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Watercolour of kiosk and Poet's Bridge in Pukekura Park with Mount Taranaki in the background. Four figures are pictured walking around Boating Lake. There are also two classical sculptures placed in the lake, one on the right and one on the left. Tall trees are depicted on the left of the image while the vegetation on the bank to the right of Poet's Bridge is sporadic. Vegetation runs along the foreground of the image and a tree partially obscures the kiosk.
Accession No
PA2007.235

Name/Title
Woodcut print depicting four leaves of the Karaka (cornyocarpus laevigatus) plant with eight berries. Rendered in green and yellow paint.
Accession No
PA2008.095

Name/Title
Woodcut print depicting the Titoki (Alectryon excelsus) plant with leaves and berries enclosed in capsules. Rendered in green, ochre, black and red paint.
Accession No
PA2008.096

Name/Title
Portrait of a Maori woman wearing a cloak and holding a large greenstone mere across her chest. She has a large tiki hanging from her neck. She wears a feather in her hair and has several tattooed lines around her mouth. She is also wearing bone (?) earrings. Pictured looking to the right (her left).
Accession No
PA2008.107

Oil painting showing Edward Frederick Hemingway as a child. Hemmingway was born in Yorkshire in 1823 and came to New Zealand in the 1860s with the 43rd Regiment having previously seen service in the Crimean War, the Indian Mutiny and Malta. He returned to Europe and served with the Red Cross in the Franco-Prussian War. His son Edward "Ned" Hemingway brought him back to New Zealand when he fell ill and he died in Auckland in 1914. Hemingway is shown in the painting as a young boy wearing a white shirt, rust-coloured vest and brown trousers lying on a bank in the grass. In the foreground there is another unidentified young boy wearing a white shirt with a red scarf who is holding two dogs. The painting is in an impressionist style and has a thick gilded frame.
Accession No
PA2010.128

Name/Title
Sketch of the Te Henui River mouth. A building and two figures can be seen in the foreground. A collection of buildings, possibly the New Zealand Titanic Steel and Iron Company Ltd, are visible in the middleground on the right of the image. The sketch is included in a sketchbook attributed to one of Major Charles (Carlino) Brown's daughters. However, the inscription on the inside cover reads "Constance W. Rowe / Taranaki / April 2nd 1880" - it is unclear if this inscription indicates the name of the actual artist.
Accession No
PA2011.103

Sketch of the New Zealand Titanic Steel and Iron Company Ltd near the mouth of the Te Henui River, New Plymouth. The factory is pictured in the centre of the image. The Te Henui River is visible in the foreground. The sketch is included in a sketchbook attributed to one of Major Charles (Carlino) Brown's daughters. However, the inscription on the inside cover reads "Constance W. Rowe / Taranaki / April 2nd 1880" - it is unclear if this inscription indicates the name of the actual artist.
Accession No
PA2011.110

Sketch of "The Pines", the house of Major Charles (Carlino) Brown, son of Charles Armitage Brown. The house is pictured on a ridge. A river is visible in the foreground. Hills and vegetation in the middleground. The sketch is included in a sketchbook attributed to one of Major Charles (Carlino) Brown's daughters. However, the inscription on the inside cover reads "Constance W. Rowe / Taranaki / April 2nd 1880" - it is unclear if this inscription indicates the name of the actual artist.
Accession No
PA2011.111

Painting depicting a pilot in a black military aircraft. The bottom of the aircraft shows a string of white numbers and letters that refer to the code printed into a piece of metal retrieved from an American missile dropped on a residential area of Baghdad, Iraq, in March 2003. The missile killed dozens of civilians. The body of the aircraft also features a symbol in a yellow circle, which is Roger Morris' symbol for "the corporate fascist". The red dot refers to a sniper's laser dot and the words "HIT HERE" to targets attacked by the US military. One of the red dots is printed onto the silhouette of a figure. The background of the print is vivid orange. The print is from Morris' 'Enduring Freedom' series, which explores differing version of truth surrounding the September 11, 2001 'terror attacks' in the United States of America.
Accession No
PA2012.031

