Page 49 - World of Art magazine (2000)

marte szirmay new zealand

inTeRnATiOnAL eXhibiTiOnS 1998 Federation of eXhibiTiOnS in neW zeALAnD Since 1968 Multitude exhibition i; 1085 a and J Gibbs, auckland; Hawkins
international Medallists The Hague Holland; of group shows in New Zealand. Development, auckland; 1984 NZ peace Foundation,
Simmons Gallery london uK; 1996 Federation of inter- RePReSenTeD in PubLiC AnD PRivATe COLLeCTiOnS Media peace prize; Bexley Dev, Marac House Manukau
national Medallists, Switzerland; 1994 Federation of in New Zealand, australia, uSa, Britain, Hungary, city; 1982, 83 NZ Foreign affairs Department, Singapore;
international Medallists Hungary; 1993, 95, 96, 98 Sweden. 1979 NZ Housing corporation Building, Manukau city
art addiction Sweden and italy; 1992 Federation of COMMiSSiOnS 1997 commemorative presentation centre Wiri; 1976 auckland architectural association
international Medallists london uK; 1990 Federation of Medal, consulate of the Republic of Hungary, New (Monier awards); 1975, 76 otago Medical School Dunedin;
international Medallists Helsinki Finland; 1988 orthodox Zealand; 1993 Mr & Mrs K Gosling, auckland; Mr & Mrs auckland Medical School; 1974 St cuthberfs college
academy crete; Tokyo Japan; Taiwan, lnternat print J Matthews, New plymouth; 1992 Glendowie college, auckland; 1972 St paul’s cathedral Dunedin; 1969
Biennial; 1984 Kahurangi New Zealand crafts council auckland; 1990 Mr & Mrs p cross, auckland; Mr & Mrs Newmarket Borough council auckland (Smirnoff
los angeles uSa; 1983 ‘Drawing 83’, 6th international J Hood, auckland; 1987 Hawkins Dev. Hurstmere plaza, award).
Drawing Biennale cleveland uK; 1982 aRTeDeR ’82 Takapuna, auckland; chase corporation, Stock exchange ADDReSS MaRTe SZiRMaY 693 Richardson Road, Mt
international Drawing exhibition Spain; 1970, 73 Mildura plaza, auckland; 1986 Mr & Mrs Gellert, auckland; Mrs Roskill, auckland 4, New Zealand. Tel+ 64 9 6255042
Sculpture Triennial Victoria australia. Giltrap, auckland; auckland city art Gallery Survey e-mail: ms.marte@xtra.co.nz

