Bedrock - stone in contemporary practice, 2022

Bedrock 30 July – 20 August 2022

Ieva Grigienė (Lithuania) Open Ring 1. Lapis lazuli

L76 x H37 x D24mm Size approx Q-Q1/2

$850

Ieva Grigienė (Lithuania) Open Ring 2. Rock crystal (with a hole)

L50 x H40 x D27mm, size approx. L-M

$850

Ieva Grigienė (Lithuania) Open Ring 3. Lavender jasper

L33 x H45 x D33mm Size approx O-P

$795

Ieva Grigienė (Lithuania) Open Ring 4. Lapis lazuli

L30 x H36 x D28mm Size approx L-L1/2

$795

Ieva Grigienė (Lithuania) Open Ring 5. Rock crystal

L21 x H34 x D18mm Size approx M1/2-N

$795

Ieva Grigienė (Lithuania) Open Ring 6. Agate, aqua beryl

L30 x H46 x D19mm, Size approx. M

$795

Ieva Grigienė (Lithuania) Open Ring 7. Green and red jasper

L42 x H59 x D16mm Size approx K-M

$1140

Ieva Grigienė (Lithuania) Open Ring 8. Reconstructed coral, lapis lazuli

L40 x H46 x D12mm Size N-O

$680

Ieva Grigienė (Lithuania) Open Ring 9. Rose quartz

L27 x H47 x D14mm Size approx N-M

$850

Ieva Grigienė (Lithuania) Open Ring 10. Lapis lazuli

L21 x H37 x D26mm Size approx J-M1/2

$680

Ieva Grigienė (Lithuania) Open Ring 11. Reconstructed coral, agate, silver

L24 x H40 x D14mm Sizxe approx M

$630

Ieva Grigienė (Lithuania) Open Ring 12. Agate

L36 x H34 x D13mm Size approx L

$680

Ieva Grigienė (Lithuania) Open Ring 13. Serpentine

L40 x H53 x D14mm Size approx M-N1/2

$710

Ieva Grigienė (Lithuania) Open Ring 14. Lapis lazuli

L52 x H40 x D20mm Size approx M

$795

Ieva Grigienė (Lithuania) Open Ring 15. Blue chalcedony, synthetic stone, sugru (epoxy clay) L27 x H42 x D13mm Size approx R1/2- S

$850

Ieva Grigienė (Lithuania) Open Ring 16. Agate, lapis lazuli

L31 x H54 x D13mm Size approx L-M

$795

Ieva Grigienė (Lithuania) Open Ring 17. Onyx, pirite

L25 x H58 x D20 Size approx N

$630

Ieva Grigienė (Lithuania) Open Ring 18. Jasper (green), synthetic stone

L27 x H45 x D12mm Size approx K-L

$680

Ieva Grigienė (Lithuania) Open Ring 19. Reconstructed coral

L26 x H57 x D15mm Size approx L-M

$630

Ieva Grigienė (Lithuania) Open Ring 20. Agate (eye)

L32 x H34 x D20mm Size approx. M1/2

$795

Peter Lange (Aotearoa) 21. Cleft for Me, 2022 glazed basal, brick, tile; H300 x 500 x 250mm base

$1200

Peter Lange (Aotearoa) 22. Basalt Dreams, 2022

Bluestone base, Glazed Scoria; H470 x 350 x 250mm base

$1200

Peter Lange (Aotearoa) 23. Black Structure, 2022

Glazed scoria, brick, fake rocks, tile; H400 x 330 x 330mm base

$1200

Peter Lange (Aotearoa) 24. White Structure, 2022

Glazed Scoria, brick; H440 x 250 x 250mm base

$1200

Courtney Marama (Tainui, Ngāti Koroki Kahukura, Ngāti Ranginui) 25. Coromandel Carnelian Cigar Float $850 Coromandel Carnelian, Birdlings Flat Canterbury Beach Agate, Wax Cotton Cord, Oxidised Sterling Silver L48mm x W5mm; Wax Cord: L28.5mm

Courtney Marama (Tainui, Ngāti Koroki Kahukura, Ngāti Ranginui) 26. Canterbury Agate Cigar Float Mount Somers Canterbury Agate, Birdlings Flat Canterbury Beach Agate, Wax Cotton Cord, 18ct Gold L55mm x W15mm; Wax Cord L30mm

