Although he was born in Australia, Tony De Lautour has lived and worked in Christchurch for most of his life. He graduated from the University of Canterbury School of Fine Arts in 1988, and had his first solo show, Bad White Art, in 1995. De Lautour is part of a group of Christchurch artists—along with Saskia Leek, Séraphine Pick and Shane Cotton—often characterised as the “pencil-case painters.” These artists, following the path blazed by Bill Hammond, embraced a lo-fi, DIY “grunge” aesthetic, making paintings that rejected both the landscape-based realism of the New Zealand painting canon and the rarefied discourse of conceptualism and minimalism. Instead, what we get in De Lautour’s work is a panoply of symbolic representations of “badness,” in service of a conversation about nationalism and colonialism. De Lautour has also produced works which comment more directly on the legacy of painting in New Zealand culture, by incorporating his own iconography into paintings bought from thrift stores. Most recently, De Lautour has moved into abstraction, producing works whose fractured surfaces comment on the equally fractured landscape of post-quake Christchurch.