MARK WOOLLER PAST EXHIBITIONS- ARCHIVE
MARK WOOLLER | 22-23 COLLECTION
2022-2023
MARK WOOLLER | BACKYARD STORIES
TENT
NOV 4-7, 2021
Exhibition Catalogue:
EXHIBITION TEXT
Black Door Gallery presents Backyard Stories | A Group Exhibition. New Zealand artists ruminate on stories, both personal and societal, of our backyard. Jump over the fence, run down the road and into your local neighbourhood- what do you see, what do you remember? The artists of this exhibition contemplate different periods of time and through the language and gesture of different media offer their own narration and interpretation of ‘Backyard Stories’.
Contemporary landscape painter Mark Wooller takes us on a summer holiday. As a child, each summer his family would explore a new destination, with the big canvas tent loaded onto a trailer and hitched to the car. The destinations weren’t far away from their Auckland home, Orewa perhaps, but as he grew older the destinations became further afield- Mount Maunganui, Ōhope… The artist ruminates: “Pitching the tent on arrival, releasing the musty odours of the past year’s storage, the unpacking of the kit and the accessories associated with summer, as a child it was a magical event, for one’s parents I imagine it was a drama that one took a year to recover from.”
“Tents were sandwiched together in bare fields, if you were lucky, you might be fortunate enough to find a straggly tree to provide some shade. There was a definite class structure of accommodation from the hierarchy of tent to caravan through to the rented cabin. But for the children running wild and tripping over guide ropes the campgrounds provided a society where play was priority and all the old rules from home did not apply for the two golden weeks of summer.”
In Mark Wooller’s painting Camping Collection the destinations of past holidays are listed in chronological order, and in Mount Maunganui Camping the tents are jammed in, a visual gesture of peak mass camping. The series found its start point in a black and white photo of the artist and his two older brothers under the tent awning, caught in a rare moment where they weren’t heading in different directions.
Contemporary landscape painter Mark Wooller takes us on a summer holiday. As a child, each summer his family would explore a new destination, with the big canvas tent loaded onto a trailer and hitched to the car. The destinations weren’t far away from their Auckland home, Orewa perhaps, but as he grew older the destinations became further afield- Mount Maunganui, Ōhope… The artist ruminates: “Pitching the tent on arrival, releasing the musty odours of the past year’s storage, the unpacking of the kit and the accessories associated with summer, as a child it was a magical event, for one’s parents I imagine it was a drama that one took a year to recover from.”
“Tents were sandwiched together in bare fields, if you were lucky, you might be fortunate enough to find a straggly tree to provide some shade. There was a definite class structure of accommodation from the hierarchy of tent to caravan through to the rented cabin. But for the children running wild and tripping over guide ropes the campgrounds provided a society where play was priority and all the old rules from home did not apply for the two golden weeks of summer.”
In Mark Wooller’s painting Camping Collection the destinations of past holidays are listed in chronological order, and in Mount Maunganui Camping the tents are jammed in, a visual gesture of peak mass camping. The series found its start point in a black and white photo of the artist and his two older brothers under the tent awning, caught in a rare moment where they weren’t heading in different directions.
MARK WOOLLER
2021 RELEASE
MARK WOOLLER
2020 RELEASE | NEW WORKS
MARK WOOLLER
CHARTING THE CATCH
September 25-October 15 2019
Exhibition Catalogue:
Exhibition In Situ
MARK WOOLLER
A LINE IN THE BUSH
24 October- 10 November 2018
Exhibition Catalogue:
Exhibition Text:
Mark Wooller’s transliteration of the phrase “A line in the Sand” to “A Line in the Bush” is appropriate in that Wooller lives in the bush and hinterland of Matakana as opposed to the coastline. The dichotomies between human and nature; constancy and change, natural and constructed, have long interested the artist who takes to the canvas to depict New Zealand scenes in a distinct style that blends landscape with language.
Wooller’s 2018 series “A Line in the Bush” uses text and ephemera as effective compositional devices that add layers of meaning to the work. Original and correct Māori place names are also important to the artist, who carefully records these historical place names, many of which have been misinterpreted over time. Wooller states “The use of place names, and the literal way we read the geography of the landscape, sets up the contrast between the use of English place names and preexisting names by Māori. The European usage is often a romanticised or commercially based title, whereas the Māori nomenclature refers to a historic and ancestral link.”
