The Queen of Colour
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| This image is credited to TVNZ |
By believing passionately in something that still does not exist, we create it. The nonexistent is whatever we have not sufficiently desired. - Franz Kafka
Joie de vivre, a delight and insights re human beings and their concerns, her displaying a deep understanding of the world and what we need to work well, much of Jan Nigro's work is about passion of one kind or another.
In many of her exhibitions, vivid canvases or pages show people in a clear state like relaxation, wondering, sorrow, desire, or longing, in any case expressing emotion or feelings, or a definite attitude, in a strong manner. This albeit, at times, with any inner aspect manifested subtly, or mysteriously.
Relationships are also adeptly depicted in Nigro's work, their complexities, usually with simpler, precise elements arranged to allow the viewer to range through what these details could possibly mean, and decide for ourselves. Her work also evokes hope and a sense of magic; the supernatural state of acknowledging imagination and dreams work together with the five senses, emotion, and intellect. Admitting our depths and the infinite world within, freed from working with merely physical senses.
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| Alice Leaves Wonderland - Jan Nigro |
A number of people who knew the visionary, gifted New Zealand artist Jan Nigro, Queen of Colour, gathered recently to remember and celebrate her long, productive life, a year after her passing away. We met at the welcoming home of David and Rita Webster, in Remuera, Tamaki Makaurau Auckland, Aotearoa New Zealand. A sunny day and not too warm, where a good crowd gathered in fine spirits such as we would often experience when in Jan's company.
A number of guests wore bright colours in stylish ways, or pleasing, quirky attire. Jan always dressed with flamboyance, and immaculate grooming at exhibition openings, or indeed when we were flatmates in the 1980s, in Quay Street. Quite an interesting bunch lived there.
Those Quay Buildings, once laundry buildings, by the way, are to be renovated as part of the Britomart precinct. James Wallace, who eventually took over our converted warehouse space for artists' studios, mentioned that the artists there protested and asked for the building to be kept, not demolished. The place has sound bones and lovely wooden floors, a pleasing facade too. Quay Buildings also once housed Artspace Gallery on the first floor.
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| These images are from http://timespanner.blogspot.co.nz/2012/04/stroll-along-quay.html |
Our industrial apartment was on the top, the entire floor. Jan's room had a view of the harbour, if I recall. It was the window on the left at the top, shown in the first picture.
We provided a handy place for Jan Nigro to stay during the week, working there with her painting and drawing group which included Mary McIntyre, Terry Stringer, Sylvia Siddell and others.
Then Jan travelled back to her usual abode over on Waiheke Island, from our place, with the Ferry Building only a short walk down the road. She told me her friends thought it fascinating that she lived with so many interesting young people in a flat. Jan believed they wished they also lived there with us, such an adventurous group of artists.
Established practitioners may be innovative and open-minded.
Jan's forthrightness and individuality an influence on our large household of up to eleven, mainly young, people. Jan also had a fine sense of humour and found some of our flat politics amusing. This helped us see situations with less rancour at times. You may imagine in an inner city flat, where many creative people lived, we often discussed extreme issues and ideas, at times with some heat and spark.
O the art discussions. Many flatmates worked in media or as artists in some way, or loved art, (a fashion designer, then, A. Ray of Queen Street, specialised in wearable art, champion street skater Douglas Kelaher went on to win prizes for his eclectic artwork, while also there was also another art student, a musician, a photographer, and a graphic designer living on the top floor of Quay Buildings). Jan offered insights we'd not thought of before. Her formal Elam education and then years of art practise and study made this artist an expert.
Jan Nigro's view of Andy Warhol - who a flatmate had said was cool - for instance, proved a hot topic. Jan pointed out that Warhol was an artist, but he also encouraged a large group of young people to take drugs, and many harmed themselves. She sounded somewhat annoyed about this. Someone else in the living room that day mentioned Warhol didn't like himself, and wished he was someone else, so was this a good role model? Even though Warhol was certainly an artist for his time, some things about him were perhaps not that admirable. Young male flatmates challenged in this way reacted with some consternation. The debate raged for some days, off and on. A kind of inner-city alarm resulted, edgy with a few snarls.
