EVELYN DUNSTAN

P athways

19 November - 14 December 2011

www.milfordgalleries.co.nz

milford galleries queenstown 9A Earl Street

Tel (03) 442 6896

qtown@milfordgalleries.co.nz

1. Firebush #1 (2009) cast glass, cold worked, sandblasted & acid-etched, size (v x h x d): 365 x 288 x 286 mm

1. Firebush #1 (2009) DETAIL VIEW

2. Firebush #4 (2011) cast glass, cold worked, sandblasted & acid-etched, size (v x ø): 330 x 260 mm

2. Firebush #4 (2011) DETAIL VIEW

3. Te Turituri (the Threat) #2 (2011) cast glass, cold worked, sandblasted & acid-etched, size (v x ø): 410 x 335 mm

3. Te Turituri (the Threat) #2 (2011) DETAIL VIEW

4. Matikao (Buds) #2 (2011) cast glass, cold worked, sandblasted & acid-etched, size (v x ø): 440 x 295 mm

4. Matikao (Buds) #2 (2011) DETAIL VIEW

5. Kaupapa (Autumn's Reach) (2011) cast glass, cold worked, sandblasted & acid-etched, size (v x h x d): 425 x 322 x 285 mm

5. Kaupapa (Autumn's Reach) (2011) DETAIL VIEW

6. Kaupapa (Winter Solstice) (2011) cast glass, cold worked, sandblasted & acid-etched, size (v x h x d): 310 x 330 x 320 mm

6. Kaupapa (Winter Solstice) (2011) DETAIL VIEW

7. Ngahere Karauna (Forest Crown) #4 (2009) cast glass, cold worked, sandblasted & acid-etched, size (v x h x d): 380 x 293 x 288 mm

7. Ngahere Karauna (Forest Crown) #4 (2009) DETAIL VIEW

UNDER INCANDESCENT LIGHT

UNDER FLUORESCENT LIGHT 8 Ngahere Karauna (Forest Crown) #8 (2011) cast glass, cold worked, sandblasted & acid-etched, size (v x h x d): 395 x 335 x 320 mm

8. Ngahere Karauna (Forest Crown) #8 (2011) DETAIL VIEW

9. Ngahere Karauna (Forest Crown) #9 (2011) cast glass, cold worked, sandblasted & acid-etched, size (v x h x d): 420 x 345 x 330 mm

9. Ngahere Karauna (Forest Crown) #9 (2011) DETAIL VIEW

10. Remember (2011), cast glass, cold worked & acid-etched, size (v x h x d): 315 x 285 x 145 mm

10. Remember (2011) DETAIL VIEW

11. Regenerate (2011), cast glass, cold worked & acid-etched, size (v x h x d): 375 x 345 x 115 mm

11. Regenerate (2011) DETAIL VIEW

12. Rekindle (2011), cast glass, cold worked & acid-etched, size (v x h x d): 370 x 305 x 110 mm

12. Rekindle (2011) DETAIL VIEW

UNDER INCANDESCENT LIGHT

UNDER FLUORESCENT LIGHT

8 Reflect (Murano) (2011) cast glass, cold worked & acid-etched, size (v x h x d): 395 x 335 x 320 mm

13. Reflect (Murano) (2011) DETAIL VIEW

14. Rejuvenate (2011), cast glass, cold worked & acid-etched, size (v x h x d): 340 x 290 x 100 mm

14. Rejuvenate (2011) DETAIL VIEW

15. Land of Acceptance (2011), cast glass, cold worked, size (v x h x d): 440 x 450 x 120 mm

15. Land of Acceptance (2011) DETAIL VIEW

16. Land of Reflection (2011), cast glass, cold worked, size (v x h x d): 445 x 455 x 110 mm

16. Land of Reflection (2011) DETAIL VIEW

17. Treasured Land (2011), cast glass, cold worked, size (v x h x d): 445 x 450 x 95 mm

17. Treasured Land (2011) DETAIL VIEW

Evelyn Dunstan is a unique presence in New Zealand glass and has pioneered a way of working that is startlingly complex and remarkably idiosyncratic.

