Quintet turn getting the blues into artform
Nelson artists and a Bay of Plenty painter have channelled the colour blue to create works for Reflection Art Gallery's latest show.
Colour Girls features works by Nelson painters Candy Clarke, Kathryn Furniss, Marilyn Andrews and potter Katie Gold, alongside Tauranga artist Talulah Belle Lautrec-Nunes.
Andrews says her paintings are about life and abundance, with buckets of colour, possibly influenced by Nelson's spring weather.
"I didn't hold back. I just went for it," she says.
Her smaller pieces are mixed-media works and represent transformation, with tissue paper, small jewels, butterflies and caterpillars coming out of the canvas.
Gold has used vintage decals in her works for the show, some of them from the early 1900s.
She says she normally uses the decals in her ceramic handbag and shoe ranges, or on commissioned vessels.
"I thought it was a good chance to put them on some pieces to exhibit."
It was easy for Furniss to make works that aligned with the exhibition's theme, because she always paints with blue and green.
She has two bodies of work in the show, which both celebrate Aotearoa. One features extinct huia birds and Pacific-style landscapes, and the other has more of a retro Kiwiana twist.
Furniss says the table scenes in the latter series are reminiscent of paintings she did about 10 years ago.
Clarke, who paints on Perspex in reverse, has two large works in the show, as well as some smaller ones and some "disassembled" paintings such as Holy Trinity, featuring girls, shoes and bags.
She says the disassembled works present "endless options", as they are in pieces.
"You can use all the little pieces to make a whole. Everyone wants to personalise things these days."
Lautrec-Nunes, who works from a studio in the bush in Tauranga, is an expressionist painter and applies vibrant colour with a palette knife in a semi-abstract way to capture landscapes and still life.
"I love using the palette knife, as the unexpected often happens and can be a delight. The important thing is to remember when to stop, as it's easy to turn thick bodies of paint into mud," she says.