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V o l.1 N o.4 2009

mmer, SuBring on 2010 Cover image: SisterDarling Little Morgan Running 2009 Acrylic on wood

Editorial included in this publication re�ects the opinions of the contributing authors and does not necessarily represent the views of Gallery36. Copyright for submissions belong to the contributors unless otherwise speci�ed. Gallery36 | Auckland, New Zealand Editor: Selene Simcox Ph: 021 169 9084 E:

Well the last edition for 2009 has worked its way up to an exciting edition that introduces a few new sections, as well as introducting a new and exciting K Road collaboration: First Thursdays. This month we introduce a new section to our magazine: Emerging artists abroad. Our �rst artist is Elsa Thorp (from Berlin). Gallery36 is still New Zealand based, but we all know that the art world doesn’t stop or start at our shores. We hope this new section will encourage networking abroad. Also, I would to send out a bit congratulations to everyone who has and will be graduating. I would like to extend a special congratulations to Whitecliffe’s 2009 graduates - it was an honor to graduate with you. We would like to take this opportunity to thank everyone who has supported and encouraged Gallery36 to keep doing what we have been doing. Thank you to those who take the time to email us your feedback. We would also like to send out a big thank you to all the artists and photographers that have been pro�led in Gallery36 over the last 10 months. I look forward to seeing Gallery36 continue to grow and meet new artists and photographers.

s Merry Christma ear & Happy New Y

Cool installation art on Wellesley Street East, Auckland CBD 2009

Gallery36 is dedicated to providing a place to showcase emerging artists and photographers from around New Zealand. Here at Gallery36 we want you to be pro�led. Say what your work is about, what your passion is, and/or what in�uence you want to leave behind. This is your opportunity to be showcased and put yourself out there! Gallery36 is dedicated to providing like-minded people around New Zealand with pro�les of emerging artists and photographers they will love to read about, packaged up in an easily accessible format that supports our planet by saving trees. Each issue of Gallery36 will provide you with pro�les of artists and photographers who are passionate about art and photography and the role it plays in our society and culture. We want you to participate by nominating yourself to be pro�led, and by being vocal and letting us know what you like and what sucks. If you are an artist or photographer who wants to be pro�led, please submit (Approx 300 words and up to 4 photos of your work (as jpeg) with the tittle, medium, size and year of creation (plus a photo of yourself, if you wish to), and email all this to Please remember to label your photos with the name, year of creation, medium and size. Please also make sure you and your friends join the emailing list, so you don’t miss out on each publication. Just email me at So enjoy reading, submit your work, join our magazine and tell your friends! Thanks Selene Simcox Editor Gallery36 | Vol 1. No. 4 2009


BFA & PDip Wanganui School of Design

Artist & Graphic Designer M: 021 131 6547 E: W: I was force-fed by my mum and aunt (and later, fed myself ) with literature, and spent many days of my childhood reading--Anne of Green Gables, Little Women, The Secret Garden, Heidi, Grimm’s, Dickens. I was 7, and even though all those archaic slangs escaped me, all of those unabridged editions helped develop my extroverted imagination. If I wasn’t reading, dad would feed me Hayao Miyazaki cartoons, or the latest Disney princess movie. We had most of the Looney Tunes and Merrie Melodies episodes, and I remember watching those and My Neighbor Totoro over and over when I was 5. If I wasn’t reading about 18th century England or watching an ACME product squish Wile E. Coyote again, I was drawing illustrations for my little stories, copying food photographs with pencil off of my mum’s recipe book, or painting mountains and beaches with cheap watercolour. My dad was also


a huge techie and introduced me to technology earlier on. He even bought a bootlegged version of Photoshop for me when I was 12, god knows what for. My teens were spent drawing hands and nudes, and then creating desktop wallpapers with Photoshop. During my stint in art school, I discovered Dave McKean’s illustrations, then afterwards, Gary Baseman, Camille Rose Garcia, Misery, all those cats. Up until that point I never felt like I belonged to any of the art movements that I knew about, and I didn’t know there was anything else beyond the traditional art movements. I was more interested in creating an amalgamation of different ideas, concepts and memories into a cohesive whole that is visually and conceptually fantastical, but still �gurative. When I saw their SisterDarling Great Heart 2009 Acrylic on wood

