NZ Sculpture OnShore Catalogue 2016

NZ Sculpture OnShore 2016 Supporting NZ Women’s Refuge

NZ Sculpture OnShore 2016 Supporting NZ Women’s Refuge 10-20 November Fort Takapuna Historic Reserve, Devonport

Contents

Preface ................................. 5 Curators’ Welcome ............. 6 NZ Women’s Refuge .......... 8

2016 Exhibition Catalogue Published by NZSculpture On Shore Ltd, wholly owned by Friends of Women’s Refuges Charitable Trust to develop and present a biennial outdoor sculpture exhibition to raise funds towards New Zealand Women’s Refuge.

NZ SCULPTURE ONSHORE LTD PO Box 164, Auckland 1140 admin@nzsculptureonshore.co.nz www.nzsculptureonshore.co.nz © 2016 NZ Sculpture OnShore Ltd and individual contributors Distributed by NZ Sculpture OnShore Ltd in all countries All rights reserved. Apart from fair dealing for the purposes of private study, research, criticism or review as permitted under the Copyright Act, no part of this publication may be reproduced in any form without permission in writing from the publishers. Every reasonable attempt has been made to identify owners of copyright.

ISBN 978-0-473-37661-1 Editor: Anna Hanson and Ross Liew Design and production: Kim Shaw Printed and bound by Benefitz in an edition of 3,500 copies Cover image Max and Bella and friends, Bernie Harfleet and Donna T Sarten

Artists John Allen ......................... 12 Sofia Athineou .................. 13 Sue Bancroft ....................... 14 Karin Barr ........................... 15 Greg Barron ....................... 16 Denise Batchelor .............. 17 Ed Bats ............................... 18 Russell Beck ....................... 19 Guy Bowden ....................... 20 Nicholas J Boyd ................ 21 Audrey Boyle ..................... 22 Peter Brammer ................. 23 Susannah Bridges ............. 24 Stuart Bridson .................. 25 Paul Brunton ..................... 26 Lucy Bucknall .................... 27 Melinda Butt ..................... 28 Todd Butterworth ............ 29 Mark Cain ........................... 30 Ke’ala Campton Baker ...... 31 David Carson .................... 32 Trish Clarke ......................... 33 Donald Cope .................... 34 Jane Downes ..................... 35 Sam Duckor-Jones ........... 36 Anah Dunsheath ............... 37 Sharon Earl ......................... 38 John Edgar ......................... 39 Darryl Fagence ................. 40 Gina Ferguson ................... 41 Bev Goodwin ....................... 42 Natalie Guy ......................... 43 Mia Hamilton ..................... 44 Donna Hanson ................. 45

Bernie Harfleet & Donna Sarten ............. 46,47 Paul Hartigan ..................... 48 Ray Haydon ....................... 49 Christine Hellyar ............... 50 Raymond Herber ............. 51 Graeme D Hitchcock ....... 52 Dion Hitchens ................... 53 Helen Holmes ................... 54 Sam Ireland ........................ 55 Mandy Joass ....................... 56 Nejat Kavvas ....................... 57 Joe Kemp ........................... 58 Phillippa Kenny ................ 59 Luke King ........................... 60 Virginia King ...................... 61 Anna Korver ....................... 62 Joachim Kreitmair ............ 63 Fiona Lenore ...................... 64 Margaret Lewis ................. 65 Jin Ling ............................... 66 Samantha Lissette ............. 67 Sam Longmore .................. 68 Jack Marsden-Mayer ....... 69 Richard Mathieson .......... 70 Campbell Maud ................ 71 Jenny McLeod ................... 72 Aaron McConchie ............ 73 EM Mertens ....................... 74 Kate Millington & Tim Elliot ........................ 75 Steve Molloy ..................... 76 Sharonagh Montrose ....... 77 Chris Moore ....................... 78 Roger Morris ....................... 79 John Mulholland .............. 80 Phil Neary ........................... 81 Kirsten Newton ................ 82 Nia-Val Ngaro Tali ............. 83

Ainsley O’Connell ............. 84 Joshua Olley ....................... 85 Jonathan Organ & Jessica Pearless ................ 86 Mary Paton ........................ 87 Donna-Marie Patterson 88 Lou Pendergrast Mathieson 89 James Pickernell ................ 90 Helen Pollock .................... 91 Oriah Rapely ....................... 92 Ramon Robertson ............ 93 Carol Robinson ................. 94 Frances Rood ..................... 95 Rebecca Rose .................... 96 Claire Sadler ....................... 97 Lipika Sen & Prabhjyot Majithia ........... 98 Peter Stoneham ............... 99 Oliver Stretton-Pow ...... 100 Llew Summers ............... 101 Jeff Thomsom ............... 102 Paora Toi Te Rangiuaia ... 103 Karen Walters ................. 104 James Wright ................ 105 Bright Calm City ............. 106 Hubbub ............................ 107 School’s Education Programme, Kidzone .... 110 Children’s Sculpture Exhibition ......................... 111 Schools ............................ 112 NZ Sculpture OnShore 118 Devonport Rotary ......... 119 Our Supporters .............. 120 Friends of Women’s Refuges Charitable Trust ............. 121 Acknowledgements ....... 122

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Preface

Welcome to the 11th biennial exhibition

of NZ Sculpture OnShore. Thank you for coming to support New Zealand’s largest and longest standing outdoor sculpture exhibition, featuring contemporary New Zealand sculpture by established and emerging artists from all around the country.

We are proud that our event has a twenty two year history of providing a sustainable source of income for “NZ Women’s Refuge.” All proceeds from ticket and artwork sales during this event will go to support the essential work they do with women and children living in fear of domestic violence and seeking to make fresh starts in their lives.

This year, we are delighted to welcome Curators, Ross Liew and Anna Hanson. They bring a delightful fresh perspective to the event programme, which is sure to enchant and engage both our loyal supporters and new visitors. Our special thanks also, to the artists who have contributed to bring us this inspirational and thought provoking exhibition. The large scale and diversity of the exhibition attracts a wide audience, from art collectors to young families, all keen to experience art in this beautiful setting.

We are very excited about the launch of “A New Light”, a spectacular evening programme of light, sculpture and music during the first weekend, which will see Fort Takapuna lit up under the night sky.

The unique Children’s Sculpture Exhibition once again showcases works by Auckland schools and art groups in the historic underground fort. The School’s Education Programme runs on weekdays and the popular Kidzone activity programme runs at weekends. The Gallery shop has a large collection of smaller works for sale and The Officers Mess café will be serving delicious morning and afternoon teas and lunch menu options.

We are most grateful to our both our philanthropic Patrons and our Corporate Sponsors, Hesketh Henry, Harcourts Cooper and Co and Fisher Funds Management. We could not stage an event of this size without their ongoing support and we greatly appreciate the enthusiastic involvement and commitment of their wonderful staff.

We also wish to acknowledge the tremendous work of “The Friends of Women’s Refuge Trust” and their team of over 230 volunteers, who give so freely of their time and make such a positive contribution to the success of this event.

We hope that you will enjoy the art and the stunning location and come away having had a very memorable experience.

Sally Dewar Chair, NZ Sculpture OnShore Ltd NZ Sculpture OnShore Exhibition 2016 | 5

Curators’ Welcome

An exhibition of this scale,

on this grand site poses a number of curatorial challenges: logistical, intellectual, conceptual and physical.

How we translate an abstraction of ideas and sculptures across a large site into a physical, visceral and tangible experience is one of these challenges. Maps, post-its, lists and photos are helpful but there is no substitute for standing on real ground, in the elements and experiencing the site and all its majesty.

For the landscape sets the scene for this exhibition, leading a significant amount of thinking and contemplation; the sparkling Gulf, the iconic Rangitoto. Beneath the green, undulating slopes lies multiple and various histories, Maori and European, and above, remnants of war - gun emplacements, artillery caches, hidden bunkers now at peace, surrounded by trees, children.

It is a site made for sculpture - a place where the man made intersects with the natural.

A challenge for us, becomes how we might present work so that it can compete with, and complement one of Auckland’s grandest landscapes.

Another challenge, that emerged out of the scale of the event, is how to handle over one hundred artworks created with a number of very different mediums, configurations and intentions. How do we create an experience that feels harmonious, cohesive or complimentary? Are these even the qualities we should be trying to achieve? And how do two people work together to create an exhibition that is conscious of both its own history and its role as a major fundraising platform?

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In response to these questions, one word comes to mind: connection. It is the path between two forms, the six degrees (often less) of separation that binds us together as humans.

We have sought to find a connective thread through all of the challenges we encountered, to help us navigate our way to the point where we can stand in front of an installed and complete New Zealand Sculpture OnShore 2016.

We are both long-time advocates for accessible art experiences, curating outdoor exhibitions, independent of gallery or museum spaces, is familiar territory. We believe that art in a public space has the capacity to speak to everyone - but the work will say different things to different people. Our hope is that you will find work you see yourself in, are attracted to, are inspired by and connect to. We also hope there is work that asks you questions and challenges you like it has us.

The connection between cause and creation is something we recognise as an intrinsic part of art practice, and enjoy seeing how it manifests within the 2016 programme. The exhibiting artists have all been motivated to contribute work because they believe in the cause - and hope that their small contribution will not only help those in need, but ultimately work towards the aim of making the cause redundant.

In the end, our greatest hope for this exhibition is that the efforts of our event team, the artists, our sponsors and partners, ultimately lead to the benefit of NZ Women’s Refuge through discussion about the work they do, the services they provide, and through the fundraising activities. You have contributed simply by coming through the gate.

So thank you for that, and thank you also for supporting New Zealand’s art makers, in doing so you encourage growth and reaffirm what can sometimes be hard decisions around a challenging vocation.

We hope all participants and attendees get the chance to form a connection with the art, the cause or the ideas on display. And from that may we grow the awareness and support for both the event and its cause.

Anna Hanson and Ross Liew Curators

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Women’s Refuge

Over 20 years ago a group of women fundraising for their

local Women’s Refuge decided to use their knowledge of, and interest in, art to create an event that has become an important national sculpture exhibition and the single largest source of private funding for Women’s Refuge NZ. To date, NZ Sculpture OnShore has raised over $1.5 million to support the wide-ranging work Refuge undertakes to make New Zealand a safer place for women and children. As an independent, bi-cultural community organisation our workers operate diligently at many levels – from face to face round-the-clock support, to involvement and influencing decision making at a political level. Our goal is always the same - to help prevent domestic violence, and help the women and children who are experiencing it.

We support and help women to make positive, safe changes in their lives; to access the services they need and obtain all the help they deserve and are entitled to. Our services include 24 hour emergency safe housing, we work with women and children in the community and provide safety services where women may continue to live with their abuser, and we provide and operate a 24/7 crisis number staffed by trained advocates.

Every night on average we care for 209 women and children in our 41 safe homes throughout New Zealand; and answer a call on our crisis lines every seven minutes.

With well over forty years of experience, we are widely regarded as experts on the topic of domestic violence in New Zealand. At a policy level we offer advice and make submissions to the Government, collaborate with other non-government organisations and produce original research and tools. We work in partnerships with organisations and businesses to provide better services and support for women and children wanting to live a life free from violence.

Refuge noun ref·uge \ˈre-(fyüj) also -(fyüzh)\ 1: shelter or protection from danger or trouble; 2: a place that provides shelter or protection.

“In misfortunes of life, true friends are a sure refuge. The young they keep out of mischief; to the old they are a comfort and aid in their weakness, and those in the prime of life they incite to noble deeds.” - Aristotle Through our friendship with the Friends of Womens Refuge trust we have been able to help provide refuge for women and children leaving lives of violence.

We wanted to create a refuge for Sculpture OnShore, to illustrate the longstanding relationship and the love and effort it is built on, the purpose of event, and to show the people of Aotearoa how Sculpture OnShore has benefited the women and children we work with over the years.

This is a joint collaboration between Women’s Refuge, Double Fish and Aurelia. Chris Elliot is an Art Director and Set builder and has designed and directed for many well-known NZ and international productions.

Ruth MacIntyre Principal Adviser Strategy, Media & Relationships

Awareness-raising is vital; we actively stage public campaigns such as our most recent – Give Hope to Refuge – drawing attention to the difficulties our organisation faces. We publicly challenge myths surrounding domestic violence and provide a strong voice in the public space on behalf of those that need it.

Every single visitor to NZ Sculpture OnShore contributes to our ability to continue this vital work. Donations from each exhibition to date has allowed us to fulfil a different need; transitional housing, appliances for safe houses, printing of resources, the ability to create sustainable income for refuge through a chain of high end recycled clothing boutiques, well equipped play rooms for our safe houses, counselling services for the women we work with, and so much more.

Women’s Refuge is extremely grateful to the Friends of Women’s Refuges Trust and NZ Sculpture OnShore Ltd. Your tireless efforts enable us to work towards our shared goal of a world free from domestic violence – where women and children are safe every day.

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A Snapshot of 2014

Photos: Goinga Thedinga. NB: artwork measurements are height / width / depth or length.

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Artists

John Allen

Sofia Athineou

Exclamation Mark, 2016

Dreams, 2016

Making a point? A reminder? A shock? A jolt?

A celebration? A congratulation? A look-at-me?

A proclamation? A challenge? A slap? A dig? An inconvenient truth? Make a point!

Sofia Athineou lives with her family in Auckland’s Waitakere Ranges. An art devotee, she practices art in mixed media with an emphasis in glass, a medium with many sensual and optical qualities.

Deodar cedar, oil sealer, coloured fibre cement, radiata pine, steel 2700 x 1200 x 800 mm $7,200

In his current sculpture practice, John Allen (BCom, MBA) is using timeless symbols to express his inner journey of discovery, facing everything, avoiding nothing and building tension for real change.

Allen says, “I am spot-lighting intractable problems in our society, for which solutions can only be found by seeing more deeply into ourselves. Change begins with me seeing deeper truth inside.”

Gaffer glass, Jarrah wood, concrete, steel 2-2600, 150-300 mm $4,000 - $9,000

In April/May this year, Athineou worked as a humanitarian helping refugees in her homeland, Greece. She found that all of her ideas for this exhibition were coloured by a profound realisation of the extraordinary and continuing good fortune of the nation of New Zealand.

The group of works, Dreams, is inspired by and dedicated to all the refugees who flee their homes with big dreams of a better future, a future without fear, terror and war, one full of peace, love and health.

Dreams was created to teach all of us to appreciate life and be grateful for what we have. Whatever individual hardships we may experience in New Zealand, we are all blessed by great beauty and diversity of our land and seascapes, our benign climate, and the enduring peace we enjoy as a country far from the troubles of the current global crisis. Athineou wishes to celebrate that. www.facebook.com/SofiaAthineouGlass

Allen has been working with wood for more than fifty years. He learned his craft in classes from 1969 to 1986. For most of his working life, he has been in strategic planning and governance that he has found enjoyable although he has always felt a deep restlessness. This unease is now quenched through focusing on his passion of working with wood.

Allen says, “There is something magical for me in natural materials and the juxtaposition of raw weathering and smooth finishes.” www.welcomedeeppeace.com https://www.facebook.com/johnernestallen/

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Sue Bancroft

Karin Barr

Peter’s Seagulls, 2016

Cordeline Vitreum, 2016

Satinless steel 1400-1700 x 350 x 220 mm $150 ea

Recycled glass bottles, steel 900 x 900 x 1400 mm $4,500

Following study at Elam School of Fine Arts and a career of art teaching that spanned twelve years, Sue Bancroft left the profession to focus on creating art and work as a landscape gardener. She has worked in a variety of media, ranging from clay, knitwear design, photography, screen printing, mosaics and painting, to metal work to create punga bird tables, beaten copper leaves and bird wind sculptures.