These discussions took us out of our comfort zone, and we learnt a great deal (those willing to keep an open mind). Jan freely offered knowledge and opinions, setting off our excited talk.
Jan Nigro loved to observe people, interacting extremely well with others, and she included interpretations of human behaviour in her work. This accomplished artist provided the world with paintings which spoke, at first glance, though, simply of glorious, vibrant, well controlled yet eye catching colour. These often drew the delighted and curious viewer nearer.
Luscious fine art, her images usually present an air of the day too, the zeitgeist. Where and when any artwork in her case was created provides an atmosphere, a style. Underlying most of her paintings when contemplated for long enough, also, Jan Nigro provides ample opportunity for the viewer to develop meanings and narratives with an extraordinary range of meaning, fueled by an emotional charge. Abstract elements along with certain realist images, and a rather individual kind of dreaminess all work together to attract the viewer.
Close enough to the painting, experience a release of the usual shields the world demands, relax into seeing whatever one pleases, along with trying to guess her own messages.
Seeing beyond the obvious, Nigro reveals much beyond the surface of things, in an exciting, yet meticulous manner. Emotional responses are almost demanded of anyone when seeing this vibrant work; a kind of human development occurs. Her work may make the viewer feel they've matured in some way after seeing it, and been enriched. A healthy activity, development, even if some prefer more restrained art, to keep them where they are now in some ways, but they may be unnecessarily restricting themselves.
Jan Nigro's fine art appears alive, or at the least lively, and it encourages true dialogue, (introspectively, or with others), which Buber the German philosopher said is how we truly progress.
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| On the Pier - Jan Nigro 1985 |
Now, Rita Webster needs to be feted too. Legendary galleryist, friend of artists, supporter of
so many who adore her wit, insights, refusal to flinch from the truth with also, an admirable
diplomacy. Rita's laugh sounds infectious and genuine. Then, her refusal to take the easy way in
conversations is admirable, pointing out salient important angles which could assist in anyone's
understanding of things.
It was with some trepidation in the presence of luminary artists and patrons of the arts, but also with pleasure, that I read out a tribute at Rita's place, a piece I'd written for Jan Nigro. People heard what I'd blogged previously on "Raewyn's Poetic Journey and Trees for Travel" (click to read about it), when I returned from America and heard the answer-phone message from Rita Webster, saying Jan had sadly died.
After my reading this piece, written in 2013, many guests told me various stories about Jan, happy to relate those.
It was with some trepidation in the presence of luminary artists and patrons of the arts, but also with pleasure, that I read out a tribute at Rita's place, a piece I'd written for Jan Nigro. People heard what I'd blogged previously on "Raewyn's Poetic Journey and Trees for Travel" (click to read about it), when I returned from America and heard the answer-phone message from Rita Webster, saying Jan had sadly died.
After my reading this piece, written in 2013, many guests told me various stories about Jan, happy to relate those.
Our anecdotes, narratives, myths and legends stand as testament to our existence, they give us heart,
information, good humour, and encourage stronger relationships.... This gathering of diverse people,
a sampling of the extraordinary range of friends and colleagues whom Jan Nigro so enjoyed
interacting with, spoke so freely at Rita's, buoyed up with true hospitality par excellence.
Later, Rita and I agreed, after being concerned that more media did not cover Jan Nigro's oeuvre when she passed on, more of Jan's work could be discussed and written about in future years.
Nigro was ahead of her time. Queen of Colour, with art that shall offer people much for countless years to come.
Mary McIntyre, wearing a vibrant magenta hat, told me again, when I inquired, that she did invent the title The Queen of Colour for her friend, and Jan Nigro found that agreeable. It only took a look from Jan for Mary to understand Jan agreed with this definition. That's how deep their understanding was with each other. Friends for many years and also part of a group of artists who drew life models together. They'd known each other for 47 years by the time Jan left us.
Mary McIntyre explained that Art Societies (AS) used to pay well-known artists to travel the country. The artists were billeted with members of the AS, and then took weekend workshops. Jan Nigro and Louise Henderson, on one of these AS weekends, saw some of Mary McIntyre's work on the wall at one of the AS galleries. They could tell quickly that Mary was talented, and someone to know.