works, and especially Salvador Dali’s, I felt I’ve come home. Nothing has hit me more with such horse-power. My practice is that--an amalgamation of different things in my head that can only make sense in a surrealist realm (or speci�cally, Pop Surrealist). They’re mostly analogies of different memories, ideas. I’m largely driven by words as well. I write just as much as I paint, and writing is usually my starting point than sketching. Characters moving in a primitive landscape of colour, I love how that can depict a range of emotions. Contrasts. I love juxtaposing contrasts. The Land and the Heavens. A technical art-form like ballet, in a harsh, crude landscape. The grace of the female body and rudimentary human-like characters. Animals. I love depicting animals as gigantic, almost ethereal. I still think their spirit is bigger than ours. When I want to create “portraits” of people I’ve met who are really inspiring and who usually think bigger than most small-time concerns, I depict them as giant, luminescent animals.

SisterDarling Martini 2009 Acrylic on wood

SisterDarling Herd Strays 2009 Acrylic on wood

I’ve been working for the past 2 years as a Graphic Designer, but I always go back to good ol’ paint and panel. What currently inspire me are tattoos and street art, and the culture that surrounds those. I have become friends with some street artists and their work and their drive consistently inspire me. This year I was part of a group show, Metonymy early this March, then got chosen for a Single Artist Wall at this year’s New Zealand Affordable Art Show. I’m also a member of Crossover, and we had our launch exhibit last August, with another group show coming up later this year. SisterDarling Irene Goodnight 2009 Acrylic on wood

Chance, feat. Ergo Collective

Intellectual Low Tech Intercourse - Gypsy Performance 3 December 2009 KiS Studio’s The viewer walks into the space. It is sti�ing hot, the tent like black fabric paired with one spotlight creates an uneasy atmosphere reminiscent of rogue happenings. In the middle of the space there is a table with random food matter varying in texture, smell and consistency, accompanied by a range of domestic utensils. Two cameras transmit a live feed outside the performance space. One is on the food matter table, the other focuses on the assemblage, a piece of Styrofoam standing against a wall in the space, random domestic objects project out of the white surface, catching the spotlight and creating shadows, a Surrealist landscape.


Four people walk into the space; they are dressed in black, with black material wrapped around their heads, revealing only the eyes. There is writing on their tops: ANONYMOUS MULTICLIMAX DETACHMENT THIS IS NOT THE END MY FRIEND Two of the �gures stand guard against the wall. Multiclimax picks up the camera from the table while Anonymous begins the performance, picking up food matter and using the utensils begins to throw, splatter, blow and slash at the Styrofoam surface creating a

chaotic mess of Marmite, vinegar, sugar and cereal. Half an hour passes with an unchanging rhythm: the camera following the performance, the sound and smell of the food matter intensi�es and �nally the camera is put down and the �gures leave the room. They are silent throughout the whole performance. The title Intellectual Low Tech Intercourse plays with the notions of binary opposites and the dynamic interplay of these paradigms. The happening is a demonstration of the relationship between a given construct and the randomness of the momentary act. The product is

Chance Intellectual Low Tech Intercourse 2009 digital photograph of assemblage 1 before the performance. Courtesy of the artist.

ephemeral and only recollected by the audience’s memory and their physical standpoint. The conceptual background gets spread through the text works either on shirts or cards and also sustains the memory of the experience. Intellectual Low Tech Intercourse also deals with the notions “what is art” (product or process) and “the artist’s role”. This event can be held anywhere, locally and globally. It portrays a Bohemian state of mind, which is bound to nothing but the sense of freedom and detachment while it seeks to maintain a place for itself in the world.


