Lye was also known for his experimental film work where he pioneered direct filmmaking (films made without a camera) by scratching or painting directly onto celluloid film.
This exhibition features the signature Lye film 1950, which was commissioned by the UN to publicise United Nations Day (24th October) and screened worldwide in cinemas and on television.
Zavros’s artworks present at first glance as perfectly rendered photo-realist painting, but they generate readings and responses beyond the surface affect.
They underscore contemporary society’s obsession with beauty and vanity.
In another work he is lip-synching in film as a film clip for Ariana Grande. We see his middle child Olympia contorting herself in a gymnastic pose on a zebra skin.
Like Leo, she is acting - or as Zavros would have it, this is role-play in Dad’s curious fiction. This is the artist’s eldest daughter Phoebe, the subject of many earlier Zavros ‘self portraits’.
He lives an outwardly perfect life, perfectly groomed for lifestyle magazines and shared through social media (he has 99,500 followers on Instagram).
Each action is based the artist’s own memoray of a work of art, not his own, and one which he has physically encountered.
Each memory of a work is then connected to in a physical manner by the artist and the process of making.
Zavros evokes the cultural politics of New Zealand in the 90s (the controversial appropriation debates), but having prompted them, he moves on leaving us with a beautifully rendered fictional interior located within his wider project, highlighting the way his paintings operate as objects of desire for collectors.
depicts the late JFK junior and his wife Carolyn Bessette as avatars for the artist and his wife.