gallery guide AUCKLAND
Enjoy Public Art Gallery
71 Mt Eden Road, Grafton www.alphabetcity.org.nz
gallery guide / art insights / Dec 2011 - Jan 2012
Level One, 147 Cuba Street www.enjoy.org.nz
Cnr Victoria and Vivian Streets www.pablosart.org.nz
300 Karangahape Road, Central Auckland www.artspace.org.nz
The Film Archive mediagallery Corner of Taranaki and Ghuznee Streets www.filmarchive.org.nz
4 Poynton Terrace, Central Auckland www.audiofoundation.org.nz
The Russian Frost Farmers
George Fraser Gallery
The See Here
Personal Best Gallery
2 Eva Street www.therussianfrostfarmers.com 12 Constable Street, Newtown http://theseehere.com
25a Princes Street, Central Auckland www.georgefraser.auckland.ac.nz 456d Karangahape Road, Central Auckland www.personalbestgallery.com
337 Lincoln Rd, Addington www.abcgallery.net
The Physics Room (Closed until further notice)
20 Whitaker Place, Central Auckland www.projectspaceB431.auckland.ac.nz
Enquiries to: email@example.com www.physicsroom.org.nz
Ground Floor, 295 Karangahape Road, Central Auckland www.rm103.org
DUNEDIN Blue Oyster Art and Projectspace
Cnr St Benedicts Street and Newton Road, Newton www.satellitegallery.co.nz
Basement, Moray Chambers, 30 Moray Place www.blueoyster.org.nz
Project space & residential studios, 24 Stafford Street www.none.org.nz/
215A Karanghape Road, Central Auckland www.secondstorey.org.nz
[ side way ]
Window space, 1 Ponsonby Road, Ponsonby www.youthartcommitee.tumblr.com
The Depot Artspace
28 Clarence Street, Devonport www.thedepotartspace.co.nz
Waikato Institute of Technology, Hamilton http://ramp.mediarts.net.nz/
Artists Alliance receives significant funding from Creative New Zealand and ASB Community Trust. Follow Artists Alliance on Facebook & Twitter
Calder and Lawson Gallery
Academy of Performing Arts, Gate 2B, University of Waikato www.waikato.ac.nz/foundation/calderandlawsongallery.shtml
ISSN: 2253 - 1483 This issue of Appliance is edited by Artists Alliance intern Michelle Beattie
WELLINGTON Adam Art Gallery
Victoria University www.adamartgallery.org.nz
Peter Madden Leigh Martin Tanja Nola Jill Sorensen Layne Waerea
Matt Blomeley Deborah Crowe Philip Dadson Lyn Dallison Judy Darragh Scott Gardiner
1 Ponsonby Road, Newton, Auckland Phone (09) 376 7285, Fax (09) 307 7645 Email: firstname.lastname@example.org Website: www.artistsalliance.org.nz
The 2011 Artists Alliance Mentors are:
The Artists Alliance Mentoring Programme has a large pool of mentors to draw on, which sees each accepted mentee appropriately matched with the best arts practitioner in terms of what the mentee wishes to achieve.
University of Auckland Central Library Foyer, Central Auckland www.window.auckland.ac.nz
Mentors provide advice and guidance in the following ways: • Advice about professional practice. Help to develop the skills needed for effective networking; such as • approaching curators in public institutions and dealers in private galleries. • Assisting with applications for exhibition involvement. • Giving an open dialogue and practical direction for discussing ideas. • Giving mentees the confidence to pursue a career in the visual arts once they have left the supportive structure of an art school environment.
The aim of the programme is to provide a valuable opportunity for 11 recent graduates (10 of which are featured in here) to focus on their career with the help of an experienced mentor. The programme has been made possible with generous funding from the ASB Community Trust.
Level One, 300 Karangahape Road, Central Auckland www.filmarchive.org.nz
This issue of Appliance profiles mentees from the 2011 Artists Alliance Mentoring Programme.
The Film Archive Auckland Exhibition Space
Bachelor of Design – Unitec
Through a ceramics practice that is connecting to both beaux-arts
tradition and popular culture narratives, I have become increasingly
intrigued by the romanticisation of pastoral landscape, its inhabitants,
and how this informs unrealistic aesthetic expectations of a benign
idealised agrarian society.
How important is an urban audience/setting to the reading of your work? Why?
myself taking the investigation into the romanticisation of rural life as
At present, being physically removed from the countryside I find
the conflict of a genuine yet misleading portrayal of what I know to be
an opportunity to indulge in my own sentimentalisation. This provides
a hardworking and honest lifestyle. With New Zealand’s rich agricultural
history I have found that the urban audience often identifies with this
questions, allowing the continued stimulation of the work as I seek to
disconnected yet nostalgic sentiment (on varying levels). This poses new
understand these diverse connections to the idealised pastoral landscape.
Image: Black and White Details Montage, courtesy of the artist. Cover Image: Black and White Geese Portrait, courtesy of the artist.
Gemma Skipper Master of Art and Design – AUT My practice is interested in constructing series of individual, but intimately related, photographs which describe public ‘natural’ environments located amongst residential and light industrial areas. These spaces and sites are shifted and extended by formal relationships of reflection, repetition and reoccurrences. What is your favourite site/space? Why?
Image: Alan Wood Reserve,courtesy of the artist.
