TENT 2021 Masterworks Gallery online exhibition

TENT 4 – 7 November 2021 Online only Viewing possible by appointment

1

Emma Camden Staircase

2021

Cast pale steel blue Gaffer glass H670 x W220 x D180mm

$16,500.00

2

Emma Camden Cross

2021

Cast rhubarb Gaffer dichroic glass

H280 x L580 x D280mm $6,900.00

3

Emma Camden The Chamber

2008

Cast Schott clear crystal glass

740 x 540 x 430mm

$25,000.00

4

David Murray Territory

2021

Cast cobalt Gaffer glass with polished face

H280 x L570 x D120mm $8,500.00

5

David Murray Gatherer

2021

Cast aqua blue Gaffer glass with polished top

H430 x W290 x D150mm

$9,600.00

6

Cora-Allan Wickliffe

Hiapo Alofi

2021

Hiapo, Togo ink and whenua paint (pukepoto and kokowai are traditional colours Māori used)

610 x 740mm

$1,500.00

7

Cora-Allan Wickliffe

Hiapo Toi

2021

Hiapo, Togo ink and whenua paint (pukepoto and kokowai are traditional colours Māori used)

590 x 620mm

$1,200.00

8

Cora-Allan Wickliffe

Hiapo Placemat 2019-2021 Hiapo, Togo ink and whenua paint (pukepoto and kokowai are traditional colours Māori used);300 x 510mm $950.00

9

Cora-Allan Wickliffe

Hiapo Placemat 2019-2021 Hiapo, Togo ink and whenua paint (pukepoto and kokowai are traditional colours Māori used) 340 x 500mm $950.00

10A-C Aaron Scythe

Large Yobitsugi Tea bowls I, II, III - front view

2021

Stoneware and porcelain; H190 x Dia285mm; H185 x Dia315mm; H180 x Dia310mm

3500 each

10A

Aaron Scythe

Large Yobitsugi Tea bowl I - front view 2021

Stoneware and porcelain

H190 x Dia285mm

$3,500.00

10A

Aaron Scythe

Large Yobitsugi Tea bowl I - side view

2021

Stoneware and porcelain

H190 x Dia285mm

$3,500.00

10A

Aaron Scythe

Large Yobitsugi Tea bowl I - back view

2021

Stoneware and porcelain

H190 x Dia285mm

$3,500.00

10A

Aaron Scythe

Large Yobitsugi Tea bowl I - side view

2021

Stoneware and porcelain

H190 x Dia285mm

$3,500.00

10A

Aaron Scythe

Large Yobitsugi Tea bowl I - interior view

2021

Stoneware and porcelain

H190 x Dia285mm

$3,500.00

10B

Aaron Scythe

Large Yobitsugi Tea bowl II - front view 2021

Stoneware and porcelain

H185 x Dia315mm

$3,500.00

10B

Aaron Scythe

Large Yobitsugi Tea bowl II - side view

2021

Stoneware and porcelain

H185 x Dia315mm

$3,500.00

10B

Aaron Scythe

Large Yobitsugi Tea bowl II - back view 2021

Stoneware and porcelain

H185 x Dia315mm

$3,500.00

10B

Aaron Scythe

Large Yobitsugi Tea bowl II - side view

2021

Stoneware and porcelain

H185 x Dia315mm

$3,500.00

10B

Aaron Scythe

Large Yobitsugi Tea bowl II - interior view

2021

Stoneware and porcelain

H185 x Dia315mm

$3,500.00

10C

Aaron Scythe

Large Yobitsugi Tea bowl III - front view 2021

Stoneware and porcelain

H180 x Dia310mm

$3,500.00

10C

Aaron Scythe

Large Yobitsugi Tea bowl III - side view 2021

Stoneware and porcelain

H180 x Dia310mm

$3,500.00

10C

Aaron Scythe

Large Yobitsugi Tea bowl III - back view 2021

Stoneware and porcelain

H180 x Dia310mm

$3,500.00

10C

Aaron Scythe

Large Yobitsugi Tea bowl III - side view 2021

Stoneware and porcelain

H180 x Dia310mm

$3,500.00

10C

Aaron Scythe

Large Yobitsugi Tea bowl III - interior view

2021

Stoneware and porcelain

H180 x Dia310mm

$3,500.00

11A&B Aaron Scythe

Silver Yobitsugi Vase and Large Yobitsugi Tea bowl IV - front view, 2021 Stoneware and porcelain, with silver lustre; H295 x Dia300mm; H195 x Dia305mm $3800 & $3500

