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14 January 1994 —
13 February 1994

Nigel Brown:
Living Here Aotearoa

Nigel Brown: Living Here Aotearoa, 1994 (installation view).
Nigel Brown: Living Here Aotearoa, 1994 (installation view).
Nigel Brown: Living Here Aotearoa, 1994 (installation view).
Nigel Brown: Living Here Aotearoa, 1994 (installation view).
Nigel Brown: Living Here Aotearoa, 1994 (installation view).
Nigel Brown: Living Here Aotearoa, 1994 (installation view).
Nigel Brown, Bedroom Painting No. 14, 1976. Oil on board. 1180mm x 740mm.
Nigel Brown, Clairmont Painting, 1985. Oil on board. 1050mm x 1180mm.
Nigel Brown, Days in Suburbia, 1978. Acrylic on hardboard. 1790mm x 1185mm.
Nigel Brown, Driveway Painting 4: Poets Breakfast, 1974. Oil on board. 570mm x 420mm.
Nigel Brown, Driveway Painting with Poet Four Times, 1974. Oil on board. 590mm x 295mm.
Nigel Brown, Each Lost in a Separate Self, 1978. Oil on board. 825mm x 1180mm.
Nigel Brown, Gains and Losses, 1979. Acrylic on canvas. 790mm x 615mm.
Nigel Brown, Go Weep for the Land, 1977. Oil on board. 825mm x 1180mm.
Nigel Brown, Lemon Tree Painting No. 14, 1977. Oil on board. 1190mm x 755mm.
Nigel Brown, Marae in the City, 1988. Lino print on paper. 650mm x 710mm.
Nigel Brown, Reading With Family, 1982. Woodcut print on paper. 765mm x 420mm.
Nigel Brown, Remember
Nigel Brown, Speaking to the Axemen, 1981. Oil on board. 590mm x 510mm.
Nigel Brown, Table Series IV, 1975. Oil on board. 1185mm x 800mm.
Nigel Brown, The Family of the Axeman, 1977. Oil on board. 940mm x 565mm.
Nigel Brown, The Ideal Place: 40 Karaka Street, 1986-7. Acrylic on board. 1900mm x 1200mm.
Nigel Brown, Yeah Catastrophe, 1984. Oil on board. 1180mm x 1540mm.
Nigel Brown, You Go, I


An exhibition which surveys works produced over the last twenty years by Auckland artist, Nigel Brown opens the Fisher Gallery’s exhibition programme for 1994. The exhibition contains over forty works, mostly oils and works on paper including woodcut prints.

Manawatu Art Gallery Curator, Tony Martin states, ‘In curating the exhibition the intention has not been to provide a retrospective and definitive show of Brown's work.’

‘Instead, the aim has been to select works according to some broad theme which have occurred in the artist’s work over this time. These themes are the Visual Word, Humanity, Man/Woman, Identity, Politics of Living and Quality of Life.’

'The exhibition contains works that deal with perennial matters such as the despoliation of the land, suburban neurosis, aroha or love, as well as the more eruptive social conflict surrounding issues ...’

'Thus the exhibition endeavours to present Nigel Brown as a New Zealand artist whose importance is manifest in the context of his artwork and the extent to which he is able to present a particular vision within the context of wider ongoing soc1ial concerns.’

Nigel Brown was born in Invercargill in 1949. He attended Elam School of Fine Arts in Auckland from 1968 until 1971. He was taught by Colin McCahon, whose major influence, Nigel says, was inspiring him to develop symbols relating to his own life and experience. James K Baxter’s poetry has had a continual effect through Brown’s life.

Since his first dealer gallery exhibition in 1972, Brown has exhibited work regularly in group and solo exhibitions throughout New Zealand and overseas. In 1978 he was a finalist for the Benson and Hedges Art Award. Brown lives in Auckland. He returned to painting full-time in 1992 and established a print workshop with his partner Sue McLaughlin, in the studio at their home.


→ Nigel Brown: Living Here Aotearoa, 1994, exhibition card

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