SHOTS FIRED AT AUSSIE ‘PHILISTINES’ AFTER KIWI ARTWORK QUARANTINED
A NEW ZEALAND art dealer has launched a scathing attack on our Trans-tasman neighbours, branding them ‘‘philistines’’ after a Kiwi painting ended up stuck in customs for being a biosecurity risk.
Door + Bell by Wellington artist Elisabeth Vullings was on its way to a Melbourne buyer on October 7 after being bought for $2200.
But the 1.5-metre painting came under the scrutiny of Australian Customs for its wooden frame, despite it having been treated, and the work has been held ever since.
Its future is unclear, with Australian officials saying the will not rule out destroying the piece, if their biosecurity requirements are not met.
Artel Gallery owner Maude Heath, who sold the piece, said Australians were ‘‘f...... philistines’’ to quarantine art.
‘‘The Australians put everyone they can in detention. So why not kick off with a bunch of art?’’
The problem related to its wooden frame, made from a 100-year recycled old window sill.
But the frame was also part of the artwork itself, and ‘‘it’s not like we’re sending a packing crate’’, she said.
Vullings described the decision to quarantine it as crazy.
She had treated the wooden frame with a borer insecticide containing kerosene, and it had also been varnished.
She saved the window sill, probably made from kauri, from being smashed while at a dump shop in Dunedin.
‘‘They were just about to bulldoze a whole pile of rubble and I saw some old frames in there so I jumped down and said, ‘Stop, stop’.’’
It took about three months to create the work.
‘‘It’s the one piece that I’ve actually kept for four years . . . so I had a really strong connection to it.’’
Melbourne woman Sarah Etheridge, who bought the work, said she had been left in the dark by authorities over its future.
Etheridge called her delivery company earlier this month when the painting had not turned up and was told it had been held.
She would never bring in wooden products from countries she visited, such as Bali and India, but she did not expect art from New Zealand to be a problem.
An Australian Ministry of Agriculture and Water Resources spokesman said the department would not comment on specific imports.
‘‘The department regularly works with importers, including artists, to ensure all biosecurity requirements are met.’’
In many cases the frames were found to be risk free and allowed into the country, he said.
‘‘In cases where a risk is identified, the department will work with the importer to identify suitable treatment or re-export options. Both options prioritise maintaining the integrity of the artwork.’’
As a last resort, if biosecurity conditions were not met, the item would be destroyed, at the importer’s request.
The department would not say when the assessment for Door + Bell would be completed.
Meanwhile, Heath said it was unclear what the decision meant for art exports to Australia.
She said most canvases were sent around the world mounted on pine frames.
‘‘Are the Australians now going to be asking me and the artists for proof that the pine that’s been used has been treated?
‘‘Even though those canvases more often than not come in from China.’’