October 15, 2016

October 16th 2016

From Top
Symphonic Painting 2016
oil on wood, wood frame
335 x 257 mm

Quadraphonic painting 2016
oil on canvas
755 x 615 mm

Painting for Swan Son (Diptych) 2016
oil on canvas
445 x 274

Blue Straws 2016
oil on canvas
755 x 615

Dual Painting (or form the patio) 2016
oil on canvas 452 x 370

II x Over 2016
oil on canvas
755 x 615

September 3, 2016

‘But what picture, or the picture in what sense of the term? The picture as object? As form? The picture as a function—and what function could be fulfilled without context, let alone without a frame? The picture as an activity, which would require a new definition of the operation of painting?’  Hubert Damisch.

Floor Work I 2016
2 mtrs x 1.5 mtrs
Cotton short pile velvet, pine, acrylic paint, hardboard and apple

2016 Finalist for the New Zealand National Contemporary Art Award

August 12, 2016

From the archives

Unmapped Territories, Noisy Disturbance
Wait for Signal
Show at Second Storey Gallery Auckland
April 2012

July 12, 2016

New Strokes at Gallery 9 Sydney

New Strokes group show
Gallery 9 Sydney Australia
Install shots from top
Deco Painting 2015
One way ticket
Group install view
Images courtesy of Gallery 9

July 3, 2016

from top
One way ticket 2016
oil on canvas
420 x 340 mm
Fabric appliqu├ęd No II 2016
410 x 310 mm
Frabic and oil paint on canvas
Painting for a wake 2016
2200 x 1500mm
oil on canvas
Painting for a wake 2016 (detail)

March 16, 2016

Rehearsing Further Abstractions

Grouping these four artists together under the heading of 'Drawing Rehearsals' is to construe the work as functioning, “in the same open ended manner as working drawings”. This is explained in the introduction to the exhibition, and is qualified by their various outcomes not being predetermined, with compositions simply emerging during their processes.

Group show
Drawing Rehearsals

5 February - 5 March 2016

Upstairs Hartley Mills seems to have found a balance between the ecstatic state of Chung and anxiety of Bushby. His is an abstraction that seems to have understood the history of Pop Art within his reinvention of the gesture as somewhat funny and cartoonesque. The title of this show is a perfect fit to the way he thinks about and frames up his art. All works are usually titled as some kind of painting trying something on, or rehearsing a look, such as Painting with BlindersTower PaintingCut PaintingX PaintingDeco Painting. ‘Painting’ is also sometimes substituted for the word ‘study’, as in Curve Study with BlindersBazaar Study, or there is a sculptural object installed as a Drawing Study for Painting, which in this case is his eighth iteration (VIII). Sculpture as a physical drawing, in the service of painting, is a sophisticated and quirkily disruptive use of signifiers. This one made of thick plywood-batons in the shape of the letter pi, rests against the wall in an italicised lean, with dark-blue velvet wrapped around its two ‘stems.’ It is largely unpainted, except for small spots of green over the plugged and filled nail holes, orange on one square-end of the horizontal arm, and pink on the other. Small bands of paint ring the upper and lower ends of the velvet, as if standing-in for rubber bands pretending to hold it in place.
Drawing Study For Painting VIII is not the only sculptural addition to his painterly language. Two pictures, as their names suggest, sport ‘blinders’ like costume accessories. Perhaps, because of a sense of caricature I thought them reminiscent of the ears on animal onesies. Yet these are triangular and rhomboid wooden flaps nailed to the top of each of these paintings. They serve to extend the painting into space, as well as bring our attention to the sides and edges. As they are meant to do on a harnessed horse, these additions suggest containing the train of attention, maintaining focus without distraction and bearing witness to the work’s concentration. The sense of deliberation where the surfaces are marked with only what they need, and nothing more, reveals their critical emergency as painting, and their emergence, in Verwoert’s sense, of a criteria of critically contingent responses. What is impressive is the lightness of touch, despite such considered surfaces.

Read more: http://eyecontactsite.com/2016/03/rehearsing-further-abstractions#ixzz438lsMZCx
Under Creative Commons License: Attribution Non-Commercial

February 27, 2016

Drawing Rehearsals installation view

Two Rooms Gallery 2016
Image courtesy of Sam Hartnett

February 12, 2016

Drawing Rehearsals - selected works

From top
Untitled, 2016
oil on canvas 
755 x 615 mm

Curve Study with Blinders, 2015
oil and wood on canvas
355 x 305 mm

Drawing Study for Painting VIII, 2016
velvet and paint on ply
1380 x 500 mm

Bazaar Study, 2015
oil on canvas
610 x 455 mm

February 3, 2016

Two Rooms Gallery wall project
for the Exhibition 'Drawing Rehearsals' 2016
featuring : Gretchen Albrecht
Sandra Bushby
Fu-On Chung
Rohan Hartley Mills

October 10, 2015

From Top
Tower Painting 2015
Oil on canvas
530 x 455 mm

GBPW 2015
oil on canvas
530 x 455 mm

Deco Painting 2015
Oil and acrylic on canvas
452 x 370 mm

September 7, 2015

Elevated Painting 2015
oil on canvas, wood 
3600 x 450 mm

August 30, 2015

Painting with blinders 2015
oil, wood on canvas
400 x 300 mm

Repurposed Painting 2015
oil on canvas
455 x 370 mm

July 18, 2015

April 15, 2015

from top

Studio wall interior shot

Cut painting 2015
oil and acrylic on canvas
405 x 310 mm

X Painting 2015
oil on canvas
405 x 305 mm

Wheel Inside a Wheel 2014
oil on canvas
455 x 350 mm

January 30, 2015

The Smoothing of Things: Two rooms Gallery Auckland NZ

From top:
Tablet Painting 2015
oil on canvas
310 x 260 mm
Wrapped Painting 2013
oil on canvas
560 x 460 mm
Post Desert 2012
oil on canvas
560 x 460 mm
Install Image
Install Image L to R Julian Dashper, Rohan Hartley Mills and David Thomas
Two Rooms Gallery exhibition install
Photos courtesy of Sam Hartnett and Two rooms Gallery

November 29, 2014

Skiptracer - 30 Upstairs Gallery Wellington


Instal shot

Combat Painting 2014
oil on canvas
405 x 505 mm
*image courtesy of 30 Upstairs Gallery

Combat Painting II 2014
oil on canvas
370 x 450
*image courtesy of 30 Upstairs Gallery

Felt Feeled with Drawing Study for Painting VI 2014
oil on canvas, acrylic on cedar, fabric
345 x 420 mm 
dimensions variable
*image courtesy of 30 Upstairs Gallery 

Instal shot
*image courtesy of 30 Upstairs Gallery 
A.S. Painting 2014
oil on canvas
405 x 460 mm
*image courtesy of 30 Upstairs Gallery

A.S. Painting detail

Drawing Study for Painting III 2014
acrylic on cedar wood, nylon rope, fabric
dimensions variable

Drawing Study for Painting III detail

Drawing Study for Painting IV

Tobacco Pink Painting 2014
oil on canvas
365 x 440 mm
*image courtesy of 30 Upstairs Gallery