Seascapes, Spanish dreams and weddings on display
Founded in 1889, the Suter Art Society is an institution almost as old as the Suter Gallery and its biannual exhibitions are a benchmark for what might be loosely described as amateur art in the region.
This is a term to be used with care though, as many of the artists showing work are professional, in the sense that they make money from their art and also that their work is of a high standard.
The first piece you meet as you walk through the door is Soft Light Kina, by Peter Copp. He’s a Ruby Bay artist whose work is usually instantly recognisable in style and in colour, but this is a new, more reflective take on old themes, retaining the colours, but losing the hard edges.
When it comes to plein air technique, Ross Whitlock is masterful. What Ta¯hunanui Walkers at Dawn lacks in raw emotion, it makes up for it technically, giving a regal sense of being on the spot as the morning sun lights up the sky.
The art society traditionally invites a guest exhibitor. It seems to be a bit of a risk to invite a young artist, not long out of school, whose work is still very much in the development stage. What can Gavin Chai teach those looking at his work?
His collection is a type of photo essay of his experience in the construction industry. At times his use of colour is interesting, but when he brings in human figures the paintings become laboured.
Roof Frames, a small portrait of a roof structure, uses colours almost at random, in a gentle, reflective way. However, when human figures enter the picture, the painting becomes laboured and he seems to feel a need to portray the real fluoro of their hats and jackets, with jarring results.
The most successful painting showing a human being is Figure Study 2017, the only water colour on show. This has been painted quickly and spontaneously and has a life lacking in the other paintings.
Pictures of rowboats on smooth waters can be a cliched subject. That doesn’t make them any less worthy as a subject and Jill Richards has used vivid colour to bring life to her monoprint Sitting Quietly.
The Wedding, by Helen Fox, is almost breathless in its exuberance. It’s as if in her excitement at painting it she couldn’t bear to put down her brushes.
The making of patterns is a recurring theme in many art forms. Circuit Board by Jane Clark and Aurora Imagined by Sue Broad move pattern into a more abstract mode in their hand weavings.
Lane Hawkins stuck with very clean geometric patterns in his woodblock print Kaitaka.
Two mixed media pieces by Christine Wingels move pattern into a completely abstract format within more formal boundaries.
Ronnie Martin exhibits two pieces using different techniques. I particularly liked the print Spanish Dreams.
The exhibition continues until April 17 at the Suter Art Gallery.