11A&B Aaron Scythe

Silver Yobitsugi Vase and Large Yobitsugi Tea bowl IV - back view, 2021 Stoneware and porcelain, with silver lustre; H295 x Dia300mm; H195 x Dia305mm $3800 & $3500

11A

Aaron Scythe

Silver Yobitsugi Vase - front view

2021

Stoneware and porcelain, with silver lustre

H295 x Dia300mm

$3,800.00

11A

Aaron Scythe

Silver Yobitsugi Vase - side view 2021

Stoneware and porcelain, with silver lustre

H295 x Dia300mm

$3,800.00

11A

Aaron Scythe

Silver Yobitsugi Vase - back view2021

Stoneware and porcelain, with silver lustre

H295 x Dia300mm

$3,800.00

11A

Aaron Scythe

Silver Yobitsugi Vase - side view 2021

Stoneware and porcelain, with silver lustre

H295 x Dia300mm

$3,800.00

11B

Aaron Scythe

Large Yobitsugi Tea bowl IV - front view 2021

Stoneware and porcelain

H195 x Dia305mm

$3,500.00

11B

Aaron Scythe

Large Yobitsugi Tea bowl IV - side view 2021

Stoneware and porcelain

H195 x Dia305mm

$3,500.00

11B

Aaron Scythe

Large Yobitsugi Tea bowl IV - back view 2021

Stoneware and porcelain

H195 x Dia305mm

$3,500.00

11B

Aaron Scythe

Large Yobitsugi Tea bowl IV - side view 2021

Stoneware and porcelain

H195 x Dia305mm

$3,500.00

11B

Aaron Scythe

Large Yobitsugi Tea bowl IV - interior view

2021

Stoneware and porcelain

H195 x Dia305mm

$3,500.00

12A&B Aaron Scythe

Kizeto Yobitsugi Vase and Large Yobitsugi Tea bowl V - front view, 2021 Stoneware and porcelain with kizeto glaze; H260 x Dia300mm; H195 x dia320mm $3500 each

12A&B Aaron Scythe

Kizeto Yobitsugi Vase and Large Yobitsugi Tea bowl V - back view, 2021 Stoneware and porcelain with kizeto glaze; H260 x Dia300mm; H195 x Dia320mm $3,500.00

