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Maryrose Crook and
Jason Greig
7-28 August 2009
Preview: Friday 7th at 5pm
We welcome you to come too!
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For further artist information, images & price enquiries please contact Lydia Baxendell: lydia@gallery33.co.nz
Harvester of eyes, that's me
And I see all there is to see
When I look inside your head
Right up front to the back of your skull
Well that's my sign that you are dead
And my list for you checks off as null
I'm the harvester of eyes
Blue Oyster Cult, ‘Harvester of Eyes’, On Your Feet or on Your Knees, 1975.
Rich in symbolic narrative established Christchurch artists Maryrose Crook and Jason Greig provide an atmospheric gothic darkness to the winter exhibition programme. For both Crook and Greig music plays an integral part in their practice, it is fitting therefore that the title of their show The Harvester of Eyes is taken from a song by the legendary band Blue Oyster Cult.
Maryrose Crook’s exquisite rendering of objects set amongst surreal dreamscape locales provide a contradictory narrative of realism and fantasy, history and imagination. A prominent characteristic of her work is the use of chiaroscuro, the theatrical handling of light and shadow derived from Dutch still life painting of the 17th and 18th Century. The luminous jewels, birds and insects synonymous with Crook emerge from gloomy obscurity. Encased in ornate borders reminiscent of Rococo wallpaper, subtle folded drapery and gleaming jewel encrusted canvases display the artist’s aptitude for painting light effect, surface and texture. Crook's images are reminiscent of Catholic Sacriments, mixing folklore, history and imagination to create her own set of symbols. The swallow according to folklore contains three drops of the devil's blood, thus out of fear of the devil's wrath, the bird is protected from harm. A renowned guide at the pink and white terraces, Sophia Hinerangi is a recurring motif within the artist’s oeuvre. Along with the terraces, Hinerangi articulates the artist’s persistent investigation of extinct, destroyed, vanished or forgotten aspects of New Zealand. The Miracle for example, Crook explains 'refers to the fact that Sophia Hinerangi sheltered 66 people in her tiny whare on the night of the Tarawera eruption and they all survived when the nearby hotel was destroyed by falling debris. The painting also refers to the taking of tapu honey which Sophia did not do, but which the old Tohunga said the tribe would perish for and they all died on the night of the eruption.' Crook's portrait of Surrealist Kay Sage tells of her tragic death. After pining for her dead husband Yves Tanguy, and loosing her eyesight, the painter shot herself at age 67. Crook's title Kay Sage: Deep Sixed stems from an expression Sage used to mean dead in the water (an old maritime saying...).
Crook spent last year overseas living for a period of time in Berlin and travelling to the United States and China. Her recent paintings reflect the exotic and foreign while keenly expressing her appreciation of home. Crook has exhibited throughout New Zealand and was the recipient of the prestigious Wallace Art Award in 2006. She is also a musician and has gained international recognition as a vital and founding member of the band, The Renderers.
Jason Greig is a master of ambiguity. Like Maryrose Crook’s paintings, there is also a haunting dream like quality to his works. An intriguing and often complicated artist, his seemingly simple subject matter requires a second glance to gain full appreciation. One of New Zealand’s most celebrated contemporary printmakers, Greig shows his technical expertise within the often uncelebrated medium. His lithographs, monoprints and engravings display the artist’s love of laborious processes where the work is often put through the press numerous times and hand tinted. Each piece is distinctly unique from the next. The inky darkness of medium is matched by darkness of subject matter. Greig explores the darker side of the human psyche where grim narratives of isolation, menace and inner turmoil prevail. Highly imaginative, Greig’s ability to evoke tension, menace and uncertainty is matched with a sardonic sense of humour as the artist fuses contemporary culture with the classics. The theatrical gothic nature of Phantom of the Opera or the rock ballads of Meatloaf are well worn territory for the artist who is just as likely to be influenced by Goya and Rembrandt as he is the horror movie genre (Hellraiser), heavy metal music (Black Sabbath) or literary classics such as Edgar Allan Poe’s The Raven or Mary Shelley’s Frankenstein.
Jason Greig graduated from the University of Canterbury in 1985 with a diploma in Fine Arts with Honours in Engraving. With an extensive exhibition history both nationally and internationally, his works are held in numerous public and private collections including the National Art Gallery, Wellington, Hocken Library in Dunedin, the Christchurch Art Gallery and the Aigantighe Art Gallery Timaru. In 2006 a survey exhibition of his work The Devil Made Me Do It was held at the Christchurch Art Gallery. He is also a musician playing a Fender Stratocaster in the band, Into the Void.
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Maryrose Crook
Stung II (2009)
oil on canvas
210x55mm |
Maryrose Crook
Three drops of the Devils Blood II (2009)
oil on canvas
560x660mm |
Maryrose Crook
Stung I (2009)
oil on canvas
210x55mm |
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Maryrose Crook
The Revelation (2009)
Oil on leather suitcase, canvas & ostritch egg
710x760x600mm |
Maryrose Crook
Three Drops of the Devils Blood (2009)
Oil on leather suitcase, canvas & ostritch egg
410x460x400mm |
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Maryrose Crook
Lucky (2009)
oil on canvas
205x150mm |
Maryrose Crook
Miracle (2009)
oil on canvas
700x900mm |
Maryrose Crook
Kay Sage: Deep Sixed (2009)
oil on canvas
500x410mm |
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Maryrose Crook
Benign Infestation (2009)
oil on canvas
500x410mm |
Maryrose Crook
Visitation (2009)
oil on canvas
255x200mm |
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Jason Greig
Gideon (2007)
Monoprint 1/1
Image size 170x170mm |
Jason Greig
Alpha & Omega's Kingdom Come (2007)
Oil and acrylic on canvasboard
Image size 452x390mm |
Jason Greig
Lunatic (2008)
Etching 2/20
Image size 140x90mm |
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Jason Greig
Gideon (Portrait) (2007)
Monoprint 1/1
Image size 220x155mm |
Jason Greig
Hellrider (2005)
Monoprint 1/1
Image size 245x335mm |
Jason Greig
Sabotage II (2008)
Etching 3/20
Image size 290x230mm |
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| Jason Greig
True Threat (2005)
Monoprint 1/1
Image size 320x210mm |
Jason Greig
Devils Reject (2006)
Monoprint 1/1
Image size: 270x250mm |
Jason Greig
Nativity in Black (1988)
Lithograph A/P
Image size: 280x270mm |
Catalogue essay by Lydia Baxendell 2009 |
