D U V E T - D A Y S - A p r i l 2 0 0 2
Blurring a childhood recollection of wallpaper, cheap counterfeit Pacifica and the heady perfumery of Resenes Colourshop, Henzell's new paintings fuse the commonplace with a florid painterly expression.
Transforming the familiar into something seductive, whist also taking ‘loveliness' itself and imparting to it a sense of toxicity, is for me like the bittersweet aroma of a bouquet of flowers, (or a least a canned version of it).
In the late 19 th century New Zealand, aspiring artists undertook practical examination in art by sitting the Department of Science and Art examination from South Kensington, London. A chief requirement of this examination was the design of wallpaper pattern based on New Zealand native flora. A tacit function of such a prescription was to educate artisans and consumers alike in the interests of British trade and industry.
It intrigues me to think of what this genteel convention of the late 19 th century, with its underlying economic imperative might look like were it to be relocated in time.
This is the fascination that provides the impetus for the series of new works – Duvet Days.
The parallel symmetries and inversion in the wallpaper cultivate decorative possibilities. This gives me permission to enjoy the familiarity in a surface precisely for its generality. The sterility in this backdrop provides the opportunity for something else to exist, when the enamel paint is applied to this inexpensive support.
The long vertical formatted paintings are singular moments which multiply when read horizontally.
The origins of this slender, standarised paper format comes from traditional Japanese painting. In particular, the paintings – Twelve Seasons (post 1871) by Kewanee Kyocera and Birds and Flowers of the Twelve Months by Sakai Hoist (1761-1828). This type of painting practice used themes; epic tales of landscapes and scenes from nature based on the observation of flowers and plants that correspond to the twelve months of the traditional lunar calendar.
Like plasticized flowers, enamel paint has a palpable presence that promotes its own kind of ersatz and ascorbic materiality.
The candied colour of Resenes Colourshop evokes a cornucopia of flowering fruit – lilac, lemon, lavender, grape, mulberry, magnolia, plum, tangerine, olive, apricot, peach and lime. And like anything that becomes overripe, it begins to brew its own poison.
Jane Henzell