Monday, 10 July 2017

Autumn Leaves II














Nicole Page-Smith, Autumn Leaves, 2017











"At no other time (than autumn) does the earth let itself be inhaled in one smell, the ripe earth; in a smell that is in no way inferior to the smell of the sea, bitter where it boarders on taste, and more honey sweet where you feel it touching the first sounds. Containing depth within itself, darkness, something of the grave almost."

Rainer Maria Rilke (Letters on Cezanne)














Wednesday, 5 July 2017

My dream of the North Island


Jeffrey Harris, My dream of the North Island, 1978










"I'm hoping for a Renaissance Days II and III.

Angels of History and Destiny, Art New Zealand 















Tuesday, 23 May 2017

Jeffrey Harris















































Paintings, drawings and etchings by Jeffrey Harris from the Collections of Auckland Art Gallery Toi o Tamaki and the Museum of New Zealand Te Papa Tongarewa 
(Photograph by Nicole Page-Smith)












"The delicate beauty of the thin multi-layered paint reveals the texture of the wood underneath, infusing the figures with a sense of lightness and life, while the luminous colours and the balance of lightness and weight of the figures recall Sassetta's altarpieces and church frescos."
Art at Te Papa

















Sunday, 14 May 2017

Autumn Leaves























Autumn Leaves, by Nicole Page-Smith







'Fall, leaves, fall'

by 

Emily Bronte





Fall, leaves, fall; die, flowers away;
Lengthen night and shorten day;
Every leaf speaks bliss to me
Fluttering from the autumn tree. 
I shall smile when wreaths of snow
Blossom where the rose should grow; 
I shall sing when night's decay
Ushers in a drearier day.













Tuesday, 24 January 2017

Neither Birthless nor Deathless



















The current exhibition of Nicole Page-Smith's drawings and photographs took Page-Smith to her last trip to London, to browse through current literature. Nicole Page-Smith has always enjoyed the London press. Quite often the quiet Christmas holiday months are a good time to catch up on some reading. Working as a full-time artist in the studio leaves little time to browse through the catalogues and literature of an extended time overseas. There is no time to look at catalogues and art books purchased while traveling. Often, the exhibition catalogues are pre-released prior to an exhibition, especially a traveling show and this allows referral, good planning for the trip. Traveling overseas is precious.

Sometimes selecting a book from the shelf is the best way forward for Nicole Page-Smith with a new direction for the work in mind. Often with the abundance of literature available Page-Smith can be pulled one way or another and some books get left half finished, for a future date. One such philosophical text, Nicole Page-Smith, had on her top shelf, for a selection was only half read and Page-Smith does remember the inquiry started in her early twenties. Nicole Page-Smith was asked to explain her work at art school and this intellectual communication became the norm for Melbourne based artists of a contemporary nature. 

Nicole Page-Smith recalls nature in bound and plenty. 














   


























Friday, 25 November 2016

After Durer- Paintings by Nicole Page-Smith







"After Durer" 

Paintings by Nicole Page-Smith











Nicole Page-Smith's preview review of her exhibition of images "After Durer" was held in Page-Smith's Dunedin warehouse precinct studio. The fashionable address has been well tenanted over Nicole Page-Smith's fifteen year residency in Dunedin, New Zealand. The former Melbourne artist moved to Dunedin in late 2000 from Melbourne, Australia, where Page-Smith held her former studio, also located in the central CBD of Melbourne. Nicole Page-Smith held three studios in the centre of Melbourne in disused office spaces, most businesses needing lower storey offices, on floors closer to ground level. The peace and quiet was well observed and although, Page-Smith had commented about feeling like her studio was up there with her feathered variety of friends, Nicole Page-Smith, remembered reading something in the paper about the perfect height of a building was as tall as trees grow. High-rise buildings are apparently unnatural to the senses but this was predominately the view out Page-Smith's Melbourne studio windows so, Nicole Page-Smith, felt up there with the pigeons and a bird's eye view. The current, Dunedin, warehouse studio, in New Zealand, is a ground floor business, in a nice, treelined, street, Page-Smith's long, dreamed of, "ideal studio". 


