Star Gossage (1973, Ngāti Wai / Ngāti Ruanui) presents a veritable garden in her exhibition of recent paintings. Surrounded by these works we are transported to Gossage’s own garden on a headland above Pākiri beach, northeast of Auckland.
Nestled between ocean and river, the artist’s whare is located on ancestral land – a place rich in history and mythology – a landscape that Gossage returns to again and again as both site and subject of her work. There is an immediacy and intimacy inherent in the application of paint and bare unfinished edges of these paintings, which allows for glimpses of the raw canvas beneath. Amid the obvious signs of human intervention found in the cultivation and care of trees, flowers, and shrubs, Gossage captures something of the wildness of the garden. “They are a bit rough, I think that’s what makes their beauty,” writes Gossage.
In the midst of this garden appear three figures: wāhine with arms cradling gathered blooms. These ethereal portraits appear as tūpuna or ancestors, their individual identities indefinite. Connected to the whenua, whānau, and wairua of this place, they are at once grounded and otherworldly; their features blurry and indistinct. These women emerge out of the landscape, their forms rendered from a mix of local clay, with chalk pastels, conte, and oil.
The fragmentary nature of Gossage’s work lends her paintings a dreamlike quality, where the images are not inert but instead constantly shifting. With Gossage’s own background in film and video, it’s tempting to read these interconnected images as something akin to a series of film stills. Yet narrative remains elusive here, the artist more interested in evoking a particular emotional or psychological state than presenting a fixed set of ideas or concepts.
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- 42 Victoria Street
- Wellington, 6011
Star Gossage (1973, Ngāti Wai / Ngāti Ruanui) presents a veritable garden in her exhibition of recent paintings. Surrounded by these works we are transported to Gossage’s own garden on a headland above Pākiri beach, northeast of Auckland.
Nestled between ocean and river, the artist’s whare is located on ancestral land – a place rich in history and mythology – a landscape that Gossage returns to again and again as both site and subject of her work. There is an immediacy and intimacy inherent in the application of paint and bare unfinished edges of these paintings, which allows for glimpses of the raw canvas beneath. Amid the obvious signs of human intervention found in the cultivation and care of trees, flowers, and shrubs, Gossage captures something of the wildness of the garden. “They are a bit rough, I think that’s what makes their beauty,” writes Gossage.
In the midst of this garden appear three figures: wāhine with arms cradling gathered blooms. These ethereal portraits appear as tūpuna or ancestors, their individual identities indefinite. Connected to the whenua, whānau, and wairua of this place, they are at once grounded and otherworldly; their features blurry and indistinct. These women emerge out of the landscape, their forms rendered from a mix of local clay, with chalk pastels, conte, and oil.
The fragmentary nature of Gossage’s work lends her paintings a dreamlike quality, where the images are not inert but instead constantly shifting. With Gossage’s own background in film and video, it’s tempting to read these interconnected images as something akin to a series of film stills. Yet narrative remains elusive here, the artist more interested in evoking a particular emotional or psychological state than presenting a fixed set of ideas or concepts.
