Jump E9

Colin McCahon, Jump E9, 1974, synthetic polymer paint on unstretched jute canvas laid on board, 263 x 307mm. Collection of Auckland Art Gallery Toi o Tāmaki, courtesy McCahon Research and Publication Trust. 


Ralph Paine, Terminus Hotel: Notes on Suicide, or A Politico-Economical Affect VI, 2000, gouache, ink, and pencil on paper, 380 x 255mm. 

Ralph Paine

Ralph Paine is an artist who lives in Tāmaki Makaurau. He walks a lot.

And finally he leaps & lo, he finds himself, he finds that he is no less and no more than his old self. He finds that he is in the same old world with Mount Fuji snow covered & the Pacific Ocean washing the Tago-no-ura Beach as in the days of Yamabe No Akahito, the poet.

—D. T. Suzuki

Out on the West Coast, roughly ’71 to ’77, McCahon fell somewhat silent (at Muriwai he will not need so many words), aligned his thought along a Turner-Rothko axis, walked a lot, became sage-like (here the brush will double as a staff, the studio as a hut), constructed a heterodox pedagogy, studied the Māori prophets, sought inspiration in Eastern scroll painting, re-intensified his experiment in series … Out on the edge of the art pack, on a borderline composed of new becomings—becoming-bird, -cloud, -rock, -beach, -whale, -ocean—McCahon cast aside many series (the series never seem to come to an end, they will have to be abandoned), a veritable series-series including Jump (1974), thirty or so minimalist studies in Zen-existentialism, little diagrammatically expressed puzzles of difference and repetition, either/or, both/and. Do the dashed life-lines travel up or down, go left-to-right or right-to-left? Will my answer be the same for the series as a series, or only for some of the paintings? What are these dark towers that the dashed life-lines sometimes touch, sometimes don’t, or that the lines sometimes travel across the top of and sometimes don’t? Why in Jump E25 is there no tower? And so on.

My series Terminus Hotel: Notes on Suicide, or A Politico-Economical Affect (2000) implicates McCahon’s Jump series. Comprising seventeen gouache, collage, ink, and pencil works on paper, all 38 x 25.5 cm, some horizontally aligned, others vertically, Terminus Hotel was first exhibited as a Cuckoo Project in 2001 at Arch Hill Gallery, Auckland and subsequently in 2005 at Ramp Gallery, Hamilton. I know of two Terminus Hotels, one in Picton, the other in Wellington. A terminus is the end of the line. But it’s also a sign marking a boundary, a border to be crossed—or not. Because it is sheltering potential changes to be made, new beginnings, rebirths, migrations, a Terminus Hotel is that place where we rest up before making a further leap. It’s a kind of limbo, a stopping place but also a relay point, simultaneously room, bed, and launching pad: see McCahon’s series Angels and Bed (1977). Yet caution here, there’s a twist, perhaps best expressed by a twofold question: how to avoid arriving at the Terminus Hotel too soon and thus losing the journey’s momentum; or leaving too late and missing the vital connections?

Neo-Baroque in style, there’s a lot going on in Terminus Hotel. First, a sequence of texts runs throughout, some composed by me, some by others, which for the most part travel somewhat esoteric vectors in search of a Gift-as-Such, vectors that swept me away following Victoria University’s 1999 sale of McCahon’s painting Storm Warning (1982). This is the event of the series, the sale for profit of a gift and the subsequent fallout in the art scene and beyond. But overlaid onto that, mainly because termini play such a decisive role in geo-political ordering, there are sketched projections of the contemporary city, the generic city: Terminus Hotel consists of both a series of points of view composing a singular city, and a multiplicity composed of singular points of view on a series of different cities. And related, there are references to cinematic techniques (jump-cuts, pans, zooms), but also to the concept of World-Money, tagging and Eastern brush script, a summer holiday on the Northland coast, and the pilgrimage and place of reading in the time that remains …


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Bridget Riggir-Cuddy
The House Protects the Dreamer
Naomi McCleary
Séraphine Pick
Northland Panels
Brian Sweeney
The view from the top of the cliff
Rudi Fuchs
North Otago Landscape
Rex Butler
I Considered All the Acts of Oppression
Donna McDonald
The Fourteen Stations of the Cross
Harold Jones
Muriwai no.7
Ted Spring
On Building Bridges
Areez Katki
The Three Marys at the Tomb
Rosanna Raymond
Jet Out
Rufus Knight
Megan Tamati-Quennell
Black Landscape
Nick Mitzevich
Victory over Death 2
Rt Hon Jacinda Ardern
Victory over Death 2
The Governor General The Rt Hon Dame Patsy Reddy
Gate III
Grant Banbury
I Paul
Sir Bob Harvey
Dark Landscape
Young Old Girls Christchurch Girls’ High
North Otago Landscape 19
Sophie Bannan
Van Gogh - poems by John Caselberg
Linda Tyler
Urewera Triptych
Emily Karaka
Tangi. Muriwai
Robert Gardiner
Are there not twelve hours of daylight
Thomas Crow
Are there not twelve hours of daylight
Jude Rae
Victory over death 2
Brent Harris
The Family
Cora-Allan Wickliffe
15 Drawings Dec '51 to May '52
Salome Tanuvasa
Yona Lee
Landscape theme and variations (series B)
David Kirk
Priscilla Pitts
Fourteen Stations of the Cross
Ruth Watson
This day a man is
Tessa Laird
Keep New Zealand Green
East window
Nicola Farquhar
Kauri trees
Hon Grant Robertson
Otago Peninsula
Jane Macknight
Untitled (North Otago Landscape)
Karen Walker
Wystan Curnow
The Green Plain
Philip Clarke
Necessary Protection (IHS)
Mary Kisler
A candle in a dark room
Ayesha Green
Matthew O'Reilly
Bettina Bradbury and Kararaina Rangihau
A poster for the Urewera no. 2
Al Keating
A Grain of wheat
Cushla Dillon
Entombment (after Titian)
Hamish Coney
Here I give thanks to Mondrian
Stephen Wainwright
As there is a constant flow of light we are born into the pure land
Sue Gardiner
Landscape theme and variations (series A)
Robert Leonard
Judy Darragh
Clouds 1
John Coley
Shannon Te Ao
Ka pōraruraru ahau. I am troubled.
Helen Beaglehole
Ralph Paine
Jump E9
Judy Millar
Muriwai: Necessary Protection
Fiona Pardington
C.K. Stead
All mortals are like grass
Gretchen Albrecht
As there is a constant flow of light we are born into the pure land
Martin Edmond
Cross (1959)
Lisa Reihana
Urewera mural
Peter Simpson
Jet out to Te Reinga
Christina Barton
Gate III
Dame Jenny Gibbs
I Considered All the Acts of Oppression
Zoe Black
Ruby Bay
Jim Barr and Mary Barr
Oaia and clouds
Vivienne Stone
Tomorrow will be the same but not as this is
Kate Sylvester
Northland Panels