MMCA - 3D 2022 Winner's Catalogue

molly morpeth canaday award three dimensional artform

winners catalogue 2022

welcome to the molly molly morpeth morpeth canaday award canaday award artform three dimensional painting and drawing 2022

The organisers of the Molly Morpeth Canaday Award, Arts Whakatāne and Whakatāne District Council are delighted to present the MMCA 3D - 2022 finalists exhibition.

Featuring works by artists from throughout Aotearoa chosen from 294 entries, finalists have been selected by three independent Preliminary Judges and the winners by Guest Judge Bob Jahnke. The final exhibition presents an exciting cross-section of contemporary three dimensional works, showcasing the robust community of New Zealand artists working in this diverse genre.

Our vision is to encourage and celebrate the development of three dimensional work on a national level and reward artists who create outstanding works. Arts Whakatāne and exhibition partners Whakatāne District Council are heartened by the increasing uptake of 3D art and contemporary craft as an arts discipline.

Our appreciation goes to the judges – Guest judge Robert (Bob) Jahnke and preliminary judges Vanessa Mei Crofskey, Sorawit Songsataya and Shirin Khosraviani. Their commitment to bring challenging and innovative art to our attention is to be commended.

Also, very special thanks to our supporting sponsors, volunteers and organising teams. Their collective generosity has contributed to the current status of the award as one of the most recognised and important art events in Aotearoa New Zealand.

Please enjoy this exciting, ambitious and impressive exhibition of work.

Lynette Fisher Award Coordinator

welcome to the molly molly morpeth morpeth canaday award canaday award artform three dimensional painting and drawing 2022

MMCA 3D 2022

The last two years we all have faced challenges and we have all been tested with the Covid-19 pandemic. We have been grateful that the Molly Morpeth Cananday Awards has been able continue and flourish during this time.

The Molly Morpeth Canady Trust believes that arts in New Zealand are making a powerful contribution to our wellbeing and helping us all get through. The awards and exhibition creates opportunities for artists and benefits arts in the local community.

The Trust would like to acknowledge Brian Morpeth as a long serving member since 1994, with him stepping down after his sustained work over the years. His commitment and hard work have ensured the Trust has been able to support the awards and has allowed a strong future. As he leaves the Trust, the trustees welcome his son, Estevan de Castro to serve with us.

The Trust greatly admire the energy and skills of the organisers. Arts Whakatāne and Whakatāne Dirstrict Council and fellow sponsors ensure these awards are supported. Without their dedication and hard work these awards wouldn’t be possible.

Christine Bowering Molly Morpeth Canaday Trustee

Arts Whakatāne is very pleased to bring you the 38th Molly Morpeth Canaday Art Award. Our new Coordinator, Lynette Fisher, has improved promotion to artists, processing of entries and other organisational details of the award. Artists from across NZ have responded with a record 294 entries.

We are also grateful to the MMCA Whakatāne Trust to continue to support it, as well as a range of local businesses and individuals. Everyone involved in staging the competition and exhibition has enormous enthusiasm for the award ensuring a quality show.

Besides Arts Whakatāne members, Lynette and sponsors I would also like to thank the gallery team at the Whakatāne District Council for their continued support. We feel that such an important national art event truly puts Whakatāne on the map.

Susanne Whale Chair Arts Whakatāne 4–5

acknowledgments Guest judge Robert (Bob) Jahnke Preliminary judges Vanessa Mei Crofskey Sorawit Songsataya Shirin Khosraviani MMCA co-ordinator Lynette Fisher (Arts Whakatāne) Whakatāne Libraries and Galleries exhibition team Tangimeriana Rua Amanda Perfect Israel Randell Valerie Noiret-Leblanc Jordan Davey-Emms Exhibition curator Israel Randell Entry administration Sophie Robinson Nikki Slade-Robinson MMCA project team Sue Whale, Amanda Melville, Lynette Fisher, Amanda Perfect, Israel Randell, Heather Hourigan, Jacqui Hughes, Pam Mossman Tangimeriana Rua, Beryl Wilson, Greg Reid, Christine Bowering