Despite this somewhat measured statement it is also true the saying “A Line in the Sand” (Bush) is steeped in the tradition of drawing battle lines, demarcation and confrontation. Lines in the sand were drawn not only in Roman times before battle but reputedly by Colonel Travis during the Battle for the Alamo (1836) and Ngati Whatua Chief Taoho before a famous early 19th century battle against Ngapuhi (c1808). Wooller says “The world’s forests, lakes and waterfalls are constantly under threat from not only development but disease and pollution. There is essentially an environmental war playing out before our very eyes.”
Many of the paintings focus on subject matter relating to Tāmaki Makaurau. In The Waitemata Auckland is linearly subdivided into numbered lots up to an edge of dense native bush. Eleven volcanic mounds including Maungakiekie appear as displaced islands, untouched and cloaked in dense primeval foliage- a stark contrast to the grid of orderly sections.
Scenic Drive similarly takes an iconic Auckland landmark, the road that runs through the Waitakere Ranges from Titirangi to Swanson, and divides it into blocky numbered lots. Wooller’s signposting of the attractive walking tracks, an area so well-known, remind us of the recent closures of significant regions of the Ranges subsequent to the battle against Kauri dieback disease.
Beyond the bounds of Auckland, Wooller re-visits the motif of the waterfall, a favoured subject for the artist. The waters of Āniwaniwa Falls, Five Mile Creek and Puketi Forest whimsically cascade over amorphous regions of native bush, bringing an element of fantasy into the exhibition. These joyful waterfall pieces remind us of those scenic treasures tucked away, awaiting those willing to find them. Our Gulf Islands are a feature of the new series also with paintings depicting pohutukawa bush clad enclaves from Coromandel to the far North.
Wooller’s unique and idiosyncratic depiction of the early development of our landscape not only serves to remind us of our history and future planning, but the precious state of our irreplaceable environment.
Text by Neala Glass and Warwick Henderson, October 2018
Wooller’s 2018 series “A Line in the Bush” uses text and ephemera as effective compositional devices that add layers of meaning to the work. Original and correct Māori place names are also important to the artist, who carefully records these historical place names, many of which have been misinterpreted over time. Wooller states “The use of place names, and the literal way we read the geography of the landscape, sets up the contrast between the use of English place names and preexisting names by Māori. The European usage is often a romanticised or commercially based title, whereas the Māori nomenclature refers to a historic and ancestral link.”
Despite this somewhat measured statement it is also true the saying “A Line in the Sand” (Bush) is steeped in the tradition of drawing battle lines, demarcation and confrontation. Lines in the sand were drawn not only in Roman times before battle but reputedly by Colonel Travis during the Battle for the Alamo (1836) and Ngati Whatua Chief Taoho before a famous early 19th century battle against Ngapuhi (c1808). Wooller says “The world’s forests, lakes and waterfalls are constantly under threat from not only development but disease and pollution. There is essentially an environmental war playing out before our very eyes.”
Many of the paintings focus on subject matter relating to Tāmaki Makaurau. In The Waitemata Auckland is linearly subdivided into numbered lots up to an edge of dense native bush. Eleven volcanic mounds including Maungakiekie appear as displaced islands, untouched and cloaked in dense primeval foliage- a stark contrast to the grid of orderly sections.
Scenic Drive similarly takes an iconic Auckland landmark, the road that runs through the Waitakere Ranges from Titirangi to Swanson, and divides it into blocky numbered lots. Wooller’s signposting of the attractive walking tracks, an area so well-known, remind us of the recent closures of significant regions of the Ranges subsequent to the battle against Kauri dieback disease.
Beyond the bounds of Auckland, Wooller re-visits the motif of the waterfall, a favoured subject for the artist. The waters of Āniwaniwa Falls, Five Mile Creek and Puketi Forest whimsically cascade over amorphous regions of native bush, bringing an element of fantasy into the exhibition. These joyful waterfall pieces remind us of those scenic treasures tucked away, awaiting those willing to find them. Our Gulf Islands are a feature of the new series also with paintings depicting pohutukawa bush clad enclaves from Coromandel to the far North.
Wooller’s unique and idiosyncratic depiction of the early development of our landscape not only serves to remind us of our history and future planning, but the precious state of our irreplaceable environment.
Text by Neala Glass and Warwick Henderson, October 2018
MARK WOOLLER
NATURE OF PLACE
08 August- 27th August 2017
Exhibition Catalogue:
Exhibition Text:
Mark Wooller has continued his unique depiction and exploration of aspects of New Zealand history, in this instance place names and our historical naming of places which have been claimed, named, and in some cases changed and subdivided.