Karin Barr is a German-born artist based in the Waikato. She has a background in stone carving and has more recently learnt glass casting. Her work has been shown in exhibitions including Waitakaruru Sculpture Park (Winner of the Vazey & Child Award 2012), NZ Sculpture OnShore, Harbourview Sculpture Trail, Artspost Hamilton and Wallace Gallery Morrinsville.

Bancroft’s Porcelain Shirt was accepted to show in the Fletcher Brown Built exhibition.

She is best known for her pohutukawa leaf paintings. Commissions allow her to explore new ideas.

unique qualities that allow her to explore contrasting colour and light in her work.

Of this she says, “I like working with simple forms, mixing and matching with playful concepts.”

Barr’s work is held in the Wallace Arts Trust and private collections.

Cordyline Vitreum is a sustainable glass art installation of locally sourced recycled glass bottles and leaves of Cordyline trees (cabbage tree).

Barr enjoys the challenge of creating outdoor installations in response to different sites and environmental concerns.

Glass is a preferred medium due to its

She says, “I love the challenge of working with others and allowing their input to influence the end artwork.”

Bancroft has work in numerous private collections and has been exhibiting in New Zealand since 2007. www.suebancroft.com

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Greg Barron

Denise Batchelor

Totem Markers, 2016 Fired terracotta clay 2200, 1800, 1500 mm $9,500 A ceramic artist and potter with a career spanning more than forty years, Greg Barron attended Wellington Polytechnic in 1966 and began working as a potter in 1972 with Mirek Smisek at Te Horo. For a time Barron worked with Yvonne Rust at Parua Bay, Northland. His exhibition history includes the Fletcher Challenge Ceramic Award, New Zealand Potters Exhibitions, The Portage Ceramic Awards and the Sydney Myer Fund International Ceramics Award, Australia.

He has been the recipient of numerous grants and awards and, with assistance from Creative New Zealand, he has worked with artists internationally, particularly in China.

His work is held in the Australasian collection in Fuping and the Shanghai Craft Museum.

Stranded, 2015 HD Video: 2 minutes, 55 seconds – loop Edition 1 of 3 $2,800 Denise Batchelor works primarily in digital media, both still and moving image.

Recently relocated to the Hokianga, Batchelor had adopted somewhat of a nomadic lifestyle these last few years, following her subjects.

Responding to site-specific environments and through personal encounters with nature and the immediate world around her, Batchelor explores the subject of connection. “By taking time to observe, to empathise with other living beings, we may begin to perceive the interconnected and interdependent nature of the world we live in.”

The artist has exhibited widely in New Zealand, in both public and dealer galleries, art centres and festivals, and has been the recipient of artist residencies and art awards. In 2015 Batchelor was a participant in Deep Anatomy, a symposium examining performance and free-diving, held on Long Island, Bahamas. In 2012, she was invited to exhibit in the AIVA International Video Festival in Sweden.

Her work is held in public and private collections including the Wallace Arts Trust. Batchelor graduated MFA (Hons) from Whitecliffe College of Arts and Design in 2010. www.denisebatchelor.com https://www.facebook.com/ denisebatchelor.artist/

“I am interested in aspects of the real, the handmade, a sense of place and relationship to the environment. With the ideal of sustainability and using materials close at hand I dig and process clay from nearby pits, firing the kiln with wood. My work juxtaposes tradition against the sculptural vessel and the evolution of ceramics within fine art media.”

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Ed Bats

Through and Through, 2016 PVC conduit, acrylic, aerosol paint Variable dimensions Ed Bats is a New Zealand-based artist working in painting, sculpture and installation. He has exhibited nationally and internationally, and has produced murals around New Zealand, Australia and a multitude of European countries including Germany, Austria, Spain, Czech Republic, Poland and Croatia.

Bats is a three-time finalist in the Wallace Art Awards and has a number of works housed within the Wallace collection.

Russell Beck

Recent projects include solo exhibitions in Sydney, and in Hastings, at Parlour Projects (2017).

Bats’ mixed-media practice makes use of commercial and industrial materials and often finds itself blurring the line between ready-made and abstraction.

This is Bats’ first time participating in the NZ Sculpture OnShore exhibition, creating a site-specific installation in one of the gun emplacements within the historical Fort Takapuna.

Curvature of Time, 2016 Mild steel, galvanised and painted 1350 x 470 x 300 mm $8,000

Fusion, 2016 Mild steel, galvanised and painted 660 x 1200 x 390 mm $9,000 Russell Beck is a retired Museum and Art Gallery Director who lives in Invercargill.

Landforms, astronomy and geology inspire his designs. For more than 45 years he has worked in stone, mainly granite and jade. More recently, he has concentrated on the production of large works in metal, particularly stainless and mild steel geometric and illusionary forms.

“Time is a measurement of movement. If your eye travels along any face or edge of this sculpture, the journey changes direction, but it is continuous. Time can be bent or curved by extreme gravity. When Curvature Of Time is aligned due north and south in bright sunlight, it will cast two shadows with a light strip in the middle illustrating true noon when the width of the shadows and light strip are all equal. Noon is dependent upon longitude.”

The rhombohedral form challenges our perception of solid objects. Fusion is a further development of a series of Beck’s sculptures based on this form. The title of Fusion, with the two interlinked 70° rhombic elements, suggests many combinations of themes.

It also illustrates the dynamic forces involved with the collision of sea ice as it expands and moves.

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Guy Bowden

Nicholas J Boyd

Hanging Round, 2016

The Sistine Punga, 2016

Puriri solid/sticks, steel screws, wire rope 1200 mm diametre $10,500

Rimu, pine wood, oil paint, varnish, copper sheet, steel 2500 x 3000 mm diametre at top $40,000

Breaking Point, 2016 Puriri sticks, stainless steel screws and fittings, binding cord 2000 x 2000 mm $11,500 As a child, Guy Bowden was fascinated with the natural environment. These early childhood experiences influence his current art practice.

Boyd is self-taught, applying his powers of observation and dedication to practice, to experiment with painting and sculpture.

Wherever he goes, he scans the environment and draws in stimuli. He says that information remains in his head to smoulder and meld into artistic output.

He has worked in a variety of media, but feels most comfortable with recent work in wood.

Boyd experiments with his work as a means to bring forth something new. Travel and exploration keep him motivated to create, knowing that pushing beyond one’s boundaries into the unknown can reward with knowledge to extend one’s artistic practice.

Bowden has worked as a builder, a farmer and Harbour Master, and now he and his wife, Sandra, grow native plants on Tawapou, the family farm at Tutukaka.

Thank you to Stu and Hamish Drummond from A1 Sure Services. Also to Rod Pearless, Libby Boyd, Tim Boyd, Emma Boyd, Nick Jones, Ben Gundry and Alex Grant. www.nicholasjboyd.co.nz

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Audrey Boyle

Flower Power, 2016 Fabric, wire, Dacron, fence posts 6000 x 4000 x 6000 mm $ POA Born in Rotorua, Audrey Boyle has pursued various creative projects worldwide. She has an Honours degree in sculpture, and recently completed Masters of Design by Project in Sculpture, with distinction, at Unitec. She practices in Auckland.

“One hundred years ago, my great, great uncle William went off to WW1. The last sepia toned photo shows him standing amongst flowers, only the flowers were coloured. William’s final letter to his sister Maudie, from England, on the eve of his departure to France and the hell of the trenches read; “It is a cold place here.

Peter Brammer

Snowing and raining all the time. We will be glad to get away from here. They say that it is warmer in France.” He was killed in France and remains buried there.

Fort Takapuna, built during WW2, was one of a number of defence forts established around Auckland’s harbour and was an important defence site for years. At the same time, William’s nephews Harry and Dudley embarked for WW2. Dudley was chronicled to be the smallest soldier in New Zealand and legally should not have gone he was killed. Maudie had lost her brother and one of her sons. My grandfather Harry survived. When I was 7, Harry sat me on his knee and talked me through his photo album of the war. He showed me a photo of rubble and said “this is where my friend is.” www.facebook.com/famousinavondale

Figures, 2016 Corten steel 3700 x 670 x 760 mm $12,369 (incl plinth) Peter Brammer immigrated to New Zealand in 2001 and settled in Maungatapere, Whangarei in 2003, where he has a workshop and gallery.

Brammer has an intimate knowledge of steel and metals with over 26 years experience working as an engineer and artistic craftsman.

For the last 16 years, he has focused on being an artist and blacksmith.

Brammer works both in traditional and contemporary methods to construct his pieces. Using steel and other materials such as wood and stone, he produces anything from chairs and tables to candelabras and sculpture. All the pieces are bespoke.

Figures is made using corten steel which is continually evolving to a mature patina, when exposed to the natural elements. It goes through a range of oranges, reds and reaches dark brown on maturity - this then protects it and is ever lasting. www.fireandearth.co.nz

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Susannah Bridges

Stuart Bridson

Black and White Light Poles, 2016

New Species, 2016

Ceramic, copper, steel, halogen lamps 3 poles each approx 2500 x 150 mm $5,900

Recycled and found objects 1500 x 1000 mm $1,800

Susannah Bridges (BDes) is an Auckland based artist/designer. As well as producing ceramic works for domestic use, Bridges creates larger sculptural pieces, furniture and lighting. Her work has been acquired by the Auckland Museum and The Dowse Art Museum, and she has received national and international awards.

Stuart Bridson’s art practice involves painting and sculpture. He is interested in the environment, history and how people perceive things based on the Deconstruction Theory.

Bridges has worked for local Government as an Arts Project Manager and she has tutored at Unitec Institute of Technology in the Design School.

The sculptural growth, New Species, alludes to our environmental history and the notion of the Anthropocene age.

Although the work relates to a futuristic, science fiction notion, it is more of a statement about our endless consumerism and waste.

His current series of work is about the idea of a new species that has evolved from rubbish, resembling growths on the side of a tree.

“I make sets of tall ceramic light poles that are larger scale extensions of my range of ceramic lights and objects. The poles can be installed outside or inside and the bases can be configured to suit mounting into many surfaces. The light poles are both sculptural and functional. They are a striking visual feature in a home or garden setting and also function as lights.”

“Black and White Light Poles re-visits some of the classic cut out shapes that I use in my work, along with the timeless pairing of black and white. I like this combination of tried and true but for this work also new. This fits well with where I am at currently in my career, as I re-establish my art and design practice in my new workshop in West Auckland.”

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Paul Brunton Whose Move, 2016 Wood 400 x 1000 x 1000 mm approx ea $4,000 Paul Brunton works on all scales, from enormous trees to hand sized gifts, always with a great love for his material. He has a portfolio of private and public work spanning many artistic styles including figurative, and abstract. Flow is at the core of his creativity. He has a strong affinity for water that comes from a life time of yacht racing, surfing, diving, windsurfing and kite-surfing. His sensitivity to flow has become highly refined by playing Tai Chi Chuan, with its emphasis on fluid movement, flowing technique, the use of skill and applied force rather than brute strength.

Lucy Bucknall

The work aims to provoke our social consciousness, to reawaken our primal knowledge and to illustrate the truth of our inter-dependence on the natural world.

Hanging Around, 2016

Brunton aims to express his feelings rather than contain them. It doesn’t matter how the work is made, as long as something is said.

This work reflects Lucy Bucknall’s belief that there is far too much ‘screen time’ in our society. Constant gazing at devices: phones, tablets, laptops and such.

“I feel nearer, more part of the work, when I can walk around it, work from the six sides and literally be in the work. When I’m carving, I’m not aware of what I’m doing. It’s only after the shape begins to form that I see what I’ve been about. I’ve no fears about making changes for the works have a life of their own.”

It touches on the issue of “singular tech addiction” which occurs when a user is so engrossed in their technical device, they are oblivious to the real world around them.

Also, the more positive image of shared viewing possibly lessens the overall negative conitations of singular usage and the isolation it creates.

Phosphor bronze 400 x 300 x 200 mm $ POA

Re-enforcing this change of usage is a nod to the new Pokemon Go craze and the selfie – but not forgetting the indifference of to the whole phenomenon.

Bucknall believes that some of us fall hard for these things, some of us are on the periphery, and some of us just don’t care!

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Melinda Butt

Gilded, 2016 Gold painted recycling bins 2000 x 2440 x 2800 mm $8,800 Melinda Butt’s key focus is accessibility, she strives for it to work on many levels. Butt says she enjoys the freedom broader audience participation and the inclusiveness that public art provides.

Butt works in the public health sector which impacts and influences her creative process.

“It’s a privilege to be involved in this exhibition. This work is for all of those who have a connection with a Women’s Refuge, either behind the scenes or using services. Having first hand experience working within a refuge, I greatly admire the strength, support and courage that is generated from these environments.

Thanks Dulux for your generosity and brilliant Gold paint.

Todd Butterworth

Gilded is a ‘Warhol meets Wei Wei’ a as rye comment on modern consumerism and perception. This playful pop installation gleams back at viewers, mirroring beliefs and values as individuals and as a society.

The work of blatant camouflage reflects viewers’ impressionable measuring scale, inviting an audit of perceptions around wealth and how it is measured.

The metamorphosis from recycling bin into a gold bullion plays with the notion of how people look at the world and their role within it. The bins are an object associated with disregard, a literal vehicle for trash involved in a routine built around disposal.

A 180 degree shift from this point is a symbol of success and status, in a classic context a golden pyramid represents what seem to revere most in society. This literal flipping of trash to treasure reframes society’s association and connection to prosperity, it is a parody of truth.” www.melindabutt.com

Weave Bronze, 1250 x 900 x 300 mm $1,250

Twist Bronze, 900 x 800 x 300 mm $4,350

Coil Bronze, 780 x 600 x 300 mm $3,350 Wellington-born Todd Butterworth holds a BFA (Sculpture) from Elam School of Fine Arts, a Postgraduate Diploma Fine Arts (Sculpture) from Victorian College of the Arts, Melbourne and a Graduate Diploma in Education (Secondary) from the The University of Melbourne.

Repetitive geometries are of great interest to Butterworth. He is attracted to the repetition found in nature and man-made objects. He sees pattern everywhere: in the curve of a leaf, a swirling coiled rope. These patterns are reduced to their essence and inform the shape of his work. He sees a connection between slow workmanship and the repetition of ideas, mulled over, or treated again and again.

Weave makes a complex pattern from a number of interconnected elements. Twist replicates an act of twisting something around a stationery point and Coil works as a length of something wound in a joined sequence. www.monumentsculpture.co.nz www.facebook.com MonumentSculptureFoundry/

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Mark Cain

Hi Chair, 2016 Macrocarpa 3000 x 1500 x 1500 mm $12,000 Originally from the UK, Mark Cain’s love of timber has developed living in New Zealand due to the range of available wood varieties, their cultural and historical connections, and opportunities provided by the timber. Much of his work has been crafted in timber reclaimed from demolished buildings, enabling him to give each piece new life.

Cain has produced art in many forms – most recently in the digital art space, both online and printed. Over the last ten years,

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Ke’ala Campton Baker

he has developed a series of concrete art pieces and some of his latest work can be seen on beaches and in public spaces throughout New Zealand.

