Bluff 1

I ēnei tānga kuku mō ngā tirohanga taiao kei te tukuna kia hemahema tonu atu ngā wāhanga āhua rahi nei o te pepa. Mā te āta tā rārangi pōuriuri, me ngā wāhanga kua kaurukutia, e rongo ai i te taumaha me te toitūtanga o te whenua. He manawataki hoki: kei te pūngarungaru, kei te tārewa ngā rārangi kōpikopiko o ngā kapua whakapipi ki runga i ngā puke e pīnaki iho ai. Toitū te taiao o Ōtākou i ngā toi a Webb. Kei muri i te waikanaetanga o ngā toi ko ētahi kaupapa hōhonu ake. E ai ki a Webb:

He pānga tō ēnei take whenua ki āku mātātuhi mō te hauropi, te whāomoomo, te kaupapa whakahē i te karihi, me te mea nei kei te puritia ngā āhuatanga wairua, rangitahi hoki o te noho, o te mahi, i Ōtākou.

In these haunting etchings of southern landscapes Marilynn Webb leaves large areas of the paper empty. Using just a few dark lines and areas of shading, she conveys a sense of weight and permanence in the land. There are rhythms too: the repeated curling lines of cumulus ripple and hang over the hills, which slope or drop away. The Otago landscape has had an enduring presence in Webb’s art. Beneath the quietude of the work lies a deeper set of issues. Webb explains:

These land issues involve my images in ecology, conservation, the anti-nuclear movement as well as the recording of the spiritual and ephemeral nuances that are part of living and working in Otago.

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