Flags appear in many early colonial New Zealand paintings and the presence and flying of a flag was regarded with much more gravity and importance than it is now. In many of Wooller’s works, place names have been changed over time, and this is still happening, in many cases European place names reverting back to the original title given by Maori settlers of Aotearoa.
In Wooller’s new exhibition signage and flags appear as significant elements of the landscape, specifically in the paintings “Landmarks”, “Nature of Place”, "Nature of Place II” and “Upstream”. Wooller states …”Living in New Zealand my sense of place is an important unifying presence in my life and culture. The signage and flag pieces are another way of seeing and reading the landscape but in a more literal fashion, its contours and history are in the very least neatly labelled and documented for posterity. Many names once had a meaningful value which unfortunately are now fogged in history or obscured due to a lack of familiarity with the Maori language”. Wooller has cleverly incorporated marine signal flags into several of his paintings to spell out titles such as “Nature of Place II” and “Upstream”.
Flag waving however has come under increasing scrutiny in New Zealand lately with a referendum proposing flag changes, new designs touted, and political aspirations becoming entangled in national ideology. This exhibition while referencing flags, colonisation, control, naming of places and land holdings which are in Wooller words “both evocative and provocative” highlights our sense of place and desire for identity. In doing so Wooller reaffirms our connection to the land, the names and the place he loves, Aotearoa, New Zealand.
Flags appear in many early colonial New Zealand paintings and the presence and flying of a flag was regarded with much more gravity and importance than it is now. In many of Wooller’s works, place names have been changed over time, and this is still happening, in many cases European place names reverting back to the original title given by Maori settlers of Aotearoa.
In Wooller’s new exhibition signage and flags appear as significant elements of the landscape, specifically in the paintings “Landmarks”, “Nature of Place”, "Nature of Place II” and “Upstream”. Wooller states …”Living in New Zealand my sense of place is an important unifying presence in my life and culture. The signage and flag pieces are another way of seeing and reading the landscape but in a more literal fashion, its contours and history are in the very least neatly labelled and documented for posterity. Many names once had a meaningful value which unfortunately are now fogged in history or obscured due to a lack of familiarity with the Maori language”. Wooller has cleverly incorporated marine signal flags into several of his paintings to spell out titles such as “Nature of Place II” and “Upstream”.
Flag waving however has come under increasing scrutiny in New Zealand lately with a referendum proposing flag changes, new designs touted, and political aspirations becoming entangled in national ideology. This exhibition while referencing flags, colonisation, control, naming of places and land holdings which are in Wooller words “both evocative and provocative” highlights our sense of place and desire for identity. In doing so Wooller reaffirms our connection to the land, the names and the place he loves, Aotearoa, New Zealand.
MARK WOOLLER
MAPPING IT OUT
01 June-18 June 2016
Exhibition Catalogue:
Exhibition Text:
This exhibition includes a major work “The Albert Park” which relates specifically to early development right in the heart of Auckland city. In the light of the current controversy surrounding the government’s aspirations towards Auckland’s future development, Wooller’s striking exhibition is a timely reminder of the results of reckless or negligent town planning. In Wooller’s previous exhibition, the loss of creeks, waterfalls, trees, gardens and bush were subtly referenced. The latest exhibition “Mapping it Out” is more specific where detailed maps of early subdivisions are recorded such as the map of Albert Park and surrounding land which was also subdivided. Ironically the original map of Albert Park is titled “The Auckland Improvement Commission Plan of Albert Park”, subsequent to the commission that was established for this purpose. The disheveled state of many areas of Auckland in the late 19th century is well recorded and pursuant to the establishment of the commission, legislation was passed in 1879 to acquire land, including the Albert Barrack reserves, for the establishment of Albert Park. Funds were allocated to provide for ….. “works of public utility or ornament or for furtherance of education, science, and art...”.
This development did not progress or end entirely without acrimony. Eventually the ex-mayor of Auckland was taken to task by the Wellington Evening Post no less, vehemently claiming and accusing him of……”frittering away half a million of money …in cutting up into building sections (The Albert Barracks reserve), a splendid recreation ground in the midst of the city, and in destroying the Maori wall, one of the most valuable mementos of the early days of the colony. The Auckland people would now give any money to get their recreation ground back, and only a few ….sections have been taken up”. The ex-mayor responded vigorously stating “..… the greater portions of the land had been leased, valuable houses built thereon and as the streets are all wide well made, drained and lighted and planted with trees, it is considered the most pleasant and fashionable part of the city…”(1).