MMCA 3D 2022

Photography Mandy Hague Samantha Poots Anne Shirley (pg:22,23) Artist supplied Audio visual Peter McKenzie Graphic design Michael Hourigan Website and publications Lynette Fisher Marketing In house Special thanks Heather Hourigan Nichola Waugh Jacqui Hughes The Big Idea Creative BOP Theatre Whakatāne

awards Awards Molly Morpeth Canaday Trust Major Award - $10,000 Akel Award - $4,000 Craigs Investment Partners Youth Award - $2,500 Arts Whakatāne Highly Commended - $1,000 Robinson Law Highly Commended - $1,000 Merit Awards The Incubator Creative Hub Merit award- $1,500 exhibition package 4 Art Sake Local Merit award - $500 CReW Community resources Whakatāne Merit award - $500 Frames by Daniel Merit award- $500 product Whakatāne Society of Arts and Crafts and Anne Tolley People's Choice award - $500

sponsors Major Award Sponsor Molly Morpeth Canaday Trust Award Sponsors Akel Family Craigs Investment Partners Arts Whakatāne Robinson Law CReW Whakatāne Society of Arts and Crafts Anne Tolley The Incubator Creative Hub 4ArtSake Frames by Daniel Diverse Graphics

Support Sponsors Bay Trust Aotearoa Gaming Trust

Exhibition Partners Whakatāne Libraries and Galleries Whakatāne District Council

arts WHAKATANE

6–7

guest judge Robert Jahnke ONZM FRSNZ MFA (Hons) Auck., MFA Calif., DipTchg, PhD

Robert Jahnke (Ngāi Taharora, Te Whānau a Iritekura, Te Whānau a Rakiroa o Ngāti Porou) is the former Head of School, Māori Studies at Massey University. He is currently the Professor of Māori Visual Arts at Massey University’s Whiti o Rehua School of Art. He was made an Officer of the New Zealand Order of Merit for services to Māori art and education in the 2016 Honours list. In 2020 he received the Te Papa Rongomaraeroa Award for his contribution to Te Ao Māori. In 2021 he became a Fellow of the Royal Society of New Zealand for contributions to research, and was awarded a ANZAAE Premier Award for ‘Sustained leadership, outstanding service, and contributions to research in art education’.

He is responsible for setting up the first Māori Visual Arts degree in a university: a Bachelor of Māori Visual Arts in 1995 - subsequently followed by a Postgraduate Diploma of Māori Visual Arts and Master of Māori Visual Arts in 1999.

Considered one of New Zealand’s leading contemporary Māori artists, Jahnke is a highly respected educator who works as an historian, teacher, researcher, writer and advocate for Māori and indigenous arts nationally and internationally.

He contributes to Māori Development through his teaching at undergraduate and postgraduate level, his research into traditional Māori carving and his academic writing straddling art education, contemporary and traditional Māori art and identity politics.

Jahnke's practice over the years has straddled design, illustration, animation and sculpture. His work is typically based on political issues that face Māori people, the relationship between Māori and European colonisers and the impact of Christianity on Maori culture. Since his solo exhibition in 1990 Jahnke has maintained his practice as a sculptor with a number of commissions and exhibitions. Recently his practice has included painting and neon installation.

He is represented in a number of major national and private collections in Aotearoa New Zealand.

Photo credit: Norm Heke MMCA 3D 2022

opening comments A line from one of the contestants struck a chord with me with the insertion of (unconscious) before bias when describing a process of binding. Unconscious bias is essentially the subjectivity that informs our choices. As an academic, with years of teaching and assessing art, I am biased towards evidence of narrative encounter, conceptual engagement, and aesthetic resolution. However, I am also a drawn to works that engage with space either physically or conceptually and those that display clarity of purpose in the choice and manipulation of media.

The recipients of this year’s awards engage with a diverse range of media, processes, and concepts. I was particularly impressed by the re-purposing and recycling of used and unconventional material, evidence of exceptional craftsmanship and recourse to witticism and parody. There were also those that confounded the divide between figurative and non-figurative while others realigned and disrupted the inherent stability of geometric form and the rectilinearity of pattern in a former existence. There were also works that contested the status quo in terms of artistic tradition and gender.

Light also played a significant role in the casting of shadows and illumination of ideas.

