Dick Frizzell and Michael Smither: Works on Paper 17 February - 5th March 2009

Throughout the ages, due to its accessability and affordability, paper has been the most commonly utilised of art materials. This exhibition highlights the printmaking skills possessed by two of New Zealand's accomplished painters; Dick Frizzell and Michael Smither as well as showcasing a number of sketches and drawings which remain integral to the practice of the artists, many of which form the basis of major series of paintings.

Leading practitioner Michael Smither is known for his hard edged style often encompassing an environmental and personal content. An assortment of delightful sketches and drawings, the earliest dating back to 1960 as well as a selection of screenprints showcase the extensive capacity of the artist. Michael Smither gained a knowledge of printmaking from his father Bill Smither and has been producing screenprints since 1963. 'For me', the artist explained, 'being able to sell my prints at reasonable prices was in line with my political ideals. It meant people who couldn't afford a painting could still own an original art work.' (1) Smither ceased printmaking during the mid eighties due to the toxic nature of the materials. He returned to the medium in 2005 when he began collaborating with Don Tee of Artrite Screenprinting. Through this relationship he was able to explore and develop upon earlier editions as well as entirely new series. Recently Smither has gone further, reproducing a number of his favourite paintings as limited edition screeprints. Utilising a pioneering technique where colour glazes and overgloss varnishes are overprinted in layers from a painted filmwork, the artwork is run through a press up to twenty times to achieve the required result. Cracker Biscuit is an excellent example of this technique where Smither celebrates the rich colour of his 1973 oil painting in a limited edition screenprint.

Celebrated painter and printmaker Dick Frizzell is known for his diverse subject matter often encorporating Kiwiana imagery with a tongue and cheek approach. Before committing to a career as a full time artist Frizzell was employed in the commercial design and advertising industry. This background has often fuelled a degree of cynicism and an interest in consumerist culture. The artist has over the years utilised an eclectic assortment of stylistic approaches from cubism, realist landscapes to pop art and cartoons. 'Throughout his career he has cultivated an image as iconoclast to whom nothing, not even Maori art, is sacred. His Tiki painting of 1992 debunked the overly reverential attitudes towards things Maori prevalent at the time.' (2) In this exhibition, the tiki is a central motif utilised in both Frizzell's dynamic gouche works as well as a number of screenprints. Frizzell playfully references cubist masters such as Picasso, Braque and Leger, the tiki form emerging from recognisable art historical reference points. Frizzell's Legerdemain series employs a characteristic double entendre; literally translated from french the word means a slight of hand or trickery while also aluding to Argentinian born artist Fernand Leger who came to fame during the 1900's for his avante gaurde cubist approach to painting. In this series Frizzell explains, 'Legerdemain means ’Leger’s the Man’ (‘da man!’)...AND refers to the trick of the hand required to turn a Leger into a Tiki' (3) 

DICK FRIZZELL

Ochre Tiki (1998) Gouache on paper Framed size: 595x610mm	Glass Tiki (1998) Gouache on paper Framed size: 555x585mm	'Egyptian Style' Tiki (1998) Gouache on paper Framed size: 565x595mm

Legerdermain (2006) Screenprint edition 32/80 Framed size: 870x745mm	Legerdermain II (2007) Screenprint edition 15/80 Framed size: 870x745mm	Legerdermain III (2008) Screenprint edition 34/80 Framed size: 870x745mm

Tiki With Topknot (1998) Gouache on paper Framed size: 600x610mm	Urban Tiki (1998) Gouache on paper Framed size: 555x585mm	1908 Tiki (1998) Gouache on paper Framed size: 610x630mm

Architiki (2006) Screenprint edition of 80 Paper size: 755x565mm	Red Haring IV Screenprint A/P edition of 80 Framed size: 990x930mm	Old School (2005) Screenprint edition 47/80 Framed size: 890x815mm

MICHAEL SMITHER

Phantoms Peak West (2006) Screenprint edition 24/80 Framed size: 800x910mm	Round Up (2008) Screenprint edition 17/40 Framed size: 890x725mm	Cracker Biscuit (2008) Screenprint edition 37/70 Framed size: 840x645mm	Dream Boats (2008) Screenprint edition 12/90 Framed size: 1015x995mm

Light behind Island, Backbeach (1973) Pencil on paper Framed size: 350x400mm	Organic steak on blue & white plate (2001)  Pencil on paper Framed size: 565x570mm	Ice plant Matapuri (1985) Pencil on paper Framed size: 450x540mm	Reflections on Backbeach (1975) Pencil on paper Framed size: 345x380mm

Mrs Max Sewing (1975) Pencil on paper Framed size: 420x345mm	Old Man Range: Hill, power pole,wine glass with sprig of manuka on window (1985) Pencil on paper Framed size: 455x440mm	Clouds over Coromandel Penisula (2006) Felt pen on paper Framed size: 400x370mm	Man on chair (1989) Charcoal on paper Framed size: 600x510mm

(1) Michael Smither in Trish Gribben's, Michael Smither Painter, p169

(2) Michael Dunn, New Zealand Painting: A Concise History, Auckland University Press, 2003

Catalogue essay by Lydia Baxendell 2009