Anti-plastic Reaction Prompts New Art Shop — ‘a... (Press, 19 December 1978)

Simon Morley has opened a new art shop called the Lekker Gallery on New Regent Street in Christchurch, following his experience in the Fujnaut gallery in Amsterdam. The name "Lekker" means "delicious" or "pleasant" in Dutch, reflecting Morley's aesthetic focus. Previously a theatre performer with a bet-driven stage career, Morley returned to Christchurch after studying law and English at university and travelling in Europe. He aims to feature local artists and offer a variety of ornamental and functional art until it can pay its bills. Morley believes there is a limited audience for art in Christchurch, but hopes to create a stylish shopping space. Despite the conservative attitudes towards space utilisation in the city, Morley envisions a potential for pedestrian-friendly environments, suggesting that areas should be closed off from traffic to enhance shopping experiences. Amidst his efforts, he acknowledges that the gallery might not become financially profitable and assures that the shop is more about expressing his vision than making money. He interacts playfully with customers, some of whom seem puzzled or critical, especially concerning certain artworks that depict male nudity. Morley reflects on the cautious approach many New Zealanders take towards art, viewing it as an isolated investment rather than a part of day-to-day life. Many customers express concern about the pricing of art pieces, often focusing heavily on their size and resale value, rather than their intrinsic value or emotional connection. This trend frustrates Morley, who prefers a more casual integration of art into personal spaces. Morley also experiences a few controversial moments, such as a complaint from a woman about the nudity in the figures displayed, which led to police involvement. It was suggested that her claim involved a misunderstanding, due to her being slightly short-sighted. Overall, while Morley aims to create a welcoming artistic environment, he encounters mixed reactions from the public, highlighting the ongoing challenges of changing perceptions about art and its place within everyday life in New Zealand.

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