8–9

preliminary judges

MMCA 3D 2022

Shirin Khosraviani Director, Ashburton Art Gallery Living in the heart of Te Waipounamu, Shirin Khosraviani is the current Manager/Curator of the Ashburton Art Gallery, a position she has held since 2011. With a background in Fine Arts and Art History, she is a passionate advocate for arts practitioners in Aotearoa New Zealand and has a particular interest in promoting the work of emerging and mid-career female artists.

With over thirteen years of experience in the private and public art sector, Shirin has been involved with numerous art awards regionally and established the annual Zonta Ashburton Female Art Award (ZAFAA) in partnership with Zonta Club of Ashburton in 2017 – now in its fifth year running. Recent curatorial projects include The Water Project – a touring exhibition with thirteen NZ artists responding to the urgent challenges facing Canterbury rivers and lakes, and In Splendour Moot – Contemporary Jewellery by Elfi Spiewack.

Sorawit Songsataya, Major award winner MMCA 3D - 2020.

Sorawit is an artist currently based in Te-Whanganui-a-Tara Wellington. Their interdisciplinary practice often comprises sculpture, ceramics, textiles, and digital animations. Through their installations, they reinterpret connections and the dynamic relationships we have with the natural world. Recent exhibitions include Heavy trees, arms and legs, The Suter Art Gallery (2021); Come up for air, The Lightship (2020); Rumours (mermaid), Govett Brewster Art Gallery (2020); The Interior, Auckland Art Gallery Toi o Tāmaki (2019)

Vanessa Mei Crofskey, Kaitohu of The Pantograph Punch. Te Whanganui-a-Tara, Wellington. Vanessa Mei Crofskey is an artist, writer, and most recently the director of Enjoy Contemporary Art Space. Since graduating from AUT with a Bachelor's Degree in Visual Arts in 2017, Crofskey has worked across multiple arts disciplines including as a Producer in Residence at Basement Theatre, a staff writer at The Pantograph Punch and as a facilitator at Window Gallery - The University of Auckland, alongside freelance public programming for galleries and festivals. Recent exhibitions include as part of Gus Fisher Gallery's Booth series for Happiness is only real when shared, Artspace Aotearoa's New Artist Show (2020) and Smoke Signals (2019), Te Tuhi Billboard Series. Her most recent collection of writing is printed in AUP New Poets 6, by Auckland University Press (2020).

Photo credit: Julie Zhu

10–11

major award A prize of $10,000 Sponsored by Molly Morpeth Canaday Trust

Melissa McMahon Maungaturoto Pink Bats 2021 Earthenware, terra sigillata, glaze, gold lustre, wool blend fibre 1500 x 600cm x 450mm

There is something compelling about ceramic urns beyond their funerary function and that is their earth-bound materiality and inherent fragility. The artist imprints the urn with memento mori including bats; one with an ear pierced by a gold ring, a neck adorned with flowers, a breast with cross bones and the tour de force of the piece, a tiered plaited looped, and knotted cap fabricated from bat’s insulation transforming the mundane into a sumptuous crowning of the urn. The urn becomes a torso capped by a head bereft of the physiognomy of a Grecian bust. There is a Gothic playfulness in the base with corner ring and 16 minimal golden conical caps that introduce a sense of tactility. The title ‘Pink Bats’ sums up the artists playful demeanour.

Bob Jahnke - Guest Judge MMCA 3D 2022

12–13

akel award A prize of $4,000 Sponsored by William Akel

This prize has been jointly awarded to two works that both represent very different but equally engaging sets of ideas

Wendy Hannah Auckland Maumahara - Memories 2021 Perspex, Dichroic, wood, Smart LED flex 1200 x 600 x 150mm

Maumahara-Memories is an exquisitely constructed minimalist ‘X’ that uses the kōwhiti (cross-stitch) in tukutuku as a cultural referent. While ‘home’, and the lighthouse as a beacon uniting water and land and atmosphere are privileged there is a further significant connection with memories of ancestors who have become stars in the night sky – Ngā tūpuna kua wheturangitia.

