Fine Arts Gallery

University Centre Sandy Bay, Hobart

Opening 5.30pm Tuesday June 1 Exhibition June 1-24 1982

In these works Paul Zika has used both the graphic and the spatial domains to explore the same set of ideas. This exactly parallels an architectural endeavour in which the drawings and the building are two necessary aspects of the same problem. The prints are composed of construction sections for the paintings and a progression can be identified through them from the simple juxtapositioning of elements to a point where complex inter-relationships have been established. In architectural planar studies, the right angle is used as a constant so that the observer can assume that the convergence of lines is due only to perspective. In the Zika paintings there are few right angles in their actual construction but because of our life’s experience in interpreting a rectilinear environment, the mind perceives his distorted planes as having perspective and therefore of enclosing spaces. But these spaces are impossible, they entice entry but deny it as surely as the surface of a mirror. Herein lies the importance of the artist’s insistence that they are paintings and not sculptures despite their three dimensional form. They can only be read against the surface of the wall and not as freestanding in space. Even the shadow field has a painterly quality as it varies in hue and implies further planes. For this reason, the paintings would yield the most under sunlight as it changes in intensity and direction during the day. The joins across the vertical paintings form horizons from which the paintings radiate; the planes bending through this surface like light through a prism. Colour is not important in itself in these paintings. It principally serves to distinguish the planes and to denaturalise the material so that the connotations the particular material brings with it do not interfere with the purity of the planes. The interaction of planes as revealed by light was also the central study of modern movement architects, but they did not by and large achi3ve such beautiful and fascinating objects as are displayed here. The reason, I believe, is that they refused to conceive of themselves as artists. As Colin Rowe said: ‘In the end what is understood as the theory of modern architecture (functionalism) reduces itself to a constellation of escapist myths which are all active in endeavouring to relieve the architect of responsibility for his choices. More and more architects that I encounter are referring to themselves as artists and I am sure all of them would draw great inspiration from these unfettered creations, so will many others, for in confronting the real world one is always engaging planar relationships and Zika is working deftly and imaginatively in the realm.

John Lewis, 1982

LIST OF WORKS

Paintings

1. Orange and Red Vertical – 2/79. 1979 183.5 x 39 x 18

2. Pink and Yellow Vertical – 2/80. 1980 183 x 34 x 18

3. Pink Vertical – 3/80. 1980 182.5 x 38 x 17.5

4. Blue, Pink and Yellow Vertical – 1/81. 1981 181.5x 33x 18

5. Blue, Green and Grey Horizontal – 2/81. 1981 38 x 183 x 19

6. Blue, Green and Yellow Horizontal – 3/81. 1981 34 x 182.5 x 15

7. Green, Grey and Yellow Vertical – 4/81. 1981 183 x 30.5 x 17.5

8. Green, Pink and Yellow Horizontal – 1/82. 1982. 30 x 91 x 17.5

All paintings enamel on wood.

Prints

9. 1 – 77. 1977 10. 2 – 77. 1977

11. 3 – 77. 1977 12. 4 – 77. 1977

13. 1 – 78. 1978 14. 2 – 78. 1978

15. 1 – 79. 1979 16. 2 – 79. 1979

17. 1 – 80. 1980 18. 2 – 80. 1980

19. 3 – 80. 1980 20. 1 – 81. 1981/82

21. 2 – 81. 1981/82 22. 3 – 81. 1981/82

23. 4 – 81. 1981/82

All prints screenprinted on Dessin. J.A. – Arches 200 gr. paper Nos. 9 – 16: 75 x 50.5 paper size Nos. 17 . 23: 75 x 54 paper size

Measurements are in centimetres, height then width and depth.