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Dibble, Kihara, Williams (2014)

Dibble, Kihara, Williams (2014)

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When:

  • Sat 26 Jul ’14, 10:00am – 6:00pm
  • Sun 27 Jul ’14, 10:00am – 6:00pm
  • Mon 28 Jul ’14, 10:00am – 6:00pm
  • Tue 29 Jul ’14, 10:00am – 6:00pm
  • Wed 30 Jul ’14, 10:00am – 6:00pm
  • Thu 31 Jul ’14, 10:00am – 6:00pm
  • Fri 1 Aug ’14, 10:00am – 6:00pm
  • Sat 2 Aug ’14, 10:00am – 6:00pm
  • Sun 3 Aug ’14, 10:00am – 6:00pm
  • Mon 4 Aug ’14, 10:00am – 6:00pm
  • Tue 5 Aug ’14, 10:00am – 6:00pm
  • Wed 6 Aug ’14, 10:00am – 6:00pm
  • Thu 7 Aug ’14, 10:00am – 6:00pm
  • Fri 8 Aug ’14, 10:00am – 6:00pm
  • Sat 9 Aug ’14, 10:00am – 6:00pm
  • Sun 10 Aug ’14, 10:00am – 6:00pm
  • Mon 11 Aug ’14, 10:00am – 6:00pm
  • Tue 12 Aug ’14, 10:00am – 6:00pm
  • Wed 13 Aug ’14, 10:00am – 6:00pm
  • Thu 14 Aug ’14, 10:00am – 6:00pm
  • Fri 15 Aug ’14, 10:00am – 6:00pm
  • Sat 16 Aug ’14, 10:00am – 6:00pm
  • Sun 17 Aug ’14, 10:00am – 6:00pm
  • Mon 18 Aug ’14, 10:00am – 6:00pm
  • Tue 19 Aug ’14, 10:00am – 6:00pm
  • Wed 20 Aug ’14, 10:00am – 6:00pm
  • View all sessions

Where:

Milford Galleries Queenstown, 9a Earl Street, Queenstown

Restrictions:

All Ages

Ticket Information:

  • Free Admission

Related Artists:

Shigeyuki Kihara, Paul Dibble

Paul Dibble’s geometric sculptures are organic and sinuous, and the bronze has a sense of plasticity and malleability. The negative space employed by Dibble creates works that are finely balanced but which still celebrate the fundamental weightiness of the medium. The rich patina has a tactile beauty and its dark glow lends life to the abstracted forms.

The four works from Wallace Award winner Shigeyuki Kihara come from her 2013 series Where do we come from? What are we? Where are we going? Referencing 19th century, staged photographic postcards of the ‘South Seas’, they show Kihara (as her character ‘Salome’) standing witness to scenes of political, historical and cultural importance in present-day Samoa - a Samoa far removed from the Pacific paradise fashioned by colonial powers and modern-day travel brochures.

Mervyn Williams defies the flat surface of the painted canvas by creating illusory planes of perspective and three dimensional forms that only truly exist as plays of light and perception. Utilising the optical trickery of advancing and receding colours, his paintings suggest depth and protrusion; the use of circular forms and concentric circles further enhances this illusion.

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