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In this episode I visit Gavin Hurley at his home and studio in Grey Lynn, Auckland.
Gavin graduated with a Bachelor of Fine Arts from Elam School of Fine Arts at the University of Auckland. His works have been exhibited at, or are held in collections of, the Auckland Art Gallery Toi o Tāmaki, the Christchurch Art Gallery Te Puna o Waiwhetū and The Suter Te Aratoi o Whakatū, in Nelson. He is represented by Melanie Roger Gallery in Tāmaki Makaurau and Space Gallery in Napier.
There are images of the paintings and sculptures that we talk about on The Good Oil Gavin Hurley Instagram Post for your reference.
You’ll hear Gavin talk about his inability to paint portraits of any living subjects, a misguided aspiration to be more business like (that nevertheless lead to a great body of work), the close and useful relationship between collage and painting in his practice, his love of old books and their paper stocks as reference and material, how mutton chop sideburns and beards make for great shapes to paint, and how revisiting works in preparation for a show at the New Zealand Portrait Gallery makes him realise how different life was when he painted them.
In this episode I visit Gavin Hurley at his home and studio in Grey Lynn, Auckland.
Gavin graduated with a Bachelor of Fine Arts from Elam School of Fine Arts at the University of Auckland. His works have been exhibited at, or are held in collections of, the Auckland Art Gallery Toi o Tāmaki, the Christchurch Art Gallery Te Puna o Waiwhetū and The Suter Te Aratoi o Whakatū, in Nelson. He is represented by Melanie Roger Gallery in Tāmaki Makaurau and Space Gallery in Napier.
There are images of the paintings and sculptures that we talk about on The Good Oil Gavin Hurley Instagram Post for your reference.
You’ll hear Gavin talk about his inability to paint portraits of any living subjects, a misguided aspiration to be more business like (that nevertheless lead to a great body of work), the close and useful relationship between collage and painting in his practice, his love of old books and their paper stocks as reference and material, how mutton chop sideburns and beards make for great shapes to paint, and how revisiting works in preparation for a show at the New Zealand Portrait Gallery makes him realise how different life was when he painted them.
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