Then three or so years later they got together, through Terry Stringer, to have their artists' group drawing together for 40 years, (up to the year 2013).
Jan's grandson mentioned, "My funky grandmother." He said it was good growing up part-time on Waiheke Island. He reminisced, sitting on a chair and occasionally looking out the window behind me to the garden, as if he could visualise those days so enjoyed with grandmother Jan and her husband, Jerry, when he was younger over on the island.
Others mentioned how independent Jan was, but so sociable. Also truly persuasive, encouraging others to assist.
Jan Nigro, for instance, persuading the young man in charge of our busy flat in Quay Buildings that she should live there, when she was 72 years old and no one in our flat was over 34, also proved her rhetorical skills. Then the wonderful exhibition Jan had at our flat with so many of her oil pastel drawings, prints, and other works unframed on the wall, in the lounge. Jan there to sell them to people who called by. This was pre-internet and pre-cellphones so it must've been a feat to contact everybody. "Otherwise the art would only go into storage," Jan explained. She wanted her work to be enjoyed by many people. Many works sold that day. Some of us were lucky enough to get a print or drawing at a most reasonable price.
Later, Rita and I agreed, after being concerned that more media did not cover Jan Nigro's oeuvre when she passed on, more of Jan's work could be discussed and written about in future years.
Nigro was ahead of her time. Queen of Colour, with art that shall offer people much for countless years to come.
Mary McIntyre, wearing a vibrant magenta hat, told me again, when I inquired, that she did invent the title The Queen of Colour for her friend, and Jan Nigro found that agreeable. It only took a look from Jan for Mary to understand Jan agreed with this definition. That's how deep their understanding was with each other. Friends for many years and also part of a group of artists who drew life models together. They'd known each other for 47 years by the time Jan left us.
Mary McIntyre explained that Art Societies (AS) used to pay well-known artists to travel the country. The artists were billeted with members of the AS, and then took weekend workshops. Jan Nigro and Louise Henderson, on one of these AS weekends, saw some of Mary McIntyre's work on the wall at one of the AS galleries. They could tell quickly that Mary was talented, and someone to know.
Then three or so years later they got together, through Terry Stringer, to have their artists' group drawing together for 40 years, (up to the year 2013).
Jan's grandson mentioned, "My funky grandmother." He said it was good growing up part-time on Waiheke Island. He reminisced, sitting on a chair and occasionally looking out the window behind me to the garden, as if he could visualise those days so enjoyed with grandmother Jan and her husband, Jerry, when he was younger over on the island.
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| Waiheke Island |
Others mentioned how independent Jan was, but so sociable. Also truly persuasive, encouraging others to assist.
Jan Nigro, for instance, persuading the young man in charge of our busy flat in Quay Buildings that she should live there, when she was 72 years old and no one in our flat was over 34, also proved her rhetorical skills. Then the wonderful exhibition Jan had at our flat with so many of her oil pastel drawings, prints, and other works unframed on the wall, in the lounge. Jan there to sell them to people who called by. This was pre-internet and pre-cellphones so it must've been a feat to contact everybody. "Otherwise the art would only go into storage," Jan explained. She wanted her work to be enjoyed by many people. Many works sold that day. Some of us were lucky enough to get a print or drawing at a most reasonable price.
Margaret Lawlor-Barlett told me, at Rita's, how one morning she came downstairs at her house,
where Jan was staying, and Jan was already dressed, made-up, and drawing Mount Tarawera.
Margaret explained, "I drew her from the back. Jan then said, 'I don't allow drawing from the back.'
Jan said to rip it up."
Margaret did so but carefully, tore the sheet of paper into eight pieces. And although Margaret intended to reassemble the work she did however also mention, "I have not put it together again yet!" Another example of how persuasive Jan Nigro could be, perhaps.
Many artists, admirers, collectors, her dealer and family gathered to celebrate Jan Nigro that midsummer 2013 day at Rita Webster's. Important collectors like James Wallace attended, and James mentioned he had a piece of Nigro's work in a show at Pah Homestead. We arranged to drive there later.