Nicole Page-Smith often feels viewing art is like an interview with the artist whereby you have to ask questions as with reading novels where it takes the first chapter or sometimes half the novel before you can understand the voice of the writer. In early literature reinterpreted into a comprehensible readable language as you have to imagine Greek philosophers of early and pre-Christian times wrote in Ancient Greek; mostly English versions of ancient language would have been translated from Latin. In more recent, social media history, musicians are quite often asked what they would have to say if they met the composers from whose compositions they are singing or playing the compositions of, for example, Handel, Brahms and so forth. Nicole Page-Smith has not wondered what it would be like to meet Durer, if you could step back in time but, stepping into an ancient history museum is similar to reading ancient literature. Durer appears to be working for the church and his patrons of the arts, annotating the bible like say, William Blake, may have done with Blake's illustrations. Five hundred years hence, Durer could not understand your German if you were a fluent speaker of German let alone your current English. If, for example, we tailor our minds back to Shakespeare, written in the native tongue, Shakespeare is predominantly unreadable.

Nicole Page-Smith feels mostly we are influenced by the strongest influence of the day. For example, David Smith, the former American sculptor, talks about the artists who preceded his work, in televised interviews. David Smith would have been perhaps influenced by current literature of the day like books on Cubism. Cubism would make sense as reference to David Smith as his sculpture is in the modern style but you would never think of David Smith looking at early Modernism or even coming out of Modernism. If you think of who surrounded Durer in early, Northern Renaissance art, Durer's style would predominate and refer to all we currently have available in literature and books, on Northern Renaissance, painting. Nicole Page-Smith, in thinking about the early development of Modernism which all Western art refers, from current text, does think about Picasso and perhaps, Braque and Cubism, could be a reference to acquiring a modern style. Early, European Modernism was particularly influenced by the primal arts from Africa down through to the Asia Pacific region. Those living in the South Pacific and Southern Hemisphere are predominately influenced by the primal, primitive, arts, too. If you look at the history of the Australian, style of art, you can see the influence of Aboriginal art, on artists like Tony Tuckson, Ian Fairweather, John Olsen and Arthur Boyd through to Albert Tucker and Joy Hester; Aboriginal art had a huge influence on their style. Where, in New Zealand, the Moari and Pacific Island arts, appears to have influenced everybody from Colin McCahon and Tony Fomison through, to the current modern style of contemporary art. The people of the South Pacific are luckier than their European counterparts because there are better examples of primal arts available and more on display. The Pacific arts are still a very strong component of museum history.

Nicole Page-Smith has a religious view.











     

    














Thursday, 10 November 2016

After Durer


Durer's Self Portrait, Nicole Page-Smith, 2013











After Durer





"After Durer" is the name of a recent development on the current series of Nicole Page-Smith, paintings. On Nicole Page-Smith's last European excursion, Page-Smith, decided to contribute her first photography project, a series of photographs taken while traveling around Europe. It is interesting how memories swell and resonate in the mind and are remembered several years later. The current, Page-Smith, paintings, sometimes use photography as a reference and other times memory. Nicole Page-Smith spent three months traveling around Europe, in 2013, using Frankfurt, in Germany, as a base. Frankfurt was also, host to a major Durer exhibition in the Stadel Museum over the three month stay. While, in Frankfurt, there were several other exhibitions worth attending including a major exhibition of late Philip Guston paintings, Theodore Gericault paintings and Roni Horn photographs, at the Schirn Kunsthalle. Art exhibitions and music are in saturation throughout Europe so, the influence of viewing takes years to absorb. Other, exhibitions included: Dix/Beckmann, "Mythos Welt", in Mannheim; Zurburan, Antonello da Messina, and the Venice Biennale's exhibition, in Italy; "Springtime in the Renaissance", at the Louvre Museum, "The Renaissance and Dream", at the Luxembourg Museum, Erwin Blumenfeld photography and Pierre Huyghe, in Paris; Paul Klee in London; and Edvard Munch, in Zurich, Switzerland, to mention a few. 

The "After Durer" series of paintings are after the Nicole Page-Smith, photographs of the Albrecht Durer, "Self Portrait", 1500, held in the Alte Pinakotheck, collection, in Munich, Germany.