Shapes of Robert Bourdon's faith

By T.J. McNAMARA

A remarkable link exists between the three-dimensional quality of sculpture and the materials from which it is made. This relationship between materials and message is clearly displayed in the powerful work of Robert Bourdon at the Milford Gallery.

One of the basic forms used by Bourdon is a gabled church. It is astonishing how these structures are instantly identifiable as churches by their exaggerated spires. As well as an identifying sign these spires are an aggressively piercing element.

The churches are of two kinds. One is segmented and weaves snake-like across the floor, the segments suggesting the way a mother establishment clones off into innumerable others.

An example of this idea, Traditional Values, incorporates a beautifully made gothic front. The quatrefoils at the top frame the Latin word DULCIA, meaning sweetness, and Latin adorns the segments as they weave across the floor. This is ancient and conservative. An almost identical form called Laughing Matter indicates a modern proliferation, since the segments are made of vinyl with bright red piping.

Other versions of the church theme are more simple and even more powerful. Good Intentions, made of imported red cedar, shows infinite care in its use of transplanted materials. Keeping the Faith is made of plate steel. It is rusty, solid and riveted and offers the oppressive weight of conservatism. The Seduction is the same form in stainless steel and reflects everything around it, trying to be modern whatever the circumstances.

These sculptures are interesting and potent, and also symbolic of moods and attitudes. Their limitation is that some attitudes are no longer immediate or valid. Much less specific, but ultimately more convincing are the looped and curved wall works in the show. These have the elegance and menace of a new fish-hook.

A Convincing Argument is a strong, rhythmic sculpture in mahogany where two pointed forms leap up, one light, one dark, joined with a ring the colour of blood. Limiting Options is a loop with an exquisitely calculated taper that changes from hard to smooth as it loops to enter itself.

The scale as well as the craftsmanship of these wall works reflect the assurance of the sculptor. Bourdon is an American but long residence in Wanganui has enabled him to express paradoxes close to the heart of New Zealand society in sculpture of the highest quality.

One of his works is a pair of matching hooks called Sinister Delights and indeed they are both delightful and sinister.

The fertile idea of matching forms is also given strong expression in the steel sculpture of Richard Cooper at the Studio of Contemporary Art in Newmarket.

This artist created Auckland's largest public sculpture in Manukau City and that he is not frightened of working on a large scale is demonstrated here by Pacific Tide, an exceptionally large work that dominates the foyer of the gallery. But the most impressive works are smaller disc-shaped pieces where one disc stands on a horizontal surface as a positive and the second part of the work hangs on the wall as a negative.

The precision cutting that allows this correspondence is possible only with computer design and laser-cutting equipment.

Almost all of these works incorporate the koru form as a symbol of growth and this is particularly effective when it spreads from a stem, as in the two pieces of My Journey. The strong presence of this work and other pieces such as Tohu, notable for red and blue contrasting patinas, makes excellent sculpture.

They are matched in a curious way by some works that emphasise the horizontal, such as Time, which is inspired by clock mechanisms. Given the impressive nature of these works it is surprising that the acrylic paintings by the same artist should be so uninventive and obvious in design.

Nevertheless, painting and sculpture can be combined and they are triumphantly linked together in works by Don Peebles at Artis Gallery in Parnell. These works are at once painting and sculpture. They have layers and folds in the manner that Peebles has established over the years.

They say nothing about the church or Pacific tides. They are just wonderful objects to be explored and to convey such visual delight that they lift the spirit. They are effortlessly inventive and if you can get past the majestic work at the front door called Red Focus then you can surrender to the huge area of red folded and layered with all sorts of shadows and secret places that is a mighty untitled work at the end of the gallery.

After these big works you can turn to the smaller, more lyrical pieces, rough and a bit untidy as is Peebles' manner these days, but mostly offering a delicious combination of spontaneity, calculation and invention. Enjoy the lovely untitled painting that suggests plots and gardening and the sheer charm of Impinging Red.

Peebles' wine needs no bush but this show is an excellent vintage.