12A

Aaron Scythe

Kizeto Yobitsugi Vase - front

2021

Stoneware and porcelain with kizeto glaze

H260 x Dia300mm

$3,500.00

12B

Aaron Scythe

Large Yobitsugi Tea bowl V - front view 2021

Stoneware and porcelain with kizeto glaze

H195 x Dia320mm

$3,500.00

12B

Aaron Scythe

Large Yobitsugi Tea bowl V - side view 2021

Stoneware and porcelain with kizeto glaze

H195 x Dia320mm

$3,500.00

12B

Aaron Scythe

Large Yobitsugi Tea bowl V - back view 2021

Stoneware and porcelain with kizeto glaze

H195 x Dia320mm

$3,500.00

12B

Aaron Scythe

Large Yobitsugi Tea bowl V - side view 2021

Stoneware and porcelain with kizeto glaze

H195 x Dia320mm

$3,500.00

12B

Aaron Scythe

Large Yobitsugi Tea bowl V - interior

2021

Stoneware and porcelain with kizeto glaze

H195 x Dia320mm

$3,500.00

13A&B Aaron Scythe

Yobitsugi Vase (Dragon) and Yobitsugi Vase (feline) - front view, 2021

Stoneware and porcelain; H350 x Dia350mm; H230 x Dia310mm $4000 and $3800

13A&B Aaron Scythe

Yobitsugi Vase (Dragon) and Yobitsugi Vase (feline) - back view, 2021

Stoneware and porcelain; H350 x Dia350mm; H230 x Dia310mm $4000 and $3800

13A

Aaron Scythe

Yobitsugi Vase (Dragon) - front view

2021

Stoneware and porcelain

H350 x Dia350mm; H230 x Dia310mm

$4,000.00

13A

Aaron Scythe

Yobitsugi Vase (Dragon) - side view

2021

Stoneware and porcelain

H350 x Dia350mm; H230 x Dia310mm

$4,000.00

13A

Aaron Scythe

Yobitsugi Vase (Dragon) - front view

2021

Stoneware and porcelain

H350 x Dia350mm; H230 x Dia310mm

$4,000.00

13A

Aaron Scythe

Yobitsugi Vase (Dragon) - side view

2021

Stoneware and porcelain

H350 x Dia350mm; H230 x Dia310mm

$4,000.00

13B

Aaron Scythe

Yobitsugi Vase (feline) - front view

2021

Stoneware and porcelain; H350 x Dia350mm; H230 x Dia310mm $3,800.00

13B

Aaron Scythe

Yobitsugi Vase (feline) - side view

2021

Stoneware and porcelain; H350 x Dia350mm; H230 x Dia310mm

$3,800.00

13B

Aaron Scythe

Yobitsugi Vase (feline) - back view

2021

Stoneware and porcelain; H350 x Dia350mm; H230 x Dia310mm

$3,800.00

13B

Aaron Scythe

Yobitsugi Vase (feline) - side view

2021

Stoneware and porcelain; H350 x Dia350mm; H230 x Dia310mm $3,800.00

14

Galia Amsel

Ignite 9 2021

cast bullseye hand drawn unique stringers, hand smoothed and polished

455 x 380 x 85mm

$7,350.00

15

Galia Amsel

Surge 6 2021

cast unique hand drawn bullseye glass stringers, hand smoothed and polished

635 x 480 x 90mm

$12,500.00

Emma Camden Glass Artist Whanganui, Aotearoa

In Emma Camden’s latest series her architectural forms are transformed through the lens of our turbulent and uncertain times. They convey strength as well as tension. Emma’s career has continued to explore her desire to understand life and the possibilities beyond. As a lifelong history buff, Emma’s interest is centred on architecture; Architecture in the form of edifices and monuments humans create in an attempt to make sense of not only their existence but also as memorials to themselves, Egyptian pyramids and triumphal arches are favourites.

These structures inform Emma’s sculptural forms and question life and what it is beyond. The age-old question of ‘What is next?’ carries new weight in this current climate.

While tackling these big themes Emma’s work is not foreboding. Her knowledge and skills in the manipulation of light through glass are masterful. Her use of line, angles, and voids in her geometric sculptural exploration of form give her works a sense of hope. These forms are duplicitous in their ability to convey calm and chaos simultaneously. A universal struggle that transcends any location.

Emma Camden profile Emma Camden immigrated to New Zealand from England in the early 1990s. Since then, she has developed a position as one of the country’s leading studio glass artists.

Working exclusively with cast glass, Camden has constantly pushed the boundaries of the medium and broken new ground in large-scale casting. Her work is conceptually driven, often exploring issues arising from her identity and personal experience. Her current series investigates large scale solid forms and ideas of structure and architecture.

Camden has received considerable recognition for both her technical and sculptural innovation. She has received numerous awards, including being one of the few New Zealand artists to have won the supreme award for the Ranamok Glass Prize (Australia). One of her signature tower works was also featured in a limited edition applied arts series of New Zealand postage stamps in 2002.

Camden’s work is included in several significant national and international collections.

