DRAW PAINT DESTROY Review by Franky Strachan printed in the ODT 30/8/12

In response to A Gallery’s other group show, Girlz, this all-male exhibition presents three voguish but incisive artists who are, over a three-week period, responding to their designated titles (draw, paint, and destroy).

In week one, Brisbane agitated the passivity of drawing with his moody collection of heavily worked, attitudinal portraits. Unframed and hugely expressive, the graphic renderings portray underground rogues donning tattoos, cigarettes and scars like rusty, hard-earned honours.

In week two, Ovens presented three triangular works which juxtapose graphic printed imagery with subverted icons on flamboyantly painted canvases. They are gutsy because they demonstrate not only intellectual alertness and a dissection of civic values but also the backbone to stridently declare malcontent. He conveys ideological irony while underscoring absurdity in his typically sardonic, but equally humorous style.

The final and much-awaited instalment of prints and spray-paint by Jones is to be revealed at the gallery tonight. Such a week-by-week structure compounds the conceptual dynamism of a display which is already politically loaded and culturally responsive, and while the exhibition is deliberately gender-biased, the overall communication thus far utterly derides archaic righteousness and mainstream masculinity.

Published by agallerypresents.com

Conceived as a two-year project, ‘a gallery’ opened in February 2011 at 393 Princes Street, Dunedin and closed in September 2012. Strategically placed south of the center of town nestled between tattoo studios, sex shops and a needle exchange. What was integral in the selection of the gallery space was that it would be able to be viewed from the street through the street level floor to ceiling windows. This would allow the artists showing to be exposed not only to viewers visiting the gallery, but also those walking past, as a gallery was to represent artists that did not fit within the commercial gallery context or the so called experimental project space’s, this would be the best way to expose a particular group of artists selected by gallery curator/manager Jay Hutchinson, artists he respected and admired and felt were not being represented in the gallery scene at the time.

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