emotional evocativeness of music. contained like members of a family. category by choice. These categories are always
When a dealer gallery would ‘set’ the market I have always worked in a sequential manner, imposed on the work or the artist by the
value, two things have happened - firstly, the often producing copious amounts of work and convergent/linear culture of art criticism/
private collectors who were long time collectors large exhibitions. It has always been a way of history where there is a need to establish
of my work were priced out of the buying ‘thinking through’, questioning and pushing the reference points, in order to carry out the
range; and secondly, corporate buyers started variable outcomes of my ideas. It is only process of appraisal. Through out the 30 year
to collect my work for investment purposes. through commissioned circumstances that a engagement with art making I have used a
As a consequence the works changed in their singular outcome is ever seen (but many formula to critically evaluate the strengths/
function from intimate private conversations to maquettes proliferate the rubbish heap). I weaknesses of my work: In Sanskrit the word
decorative investment pieces that had little believe the idea as it is regenerated eventually maya means: ma = to measure out, to form, to
opportunity to become intimate, thus stilling starts to move in a different direction from the create, construct, exhibit or display. This word
my voice and that of the audience. rest of the sequence. It is at this point that one possesses three aspects:
The reviewing process is a problematic one. must stop. So, while that may be the point at The Veil Power: that hides or conceals the real,
As an artist I am made accountable for what I which an individual object or series may reach the inward, essential character of things.
do by the reviews I get. However the same completion, the idea is often continuous. The Projecting Power: which sends forth illu-
accountability is never applied to the critic. In my work the interaction of the audience sions, impressions and ideas, together with the
Rarely is any response possible, or any has always been a major concern. Touching, associated desires and aversions.
corrections made to a review. The voice of the holding, reflecting were always important. In The Revealing Power: which is the function of
critic remains, too often, the master voice. this way texture and weight become literal and art, scripture, ritual and meditation.
Having become someone who is researched experienced, as apposed to suggested and These events are very much in the vein of a
and studied by others has not changed my implied; and aspects such as temperature group exhibition, curated to a predetermined
work. If anything, the consistency and focus in become as important as elements such as space. outcome, to serve a particular ideology of
my work has strengthened, as I am aware that Most works are of ‘human’ scale, but I have globalisation/internationalism. Individual
my directional changes and experiments have also deliberately altered this point of view, from artists see their work as fitting differing
to be coherent not only to me but to others as the intimate to the monumental. My intention contexts, if it is mega events, then it is good for
is to invite the audience to ‘activate’ the work/s
well, who are engaged in scholarship.
ma r te s z ir ma y a means of comprehending the world; searching through their engagement with various little benefit to the work. I have attended many
their work, if the context is wrong then it is of
Art making is my response to my world. It is
dualities, like: light-dark; shiny-reflective-dull;
of these events where the curatorial concept has
out a language of signs and symbols that
transcend regional, cultural and social transparent-opaque; rough-smooth; open- become a nonsense - twisted to accommodate
an artist. However, it looks great on the CV
closed; inclusive-exclusive; static - mobile.
limitations. It is a means of finding order in I was particularly interested in Brancusi, as and it does boost sales! In this way such events
chaos and a means of communicating about the his philosophy was very close to mine in terms serve the market or commercial condition of art
underlying order and structure of physical of what the function of art is. I began at a time very well. At least in the sense of labelling a
phenomena that dictates our place within the when Minimalist artists were asking the same group of artists as “important”, and bringing
natural world. It is a means of searching for the questions. I was researching and exploring these to one location. This makes it much easier
pattern, the synergy. I have often projected my similar concerns, the spiritual versus the for the big players, whether it be dealers,
work in terms of ‘healing /meditation/ material, in my work. collectors, or curators. The Biennials are
contemplation’. I do believe that there is a Sculpture tends to be a more individualistic comparable to an Expo. They are also like
fundamental need in all human beings to statement than painting, and it is less easy to fit major sporting events. Artists compete to be
connect with something that makes them focus sculptors into mass gatherings of a type. I have selected, and they compete for attention when
and link into the inner self. In an age of media never seen myself as an outsider of anything. there. Critics decide who wins and who loses;
glut, the human condition is more than Nor is it easy to say what traditional art is at they provide a commentary not dissimilar to a
revealed/ emphasised, to the detriment of larger this stage in history. Indeed, to label something sports reporter.
less transient universal issues and evaluations. I “traditional” is problematic. It tends to lock ‘Contemporary art’ always had negative
suppose I am trying to readdress the balance. I something in, close it off from change. It feedback, whatever century we look in. It is
have little interest in self reflective, self prohibits the ability to respond to new because contemporary art is not yet type cast, it
indulgent social commentary about transient conditions and shifting paradigms. However, I challenges accepted values and cultural
human conditions/ my condition. I am far do feel that I have always worked within the “comfort zones”, it sits on the edge. When there
more interested in finding the continuum. conventions of the traditional language of is adverse response it either means that the
I have often made sculptures that had more sculpture; this is what makes me a sculptor. work is outside the norm of the “acceptable”,
than one physical component to them. Each But, as I have said, I push and pull these i.e. it shocks; or it makes the audience engage
interlocking part functioned as an independent conventions, they are starting points that I with it beyond the expected, i.e. think about
element of the whole, thus allowing the interpret and reinterpret. They are my it/relate it to their individual experience/
audience to change the composition to their playthings. interact with it physically etc. to fully activate
liking. Also because I work in a sequence the Neither, for I do not believe that it is essential it. It is no longer just decoration or entertain-
individual sculptures in the sequence are self for an artist to “belong” to a particular ment, it demands a response.
Special iSSue 2000 WORLD of ART 47