RAYMOND JENNINGS
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  • Home
  • Contact
  • About
    • About
    • Profile
    • CV
    • Online
    • Reviews
    • Collections
    • Technical details
  • New work - sale
  • Sale
  • Commissions
  • Painting
    • Shelf-life series
    • NZ Bach
    • Interior
    • Trees + Flowers
    • Abstract
  • Drawing
  • Sculpture
    • Murals
If you are interested in a work please go to the contact page for details. Thank you.
THE FOUNTAINHEAD – the primary source of cultures past . . . with their expressions contributing to our contemporary perception of historical context – preserved in presentation as in a reliquary.
This ‘Interior’ becomes a stage for the exercise of my own invention of ideas and concepts of light and dark spaces and shapes in recognition of the history of these faces, figures and masks.
Impasto gold and silver, plus luminous ‘INTERFERENCE’ oil paints in combination with regular oil colours inter-mixed to produce colours with metallic sheens and reflective qualities  . . . relating to our contemporary technological complexity and simplicity, luminosity and transparency of ‘space.’
Interference pigments are also sometimes called “pearlescent” or “iridescent” pigments, although since they work by interfering with light waves, thus causing the colour, “interference” is the most accurate name. These pigments are not particles but flakes of mica, usually coated with a microscopically thin layer of titanium dioxide pigment. When ground into a paint vehicle, these flakes will simultaneously reflect and transmit light, causing a coloured appearance that is dependent on how the flakes are positioned toward the light source, the thickness of the paint film, and the refraction in the flakes themselves. 
The interference colour is produced when the retardation between the waves vibrating in perpendicular planes inside the crystal is equal to a whole number of wave-lengths. 
This means that a yellow interference colour will appear equally with a retardation of 410 mµ (which is the landa of violet), or 820 mµ (2 * 410), or 1230mµ (3 * 410) and successive multiples.
The unique qualities of interference pigments are, unfortunately, difficult to depict photographically, the true character and potential of interference pigments may remain a mystery. 
This painting is an imaginative continuation of my longstanding interest in painting ‘interiors.’ This is the home interior of a real-life art collector . . . I have recreated – transformed and introduced new faces and figures, also with New Zealand characters as an inter-play of cultures.
Art Home and concert hall of arts patron Sir James Wallace and his expansive collection of New Zealand art.  An historic architectural and contemporary–creative experience with its musical atmosphere and artist presence and its invitation to wander/wonder, exploring the rooms and multiple levels all filled with art.
Finalist in the James Wallace Art Award, TSB Trust, Auckland Sept - 2011 Medium: oil on canvas Size: 2500 x 1500 mm 
This painting portrays Rannoch house – the home of Sir James Wallace, renown arts patron, philanthropist and New Zealand art collector. It displays some of his vast collection - now numbering over 6,000 works of art, on four storeys of the Arts & Craft Style building. The main entry opens into a 65m double height hall, lit during daylight by five large oriel windows at the upper level. This area, together with the adjoining library and drawing room have outstanding acoustics and provide an excellent concert forum. The basement and upper floor have been modified to form galleries and an entrance gallery has been added so that the whole house functions as a living museum of modern New Zealand art. Senior artists and also emerging and mid-career artists are represented, serving as a cultural resource for present and future generations. Guided tours of Rannoch house and the one hundred and twelve sculptures and growing, Sculpture Forest, are available on application.
This painting is unique in that it portrays an extensive variety of recognizable well-known New Zealand artists . . . and will hold a great level of curiosity and educational relevance, and as a ‘guess-who’ social focal-point. Its generous size of 2500 x 1500mm does justice to Rannoch and the collection, maintaining a significant presence that will never go unnoticed. It will not impose over people or the room in which it is placed . . . for its boldness and grandeur is balanced with a warm and comfortable range of colours and a positive energy – that invites the viewer in – following the artworks around and up the stairs.
Historically this will become a seminal work in New Zealand art – representative of one of our country’s most important art collectors and patrons.
'en'...encircle, enlighten with power...that comes from nowhere in particular, but everywhere in general - with no answer and no question.  A self-generating power, self-contained, yet infinite and expansive.
This image-idea is open to interpretation and association with aspects of our economy, world, civilization, history, but with no compulsion to see it as symbolic of anything in particular or political. A statement of our minds immensity beyond explanation? Yes and No is the idea. A timeless contemplation of revolutions of thinking on the nature of consciousness - to encircle.
The history of New Zealand art contains similar concerns, such as I AM, and Hotere's vertical lines on blank infinity.
Nine poles define the circle of lines of power - lines of music - lines of sight - lines of mind and no-mind...with the landscape being no-where in particular or indefinable in its solitude - yet there is a comfort in the presence of this circle of power encircling. Where to now? Where does the power come from...and where is it going...and how does the power get there from anywhere?
 Is it a future monument to an ancient power that used to be in the world?
: en.
These two tree paintings were saved before demolition of the ‘Soundline’ building, damaged in the February 2011 earthquake. Soundline are home entertainment specialists, in Christchurch.
I offer them here for sale at $3800 each.
10% will go to the people at Soundline for taking care of the paintings.
From a series of ten . . .
The abstract energy of the trunk, branches and the spaces between – painted spontaneously from my imagination and pencil drawings, in 1993.
Creative patterns within our nature. Multiple points of focus created by the repeated overlay of a single wave-form, the simple repetition of form creating a complex pattern of energy.
These waves of energy are a musical maze of visual sound, suggestive of atomic fields of energy ... of vast spaces of forest leaves, and countless waves of ocean light, and computer networks of mind: patterns of pure energy.
These two tree paintings were saved before demolition of the ‘Soundline’ building, damaged in the February 2011 earthquake. Soundline are home entertainment specialists, in Christchurch.
I offer them here for sale at $3800 each.
10% will go to the people at Soundline for taking care of the paintings.
From a series of ten . . .
The abstract energy of the trunk, branches and the spaces between – painted spontaneously from my imagination and pencil drawings, in 1993.
Creative patterns within our nature. Multiple points of focus created by the repeated overlay of a single wave-form, the simple repetition of form creating a complex pattern of energy.
These waves of energy are a musical maze of visual sound, suggestive of atomic fields of energy ... of vast spaces of forest leaves, and countless waves of ocean light, and computer networks of mind: patterns of pure energy.
Trees are one of my most important subjects for explorative drawings on site. And the idea for this work comes from the ‘under-drawings’ I do on canvas for oil-paintings . . . utilizing black pencil and paint, drawing with brush, into a damar-wash, accentuating the darkness and fluidity of the pencil (also acting as a fixative) giving a faster expression with the energy of motion.
The ‘Tree’ as a universe within itself . . . of branch-lines in complex compositions intertwined multi-dimensional in their overlapping into the mystery of its inner-spaces.

​Shelf-life Series

Picture
 Shelf-life with a Concise History of New Zealand
  oils on canvas   
  970 x 610 mm
  $3200   SOLD

Picture
Tekoteko on Mantlepiece
oils on canvas   -   1120 x 765 mm
$4200   SOLD


Picture
Shelf-life with Portrait
oils on canvas   -   1120 x 765 mm
$4200   SOLD


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