Summer Salon 2020

21st

Summer Salon November- 23 January 2020

May Trubuhovich 1.Look to the Bees,2020 $450 Hand embroidery on 3 x 29mm brooches; cotton, linen toile “Pergola”, parchment linen; 125mm x 205mm ‘Paying close attention to nature is always a good antidote. Bees know what they’re about.’

2.Blink Blink ,2020 Hand embroidery on 9x 29mm buttons; cotton, velveteen, parchment linen; 165mm x 535mm

$990

‘The imagery in Blink Blink flows on from previous works “Memory Items I: Pen, Glass, Sunlight, Honesty” and “Honesty” (2020), which also featured (my) eyes as a reflection on honesty in discussion.’

Kate Fitzharris 3. New Familiar, 2020 Macs Bluff North Island with sand and pebble mix, H330mm

$1,200

Artist Statement New things become familiar as they are integrated into the existing ways we perceive the world around us. A familiar is a close companion or spirit that serves and watches out for someone. Objects can fulfil this role within our domestic lives: they contain something of our experiences, our memories of the past or our hopes for the future.

4. And the others, 2020 White Australian Clay, H367mm

$650

Mandy Joass (Ngāpuhi) 5. Porotītaha (Oval), 2020 Wall hung, Silver and blue upcycled venetian blinds. 700 x 540 x 120mm.

$1,850

6. Wiki, 2020 Beige and white upcycled venetian blinds. Dia 950mm

$2,500

7. Wiki, 2020 Bronze upcycled venetian blinds. Dia 560mm

$2,200

8. Whakaroa (expansion and delay. In Bulb Gallery), 2020 Black metallic upcycled venetian blinds. Dia. 1090mm

$3,500

Artist statement Whakaroa (expansion and delay) is an enigmatic abstract meditation, an industrial harakeke raranga, a comment on the value of quotidian repetitions and ancestral knowledge. For some the world stopped, for others it sped up, but for all of us the patterns of daily life reformed into new ways to be ourselves, to be together and to be apart. There has been an expansion and exchange of knowledge during isolation, our most vulnerable have became more valuable. The fast fading ways of a treasured generation were brought out and dusted off, gardening, strolling, crafting, puzzling, teaching, cooking, reading and caring for others. With help from the other end of the generation gap, children guided grandparents and parents, negotiating new technology to stay connected and reminding them how to play.

Reminiscent of a metallic doily and a simple paper fan, its folds and intersections seem to shift kaleidoscopically giving the piece movement, it blooms and recedes as light plays across its surface. Hand woven using more than two and a half thousand folds to weave over one and a half kilometres of recycled aluminium Venetian blinds. Each small action combines to form an intricate mosaic of opposites, giving a dual presentation of perspectives. This clear twosided view serves as a metaphor of shared atawhi (kindness and compassion).

Matt Hall Fulvio Bowls, 2020 Blown and mirrored or sandblasted glass Green – mirrored

$950

Matt Hall Fulvio Bowls, 2020 Blown and mirrored glass Apricot – mirrored

$950

Layla Walter Saddleback - Tiritiri Matangi #3, 2020 Cast yellow Gaffer glass. H255 x Dia 330mm

$9,500

Artist Statement A simple orange vessel, containing a detailed bird and coprosma within; firmly anchored in reference to New Zealand. This work was designed in celebration of Tiritiri Matangi, the bird sanctuary island nestled in the Hauraki Gulf. Depicted is tÄŤeke, the saddleback bird; mascot of the Supporters of Tiritiri Matangi.

Tiritiri Matangi is one of New Zealand's premier conservation groups and one of the first to be co-managed by the Department of Conservation (D.O.C.) and The Supporters of Tiritiri Matangi (a community based group of volunteers). The success of this partnership has become a key model to give other New Zealand communities involvement working with support of DOC in co management conservation situations.

Yvonne Vaneveld is a key conservation supporter at Tiritiri Matangi, and is involved with translocation of birds from Tiritiri Matangi, including Kokako and North Island Robin, which are successfully reintroduced into the Waitakere Ranges. Being ground dwellers, saddleback are too vulnerable to predator threat, unless translocated to a completely predator free environment, which raises the importance of predator fenced areas in mainland environments (like Zealandia in Wellington). My daughter Billie and I are able to share this conservation experience with Yvonne and her husband Mike Siddens, who take us to check and feed these precious birds, and teach Billie, continuing a family tradition of knowing about the bush and its wildlife.

Arielle Walker (Taranaki, Ngāruahine, Ngāpuhi, Pākehā) Ka haere au (2019) hand-knit wool yarn

$895

Artist statement Drawing from the pūrākau of tupuna Taranaki, Kā haere au was made in consideration of the embrace of our tūpuna - an embrace that is especially poignant when retracing a path back to them, across the hum and swell of the sea, towards the setting place of the sun.

Bronwyn Lloyd 1. Balance Charm (2020). $450 Wool needlepoint charm containing apatite, garnet, tourmaline, fire opal, dried lavender head, pressed oak leaf.

Charm design is inspired by a book design by Sonia Delaunay, (1913) NB: all Charms and Amulets can be switched to be worn as brooches instead of pendants on request

Bronwyn Lloyd 2. Hearth & Home Amulet (2020). $450 Wool needlepoint amulet containing sapphire, quartz, aquamarine, garnet, cinnamon, pressed jasmine flower.

Design inspired by Louise Henderson’s painting, ‘House in Dieppe’ (1959)

Bronwyn Lloyd 3. Blue Bird Amulet (2020). $450 Wool needlepoint amulet containing smoky quartz, quartz, cinnamon, pressed rosebud, pressed oak leaf.