The Nigro male nude in rich flesh tones, sun-kissed, sensuous, a fit young male body in close-up across almost all all the surface of this work. His reclining torso from neck to thighs, such strength evident and also something gentle about the vigorous form. Jan painted or drew far more than the expected and celebrated humanity in her respect of people, her masterful, royal colour sense, and showing relationships to nature, our inners selves being a part of that.
Rita Webster told me she met Jan Nigro at her Gallery Pacific, (situated near the Main Post Office in Auckland down a lane). Rita asked Jan, "Are you giving me the once over?"
"I most certainly am," Jan replied.
Usual conversations with this extraordinary artist had a forthrightness, a refreshing honesty.
"I could sell anything Jan brought in," Rita said with careful emphasis, and a slightly wistful expression. Jan is still sorely missed. They remained friends and confidantes for decades. "When I think of Jan Nigro, I think of professionalism," Rita definite on this point. "Jan Nigro would have no regrets."
The colours this innovative artist painted people's skin were often unreal, perhaps unlikely to some hearing of this in writing. But the way Nigro presented her subjects makes their vari-coloured dermis appear natural. The subjects' emotional state shown on the outside, we could say, or perhaps there are stage lights or sun or moon upon them, something else in any case, more than what anyone could usually easily see.
"When she looked... she brought things to life," Rita explained. "The epitome of an artist, honest to her trade and honest to her friends. Lived spoke and worked like an artist. Liked to be independent, never manipulated..."
She'd ask genuinely about an issue like if the carpet was stained with ink. Rita explained that Jan had a large black ink stain on her lavender carpet, "...directly in front of the door..." and nothing would get it out. But a friend did painstakingly do this for Jan, and you'd never have known the carpet was ever so badly, apparently damaged forever. The friends Jan Nigro had were so often careful, meticulous, mindful, and talented. This is not a digression to talk about her house-keeping, Jan liked a stylish, clean, and welcoming home environment - as important as making her art innovative, vibrant, and executed intelligently.
Margaret did so but carefully, tore the sheet of paper into eight pieces. And although Margaret intended to reassemble the work she did however also mention, "I have not put it together again yet!" Another example of how persuasive Jan Nigro could be, perhaps.
Many artists, admirers, collectors, her dealer and family gathered to celebrate Jan Nigro that midsummer 2013 day at Rita Webster's. Important collectors like James Wallace attended, and James mentioned he had a piece of Nigro's work in a show at Pah Homestead. We arranged to drive there later.
The Nigro male nude in rich flesh tones, sun-kissed, sensuous, a fit young male body in close-up across almost all all the surface of this work. His reclining torso from neck to thighs, such strength evident and also something gentle about the vigorous form. Jan painted or drew far more than the expected and celebrated humanity in her respect of people, her masterful, royal colour sense, and showing relationships to nature, our inners selves being a part of that.
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| Steve I http://www.artagent.co.nz/exhibitions/group2011/selection42_52011.htm |
Rita Webster told me she met Jan Nigro at her Gallery Pacific, (situated near the Main Post Office in Auckland down a lane). Rita asked Jan, "Are you giving me the once over?"
"I most certainly am," Jan replied.
Usual conversations with this extraordinary artist had a forthrightness, a refreshing honesty.
"I could sell anything Jan brought in," Rita said with careful emphasis, and a slightly wistful expression. Jan is still sorely missed. They remained friends and confidantes for decades. "When I think of Jan Nigro, I think of professionalism," Rita definite on this point. "Jan Nigro would have no regrets."
The colours this innovative artist painted people's skin were often unreal, perhaps unlikely to some hearing of this in writing. But the way Nigro presented her subjects makes their vari-coloured dermis appear natural. The subjects' emotional state shown on the outside, we could say, or perhaps there are stage lights or sun or moon upon them, something else in any case, more than what anyone could usually easily see.
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| Nude Figure Study - work on paper |
"When she looked... she brought things to life," Rita explained. "The epitome of an artist, honest to her trade and honest to her friends. Lived spoke and worked like an artist. Liked to be independent, never manipulated..."
