GAB 41 (Grishin’s Art Blog number 41)

Gibbs Farm – the destination sculpture park

Gibbs Farm

 
Is Gibbs Farm the most picturesque and the most significant sculpture park in Australasia?
 
Gibbs farm, about an hour’s drive north of Auckland, New Zealand, is a 400 hectare property whose western boundary is flanked by the spectacular Kaipara Harbour – the largest harbour in the Southern hemisphere.
 
The property was acquired by the businessman Alan Gibbs in 1991 and populated with roaming herds of zebras, Tibetan yaks, bison, giraffes, ostriches as well as sheep, alpacas, deer, swans, emus and peacocks amongst other animals.
 

Gibbs Farm

 
What makes the farm unusual is the 27 monumental sculptures that are dotted around the property, some by the world’s most renowned sculptors and, in a number of instances, the largest and most ambitious works by these artists.
 
Gibbs Farm has developed something of a legendary reputation – more spoken of than experienced at first hand. The farm is private and, although entry is free, it is devilishly difficult to gain admission.
 
I have met people who have waited three years for their chance to see this open-air sculpture park; others have conspired for years from overseas or joined rather expensive fund-raising art tours. I have been fortunate to visit Gibbs Farm twice, in 2017 and May 2019, both times in perfect weather.
 

Richard Serra, Te Tuhirangi Contour, 1991/2001, 56 Corton steel plates, Gibbs Farm

 
Alan and Jenny Gibbs have been art collectors for decades and on Gibbs Farm the idea was to challenge the artist with a site-specific installation with few financial or logistical constraints. One of the great highlights is Richard Serra’s Te Tuhirangi Contour, 1999/2001.
 
Running a breath-taking 257 metres, it is an elegant ribbon of steel winding across the landscape. It consists of 56 Corten steel plates, each six metres high and each weighing about eleven tons. The wall leans out eleven degrees from the vertical and seems to whimsically skim across the surface or, in Serra’s words, it “collects the volume of the land”.
 

Richard Serra, Te Tuhirangi Contour, 1991/2001, 56 Corton steel plates, Gibbs Farm

 
It is one of the most impressive monumental minimalist pieces that I have ever encountered and when you glance at the work more closely, about half-a-metre above the ground line there is a continuous subversive white mark. The cause is sheep rubbing against the warm rusty steel and in an unexpected way grounding the piece into the rural farming environment.
 

Richard Serra, Te Tuhirangi Contour, 1991/2001, 56 Corton steel plates, Gibbs Farm detail

 
Another memorable piece is Anish Kapoor’s huge Dismemberment, Site 1, 2009. Coloured bright red, it consists of an 85-metre long mild steel tube with tension fabric. To give it a context in scale, it is like an eight-storey high sculpture stretching a city block and has been located in a cut cleft within a high ridge.
The scale is such that it is impossible to the see the whole work at a single glance from any angle (except perhaps from the air) and as you move around the work you are provided with additional elements to piece together this dismembered composition. The scale and glimpses of the landscape and the harbour add to the incredible ambience of the piece.
 
One of the most perplexing and rewarding sculptures at Gibbs Farm is Sol LeWitt’s Pyramid (Keystone NZ), 1997, built up of standard concrete blocks with a base of sixteen by sixteen metres and a height of 7.75 metres.
 

Anish Kapoor, Dismemberment Site 1, 2009, mild steel tube and tension fabric, Gibbs Farm

 
This founding artist of minimalism and conceptual art has created here a most remarkably sensuous sculpture. Although clearly made up of many modules of considerable complexity, the whole adds up to a beautifully simple single pyramid.
 
The more you are absorbed by the intricacies of the piece the more striking and bold is the overall conception. The architectonic monumental character contrasts with the dissolving reflecting surfaces within the lush green setting.
 

Sol LeWitt, Pyramid (Keystone NZ), 1997, standard concrete blocks, Gibbs Farm

 
One of the beauties of Gibbs Farm is that one wanders through it as within an enchanted landscape. There is Daniel Buren’s meandering Green and White Fence (1999-2001), which I understand is still growing and now stretches to 3.2 km.
 
Neil Dawson’s Horizons, 1994, sits on one of the highest hills in the sculpture park and through a tromp l’oeil strategy is suggestive of many different forms rich with associations.
 

Neil Dawson, Horizons, 1994, welded and painted steel, Gibbs Farm

 
Andy Goldsworthy’s Arches (2005) consists of eleven seven-metre-long pink arches stretching into the sea made from Lead Hill sandstone blocks quarried in Scotland. It is a wondrous and mysterious creation that has now weathered and, between my visits, has increasingly taken on the appearance of the surrounding environment, seeming to have become one with the seascape setting.
 
Gerry Judah’s Jacob’s Ladder (2017) is one of the more recent additions to Gibbs Farm, twisting and climbing 34 metres into the sky, and is made of 480 lengths of steel weighing 46 tonnes with a width of eight metres. From a distance, there is a lightness and airiness that disguises its mass and suggests a metaphorical ladder of revelation.
 

Andy Goldsworthy, Arches, 2005, pink, Leadhill sandstone blocks, Gibbs Farm

Gibbs Farm