As an installation Deck: First Cut works well. A room full of these works on only the walls would look tediously regular - for as relief sculpture you don’t want to see too many in succession. However on the floor as part of a ‘pack’, a large number (i.e. over three) seem more unpredictable. Looking down on the curved planar edges helps enormously. It is also interesting looking through the holes at what the curved stainless steel reveals of its own form.

This ‘resort’ seems to be some sort of stormwater outflow that has been cosmeticised to help beautify the motorway. As such it is a good idea, but one which because it has been successful, has also been invisible. Hundreds of cars drive past it every day, with not one driver ever realising it is there. Just an occasional haven for aquatic birds and nosey-parker artists.

If art needs a social environs to function (and admittedly I’m not entirely convinced that it does) these apples should be where people can discover them in a non-art context and be surprised. If that is not the point, but notions of decay and life’s transience are, then she needs to think about how nature’s processes interact with the meaning of the words. Her texts and images come from all over the place and lack focus. She is fetishising technique and ignoring content.

This very focussed assortment of elegant black and white photos, videos, film, coloured slides, used tissue collections and inventories of glowing neon tubes effectively documented Apple’s (the artist and the gallery) projects, making an exceptionally rivetting show, a display far too good (and significant) to be exposed to Wellington audiences only

Andrew Barber show

Gimblett is best when the compositions are simple with dramatic power. Yet, there are very few of those here. The focused energy has got lost because he has used too many colours and too many layers of overlapping painted marks. Mixing traditional Japanese calligraphy (as he usually does) with an airier version of de Kooning’s interwoven but floating, push-and-pulling brush application, doesn’t gel. And where he has used a Pollock-style dribbled line (white on black) the linear shapes are too anaemic and flabby, lacking muscle.

To enjoy this installation, you don’t need an underlying narrative; it works so well formally with many interconnecting parallel levels. The show has an appealing airy, linear quality that repudiates weighty density - a lightness of touch. Yet there clearly is a theme behind this arrangement of various elements - that of global and ecological issues. It is conventional subject matter for sure but it is done with considerable inventiveness and panache.