There is magic not only in the illumination which creates the illusion of the work hovering in space but the side panels of alternating red and green hues together with the reflective and transparent front plane envelop the environment surrounding the ‘X’. The present and the past are conjoined in Maumahara-Memories.

Bob Jahnke - Guest Judge

akel award A prize of $4,000 Sponsored by William Akel

This prize has been jointly awarded to two works that both represent very different but equally engaging sets of ideas

Andrew Rankin Auckland Turnaround 2021 Hahnemühle photo rag, Optimum museum acrylic, French polished pine (recycled from skip at Placemakers) foam core, brass screws, tape 1495 x 800 x 745mm

An exquisitely crafted staircase with ‘French polished woodwork’ that is seductively inviting with its witty combination of materials that parody ‘marble skeuomorph’ and bourgeois ‘18th C furniture library steps’. It demonstrates a collusion between craftsmanship, aesthetic sensitivity, conceptual aptitude, and playfulness that coalesce in a work that invites the viewer to ascend the stairs with a cushioned ascent promised by ‘itchy pink bats’. However, common sense prevails with the realisation the glass covered bat cushions are fake, a photographic deception, a quagmire. Ascent is impossible…To add to the dilemma the steps circuitous route is a mere 180 degrees making any aspiration to make the ‘top shelf’ impossible.

Bob Jahnke - Guest Judge MMCA 3D 2022

16–17

youth award A prize of $2,500 Sponsored by Craigs Investment Partners

Oliver Cain Auckland Shopping for Love 2021 Metal, ceramic 750 x 330 x 520mm

‘Shopping for Love’ is not only a great title for a work of art but introduces an interesting and sardonic analogy between ceramic eggplants and ‘the depiction of the ‘nude’ within popular culture’.

The juxtaposition of stainless steel and porcelain is alluring and clinical.

The apparent randomness of packed eggplants within a stainless-steel shopping cart imparts a sense of containment and contradiction between the real and the facsimile. There is in replication a sense of immortality.

Recourse to Ginsberg’s line about ‘eyeing the grocery boys’ grounds the work within the purview of Beat culture and shopping cart art.

None more poignant than Bansky’s Aboriginal hunters stalking empty shopping trolleys.

Bob Jahnke - Guest Judge MMCA 3D 2022

18–19

highly commended A prize of $1,000 Sponsored by Arts Whakatāne

Kereama Taepa Pāpāmoa Carved Histories 2021 3D printed nylon 300 x 300 x 50mm

The title Carved Histories recalls the Roger Neich publication of the same named. While Neich examined customary Te Arawa carving of the 19th and early 20th century, Kereama’s 3D printed kōruru referencing a Taranaki carving tradition, posits a traditional or contemporary attribution dilemma.

For those familiar with the Taranaki tribal tradition the facial form aligns well with customary form but the rendering with a computergenerated graphic precision substitutes the subtractive process of tradition for an additive one. The rectilinear pākati of tradition become spaced cylinders of varying diameters with Star Wars Arcade sprites strategically placed to disrupt perfect symmetry inherent in customary practice are poised to consume the new age pākati.

Bob Jahnke - Guest Judge MMCA 3D 2022

20–21

highly commended A prize of $1,000 Sponsored by Robinson Law

Donna May Dinsdale Te Puke Girl Power Aotearoa 2021 Vintage NZ woollen blanket, printed cotton remnants, tulle, wool, plastic gems, trims 700 x 400 x 900mm

Girl Power Aotearoa exudes potency with its contestation of gender roles, privileging of selfidentification, self-determination, and gender equity. The presentation of the multi-pastel hued check garment on a black male torso is a tour de force in visual empowerment anchored by the layered floral flourish of yellows, greens, dark blue, pinks and oranges beneath the jacket’s angled front panel.

The collar, body and sleeves of the jacket are bi-laterally aligned while lapels and lateral skirt are asymmetrical. This purposeful disruption of symmetry is carried over into the beaded necklaces, plaited, braided, and embroidered accessories; all of which are harmoniously integrated with the hues of the repurposed blanket…The rear of the garment leaves me speechless.

