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Exhibition: A Confederacy of Things (To Paint On)

Exhibition: A Confederacy of Things (To Paint On)

Sorry this event has been and gone


  • Tue 20 Sep ’16, 11:00am – 5:00pm
  • Wed 21 Sep ’16, 11:00am – 5:00pm
  • Thu 22 Sep ’16, 11:00am – 5:00pm
  • Fri 23 Sep ’16, 11:00am – 5:00pm
  • Sat 24 Sep ’16, 11:00am – 3:00pm
  • Tue 27 Sep ’16, 11:00am – 5:00pm
  • Wed 28 Sep ’16, 11:00am – 5:00pm
  • Thu 29 Sep ’16, 11:00am – 5:00pm
  • Fri 30 Sep ’16, 11:00am – 5:00pm
  • Sat 1 Oct ’16, 11:00am – 3:00pm
  • Tue 4 Oct ’16, 11:00am – 5:00pm
  • Wed 5 Oct ’16, 11:00am – 5:00pm
  • Thu 6 Oct ’16, 11:00am – 5:00pm
  • Fri 7 Oct ’16, 11:00am – 5:00pm
  • Sat 8 Oct ’16, 11:00am – 3:00pm
  • Tue 11 Oct ’16, 11:00am – 5:00pm
  • Wed 12 Oct ’16, 11:00am – 5:00pm
  • Thu 13 Oct ’16, 11:00am – 5:00pm
  • Fri 14 Oct ’16, 11:00am – 5:00pm
  • Sat 15 Oct ’16, 11:00am – 3:00pm
  • View all sessions


Antoinette Godkin Gallery, Apt Y32 York St, Parnell, Auckland CBD


All Ages

Ticket Information:

  • Free Admission

Ian Peter Weston’s current practice builds upon a broader interest in painting in which materiality and thickness have become privileged components.

In particular, the place of the support is elevated from that of being simply a given - as something flat and stable upon which to deposit paint. Rather, for Weston the support, which he has termed the ‘substrate’, occupies a position open to continual re-invention, particularly in response to the remembered events of a past life.

In symbiosis with a specific painterly rhetoric, such a constructed substrate produces a range of complex topographies, and in this sense, the painting may then be understood as being folded around itself. Weston’s intentions here are to encourage an observer to move around the work so as to become aware of a continuous play of specular reflections and parallax effects. Through this revealing of the substrate, as something unseen and yet visible, it is intended that particular recognitions may take place.

Weston locates his practice within the peculiarly French concept of the ‘tableau’, described by Stephen Melville as something which is outside of painting but which sets the condition for a painting, such as a gap, or a cut, or a fold. Yet for Weston, there is no doubt that these elements of the substrate are actually right there - within the heart of painting.

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