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An Architect's Eye: the John Mainwaring

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An Architect's Eye: the John Mainwaring 1 Published in 2012 by JMA Architects and Noosa Regional Gallery, Sunshine Coast Council. Address: Riverside, Pelican Street, Tewantin Locked Bag 72, Sunshine Coast Mail Centre, Qld 4560 Telephone: 07 5449 5340 Email: [email protected] Opening Hours: Open Wednesday to Sunday, 10.00am–4.00pm. Closed Monday and Tuesday. © Artwork, the Artist © Photographs, John Mainwaring Architects © Catalogue Foreword, John Waldron © Catalogue Essay, Dr Maura Reilly © Catalogue Essay, Diane Moon This work is copyright. Apart from any use as permitted under the Copyright Act 1968, no part may be reproduced without prior written permission of the copyright owners. Requests and inquiries concerning reproduction and rights should be addressed to the Noosa Regional Gallery. Project Team Gallery Director John Waldron, Sunshine Coast Council Lead Curator Dr Maura Reilly Assistant Curator Gail Cowley Catalogue Essay Dr Maura Reilly Gallery Curator Nina Shadforth Exhibitions Officer Nicole Maggs Public Program Officer Julie Hauritz Creative Marty Towers | Think Creative Design Designers Jack Towers and Kristen Rodenbush | Think Creative Design Photography Mick Richards Photography Printing Printcraft National Library of Australia ISBN 978-0-9805736-4-0 Published for the Exhibition An Architect’s Eye: The John Mainwaring Collection, at the Noosa Regional Gallery, 22 March to 6 May 2012. 2 3 Gabi Gabi – the traditional owners of the land on which this exhibition takes place; Peter Leeds – exhibition panels; Tom Kanshanasinith – design assistant; Penny Campbell – Studio 969; Garth Hollindale – partner JMA; Tracey Moffatt – WITH THANKS initial concept; My children – Christina, Jonathan and Grace In loving memory of my nephew Andrew Forsyth 8: FOREWORD by John Waldron 9: INTRODUCTION by Suzanne O’Connell 10: MORE THAN JUST PRETTY PICTURES: AN INTERVIEW WITH JOHN MAINWARING CONTENTS by Maura Reilly 32: BARK PAINTINGS AND ETCHINGS FROM ARNHEM LAND by Diane Moon THE COLLECTION 6 7 The Noosa Regional Gallery is proud to present Mainwaring’s fundamental belief is that his liking and appreciation of indigenous An Architect’s Eye: The John Mainwaring architectural and urban design on the east art by being exposed to the wide range of Collection. John Mainwaring is a well-known coast of Australia must take its own direction painting styles practiced across the nation. figure in Australian architecture. He has received and contribute to a genuine Pacific architecture. John immediately connected with the work on many citations and commendations for his work In his words ‘We live in a unique part of the many levels. He saw and appreciated the work from all aspects of the industry. His work has world where architecture should be more about though an architect’s eye. An eye attuned to been published extensively, including in South space, air and lightness. The building should design and art based on the theory of stripping East Asia, France, Spain, England, Japan, not just sit lightly on the ground, but have a back to its essential and basic form. He regards Germany and Italy. He has been involved cultural lightness’. indigenous art as an ‘abstract phenomenon with many buildings in East Queensland and For the Kingaroy Crematorium, awarded from nature’. in particular the Sunshine Coast where, as a the 2011 Gabriel Poole Award for Building passionate Noosa local since the early 1970s, In 2005, I opened the Suzanne O’Connell of the Year, Mainwaring went as far as to build a he has first hand understanding of the region’s Gallery in New Farm, Brisbane. Of course, ‘non-building’. The crematorium builds on unique environment, history and culture. John followed and continued expanding his the mature landscape in which it sits and Over time, John has amassed an extraordinary is deliberately subservient to the cypress collection, including works on paper, acrylic collection of mostly contemporary Aboriginal pines and eucalypts that establish a place on canvas, bark, wood sculptures, fabric and art. This selection is the first public display of substance. The crematorium provides an natural ochres. His first paintings acquired from the collection. Throughout the exhibition example of the influence of the vernacular from my gallery were a selection of etchings Lead Curator Dr Maura Reilly has investigated culture on Mainwaring’s work. The importance (works on paper) by Samuel Namunjdja, John the relationship between the art collection placed on local resources and traditions ensure Mawurndjul and Terry Ngamandara Wilson. and John’s architectural vision and practice. a ‘cultural lightness’. John’s tastes in art has no boundaries, and The work of Aboriginal artists such as Gloria This exhibition provides an opportunity to contrasts greatly from the slow process and Petyarre, Sally Gabori, Janangoo Butcher honour Mainwaring’s architectural achievements restrained palette of a Terry Ngamandara