She was awarded the prestigious Ranamok Glass Prize in 2007 (and been a finalist numerous times), has ‘the coals to Newcastle’ distinction of teaching refractory mould techniques in Murano, Italy (April 2011) and is currently exhibiting in Palm Desert, USA alongside legends of the glass world Dale Chihuly, Karen LaMonte, William Morris and Lino Tagliapietra. Yet for all this distinction and international acclaim, Evelyn Dunstan is relatively unknown in NZ and “Pathways” represents her first significant solo exhibition here. This is an occasion of real importance.

No Dunstan vessel, crown or tableaux exists only as a form, to be viewed in the round. Each work explores paradox, has a metaphorical purpose and narrative content. Her symbolic language varies between explicit environmental discourse detailing threats and interrelationships to literal observations of botanical beauty. Thematically, her work “is based on the foliage and flowers of native plants, contrasted with those of introduced species.” (1) Equally significant is her diverse and adroit use of the varied properties of glass. The compelling complexity and technical virtuosity of her work results from a process where each component (leaf, petal, flower, branch, stem) is individually modelled, detailed and then assembled: precisely because of this process, Dunstan is able to use the contrasts of thick and thin, of tone and colour, of glass mass and light refraction as active visual components to augment and broaden the narrative purposes. The result is that her work becomes demonstratively greater than the sum of its parts.

Dunstan deconstructs and reinterprets the traditional vessel shape. In “Ngahere Karuna (Forest Crown) 8” and “Ngahere Karauna (Forest Crown) 9” an interlacing structure is built through which light is glimpsed – it’s presence fractured – as in the forest. Climbing through this profusion the native clematis becomes revealed only by its flowering. The technical complexity of these twicefired works is without parallel.

Dunstan also pares back the vessel form in “Kaupapa: Autumn’s Reach” and “Kaupapa: Winter Solstice” where repeated skeletal leaves establish both a simplified structure and wonderful visual rhythms. In “Matikao (Buds)” the leaves are implied yet absent but a winding circular wall of entwined branches with buds emerging takes the viewer’s eyes on a varied journey. In this work – and others such as “Treasured Land,” “Rejuvenate,” “Ngahere Karauna (Forest Crown) 8” – Dunstan uses dichroic glass which alters colour dramatically and distinctively in different light.

There is a humanist thrust in all her works and this is clearly evident in five wall-mounted, crown works where Dunstan presents the flowers which dominate her work (Bouganvillea, Convolvulus, Clematis and Orchid) in the oval form commonly adorning someone’s head.

The tableaux works “Treasured Land,” “Land of Reflection” and “Land of Acceptance” further demonstrate Dunstan’s technical virtuosity, stylistic and narrative coherence. Each work is composed of free-standing elements in front of a tilted frame enclosing a landscape scene. These are still-life visual poems, homagistic in character, where Dunstan uses pictorial perspective, engraving techniques and the constraints of a restricted palette to parlay the philosophical discourse that underpins the narrative content of her work – that nature and man is interdependently united, even when in conflict.

(1) Grace Cochrane, Reflections on Connections: Glass by Evelyn Dunstan, Craft Arts International, pp20-25, no81, 2011

EXHIBITION PRICELIST 1

Firebush #1 (2009)

14,000

2

Firebush #4 (2011)

14,000

3

Te Turituri (the Threat) #2 (2011)

16,000

4

Matikao (Buds) #2 (2011)

15,000

5

Kaupapa (Autumn's Reach) (2011)

15,000

6

Kaupapa (Winter Solstice) (2011)

12,000

7

Ngahere Karauna (Forest Crown) #4 (2009)

15,000

8

Ngahere Karauna (Forest Crown) #8 (2011)

16,000

9

Ngahere Karauna (Forest Crown) #9 (2011)

18,000

10

Remember (2011)

6,500

11

Regenerate (2011)

6,000

12

Rekindle (2011)

6,000

13

Reflect (Murano) (2011)

6,500

14

Rejuvenate (2011)

6,000

15

Land of Acceptance (2011)

17,000

16

Land of Reflection (2011)

17,000

17

Treasured Land (2011)

17,000

All prices are NZD and include GST; Prices are current at the time of the exhibition

EVELYN DUNSTAN b. 1961, lives Auckland

Ngahere Karauna (Forest Crown 4) (2009)

Evelyn Dunstan’s works have narrative purposes, methods of making and representational concerns which are atypical in the history of glass practise in NZ. Her works are literal and intricate. Due to significant scale and mass variations, Dunstan works on the boundary of what is technically possible with the glass medium and lost wax casting.

