Exactly forty years after first showing Stephen Bambury and Alberto Garcia-Alvarez, and with Alberto celebrating his 97th birthday during the exhibition, I am delighted that Trish Clark Gallery will present Judy Millar’s curatorial view of the longstanding relationship between the three still-practising artists and their works, titled Three Angles.

Millar says: “Intersections. Points of meeting, exchange, divergence. There are people in our lives who seem bound to our own life travels. Drawn together by circumstance, interests, and an unspoken friendship arising from respect; we meet, go on our way and circle back together in a changed but shared commonality.

Alberto Garcia-Alvarez arrived in Auckland from the United States in the early 1970’s as a Guest Lecturer at the Elam School of Fine Arts. Both Stephen and I had the fortune of encountering his lively presence and deep knowledge of artistic exploration, as students at the school. We both share a gratitude for his influence on us as a mentor and fellow artist. Alberto’s voice often visits me as I work in my studio. His refusal to prioritise one way of working over another, his deep belief in art being an essential part of life and his continual provocation when attempting to make value judgements have caused me conflict at times but have in the end sustained my own continual questioning.

Four years ago, Alberto Garcia Alvarez, Stephen Bambury and I got together to compare notes and form an exhibition. In that instance Stephen took up the role of curator. An exhibition resulted that placed works by Alberto and me juxtaposed across Tim Melville Gallery and Gow Langsford Gallery.

Now four years later we are meeting again. This time Alberto’s work will encounter Stephen’s. I have assumed the role of curator and have taken up the job of selecting aspects of each artist’s extensive oeuvre to coexist with and confront the work of the other.

In this new exhibition an hexagonal structure will be centred in the space. The sides of the structure, too high to see over, will have a window in each of its sides, providing slices of visibility both to an internal space but also, through the slots on either side of the structure, to varying aspects of the gallery space. Resembling, as we move around it, a time machine or an early kinetoscope, we are made aware of partial and broken views, confusion of inside and outside, and how our individual bodily placement determines differing viewing possibilities.”

NOTE: images will be added to the site post-installation