This is the second time that Cain has exhibited at this exhibition and he is excited to be part of the event.

Have you ever wanted to be a small person in a giant world? Hi Chair will let you enjoy this moment. Climb and sit on it, crawl underneath or rest in its shade. www.hichair.co.nz facebook.com/hichair | #hichair

Hawaiian Buoy, 2016 Heavy-duty reinforced PVC 1700 x 1700 x 1700 mm tetrahedron $2,500 Ke‘ala Campton Baker is of Hawaiian descent and was born in San Francisco, California. She studied art at the University of California, Davis. Her work has been exhibited in galleries and museums across the United States, Canada and New Zealand, and she has been awarded corporate, public and private commissions.

Ke‘ala was inspired by old school commercial art watching her father meticulously hand-ink graphic images and cut, with masterful precision, any line or curve using a craft knife.

Through her mentors, Ke‘ala was drawn to the Pop Art movement, and through her mother, figurative sculpture and the Hawaiian aesthetic.

Ke’ala’s simple narratives follow a Hawaiian poetic tradition with its hidden layers of nuance, concealed within a colourful Pop Art exterior. Aloha.

“I have chosen the tetrahedron shape buoy to celebrate our City of Sails and especially Devonport as it nurtures young sea-going adventurers embarking on a voyage of passion and discovery. The sea of grass melts into the ocean with Rangitoto in the background. Hawaiian Buoy floats upon the surface of the land or water marking a fun destination to reach.”

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David Carson

Trish Clarke

False Sycamore, 2016 Acer pseudoplatanus, pseudotsuga menziesii, preservative, stain 2800 x 2200 x 2100 mm $8,700 Self-taught artist David Carson was born 1968 in Nelson as the son of immigrant parents (Irish father, Australian mother).

He lives near Tapawera in the Motueka River Valley on a family farm with his wife and three daughters. Carson has exhibited throughout the country and has work in collections in New Zealand and abroad. www.davidcarson.co.nz

Ladies Retreat, 2016 Powder-coated, plasma cut aluminium 2400 x 2000 mm $9,200 Trish Clarke is an artist and sculptor based in Whangarei. Clarke has established herself as an artist for contemporary outdoor metal sculpture and she consistently exhibits in indoor and outdoor exhibitions throughout New Zealand. Much of her work revolves around traditional gender roles and also environmental concerns.

Clarke has works in both public and private collections including Dobbie Canopy, a work in Whangarei Town Basin’s Sculpture Park, and work with the Wallace Arts Collection.

Ladies Retreat is metal pagoda in the shape of a giant birdcage. The sculpture’s sides are cut with images of noxious weeds.

Influenced by Marilyn Frye’s Politics Of Reality: Essays In Feminist Theory, her artwork is Clarke’s play on gender, sexism and oppression.

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Donald Cope

Jane Downes

Togetherness, 2016 Brazed/beaten copper, steel tube 1560 x 1600 mm approx $43,000

Steel, found objects, LED lights, sound 1700 x 1250 x 900 mm Command Dalek $8,000 Dalek Drone 2 @ $7,500 ea

Don Cope began working with clay as a hobby with Peter Collis who helped him transition into more sculptural ceramic forms.

Deteriorate

This led Cope to enter and become a finalist in the Fletcher Brown Built Pottery Awards (1986-87) at Auckland Museum.

After years in business, Cope now has time to work full-time as a sculptor saying, “I love copper and have taught myself to hand beat and braze copper into life-size contemporary figures that exaggerate and distort the human form in a semi-realistic way.”

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Exterminate

Steel, found objects, LED lights, sound 1700 x 1250 x 900 mm Deceased Dalek $5,500 Skeleton Dalek $4 500 After an early career in cartography and draughting, Jane Downes completed a Bachelor of Design majoring in sculpture/3D design at Christchurch Polytechnic in 2001. After this, she followed her passion into architecture and interior/spatial design alongside developing her sculpture practice. Living

and working from a central city loft in Christchurch for several years, she worked mainly in fibre and plastic.

Downes now works from her home workshop in a secluded valley near Little River on Banks Peninsula. She sculpts mainly in metal thanks to her engineer husband, Mario’s construction, and installation skills.

Downes exhibits throughout the country, undertakes sculpture/interior design commissions, designs, makes and sells objects. Her lifestyle includes trips for exhibiting and selling works while developing a sculpture park, semi selfsufficiency and managing a small tribe of Manx cats. www.janedownes.co.nz

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Sam Duckor-Jones

Would You Dive Without Clothes Into Cold Water?

Painted ceramic, concrete 2 @ 1400 x 400 x 300 mm approx $4,600 Born in Wellington in 1982, Sam DuckorJones lives in Featherston, Wairarapa.

He says, “I have been making people out of clay since I was little. They are true relationships; we get to know each other right from the start… intimacy pulled from a bag of mud by investigative hands; only rarely are there significant personality clashes. We hang out… music, sometimes wine. The loveliest [clay guys] go out into the world and when they find new

Anah Dunsheath

digs, I am proud of them. The imperfect ones, who crack in the kiln,… who stand awkwardly, and those who return home defeated, inhibit spots in the back yard or the living room. They will populate the empty spaces until the real deal comes along.

The artwork’s title is taken from Merengue

by Mary Ruefle; a poem of questions that, when read all at once, suggests to me, a demand for intimacy, it is relentless in its needling. I like the action and tremblingly doubtful hopefulness of the line, “did you dive without clothes into cold water?” www.samduckorjones.com

Hot Goss, 2016 Stainless steel 2350 x 730 x 310 mm $14,500 Anah Dunsheath was born in Auckland where she now lives and works. She attended Elam 2003-4, and held 9 solo shows and participated in numerous group exhibitions since. Besides large acrylic paintings, Dunsheath works in steel, both wall-hung works, and large outdoor sculpture made of marine grade stainless steel. She has been a finalist many times in national awards, with works in private, public and overseas collections. Dunsheath is represented by Artis Gallery in Parnell.

“Building a narrative out of those that populate my art is my genre. The figurative images from candid photographs are enhanced and made into line drawings, capturing a fleeting look, an attitude, a mood. By grouping the individual figures, out of context, but now together, the work takes on its own a language.”

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Sharon Earl

John Edgar

Great Southern Land: Fiordland Trophy, 2016 Steel 1800 x 1200 x 2000 mm $24,500 After making Warhorse for the 2014 exhibition, Sharon Earl returned home to immerse herself in a myriad of dream projects on her Canterbury farm. The full restoration of a 1947 railway carriage and building a stone-pillared horse stable are among the improvements. Earl says that she has happily swapped her “sculptor’s” hat for a “maker’s” hat.

Working in wood, steel, fabrics and mortar has provided a welcome change from the sparks and welding fumes of her workshop.

For this event, Earl has incorporated aged timber and steel to tell the important historical story of Fiordland’s moose: that was trapped and hand-raised in Canada in 1909, then crated and shipped to New Zealand, and released at Supper Cove in 1910. To this day, Ken Tustin searches our extreme wild land for the elusive population of giant beast. It is a story of perseverance and wonder.

“I pride myself on the detail I can produce in an artwork that has a real power to inspire the viewer, with awe and wonder at the beauty of nature’s creations. The artwork is a comment on environment and nature’s resilience regardless of mans’ impact.”

The Compass, 2016 Basalt 1020 x 500 x 360 mm $8,500 New Zealand sculptor John Edgar (ONZM) has achieved international renown.

Throughout his long career, he has pursued the ancient knowledge of stone carving techniques. In his travels, Edgar has physically explored and selected individual stones from the great quarries around the world, as well as in New Zealand’s South Island. Central to his practice, are strong links to the environment, bringing into balance the elements of concept, material and process. Edgar’s fascination with duality has been a consistent thread throughout his work. He slices stone and inserts bands, crosses and lines of contrasting stone or glass. He recombines that which has been divided, turning natural forms into artefacts, instilled with a simplicity and modernism, that belies the technical processes involved.

Edgar is well represented in private and public collections nationally and internationally. He installed a public commission, Transformer, in the Auckland Domain, and in 2009 was made an Officer of the New Zealand Order of Merit for his services to art. In 2012, Great Britain’s Crown Estate commissioned the sculpture Lie of the Land for the Savill Garden in Windsor Great Park, United Kingdom. www.johnedgar.co.nz

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Daryl Fagence

Gina Ferguson

Escalation, 2016 Glass, steel 4000 x 1000 mm $6,500 Being creative with an engineering background has led Darryl Fagence on quite a journey. From designing and constructing lead lights, to blast furnaces for forming glass, kilns for draping glass, to welding and plasma cutting of stainless steel into forms of the imagination.

Fagence says that his journey has led him full circle to his own back yard, where he has created a sculpture garden. This bushsurrounded garden is open over summer for public viewing pleasure.

In a subtle way Escalation is a protest piece against man’s greed, ego, aggression and pursuit of the dollar, at the expense of the beautiful, blue planet Earth. He wants to remind viewers to be enlightened by the depths of blues in Earth’s oceans because it was there that humans first evolved.

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Rolling Out The Welcome Mat, 2016 Recycled rubber, wool, plastic ties 1000 x 9000 mm $14,250

Tools Of The Trade, 2016 Ceramic, decal, native timber Axes $865 ea, saws $985 ea G-clamps, chisels, hammers $765 ea nails $7 ea ($30 set of 5) Gina Ferguson enjoys the dialogue between practice and teaching. She is a lecturer and academic leader (undergraduate) in the Department of Design and Contemporary Arts at Unitec in Auckland.

Ferguson has exhibited in New Zealand and Australia. She primarily works in installation and is also involved in a wider range of art and craft practices.

Interests in the temporal, socio-cultural discourse, personal narratives, gender, music, film, theory, interactivity and relational aesthetics inform her practice.

Located in the abject and at times personal paradigm, Ferguson’s work is articulate through a material sensibility and audience interaction that enriches meaning. The personal in relation to the public as particular to New Zealand enables an opportunity for discussion central to place, time and political positioning.

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Bev Goodwin

Pacific Leis, 2016 Recycled aluminium wire elements, cable ties, wire linkages, faux grass 1800 mm diametre approx $3,300 Bev Goodwin enjoys working with and transforming recycled materials.

Pasifika Welcome welcomes all visitors to this year’s exhibition, recalling the vibrancy of the islands. In Pacific custom, visitors are garlanded with leis as a greeting, a welcome, as well as an invitation to enjoy and relax. Leis are worn for love, honour, respect, and simple pleasure. Pacific Island people are always aware of being a small group of islands in the southern Pacific

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Natalie Guy

Ocean and part of the Polynesian island group. Their own island customs have been interwoven in New Zealand culture adding great vibrancy to the mix. From Pacific island heritage, Goodwin says, “We appreciate and love this richness.”

Baburuburonzu #1, Baburuburonzu #2

Over the last two years she has exhibited work at Harbourview Sculpture Trail, Artful Fashion, Estuary Gallery, Brick Bay Sculpture Trail, Sculpture in the Gardens, (Auckland Botanical Gardens), Kaipara Coast Sculpture Gardens, and the National No 8 Wire Awards, Hamilton.

Natalie Guy graduated with a Master of Fine Arts from Elam School of Fine Arts in 2013, after completing a Post Graduate Diploma in 2011. Guy has exhibited frequently and has been represented in all the major contemporary art awards in New Zealand over recent years. She was awarded a Merit Award in the National Contemporary Art Award 2014 and won the Woollahra Small Sculpture Award (Australia) in 2014. Guy is represented by Jensen/Fox Jensen Gallery in Auckland, New Zealand and Sydney, Australia.

Bronze, natural patina, plastic covered wire 300 mm diameter $7,500 ea, $14,000 both

“The bubble lamp was designed by George Nelson in 1947 using his new technology of self-webbing plastic which resembled paper. Baburuburonzu (bubble bronze) has been cast directly from a George Nelson bubble lamp as a continuation of my research into modernist furniture and objects and the meanings these iconic objects carry into ideas about style and taste today.

Reworking this object in bronze transforms more than just the materiality of the object the utility is now reversed. It is no longer light in weight and nor can it emit light. It is now a permanent monument to a modernist icon.” www.natalieguy.com

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Mia Hamilton

Donna Hanson

Tethered, 2016 Ceramic rocks, rope 400 x 200 x 200 mm $300 ea

Reflections Of The Sky, 2016 Ceramic bowls 150 x 330 x 330 mm Large $400 ea, small $350 ea A full-time artist since 2008, Mia Hamilton was the 2011 Potter in Residence at Wellington Potters Association. During the past five years, she has been a participant of Sculpture by the Sea, Cottlesloe, Sculpture by the Sea, Bondi, Headland Sculpture on the Gulf, Auckland’s Sculpture in the Gardens, NZ Sculpture OnShore and the Dowse’s Shapeshifter exhibition. She has also been a finalist in some of New Zealand’s largest art awards.

Safe Place, 2016 Found objects, cast aluminium 13 bottles (approx measurements): Large: 200 mm, $1600 Medium: 1200 mm, $1100 Small: 400 mm, $450 “My current works are an extension of my set-dressing career. I create environments to evoke a period of time, to establish a character, mood and theme.

Safe Place is an interior setting that has been neglected and overtaken by the natural environment. Bedroom furniture is staged like a set and work as props for the sculptures. The floor and surfaces are strewn with wine bottles and the plant forms grow from these vessels.

As much as we nurture, protect or grow our environment we cannot control it.

Our reality is of natural disasters in our evolving planet and spaces that are not cared for are re,claimed by the natural environment. I believe that this concept translates into women’s refuge issues: women try to control and manage their environments and nurture their families, but an underlying force or an aggressive element can create havoc at any time.

The wine bottles littering the floor and bedroom are the catalyst for personal trauma. 13 numbered bottles represent the New Zealand statistics (for the past 5 years) for the average number of women who lose their lives to family violence every year.”

Hamilton’s recent body of outdoor work is typified by simple, bold contemporary pieces such as French Knitting which won the Waverley Council Prize at Sculpture by the Sea in Bondi, 2013. These works are raw, honest and larger than life.

Tethered is recognition of the point we cease to be strengthened by ownership, instead becoming imprisoned by it. Do we work to live or live to work? While, Reflections of the Sky is a chance to pause, contemplate and reflect, before moving forward at a more measured pace.

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Bernie Harfleet

Dog, 2016 Treated pine, roofing iron, paint, chain, collar, wedding dress hardware 1000 x 1500 x 1000 mm $3,500 Bernie Harfleet is based in West Auckland.

He describes his art practise as socialpolitical, and has an interest in exploring the darker side of human nature.

Working increasingly in collaboration with artist partner Donna Turtle Sarten, Harfleet maintains an individual practice that includes painting, photography and sculpture.

Bernie Harfleet & Donna T Sarten

For NZ Sculpture OnShore in 2010 and 2012, Harfleet made work directly relating to domestic violence. Harfleet says, “ A major part of wanting to be in this exhibition is its support for NZ Women’s Refuge.

Max and Bella and friends, 2016

“As a male, it is important for me to use my artistic voice to speak out against abuse and violence.”

Bernie Harfleet and Donna Turtle Sarten are well known for their social-political art practises. They are regular exhibitors at NZ Sculpture OnShore, often making work that highlights the concerns on NZ Women’s Refuge. Their work examines aspects of society that sit outside the comfort zone of many. Topics include war, domestic abuse, the aged, child poverty, and homelessness.

