Michael Lett gallery presents an exhibition of paintings by Oliver Perkins. These works, produced in Perkins’ Lyttleton studio during the national COVID-19 lockdown from April–May 2020, continue a suite of processes for the artist that explore and disrupt the parameters of contemporary painting practice.
Perkins takes the constituent elements of painting production as material for aggregation and intervention. Seen and unseen materials like canvas, cardboard, dye, rabbit skin glue, ink, stretcher bars, dowel, and staples are employed as actors in a network of painting practice to be redistributed and realigned, offering new modes of being with and experiencing painted objects.
Perkins’ works share a suggestion that a painting isn’t something that is made or done—an autonomous and inert object that leaves the studio in a state of completion. Rather, they are objects bound (sometimes quite literally) in a continual state of happening. And so the various inserts, implants, ropes and strings that Perkins employs become means to interrupt and emphasize this constant action.
This exhibition will be open to the public once Tāmaki Makaurau Auckland moves into COVID-19 Alert Level 2. Images of the exhibition and further details are available at Michael Lett gallery's online viewing rooms.
Hamish Win's recent essay on Oliver Perkins, Patrick Lundberg, and Richard Bryant for the John Dory Report can be read here.
Opening Hours
- Online and in person in the gallery
- Wednesday–Friday 11am–5pm
- Saturday 11am–3pm
Address
- 312 Karangahape Road
- Corner East Street and Karangahape Road
- Auckland 1010
Michael Lett gallery presents an exhibition of paintings by Oliver Perkins. These works, produced in Perkins’ Lyttleton studio during the national COVID-19 lockdown from April–May 2020, continue a suite of processes for the artist that explore and disrupt the parameters of contemporary painting practice.
Perkins takes the constituent elements of painting production as material for aggregation and intervention. Seen and unseen materials like canvas, cardboard, dye, rabbit skin glue, ink, stretcher bars, dowel, and staples are employed as actors in a network of painting practice to be redistributed and realigned, offering new modes of being with and experiencing painted objects.
Perkins’ works share a suggestion that a painting isn’t something that is made or done—an autonomous and inert object that leaves the studio in a state of completion. Rather, they are objects bound (sometimes quite literally) in a continual state of happening. And so the various inserts, implants, ropes and strings that Perkins employs become means to interrupt and emphasize this constant action.
This exhibition will be open to the public once Tāmaki Makaurau Auckland moves into COVID-19 Alert Level 2. Images of the exhibition and further details are available at Michael Lett gallery's online viewing rooms.
Hamish Win's recent essay on Oliver Perkins, Patrick Lundberg, and Richard Bryant for the John Dory Report can be read here.