"Unlike blowing glass, producing cast glass is a much longer process, which is a paradox given how quickly the artist has reached the pinnacle of Australasian art success." (1) "Glass casting is where I reflect my pride and share my passion for my country through the combination of sculptural form, texture, light, depth and colour." (2) Evelyn Dunstan lives in Pakuranga, Auckland. She has won a number of prizes including the prestigious Australian New Zealand Ranamok Prize for Contemporary Glass in 2007 & 3rd prize in the 2010 Molly Morpeth Canaday Awards as well as being a finalist in these prizes multiple times since 2004. She has an International exhibition history and is represented in galleries in New Zealand, Australia and the USA. Her work is held in public and private collections both within Australasia and internationally in England, France, Hong Kong, Indonesia, Switzerland, Thailand and USA.

(1) Cameron Broadhurst, Howick and Pakuranga Times, 2008 (2) Evelyn Dunstan, Artist Statement, NSAG, 2007

Evelyn Dunstan 2011 CV P a g e |1

milford galleries queenstown

www.milfordgalleries.co.nz

EVELYN DUNSTAN b. 1961, lives Auckland EDUCATION 1979

Graphic Arts, Waikato Polytechnic, Hamilton

RECENT SOLO EXHIBITION 2011 2008

Pathways, milford galleries queenstown Glass Forest, Remuera Gallery, Auckland NZ

RECENT GROUP EXHIBITIONS 2011

Geometry, Sabbia Gallery, Sydney NSW

2010

Bursting Bubbles, NZ Society of Artists in Glass 30 years Conference Members Exhibition, Essenze Gallery, Parnell, Auckland, NZ Winter, Sabbia Gallery, Sydney NSW Ranamok, Touring Show, Australia Putiputi, Hastings City Art Gallery Molly Morpeth Canaday 3D Awards: Glass, Whakatane Museum & Gallery Exposed #4, Uxbridge, Manukau, Auckland Oz: Studio Glass from Australia & NZ, Sarjeant Gallery, Whanganui; Pataka Museum, Porirua Glass 09, milford galleries queenstown Something Different Again: Cats & Dogs, Artereal Gallery, Sydney; Masterworks, Auckland; Artists Collaboration, Sydney Molly Morpeth Canaday 3D Awards: Glass, Whakatane Museum & Gallery Luminaries, Annual Masters of Glass Exhibition, Sabbia Gallery, Sydney, Australia NZ Sculpture OnShore, Devonport, Auckland Cavalier Bremworth Luminous, Mazda Artworks at the Hilton, Auckland Showcase of NZ Glass, Te Papa Museum, Wellington Kiwi Caravan, Uxbridge, Manukau, Auckland Marine & Nautical, Nikau Gallery, Mahurangi Exposed #3, Uxbridge, Manukau, Auckland Glass Invitational New Zealand, Touring Show SOFA 2007 Chicago, Festival Hall, Navy Pier, Chicago, USA Bombay Sapphire Blue Room 2007, Aveia, Auckland; NZ Academy Fine Arts, Wellington Molly Morpeth Canaday, Whakatane Museum & Gallery Re:Fraction, Waitakaruru Sculpture Park Ranamok 2007, Touring Show, Australia Cavalier Bremworth Luminous, Mazda Artworks at the Hilton, Auckland Art Trail Out East, Uxbridge, Manukau, Auckland Glass Weekend, Wheaton Village USA, Represented by Glass Artists Gallery, Sydney Object,Form Gallery, Christchurch Art Gallery Encore 07, Glass Artists Gallery, Glebe, Sydney Crossings, Uxbridge, Manukau, Auckland Green Exhibition, Nikau Gallery, Mahurangi Uxbridge Tutors Exhibition, Uxbridge, Manukau, Auckland Crystalline World, Waiheke Community Art Gallery Uxbridge 1 2 3, Uxbridge, Manukau, Auckland NZSAG Glass Auction 2006, Columba Centre, Auckland 9th Manukau Vessel & Sculpture Exhibition, Manurewa Community Arts Ode to the Blues, Glass Artists Gallery, Glebe, Sydney 25th Anniversary, Uxbridge, Manukau, Auckland Cavalier Bremworth Luminous, Mazda Artworks at the Hilton, Auckland Glass 06, Papakura Art Gallery, Auckland Ranamok 2006, Touring Show, Australia Stirring, Uxbridge, Manukau, Auckland