Bob Jahnke - Guest Judge MMCA 3D 2022

22–23

local merit A prize of $500 Sponsored by 4Artsake Gallery

Peter Radley Ōpōtiki Te Arawa 2021 Yew, acrylic, gilt 200 x 400 x 210mm

Te Arawa is a compelling engagement with minimalism embracing form, material, texture and chromatic reverence while firmly anchored within tribal narrative and iconography. The planar transitions of smooth exterior and internal ngau pae textured timber, and mana enhancing ‘gilt edging’; red, black and white with the latter acting as a disruptive chromatic element that evoke a visual resolve that speaks volumes artistically and culturally. The core element: ‘Te Ara’ the chevron, resonates conceptually and figuratively to Te Arawa waka migration, rescue, and settlement. The chevron, with its maritime denotation of mango and haumi, is further empowered by cultural connotations of perseverance, fortitude with narrative substance stretching beyond tribal boundaries.

Bob Jahnke - Guest Judge MMCA 3D 2022

24–25

merit A prize of $1,500 exhibition package Sponsored by The Incubator Creative Hub

Sam Kelly New Plymouth Standing sculpture #3 2021 Cow bone 200 x 370 x 300 mm

Standing Sculpture # 3 is a work that exudes exquisite craftsmanship and attention to detail. What makes the work compelling is its ambiguity as simultaneously figurative and non-figurative depending on one’s position relative to the ‘twisted, knotted, and contorted…cut, shaped and joined bone’. Materiality is at the core of Standing Sculpture #3 together with subtle shifts in hue and the rhythmic pulse of linear joints that move through vertical, diagonal, and horizontal configurations as the structure envelopes space. The analogy of ‘boxer or lover’ is a fitting one for a work that twists and turns in its contortionist journey to a state of repose.

Bob Jahnke - Guest Judge MMCA 3D 2022

26–27

merit A prize of $500 Sponsored by CReW

Birgit Moffatt Ōtaki Balancing Act 2021 Harakeke, thread, linen, naturally dyed with manuka 1400 x 900 x 80mm

Balancing Act is an exquisitely constructed work that appears simultaneously fragile and robust. A rectangle, framing equilateral triangles, introduces a formality and inherent symmetricity that is disrupted through an astute engagement with the wall (ground) generating seismic planar disruptions. The cylindrical harakeke blades of piupiu tradition are repurposed and refashioned to speak of the fragility and vulnerability of hauora Māori. The four pou of Professor Sir Mason Durie’s whare tapawhā framework, represented by the framing rectangle, are subjected to seismic shift implying a state of imbalance; a disrupted state of wellbeing within ‘a society that is becoming more fragile and vulnerable’. The cast shadows invest the work with wairua; activating the indispensable pou for holistic wellbeing.

Bob Jahnke - Guest Judge MMCA 3D 2022

28–29

merit A prize of $5oo product Sponsored by Frames by Daniel

Jann Lenihan Masterton Tea Shirt 2021 Used tea bags, bias binding, thread, tea tag, string 600 x 500 x 30mm

T Shirts are the new age placards of ideological protest. Tea Shirt is a seductive work with alluring golden hues that hover between abstraction and figurative floral motifs. The tonal range of tannin stains from beige to raw umber and beige to burnt sienna reverberate with an earthbound concoction and ritual appropriated from China. Liquid gold to quench the thirst for dominion and sealed with the stamp of Britannica with Queen Victoria label and gold tag. The drinking of tea from the ‘200 plus’ tea bags imbue the work with a performative element while recourse to ‘(unconscious) bias’ around the neck protesting white privilege reveals an impassioned sensitivity as ‘tangata tiriti’, and sardonic wit.

Bob Jahnke - Guest Judge MMCA 3D 2022

30–31

exhibitors Annie Smits Sandano Whitianga Selling the Dream 2021 Glazed stoneware.

Various sizes

Chauncey Flay Opunake Refraction I 2021 Greywacke, Stainless Steel 400 x 390 x 420mm

Alex Wilkinson & Ben Wilson Kihikihi Nine Perspectives 2021 Video - Shells various, water 740 x 44o x 90mm

Ashton Lexie Jamieson Napier Revolution Machine 2021 Bricolage of cyanotype on paper, thread and preloved metal items.