Controversy was nothing new and it is perhaps comforting to know some intuitive NZ residents over 130 years ago were also cognisant of the effects of unbridled development. As Wooller’s painting “The Albert Park”, which is based on the original survey map shows, a large proportion of the original army land was actually subdivided for building, deviating somewhat from original intentions.
A year later in 1879 however, Little Barrier Island was declared a wildlife sanctuary. The topography of this ancient and extinct volcanic Island is depicted in “Hauturu (Little Barrier) Cross-section” with references to original maps and survey documents which date back to the early 19th century. The hilly terrain is accentuated by Mt. Hauturu which peaks at 722 meters (2369 ft.) high. A third of the forest had been cleared up to two centuries previous, but all but 20 hectares of land has since been reforested.
Other aspects of New Zealand’s striking landscape are reflected in this new series “Mapping it Out”, such as the Giant Kauris in “Kauri Ridge” and foliage and flowers in “Bush Garden”.
This exhibition is a compelling celebration of the unique aspects of North Island terrain, which highlights the importance of ongoing vigilance and consideration in respect of the protection of our relatively remote environment.
(1) NZ Herald Vol VII issue 559, 15.10.1879, p3 (reproduced letter sent in response to Wellington Evening Post article 1879)
Text Warwick Henderson, May 2016
This development did not progress or end entirely without acrimony. Eventually the ex-mayor of Auckland was taken to task by the Wellington Evening Post no less, vehemently claiming and accusing him of……”frittering away half a million of money …in cutting up into building sections (The Albert Barracks reserve), a splendid recreation ground in the midst of the city, and in destroying the Maori wall, one of the most valuable mementos of the early days of the colony. The Auckland people would now give any money to get their recreation ground back, and only a few ….sections have been taken up”. The ex-mayor responded vigorously stating “..… the greater portions of the land had been leased, valuable houses built thereon and as the streets are all wide well made, drained and lighted and planted with trees, it is considered the most pleasant and fashionable part of the city…”(1).
Controversy was nothing new and it is perhaps comforting to know some intuitive NZ residents over 130 years ago were also cognisant of the effects of unbridled development. As Wooller’s painting “The Albert Park”, which is based on the original survey map shows, a large proportion of the original army land was actually subdivided for building, deviating somewhat from original intentions.
A year later in 1879 however, Little Barrier Island was declared a wildlife sanctuary. The topography of this ancient and extinct volcanic Island is depicted in “Hauturu (Little Barrier) Cross-section” with references to original maps and survey documents which date back to the early 19th century. The hilly terrain is accentuated by Mt. Hauturu which peaks at 722 meters (2369 ft.) high. A third of the forest had been cleared up to two centuries previous, but all but 20 hectares of land has since been reforested.
Other aspects of New Zealand’s striking landscape are reflected in this new series “Mapping it Out”, such as the Giant Kauris in “Kauri Ridge” and foliage and flowers in “Bush Garden”.
This exhibition is a compelling celebration of the unique aspects of North Island terrain, which highlights the importance of ongoing vigilance and consideration in respect of the protection of our relatively remote environment.
(1) NZ Herald Vol VII issue 559, 15.10.1879, p3 (reproduced letter sent in response to Wellington Evening Post article 1879)
Text Warwick Henderson, May 2016
MARK WOOLLER
BIG GARDEN
1 September- 19 September 2015
Exhibition Catalogue:
Exhibition text:
North Auckland artist and gardener Mark Wooller is issuing a profound statement relating to current events with his new exhibition of paintings entitled “Big Garden”. Wooller states; “The once traditional quarter acre Auckland section is now almost a distant memory. In my new series of work I have expanded the lush gardens to cover the whole section – totally surrounding or “safeguarding” the houses. My response to council proposals could be seen as sentimental or an overreaction to current events, but the reality is the new intensification policies are already generating a growth in property prices, while Auckland gardens are shrinking or disappearing.”
Traditional gardens, fast becoming obsolete, are shown in abundance in this show with profusions of snapdragons, hollyhocks, snowdrops, lavender and roses. It is almost ironic to consider many traditional gardens in New Zealand, even the western world are really only 150 to 200 years young, yet now appear under threat. Exotic flowers and plants came to New Zealand as late as the 19th century, while cultivated roses and hydrangeas for example, were only introduced into England in the 18th century. Many exotic plants were brought to New Zealand by settlers in the 1800’s on immigrant ships. It is interesting to note English nurserymen were selling New Zealand Manuka brought back by Captain Cook in 1776 by the end of the 18th century, such was the interest in exotic plants in Europe at this time. The famous botanist Joseph Banks, who travelled on Cook's voyages to the South Pacific in the 18th century, collected over 30,000 plants in the course of his incredible travels. These not only included several varieties of the eponymously named “Banksia” plant discovered by him in 1770 during Cooks first expeditions, but plants such as azaleas, camellias, Hydrangeas, rhododendrons and that Autumn (or fall) beauty, Virginia creeper.
