Vincents Art Workshop Exhibition

May I begin by greeting everyone in the languages of the realm of New Zealand, in English, Māori, Cook Island Māori, Niuean, Tokelauan and New Zealand Sign Language.

Greetings, Kia Ora, Kia Orana, Fakalofa Lahi Atu, Taloha Ni, and as it is evening [sign].

May I then specifically greet you: Sue Green; Chairperson of the Vincents Art Workshop Committee and your fellow committee members; Glen McDonald, Co-ordinator of the Workshop and your fellow staff and volunteers; Grant Robertson, Member of Parliament; artists and friends of Vincents Art Studio; Distinguished guests otherwise; Ladies and Gentlemen. 

It was with pleasure that my wife Susan and I agreed to attend the Vincents Annual Group Exhibition here at the St James Theatre.

I have been asked to formally open the exhibition, but before I do, I would like to speak of the importance of the work of the Workshop.

Vincents Art Workshop was established in the mid-1980s as a result of the policy of what was called “deinstitutionalisation”. That change that saw many people living in psychiatric hospitals or hospitals for the intellectually disabled and moving into the community.

As a community-based initiative, the Workshop provides access to arts and craft facilities, skilled tuition, and materials within a supportive environment.  A small and hardworking paid staff are supported in their work by a number of volunteers and community helpers.

While its genesis was in supporting people with disabilities and those moving into the community from institutions, the Vincents Art Workshop has grown.   It welcomes the unemployed, people on low incomes and indeed anyone from the wider community who wants to express themselves through art.  The Workshop has gone on to win a number of awards including, most recently, the arts and culture section of the Wellington Airport Regional Community Awards.

All this suggests social service that is meeting real needs and, with the organisation marking its silver jubilee next year, one that has come of age.   But what is that need?

There would be some who would dismiss this organisation’s work as frivolous.  For example, in 1956, the Auckland City Art Gallery held an exhibition of the work of the now famous British sculptor Henry Moore. Auckland’s Mayor at the time, His Worship John Luxford, formerly a senior Magistrate, apparently stormed out of the gallery, demanding of a startled attendant on the way: “Does this come out of the ratepayers’ money?” – he apparently said before going on to issue a statement complaining that the figures in Moore’s work, as he put it, "offended against all known anatomy."   To prove the adage that all publicity is good publicity, the controversy saw New Zealanders flock to see the exhibition, no doubt to find out what all the fuss was about and in many hundreds, and indeed thousands more, than might otherwise have gone.

Thankfully, views like those of the late Mr Luxford are not shared by the Wellington City Council.  The Council, along with the Ministry of Social Development and a number of charitable trusts, are key supporters of the work of the Workshop.

The need for people to creatively express themselves is almost as old as humanity itself.   For example, the ancient cave paintings that have been discovered in France and Spain are believed by scientists to be more than 30,000 years old.  Vincents Art Workshop provides a supportive environment where anyone can express that innate, almost indescribable need to be creative.  As the Workshop’s namesake, Vincent Van Gogh, once said: “There is something intimate about painting I cannot explain to you – but it is so delightful just for expressing one's feelings.” 

In being creative, however, those using the Workshop do much more.  The creative process is not an end in itself.  Through their creativity, many people learn more of themselves.  This is important for all us, but for those living with a mental illness, it can be highly therapeutic.

Being creative is also a means to build self-confidence.  It takes courage, not only to create a painting or sculpture, but even more so to put it on public display, when it may be subject to both praise and criticism.   The American painter Thomas Nicholas once said:  “Risk is a necessary part of painting. You have to put yourself in harm's way in order to stretch your competence and continue to learn.”    

In this lies a fundamental lesson of life, whether it is in relationships, business, and work or in art.  As with all things in life, there are occasional disappointments and set backs.  But it is by taking risks and working through the disappointments that we grow and prosper. 

I therefore wish to congratulate the committee, staff and volunteers of the Vincents Art Workshop for organising this annual exhibition.  I also wish to thank the Workshop’s supporters and sponsors for their ongoing support.

But most of all, I want to thank the artists.  As I have noted, placing your art in the public gaze and offering it for the ultimate form of scrutiny—public sale—takes courage.  Congratulations on your achievements.

It is therefore with great pleasure that I declare the 2009 Vincents Annual Group Exhibition officially open.

And on that note, I will close in New Zealand’s first language, Māori, offering everyone greetings and wishing you all good health and fortitude in your endeavours.  

No reira, tēnā koutou, tēnā koutou, kia ora, kia kaha, tēnā koutou katoa.