His work this year returns to this theme.

Dog is a response to the lives left behind by the women and their children who NZ Women’s Refuge support.

Polypropylene, galvanised wire, stainless steel eyelets $10 ea

Sarten holds a MFA from Elam, and Harfleet is self-taught.

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While maintaining individual practises, over the last few years they have worked collaboratively on a number of projects.

These not only have a visual aspect, but also include direct activation and interaction with communities. They have termed this “Community activated art action.”

With Max and Bella and Friends, the couple turn their attention to mental health and in particular incidents of depression and anxiety.

The work is made up of 10,000 windmills which represent 5%, of more than 200,000 New Zealand adults who experience psychological distress every four weeks.

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Paul Hartigan

Ray Haydon

Silver Star, 2016

Carbon fibre, automotive paint, stone 1800 x 750 x 800 mm $32,500

Auckland artist Paul Hartigan’s career spans five decades. A painter, photographer and sculptor, he is best known for his large public neon installations, located in Auckland, New Plymouth, Wellington and Christchurch.

Drawing on his background in industrial design, sculptor Ray Haydon creates sinuous linear forms that respond to space, on a monumental and domestic scale, using an extensive variety of materials. He uses the form of sculpture with its multiple vantage points to create his drawings in space. These open networks of linear abstract formations range from colossal outdoor sculptures to intimately scaled works for the interior.

Through this unconventional use of sculpture, he is able to draw organically in three dimensions.

This large new light work, Silver Star, is dedicated to Jacqueline Fahey, a feminist New Zealand painter of remarkable character, tenacity and invention. The series My Stars attributes coloured neon stars to pioneering New Zealand women artists who set the bar high, establishing a pathway forward for the next generation. Hartigan believes that the women he has chosen to acknowledge deserve to be celebrated, and he has endeavoured to imbue each work with something of the artist it represents.

His acclaimed monochrome neon Colony (2004), transformed the University of Auckland’s Engineering Building on Symonds Street, and won the Metro Award for Best Public Sculpture in 2006.

Nebula Orion (2001) commissioned by Orion NZ Ltd, is a giant neon work that survived the Christchurch earthquake in 2011, and continues to function today.

In 2017, Hartigan will install CINEMA, a new neon commission, at New Plymouth’s GovettBrewster Art Gallery / Len Lye Centre.

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Volume 1090

Neon, painted aluminium 2100 x 2100 x 100 mm $48,000

Haydon’s sculpture is in constant conversation with its environment. He is concerned with the creation of forms that are pared back, encompassing a sense of the essence of nature and movement.

He began his Volume series in 2014.

With Volume 1090, the viewer is engaged in a dialogue with the organically animated work. Rather than aiming for a replication of nature, the form is pared back, encompassing a sense of the essence of nature and movement. The work is meticulously finished and the subtle redirection in the wind belies the technical precision employed.

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Christine Hellyar

Raymond Herber

Coronet

Windscape, 2016

Bronze 1000 x 1000 x 1800 mm $3,500

Marine grade stainless steel 3410 x 3000 mm $36,000

Christine Hellyar is an Auckland artist whose work is related to human interaction with the natural environment.

Toi Toi, 2016

She has exhibited outdoor works in Korea, Singapore, Spain, Holland and Australia, and has two permanent bronzes in Auckland parks. She has also had a bronze work commissioned for the Debating Chamber in Parliament.

Hellyar says that her work Coronet connects New Zealand plants to the traditional Japanese garden theme of demonstrating the evolution of plants.

Hellyar belongs to Outdoor Sculpture 2001 Incorporated Society.

Stainless steel 2700 mm $4800 ea (edition 15, 15, 16/25)

Tulips, 2016 Stainless steel 2100 mm $2400 ea (edition 8, 9, 10/100) Raymond Herber lives and works at Iron Ridge Quarry Sculpture Park, nestled in the hills overlooking North Canterbury’s Waipara Valley. He was born

in Christchurch in 1971; one of seven children from a European immigrant family of artists. Steel and stainless steel are Herber’s media of choice. His work encompasses small-scale intimate studies of moments suspended in time, whimsical interactive and kinetic pieces as well as large scale private and public sculpture.

“Wind Scape is inspired by the mighty Southerly fronts that can be seen coming over the horizon from where I live elevated in the Waipara Valley. Capturing this moment in time when the winds change direction from the north-west to the south, observing this drama unfolding in the sky is something that has always captured my imagination and made me stop and take note.” www.raymondherber.com

www.christnehellyar.com

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Graeme D Hitchcock

Dion Hitchens

Flying Ties II, 2016 Patinated bronze, laser cut steel, galvanised steel tube 1520 x 400 mm approx $6,900 ea Graeme Hitchcock progresses his popular Man Looking series. The initial idea was triggered after by his observation of a group of be-suited businessmen at a bus stop, hands in pockets, gazing skywards and looking as if they wished they were elsewhere.

The idea was subsequently transformed into bronze and glass sculptures and the strong demand for this work demonstrates just how well this theme strikes a chord.

In this limited edition, simply called Flying Ties, Hitchcock sets his men in a more classic garden bust pose, albeit in a slightly whimsical mood of liberated businessmen, free from their drudgery and disciplined routines. The men are happy, their ties and their dreams fly free in the breeze.

Largely self-taught, Hitchcock sculpts and paints full-time from his studio and home on the Kapiti Coast. www.graemehitchcock.co.nz

Homage to the Children of the Light, 2016 Powder-coated/galvanised LED lights, steel 2400 x 700 mm approx $12,500 ea Dion Hitchens’ work engages the ‘space between’ our personal paradigms, a space informed by both culture and philosophical values. Hitchens says, “I provide icons for both historical and personal stories, being most interested in the ‘unseen’ values, experiences that inform our relationships to the natural world. I am interested in how the values from the past can inform our actions for the future. My work explores the connection between all things (Whakapapa).”

He is of Tuhoe, Ngati Porou, Chinese, English and Scottish descent; a global citizen with a tribal view.

Hitchens work can be found in major collections around the country including Te Papa Tongarewa Museum of New Zealand, Waikato Museum and Auckland Art Gallery as well as in the public art collections of Auckland Council and Hamilton City Council.

Homage to the Children of the Light speaks to Hitchens of .”..the sacred origins of women and their miraculous ability to give life.” www.dionhitchens.com

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Helen Holmes

Sam Ireland

Catastrophism, 2016

Pack Of Beasts, 2016

Carved, painted wooden rocks 700 x 1500 mm $1,800

Recycled plastic, stainless steel 650-900 x 400-450 x 1300-2000 mm $760 ea or $17,000 set of 25

Helen Holmes graduated from Auckland University in 1986 with a Bachelor of Fine Arts specialising in jewellery. Since then, she has worked across several disciplines including sculpture and textiles. Her work is strongly influenced by the natural environment and she likes to reveal a raw, hand-made quality.

All of Auckland’s volcanoes, except for Rangitoto, erupted on the mainland. Each volcano destroyed any native forestry in its vicinity. The remains of these forests were buried and preserved by ash and lava flow.

When standing at Fort Takapuna, Holmes says she wants people to reflect on the drowned valley system that is now Takapuna Reef and how geological history shaped the Waitemata Harbour.

Sam Ireland was born in England and having developed a keen interest in ceramics from a young age, has spent the last 30 years working in ceramics and in cast glass.

Ireland’s sculptural work is greatly influenced by what is going on in his own life and environment. He says, “Form in art, as in life, is never perfect - it is frequently misshapen and often quirky and humorous.”

Graduating from Sunderland University (UK) in 1987 with a BA (Hons) in glass

and ceramics, he has directed a small gallery, tutored cast glass workshops and worked in set design and technician roles (hot glass, ceramics). An artist who has exhibited widely, his work is on display in the Auckland War Memorial Museum, in Auckland’s Sky City, and is held in many private collections.

“I have always had a dog, and dogs have frequently featured in my work. The way they look is in constant change.

However, despite being known as man’s best friend, dogs are increasingly treated in beastly ways, allowed in fewer places, so by having a whole pack together in this sculpture event, I am helping them to reclaim a bit of urban-lawn.”

Holmes’ artwork speaks of the fossilised remains of ancient forests that are commemorative stones of past natural catastrophic events. www.helenholmes.net

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Mandy Joass

Nejat Kavvas

Here We Are, 2016

Joy of Hauraki Gulf, 2016

Steel, harakeke, stone 3000 x 3000 x 3000 mm $35,000

Kiln cast glass, stainless steel armature 1802 x 34 x 1092 mm (incl stand) $7,800

Mandy Joass recently graduated from the University of Canterbury with a BFA in sculpture. Her full-time art practice also includes printing, painting and ceramics.

Northern Royal Albatross, 2016

Joass’ inter-woven ancestry traces back to both Ngāpuhi and the first European settlers. She uses weaving as a metaphor for the overlapping and integration of these two cultures. The contrasts and tensions created by using disparate materials such as harakeke and aluminium, or granite, steel and korokoi, for example, speak to the complex push and pull of this ongoing, ever evolving relationship.

Stainless steel 2990 x 2535 x 910 mm $39,900 Nejat Kavvas became a full time artist after studying glass casting, pate de verre, flame working and sand casting in United States, Europe and New Zealand. Through his own textile company, he designed rugs and carpets for the New Zealand and

overseas markets. Kavvas has taught at various art schools abroad and in New Zealand. He has exhibited locally and overseas and was invited to exhibit at prestigious SOFA Art Exhibition in Chicago, 2011.

Of his practice, Kavvas says, “Artists are raconteurs of their society and of their epoch. Their language is the disciplines, materials and subjects they use. I use different media [such as] bronze, glass, stainless steel, iron, stone, alone or together, to tell my story. I try to create artworks that transmit sensations, with some elements of fiction or fantasy.”

“Weaving at its simplest forms an X. X is enigmatic, it holds a place, indicates where you are, can be a no or a place-holder for a consenting signature. I have been working with weaving as a metaphor for post-colonial identity, showing tension and change though the juxtaposition of disparate materials.”

“Here We Are is a meeting, a point of departure, the multi-directional trajectory of time and whanau. Inevitably when the iron-age met the stone age, balances and perceptions were challenged.”

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Joe Kemp

Phillippa Kenny

Tangata Whetu (Star People)

(Dis)connect, 2016

Totara wood, whale bone, rope, wire cable 400 x 400 x 1800 mm $12,000 ea

Perspex, hardwood, stainless steel fittings (Dis)connect: $4,250 (5 pieces) Behold: 1610 x 1420 x 270 mm The Observatory: 2600 x 180 x 90 mm, $500 Dwell 1: 1500 x 95 x 95 mm, $350 Dwell 2: 1880 x 95 x 95 mm, $350 Dwell 3: 2200 x 95 x 95 mm, $350

Christchurch-born Joe Kemp has lived in the Bay of Plenty since the age of two. His tribal connections are Ngai Tahu, Ngapuhi and Te Arawa (Ngati Makino).

Kemp is self-taught and has been sculpting for over 15 years. His preferred medium is native timber. He has also carved in stone such as Oamaru and Hinuera. He has won several national competitions (Lake House Wood Sculpting symposium and Kawerau Woodfest & National Woodskills Competition).

The women in Kemp’s whanau were a significant influence throughout his formative years and he acknowledges this through some of his contemporary masks and figurative pieces.

His methods are intuitive and sympathetic to the material at hand; he waits for an image to reveal itself, then he removes the excess.

Kemp believes in a spiritual connection with his ancestors and Tane Mahuta, the life force of the tree. As a part of a trilogy he feels a sense of responsibility to bring out the Wairua (essence) within each piece, giving its own unique energy and an affecting presence.

Kemp’s works are represented in many national and international private collections as well as public collections in and around Rotorua.

Phillippa Kenny (BVA) is an Auckland-based multi-media artist who has exhibited in a number of Auckland galleries and outdoor sites. Several of her light-based works are included in the Wallace Arts Trust Collection.

She says, “This work has developed from my observations of an increasingly anxious and unsettled society. Advances in information technology purport to promote greater connectivity and allow one to rapidly follow ever widening trains of thought. However, with these increased demands on our attention, comes an ever busy thinking mind, pulling our consciousness into evaluating almost every instant of our wakeful hours – judging, critiquing, measuring and analysing - leaving mere fleeting instances of a calmer connectivity with the present moment.”

Utilising transparent hand-held mirror silhouettes, (Dis)connect is an invitation to dwell in the immediate, tangible present and to be restfully observant, without constant interference from distracting slivers of past or future concerns. Kenny asks, “Are we really as present as we believe we are?”

Tangata Whetu depicts old knowledge from the stars our ancestors used in the great migration from Hawaiiki to Aotearoa, with the Kaitiaki Tohora (guardian whale) over seeing the voyage.

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Luke King

Hustler, 2016 Marine grade stainless steel 960 x 1230 x 330 mm $16,000 Since graduating with a Graphic Design Diploma from AUT in 2003, Luke King has been studio assistant to renown sculptor Virginia King. His role is to provide CAD drawing services, technical assistance with fabrication, finishing and installation.

“Animal skulls have always intrigued me and been something of a treasure; whether finding a sun bleached sea bird’s skull or a long forgotten farm animal in a remote rural landscape. I’ve considered myself lucky finding one intact.

Virginia King

Larger animal skulls are often considered a trophy and they have been hunted specifically to be mounted as a showpiece. The bigger the beast or larger its horns, the more it is prized. In Hustler, I have attempted to create an accurate impression of a cow skull from stainless steel to make a powerful and impressive trophy, without loss of life.”

Orb, 2016 Marine grade stainless steel 5 x 850 mm diameter $42,900 Virginia King is one of New Zealand’s best known and respected sculptors.

Born in Kawakawa, King’s artwork draws attention to the fragility and vulnerability of Earth’s ecosystems by abstracting and magnifying the complexity of natural forms.

Her artworks are informed by mythology, history, science and literature.

King has undertaken numerous public commissions both nationally and internationally. Her sculpture has been published in Virginia King Sculptor by David Bateman Limited.

The form of Orb alludes to maritime signalling systems, historic astronomical instruments and obsolete apparatus created for the measurement of time.

Filigreed, modified Celtic spiral imagery evokes physical polarities. Traditional weaving patterns allude to the physical necessities of nurturing and warmth. The encircling band, represents Earth and the sky. The two crosses pre-date Christianity and intersect at the heart of the sculpture, alluding to the four points of the compass.

For the Celts, the ‘equal-armed cross’ referenced time, navigation and the four seasons.

Orb is created to focus on balance, material stability and spiritual navigation. www.virginiakingsculptor.com

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Anna Korver

Staircase With Dissolving Dress, 2016 Mild/corten steel 4000 x 600 x 1500 mm $10,000 Anna Korver is based in Taranaki. She has been working steadily since receiving a BFA in sculpture from the University of Canterbury in 2013.

Korver’s works are feminine in their identity and perspective, while the fundamental concepts and feeling of the works invite intimacy and personal connection. The

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Joachim Kreitmair

forms, which are often abstracted and minimalist, strive to project the inner self through the outer form. Though driven by experiences and concepts that question and challenge traditional feminine roles, Korver’s figurative works also strive to find the balance of masculine and feminine within the form.