1400 × 1200 × 250mm

Alexis Neal Auckland Kete Moana 2020 Macramé & knitting silk threads, whatu taaniko woven 190 x 290 x 50mm

Birgit Moffatt Ōtaki Balancing Act 2021 Harakeke, thread, linen, naturally dyed with manuka 1400 x 900 x 80mm

Chris Mules Thames Quotidian objects in an age of chaos 2021 Wool, snapper teeth, wall paper, ply, pine, cedar, acrylic paint, found objects 1100 x 1220 x 120mm

Andrew Rankin Auckland Turnaround 2021 Hahnemühle Photo Rag, Optium museum acrylic, French polished pine (recycled from skip at Placemakers) foam core, brass screws, tape.

1495 x 800 x 745mm

Bridget Mintoft Mangawhai Punga-Anchor Stone 2021 Swamp kauri, resin, gold, lead 200 x 450 x 300mm

Ainsley O'Connell Auckland Memory 2021 Plaster (cast from found packaging), acrylic plastic, timber, pigment 140 x 235 x 235mm

Anett Pilz Whakamarama Shoe with Beaded Bow 2021 Clay, silver wire, glass beads 270 x 90 x 90 mm

MMCA 3D 2022

Chauncey Flay Opunake Thirteen (from the series 1,000,000 Marks).

2021 Stone (fossilized wood), Paint (stone pigment) Paper (stone paper).

Stone - 70 x 160 x 70mm Paper stack - 50 x 240 x 300mm

Cora-Allan Wickliffe Auckland Aching for my future 2021 Egg carton and whenua from Cornwallis Wharf 300 x 330 x 100mm Donna May Dinsdale Te Puke Girl Power Aotearoa 2021 Vintage NZ woollen blanket, printed cotton remnants, tulle, wool, plastic gems, trims 700 x 400 x 900mm Emerita Baik Wellington (so no more dreaming) 2021 Polyester batting, fabric, neodymium magnets, recycled polyester 1130 x 1100 x 400mm

Eric Desiles Wellington Poetry in Motion 2021 Bronze on granite base 800 x 500 x 300mm Georgina Watson Auckland Carlotta 2021 CNC cut MDF, meat hooks, cotton ribbon, wire 900 x 1200 approx Jane Matua Rotorua Digital Carrier 2021 Discarded CD / DVDs, synthetic rope and aerosol paints 1336 x 1100 x 100mm

Jess Collins Ōtautahi Pōhutukawa 2021 Light, acrylic, vinyl and steel 1000 x 400 mm Jessica Moughan Ngāruawāhia Brown onion, rosemary and iron Handwoven lambswool, silk, plant dye (onion and rosemary), reclaimed rimu 1020 x 660 x 40mm John Roy Tauranga Pillar 2021 Earthenware 350 x 200 x 160 mm

Jann Lenihan Masterton Tea Shirt 2021 Used tea bags, bias binding, thread, tea tag and string 600 x 500 x 30mm

Julie Paama-Pengelly (Ngaiterangi) Pāpāmoa Ahikāroa ‘Keep it Lit’ 2021 Plywood, styrene, paint 1000 x 150o x 200mm

Janna van Hasselt Christchurch Tussle 2021 Glazed porcelain 335 x 490 x 240mm

Karin Barr Morrinsville IN MEMORY (STACK) 2021 Cast glass & wood 1ooo x 1000 x 500mm Kate Fitzharris Dunedin Big and small 2021 Ceramic 215 x 120 x 105mm

Kathy Barber Auckland Homage 2021 0.6 copper wire, rock 130 x 100 x 30mm Kereama Taepa Pāpāmoa Carved Histories 2021 3D printed nylon 300 x 300 x 50mm Kirsty McNeil Auckland Kiss it Better 2021 Paper, plaster, pigment, wood, castor wheels 330 x 370 x 250mm Layla Walter Auckland Vessel for Sally with Kazakh Pear 2021 Cast glass 270 x 330 x 330mm Leslie Falls Hastings Remnant 8 2021 Wool blanket, porcelain, thread 250 x 500 x 10mm Lisa Passmore Waihi Pandora's Amphora 2021 Harakeke (NZ Flax), kiekie, dye, albatross feathers.

