Abstract:
This thesis documents and discusses the work of the New Zealand painter Gordon Walters. By a careful examination of his development in chronological sequence, the thesis traces the sources of his distinctive style of abstract painting. It shows that Walters was a major figure in the evolution of abstraction in New Zealand as early as the 1950s. His best-known works, the koru paintings, are the focus of the thesis. For the first time a large group of these paintings, including destroyed and lost works, has been catalogued and reproduced. This shows the range and quality of his achievement over a period of some thirty years.
Chapter One traces the origins of Walters' art by discussing his training at Wellington and his meeting with Theo Schoon in 1941, an event which changed his outlook and directed him towards contemporary developments in European painting. His Surrealist works are examined and placed in the context of this movement in New Zealand art.
Chapter Two is concerned mainly with the introduction of Maori and primitive art influences into Walters' work. It shows how his study of modern masters like Paul Klee and Joan Miro made him receptive to indigenous art sources. In particular, his study of Maori rock drawings is explored and related to his paintings of the late-1940s. It helped him to evolve a more abstract style. His trip to Europe in 1950 is also examined with reference to his development as a geometric abstractionist on his return to New Zealand.
Chapters Three and Four discuss for the first time the importance of Walters' paintings of the years 1953-1956. The thesis shows how Walters arrived at a distinctive style of abstraction by transforming motifs from schizophrenic and primitive art into something personal. The influence of European art theory, especially that of Mondrian and Herbin, is discussed in relation to Walters artistic practice. His increasing use of geometric forms is noted, and its importance shown.
Chapter Five is concerned with the evolution of his koru paintings. The thesis shows that Walters first used the Maori art motif in studies of 1956. The importance of the changes he made to the Maori motif are pointed out. He modified the motif to make it conform to a European style of hard-edge abstraction. In fact, his achievement represents a synthesis of two traditions, the European and the Polynesian. This was arrived at only after years of study and experiment.
Chapters Six and Seven show in detail the stages Walters went through before arriving at his first major exhibition of the koru paintings in 1966. The transformation of his original source motif into a geometrically-constructed band and circle is complete. The influence of Op art on his style is also discussed.
Chapters Eight to Ten study the work of Walters between 1966 and 1983. His refinements to the koru paintings are noted and his change of style to a larger scale and a more harmonic handling of tone and colour. His interest in systemic art in the Genealogy series and in paintings based on the Maori rauponga a design is examined.
The final chapter discusses Walters' work as a printmaker. His collaboration with the printer and fellowartist Mervyn Williams is explored in detail. The importance of his prints for making his work more widely known and accessible. The thesis shows the relative importance of printmaking in Walters' late career.