Wooller’s early years were spent working with plants; propagating, planting and growing and his knowledge and empathy with gardening is obvious in the alluring and ordered manner of the flower bed designs, particularly in “Big Garden”, “Elgar” and “Parau”. The structure and design aspect of each painting is notable in this new series, specifically in the grid or matrix type compositions of “Crummer Road”, “Victoria”, “Hollyhock”, “Auckland Volcanoes” and “Auckland Islands”.
A gentle reminder relating to the fragile position of Auckland’s classic houses has been highlighted with stylish Victorian Villas, Californian Bungalows, and Art Deco houses featuring prominently in many of the paintings. These enduring designs have long out-lasted thousands of houses built in the last 30 years which were severely compromised with shoddy materials and suspect building practices. It is ironic that while these houses are currently either being re-clad, reframed or knocked down, the classic houses depicted in “Big Garden” also stand in the shadow of bulldozers due to proposed changes to town planning protections.
Auckland’s climate lends itself to being a wonderful “Garden City”. Unfortunately the current demographics and future development prospects do not bode well for Auckland’s residential gardens and traditional homesteads. Wooller states…”It is sad to see much of the fertile soils and gardens of Auckland being developed and paved over. In many cases native trees, plants and even houses have been taken as well”.
Mark Wooller, who tends a large and rural home garden, has ingeniously fused his passion for the environment, his garden and his art into a thought provoking and luxurious exhibition of paintings.
Text by Warwick Henderson
Traditional gardens, fast becoming obsolete, are shown in abundance in this show with profusions of snapdragons, hollyhocks, snowdrops, lavender and roses. It is almost ironic to consider many traditional gardens in New Zealand, even the western world are really only 150 to 200 years young, yet now appear under threat. Exotic flowers and plants came to New Zealand as late as the 19th century, while cultivated roses and hydrangeas for example, were only introduced into England in the 18th century. Many exotic plants were brought to New Zealand by settlers in the 1800’s on immigrant ships. It is interesting to note English nurserymen were selling New Zealand Manuka brought back by Captain Cook in 1776 by the end of the 18th century, such was the interest in exotic plants in Europe at this time. The famous botanist Joseph Banks, who travelled on Cook's voyages to the South Pacific in the 18th century, collected over 30,000 plants in the course of his incredible travels. These not only included several varieties of the eponymously named “Banksia” plant discovered by him in 1770 during Cooks first expeditions, but plants such as azaleas, camellias, Hydrangeas, rhododendrons and that Autumn (or fall) beauty, Virginia creeper.
Wooller’s early years were spent working with plants; propagating, planting and growing and his knowledge and empathy with gardening is obvious in the alluring and ordered manner of the flower bed designs, particularly in “Big Garden”, “Elgar” and “Parau”. The structure and design aspect of each painting is notable in this new series, specifically in the grid or matrix type compositions of “Crummer Road”, “Victoria”, “Hollyhock”, “Auckland Volcanoes” and “Auckland Islands”.
A gentle reminder relating to the fragile position of Auckland’s classic houses has been highlighted with stylish Victorian Villas, Californian Bungalows, and Art Deco houses featuring prominently in many of the paintings. These enduring designs have long out-lasted thousands of houses built in the last 30 years which were severely compromised with shoddy materials and suspect building practices. It is ironic that while these houses are currently either being re-clad, reframed or knocked down, the classic houses depicted in “Big Garden” also stand in the shadow of bulldozers due to proposed changes to town planning protections.
Auckland’s climate lends itself to being a wonderful “Garden City”. Unfortunately the current demographics and future development prospects do not bode well for Auckland’s residential gardens and traditional homesteads. Wooller states…”It is sad to see much of the fertile soils and gardens of Auckland being developed and paved over. In many cases native trees, plants and even houses have been taken as well”.
Mark Wooller, who tends a large and rural home garden, has ingeniously fused his passion for the environment, his garden and his art into a thought provoking and luxurious exhibition of paintings.
Text by Warwick Henderson