Korver was an a trustee on the board of Eco Artists New Zealand for ten years and an executive member of Te Kupenga stone sculpture society. www.annakorver.co.nz Photo: Dominika Zielinska

The Sweet Fruit Is Ready For Picking Steel plate, steel pipe 3100 x 2300 x 840 mm $25,000 Joachim Kreitmair was born in WestGermany in 1960. After visiting New Zealand in 1993, he and his wife began a new life in New Zealand.

Kreitmar draws inspiration from life’s infinite beauty and variety. Using various materials including corten steel, stainless steel, copper, bronze and stone, he says his design and fabrication process draws on the inherent qualities of his materials.

He regards his artwork’s outer form as the doorway to a deeper and more uplifting experience for the viewer.

Since 1997, Kreitmar has contributed to many major shows, including the Norsewear Art Award, Saatchi Art and Sculpture OnShore. He was a finalist in the Northland Art Award, 2013. His work is held in private collections locally and offshore, and has featured in numerous publications such as NZ House and Garden and Savvy magazines.

The Sweet Fruit Is Ready For Picking reflects on the notion that life is constantly presenting opportunities, ultimately offering the relief that nothing of importance can really be missed. www.joa-chim.com

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Fiona Lenore

Chaos and Order, 2016 Painted concrete 5 @ 1500 mm cubed $2,300 Fiona Lenore is a young artist who lives and works in Auckland. She is interested in complex geometry and the disparate relationship between static mathematical forms and fluid organic forms. Process plays a large part in her work; traces of the act of making are frequently incorporated into her finished works.

One of the key elements of her practice is materiality. That is, the expression of material qualities, the nature of objects and materials; but also the way people

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Margaret Lewis

interact with different types of objects, the way people know objects, and understand forms. Ambiguous abstract forms are often used as a means of incorporating multiple signifiers to encourage the viewer to contemplate and question their understanding of an object.

Lenore works in a range of sculptural materials and also has a keen interest in printmaking. She graduated with a BFA from Elam School of Fine Arts in 2011 with First Class Honours and has been involved in exhibitions throughout New Zealand. https://fionalenore.wordpress.com/

We Want You To Know, 2016 Temporary fencing, tape NFS Margaret Lewis considers herself a maker, a conceiver and a producer at the leading edge of urban art practice. She says her thinking and practice are innovative in the burgeoning field of public art practice where the contemporary meets the community in new ways.

Lewis sees her role as an artist and producer, to bridge aesthetics, and apply innovative materials in engaging ways, to show excellence in making and engagement of communities in the creation of unique artworks. Many of

her works involve a digital engagement component using Facebook, Twitter, Instagram and Tumblr.

Lewis states her focus as an artist is twofold: 1) to re-contextualise craft by using unexpected materials and having works appear in unexpected locations (often in the public realm), and 2) to engage communities in the making and experiencing of those works, either in developing the subject matter, constructing the work or interacting with the work.

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Jin Ling

Friends, 2016 Terracotta clay 1280 x 650 x 600 mm $4,000 Jin Ling was born in the Henan province China. She studied at Guangzhou University where she gained a degree in Fine Art majoring in Sculpture. She Lectured in art and design for eleven years at Suzhou University and undertook public commissions of large scale sculptures for the Suzhou City Authorities.

Ling arrived in New Zealand in 1977, and began working as a sculptor and since then has exhibited in New Zealand and Australia. She works from her studio

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Samantha Lissette

in Glenbervie, Whangarei. Exhibitions include: Gold Coast International Art Award, Australia, Annual Spring Exhibition of art Invercargill (Guest Artist), Art Out There, Waiheke, Shapeshifter, Lower Hutt, Kaipara Coast and NZ Sculpture OnShore.

Friends explores the relationship between human and animal; in this case a young boy and his dog. The dog’s affection for the boy is unconditional; the boy trusts that the dog’s behaviour will reflect his loyalty towards it.

Gull Post, 2016 Bronze, pine posts 2000 mm $8,000 - $10,000 ea Samantha Lissette is a member of the New Zealand medal makers group MANZ and exhibits regularly with International Medal Makers Congress. She has a degree in Philosophy.

Lissette has received public and corporate commissions for her work, most notably for Auckland City Council to Guanghou, China; Auckland Botanic Gardens and Auckland University. She works extensively in the medium of bronze.

Her work explores the relationship between ‘designed’ elements in the

natural world and man’s adaptation of them; merging organic and constructed ideas, exposing an innate link between the two. The narrative quality in her sculpture questions aspects of the human condition, bringing a sense of playfulness and delicacy to a medium traditionally associated with weight and substance.

“Gull Post is made of wax sheets folded to be reminiscent of origami. I have broken the form into basic shapes. Negative spaces inform the shape and volume as much as the solid form, working together to create the bird.” www.samanthalissette.co.nz

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Sam Longmore

Jack Marsden-Mayer

Memory and Resonance at Fort Takapuna, 2016 Sound installation Variable dimensions $ NFS

The sound installation Memory and Resonance at Fort Takapuna explores the poetics of resonance, drawing links between the acoustic phenomenon which allows sound an extended but still fleeting presence in the world, and the psychological phenomenon of memory which grants the past a second wind.

The sounds of the artillery formally installed at Fort Takapuna but never fired in war, recorded from within the bunker, resonate quietly, asking viewers to consider the historical and physical specifics of the site where the work is installed.

Triceratops, 2016 Driftwood, steel 2000 x 1500 x 4000 mm $16,000 Jack Marsden-Mayer is from Manchester, England and is now living in New Zealand.

He studied sculpture at Gordonstoun International School in the UK. He spent a great deal of time traveling before settling in New Zealand, at Raurimu, Ruapehu.

The sculptor now resides in Whanganui and boasts a large warehouse studio where he has been working with driftwood and is currently busy working on commissions.

He is a regular contributor to this beinnale exhibition.

Grounded in the writings of Maurice Merleau-Ponty, Longmore’s practice and research occurs in the spaces where his interrelated concerns for the experience of aural perception, the phenomenology of architectural space, field recording as compositional action and the para-ontologies of sound:silence / signal:noise, overlap.

Longmore holds a BVA in Sculpture from the Dunedin School of Art and now lives in Auckland where he has completed an MFA at Elam School of Fine Art.

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Richard Mathieson

Campbell Maud

Round Tree, 2016

We Come In Peace, 2016

Sandcast bronze, stainless steel axle Finish: liver of sulphur, cupric nitrate patinations, waxed 2500 mm $16,000

Copper, brass, cast bronze 1800 x 500 x 500 mm $7,500

Richard Mathieson was born in Taranaki and now lives with his family in South Auckland. He studied sculpture at Elam School of Fine Arts. Alongside scupting, he operates an art and object installation business and is a long-time member of Medal Art NZ. Round Tree is a medal tree, a tree of celebration that gives thanks to the fine work of NZ Sculpture OnShore and a congratulatory nod to the 25th anniversary of Medal Art NZ. Round Tree pays homage to the repetition of nature - the composition of the elements is a double helix with each of the castings rotating anticlockwise 18 degrees from the one below. The castings (two arms holding up two medals) fit sleeve-like over a central axle and are from the same pattern mould. The edition of 25 castings bind together to make one much larger work.

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Trophy, 2016 Copper, brass, cast bronze 1800 x 500 x 500 mm $8,800 “I have been wrestling with metals for 25 years, since art school. Aspects of our natural world always seem to influence my work and I enjoy depicting the juxtaposition between man-made structures and environments.”

With a touch of whimsy, We Come In Peace speaks of humans as explorers, invaders and conquerors. While, for Maud, Trophy represents humans’ perceived dominance of the natural world, or an uneasy symbiosis.

Maud lives in Wellington with her husband, fashion designer Otsu, and their three children.

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Jenny McLeod

Blue and Green Water Bowls Steel axle stands, steel shearing shed parts, wood, glass 1450 x 500 mm / 1650 x 500 mm $3,950 “These sculptures have been developed around the found metal parts. Our family farm was sold several years ago and had been in our family since 1892. We helped my parents with the massive job of moving and salvaged many interesting things that were otherwise destined for the scrap pile.

The shearing shed parts were part of a machine used to sharpen shearing combs.

They are beautifully crafted metal, heavy, solid and still going strong after more than 100 years.

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Aaron McConchie

The cross shaped axle stands also interest me as sculptural forms. These came from a friend who has also gone through the emotional down scale of selling family farm land.

There’s No Pod Like Home, 2016

As a farmer’s daughter, I have grown up with recycling, adapting and making things work using what you have. The chance to re-use and reinvent these found objects into another life has come together incorporating my fused glass bowls. I have kept the two axle stands together as a pair because I think of them as twins, who have been together since they were made.”

Aaron McConchie is a sculptor based in Auckland. Having studied fine arts in New Zealand and the USA, he has gravitated toward working with a range of materials, such as steel, fibreglass and concrete.

Galvanised steel 2400 x 2800 x 1800 mm approx $7,272

McConchie’s practice tends to revolve around the intersection of artwork, the viewer and the artist, specifically looking at the way people communicate and define a sense of place.

The artist utilises the viewers’ familiarity with everyday objects as he subverts them to insight questioning.

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E M Mertens

Kate Millington & Tim Elliot

Continuance, 2016

Alpha Kōtare, 2016

Porcelain, paper, clay slip 3000 x 3000 x 3000 mm $5,500

Glass mosaic tiles, glass fibre, polystyrene, bronze, steel 1,690 x 690 x 2210 mm $57,500

E M Mertens was born in Dunedin and she graduated from the Dunedin School of Art in 1981. She holds a Diploma in Teaching (Art and Art History) from the Auckland College of Education. Her background includes art education, both within school and community environments, freelance design work and independent film making projects.

Mertens currently lives in Tokoroa, South Waikato and works full time as an artist.

Her formal art training was in sculpture.

Her work often comments on the human relationship with the natural world and the obsessive interaction and disruption of natural objectives by humans. She aims to suspend nature using clay to preserve life without losing any of a form’s beauty, delicacy and perfect imperfections.

Kate Millington and Tim Elliot are established collaborators specialising in large, mixed media sculpture.

Alpha Kōtare stands as sentinel, concentrating, looking across the sea, seeing the unseen, and being ready to defend or attack at a moment’s notice.

It’s a role that complements this historical Fort Takapuna site.

The kingfisher, Halcyon Sancta, evokes an emotional response from viewers who connect with this fierce, colourful, little bird.

Its feistiness is a major component of its

appeal, along with the flash of colour that it leaves in its wake and its distinctive piercing call. The unique qualities of the bird are woven into the fabric of myth and legend across many cultures.

Greek mythology afforded the bird influence over the winds and the sea.

The term Halycon days was coined as a reflection upon the favorable weather that appeared during, what was believed to be the kingfisher’s mid-winter breeding season.

Legend states that the birds calmed the sea and wind to float upon still waters of the Agean Sea in large nests.

In Aotearoa, Kōtare are admired in Maori mythology for their sentry like skills, their watchfulness, the speed and accuracy of their attack and their fearless attitude.

Mertens is fascinated by museums and the way humans attempt to contain, document, and display everything for perpetuity regardless of the damage done in the process. www.emmertens.co.nz

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Steve Molloy

Sharonagh Montrose

Continuum, 2016

The Magnitude of Spaces

Recycled steel, paint 3100 x 900 x 400 mm on plynth 400 x 1400 x 1200 mm $17,500

Wood, steel, speakers, audio equipment, solar panel 1300 x 2600 mm approx $4,000

Steve Molloy is a multi award winning New Zealand artist and photographer and is co-director of the Korver Molloy Gallery.

He works predominantly in object and installation sculpture, photography and painting.

Sharonagh Montrose has a PhD in Fine Art from Elam, University of Auckland. She also holds a BSc (Hons) in languages and Sociology of Art from Salford University, and a post-graduate diploma in education from Cambridge University. She exhibits regularly and her work is represented in collections both locally and internationally.

Molloy exhibits in New Zealand and overseas, and attends national and international symposiums. His photography has been reproduced in magazines, newspapers, commercial business, galleries and exhibitions worldwide.

His work is defined by his process of incorporating the use of fragmentation, movement, miniaturisation, space and illusion as a tool to view normal scenes and objects in a slightly abstract way. An important aspect of his photography is to capture the intended image through the lens with minimal work in post production.

The Magnitude of Spaces has its roots in the humble cattle grid, but focusses on the spaces between the pipes, the voids that open into unseen depths below. When this seemingly ordinary grid is crossed,

an audio composition activates, and the familiar is transformed into the mysterious.

The sound emanates through the pipes from below with voices and sounds, like fragments of conversations seeping from the earth, resonating with the history of the site. The work poses a narrative of wondering: where do our words and sounds go? What is the value and poetics of our discourses in time?

“My practice has long been sited in the interstices of form and language. I wonder about the nature of things, about their certainty of structure and their compliance with time. I wonder what lies beneath the surface and beyond the mind-scape.

There are spaces in everything, that’s how time gets in. And it is within the lines, in the spaces, that time reveals its face and its voice.”

www.stevemolloy.co.nz

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Chris Moore

Ornithobia, 2016 Bronze, corten steel , stainless steel 2000 x 1000 x 2000 mm $14,800 Chris Moore has been a full time artist, blacksmith and sculptor for over 15 years, originally focusing on oil painting and portraiture. He completed an apprenticeship in traditional blacksmithing in Europe and trained in bronze casting using the “lost wax” method.

Returning to New Zealand, 2003, Moore established his studio in Oratia and he has exhibits in forged steel and bronze

remo. rogermorris

throughout New Zealand, including many commissions in private homes and public spaces, and large works for both the Torbay and Mairangi Bay town centres.

Birds are prominent in New Zealand art, from the feather in the hair of a chief in one of Goldie’s paintings, to Bill Hammond’s anthropomorphic birds.

When Moore began sculpting, he soon discovered just how deep New Zealand’s bird obsession ran. For the this exhibition, he has created a larger version, a whimsical self-portrait entitled Ornithobia.

Merlin, 2016 (skeleton of a predator drone) Taranaki andesite, steel, iron Stone: 1100 x 600 mm, approx 1/3 tonne Frame: 4 @ 100 x 40 mm, 1100 x 500 mm $9,000 Roger Morris was born in 1954 into a Central Otago farming family who later moved to Christchurch to continue farming. After travelling overseas in 1975, Morris returned to Auckland for a term at Elam School of Fine Arts. He has shown regularly in solo and group exhibitions since 1982.

As an artist studying History and the processes of information sharing and control, Morris considers the events of

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9/11 as the single most important moment of his generation. Representation of its importance remains a direct and major part of his art practice.

Morris believes that the deployment of the drone as a weapon in the so-called War on Terror, is a direct result of the 9/11 attack. He feels that the legitimacy of drone use is profoundly open to question as is the official narrative of the attack used to justify drone use. This narrative, by informed, intelligent and politically established figures, speaks powerfully to Morris’ concerns. www.rogermorris.nz

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John Mulholland

Identity, 2016 Steel plate, acrylic urethane 2400 x 800 x 180 mm $5,000

Ascendants, 2016 Totara, cedar, plywood, pine 1070 x 1070 x 75 mm $3,000 John Mulholland was born in England and emigrated to New Zealand in 1953. His father’s work as an architect, draughtsman and clerk of works took the family throughout New Zealand. This generated Mulholland’s fixed and fluid relationship to the land, which persists as an overarching, creative influence in his work.