Public Collections Auckland Museum, Auckland Waikato Polytechnic Collection, Hamilton Wallace Arts Trust, Auckland National Art Glass Collection, Wagga Wagga, Australia Dowse Art Museum, Lower Hutt Ebeltost Museum, Ebeltost, Denmark Queensland Art Gallery, Brisbane, Australia Museum of New Zealand Te Papa Tongarewa, Wellington APEC Gift presented to the then-President of the USA, Bill Clinton

David Murray Glass Artist Whanganui, Aotearoa New Zealand Cast glass artist, David Murray came to the medium from a background in slip-cast ceramics. He studied at the School of Art, Otago Polytechnic, in the late 1980’s and attended workshops by many of the leading New Zealand and international glass artists. Murray’s work is highly sought after for both exhibition and collection and is held in public collections internationally. In 2003 he was awarded the premier award in the Ranamok Prize for contemporary glass.

Murray achieved a high level of technical skill and critical acclaim after only a few years of working as a full-time glass artist. His signature series, the Hunter/Gatherer, struck a chord with local and international audiences for both their intention and strong, highly resolved form.

The Hunter/Gatherer series is developed around the notion of primal instincts and how these forces play into modern living. Murray began this series after becoming a father for the first time, creating the works as a response to the instinctive aspects of human nature that can unite regardless of age and culture. The Hunter is a strong, masculine form with a heavy base tapering off into a blade edge. Formally its adze-like shape refers to a basic tool or weapon, objects which symbolise both survival and industry throughout human evolution. The Gatherer represents the feminine role of the nurturer and protector, its solid form and carefully designed line and shadow mimicking the shape of a bowl. The Gatherer exudes a feeling of comfort, stability and strength to counter the menace held within the Hunter form. Together the two works play out Murray’s interest in the evolutionary process, representing the primal instincts around which lives, families and societies are built.

Several other forms have since evolved from the Hunter/Gatherer series. In particular the Territory introduces a form that is much wider in the base, and lower in height than the Hunter but which retains the blade edge. The Territory has come from an exploration of ownership and an awareness of ‘place’ that the earlier works have prompted.

Murray’s work is in numerous public and private collections both in Aotearoa and Internationally.

Cora-Allan Wickliffe (Maori, Niuean - Ngapuhi, Tainui/ Alofi, Liku) Multi-Disciplinary Artist Waitakere, Tāmaki Makaurau

Cora-Allan Wickliffe is a multidisciplinary artist of Māori and Niue descent, originally from Waitakere. In recent years her practice has focused on her efforts to revive the art form of Hiapo, prior to this she completed her Masters in Visual Art and Design in Performance from AUT (2013), also receiving a AUT Postgraduate Deans award for her research.

A contemporary practitioner of the Niuean tradition of barkcloth known as hiapo, she is credited with reviving the "sleeping artform" which has not been practised in Niue for several generations. Her 'samplers' show her skill and draw attention to hiapo's components - white cloth (unlike the tan ground of the cloth prevalent across much of Polynesia) and the decorative elements - delicate botanical drawings and abstract patterns. Unlike lots of women across the Pacific, Wickliffe was unable to learn her craft sitting alongside older women and has had to research and teach herself. Her work is very important to the Niuean community and has been exhibited in Australia, Aotearoa, England and Niue.

She has exhibited her work throughout Aotearoa and internationally including Australia, Niue, England and Canada.

Her work is a part of major collections including The Museum of New Zealand Te Papa Tongarewa, Auckland War Memorial Museum and the Wallace Arts Trust. Cora-Allan was recently awarded a McCahon House Residency (2021) Mana Moana and Te Whare Residency in Well (2021) the Creative New Zealand Pacific Heritage Artist award (2020) and received Annual Arts Grant funding to focus full time on her Hiapo practice in 2021.

She is a founding member of BC COLLECTIVE and is a maker of Hiapo (Niuean Barkcloth).

