Showing posts with label Review. Show all posts
Showing posts with label Review. Show all posts

Saturday, October 1, 2011

David Merritt - Poet And True Role Model

Surrounded by his books, David Merritt sits on the bench by Rob Roy's. Buying us coffee, I sit down for a yarn and proceed to establish this unfortunate-looking man as a true role model, an intellectual who is kind and reasonable.

Merritt's work is astounding - a poet and artist in the traditional sense of both these words. His poetry; I can't help but go back later with a tenner for a few of his pieces. His art; the recycled book covers he uses are sustainably genius, cut and staple-bound with poetry glued in as he works on piece after piece while seated at the bench.

We chat about everything. At 52, Merritt was even active on the web development scene as it boomed in the 1980's. He actually started off as a student newspaper editor and politician in the mid-to-late 70's, but moved to Christchurch where he worked with Flying Nun Records after he "got the sex, drugs and rock n' roll bug". Five or six years later he went on to work as a tour manager for bands including The Herbs. But 'The Herbs were a fucking hard band to look after", and around 1985, after thinking "fuck this, I'm sick of looking after other people's creativity," he moved to Dunedin to do something he'd wanted to do for a long time: "become a Bohemian poet." Here he even did a stint as a guitarist for a noise band; it turns out he'd spent so much time stage-left watching performances that he'd somehow learned to play guitar. But then children started to arrive and his marriage fell through because he "was the wrong sex and the wrong colour all of a sudden".

Nowadays, when not hanging out in Dunedin and other New Zealand centers, he lives a humble and self-stocked country life in the central North Island, "sixty k[m's] from anywhere". He's a 1970's Land Rover enthusiast, too - his collection of 9 (down from 18) is his own kind of super-annuation plan.

Art Week was a small shift for Merritt. Parking one of his vintage Land Rovers in front of the OUSA lawn every day, he made and sold his poetry from a table by the bonnet. I daresay I hope people took notice; his poetry chalking around campus was only a small, but inspirational, taste of what David Merritt has to offer us all.

"You need to do what you like to do," he says. "There's no such thing as a rich poet."




*thanks to Lucy Fulford for the first photo*

Saturday, May 28, 2011

Suji Park- That Which Opens at Brett McDowell Gallery, Dunedin

A couple of Fridays ago I went with friends to this sculpture exhibition at Brett McDowell Gallery 
They were REALLY cool and you can buy them for $350 - $850. In my opinion, totally worth it if you have the money
Here's the review I wrote for the Art Writers group I belong to...


Suji Park's That Which Opens at the Brett McDowell Gallery is somewhat proof that cute and discomforting are not oxymoronic. Imperfect mounds of clay, the artists hands still clearly visible, are transmogrified into realistic human postures, combined in collections, presented on podiums. At 20cm high they're not intrusive, they sit comfortably in the small gallery space amongst the crowd of observers. It could be mistaken for an unsettling version of a Frankie exhibition, yet it's this sinister innocence in which Park finds a beautiful juxtaposition. And if you fancy it, there's even a religious undertone running through the collection. 

As you enter, you find to your left a collection of Swimmers, barely raised from ground level. They seem content, passively happy in their activities. A child's dream. The clearly drawn-on watercolour and graphite detail feel obtainable and familiar, the two figures almost inspiring you to go away and replicate them. However, this simplicity is purely superficial. Our self-consciousness permeates through the characters. Why is it that they feel the need to go and sun-bathe under bright gallery lighting? Or is it more to show a necessity for us to open ourselves up to receive enlightenment from Park’s work? For the rest of the room contains pedestals bearing sculptures in which Spirituality and Sexuality would seem to reign Sovereign. A relationship is found in nakedness and prayer, evidenced in Park’s interest in showing the genital area.

The sharpest details of most pieces are the eyes, observing the observer. They're captivating, somewhat unsettling as they ceaselessly look longingly from their ceramic bodies. What are they missing in life? What the heck are they making us feel..?

A piece of the Procession collection looks skyward, kaleidoscopic triangles on his stomach posing a sharp contrast against deathly grey body as they point with his stare. Is he dying or praying? His cheeks redden and he screams. Does prayer breach the wall between here and death? Every aspect of this moribund figure is distressingly attractive. His back arches. Then his poised mouth is no longer screaming. He's taking a long, soul-catching breath. But he was doing that the whole time, of course, drawing you in. Still, the eyes!

Conspiracy is haunting, the title is perfect. Postures lean in, whisper. Institutionalized religion? Where has the naked Spirituality gone? 

"And as you go out into the world, may the Lord make you truly thankful," says the priest to the collection of sculptures gathered around him in Sermon. His magic works, it's difficult to leave the exhibition feeling otherwise.



Procession


That Which Opens- Poet


Visitation