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Phil Neary

Mulholland works across a diverse range of media, using found objects, sculpture, painting, print and photography to articulate space, shape and language in a conceptual framework. His work is as random and abstract, as it is methodical and disciplined; as his objects shape thoughts, as much as his thoughts shape objects.

“As viewpoints change, similarities or differences between objects in fixed proximity are heightened or diminished.

These fluctuations in perceived identity directly reference my experience of viewing the northern and southern reaches of Kaipara Harbour, each distinct in character yet sharing one oceanic source.”

Trip Advisor, 2016 Bronze, iron, stainless steel, patina, paint 2000 x 75 x 950 mm $7,500 Born in 1971 in Takapuna, Phil Neary lives and works in Auckland. He was the Senior Scholar of his Bachelor of Fine Arts year at Elam, University of Auckland. He went on to complete a MFA there, graduating with First Class Honours.

Neary’s art-making process draws upon a variety of foundry skills, knowledge and experience, including model and mould making, welding, fine fettling and working with patinas to achieve the desired finishing effects.

Neary prefers working on collections of ideas rather than one specific theme.

As media bombards us continuously with complex information and images, Neary wants to step back from this onslaught.

He seeks to simplify his message, using single words, short phrases or even symbols, to convey his work’s meaning.

Some of the little tug boats on the Trip Advisor are made of polystyrene found on the beaches that the tug boats are named for. In winter, he loves to walk the beach looking for sea glass, flotsam and jetsam.

Once in the studio they take shape and eventually they are cast into bronze, and perch on a navigational finger post, a seafaring post.

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Kirsten Newton

Nia-Val

I Spy, 2016

Lead Me To Rest, 2016

Bench seat: plastic, metal, resin 860 x 1500 x 600 mm $3,800

Fibreglass 2000 x 1300 mm $17,250

Fence line installation: plastic, metal Fence panel size $ POA

A Mother’s Heart, 2016

Kirsten Newton has a Bachelor of Design from Victoria University, Wellington. Steel is an important medium in her practice although recently she has been exploring resin and found plastic.

Newton’s boundary fence work explores the perception of the visible within the landscape. The eye has the ability to filter out that which is deemed irrelevant.

Says the artist, “When walking along the beach, do we see the rubbish or are we so focused on the vast beauty of the space that the small details are lost within the image? The New Zealand coastline is stunning but hidden within it, are flecks of colour that shouldn’t be there. How do we draw the eye back to seeing the small things and create an environment to encourage change?”

Over the course of the year Newton has collected hard plastic rubbish from the Narrowneck Beach. Her bench seat is ironic because while a sitter gazes out over the beautiful landscape, they are sitting on a bench of rubbish collected from that very place.

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Fibreglass 2000 x 1300 mm $17,250 Nia-Val, creative native storyteller, brings to life stories of past, present and future in various art forms, believing all people possess creative energy and need only allow it to be free.

A Mother’s Heart speaks of 500 young men from the Cook Islands who joined New Zealand to fight in the Great War, leaving families, their life, and home. She says, “The strong scent of ‘tiare maori’ (gardenia flowers), hung around your neck, and I smiled to you, to be strong, but please son, don’t be long.

Please know, that your Mama will always love you. I will wait here in paradise Rarotonga.

Until you come back to me.”

“Lead Me To Rest, remembers a battle against man and mind. A battle of no rest and no rest in sleep; awakeness. The soldier constantly digs trenches with all his strength and with the same hands he tenderly buries his brothers and farewells them with his tears.

The Great War war takes everything from him except his memories of home, and as death kisses the fallen he cries out with one last breath, frail and exhausted. This work is a tribute to the 500 young men and inspired by my friend Michael Pritchard.”

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Ainsley O’Connell

Light Shafts, 2016 Steel, glass 45 x 45 x 1285 mm $7,500 (3 pieces) $2,750 ea Ainsley O’Connell’s art practice focuses on sculpture and installation. Her art interest has been a natural progression from her thirty plus years working as an architect and teaching architecture. Her architecture degree has provided a basis for seeing and understanding the world in artistic terms.

Art and architecture have many strong connections, each influencing the other.

Joshua Olley

O’Connell is now currently working towards an MFA at Elam. She has worked in glass, timber, plaster, concrete, metal and perspex.

These works continue O’Connell’s interest in materiality, colour, light and form and their influence on the understanding and legibility of spatial relationships, external and interstitial.

Perceptual ambiguity is a common thread in much of her work, as is deconstruction of form to question common spatial relationships and to create alternative ways of viewing our world.

The Gentle Man, 2016 Piemontite boulder, bronze, macrocarpa 1700 x 1100 x 0.9 mm, 1000kg $65,000 Born in New Plymouth, Joshua Olley moved to Wanaka in 1995, drawn by the beauty of the South Island. In 1997, he taught himself to carve, making high quality pendants with attention to detail and finish. He has sold work to Te Papa in Wellington, Auckland’s War Memorial Museum, Statements Gallery in Napier, and several other public galleries.

Olley’s passion for larger stone sculpture developed naturally as his carving skill evolved, and he discovered the quality of Southern stone. Over the years, his work has transitioned to bigger pieces. The sculptor exhibits works at Gallery 33 in Wanaka, The Artist’s Room Of Fine Art Dunedin, Parnell Gallery and NKB Gallery, Auckland.

The Gentle Giant is a huge, masculine hand formed from a hard spectacular stone, holding a delicate wild flower in a giving gesture, a metaphor for male strength and power being used in a productive, nurturing sense as opposed to the opposite. Says Olley, “We all have the gentle giant within.”

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Jonathan Organ & Jessica Pearless

Tropical Screen, 2016 Corten steel panels 2500 x 1250 mm $5,000 ea Auckland-based Jonathan Organ and Jessica Pearless have a longstanding reputation in New Zealand’s visual arts community as practitioners and art professionals.

The pair have been working collaboratively for over ten years in painting, installation and sculpture. Their work has an elegant, refined aesthetic and comments on contemporary culture, society and the environment. Interests include abstraction, specifically geometric, modernist architecture and design.

Selected recent sculptural collaborations are Headland (Sculpture on the Gulf), Waiheke Island, Sculpture by the Sea, Bondi, NZ Sculpture OnShore, Sculpture in the Gardens.

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Organ holds a MFA from Elam and has exhibited locally and internationally and is represented in collections worldwide. His recent works investigate the perception of surface, specifically analysing optical properties, physical characteristics, and perceptions of quality in a controlled body of painted surfaces.

Pearless also holds a MFA from Elam. Her practice is an exploration of geometric abstraction and the non-objective through painting and installation. Colour, form and balance are integral components of her work, in which the influences range from Colin McCahon’s cubist works of the mid to late 1950s, to early approaches to abstract art in Europe. Her award winning work is collected throughout New Zealand and Internationally. www.jessicapearless.co.nz http://jonathanorgan.blogspot.co.nz Twitter: @pearlessone Instagram: @redrockettenz www.facebook.com/jessicapearlessartist

Mary Paton

Grove Of Nikaus, 2016 Stoneware clay, timber, steel, polymer compound 1700 - 2000 x 950 mm approx $650 ea

From The Corners Of The Earth Stoneware clay, timber, steel, polymer compound Approx 1000 mm $500 ea Mary Paton works from her home in Turntable Hill Studio, rural Bay of Plenty.

She has worked with clay and enjoyed its tactile nature for many years, initially making wheel thrown table-ware, then changing course to large hand-built sculpture.

Paton studied ceramic design at Waikato Polytechnic and glaze technology at Otago Polytechnic. Her sculptures are found in collections nationally and internationally.

Paton prefers to work with natural colours and textures and her sculptural pieces reflect the natural beauty of both her surrounds and New Zealand. She likes her pieces to invite the viewer to reflect upon nature and how geographical placement of countries has encouraged the blending of cultures. Her recent work examines aspects of design and personal adornment used by various ancient cultures of the world. maryp.johnc@netsmart.net.nz www.turntablestudio.wordpress.com

Donna-Marie Patterson

Moving Waters I & II, 2016 Stainless steel, greywacke, quartz 200 x 200 mm approx $6,000 pair (or $3000 ea) Christchurch-born Donna-Marie Patterson spends her time between Kaimata on the West Coast and Christchurch. She graduated in 2016 with a BFA, majoring in Sculpture. She was the recipient of the NZ Art Show Emerging Artist Award 2016, Parkin Drawing Prize 2016 and a finalist in the Wallace Art Award 2016.

Patterson’s work is a direct response to the environment’s significance, intending to remind viewers that water is the essence of all ecology.

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Lou Pendergrast-Mathieson

The ladders represent layers of history throughout the water’s evolutional process. The ladder’s rungs are staggered, reminiscent of flowing water. The stone, steel and concrete components represent modern and traditional linkages to water.

Patterson’s 100 acre Kaimata property, is now naturally regenerating into forest, providing a wildlife sanctuary. This environment provides constant inspiration for her work as a sculptor. Her works are intended to raise questions about the precariousness of the environment and material values.

Mondo Patterns I Nature I, II, III Kiln cast glass 140 x 120 x 240 mm $1,890 ea Lou Pendergrast-Mathieson has been working with glass for many years. She says she loves the casting process, as it has many different ways of working, and applying both old and new techniques and methods. She enjoys the material’s ability to capture, play and transmit light. She feels that it is through this process that glass artwork comes alive and has a presence.

“This work is derived from small pine cones, enlarged to mondo representations.

I have a keen interest in natural forms, proportions and the growing patterns that appear in nature. The pine cone is a great example of the Golden Mean or Fibonacci numbers that explain proportions in nature: 1=1+2, 2+1=3 3+2=5, 5+3=8, 8+5=13, 13+8=15 and so on…”

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James Pickernell

Jelly Fish, 2016 Stone, steel and stainless steel 1500 x 1500 x 1900 mm $25,000 For the past 20 years James Pickernell has made a full-time living through exhibiting in outdoor sculpture shows and commissioned works, both private and public. These commissions range from sculpture, to furniture through to architectural hardware.

Pickernell believes that having a wide skill base and a “can do” attitude has held him in good stead.

Helen Pollock

He is constantly inspired by the New Zealand’s countryside and peoples, unique materials, ingenuity, culture, history, flora and fauna. He also loves adventuring, whether it be into the wilds or into a work of art, believing that fortune favours those who give it go.

“Jelly Fish is ancient, it quivers, it draws and repels in equal measure and will sink like a stone! The work is largely based on my passion for stone, metal work and the sea. Stones for me are a direct conduit to the earth and nature. To touch them is important to me.”

Marker, 2016 Bronze, concrete 1190 x 500 x 500 mm $13,000 For more than two decades, Helen Pollock’s sculpture practice has been on a sustained theme of looking backwards, to see her way forwards. In the past decade, this has encompassed commemoration.

Pollock has been exhibiting with NZ Sculpture OnShore since its inception.

An early work, Wave 1998, shown on the shore of Lake Pupuke in front of the Becroft Garden, developed into Falls the Shadow now permanently installed at the Passchendaele Memorial Museum in 2013, to commemorate the New Zealand Division in WW1.

On the Fort Takapuna site, Reading Backwards (2006) and Other Ranks (2008) evolved into Victory Medal, first installed in 2010 at the Fort Takapuna in a gun emplacements. It has since toured throughout the country and travelled to France to finally remain as did 75,000 young New Zealand men in WW1.

The bare feet of Marker are a universal symbol of mourning and grief. The washing of the feet (by the rain) could be seen as reconciliation. Marker is an opportunity to ‘stand to’ as soldiers did in training at Fort Takapuna during WW1 before they were sent to the battlefield. https://vimeo.com/154555330

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Oriah Rapely

Ramon Robertson

Anchor Stone, 2016

Untitled, 2016

Taranaki andesite, steel 3000 mm $10,000

Concrete, timber, galvanised bolts and rods 1800 mm approx $11,900

“With Mount Taranaki standing like a sentinel behind me, and the Tasman Sea spread before me, my home is perched on the bush line of the Kaitake ranges, Oakura. I am a full-time practising artist currently working with wood, Taranaki andesite, and metal. I constantly refine and work towards purity of form without embellishment. Painting abstract sea and sky scapes is part of this exploration.

The body of my work acknowledges freedom of choice and embodiment. Using symbols such as the feather, waka, bird, and painting from the bird’s eye view, provide subtle layers interwoven around movement and growth, exploration and expansion, freedom and expression, empowerment and transformation.

Anchor Stone is an extension of my feather series, using the ephemeral white feather and the solid enduring stone replicating the strength of women. The white pearlescent paint finish absorbs light and radiates luminous blue light at night deepening the essence of this piece.”

After graduating from Glasgow School of Art in Scotland, with a BA (Hons) in Sculpture, Robertson went on to complete a MA in Interior Design at Manchester Metropolitan University.

Since emigrating from Scotland in 2011, Robertson has exhibited widely throughout the Auckland area including Kaipara Sculpture Gardens, Sculpture OnShore and Harbourview Sculpture Trail. He also recently completed projects for Wallace Arts Trust and Sculpture in the Gardens.

His artwork engages with aspects of architecture and urbanisation. Mass production and standardisation of objects is also a focus, with an observation on the effect of our visual perception of objects and environment.

This new work hints at the many layers of human interaction involved in the creation of an inhabitable environment, a compulsive interaction that contradicts our perception of the city as a place of readiness, facility and simplicity. There is a suggestion to an over-indulgence in the manipulation of space and form. The outcome of intense urban indulgence is the source of the ideas and thinking behind what is possible both physically and conceptually.

This choice of materials links to the universal components used in building and manufacturing, and makes reference to massstandardisation of objects and resources used in the configuration of the city.

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Carol Robinson

Frances Rood

Pods, 2016

Red Morph, 2016

Carol Robinson is a Whangarei-based ceramic artist. She has worked exclusively with clay for the past 16 years. Her work includes multi-piece outdoor installations and smaller indoor pieces.

The primary interest of Frances Rood’s practice lies in the intersection of art and biological sciences.

Ceramic, steel 2000 x 170 x 100 x 450 mm $550 set of 3

Robinson has previously exhibited at Shapeshifter, Harbourview, Kaipara Coast and Northland Sculpture events. Her indoor exhibitions include Portage Ceramic Awards, Waitakere Sculpture Awards and a number of national potters shows.

The sculptor often works in multiples of similar objects, which is evident in the installation for NZSoS 2016. Pods depicts a cluster of generic seed pods gently swaying on their tall stalks. The work signifies growth, renewal, rejuvenation and the promise of future abundance.

Cut and sewn layers of red felt 2500 x 1500 mm (base) $3,500

Over the years, having used a diverse range of media, (paper, felt and canvas), Red Morph is one of a group of biostructure sculptures which reference the organic forms within nature and the body interior.

Built up of many layers of cut felt each piece is individually sewn together to create a cellular scaffold.

Due to the works density and mass, the soft malleable nature of felt has taken on the fluid property of something more organic in nature, its form suggesting a parametric membrane or skin wall that lies somewhere between interior and exterior.

The sculpture was finalist in the Molly Morpeth Canaday 3D sculpture exhibition in Whakatane earlier this year.

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Rebecca Rose

Claire Sadler

Nets, 2016

Abandoned Old Tech, 2016

Steel 1500 mm diametre $12,900

Taranaki andesite 1000 x 250 x 250 mm approx $7,000

Rebecca Rose has worked for the last twenty years as a sculptor. Her work is centred on the cyclic nature of life and interconnectedness.

