Dunedin: Ewan McDougall, Peter Belton, Nathan Thompson, Maryrose Crook, Seraphine Pick
There's a point at which I always discover more than what I first thought was apparent in an image. 1'm sure you know the moment. It might happen when standing in front of the work you overhear someone discussing it, and suddenly you feel the fool, questioning the relationship between what you see and the words you hear. But often for me it happens weeks after I've seen the show. I might be sipping coffee and suddenly an image will flash before me, different but the same, it will tell me something that I didn't initially see. I sometimes wish I had an instant access to description that others I meet have, but for now I must be happy with this slower access to the stories within the imagery. It is not all bad. I find that I can carry the images with me, they become an illusion before me. There is one problem with this way of looking. When I go back to the images, perhaps to write a column such as this, things are never quite the same as I remember. What to do? The obligation for this column seems to be to account for the furious activity that accompanies the beginning of a new year (or millennium for that matter) but it is already April, and the year is hardly new any more. I cannot account for four months of visual experience in a few words all I can discuss is those images that I have retained.
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