Terry Stringer

Past Exhibition
Skip to product information
1 of 15

Hand Head Rose, 2023,
Bronze, 1630mm on base

As the title foretells, Hand, Head, Rose is an artwork of several elements. Finished with a distinctive painterly quality that is characteristic  of the artist, the sculpture has the appearance of a rich graphite drawing or a moody sepia photograph, expanded into three dimensions. The sculpture  is filled with varying planes and perspectives, creating a sense of movement and cleverly merging the three key subjects into one. From the frontal plane, the viewer is met with a head and shoulders portrait but discovering the back of the sculpture, there is a surprise encounter with fingers, leaves and a rose in bloom. 

As Stringer explains: “This changing of subject is part of my long time preoccupation with the hidden side of the sculptural object. Here these seem to tell a story about someone reaching out to beauty. But also, by the mounting of the flower onto the stem of the neck, this is about the bloom of youth.”

Hand Head Rose
Hand Head Rose
Hand Head Rose
Hand Head Rose
Hand Head Rose
Hand Head Rose
Hand Head Rose
Hand Head Rose
Hand Head Rose
Hand Head Rose
Hand Head Rose
Hand Head Rose
Hand Head Rose
Hand Head Rose

More from this artist

Artist Bio

Terry Stringer ONZM was born in England in 1946 and came to New Zealand in 1952. He achieved a Diploma of Fine Art at Auckland University in 1967. Throughout his career, Stringer has received numerous accolades, including the Queen Elizabeth II Arts Council Scholarship three times. In the 2003 New Year Honours, he was appointed an Officer of the New Zealand Order of Merit for services to sculpture.

Stringer is best known as a sculptor, having made two notable public installations: the explosive Mountain Fountain for Auckland’s Aotea Square (located to the Auckland Cathedral in Parnell) and the similarly powerful white lightning bolt in Rotorua. Most of Stringer’s work, however, is done on a smaller domestic scale, with everyday figures and objects comprising his subject matter.

Stringer’s sculptures fill space in a way that manipulates rather than occupies it, some works using methods first explored by the Cubists in the early 1900’s. Not conforming to traditional illusionistic perspective, Stringer tilts the horizontal space towards the viewer, his bronzes seeming to deny their three-dimensionality as they appear slightly squashed and crumpled at the corners. In other works he enhances the depth instead of suppressing the volume – a skilful use of perspective and shading makes a wall-mounted relief appear to have depth where actually there is very little.

These works are part of the trompe l’oeil tradition, works playing on the ‘trick of the eye’. In his works Stringer does not attempt to make any political or environmental statements, rather the sophisticated objects he creates are to be enjoyed and contemplated upon, providing pleasure, nostalgia and a touch of humour.