Exploring these themes, she has created abstract work using metals and alloys.

After living in various parts of New Zealand and Western Australia, Claire Sadler made her home in New Plymouth. It is here, in 2006, that she began sculpting. She feels privileged to be a member of the Te Kupenga Stone Sculpture Society.

Rose says, “Looking out over the sea from Narrow Neck I am fascinated by the protection barriers that were once placed in the shipping channels to the Waitemata Harbour during wartime. The steel nets were held up by many round steel floats, 1.5 metres in diameter and weighted to the bottom by massive anchors. It was a big undertaking that the nation deemed necessary at the time. As human beings, we all make choices consciously and unconsciously on what we allow into our lives, and what we protect ourselves from. The barriers we put in place can come at a high price and the factors that drive these decisions go to the very heart of our humanity and shape the lives we live.�

Sadler primarily sculpts Taranaki andesite, a local volcanic hardstone. She also enjoys working in Maratoto andesite and basalt. Prefering simple forms that create strong silhouettes, light play and negative space, her sculptures tend to be expressions of her personal journey. She says, she cannot create that which she does not feel and sculpting stone, like life, is a journey of learning and a continuing dance. Meanwhile, a fascination with the movement of smoke, steam, fire and clouds draws her to curvaceous pieces. www.clairesadler.weebly.com

Recent exhibition appearances include Qingdao China 2015, Sculpture by the Sea Cottesloe, Perth 2015, NZ Sculpture on Shore 2014, Sculpture by the Sea Sydney 2013, 2014, and Shapeshifter International Arts Festival 2014. Rose and her partner Matt Chamberlain and their three children live and work from a dramatic home studio in Titirangi, Auckland, New Zealand. www.rebeccarose.co.nz 96 | NZ Sculpture OnShore Exhibition 2016

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Lipika Sen & Prabhjyot Majithia

Jugalbandi At The Park Wood, steel, bells 2500 x 1600 x 3500 mm $16,500 Lipika Sen and Prabhyot Majithia are contemporary artists and conceptualists whose landmark public art spins and twirls with the wind in New Plymouth: it is a six meter tall steel and acrylic kinetic sculpture entitled, The Firkee Wala – In My Heart Of Eternal Childhood.

Creating multi-dimensional works that include sculpture, acrylic on canvas, digital drawings, words, sound, music and film, the pair have won several awards for their animation virals.

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Whimsical, poignant, empathetic and intriguing, their works can be found in international art collections and galleries, and were shown at NZ Sculpture OnShore, the National Fieldays No. 8 Wire Art Awards at the Waikato Museum, Whakatane Museum, the Tauranga Arts Festival and the Hamilton Garden Arts Festival.

The artists’ prayer for peace: Jugalbandi At The Park, is created exclusively for this exhibition. It has been designed as a meditative experience. Its rhythmic movement allows one to contemplate, coordinate and create. Creating a perfect outdoor space for two individuals to come together and spontaneously make music.

A return to a childlike state of being, of simple pleasures, of perfect harmony, of joyful play.

Peter Stoneham

Event Horizon Electropolished stainless steel, neon 2200 x 380 mm $5,750 Peter Stoneham creates his art with a broad range of materials but principally light. His art often includes secondary materials to highlight environmental concerns.

He is both fascinated and disgusted by technology and says, “It is a source of much optimism for our future, but it often creates pollution, redundancy and waste.

We are jaunting to Mars on hydrogen, oxygen and solar panels, and yet we are still using fossil fuels to get around at home, where are our priorities?”

Event Horizon draws on Stoneham’s fascination with the aesthetics of technology (especially space exploration) and light.

“In general relativity, an event horizon is a boundary in space-time beyond which events cannot affect an outside observer. It is the so called ‘point of no return’ when approaching a black hole, at which the gravitational pull toward the singularity becomes so great that escape is impossible, even for light.”

Visualisation by Rodney Ng.

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Oliver Stretton-Pow

Flotsam, 2016 Fibreglass, wood, steel, glass, solar powered lights 2000 x 1500 x 900 mm $27,000 Oliver Stretton-Pow graduated from art school in Perth, Australia in 1992. He worked in Europe for some years before returning to Australia to work as a blacksmith. He then moved to New Zealand and completed an MFA at Elam in 2004.

He relocated his studio to Waiheke Island in 2005.

Since then, Stretton-Pow has had six solo exhibitions and contributed to many significant outdoor shows including NZ

Llew Summers

Sculpture OnShore, Shapeshifter and Sculpture in the Gardens. His first artist residency was in Perth in 2012. In 2015 he spent a month as Artist in Residence at the Fremantle Arts Center (WA), exhibiting in Sculpture at Bathers in Fremantle.

Later that year, he produced a sculpture for the SWELL sculpture festival on the Gold Coast.

Stretton-Pow currently lives and works on Waiheke Island making private commissions and bespoke architectural elements. www.oliverstrettonpow.com

Seated Figure, 2016 Bronze 400 x 300 x 200 mm $45,000

Apocalypse, 2016 Bronze 800 x 300 x 300 mm $15,000 Llew Summers, a longstanding figure in the New Zealand art scene, has lived his life in Christchurch. Encouraged by Tony Fomison, Summers had his first exhibition in 1971.

Since then he has shown regularly around New Zealand and his works can be seen all throughout the country. He believes it is the role of the artist to challenge saying, “if it’s not challenging, then, in some way, it’s not new.”

Summers’ work is primarily figurative, and is celebratory of the human form, affirming the beauty of the human body – and occasionally, animals. Following a formative and revelatory overseas trip, religious symbolism has played a part.

“What’s important to me is to get a balance between the physical and the spiritual in life.

We’re given a soul and we’re given a body.

Sculpture is a nice balance because works can be made which are deep and meaningful, but they require your physical body to produce them. Works must have soul, rather than being merely clever or smart.” www.llewsummers.co.nz

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Jeff Thomson

Hay Garden Hay, wire-netting, earth, plant forms Variable dimensions Installed $14,500 Individually $275 ea (approx 40 pieces) Jeff Thomson has been involved in every Women’s Refuge exhibition to date.

Renowned for his innovative sculptural works in corrugated iron, he also works with a variety of other materials such as wire, paper, concrete and plastic.

Thomson has worked as a full-time sculptor for 30 years. He lives and works in a large warehouse in Helensville, Auckland.

Hay Garden explores and develops a couple

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Paora Toi Te Rangiuaia

of sculptures Thomson made a number of years ago. One was for the south of France (2008) and the other, Connells Bay Sculpture Park on Waiheke Island (2009-2010). Both were made from hay and wire netting. In the work presented here, Thomson has added earth and living plant matter to create an imaginative sculptural installation that blurs the boundary between landscape gardening and sculpture.

Te Hokinga Mai - The Returning Cast aluminium 1000 x 1000 x 200 mm $8,000 Te Hokinga Mai depicts the Koekoea (longtailed cuckoo) in flight. The bird makes an annual migrational return to Aotearoa from the Pacific, late October early November.

It lays eggs before flying back to the Pacific through March and April.

Rautahi - Plume, 2016 Cast aluminium 1800 x 720 x 440 mm $9,000 Rau: feather, leaf, hundred / tahi: one.

Rautahi as a single feather alludes to the light touch of stewardship of the many.

Black with white tips, the raukura plumes

of the now extinct huia bird, were worn by the rangatira (chiefly lines) and denoted the role of kaitiakitanga and manaakitanga.

These plumes were allocated to the noble lines as a status symbol of mana.

Rangatira mana was acquired in two ways: the first bestowed by the auta (gods) and the second, through recognition by those within the community of hapu and iwi. Abilities of kaitiakitanga, governance and management over resources and manaakitanga hospitality were noted attributes.

The fallen plume is a wero or challenge placed upon the ground to uptake the roles of guardianship and hospitality in order to maintain the health of whanau and community.

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Karen Walters

Sowing Seeds of the Garden City 2016 Rimu, West Coast rocks, steel, nylon, oil Small (1 seed x4) 1100 x 145 x 90 mm $1,800 ea Med. (2 seeds x5) 1500 x 160 x 95 mm $2,700 ea Large (2 seeds x4): 2000 x 180 x 100 mm $3,500 ea Karen Walters sculpts in native timber as she is interested in reflecting the energy and essence of forms and lines within the New Zealand landscape. Following a Bachelor of Education degree, Walters gained a qualification in Graphic Design before moving to Australia to complete

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James Wright

a Visual Arts degree, achieving Top Sculpture Award in her final year. Walters spent 3 years teaching art and design before pursuing a full-time career in art.

With her husband Mike, Walters opened Kereru Gallery in Mapua, Nelson, where they produce and exhibit their and others’ artwork. Walters’ work also features in personal and public collections.

Sowing Seeds of the Garden City pays homage to the growth and renewal of Christchurch city after the tragic earthquakes. The pods are sculpted out of large and exquisite heart rimu beams salvaged from the quakes. www.kererugallery.co.nz

Searching For Wisdom, 2016 Corten steel, rebar, bronze 4500 x up to 1500, 150-400mm $45,000 James Wright lives and works in Clevedon, Auckland where he helps to run Art Industry, the village gallery. He has exhibited extensively throughout New Zealand and has works and commissions in public and private collections.

Wright’s work, Target, won the people’s choice award at 2015 Sculpture on the Gulf, Waiheke. After exhibiting at Sculpture in the Gardens 2015-2016, at the Auckland Botanic Gardens, Wright’s piece Ratiti Mya, was acquired to add to their permanent collection.

Wright’s work, Whakaparirau, meaning to equip with wings, was installed at Hauraki Corner, Takapuna in 2012. His work Nikau adorns the Huakaiwaka Visitor Centre at the Auckland Botanic Gardens.

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Hubbub Arco, 2016 Wood, metal and electronic light 2300 x 2400 x 1400 mm $35,000 Who is really in control? The user or the artwork? Arco poses this question in a playful manner, by allowing the audience to communicate with the sculpture using motion. Users are invited to change the behaviour of light illuminated inside the inner ring of an archway by manipulating the speed and colour of light around the archway, using shadows casted from the motion of their hands.

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Bright Calm City

As the user interacts with the sculpture, the more responsive the sculpture becomes; creating a lure that provokes the user to gain more control over the work.

Creating the question: If the sculpture is keeping you there, does that mean it’s controlling you?

Braeden Foster, Reuben Poharama and Martin Hill form Hubbub, a creative arts company that specialises in innovative technologies and interactive public art experiences. Their projects have been featured at the Semi Permanent 2015 design conference, Auckland Arts Festival and Splore Festival.

Craving Courage, 2016 Standard refrigerators $ POA Karen Maurice O’Leary aka Bright Calm City, started as an art director creating large-scale commercial public installations, winning awards in Cannes, London, Miami and Sydney for her work. Under her personal art label, Bright Calm City, she now works on her own interactive public installations, poetry and spontaneous stunts. Her work explores ways to connect people and spaces, creating intriguing, positive environments.

Through a series of courageous real stories, Craving Courage pays homage to those who have escaped a domestic abuse situation.

A circle of everyday refrigerators form a ring of bravery, inside each fridge a personal story can be discovered. By day, a mini library of personal courage, by night, the light from inside each fridge shines out across each reader, little explosions of hope in one’s darkest moment.

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SAT 12 NOV - DJs R.I.A. Dylan C Sam Evans

6.30-10.30PM

SAT 12TH - SUN 13TH NOVEMBER

SUN 13 NOV - LIVE MUSIC Anna Coddington 6.30-10.30PM Miloux SAT 12TH SUN Support-DJ - R.I.A.13TH

NOVEMBER TICKETS

$25 earlybird $35 full price $10 Child (5-12 years)

www.iticket.co.nz

FORT TAKAPUNA, DEVONPORT WWW.NZSCULPTUREONSHORE.CO.NZ

FORT TAKAPUNA, DEVONPORT WWW.NZSCULPTUREONSHORE.CO.NZ

School’s Education Programme

The Education Programme team comprises of Rhonwen Dewar, co-ordinator, Jill Cahill and Michelle Male, teachers’ pack designers, Jacqui Dunningham, Kidzone art co-ordinator, and Fiona White, Philippa Harknett and Annie Sharrow, school booking team.

NZ Sculpture OnShore is an event very much focused on children and families.

We offer a comprehensive education programme for Auckland schools which includes a visit to the exhibition combined with an education pack (maps, resources, talking points, photos and worksheets). This year the packs are available digitally from the website.

For the third consecutive exhibition designers, Jill and Michelle explore and expand on concepts and mediums artists have exhibited in their sculptures. As well, the 17 schools involved in exhibiting in the Children’s Sculpture exhibition, held in the underground Fort, are invited to participate in the education programme. Students are encouraged to investigate, engage and respond to artworks on the historical site of Fort Takapuna. We believe the schools that take the opportunity to experience art education outside the classroom will be helping young people learn valuable skills in analysis, interpretation and creative thought along with gaining a deeper understanding of the arts.

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Kidzone is a designated tent (and adjacent outdoor space) for children and their parents to find art activities and adventure maps designed to enhance their experience of the exhibition during the weekends. The Kidzone team is a group of artistic/creative people who enjoy interacting with children and are able to be on-site on the Saturdays, Sundays, and the twilight evenings, to greet families and supervise activities. Co-ordinator Jacqui Dunningham brings her expertise as an established art teacher, working in collaboration with Jill and Michelle, she has devised activities, and a collaborative fence artwork to put hands on fun into the day.

For the first time we will have two exhibiting artists, Margaret Lewis and Martin Horspool, hold workshops on site. Lewis, leading urban artist, will engage children in a unique string art on ply to create words selected from her fence installation site inspired by a positive message for Women’s Refuge. Children will nail and string alongside Lewis, helping to bring the artwork to life. Horspool, aka “Robot-Man”, can visualise personalities hidden in disused household items. He will work with children to create a giant dog-like sculpture using up-cycled and found objects using cable ties and wire as for construction.

NZSoS and the money raised for Women’s Refuges would not be possible without the band of volunteers who work so hard to make the exhibition possible. For this we are very grateful. The booking team trio of Fiona, Philippa and Annie have made a valuable contribution of their time in promoting the event to younger audiences across Auckland. We would also like to thank Foundation North and Pub Charity Limited for supporting the Education Programme and enabling two low decile schools to participate in this community event.

Children’s Sculpture Exhibition

The Children’s Sculpture Exhibition showcases sculptures created by children from Auckland schools and art groups. The event runs alongside New Zealand Sculpture OnShore, and has been an integral part of this event since 2004.

The exhibition is held at the Fort Takapuna historic reserve, and because of its partnership with New Zealand Sculpture OnShore, gives children a unique opportunity to exhibit alongside professional artists at a nationally significant exhibition.

The Children’s Sculpture Exhibition has grown considerably since its inception and includes work by talented artists from early childhood, primary, intermediate and high schools. This year the exhibition welcomed eight new schools and participants from across Auckland.

The exhibition brings together the local and wider community – including teachers, artists, local iwi, the Department of Conservation and volunteers from the Tamaki Reserve Protection Trust in a celebration of children’s art. It is a wonderful opportunity to showcase the creative work of young artists and raise money for New Zealand Women’s Refuge.

The success of this event over the past six exhibitions is testament to the good will, enthusiasm and creativity of all the parties involved.