Cherel, Terry Ngamandara Wilson and others This exhibition takes the viewer on a journey of in his home region and to understand how the have helped formulate the tectonics of John’s one man’s dedication to space and form. John Wilson bark to the dynamic, gestural, unleashed Foreword particular patterning, geometries, abstraction, Introduction buildings and their surrounds, helping to give Mainwaring, with his keen artistic temperament, acrylic work of Western Australian artist layering, structures, shading and textures of John Waldron them their distinct shape, scale, texture and Suzanne O’Connell often spends a minute or two in my gallery Nora Wompi. Aboriginal art held in his collection have inspired warmth. discussing upcoming shows and my forays all his distinct style. Suzanne O’Connell is the proprietor of Suzanne Even after purchasing original lino print over the country curating work and identifying Nestled on the Noosa Hill behind Hastings cotton and silks by Arnhem Land artist Susan I would like to thank all of those who have been O’Connell Gallery, New Farm, Brisbane, which Street, the Viridian Village, a collection of villas cultural output. He has been known to pick up Marawarr, John immediately had two shirts involved with the development of the exhibition. specializes in indigenous Australian art. and apartments, show the influence of the the hammer and rehang a painting or two. A lot made out of the fabric....wearable art! Its success has been due to the dedication and art on the architectural design. Mainwaring of the work in my gallery has been procured by professionalism of the team. The Gallery has It is always a pleasure to show exciting artwork describes the idea of ‘patching’ in the major galleries around Australia. been privileged to work with Dr Maura Reilly to someone who ‘really gets it’. elevations, which reveals the geometry to be as lead curator. Maura’s extensive experience I first met John in the 90‘s through his sister vertical or horizontal. This composition of lines has ensured that the high quality exhibition was Sue on the Gold Coast, where he had attended allows coloured planes to act as an expression achieved. I also thank and acknowledge the boarding school at The Southport School. of nature, similar to the art of Rosella Namok, work of Gail Cowley as Assistant Curator, who helping blend the buildings into the landscapes. It was after a sailing trip (another great passion worked closely with Maura to develop of Johns’) to North Queensland that John In 2008 the Gallery of Modern Art, Brisbane the exhibition. decided to open an office on the Sunshine presented the Place Makers: Contemporary Most importantly, I thank John Mainwaring. Queensland Architects. As a featured architect, Coast and subsequently moved to Noosa in the Not only for providing access to his art the exhibition celebrated Mainwaring’s late ’70’s. But he still keeps a strong presence collection but also for this unique insight to his achievements, ‘as having played a key part in on the Gold Coast due to family. practice. With it comes a greater appreciation the development of the distinctive lightweight of his contribution to Australia’s architectural Even though John had touched on Indigenous construction style of the Sunshine Coast region heritage. It has been a privilege to develop this art by acquiring a wonderful bark by Horace since the late 1970s’. exhibition with John. Munmilli and acrylic painting by Gracie Morton, 8 it was in 2001, when I opened Thornquest 9 Gallery in Southport that John really expanded and much like one can recognize the ‘line’ of direct connection between your architectural Yet the First Australians lived in harmony with inspired by art but more importantly enjoy the a Matisse drawing or of a Terry Ngamandara practice and the artworks and artifacts that the environment, even when it is very harsh. dialogue, which usually has some personal or Wilson print, when viewing one of your have greatly influenced your vision over the This is one of the underlying themes in the professional implication. Besides the history buildings (Fig. 1) there is no denying that it past few decades. How do you feel exhibition, I think, and it’s what I strive for in it must also be remembered that I gained a is your hand at work. And, yet, the more one about that? my practice. better understanding of Aboriginal art because examines your practice, the more complex it I studied Paul Klee at art school and university. becomes, with layers of influence, including Mainwaring: That is a brave question. I have Reilly: The strongest part of your collection Hence the Klee thing being the underlying Since the late 1980s, award-winning those from your art collection. As you know, always been interested in history, art, and is unquestionably the ones by First Australian shadow of the show. I now generally believe ‘More than just architect John Mainwaring has amassed this was the initial concept for the exhibition— vernacular architecture, here in Australia as artists.
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