Reviewed by John Daly-Peoples
Peter Cleverly: Between Transience and Eternity
Alistair Fox
Quentin Wilson Publishing
RRP $60
Reviewed by John Daly-Peoples
Peter Cleverly has rarely shown his work in Auckland galleries apart from a few times the early 1990’s, so for many his work is unknown apart from images in publications.
However, a new book, “Peter Cleverly: Between Transience and Eternity” by Alistair Fox will correct this.
The heavily illustrated book traces the artists career from the 1980’s to the present with images of his work across more than four decades.
These four decades of art practice have seen him developing a personal style partly influenced by other New Zealand artists as well as his personal, response to his environment – physical, social and political.
His early work was predominantly figurative but from the 1990’s these were replaced with landscapes, often with texts and then. more recently the inclusion of figurative elements again.
His work, particularly early on was influenced in different ways by Toss Woollaston, and McCahon.
McCahon probably influenced his palette and his use of text but he may have also gained an understanding of McCahon’s approach. Unlike many artists influenced by McCahon he referenced A C Cotton’s book “Geomorphology” which was a prime source for both artists and Cleverly uses Cottons illustrations and shapes. He also used objects such as the pitcher as symbols in his work.
Other influences include New Zealand artists Bill Sutton and Tony Fomison while the importance of several international artists such as George Baselitz, Mimmo Paladino and David Salle and appears to have adapted their thinking about art.
His early landscapes owe much to McCahon shapes in “Six Days in Nelson and Canterbury while interiors such as “Still life kitchen Oamaru” are Post Impressionist distilled though Woollaston.
His figurative work often dwells on mortality and death. “All Twenty-nine” his response to the death of 29 miners at Pike River. Here and in many other works the artist has a personal and visceral approach to his subject.
This is also seen in “Couriers” featuring two distorted hanging figures – is reaction to the incarceration of drug couriers Lorraine and Aaron Cohen. Often his figures are something between flayed corpses and angels.
Cleverly has developed his own distinctive iconography including a dog shape/face which serves a range of emotional and symbolic purposes as in “Seadog”.
The book is a very readable account of the artists varied life which has had an impact on the way he sees the world and the influences on his practice as well as an understanding of the artists thoughts and motivations.
New Zealand Arts Review 