Hammond was born in Christchurch and studied at the University of Canterbury School of Fine Arts between 19.For a period following his graduation he designed and manufactured wooden toys.A giant flickering screen of digital code, perhaps, in which every line is of equal importance.
When I hear some really loud guitars it gives me the same sort of feeling.” The images collected here span nearly two decades and reveal a remarkably consistent imagination, forged in Greig’s reading of nineteenth-century gothic novelists such as Mary Shelley and Edgar Allan Poe, and what he describes as the “battle of good and evil” in mid-twentieth century movies.
Light falls across blasted volcanic landscapes; isolated figures clutch books or brandish scythes; sinister deals of one sort or another appear to be in the process of playing out.
1 December 2012, by Robin Neate Romantic notions of gothic leanings, the legacy of Tony Fomison, devotion to rock sub-genres and an eye to the past are familiar and sound reasons to group Tony de Lautour, Jason Greig and Bill Hammond together in one exhibition, but De Lautour / Greig / Hammond is to feature new and recent work. What may appear to the public, the critic or the art historian as a smooth, seamless flow of images is for them an unpredictable process where the only boundaries are those that they choose to invent.
Underworld 2 was painted in Tony de Lautour’s central city studio, a converted office building in pre-quake Christchurch.
In this work, finely decorated birds stand in profile upon a sheer coastal landscape, anxiously awaiting Buller’s arrival.
The scene hints at the ways the natural environment and its inhabitants have been exploited, destroyed and driven out.
The Fall of Icarus takes a work by Dutch artist Pieter Bruegel the Elder (c.1558) as a pivotal reference.
The same compositional format – elevated viewpoint, figures in the foreground and the tiny body of the fallen Icarus disappearing into the sea – are seen in the original painting.
It was very nearly the same size as the wall on which he painted it.