John Hurrell – 19 November, 2014

For this comparatively recent addition to Auckland’s array of public art display, it would be hard not to enjoy the architectural scale of Paterson’s large contribution to Newmarket’s civic celebration, its decorative Warholesque motifs, and the bizarre distortions going on within its gridded planar structure: strange spiralling compressions and elongations. There is an odd rolling or rippling motion where the glitter-coated flowers have peculiar, vertically aligned, perspectives - though flat being tilted at unexpected angles.

Mixed with that ‘rolling’ composition is a sense of various flowers at the four edges straining to reach the middle. They lean up, down and across towards an empty centre, like moths pursuing an invisible flame. A reference to the station being a hub.

I love the nuttiness of this work’s subtly undulating space. It reminds me of more minimal abstract grid painters like Larry Poons, or op artists like Riley and Vasarely - for when Paterson obliquely speaks of the work extending his Māori and Scottish heritage I assume it is the grid structures of kowhaiwhai patterns and tartans he is thinking of. Abruptly curved and blended into high camp. Crazily mannered but carefully controlled.

Perhaps the fluid rippling motion alludes to its Spanish title, which means, “Come on, let’s go!” It is like an arm gesture that flicks the fabric through the air in an impatient action, trying to initiate movement from people nearby. More specifically a swirling cape, a bull fighter’s perhaps, that serves as a banner attempting to galvanise some energy. Effortlessly rustling up enthusiasm for boarding a train - or reflecting via an exuberant but trainless image - that weekday joy that for many is part of commuting life in this country’s biggest city.

John Hurrell

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