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Artist Profiles » Christine Tizard
 “In 2007 the parameters of my practice broadened considerably, the primary idea behind this approach being to explore paint versus subject matter. Magazine and newspaper photo shoots were a subject source while I attempted to unpick the processes of a variety of artists. Marlene Dumas for example, variously allows the paint to be plied, to run down, to mingle uncontrolled.
I experimented with a range of paints and preparations but generally stayed with works on canvas. Approaching every new project was sometimes a teaser, made more difficult in that I was turning over many working methods as opposed to becoming familiar with one or two ways and digging in on some familiarity.
By choosing to explore a lot of materials, I have identified some of the ways I work by nature and opened up options for further exploration. I enjoy how despite at times staying reasonable true to a photographic image, a colour or a blob can entirely alter the nature of the content. Possible interpretations of the final painting are therefore the result of a process and entirely up to the viewer. I like what curator Suzanne Cotter says of Cecily Brown’s works in reference to paint versus subject which endorses in this media saturated time, the place for paint.”
“…a particular motif or a certain swirl of paint…primarily an undeniable presence of pigment and material versus the building blocks of dynamic pictorial constructions are locked in a gregarious battle of wills. Provocative and irresistible”.
Christine has pieces in private and corporate collections across New Zealand, Australia, London, New York, Dubai.
1990/1994/2001 3x Telecom Art Awards finalist
2004 Solo Exhibition –“Alchemy”, Art Of This World (Urbis magazine coverage)
2004 Sydney Affordable Art Show with Art Of This World
2005 Combined Exhibition, Art Of This World with James Lawrence
2005 Profiled in Foodtown Magazine
2005 Mazda Artworks at the Hilton, in association with Art Of This World
2005 Commissioned by Southern Cross Healthcare, Quay Towers, Auckland, 7metre piece for corporate foyer space
2005 “Give & Take” tm Charity Auction for Auckland City Mission, Art Of This World
2006 Part time Massey University – Written Communication
2007 Full time study (Bacelor of Design) Unitec, Auckland
2008 Featured in New Zealand’s Favourite Artists 2, edited by Denis Robinson
2008 Unitec - combined exhibition Design Students - Flat White Cafe exhibtion space
2008 National Drwaing Award participant - Artspace, The Pysics Room
2009 "Diverse Perspectives" - The Herald Theatre - participant portrait exhibition with comedian Philip Paxton
2009 Unitec - Drawing sale and silent auction
2009 G17 at Te Karanga Gallery, Karangahape Rd. Combined final year Unitec Students Exhibtion
About Christine's latest body of work (August 2009)
”…the worn marble staircase in the Regent Theatre, Queen Street. This staircase carried me into the cinema, leading me from the street outside, in which I was a real person, myself, dissolving me even as I ascended its pearloid steps, into a place in which I could become any of a number of things; a beautiful woman, a great lover, an emperor, a beggar. I could become Japanese, Italian – even on occasions, if the film was old enough, American. I could be free.” - Peter Wells
I am exploring the porosity of our imagination. The performance of our ordinary lives is tainted from the saturated world of visual phenomena we live in and affects us culturally, socially and privately. In this regard a key practitioner informing my work is Karen Kliminik who merges popular culture, glamour, fantasy, history and kitsch constructing highly theatrical scenarios. The intimate nature of Romantic impulses incite a direct relationship with the viewer, listener or reader requiring personal presence where the viewer can be unwittingly implicated.
Looking into romanticism allows for a formal exploration based on the properties of paint itself. Contemporary cookie and cake colours contribute a quiet kind of levity, a frivolity, which is countered by some sombre dark areas. The blurred over edges, the folds of fabric or lightly washed up faces smudge the line between rendered object and reference the facture of paint. Regarding the imagination and the interplay between paint and image, some cues are taken from the structure of typical Gothic Romantic literature where opposite elements create tensions in the terrains between dream and reality, realism and melodrama, structural formality and emotional chaos and, the sense of self and other.
Combining images from a wider variety of sources such as movies, historical painters from the late 1700's/early 1800’s plus my own fairy tale connections built on the suggestion of narrative. The more recent works are all landscape by profile creating a kind of panorama.
I did not in the later paintings think about how they might relate one to another while assembling the various images. There was no set of pre-planned drawings. By the very act of engaging images with paint, exploring the tension between what is there and not there, deleting and adding, this is deconstructing and constructing. This emergent process where what is begun with, via each stage results in a somewhat different finish to what was anticipated. It is an exploration of knowing it is wrong, knowing its wrong…until I find a satisfactory way to combine image and paint. The process is like reading a novel where the paintings unfold unexpectedly.
I am interested in the way viewers respond to this work. How they relate to either the facture of the paint or the imagery which I hope allows questions to arise concerning the substance or content of imagination and the way we perceive.
» View this artist's work
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