Amulet design inspired by ‘Vase Carrier’ by Sophie Taeuber-Arp, (1928)

Bronwyn Lloyd 4. Ochre Sentinel Amulet (2020). $450 Wool needlepoint amulet containing tourmaline, smoky quartz, pressed oak leaf, cinnamon.

Design inspired by a totem figure on a beaded reticule designed by Sophie Taeuber-Arp, (1918)

Bronwyn Lloyd 5. Red Bird Aspirational Charm (2020). $450 Wool needlepoint charm containing quartz, smoky quartz, dried red camellia petals, cinnamon.

Inspired by a cushion design by Sophie Taeuber-Arp, (1924)

Bronwyn Lloyd 6. Threshold Charm (2020). $450 Wool needlepoint charm containing aquamarine, fire opal, smoky quartz, pressed oak leaf, dried red camellia petals.

Charm design inspired by a patchwork quilt made by Sonia Delaunay for her infant son (1911).

Bronwyn Lloyd 7. Temporal Charm (2020).

Wool needlepoint charm containing tourmaline, apatite, pressed oak leaf, cinnamon.

Design inspired by Louise Henderson’s painting, ‘November’ (1987)

$450

Bronwyn Lloyd 8. Fuchsia Doorway Aspirational Charm (2020).

Wool needlepoint charm containing quartz, apatite, fire opal, pressed rosebud, cinnamon.

Design inspired by Louise Henderson’s painting, ‘Untitled (Jerusalem Series)’ 1957.

$450

Bronwyn Lloyd 9. Balance Charm (2020).

Wool needlepoint charm containing aquamarine, apatite, sapphire, pressed oak leaf.

Design inspired by Louise Henderson’s painting, ‘Untitled (Jerusalem Series)’ 1957

$450

Bronwyn Lloyd 10. Pink Ladder Aspirational Charm (2020). $450 Wool needlepoint charm containing tourmaline, apatite, fire opal, pressed oak leaf, cinnamon.

Adapted from Gordon Walters’ ‘Drawing No. 21’ (1956)

Bronwyn Lloyd 11. Journeying Charm (2020). $450 Wool needlepoint charm containing fire opal, quartz, apatite, pressed jasmine flower, pressed rosebud.

Inspired by Paul Klee’s watercolour ‘In the Kairouan – Style, transposed in a moderate way’ (1914)

Bronwyn Lloyd 12. Harmony Charm (2020). $450 Wool needlepoint charm containing aquamarine, apatite, smoky quartz, pressed jasmine flower.

Detail from a scarf design by Sonia Delaunay (c. 1920s)

Bronwyn Lloyd 13. Red Ladder Aspirational Charm (2020). $450 Wool needlepoint charm containing tourmaline, apatite, fire opal, pressed oak leaf, cinnamon.

Adapted from a gouache by Gordon Walters ‘Untitled’ (1955)

Bronwyn Lloyd 14. Red Sentinel Amulet (2020).

Wool needlepoint amulet containing tourmaline, smoky quartz, pressed oak leaf, cinnamon.

Design inspired by a totem figure on a beaded reticule by Sophie Taeuber-Arp (1918)

$450

Bronwyn Lloyd 15. Hearth & Home Amulet (Red Door) (2020). $450 Wool needlepoint amulet containing sapphire, quartz, garnet, dried red camellia petals, cinnamon.

Inspired by Louise Henderson’s painting, ‘Roofs of Rome’ (1959)

Bronwyn Lloyd 16. Pathfinder Charm (2020). $450 Wool needlepoint charm containing fire opal, sapphire, apatite, pressed oak leaf, dried red camellia petals.

Inspired by a book cover design ‘Der Sturm’ (1913) by Sonia Delaunay

Bronwyn Lloyd 17. Threshold Charm (Green Tree) (2020). $450 Wool needlepoint charm containing tourmaline, garnet, fire opal, pressed oak leaf, pressed jasmine flower.

Inspired by Paul Klee’s painting, ‘Fire, Full Moon’ (1933).

Under The Protection Charms and Amulets by Bronwyn Lloyd "All things will be granted Under the Protection," charismatic British writer and theologian Charles Williams used to say to the members of his magical fraternity, The Companions of the Co-inherence. It's hard to say exactly what he meant by it, but it is something more than a simple expression of faith. It asserts a kind of instrumentality over the world - a way of fending off evil.

When my friend Fran completed a patchwork quilt recently, reminiscent of the textiles of Gunta Stรถlzl and Anni Albers, she showed it to her son. "I thought Bauhaus," she wrote to me, "Finn said Hedge Witch, so now it is both."

What I found interesting about Fran's account is that it speaks to an impulse I have felt very strongly this year to infuse a little white magic into my crafting practice. I think it has something to do with the strangeness of this year, 2020, and the devastation it has created in our world.

During the first Covid-19 lockdown I began concocting medleys of gemstones and pressed flowers and sealing them inside textile pouches to create protective amulets.

The needlepoint designs borrow corners, edges and slices from some of my favourite examples of modernist art and transmute them into power objects. The lollipop trees in Paul Klee's Tunisian landscapes, for instance, become journeying figures; a block figure on a beaded reticule by Sophie Taeuber-Arp becomes a protective sentinel; a slice of Louise Henderson's painting, November (1987) becomes a temporal charm for a time-poor wearer; a section of a quilt made by Sonia Delaunay for her baby son becomes a figure on the threshold of change, and a red and pink ladder added to the design of two abstract gouaches by Gordon Walters from the mid-1950s turns them into aspirational charms.

NB: all Charms and Amulets can be switched to be worn as brooches instead of pendants on request