Wellingtonians and visitors to the city were privileged last year to see an outstanding exhibition of paintings by Michael Illingworth covering twenty-five years (1961 - 1986)

Viewing this large exhibition of work by a unique New Zealand artist we were able to explore the full range of Illingworth's talent as he delved into major themes of the 1960s and 70s.

His work from this period reminds us of how we were pre-occupied with the vulnerabIlIty of human flesh under the nuclear shadow. Some were disenchanted with the space carved out of a primeval island landscape being imprisoned in city gridlocks; from the corruption they wished to escape.

Though Illingworth often expressed despair and anger over bureaucracy and its corruption of society and the manipulation of the powerful, his paintings are remarkably controlled. This tightness, withholding suppressed anger, drew my eye to the way he used his talent to express searing feelings under constraint, allowing the viewer to be drawn in rather than be repelled. In this Illingworth is supremely successful.

The adage "Out of the mouths of babes and sucklings..." came to mind as the often child-like innocence of his representations revealed their subtlety challenging one's mind to inquire more deeply. Then stand back to allow the often shocking truth to declare itself to, "those who have eyes to see and ears to hear"

Illingworth's works have been described as having a jewel-like quality. As I viewed them I agreed but also questioned why this is so.

A jewel, to reveal its quality must be cut, polished and mounted so that light can enhance it to reveal its brilliance. Through mastery of his technique, clarity of vision, and depth of passion for his subject Illingworth conjures up that extra factor which is the mark of an artist who leaves us jewels of iconic quality.

Many have thought of William Blake as they viewed Illingworth's soul searching revelations and fantasies. Certainly innocence, harmony, controlled creative energy are embodied in his artistry. Maybe it is not too far-fetched to say that Illingworth's contribution to society is in the main stream of visionaries.

Though the concerns of the 60s and 70s may have been overtaken by world shattering changes which create new challenges for society and artists alike, Illingworth's work is not so dated that it cannot challenge us to look again at the value we place on human life and our never ending responsibility for the world in which we live.

Yes! An exhibition well worth seeing and a rare opportunity to experience the work of one of New Zealand's most remarkable artists.

Maurice Brown is a retired Wellington Minister.