Hobson’s Baggage, 1995, gifted to Hawke’s Bay Museums Trust Tai Ahuriri Collection by sculptor Greer Twiss.
Hobson’s Baggage, 1995, gifted to Hawke’s Bay Museums Trust Tai Ahuriri Collection by sculptor Greer Twiss.
Opinion
Laura Vodanovich is MTG director
I was saddened to hear that Greer Twiss (1937 – 2025) passed away on July 17.
Twiss was described as “the “Godfather” of contemporary sculpture in New Zealand” and “a pioneer of cast metal in NZ” by Rodney Wilson, former director of ChristchurchArt Gallery, Auckland Art Gallery and Auckland Museum, to name a few.
Twiss graduated from the Elam School of Fine Arts at Auckland University and later became Associate Professor and Head of Sculpture there.
In 2002 Twiss was awarded an ONZM, order of merit, for his services to sculpture and in 2011 received an Arts Foundation Icon Award.
In a way I grew up with Twiss, with his work Karangahape Rocks, 1967-69, strongly influencing my young sense of art in public spaces - it was a work that arrested my attention and I would stop and ponder it often.
Sculptor Greer Twiss died earlier this month. Photo / Greg Bowker
While I was working at Auckland Museum, a project initiated by Outdoor Sculpture 2001, and supported by the Edmiston Trust, installed sculptures throughout the Auckland Domain.
Marquette’s of these sculptures, including Twiss’s work among other significant names in the artworld, were displayed at Auckland Museum in 2004. Some magnificent and striking sculptures were created as part of this initiative, but it was Twiss’ work Grafting, that was my very favourite.
Grafting is a series of 10 sculptures in the fernery, part of the Wintergardens in the Auckland Domain. These works include nine native birds and a pear tree, each complete with a label typical of those used on specimens you might find in a museum.
The individual labels include the Latin, te reo Māori and English ‘common’ name for each bird, but for the tree just the word pear along with Twiss’s signature.
Woven through this work you can detect his interest in the colonial period through his use of three forms of classification identifying each native bird. For the pear tree, introduced to Aotearoa by missionary Samuel Marsden, Twiss dispenses with the three names and strips this specimen to just the one common name, pear.
His exploration of the colonial period and the “dialogue between the natural situation and the imposed brought into the situation” has seen him create a number of works on this theme.
In 2020 his agent, Jane Sanders, reached out to us to say Twiss would like to offer a work to the Hawke’s Bay Museums Trust Tai Ahuriri collection and we were delighted to accept his generous offer.
The work, Hobson’s Baggage, 1995, is another sculpture exploring the colonial theme.
Toni MacKinnon, art curator at the time, wrote that “Greer Twiss’ sculpture brings objects together in unexpected ways… Queen Victoria is loaded into an old suitcase, there is a flag that has no way of fitting into the case, and a watering can! And what is the little lamp about?”
Twiss of course made sense of this, pondering what Hobson might have bought in his luggage including, possibly, a bust of Queen Victoria.
In his eyes the items all represent something including authority, cultivation and the law.
It is a wonderful work to have in our collection and another way in which Twiss has positively influenced my personal relationship with artworks in Aotearoa.
