Reilly, Podstolski, Ball at Catchment Gallery

Reviewed by Lloyd Harwood, The Nelson Mail, Nov. 3rd 2004, p. 20

The Catchment offered a cohesive showing of three contrasting artists through October, with painters (and partners) Clare Reilly and Max Podstol[s]ki, and the now locally-based sculptor Derek Ball.

Ball was represented by six works, five of which offered a complete departure from his more formal steel work than most have been familiar with in the past. These works - in cast resin - maintained his landscape references, but provided a rarely seen quality of colour and lighting.

They were small, stunning and yet intriguing works. Ball was playing with the associations of cast resin, giving this body of work an element of kitsch. This was highlighted literally in Sunset, which was fitted with fluorescent light. This gave the work a picture postcard feel, both fascinating and fun.

Clare Reilly's oil paintings of landscape and native bird-life offered illustrative appeal through both their strong colours and reference to New Zealand landscape traditions. Her partner's work on the other hand could not be further removed. Podstol[s]ki's influences are firmly rooted in primitivism, and more particularly with the European group known as Cobra. Tuning in with the anima mundi (or collective unconscious), Podstol[s]ki incorporated an eclectic mixture of imagery in his works, which he managed to balance through well-considered composition and colour usage. These works get my vote for most interesting paintings to be seen in Nelson through October. If you missed the show, some of these works may still be viewed in the Catchment's stockroom.