$850

Courtney Marama (Tainui, Ngāti Koroki Kahukura, Ngāti Ranginui) 27. Coromandel Agatised Wood Cigar Float Coromandel Agatised Wood, Birdlings Flat Canterbury Beach Agate, Wax Cotton Cord, 18ct Gold L60mm x 13mm; Wax Cord L30mm

$850

Courtney Marama (Tainui, Ngāti Koroki Kahukura, Ngāti Ranginui) 28. Pounamu Cigar Float $850 West Coast Pounamu, Birdlings Flat Canterbury Beach Agate, Wax Cotton Cord, Oxidised Sterling Silver L58mm x W15mm; Wax cord L30mm

Tom Mason (Aotearoa) 29. Remnant Series 1, 2022

Whakatu argillite; L300 x W14 x H15mm

$840

Tom Mason (Aotearoa) 30. Remnant Series 2, 2022

Whakatu argillite; L297 x W13 x H11mm

$840

Tom Mason (Aotearoa) 31. Remnant (shard), 2022

argillite; L147 x W64 x H24mm

$600

Craig McIntosh (Aotearoa) 32. Cartography, 2022 object; Pakohe; L245 x 150 x 60mm

$4430

Craig McIntosh (Aotearoa) 33. Cartography, 2022 object; Pakohe; L130 x 90 x 50mm

$1420

Craig McIntosh (Aotearoa) 34. Cartography, 2022 object; Pakohe; L105 x 90 x 65mm

$1420

Neke Moa (Ngāti Kahungunu ki Ahuriri, Kai Tahu, Ngāti Porou, Ngāti Tūwharetoa) 35. Kaitiaki hari, 2022 $1150 Whatu H55 x W50 x D15mm, muka L300mm, paint, pounamu, shell L70 x 25mm When you are on your right path, you vibrate and radiate cosmic energy, the body produces endorphins and heightens this sense of wellbeing, connection and happiness.

Neke Moa (Ngāti Kahungunu ki Ahuriri, Kai Tahu, Ngāti Porou, Ngāti Tūwharetoa) 36. Riwha, 2022 $1150 Whatu H98 x 65 x D18mm, muka (dyed raurekau) L320mm, bone L50 x W10mm, paint, pounamu Over a lifetime, bodies become marked, and scarred, as permanent a record as any tattoo or moko. Validating your challenges and life to date.

Neke Moa (Ngāti Kahungunu ki Ahuriri, Kai Tahu, Ngāti Porou, Ngāti Tūwharetoa) 37. Harakoakoa, 2022 $920 Whatu H60 x W50 x D20mm, muka L300mm, paint, pearl shell L50 x 5mm Pleasure is a basic human right. Absolutely everyone deserves to have it. Allow it to come from your core, to fill you.

Explore it, name it, own it.

Neke Moa (Ngāti Kahungunu ki Ahuriri, Kai Tahu, Ngāti Porou, Ngāti Tūwharetoa) 38. Arohanga, 2022 $1120 Whatu H50 x W40 x D25mm, muka L350mm, pearl, paint.

One piece made up of ‘same but different’, the multiple layers that make up a person’s whole. Parts of you available to different people all at the same time.

Neke Moa (Ngāti Kahungunu ki Ahuriri, Kai Tahu, Ngāti Porou, Ngāti Tūwharetoa) 39. Pāmamae, 2022 $920 Whatu H60 x W34 x D13mm, muka L275mm, paint, pounamu This piece acknowledges the grief that an individual carries. It’s quiet acceptance of this state has no time limit, it has no advice. It is with you to be put on and taken off as required.

Neke Moa (Ngāti Kahungunu ki Ahuriri, Kai Tahu, Ngāti Porou, Ngāti Tūwharetoa) 40. Whakatūturu, 2022 $920 Whatu H45 x L43 x D15mm, muka L285mm, paint, pounamu.

Ko au, ko au. The importance of self-affirmation. Being yourself, on your true path, finding joy deserves time.

Neke Moa (Ngāti Kahungunu ki Ahuriri, Kai Tahu, Ngāti Porou, Ngāti Tūwharetoa) 41. Whanau ā Whiriwhiri, 2022 $1150 Whatu H82 x W70 x D25mm, muka L275mm,shell, pounamu, paint.