Volunteers Zoe Black and Val Hoeberigs are responsible for planning, promoting and coordinating the exhibition; however it is the tireless work of the teachers and educators who bring this exhibition to life. Their enthusiasm to display their student’s creations ensures this exhibition is successful and the organisers wish to thank them for their commitment, resourcefulness and imagination.

The organising committee would also like to gratefully acknowledge the support received from Auckland Council Creative Communities in the staging of the Children’s Sculpture Exhibition.

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Children’s Sculpture Exhibition

Bayswater School 181 Bayswater Avenue, Bayswater Roll: 220 Motto: Te mahi tahi kia eke panuku - Together, navigation for success Exploring New Worlds: Like Kupe, we are voyagers to new worlds, exploring our universe. These exhibits will become part of our end of year communication of learning. They will help us to share with our audience what we have learnt about planet Earth and space.

Principal Lindsay Child Lead teachers Marianne Coldham, Claire Edwards, Rebekah Jones, Lisa Gilgren, Norah Wilson, Aimee Spicer, Dianne Cluett, Sasha Gillies, Allison Butcher, Linda McPhail, Amy McDowell-Pakieto, Toby Moore

Belmont Primary School 3a Harrison Avenue, Belmont Roll: 412 Motto: Our Best Always 112 | NZ Sculpture OnShore Exhibition 2016

A Walk Through Monet’s Garden: Thinking about seasonal changes, colour and light. We used Monet’s water lily works work as our inspiration. Using a variety of techniques and material every child in the school from Year One to Year Six has had an input into the work.

Children’s Sculpture Exhibition

Birkenhead Primary School 77 Mokoia Road, Birkenhead Roll: 400 Motto: Forbear and persevere

Magical Books: Books can transport you to a whole new world, be it fantasy, adventure, humour or into the world of facts and figures. We have expressed these amazing ideas through our varied sculptures. YOU can find magic wherever you look. Sit back and relax, all you need is a BOOK. - Dr. Seuss

Principal Bruce Cunningham Lead teachers Stacey Sykes, Helena Gray Birkenhead College 140 Birkdale Road, Birkdale Roll: 680 Motto: Where everybody, is somebody Absence and Presence: The sculptures we are making explore concepts of absence and presence: Students have looked at the work of George Segal and have created casts of their bodies in a school environment that will then be installed in the fort for the exhibition. Allowing the students to be simultaneously absent and present.

Principal Craig Waller Lead Teachers Naomi Bell, Judith Rive

Cornwall Park School 193 Greenlane Rd West, Greenlane Roll: 622 Motto: Honour not Honours

Welcome to our very own Wonderland: A space that encourages imagination, exploration and creativity in a world where anything and everything is possible.

The works were completed in various year groups as well as paired and team projects depending on the year level and chosen installation.

Principal Nigel Bioletti Lead Teacher Christie Houghton Campbells Bay Primary 77 Aberdeen Road, Castor Bay Roll: 900 Motto: Not self but service

Principal Janine Irvine Lead teachers Sue Tapene, Debbie Oates, Kiri Waghorn

Wintergarden: A delivery of exotic plants from deep in the heart of the Amazon jungle. A mixture of recycled materials and bling combined with the imagination of young children.

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Children’s Sculpture Exhibition

Fame 6 Karepiro Drive, Stanmore Bay Roll: 91 Motto: Where your children grow and learn with confidence

Children’s Sculpture Exhibition

Principal Maree Stavert Lead Teachers Tracy Taylor, Dave Kindley

kept safe by the spirits of the Underworld who live amongst the roots. Journey to our World in your imagination.

Principal Sue Cattle Lead Teacher Bev Boyd

Flower Power: This collaborative work is the creative effort of the children at Fame.

Jeff Koon’s Puppy inspired this project and each artist contributed to the work by making individual and unique flowers.

Principal Lana Van der Harst Lead Teacher Aurelia Zatta Glendowie Primary School 217 Riddell Rd, Glendowie Roll: 650 Motto: I care

Glen Eden Intermediate 23 Kaurilands Rd, Titirangi Roll: 1020 Motto: To be a dream school where everybody loves to learn CDs Repurposed: Our piece was dictated by the material (CDs) donated to us by the school community and a large find in a skip by our property manager. We have been painting these and employing the sgrafito technique to create a large ‘granny square rug’. (Thanks to Dave Kindley for suggesting the idea for the end product!)

There was a core group of about 20 students who worked on this for many months, along with other students who have also contributed individual pieces.

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Wartime Relics: Year 8’s Art Extension Group created an installation showing new life growing from relics of wartime.

Inspired by the history of Fort Takapuna and sympathy for the men serving in its underground tunnels, they created sparkly, bright creatures to brighten the long, dark days with colour and humour.

Kelston Boys High School Archibald Road, Kelston Roll: 748 Motto: To Wisdom with Honour Hei te Matauranga I ou nei Mana Apocalyptic Pods: Nature interrupted by pollution.

Principal Brian Evans Lead Teachers Genevieve Craig, Kate Harwood

Principal Anne-Marie Biggs Lead Teacher Juliette Laird

Milford School 34 Shakespeare Road, Milford Roll: 546 Motto: Inspired to learn and achieve Our Wild and Wacky World: A world where plants dominate the skyline. The people of the darkness live underground,

Remuera Intermediate School Ascot Ave, Remuera Roll: 940 Motto: Reliability, integrity, service Our New Garden: Remuera Intermediate, nominated as a silver enviro school, is focused on recycling and environmental care. Our ceramic flowers are symbolic of this. They will become part of a new garden which is currently being created.

Twenty five students started by making paper templates and experimenting with layering to understand how petals work.

Next, they constructed a small flower, then created larger finished pieces.

The students loved the process, often collaborating on making a flower. So there was a lot of conversation and problem solving involved; the students being very proud of their final achievement.

Principal Kyle Brewerton Lead Teachers Billie Sturgiss, Neva Summers NZ Sculpture OnShore Exhibition 2016 | 115

Children’s Sculpture Exhibition

Marine Treasures: Devonport is surrounded by sea. As protectors of marine treasures, environmental damage goes unnoticed as our eyes sometimes only observe the beauty. Not only water goes down our drains.

Principal Elizabeth Walker Deputy Principal Jane Pryor

Rosmini College 36 Dominion Street, Takapuna Roll: 1100 Motto: Charity fulfills the law

Vauxhall School Morrison Avenue, Devonport Roll: 303 Motto: Onwards – moving forward together

Westlake Girls High School 2 Wairau Road, Takapuna Roll: 2000 Motto: Virtute experiamur Flying Machines: Students questioned, answered and interpreted the history of flight, “Why has man been so interested in flight and what influenced the idea of flight?” Birds and insects have been the inspiration and the catalyst to flight and how they still shape our modern planes.

Principal Roz Mexted Lead Teacher Kheang Ov Westlake Boys High School 30 Forrest Hill Road, Takapuna Roll: 2311 Motto: Virtute experiamur - let courage be thy test

Papier Mâché Creations: The year 7 and 8 students have been making papier mâché animal heads with Mexican folk art designs. The year 9 and 10 students have been creating their own Tikis inspired by Maori myths and legends.

A linear sculpture inspired by the space provided.

Principal Nixon Cooper Lead Teachers Brenda Smith, Sean McDonnell St Leo’s Catholic Primary School 102 Victoria Road, Devonport Roll: 81 Motto: Nurture, Gracious, Excellence

Children’s Sculpture Exhibition

Principal David Ferguson Lead Teachers Mark Masterton, Caroline Jung Change: Our overarching theme this year is change. We decided to create and process an installation based on this idea.

It will continue to change throughout the exhibition by interaction from visitors.

Principal Gary Lawrence Lead Teacher Mary Laurence

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New Zealand Sculpture OnShore

Devonport Rotary

New Zealand Sculpture OnShore has come to be recognised as a premier art event showcasing contemporary sculpture by New Zealand artists – from senior and established practitioners to exciting new faces.

Set on a historic cliff-top reserve in Devonport with panoramic views of Rangitoto and the Hauraki Gulf, the event is New Zealand’s largest outdoor sculpture exhibition, featuring more than 100 works by as many artists, and offering a unique snapshot of contemporary three dimensional art practice. Complementing the outdoor sculpture is an indoor gallery featuring smaller works suitable for domestic gardens and interiors. The event is also a major fund-raiser for Women’s Refuge NZ. All of the works exhibited are for sale, and along with ticket and other revenue, this has enabled donations of over $1.5m to be made to Women’s Refuge to date.

NZ Sculpture OnShore Limited is wholly owned by Friends of Women’s Refuges Trust – a charitable trust established in 1995 to support the work of New Zealand Women’s Refuges.

The vast majority of those involved in planning, organising and staging the exhibition are volunteers. This not only allows us to keep overheads to an absolute minimum, but provides an opportunity for a large number of people to be directly involved and to contribute to the work of Women’s Refuge.

We are very grateful to these wonderful, generous people, without whom this exhibition could not take place.

A very warm welcome is extended to everyone visiting NZ Sculpture OnShore, from Devonport Rotary.

This event has become a treasured North Shore institution and Devonport Rotary is very proud to continue to be associated with it and to help raise funds for Women’s Refuge.

Board of Directors

NZSoS Event Team

Nigel Arkell

Anna Hanson/Ross Liew, Curators

Jennifer Buckley

Amanda Wright, Operations Manager

Wendy Carnall

Kim Shaw, Artist Administrator

Sally Dewar

Nic Russell, Marketing/Promotions

NZSoS Volunteer Co-ordinators Art Ambassadors Liz Darlow, Pennie Kennings Art Sales Rachel Brebner, Sue Harvey

Kathryn Todd, Trisha Whiting Artist Liaison Tania Stewart Cashier Jill Goddard Database Cathy Racz Exhibition Guides Helen Gillespie Front Gate Jane Goddard Ticket Sales Lisa McCloskey Children’s Sculpture Zoe Hoeberigs, Val Hoeberigs Exhibition

Kevin Muir Carole Sorrell Trisha Whiting

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Fort Takapuna with its backdrop of Rangitoto Island provides a wonderful scenic location for this unique event, offering a great environment for sculptors to exhibit their work, and showcases one of Devonport’s premier outdoor spaces.

Devonport Rotary has provided funds in excess of $300,000 over recent years, to worthwhile charities and community projects, including Women’s Refuge.

We continue to give support to many local and international causes. These range through supporting local students in their studies, providing sustainable energy sources for our Pacific neighbours in Vanuatu, and assisting Rotary worldwide in the eradication of polio in co-operation with WHO and the Bill and Melinda Gates Foundation.

If you would like to know more about Devonport Rotary and would like to help in our many community projects, or simply meet with us, please go to our website: www.devonportrotary.co.nz Phil Le Gros, President 2016 - 2017

Kidzone Jacqui Dunningham Parking Colin Cannon Youth Rhonwen Dewar Progammes School’s Michelle Male Education Jill Cahill, Fiona White Programme Philippa Harknett

Annie Sharrow

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Our Generous Supporters

NZ Sculpture OnShore is grateful for the generous support of its sponsors:

Friends Of Women’s Refuges Charitable Trust

This year, our 11th biennial exhibition, we reflect on the foresight, integrity and commitment of the women who conceived this project and brought it to fruition through hard work, determination, love and laughter. Their legacy is a magnificent exhibition which has enriched everyone involved and benefited Women’s Refuge by more than $1.5million. Their pledge to raise funds for and awareness of Women’s Refuge and the plight of the victims of domestic violence has remained central to the values of the Friends of Women’s Refuges Trust and NZ Sculpture OnShore.

The money we have donated has been used by Women’s Refuge for special projects like emergency essentials, packs for children arriving at refuges with their mothers, updating and printing the Fresh Start handbooks for those mothers, the Mokopuna Child Advocacy kits and the Women’s Information and Education Trust (WISE).

In 2012, the $110,000 donation provided seed funding to establish the first Yellow Belle Store in Takapuna, North Shore. Yellow Belle is a recycled designer clothing boutique which provides both a sustainable income for Women’s Refuge and valuable awareness-raising.

The 2014 exhibition raised an impressive $180,000 for Women’s Refuge. A portion of this money assisted with an academically supported research project to help promote best-practise management of the 45 nationwide centres, which form the national collective of Women’s Refuge NZ. However, the majority of funds have provided winter nightwear and linen packages for women and children at refuges throughout the country and enabled the establishment of a fund to provide ongoing counselling services for women in need. It is hoped with your support that we can maintain these vital services beyond 2016.

Friends of Women’s Refuges Trust Dorothy McHattie (Chair) Genevieve Becroft Liz Darlow Rhonwen Dewar Sally Dewar Jill Goddard Sue Harvey Pennie Kennings Tania Stewart Trisha Whiting Friends of Women’s Refuges Trust Patrons Judy Bailey, ONZM Genevieve Becroft, QSM Lenore Sumpter, QSM

As a voluntary organisation we rely heavily on a very large number of people who willingly take on all the challenges of organising an event of this scale. We are so grateful for the support of our loyal volunteers as well as all our visitors you all contribute so much to the success of our exhibition.

We welcome you to NZ Sculpture OnShore 2016. Have a wonderful time and enjoy the exhibition.

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Dorothy McHattie Chair of Friends of Women’s Refuge

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Acknowledgements

Patrons

Acknowledgements

Foundation Donor David and Genevieve Becroft Foundation

Adfence Art+Object Auckland Council Arts and Culture Carmel College Chris McGowan, Original Image Clean Event Devonport Business Association Devonport New World DJ’s: R.I.A, Dylan, Sam Evan Dr Ang Jury, NZ Women’s Refuge Eftpos NZ Ltd Empire Electrical Glenn Heenan Art Workshop Goina Thedingo Jeremy Schmid, Officer Mess Joel Staveley & Janet Jones Lake House Arts Centre Lisa Paterson, Blakat LOOP (Mikee Tucker, Anna Coddington, Miloux) MAINZ (Music and Audio Institute NZ) Mairangi Arts Centre Microsoft New Zealand Mossgreen-Webb’s New World Albany Rebecca Emery Rebecca Hapgood Red Badge Security Rotary Club of Devonport Ron Browson, Senior Curator, Auckland Art Gallery Ruth McIntyre, NZ Women’s Refuge Spencer On Byron Hotel Department of Conservation (DOC)

Gold The James Wallace Arts Trust Silver Dame Jenny Gibbs Helen Gillespie Michael and Catherine Hapgood Andrew and Jenny Smith John and Sondra Wigglesworth Bronze Anonymous John Barnett Deb Chambers and Brendon Gibson Città Sue Dixon and Karen Purdy John Harman and Karen Spires Anne and Peter Hinton Sir Christopher and Lady Mace M Peters Contributors Anonymous PD and RM Lane Estelle Martin Warren and Faye Sowerby Alasdair Whye Maria and Mark Parris Kate Wiseman and Bob Fisher

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Sait Akkirman Su Leslie Takapuna Beach Business Association The Carry Bag Company Tourism Marketing Solutions Whitespace Gallery Warehouse Stationery

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Let’s Face It... if you’ve got the art we’ll find the perfect home for it.

Proud to support NZ Sculpture OnShore and help raise funds in support of NZ Women’s Refuge.

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As a founding sponsor of NZ Sculpture OnShore Hesketh Henry is proud to support NZ artists and help raise over $1.5m for the NZ Women’s Refuge. NZ Sculpture OnShore Exhibition 2016 | 129

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