She'd ask genuinely about an issue like if the carpet was stained with ink. Rita explained that Jan had a large black ink stain on her lavender carpet, "...directly in front of the door..." and nothing would get it out. But a friend did painstakingly do this for Jan, and you'd never have known the carpet was ever so badly, apparently damaged forever. The friends Jan Nigro had were so often careful, meticulous, mindful, and talented. This is not a digression to talk about her house-keeping, Jan liked a stylish, clean, and welcoming home environment - as important as making her art innovative, vibrant, and executed intelligently.
Jan Nigro trusted her various friends to be themselves, she wasn't an idealist - truly at home in an eclectic
bunch, able to socialise in fascinating and sometimes startling ways. Their input fed her imagination. Sanjay Theodore, for
instance, a painter who truly understands paint. Rita Webster described him, "...he had
beautiful manners. Came from a lovely family and had an impeccable sense of humour." As for
being oneself, however, it was probable that Jan Nigro knew Sanjay would wear artfully tattered
jeans and a grotesque Iron Maiden t-shirt to her exhibition opening in deepest Remuera, for
instance. The ripples of consternation were leavened by his extraordinary grace, and Jan did notice
this with a puckish smile.
Gatherings around Jan often sparkled, but she also worked in the art realm like an incognito queen. Supportive to other artists exhibiting, a truly clever teacher and truthful, with such succinct remarks full of insight, and wit.
We collaborated on one work at her insistence. Jan drew me, she used luscious oil sticks and later, I "dressed" the picture with collage fabric and whatnot like an acrobat juggler as a badge. (Jan knew I was working at the time as a fashion designer, including wearable art). Jan also included collage, a rose cut from a magazine held at my waist. Some of her work at that time was cut and able to be rearranged, too. "Do whatever you like with it," she told me.
A curious co-incidence when I noted another, old portrait taken in an urban photographic studio of me as a toddler. It has that same pose Nigro had also used. A three quarter view face, seated figure, smiling with head up, holding a flower at my waist. Jan was possibly telling me we take ourselves with us through our lives, old patterns we've already been surrounded with, were coaxed into, and so on.
Wherever Jan Nigro went she found inspiration, unafraid to change and adapt, a true creative, and an excellent example to others.
Jan Nigro's work shall last and increase in value because of her bravery, her mastery of colour, and her showing human beings in such depth, quite lovely too.
These works have much to tell and show us, while their richness keeps on giving over and over again.
Gatherings around Jan often sparkled, but she also worked in the art realm like an incognito queen. Supportive to other artists exhibiting, a truly clever teacher and truthful, with such succinct remarks full of insight, and wit.
We collaborated on one work at her insistence. Jan drew me, she used luscious oil sticks and later, I "dressed" the picture with collage fabric and whatnot like an acrobat juggler as a badge. (Jan knew I was working at the time as a fashion designer, including wearable art). Jan also included collage, a rose cut from a magazine held at my waist. Some of her work at that time was cut and able to be rearranged, too. "Do whatever you like with it," she told me.
A curious co-incidence when I noted another, old portrait taken in an urban photographic studio of me as a toddler. It has that same pose Nigro had also used. A three quarter view face, seated figure, smiling with head up, holding a flower at my waist. Jan was possibly telling me we take ourselves with us through our lives, old patterns we've already been surrounded with, were coaxed into, and so on.
Wherever Jan Nigro went she found inspiration, unafraid to change and adapt, a true creative, and an excellent example to others.
Jan Nigro's work shall last and increase in value because of her bravery, her mastery of colour, and her showing human beings in such depth, quite lovely too.
These works have much to tell and show us, while their richness keeps on giving over and over again.
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| Big Jule with Flowers for a Friend - Jan Nigro |
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| Mykonos - Jan Nigro |
There was a time when many galleries exhibited her work in their windows. This kind of broad,
generous attention indicates a faith in an artists' work which carries it on for centuries.
Long live the Queen of Colour.
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Long live the Queen of Colour.
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There is also this blog discovered in my research, about Jan Nigro - http://simonaalbanese.blogspot.co.nz/2010/03/jan-nigro.html
Please do comment, and thanks for reading.
my brother and his helpers are thieves,stolen wills,stolen paintings,stolen future of jan nigro's grandchildren.
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