Name/Title
Framed oil on canvas that explores a range of subjects. A blue line, which represents a river, divides the composition into two halves. A 'cancerous' red dot is present in the river near the upper horizontal edge. The background of the two halves is painted in bright yellow. The top left of the composition features a television shape with a red/pink vase decorated with Roger Morris' symbol for fascism (the symbol is based on the stylised shape of a figure holding a gun). A line of four facsist symbols are repeated below. The two triangle shapes beneath the television represent a cattle ramp. A figure with its hands tied behind its back is pictured below. The figure takes its inspiration from the first dead body Roger Morris encountered when he was a policeman. Top right of the composition features two fascist symbols facing each other, which creates a kind of stylised Māori face. Beneath is a night landscape with the moon. Four fascist symbols mirror the four on the opposite side of the composition. Beneath the night landscape is a simplified shape in red/pink that represents a carcass. Bottom right of the composition shows a figure standing in a black oval.
Accession No
PA2012.033

"Post 9/11 Landscape" highlights the way the media and government authorities mediate and control our view of world events. The painting depicts a figure standing next to one of the World Trade Centre towers. The figure has five white stripes on its body and is wearing a helmet. It is a symbol of authority. Four triangle shapes depicted in black and white in the sky represent aeroplanes and/or bombs. The landscape and sky areas of the painting are made up of blue, orange, red, white, purple, yellow and brown dots and dashes. They allude to the way our view of the world is constructed from pixelated newspaper and television images of international events. It also references how the level of filtering, mediation and control of information by Western media and governments has increased after the 11 September 2001 'terror attacks' on the United States of America.
Accession No
PA2012.034

Name/Title
Artwork based on a graphic produced by the National Institute of Standards and Technology (NIST) in the United States of America to explain how the World Trade Centre towers fell without the aid of explosives. The artwork depicts one of the World Trade Centre towers with lines emanating from the centre of the tower, indicating the tower's core strengthening columns. An aeroplane is pictured on the left of the image prior to impact. Roger Morris considers NIST's explanation of the towers' collapse to be "creationist", overlooking other factors in the buildings' collapse.
Accession No
PA2012.037

Screen print exploring the issue of seed ownership by The Monsanto Company, an American multinational agricultural biotechnology corporation, and the controversy surrounding the practice of seed saving. Golden seeds are depicted on the right hand side of the print with black barcodes and numbers. The seeds are being blown across a bay. Near the centre of the image a figure is shown in the Mercury spacecraft. The figure is isolated and threatened by corporate forces. American symbolism, including a star and three stripes, features on a black curve of land. A meteor streaks across the sky on the left of the image and a boat is sinking in the bay. The print is rendered predominantly in yellows, reds, black, green and white.
Accession No
PA2012.038

Artwork of printed and painted elements against a black background. The upper half of the work features the white shape of a World War II bomber aircraft. The words "santa" and "HIT" are written on the bomber. Beneath the bomber to the left is a black, white and red oil drum. The red dot on the drum's lid refers to a sniper's laser dot. The bottom half of the painting features equations and a diagram of an engine painted in white. A grid of squares, outlined in bright colours, has been printed over the top of this area. The text of the found object Morris has used as the base for the work is discernible behind the background layer of black paint. The artwork's imagery reflects Morris' search for icons and images that can give voice and shape to the contemporary era. The print is part of Morris' 'Enduring Freedom' series, which explores differing version of truth surrounding the September 11, 2001 'terror attacks' in the United States of America.
Accession No
PA2012.039

Collage highlighting what Roger Morris sees as the "comic book nature" of the events that took place on 11 September 2001 in the United States of America. The collage is made up of both readymade elements and handmade elements. It features two comic book covers, one of "Superboy" and one of "Captain America and the Falcon". The "Superboy" cover has been cut up and a page of text, including a photograph of George W. Bush, has been inserted underneath so it appears as if Bush's face features on the magazine cover. Part of another comic strip is adhered to the right hand edge of the artwork. Two hand painted depictions of clowns are glued to the centre of the collage. Morris describes these faces as being "the face of madness". They both have large red noses and red smiles. A composite image of an action figure's head and George W. Bush's face, created by Morris in Photoshop, is glued to the left hand side of the artwork. It is glued onto another collage element that features two hand drawn faces and black ink. Beneath, a figure holding a gun has been printed in black paint. Along the lower horizontal edge, a frieze featuring seven images of an aeroplane flying into one of the World Trade Centre towers has been glued down. The words "THe DAY THE WAr came" are handwritten beneath it.
Accession No
PA2012.040