2009

2008

2007/08 2007

2006

Evelyn Dunstan 2011 CV P a g e |2

milford galleries queenstown

www.milfordgalleries.co.nz

2005

2004

A Touch of Glass, Mairangi Arts Centre, Auckland Encore 06, Glass Artists Gallery, Glebe, Sydney Exposed 2, Uxbridge, Manukau, Auckland NZ Society of Artists in Glass, Biennial Conference Members Exhibition, Artstation, Auckland Blues Exhibition Feb, The Glass Gallery, Mahurangi Uxbridge Tutors Exhibition, Uxbridge, Manukau, Auckland Ranamok 2005, Touring Show, Australia 8th Manukau Sculpture & Vessel Exhibition, Manurewa Community Arts, Auckland Waitakere Art & Sculpture Awards, Waitakere City, Auckland Macleans Art Exhibition, Manukau City Strathallan Arts Festival, Karaka, South Auckland Uxbridge 1 2 3, Uxbridge, Manukau, Auckland Original Art Sale, ASB Stand, Eden Park, Auckland Franklin Arts Festival, Pukekohe Waiheke Ceramics Award, Waiheke Art Gallery, Waiheke 35th GAS Conference Auction, Adelaide, Australia Art Trail Out East, Auckland Botanical Gardens; Uxbridge, Manukau, Auckland Macleans Art Exhibition, Manukau City Fragments, Artstation, Auckland 7th Manukau Sculpture & Vessel Exhibition, Manurewa Community Arts Fire & Clay, Auckland Studio Potters, Mairangi Arts Centre Exposed, Uxbridge, Manukau, Auckland Macleans Art Exhibition, Manukau City Uxbridge Participant Exhibition, Uxbridge, Manukau, Auckland

AWARDS 2011 2010 2007

2006

2005 2004

Gaffer Glass Lost-wax Casting on Murano, Venice, Italy Ranamok Glass Prize Finalist Molly Morpeth Canaday 3D Awards Glass, 3rd Prize Ranamok Glass Prize, Winner Bombay Sapphire Blue Room Luminous Artworks, Honourable Mention Ranamok Glass Prize, Finalist The Object as an Eloquent Statement: NZSAG Biennial Conference 2006, Member Exhibition, 2nd Prize Luminous Artworks, Honourable Mention Ranamok Glass Prize, Finalist 7th Manukau Sculpture & Vessels Exhibition, Merit Award

COLLECTIONS Ranamok Glass Prize Winners Collection, Australia Kaplan/Ostergaard Glass Collection Palm Springs Art Museum, Palm Springs, CA, USA Seven Bridges Art Foundation, Greenwich, USA Andy and Deirdre Plummer, Australia New Zealand Society of Artists in Glass Biennial Conference Private collections in NZ, Australia, England, France, Switzerland, Thailand, USA

SELECTED BIBLIOGRAPHY 2011 2010 2010 2009 2008

Cochrane, Grace, ‘Reflections on Connections’, Craft Arts International, #81 March 2011, Pg 20-25 Putiputi. The Flower in Contemporary New Zealand Art. The Hastings Art Gallery, 2010, Pg 2 & 7 New Zealand Glass Art, Artist pages pg 51 – 52, Copy & images for Technical descriptions pg 17-26 Czernis-Ryl, ‘Eva, Something Different 2: Cats & Dogs’, Craft Arts International, #77 2009 pg 108-110 ‘Glass Forest’, Artnews NZ Spring 2008, pg 35

Evelyn Dunstan 2011 CV P a g e |3

milford galleries queenstown

www.milfordgalleries.co.nz