Whanau of choice. People who come together to support individuals who they don't have blood ties with. Whanau ā Whiriwhiri whose actions influence those belonging to it, as strongly as any genetic connection.

Julia Obermaier (Germany) 42. Verborgen, 2021 brooch; Amethyst, Resin, pigment, stainless steel; 60 x 60 x 18mm; 100g

$1275

Julia Obermaier (Germany) 43. Verborgen, 2020 brooch; Onyx, resin, pigment, stainless steel; 84 x 80 x 17mm

$1330

Julia Obermaier (Germany) 44. Verborgen, 2021 brooch; Amazonite, resin, pigment, stainless steel; 109 x 68 x 19mm

$1330

Julia Obermaier (Germany) 45. Verborgen, 2021 brooch; Labradorite, resin, pigment, stainless steel; 70 x 119 x 20mm

$1330

Julia Obermaier (Germany) 46. Verborgen, 2021 brooch; Rhodonite, resin, pigment, stainless steel; 68 x 64 x 18mm

$1190

Julia Obermaier (Germany) 47. Verborgen, 2021 brooch; Ruby in Zoisite, resin, pigment, stainless steel; 82 x 69 x 18mm

$1450

Julia Obermaier (Germany) 48. Remains, 2021 earrings; Aventurinquartz, silver, resin, pigment; approx 34 x 22 x 4mm

$440

Julia Obermaier (Germany) 49. Remains, 2021 earrings; Aventurinquartz, Amethyst, silver, resin, pigment; approx 28 x 12 x 4mm

$395

Julia Obermaier (Germany) 50. Remains, 2021 earrings; Rhodonite, silver, resin, pigment; approx 32 x 22 x 3mm

$470

Julia Obermaier (Germany) 51. Remains, 2021 earrings; Amethyst, Rosequartz, silver, resin, pigment; approx 51 x 17 x 4mm

$495

Johnathan Percy (Aotearoa) 52. Pakohe Toki, 2022 Southland Pakohe/argillite; adjustable 5 plait; L75mm x 27mm

$795

Johnathan Percy (Aotearoa) 53. Marsden Pounamu Toki, 2022 Pounamu from the Marsden gold fields, adjustable 4 plait; L65mm x 25mm

$795

Johnathan Percy (Aotearoa) 54. Īnanga Pounamu Toki, 2022 Īnanga Pounamu from the Arahura river, adjustable 4 plait; L55mm x 27mm

$530

Johnathan Percy (Aotearoa) 55. Whakatū Pounamu Toki, 2022 Pounamu from Whakatū/Nelson area, 6 strand cordage, Ōnewa toggle Dia56mm; L90 x 30mm

$1150

Bridget Reweti (Ngāti Ranginui, Ngāi Te Rangi) 56. after Koro Ralph 2021 kuaka feather photogram on pounamu; 165mm x 85mm x 10mm

NFS

Bridget Reweti (Ngāti Ranginui, Ngāi Te Rangi) 57. manawa tītī 2021 Tītī feather photogram on pounamu; 145mm x 150mm x 5mm

NFS

Bridget Reweti (Ngāti Ranginui, Ngāi Te Rangi) 58. after Kui Marilynn 2021 toroa feathers photogram on andesite; Dia110 x D50mm

NFS

Bridget Reweti (Ngāti Ranginui, Ngāi Te Rangi) 59. without skin and flesh 2021 toroa beak photogram on pounamu; 155mm x 70mm x 5mm

NFS

Bridget Reweti (Ngāti Ranginui, Ngāi Te Rangi) 60. You are not alone, Toroa 2021 toroa beak photogram on pounamu; 130mm x 95mm x 5mm

NFS

Edu Tarin (Spain) 61. Pendant and Object, 2018

G0C2. Turquoise-Agate Stone Carving, CNC Machining.

92x80x50 mm. 112 gr. / 2.1 kg

$5850

Edu Tarin (Spain) 62. Pendant and Object, 2019

G0A2. Tiger’s eye Stone Carving, CNC Machining.

70x64x45 mm. / 159x122x73 mm 95gr. / 1,37 kg

$5530

Edu Tarin (Spain) 63. Pendant and Object, 2020

G0F1. Malaquite Stone Carving, CNC Machining.