Woodcut print of a part of an engine printed in black paint. Text reading "TOO /LATE / utility R. was here. OEO CALLING" is printed on the bottom right hand corner of the artwork. The print is part of Morris' 'Enduring Freedom' series, which explores differing versions of truth surrounding the September 11, 2001 'terror attacks' in the United States of America.
Accession No
PA2012.041

Artwork from Roger Morris' 'Enduring Freedom' series that features four elements relating to the Global War on Terror. The top element is a hand drawn engine block, referring to 'the might of the military machine'. The next is a silhouette of a tank. The third is a stylised figure. The fourth is the word "OIL". The artwork has been made on the back of a proof poster for the TOWER New Zealand Youth Choir.
Accession No
PA2012.042

Artwork from Roger Morris' 'Enduring Freedom' series. The 'sky' area features a stencil of Neil Armstrong in the lunar lander. Below is a standing figure. It has a sniper's red dot trained on its body.
Accession No
PA2012.043

Name/Title
Collage of etching ink on exposed photographic paper and a stenciled element. A face of dark blue and black is silhouetted against a grey background. A stencil of numbers and algorithms covered in thick white ink obscures part of the face. The featureless face stands for the faceless casualties of war and was inspired by photographs taken of victims of the Khmer Rouge. The title of the artwork 'Illuminate Us' is inscribed at the base of the face and is a play on Illuminati and the United States of America.
Accession No
PA2012.044

Artwork from Roger Morris' 'Tales of the New Dominion' series that evokes the coming of a new war. The composition is broken into two halves. The lower portion shows white dabs of paint on white cardboard. The top half depicts a black missile shape and four red triangles, which represent either aeroplanes or bombs, targeting the tall buildings of a city on the left of the image. The top portion of the artwork is rendered in greys and black.
Accession No
PA2012.045

Name/Title
Drawing of a female nude which Morris has dubbed a "two-minute drawing". The drawing dates from when Morris was attending life-drawing workshops at Vincents Art Workshop in Wellington.
Accession No
PA2012.046

Name/Title
Drawing of a seated female nude which Morris has dubbed a "five-minute drawing". There is another drawing of a nude, seen from behind, on the reverse of the drawing. The drawings date from when Morris was attending life-drawing workshops at Vincents Art Workshop in Wellington.
Accession No
PA2012.047

Artwork from Roger Morris' 'Enduring Freedom' series that refers to the faceless civilian victims of war. The artwork is made up of four panels of found images glued to a black cardboard support. Morris has painted over the images in black etching ink to create faceless head and shoulder 'portraits'. The two panels on the left of the image feature the words "HERE" painted in red paint. The next panel has a collage element and a white aeroplane obscuring the head of the figure beneath. The word "HIT" is printed in white paint on the panel. The panel on the right features scrawled words/patterns in white ink. Beneath the four panels is a string of white ink numbers and letters that refer to the code printed into a piece of metal retrieved from an American missile dropped on a residential area of Baghdad, Iraq, in March 2003. The missile killed dozens of civilians.
Accession No
PA2012.048

Name/Title
Doubled sided artwork with a drawing of a nude figure on both sides. Morris has dubbed the drawings "two-minute drawings". The drawings date from when Morris was attending life-drawing workshops at Vincents Art Workshop in Wellington.
Accession No
PA2012.049

Pencil drawing exploring the ways an artist's work relates to what is going on in the world around them. In the top half of the composition six figures surround a circular shape. In the lower half more figures exchange lines of indecipherable dialogue. The title of the work "How to relate questions of concience [sic] to the painters art" is written on the bottom left hand corner of the drawing.
Accession No
PA2012.050
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