26 APR – 12 MAY.2018


Chelsea Pascoe, Nicholas Megchelse,
Rachel Hope Peary

For images of works available, please contact the gallery directly by clicking here.


No Holiday is a group exhibition involving three artists; Chelsea Pascoe, Nicholas Megchelse and Rachel Hope Peary. All past or present students of the Waikato Institute of Technology, the artists have been brought together as abstract minimalists who challenge conventional notions of painting. No Holiday explores the artists’ distinct approaches to painting which are intelligent, probing and aesthetically enjoyable.


Megchelse currently resides in Melbourne, where he created his body of work for No Holiday. A suite of modestly scaled paintings on canvas, Megchelse employs a brilliant, assertive palette. Through practiced refinement, the works typically have a limited palette, demanding control and restraint. Serenity Cabinet consists of carmine red in the shape of an irregular rectangle, slathered atop a thin, partially transparent white. The colour, loaded with marks and ridges of dried paint, evidences Megchelse’s proficiency in creating tactile works. Similarly, Old Son, a piece constructed of hand-sculpted clay with paint on one surface, exemplifies Megchelse’s adoration for surface. Megchelse discusses his process as having a “meditative quality”, which is driven by the urge to mark an identified surface. Once this initial mark is achieved, his process involves responding, in an intuitive manner, which continues until he reaches a sense of resolve. Megchelse states “Within these shifting parameters, some paintings eventuate through a multiplicity of layers while others are revealed within very few; as much the result of addition as they are a deduction of both form and ideas”.

Unlike Megchelse and Peary, Pascoe utilises tissue as the primary material in her works, a signature of her practice. For No Holiday, Pascoe has employed the delicate gauze to create dimensionality through the process of layering tissue upon tissue. Using low brow pigments, Pascoe dyes the tissue in garish, striking colours, whilst building up the layers and compressing them into solid objects. To solidify the piece, Pascoe applies polyurethane which, in turn, increases the reflection of light from the surface. This is multiplied by the facets of the crumpled tissue, refracting light in a playful and dynamic way. The once delicate tissue is transformed into a chewy, tactile object which walks the line between painting and sculpture. Pascoe’s three-dimensional works sit easily atop a plinth and similarly on the wall.

Peary’s body of work for No Holiday consists of two meticulously crafted components; the frame and the surface. To frame, Peary employs one of two materials; New Zealand pine which she rubs with a Danish oil or aluminium. These materials are selected based upon the surface they will be paired with. For No Holiday works sit upon a variety of cotton fabrics including an opaque black, a lemon-sorbet yellow, and a thin white. With varying degrees of transparency, Peary plays with light, allowing it to enter through spaces left between works and their frames, or butting the surfaces against one another. Using framing as a mechanism to explore space and light is an attribute of Peary’s practice, alongside her clever and playful use of scale. Working between postcard size and large, encompassing works, HPeary demonstrates the versatility of her practice and her venturesome nature. Peary utilises a plethora of mark making materials on top of her hand-stretched fabrics including acrylic paint, chalk and crayon. Through line, form, and motif, Peary builds her work by layering shapes until the desired composition is achieved. 

No Holiday is a dynamic exhibition which aims to explore unconventional methods of painting in a vibrant, accessible format. The exhibition has been hung with similar notions of experimentation, and playfulness, ready for your consumption.

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