Aaron Scythe Ceramic Artist Whanganui, Aotearoa New Zealand Aaron Scythe’s ceramics bear witness to his life and his philosophies. Of Maori and Pakeha descent and as a fluent Japanese speaker, his life and work is a slice of Japan transported into Aotearoa. He lives a Japanese way of life on the other side of the world. His mastery of ceramics reflects studies that started in Tāmaki Makaurau, Australia and include 15 years in working with various masters in Japanese ceramic villages. Aaron’s knowledge of all facets of Japanese culture is encyclopaedic and is reflected in his surface decoration and vast library of forms. Constantly absorbing imagery from popular culture no two surfaces are ever the same. This latest series opens up to more colour and explores a particular variety of kintsugi (the ancient method of Japanese repair) called yobitsugi, where traditionally different shards were used to repair a piece. Here Aaron gives this method a contemporary spin by cutting out sections of one piece and swapping them out with sections from another; stoneware with porcelain inserts and vice versa. The resulting works are high energy and demand endless attention.

Aaron Scythe trained at Carrington Polytech in 1988 and East Sydney Polytech in 1989 where he developed an interest in Momoyama pots. In 1993 whilst working at Sturt Craft Centre in Mittagong, NSW, Australia, Scythe built an Anagama kiln and began investigating Shino glazes.

In 1995 Scythe travelled to Japan to study the Minoyaki style of pottery and studied under Koie Ryoji.

Since 1997 and up until 2011 he had been based in Mashiko, Japan. During this period he developed Oribe and Kizeto ware, built another Anagama kiln to produce Shino ware and began making porcelain work. Whilst in Japan Scythe had over 60 solo shows and participated in many group shows and workshops.

Due to the Fukushima meltdown in 2011 Scythe and his family relocated to New Zealand. He is currently based in Whanganui and has started to explore English slipware methods.

Informed by research into theories of working, his making methods are always changing.

Aaron’s experience of living and working in a ceramics village in Japan and the appreciation and importance of making and using handmade can be seen in his work. The delight in exploring forms and decoration through daily repetition create an intuitive connection between head and hand. Something that is visible in the work. Aaron’s ceramics offer a refreshing cultural fusion of East, West and Maori influence.

Aaron sees himself as a Morehu, rather than aligning himself with a particular iwi, in line with the Ratana belief, but does feel connected to his ancestor Wiremu Kingi of the Te Ati Awa iwi with their close links to Parihaka. Aaron feels he belongs not to any iwi but the spirituality that is the base of the Maori people.

Aaron has maintained his exhibiting since his return with numerous exhibitions in New Zealand and back in Japan. His work is in many private collections both in New Zealand and overseas, as well as the New Zealand Ministry of Foreign Affairs and Trade collection.

Galia Amsel Glass Artist Tāmaki Makaurau, Aotearoa New Zealand

Galia Amsel was born in London in 1967 and by the time of her emigration to New Zealand in 2003 was already a highly acclaimed glass artist. Amsel has exhibited in Britain, France, Spain, Ireland, the United States, the Netherlands and New Zealand and is represented in many major art collections, including the Victoria and Albert Museum (United Kingdom), the Montreal Museum of Decorative Arts (Canada), Glassammiung Ersting (Germany), the Ulster Museum (Ireland), the Chrysler Museum of Art (United States), the Corning Museum of Glass (United States), and the Museum of New Zealand Te Papa Tongarewa (New Zealand).

Amsel’s work is characterised by simple forms and often vibrant colours, features she attributes to the years she lived in Hong Kong as a child and young teenager. In her curved and circular forms the fluid shape of the vacant space is as important as that of the glass itself, while in her more static, straight-edged works the solidity of form is contrasted with fine surface details. Although Amsel has worked with blown glass in the past, she now focuses primarily upon casting.

Amsel has recently been reminded of the New Zealand she and her husband encountered when they first arrived from London almost 20 years ago. She’s always been struck by the clean air and the quality of light. The way sunlight can catch the rain, has inspired the textures on many of her pieces. She polishes the flecked highlights on her work to reflect the way the light dances and brings forms to life. Amsel’s work attempts to capture fleeting moments, such as moment, tension, balance, rhythm, and more recently emotion. Amsel’s pieces are constructed, cast, and finished to replicate this energy. The heating, cooling of molten glass makes it the perfect medium to develop these ideas.