Brendon Wilkinson

Port Royal

c. 1997
mixed media
162mm x 124mm x 40mm (widest points)

Provenance

Private Collection Auckland.
Purchased from Ivan Anthony, Auckland.

Essay

In On Longing, her exploration of scale and space in art and literature, poet and critic Susan Stewart remarks that strange processes are set into motion by an encounte...

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Estimate $800 - $1,600
Achieved $1,876.00

Brendon Wilkinson

Port Royal

c. 1997

mixed media

162mm x 124mm x 40mm (widest points)

Auction N˚3

Estimate $800 - $1,600

Achieved $1,876.00

Footnotes
  1. Susan Stewart. On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection. Duke University Press. (Durham and London: 1993). 46.
  2. ibid., 60.
  3. See artist’s remarks in Dan Chappell ”Hovering on the edge of a nightmare,” Art News, 30:4. Matrix Publishing Ltd. (Auckland: 2010). 72.

Port Royal

by Frances Clark

In On Longing, her exploration of scale and space in art and literature, poet and critic Susan Stewart remarks that strange processes are set into motion by an encounter with miniature things. “The miniature,” she writes, “has the capacity to make its context remarkable; its fantastic qualities are related to what lies outside it in such a way as to transform the total context.”¹ She goes on to say that miniatures, although they may feel manipulable and subject to our overseeing mastery, alter not just our sense of space but also our sense of time, and even while depicting a version of history, “lose us within . . . presentness”.² Brendon Wilkinson (born in Masterton, 1976) has been performing this magic of spatial and temporal distortion for years within his sculptural practice. In his unsettling miniature tableaux, such as 2002’s The Gauntlet (now held by Te Papa), and 2006’s Meat Dust, he places viewers in the position of apparent mastery that miniatures imply, and then allows us to fall into the trap of shouldering the responsibility of that mastery: we must make our own ideas and stories out of his sculptures.³