Below: Susanna Grosswiler Obsessively Creative 2009 screen print on card. Courtesy of the artist. Gallery36 | Vol 1. No. 4 2009

Anita Jacobsen

Photographer M: 021 069 6766 E:

‘Staged photography’- blurring the lines between the ‘found/real’ and set-up/staged. The contextual context of the photography I


practice involves the study of the traditional notions of both portraiture and still-life. I enjoy dissecting various elements that comprise the traditional notions of portraiture and of still-life, in order to be utilized and translated into a contemporary context. The formal qualities of my current body of work combines both natural Anita Jacobsen Sink 50.8 x Inkjet on artmount. Private collection of the artist.

My work primarily discusses and explores the vast concept of identity, looking largely at major ideas that surrounds this concept such as the role of gender, the world of consumerism and the cultural effects of globalization. I am interested in making connections between these ideas in order to convey how these concepts inter-relate with each other and their roles within everyday life. As an artist I believe these are concepts that remain imperative to explore. I strive to reveal an inextricable link between these concepts and the impact and in�uence they have within our society, as well as upon our individualism and our freedom of expression and being.

Anita Jacobsen Discharge 60.9 x 91.4cm Inkjet on artmount. Private collection of the artist.

and arti�cial aesthetics. It is fashioned in a documentary style to a completely fabricated arrangement of a scene or subject constructed within a studio context. I have decided to work with both methods, and to compile a series of works that formally contrast each other. This therefore furthers the discourse between the works and the viewer, discussing binary pairings of straight vs. staged photography, ‘natural’ vs. arti�cial, the internal and the external, public and private.

Anita Jacobsen Blue house #11 50.8 x 72.6cm Inkjet on artmount. Private collection of the artist.

My work would be placed within a post-modern paradigm, due to the premise of concepts explored: identity, gender and the effects of globalization. I intend to create work that is not for an exclusive audience, or for an audience with a background in art or art theory. I strive to create work that conveys universal themes and that is viable enough to connect with everyday people, living everyday ordinary lives. All works copyright Anita Tu’u Jacobsen.

Anita Jacobsen Sunset (from out of my bedroom window) 50.8 x 72.6cm Inkjet on artmount. Private collection of the artist. Gallery36 | Vol 1. No. 4 2009

Something new has hit the K Road art scene stimulating its creative energy and alternative culture. First Thursdays is a monthly art walk held at historic St Kevins Arcade connecting artists, photographers, dancers, DJs, and art enthusiasts. The �rst event in December drew a diverse crowd of over 900 Aucklanders, curators and artists.


A broad range of artists were featured including pop surrealist

K Road Artwalk

Sister Darling, who painted goddess-like characters from her imaginative, alternate world. Used Bandaid from Wellington offered some deviant, Lolitainspired watercoulour drawings.

Glass blower Uri Davillier set up his installation “Raining Sunshine” consisting of hundreds of yellow glass drips hanging from the ceiling which intrigued guests as they walked in.

Selene Simcox contributed bold, abstract expressionist designs cleverly using an ironing board as a medium whilst Sylvia Marsters depicted bright, warm hues in her paintings of tropical fruit bowls and �owers.

Jordan Barnes shared a bit of realism with his K Road studies, a self portrait, and observations about life including a giant, mouth-watering hamburger (its caption was “I’m always so f--ng hungry).

Philip Rosieur presented 40 sketches of strangely amusing, sometimes partly clad characters - think Batman missing his superhero pants. A key �gure in the street art scene, Peap contributed one of his signature black and white paintings. Digital artists PJ Paterson and Stephanie O’Connor merged photography and graphic art into urban and theatrical expressions. Visitors browsed through environmental artist Martin Adlington’s booth of recycled trash turned to art. GeorgeFM sponsored the event with a live DJ set. A surprise Brazilian dance performance by Latin Fever and an electrifying Michael Jackson medley performed by hip hop dance group Triple8Funk caused an enthusiastic uproar. Inspired by an art walk in her hometown of Seattle, USA event manager Cleo Barnett wanted to provide a new type of social arts gathering in Auckland. What started as an idea has turned into a community conscious, arts collaborative supported by the K Road Business Association, St Kevins shops, Third Eye and Verona Cafe. The next First Thursdays on 4 Feb is surely not to be missed so check out www.�

Berlin, Germany


M: 0049 (0) 151 2695 6281 E: W:

Photography is a primary form of self-exploration and self-identi�cation. All of my photographs are autobiographical. I am interested in the relationship between self and other - in the susceptible uniqueness of our environment


and experience. My photography is image collecting. I take a photograph because I want to take something away from an event or a place that is more than a memory. I am drawn to the past, the hidden, the unnoticed. Places that evoke emotion.

