April
21, 2002
Disclaimer: This can hardly be termed a review as circumstances dictated
that I only had 20 minutes to scoot though this fine selection of
the works, objects, and tools of Henry Moore. This is more of a drive-by
appraisal.
I had till
then only seen Moore's works in their regulation spot outside the
world's great galleries, looking a bit lost, tarnished... and flat,
next to the tour buses.
These are a
different story. The polished bronze helps the sensually sculpted
shapes leap and bulge. They seem almost liquid. People swirled giddily
around these almost human pieces, just drinking in the form. The
sculptures move and dance despite their solidity. They are, as the
notes on the wall reminded, intended to be walked around. They tend
not to have a "front".
Samples of
the artist's clutter, encased, gave clues to Moore's methods and
inspirations. Bones and bone joints sit next to tiny bony models.
The sculptures blur the distinction between bone and flesh, between
hard and soft, between in and out. This blurring reaches its most
complex manifestation in the exhibition with Helmet Head No.3 (1960).
It is hard to know what is helmet and what is head. The front opening
of the helmet resembles the eye socket in a skull.
Anyway... this
exhibition at Te Papa is worth a look if you're in Wellington
before it finishes on June 4 2002, but allow a good
hour for maximum enjoyment. There is much to ponder.
pj
|
henry
moore in wellington