It’s always changing but at the moment Alan Wood
state housing, local businesses, paths, various
Reserve near Mt Albert. This photograph is from
trees, shrubs and is used for a variety of
there but when I took it I didn’t realise there was
recreational activities. The film is being processed
much more space just beyond what you can see in
at the moment and I’m looking forward to seeing
this image. I’ve since been back and love it; there’s
how these relationships translate.
these areas of mown and unruly grass, a stream,
in more of a solid form which gives physical presence to line drawing.
childhood. I find that using string can help deliver that idea of sketching
and depict space through use of lines has been a fascinating idea since
background I like fine lines and detailing, being able to create forms,
surface now and then throughout my making. Coming from a drawing
traditional, such as clay, gum, wax, film or flame, one of my favourite
Image: 174X, courtesy of the artist.
Toward the end of my graduate year I invited a range of people to play with the components I had made so far for my final body of work. One of the most memorable was Alan Preston, who made himself a little attachment for a finger brace he was wearing at the time because of an injury. Seeing people interacting with my work in unexpected ways and enjoying themselves is really rewarding. As people start to make more crazy and elaborate pieces they tend to show one another, and the interactions begin to extend beyond the wearer-object relationship, out to the wider world.
materials to use has been string. It has been an item that has come to
Image: Pt Chev #1, courtesy of the artist.
The wearer plays an active role in your work. What is the most inventive/interesting approach to wearing your work you’ve seen?
Despite liking to work in all kinds of materials both traditional and non-
What is your favourite material to work with and why?
My recent practice involves process in play of mundane objects, looking into ideas of altering set or taught perceptions of an item’s function and form. I aim to defy traditions and generate fresh impressions of materials.
My work is inspired by interactions and experiences with my environment. I use a range of methods to draw ideas, including photographs, sketches, watercolour and collage. These ideas manifest into hand crafted and highly interactive pieces of jewellery, which function beyond being solely wearable items.
Bachelor of Design – Unitec
Bachelor of Fine Arts - Whitecliffe
Master of Fine Arts – Elam Emma Topping is an emerging Fine Artist. Her work focuses on creating a sense of depth and movement within the picture plane, leading the viewer into a new dimension of space. By fragmenting imagery from these urban environments she seeks to highlight the effects of time, movement and energy within these spaces, to lead the viewer into a new dimension of a familiar environment. What is your favourite city in the world? How has this place influence your practice? Image: No Title, courtesy of the artist.
A trip l took to New York in 2009 opened my eyes, and developed my thinking towards art that I had previously only viewed through reproductions. My time spent in New York, staying in the chaos of Times Square, made me see the world in a new way, one of change, movement, growth, and development. One of my strengths is that I break things down and rebuild them, breaking down an environment from a photo into lines and shapes that suggest movement through a space. When I was standing in Times Square I felt almost transported to another realm, a visual sensation that influenced this new style I am working in.
Image: courtesy of the artist.
Laura Marsh Image: A Flag That Has Now Written On It, courtesy of the artist.
Master of Art and Design – AUT
My current art practice applies a ‘soft activist’ approach to the colonial condition of overwriting history. In order to do this I must understand the cultural and social context of my environment. Knowledge gain or selfinforming is a key method in my practice, running parallel to ‘observation’. I keenly document my environment with video and photography, in a mode of ‘humanist geographer’ and ‘flaneuse’. Objects materialize to operate as ‘souvenirs’ to these moments of discovery.
Learning through research is clearly important in your practice. How do you manage/balance research and making? Balance is a key challenge, discipline is a key word. A constant practise of input which involves the faith that tangible objects will eventually manifest is required. When a line of research peters out then I return to a mode of play and making for the sake of making until the next quizzical sensation arrives. This first year out of the institution without a heavy project deadline on my shoulders has been spent mainly learning how to establish this mode within the freedom of ‘practising artist’, it’s been a hard year! Next year with the help of the Olivia Spencer Bower Award I will be able to more freely dedicate maximum time to the research factor and (faithfully!) the making will abundantly flow.
that urge that compels them to do it.
is perceivable, which is easy to test but makes finishing more difficult.
explains my fascination with those who do and with
then it feels done. I use this even emphasis of pressure to play with what
I do not collect anything in particular which probably
wouldn’t be a whole. When there is a certain ‘alloverness’ to the surface
I have quite a strict process that I follow, so if I skip a stage the painting
Are you yourself a collector? How does this influence
outcome of the work. How do you decide when a painting is finished?
us with the people that surround us. I use jewellery as the medium to explore these themes.
translated to the viewer.
mechanism by which we connect to the world around
ultimately becomes the subject of the work and is what I want to be
the collecting, possession and ownership as the
relies in controlled gestures and a rigorous working methodology, which
nostalgia and belonging. Consequently I look to
Bachelor of Visual Arts – AUT
Image: courtesy of the artist.
I am interested in the ideas that surround memory,
fallibilities of hand and eye. The process of the paintings construction
Bachelor of Design (hons) – Unitec
I am interested in narrowing the differentiation between the experience
The process of how you make a painting determines the finished
Image: Evolution, courtesy of the artist.
of making a work and the encounter of viewing through fluctuations and
Master in Fine Arts – Elam
What are you currently working on?
contains motion, violence and intimacy within a small pictorial space.
I am reworking a typically theatrical 17th Century battle painting. It
I am attempting to bring forth an affect or quality akin to witnessing
the insides of a painting.
Master of Art and Design – AUT
My practice looks at ways of mediating across time between images in paint. Drawing connections through time - brief and fleeting – I look to open up possible new narratives of time through an unreal, painted space. How important is paint to the ideas in your practice? Explain? Paint is very important to the ideas in my practice as my work is a searching for connection through the medium of paint. Through a sort of studied play composition is shifted, recomposed, broken down and built back up continuously; a meditative exploration of form through the plasticity of paint. The work comes out of an intuitive engagement with the event of painting and the indeterminacy of paint. secondstorey.org.nz
Image: Site 1, 2. courtesy of the artist.