My photographs are about then and there, seizing the moment, capturing time. I photograph things ‘as they are’ as I �nd them. My photographs are about ‘place’ in a sociological sense; about socially constructed sites or locations linked by experience and memory. By publicly displaying my work I create a window for others to look into my life, into my reality, representing my way of seeing - my way of being. I completed a BFA at the Elam School of Fine Arts in November 2007 and the next day jumped on a plan to Europe, where I travelled around by train for 3 months. It was then that I visited Berlin for the �rst time and fell for the city. From September 2008 I lived on Paros, Greece for 6 months where I completed a photographic project capturing images of the Greek Islands and had my �rst


Emerging artists and photographers working abroad

Elsa J N Thorp


solo exhibition. In March 2009 I moved to Berlin. I love Berlin’s atmosphere; I spend my time wandering the streets with my cameras and taking photographs of my New Zealand friends’ bands who are touring Europe. In Berlin I have also been working as a volunteer intern for AA Galleries and Clark Gallery. My next step it to apply for an Artist Visa for Germany to continue my dream of living as an artist in Berlin.


Photos by Elsa Thorp: 1. Berlin Interior 2009


2. The Benka Boradovsky Bordello Band at Schokoladen 2009 3. A Sense of Place 2009 4. Berlin 2009 5. An Emerald City 2009


Gallery36 | Vol 1. No. 4 2009


The Learning Connection and commitment (our entrance criteria).

Jonathan Milne Managing Director

The Learning Connexion (TLC) is an independent, International Art school based in the Hutt City, Wellington. We are NZ’s largest �ne arts provider and focus on hands on learning, learning in the doing. No essay’s or tests, just room to explore mediums and get mucky. At TLC we don’t tell you what to do, we let you drive your program to reach your creative goals and our experienced top notch tutors will guide you along the way. Tutors are encouraged to shape their own methods of delivery to nurture creativity in our students. Through our courses you will learn sustainable practises so you don’t graduate wondering where to go next as you would already have started putting yourself out there as an artist in real world situations. Your success is based on feedback


TLC has pioneered an approach to learning which makes art and creativity accessible to adults anywhere in New Zealand and overseas through our distance learning program, which most of our students participate in. Our campus has a wide range of top facilities where you can indulge yourself into such mediums as printmaking, photography, bronze casting and jewellery making. We make our courses as �exible as possible to �t art and creativity into our often very busy lives. If you can’t spear the time to study full time, then you can take our part time option. Mix it up, study from home and at our campus, it’s up to you. We have four intakes a year for onsite study and 12 intakes a year for distance learners so you can start when your creative juices are �owing to keep your motivation up. The short courses we offer in the weekends and evenings are a good way to focus in a concentrated way on a technique or medium and lots of fun, making new acquaintances

The Learning Connexion campus and matching car

from our TLC community. We are also very proud to offer a program tailed to deaf and hearing impaired, offering this opportunity to gain a ful�lling life through art and creativity to all. Explore with us how you can �t creativity into all aspects of your life. Feed the seed and see what will grow. We welcome you to come on out to our campus for a look around and a chat, we look forward to it.


Upcoming Exhibitions Gallery36 has never intended to be a exhibition listing, but now that our edition 3 Fiďż˝ Cheung has a exhibition coming up, we think it is a great time to open up a new section to advertise emerging artists and photographers upcoming exhibitions. Lets

celebrate the success of our colleagues and support them by spreading the word and attending their exhibition! Congratulations Fiďż˝. If anyone else has a show coming up, email us at

Corban Estate Arts Centre 426 Great North Road, Henderson, Waitakere City 09 838 4455 | | Gallery36 | Vol 1. No. 4 2009

Gallery36 Vol 1 No 4 2009