Category Archives: Arts

Under Guarantee

Anticipating a satisfying and humorous outcome to the story
I laughed and applauded before the punchline came
The speaker, though, was gratified by my congratulatory slap on the shoulder
And taking comfort, moved on to a further anecdote of Jovian form and style

Alarmed by reports of vicious attacks on the elderly, the halt and the lame
In my neighbourhood
I resolved to ensure the safety of me and mine and purchased protection
And now the only travail is stepping over the silent bodies of would-be assailants

Remembering that there was a time when I was clean and sober
Allows me the comfortable alchemy of transforming past to present
And pay homage to the metaphysical poets
With my imaginings of self-improvement and sui generis

Which brings me to Dr Jekyll – who sought self-improvement
But failed to study the small print of the warranty issued by his creator
Robert Louis Stevenson
Who warned that ‘to travel hopefully is a better thing than to arrive’.



Peter McLeavey

Sometime around 1977, Pat and I were introduced to Peter McLeavey by Wellington bookseller, John Quilter. We had expressed interest in contemporary New Zealand art and John told us about Peter’s gallery in Cuba Street and the significant role he had played in supporting local artists, particularly Colin McCahon.


So one Saturday morning, we had our first interview with Peter at the gallery. I say ‘interview’ because it went a little like we were applying to adopt an orphan. Peter was courteous, even courtly, but clearly wanted to tease out sense and sensibility. As was always his practice, he talked little of himself but of his artists. And although McCahon’s presence loomed large over the meeting, Peter produced from the Tardis storeroom a series of works by other artists as the subtle questioning continued. Spectacular canvases from Ian Scott, brooding scapes by Toss Woollaston, the playfully arcane work of Lois White and, finally, a triptych by McCahon.
We looked at that work a few times over the following weeks but neither our budget nor our capacity to face up to The Good News Bible each day allowed us to take the plunge. We preferred the lucid economy of Gordon Walters and the conservative precision of Lois White. We were, of course, absolute beginners but happy to jump in the game and learn.
Over the next years I got to know Peter a little better. He liked to talk about family – mine and his. He liked to talk about movies; he once delivered the most telling, accurate one line assessment I’d ever heard. I told him that I’d seen ‘Schindler’s List’ just recently and with that gentle certainty of the man who has final cut, he told me; ‘That film was made for spiritual tourists.’
I think Peter was an instinctive educator. An elegant, determined thinker who enjoyed collaboration – able to share and shape but without a hint of didacticism. He could be coaxed to tell you about his latest show but he’d much rather that you told him your thoughts and opinions.
My enduring memory of Peter is seeing him at The Dowse Museum’s Arts Ball, hosted by James Mack, back in the 80s. The theme for the evening was ‘Flight’ and I encountered Peter, dressed in formal black tie, grinning broadly, as he swung on a rope suspended from the ceiling. I greeted him when he resumed his feet and enquired as to how his apparel for the night met the brief. He fingered the lapel of his dinner jacket, raised an eyebrow and said, ‘Winged‘.
Over the last few years, I haven’t seen so much of Peter as I’d have liked – neither one of us being as light on our feet as we once were. But I hold my memories of him in high value. He made a difference to our lives for the better.


I was in Auckland recently and took the opportunity to visit the Auckland Art Gallery, mostly to see the Degas to Dali exhibition there which is on loan from the National Galleries of Scotland The more than 70 works, both … Continue reading