In Parison Pacific there are two groups of inter-related blown-glass canoe paddles with cold-worked carved shafts.

This significant exhibition is numerically dominated by paddles featuring relief-cut kowhaiwhai designs on the blades and intricate wheel-cut textures on the shaft of each paddle. These differing elements are united by the woven cord lashed along the shaft.

Jacomb’s acclaimed mastery of this paddle form, his assured simplicity of design and statement are evidenced in the dignified grace and aesthetic beauty of these compelling works.

In the Kete Paddles Jacomb again references the patterns and overlays of weaving by introducing a linear element of drawn lines that float and hover in space, both in front and behind the blade, thereby building an illusion of space and depth which are enhanced and then further complicated by the resulting shadow.

Jacomb uses the abstract language of pattern and utilitarian cultural artefacts, the implied notions of journey and endeavour inherent in the language of the paddle as core constructs.

These are objects imbued with the patterns and symbolism of Maori culture, the dynamics of event, deed and history and unified by the refined aesthetics of one of New Zealand’s finest glass artists.