Other artists here return to the culture of art making in Aotearoa and art historical tropes found in the broad narrative of western art. Glen Hayward works within a trompe l’oeil tradition, playing tricks on the eye through his mastery of carving wood. His usual practice to render commonplace objects in intricately carved wood with these becoming indistinguishable from the ‘originals’, which are often manufactured or machined out of other materials or composites. Scream (2006, Wallace Arts Trust Collection) plays a couple of art historical jokes: looking like an ear it listens to a scream by taking on the recognisable contour of the famous screaming figure’s head from Munch, while also referencing Duchamp's Fountain sculpture – the archetypal modern art joke of the ready-made.
Visual puns or pictorial humour may tend towards the twee or the commercial – are the jokes in these works successful? One way or another they invite a conversation with the set of cultural references also brought into view by the audience who carry them about, who may find them funny, or not.