DATE 8 MArch 2021 words becky hemus photography supplied
This artwork combines the flatter elements of Brent Harris’ paintwork with a very gorgeous interaction between two almost celestial figures.
One of my favourite parts is the yellow curtain on the left, caressing the side of the canvas like a wave of golden hair. I also love the silhouetted figure that levitates forward, conical arms haplessly outstretched. The surface is matte and slightly cloudy, intriguing from a distance and absorbing on close inspection.
Brent Harris, Untitled, 2020–2021. Courtesy of Robert Heald.
Michael Parekowhai, The Card Players, 2020. Courtesy of Michael Lett.
There’s something about the gauche appeal of faux fruit that draws me in. This suite of candles by Nayan Patel is too good to burn (although if you do then the faint scent of CK One will start to haunt the air). They are slightly sticky and gloriously formed, with a ghostly sheen that absorbs and emits surrounding light.
Nayan Patel, Untitled (Candles), 2021–2021. Courtesy of Parasite.
Inspiration Group, I Don’t See Colour, Installation view, Auckland Art Fair 2021. Courtesy of Satchi & Satchi & Satchi.
My personal highlight from the Fair! I curate a gallery project called Wet Green with my colleague Eleanor Woodhouse, and we presented these drawings by Priscilla Rose Howe. I’ve never seen anything like them. They are nuanced and technically brilliant, capturing an array of melancholy and poignant characters that riff on performance and surrealism to explore a queer experience.
Priscilla Rose Howe, Installation view, Auckland Art Fair 2021. Courtesy of Wet Green.
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