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Ep 37 Richard Killeen
Kia ora, welcome to episode 37 of The Good Oil, conversations with Aotearoa painters. In this episode, I visit Richard Killeen at his home and studio in Tāmaki Makaurau.Richard is over five decades into one of the most celebrated practices in New Zealand. He has work held in numerous public and private collections, including The Museum of New Zealand Te Papa Tongarewa, The Auckland Art Gallery Toi o Tāmaki, the Christchurch Art Gallery Te Puna O Waiwhetū and the Fletcher Collection.He is represented by McLeavey Gallery in Te Whanganui a Tara and Ivan Anthony in Auckland.There are images of the paintings that we talk about on The Good Oil Richard Killeen Instagram Post for your reference. In the episode you’ll hear Richard speak about the lessons that he took from the writing of James Joyce to apply to painting, how the interesting part of art is what you don’t see, his love for museums, how he has applied and always evolved the use of technology in his practice and why getting feedback from Philip Clairmont that his work was a disgrace to humanity was great to hear.
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Ep 36 Raukura Turei
Kia ora, welcome to episode 36 of The Good Oil, conversations with Aotearoa painters. In this episode, I visit Raukura Turei at her studio in Tāmaki Makaurau.Raukura is Ngā Ra-u-ru Kītahi Taranaki, Ngāti Pāoa and Ngāi Tai ki Tāmaki.Her work has been the subject of several solo exhibitions including at, but not limited to, Season, The Suter Art Gallery Te Aratoi o Whakatū, The Dowse Art Museum, day01 in Sydney Gadigal, Sumer Gallery, and at Corban Estate Arts Centre. Her work has also been included in numerous group shows, including Auckland Art Gallery Toi o Tāmaki, and is held in collections including The Chartwell Collection and the Dowse Art Museum collection.Raukura holds a Masters of Architecture from the University of Auckland.There are images of the works that we talk about on The Good Oil Raukura Turei Instagram Post for your reference. In the episode you’ll hear Raukura speak about the benefits of working outside Western norms of art and drawing on whakapapa instead, the interesting overlap of the practice being in part driven by art skills acquired at secondary school, and then critical thinking from a degree in architecture, the first time she incorporated uku, or clay, into her practice, how she considers the work she does with uku to be a collaboration with it, and with equal parts confidence and humility, acknowledging that her practice sits with other Māori, and Māori wahine especially, practitioners and researchers past and present.
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Ep 35 Nigel Brown
Kia ora, welcome to episode 35 of The Good Oil, conversations with Aotearoa painters. In this episode, I speak with Nigel Brown at Artis Gallery in Tāmaki Makaurau.Nigel has work held in numerous public and private collections, including the Christchurch Art Gallery Te Puna O Waiwhetū, The University of Auckland Art Collection, The Fletcher Collection, The Auckland Art Gallery Toi o Tāmaki and The Museum of New Zealand Te Papa Tongarewa. He is represented by Artis Gallery in Tāmaki Makaurau, The Division Gallery in Picton and Milford Galleries in Dunedin and Tāhuna.There are images of the paintings that we talk about on The Good Oil Nigel Brown Instagram Post for your reference. A quick note of thanks to Lydia Baxendell for her excellent thesis, ‘Nigel Brown and NZ National Identity’ which proved especially useful research material. Thanks Lydia. In the episode you’ll hear Nigel speak about being witness to a tension between Colin McCahon and James K Baxter about the value of art school, what painting techniques he learned from McCahon and others to apply to his own practice, the reasons he includes text borders in works and the power of words, how he believes each painting can humanise space, and that he considers his practice a kind of research offering, as an alternative to accepted, formal research of academia.
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Ep 34 Star Gossage
In this episode, I visit Star Gossage at her home and studio in Pākiri.Star is Ngāti Wai and Ngāti Ruanui. She received a Diploma of Fine Arts from Otago Polytechic School of Art in 1995. She has work held in numerous public and private collections, including The Fletcher Collection, The Auckland Art Gallery Toi o Tāmaki, The Museum of New Zealand Te Papa Tongarewa, The University of Auckland Art Collection and the Christchurch Art Gallery Te Puna O Waiwhetū. In 2020 and 2021 her practice was the subject of a major survey show exhibited at the New Zealand Portrait Gallery, and in 2014 she was included in the Five Maori Painters exhibition held at The Auckland Art Gallery Toi o Tāmaki.Star is represented in Tāmaki Makaurau by Tim Melville, and in Te Whanganui-a-Tara by Page GalleriesThere are images of the paintings that we talk about on The Good Oil Star Gossage Instagram Post for your reference.You’ll hear Star speak about how she was first drawn to painting by the texture of materials rather than images, the presence of the past, the present and the future that appear in her paintings, the finely balanced process of painting figures to capture their essence, a desire to return to creating purely abstract works, and her deep connection and still evolving understanding of place in Pākiri.
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Ep 33 Jacqueline Fahey
In this episode, I visit Jacqueline Fahey at her home and studio in Tāmaki Makaurau Auckland.Jacqueline was educated at the Canterbury College School of Art, that would later become the Ilam School of Fine Arts at the University of Canterbury. She is now into her 8th decade of what remains a remarkable painting practice. She has work held in numerous public and private collections, including The Fletcher Collection, The Auckland Art Gallery Toi o Tāmaki, The Aigantighe Gallery in Te Tihi-o-Maru, The Museum of New Zealand Te Papa Tongarewa, The University of Auckland Art Collection and the Christchurch Art Gallery Te Puna O Waiwhetū.Jacqueline is represented in Tāmaki Makaurau Auckland by Gow Langsford GalleryThere are images of the paintings that we talk about on The Good Oil Jacqueline Fahey Instagram Post for your reference.You’ll hear Jacqueline speak about how her practice is born out of hard work rather than talent (although we might beg to differ), of being willing to risk not being ‘acceptable’ in a societal sense to ensure she could pursue making paintings she wanted to, hiding in plain view with her painting trolley to capture domestic moments in the family home, what she sees in Goya paintings that are still painfully relevant today, and the necessity for her to keep painting at the age of 95, but talks about what might be, heaven forbid, her last painting.A couple of quick corrections before we get into the conversation. I refer to Jacqueline's cat as Elvis, their name is Alvin. Sorry Alvin. By the way you might also Alvin in the background in the episode. When discussing the painting ‘Look Mum They Killed Her’ about the killing of the American Palestinian journalist Shireen Abu Akleh, I mistakenly refer to that event happening in Israel, it happened in The West Bank.Also please note, if you’re listening with any sensitive ears, Jacqueline and I refer to the title of a painting that includes an expletive.We started by talking about her friendship with, and valuable life lessons learnt from, Rita Angus.
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