110x65x50 mm. 120gr. / 2.2 kg

$7350

Terence Turner (Tainui, McLeod) 64. Jasper Torso: Venus o te tara o te ika a Maui, 2022 H209mm (with stand) H138mm (piece) x W68 x D30mm

$1950

Terence Turner (Tainui, McLeod) 65. Petrified Torso: venus o Otepoti, 2022 H209mm (with stand) H90mm (piece) x W45 x D30mm

$1775

Raewyn Walsh (Aotearoa) Rock Brooch, 2022 66. Dark Beige Resin, Copper, Paint, Beeswax L90mm x 45mm x 40mm

$350

Raewyn Walsh (Aotearoa) Rock Brooch, 2022 67. Blue/Pink Resin ,Copper, Paint, Beeswax L90mm x 35mm x 50mm

$350

Raewyn Walsh (Aotearoa) Rock Brooch, 2022 68. Pale Unicorn Resin, Copper, Paint, Beeswax L60mm x 37mm x 50mm

$350

Raewyn Walsh (Aotearoa) Rock Brooch, 2022 69. Smooth Multicolour Resin, Copper, Paint, Beeswax L75mm x 45mm x 40mm

$350

Raewyn Walsh (Aotearoa) Rock Brooch, 2022 70. Pale beige Resin, Copper, Paint, Beeswax 80mm Diameter x 35mm

$350

Raewyn Walsh (Aotearoa) Rock Brooch, 2022 71. Pale Green Resin, Copper, Paint, Beeswax L70mm x 40mm x 20mm

$350

Lisa Woods (Aotearoa) 72. Studs - diamonds Fine Silver, Sterling Silver, 22ct Yellow Gold, Cabochon Black diamond studs Dia.14mm, Stone Dia.5mm

$620

Lisa Woods (Aotearoa) 73. Studs - gold Fine Silver, Sterling Silver, 18ct Yellow gold studs; Dia.14mm

$235

Lisa Woods (Aotearoa) 74. Studs – Rubies,gold 18ct, 22ct yellow gold with cabochon ruby studs, 18ct gold butterfly back Dia.14mm, Stone Dia.5mm

$2,750

Lisa Woods (Aotearoa) 75. Studs – Lapis Lazuli Fine Silver, Sterling Silver, 22ct Yellow Gold, Lapis Lazuli Cabochon studs Dia.14mm, Stone Dia.5mm

$435

Lisa Woods (Aotearoa) 76. Studs - Emeralds Fine Sterling Silver, 22ct Yellow gold, Emerald cabochon studs Dia.14mm, Stone Dia.5mm

$495

Artist statements Ieva Grigienė (Lithuania) Open ring is the collection of 51 rings made of various stones (which I wanted to be in a way endless). I sought to preserve the ragged force of the stones, so I worked fast and spontaneously, leaving marks of the work process and patches of raw stone, thus conveying the freedom of unfinishedness in the result.

In the century of the machine, I started noticing that the most inspiring human made forms are the ones that have something not perfect, unfinished within themselves. Rough, raw textures, experimental materials connected as if at random, works that seemed more like sketches with their provocative “disorder” – seeing these and other features, I wanted to find a term that connected these features. Looking for a historical equivalent, the term non finito (a quality of a work, when it is or it seems to be unfinished) was relevant, although it is too connected to modernism and not that relevant now, when one can never tell when an artwork is truly finished. That is why analysing the aesthetics of unfinishedness in contemporary art I mostly relied on Umberto Eco’s insights on postmodernity, especially his view on postmodern works, which he characterizes as open works of art, defined by qualities of openendedness, limitlessness and being subject to change, also a dependency not only on its creator, but on the involvement of other performers and viewers as well and most importantly their reactions and interpretations.

Peter Lange Lange has also been throwing some fist-sized rocks dug out of his home garden going into the kiln.

'They come out looking like people’s brains. The white glaze crawls in the most alarming manner… Between that and the melting bricks, there's a certain amount of risk-taking going on.

