In their essay Limitless Variables of the Same, Dr Julia Teale describes Veronica Herber's art practice as '(…) a rigorous set of limitations-fields of heavy cotton rag paper, washi tape, and graphite powder-Veronica (Herber) explores infinite variables within the open-ended structure of the grid. Her visuality is one that eschews the easy entertainments of lavish gestures and thrumming colours, or the lure of narrative-instead she tends to and preserves those minute ruptures or tremors that trouble the ordered regularity of the grid.'
In creating works for her 2024 solo exhibition, Awareness, the key to it all, Veronica was determined to extend her practice both physically and emotionally. With overseas travel, and a well-earned break, came immersion in different cultures and art galleries throughout Europe and Japan. Specifically, inspiration was found in the minimalist work of Enrico Castallani, Japanese aesthetic gleaned from Kyoto architecture, and Giambattista Tiepolo's dramatic oil painting The Last Judgement, c. 1730-1735.
Within Veronica's new body of work a progression can be seen flowing from the safety of her open grid works, to her solid grids-in their many variations-to the tonal depth and layered complexity of her three new Awareness works. The first, and biggest, of these works (and the namesake of this exhibition) Veronica found extremely challenging and, after working on it for one month, almost gave up 'but for once (I) kept making it more complicated and it eventually revealed itself.'
While Veronica's approach may initially appear to be following a geometric or scientific pattern, to read her works this way is to miss their magic, mysticism, and-above all-their meditative qualities. As Teale so aptly states, '(w)hat is so compelling about these works are these delicate slivers of difference, the collusion between the action of the hand and the innate quality of the materials, that cause the carefully measured grids to pulsate with life.' Mimicking the same reverberation and rhythm, Veronica's titles are literally lyrical in nature-'(a)s with most of my work, the title is a lyric from one of my late husband's songs-Derek (dDub) Browne. Even though he is gone, I feel we still collaborate. His words describe the work in ways I'm unable to.'
Grounded within the realms of geometric abstraction and the materiality of her chosen medium-Japanese Washi tape-Veronica Herber's unique art practice has evolved organically and instinctively. Growing up, Veronica was influenced by her father, Nicholas Herber, his own art practice, and his love of Modernism. Later on, the influences of Piet Mondrian and Agnes Martin, to more recent and intuitive connections with the practice of Lee Ufan, continue to inspire Veronica to find the essence of each of her artworks in the making and mining of layers. With a practice producing large installation pieces to intricate works on paper, each work is borne through complex layers which are-until the Awareness works-pared back until the work reveals itself. Unearthing each work's essence begins a flow of information and energy for Veronica which naturally informs her next work.
Veronica Herber is originally from Ōtautahi Christchurch and now resides in Tāmaki Makaurau Auckland where she completed a fine arts degree at Auckland University of Technology in 2006. In the intervening years, Veronica engaged in post graduate studies at Elam School of Fine Arts at the University of Auckland; exhibited in New Zealand and internationally; has been a finalist in the Parkin Prize Award and Wallace Award numerous times; and won the Wallace Arts Trust New Zealand Sculptor Award - Sculpture by the Sea, Sydney, 2015.