding imagination and the interrelation to Nepomucenos indigenous background. Grande Boca challenges the nuance of forms and how the mouth creates a connection with the audience through invitation. The artwork is spread across the gallery space, this addresses the intimate connection through the exotic growths eating the space. Nepomucenos used the mouth as a device to speak to the audience in an alluding manner to invite the ‘spectator’ as Nepomuceno references. Nepomuceno comments on the notion of being consumed by the mouth because of its staggering hunger. This thirst and attention is evident through emphasis of the bright orange and red colours. This is almost like a mechanism to invite the audience into a trance to be being consumed by imagination where the audience determines the reality. Nepomuceno achieves this easily through the elements and principles of design used: Form, Colour, Emphasis, Scale and Movement.
Ross Manning, Spectra V, 2013.
Mannings installation Spectra V uses elements of physics to create repetition in patterns. This representation of repetition makes the viewer curious if a new pattern will be proposed. This waiting game and play with sight and sound makes this installation visually and physically captivating. A fun essence is shown with minor distractions such as the fluorescent swinging lights and the continuous turning fans. Spectra V has a constructive aspect to it making it feel mechanical, giving the artwork an imperfect character. Directly hanging in the mid-space illuminating the space immediately gives the work an extra-terrestrial atmosphere, adding to that fun essence. Mannings binding of materials enhances his use of the elements and principles of design like: Form, Colour and Movement.
Judith Wright, Destination 1, 2013.
Wrights installation work Destination 1, uses inanimate objects as a way to communicate themes of experience, melancholy and humor in an equal measure. Wrights destination series elicit many reactions and interpretations regarding the figure and objects used. Destination 1 showcases: a tin bath, mannequin, nylon wings, resin halo, toy frogs, wooden base and plywood cloud. This piece emits feelings of humour in an absurd context this is shown through the manikins’ expression and weird appearance. Being inside of a tin bath immediately constructs the bathroom setting and the green frogs give the overall piece an abnormal value to it. This absurdity of the random objects gives the overall piece different selections of emotions mentioned like melancholy and humour. This balance is achieved by the scary use of the manikin and the absurd random fitting objects making it humorous. Wright effortlessly communicates her intention through the clever use of the elements and principles of design: Form, Colour, and Emphasis.
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