Courtney Marama (Tainui, Ngāti Koroki Kahukura, Ngāti Ranginui) This collection of New Zealand Stones is based on the modern fishing tool 'Cigar Floats'. When I was living in Pōneke/Wellington I used to find them washed up on the South Coast beaches and would collect them. Playing with the juxtaposition of modern fishing techniques and materials and traditional maori fishing techniques and tools. The floats being made of plastic and unsustainable therefore creating ocean rubbish in contrast to harakeke, wood, stone and bone Maori would use. Resulting in my merging of the modern cigar float but made from natural materials in a more contemporary form.

Tom Mason I often use materials which are primarily left lying about my father’s workshop. Growing up in such surroundings becoming a maker has been a natural progression. Years of observation have taught me an immense appreciation for materials and form.

What I am doing is giving the materials life once again, by letting them interact with one another in the forms I make out of them.

Craig McIntosh Primarily working in Pakohe (Metamorphosed Argillite) and Basalt, McIntosh’s making practice has been shaped by an ongoing relationship with the geological history and stone harvesting sites of New Zealand’s South Island.

Positioning himself within a lineage that has sought to critically interrogate Pākeha use of stone (and other indigenous materials) within the colonial context, McIntosh has developed a practice that is self-aware and culturally critical of the impulse to appropriate. Drawing instead on abstractions from the fields of architecture and engineering, McIntosh’s experimentation with carving techniques, which he deploys to shape of manifold relationships and responsibilities.

Neke Moa (Ngāti Kahungunu ki Ahuriri, Kai Tahu, Ngāti Porou, Ngāti Tūwharetoa) Nau mai, hui mai ko ō mātou mātua tūpuna Nau mai, hui mai ko mana whenua e Tau mai nei he mauri tīpua, he mauri tawhito, he mauri tau e Tīhao ana he korowai aroha, he korowai manaaki, he korowai arotahi Hui mai ki waenga o toi, toi mahara, toi tuhia, toi mākoha Haumi e, hui e taiki e Welcome, gather here my ancestors Welcome, gather here people from these lands Settle here a sacred mauri, an ancient mauri, a peaceful mauri encapsule/enclose us in a cloak of love, caring and focus Gather amongst art/creatives, art generously and skillfully made, thought provoking, to talk about Bring together, afirm Nā Fern Te Mihi Miharo 2022 Tūwhaiwheke Tūwhaiwheke is one of the sisters that make up the atua house commonly known as Tūmatauenga. Standing alongside the sisters when the separation of Ranginui and Papatūānuku happened, Tūwhaiwheke began to scribe the events that shaped the earth, its features physical, spiritual, lore and laws. Recording them in stone.

Tūwhaiwheke records atua incidents and interactions. Soaking in all the emotions that are present, and the learnings that happen as a result. Considering all these things, Tūwhaiwheke collects different minerals and materials and forges mauri stones, recording what has happened. These stones are left to wash up on beaches and banks to be found by tohunga. These stones represented were collected from Ōraka (Gemstone beach), Te Waipounamu.

The expectation of Tūwhaiwheke is that the people who end up with these stones will do their best to share the stories that are held within them.

Sharing could be taking time to enjoy a stone that attracts your attention.

It could be the collection of a stone to treasure for a time, or to give to someone else as a gift, sharing is the graceful acceptance of such a gift.

It may be that the stone becomes adapted or changed to become something else.

When stones are used to start a conversation, sharing happens. Privately within a person or with others. The opportunity created by stones to reflect upon, talk about, and feel the mauri within them or around them bringing people together is the active karakia that acknowledges the mahi of Tūwhaiwheke.

Nā Paula Conroy 2022

Julia Obermaier (Germany) Verborgen.

In the labyrinth of the intangible.

Silence.

Depths not comprehensible, dark and yet so bright.

Safe and embraced. Warmth.

Walls draw up, sheltering shadows.

You feel touched. Spellbound.

Narrow alleys, shelter Lean back. In - Out. Silence. Thoughts dance.

Warmth. Security and well-being.

Treasure rests within. Safety.

With you. Yourself. Trust yourself.

Step by step you discover more.

The inside opens up.

Growing towards you, it seeks the same.

Straight and yet so soft, it rests gently in your hand.

Concealed.

Feelings.

Stones fascinate me. Every little part of them is unique and an embodiment for unswayable nature. A human being can shape a stone but not fabricate one. The material stone has something majestic. It is a hard-bitten material, heavy, stable but also light and fragile. Stonecutting takes a lot of time and patience and resembles a meditation. It is as if the stone keeps the eternity within itself to thwart the fast pace of our time.

