940 x 1200 mm
colour digital print
Edition 3 of 3
Titled, dated and signed lower right edge
Courtesy of the artist and Ivan Anthony, Tāmaki Makaurau Auckland
Estimate: NZD 8,000 — 12,000
Andrew McLeod’s Parkscape 12 presents an imaginative landscape where classical figures play amongst architectural models. In this Garden of Eden, men in business suits take a break while naked figures labour; a character wearing denim jeans and a puffer jacket meets a woman in classical pose; a pig is herded away from a backyard of industrial detritus. Through this surreal and meticulous garden of pyramids and modernist monuments, Parkscape 12 presents material society as a mythological playground where desire and longing can be explored.
Mixing and breaking genres, notions of representation and abstraction, McLeod often defies categorisation. His obsessive paintings, prints and digital collages stare into the void and draw from the history of the world so as to reimagine composition and meaning. McLeod first exhibited with Artspace Aotearoa in Only The Lonely: New Artists Show in 1999, and has since exhibited with the gallery on numerous occasions.
Parkscape 12 is one of an edition of three, of which one is held in the Auckland Art Gallery Toi o Tāmaki collection.
Artist Biography & History
with Artspace Aotearoa:
National Drawing Award (group), organised and presented in collaboration with The Physics Room, Ōtautahi Christchurch. McCleod’s work was exhibited at The Physics Room from 3 — 20 November 2004 and Artspace Aotearoa from 26 November — 18 December 2004
Money for Nothing (group), 10 May — 29 June 2003
Possible Worlds (group), 1 — 30 March 2002
After Killeen: Social Observation in Recent Art (group), 13 November — 15 December 2001, curated by Anna Miles
Only The Lonely: New Artists Show 1999 (group), 9 June — 2 July 1999
Largess was co-published with The Physics Room in 2005 as one of the prizes awarded to Andrew McLeod for winning the National Drawing Award 2004. This publication was generously supported by Ivan Anthony, Peter McLeavey and The James Wallace Arts Trust.
Work by McLeod was illustrated in After Killeen: Social Observation in Recent Art: Flying over the Dominant Culture, edited by Anna Miles and published on the occasion of the exhibition After Killeen: Social Observation in Recent Art at Artspace.
Andrew McLeod graduated from Auckland’s Elam School of Fine Art in 1998. Since the early 2000s he has developed a painting and printmaking practice for which the sobriquet Pre-Raphaelite is at times apt. He combines an acute eye for, not so much for art history but painting history, with an extraordinary wide-screen visual appetite for both the dramatic moment and the telling detail.
Over the course of the last three decades McLeod has also dedicated himself to an ongoing program of painterly research that has resulted in his attaining a level of technical ability and knowledge in service to the breadth of his vision.
McLeod’s works and presentation has been described as Baroque and given the scale of many of his larger multi-panel canvases it is a term that alludes to his penchant for ‘history painting’ in the 21st century.
McLeod’s works are included in many public gallery collections and have been curated into exhibitions including The Archivists, Sarjeant Gallery Te Whare o Rehua, Whanganui (2015); 27th São Paulo Biennial: How to Live Together, São Paulo, Brazil (2006); Antipodean Gothic: Art from a private collection, Gus Fisher Gallery, University of Auckland (2016) and Ngā Toi | Arts Te Papa, Museum of New Zealand Te Papa Tongarewa