Creative visual thinking is fundamental to us all as human beings as we strive to understand our sense of self and the world. Chartwell seeks to deepen understanding about the importance of art and creative thinking for our future and our wellbeing.
Chartwell is an explorer of the visual world. We want to know more about how and what we see. When both the eye and the mind are active, the creative process opens to the artist and viewer. The Chartwell Collection provides the viewer many examples of creative visual thought in action.
Chartwell supports artists as they make and think. Making is an active and connected process, involving the interaction of intention, intuition and intellect with the mediums of the world. Chartwell is making too - making a difference through philanthropy and enabling access to creative activities and research.
Chartwell encourages everyone to think about art and the creative process with a commitment to drive an understanding about the significance of the visual arts to general creative thinking. We share a curiosity to know and learn more: an imaginative, ongoing investigation.
Colin McCahon, Are there not twelve hours of daylight, 1970, synthetic polymer paint on unstretched canvas, 207 x 260cm. Chartwell Collection, Auckland Art Gallery Toi o Tāmaki, in special recognition of E.W. Gardiner, 1985
Published in Issue 02 of The Art Paper (April - June 2022)
The contemporary, practical, non-metaphoric meaning of the word “light” is, of course, the electromagnetic energy of the sun perceivable by human eyes. Yet light is equally a medium of cognition in all art-making. This is useful in understanding the concrete, empirical realities marking composition and thought.
One cold, white, bursting line suggests dawn light emerging; while a ‘white light’ angel enters the top right corner. Light falls through a door, offering a path toward the viewer. Are these marks ironic or filled with faith? Maybe faith in art?
Our interaction with classic domestic light shades, and ample wiring that oscillates between order and disorder, opens the imagining memory to potential ‘lights of ideas’ around the home: love, comfort, familiarity, the search and need for things.
Artificial light is made real in Culbert's poetic invention of three-dimensional space, inviting our minds and eyes to be amazed at the tilting planetary field of lights unfolding above and casting the perspective of the room in a new light.
In the slowly reverberating rhythms of Light Painting, there is no end and no beginning wherein lies the ultimate light of art for Chartwell. The reality of knowledge is dependent on shared empathy and sense-based awareness, both conscious and preconscious.
Triple meanings of light operate simultaneously: the fluorescent electronically processed glow, tubes that deliver layers of light lines and reflections; and indigenous spiritual references of relationships and geometric rhythms. Creating a gestalt field, the whole is greater than its parts.