Exhibitions

 

At a time when much of what we consume as art is ephemeral, fleeting or impermanent due to the increasing presence of installation and video art, Hawke's Bay sculptor Martin Selman’s work is refreshingly solid.

 

Each piece in Selman's new exhibition 'New Zealand Sculpture' is tantalisingly tactile. Furthermore, the works have been sculpted with domestic proportions in mind so that not only are we visually drawn to the surface beauty of the marble, but we feel compelled to touch them, to rub our hands over the surface taking in the smooth cool forms while marvelling at the inherent paradox they present. Marble is created by metamorphosed limestone which has hardened over millions of years and is a precious object in itself. This aspect is enhanced under Selman’s master touch when he transforms something solid into something soft, rich and yielding to the touch.  It is also visually smooth, silky and lustrous in spite of its weight, density and age.

 

In a compact and poetic way Selman’s New Zealand Sculpture suggests a modern day bi-culturality of New Zealand. The robust and definitive forms of rifle, pistol, patu and koru indicate the relationship between Maori and Pakeha New Zealanders, and the sometimes divisive nature of that relationship both historically and in the present day. Each object is beautifully carved from Carrara marble and as such Selman pays homage to the great traditions of both European and Maori carving. Folds flow across the surface of each piece but take the clear outline of culturally heated objects, all being weapons.

 

The technique employed can be likened to that of the alchemist working with base materials. Hidden away from all and sundry in his studio the artist works his magic with an ageless material revealing over time the unique markings and properties of that material by a process of delicate conversion. Bag with Small Package is indicative of Selman’s interest in the “relationship between exploring the materiality of marble, and the form of visual language that alludes to a common New Zealand vernacular.” In this work the artist produces a complete replica of a 1970s Air New Zealand hand-held vinyl bag. The intrinsic qualities of vinyl are captured with great insight and fine detail by the artist. It is at once a sculptural marvel, seeming light in essence and yet weighty as a bag becomes with chattels in it.

 

The artist’s seriousness about his work is all encompassing. Travelling to Carrara in Italy in 2006 to visit the Baratini quarry, Selman hand-picked the marble from which the works in this exhibition have been sculpted. Discerned intuitively, blocks were chosen for their particular markings and aesthetic and dimensional qualities. Explaining the motivation behind the impetus for the exhibition, the artist says, “essentially, I am continuing to develop ideas around creating fluidity and lightness from a hard and resistant material with a collection of evocative, tactile, objects.” 

 

Selman continues a long classical tradition of sculpting in marble which dates back to the ancient Greeks. Defying the materiality of the stone to bring out the particular qualities of his subject is one of his greatest strengths. For example, the inherent irony in both the concept and execution of Long Arm (Gisant) where the vigour and delicate softness of human flesh is monumentalised, shows Selman’s great sensitivity to the enigmatic nature of the human form and his unique ability to translate this into marble.