My playing hands are the tools for my ideas and thinking. Through them I feel and touch the surface and the outlines of the material. They are the medium, which connect my inner world with the outer world.

They urge the mutual process of touching and grasping, changing my ideas and my perception. It is driving itself, simultaneous with seeing, touching, feeling and thinking through the material.

In my work I cut slices out of stone and build up new spaces. In their inside, hollow spaces are developing with corners and nooks. These are constructions, which enclose blank spaces and create free spaces. Through that process, a kind of body for your soul is generated, which can be loaded up with the wearers own personal feelings, perceptions and sensations. It protects the wearer’s inner space, like a second skin.

Julia Obermaier recently received one of two special mentions of the LOEWE Foundation Craft Prize 2022.

Jonathan Percy (Aotearoa) ‘For Hundreds of thousands of years humans and our predecessors have had a strong relationship with stone and the tools it can become. From the very simple to the very complexed, stone tools have been a cornerstone of our evolution and way of thinking. This body of work explores the techniques used for cutting, grinding and shaping Pounamu/nephrite and other hard to knap stones. These techniques have then been used to decorate one of the most important and prized stone ages tools, the Toki/Adze/Celt.’

Johnathan Percy is a contemporary stone artist who is heavily influenced by stone age culture, history and the natural world. He works mainly with stone but likes to incorporate materials like bone shell and horn into his pieces to create contrast. Johnathan is based in South Waikato but was born and spent most of his life in Waitaha/Canterbury.

Bridget Reweti (Ngāti Ranginui, Ngāi Te Rangi) ‘Created as a photogram, a surface exposed to light and imprinted on a silver gelatin surface, Bridget uses different stones to bear the image of various migratory seabirds. The bodies of these seabirds - tītī, toroa and kuaka - leave ghostly imprints on the weightier stones - pounamu, basalt, argillite, and tūhua.

Kōrero surrounding these birds capture how they leave on long journeys and return to Aotearoa, their leaving and returning heralding different meanings… these birds compel us to always remember those who have gone before us, those who have made their haerenga to Te Rerenga Wairua, those for whom we continue to long for…’ – Matariki Williams (Ngāi Tūhoe, Ngāti Whakaue, Ngāti Hauiti, Taranaki) Bridget Reweti is a member of the Mata Aho Collective, who were awarded The Walter’s Prize in 2021 with their collaborator artist Maureen Lander.

Edu Tarin (Spain) In this process each pendant has been traditionally hand-carved from one single stone. Once the pendant is finished, two 3D scans are made: one of the pendant and another of the rough rock. With this process completed, I can create a CNC machined engraving of the negative of the pendent into the natural stone. In this way, the pendant is partially laying into the standing object, creating a symbiotic relation between what it was and what has become, what it looks and what it is. A reciprocity of techniques, from tradition to modernity, inviting to rationalize about process itself where the "what" generates as a reflection of the "how".

Edu Tarin was recipient of the European Prize for Applied Arts in 2021. BeCraft. Mons. Belgium and the Talente Preis in 2016. Chamber of Crafts for Munich and Upper Bavaria.

Terence Turner (Tainui, McLeod) Terence has always made things; using object and physical form as a language to communicate story.

Tere enjoys the capacity of certain objects to speak for themselves, via medium, form, and personal reference; and to hold their own place in time and culture.

In his work, Terence seeks to explore the fluid importance of the stone. The diverse and changing tikanga and oral traditions around the stone, as well as the stories behind each piece of rock, give it a life of its own that can be honoured and reflected in his carving.

Raewyn Walsh In this group of ‘rocks’, Raewyn looks at the human need to cultivate and domesticate the natural world. Worn like a corsage or a buttonhole, these rock brooches are, by necessity light, and made from a synthetic material that removes them even further from the natural environment, overlaying them with a human centric view.

Lisa Woods ‘Humans love to fossick and collect treasure found in the earth’s bedrock. Precious metals and stones come in a multitude of colours each with their own intrinsic qualities. I have used some of my favourite’s gold, silver, ruby emerald, diamond and lapis to create this series of earrings.’