230 x 230 x 220mm

32–33

exhibitors Liz Sharek Warkworth Encrusted 2021 Clay, underglaze colours, glaze 590 x 200mm Louie Zalk-Neale Ōtaki Mana tipua tuku iho 2020 Twined tī kōuka fibre and leaves, driftwood, pia karo (karo sap), enamel gloss paint, performance video (4min 59sec looped) 1500 x 1500mm Mark O'Donnell Auckland The single man/Caesar over the sink 2021 Heat-treated clothes hanger, foam tape, push pins) 330 x 370 x 25mm Melissa McMahon Maungaturoto Halo 2021 Earthenware, glaze, lustre 660 x 400 x 400mm Melissa McMahon Maungaturoto Pink Bats 2021 Earthenware, terra sigillata, glaze, gold lustre, wool blend fibre 1500 x 600cm x 450mm

MMCA 3D 2022

Michelle Mayn Auckland Seeds and Sack 2021 (ongoing) Harakeke seeds (Phormium Tenax/NZ flax), polypropylene mesh sack, muka, pebble, cold wax medium 450 x 450 x 750mm Ming Ranginui Whanganui my ride or die 2021 Saddle, satin, rhinestones, beads, wadding 670 x 540cm x 520mm Molly Timmins Auckland Stitches and Thickets 2021 Embroidery on linen 400 x 600 x 40mm Moniek Schrijer Wellington electrum 2021 Patina paint on copper, uranium glass spheres, optical prisms, profile cut green glass, silver, steel chain 300 x 210 x 60mm Nan Walden Wellington Half cast - Pepi Korowai 2021 Harakeke muka, cotton embroidery thread, recycled priest's robe 400 x 500 x 200mm

Oliver Cain Auckland Shopping for Love 2021 Metal shopping trolley, ceramic 750 x 330 x 520mm Bonco Auckland Piece Rug 2021 Wool 690 x 690 x 20mm Peter Radley Ōpōtiki Te Arawa 2021 Yew, acrylic, gilt 200 x 400 x 210mm Project 21 Nelson Exquisite Corpse Series 5 2021 Mixed media 1500 x 1500 x 1500mm Richard McIlroy Auckland Two red forms 2021 1mm mild steel sheet and paint 290 x 240 x 240mm Robyn Gibson Auckland No Body 2021 Wood, paint, clear perspex, thread, doll parts 345 x 200 x 110mm

Rozana Lee Auckland Sunshine Repaints the Picture of Rebirth 2021 Melted wax hand-drawing on hand-dyed silk satin, pine wood standing frame 1350 x 1180 x 400mm Sam Kelly New Plymouth Standing sculpture #3 2021 Cow bone 200 x 370 x 300 mm Sarah Read Wellington Untitled 2021 Food delivery bag, gold leaf 340 x 240 x 130mm Shona Tawhiao Matakana Island Tuku Iho 2021 Flax, silk cord, commercial dye, enamel motor paint 1060 x 620mm Sue Nelson Auckland Amplexus Memorialis 2021 Bronze 100mm x 40o x 500mm

Susan Mabin Napier Winter Flora Map. Tutaekuri River, 2021 2021 Flora, glues 1400 x 900 x 100mm Tara Murphy Whakatāne Unearthed 2021 Assorted timber offcuts, PVA glue, sawdust, ash, charcoal, black rubbish bag, salvaged steel frame legs, matt black paint 1100 x 300 x 800mm Theodore Macdonald Auckland Look Who's Talking Too, sixteen Paddington Bears (+1) 2021 Plaster of Paris, acrylic paint, found poster 140 x 680 x 1000mm Tonia Geddes & Lee Johnston Maungatautari SHOT 2021 Glaze fired clay and green crop seeds Holding vessel 100 x 145mm Catchment bowl 100 x 40mm

Tui Emma Gillies and Sulieti Fieme'a Burrows Auckland ī 2021 Tapa cloth, kupesi, pandanus (tongan flax), indian ink, acrylic, umea (red earth dye) and feathers.

560 x 400 x 50 mm Vishmi Helaratne Wellington POT LUCK 2021 Moulding paste 1010 x 530 x 630mm Wanda Gillespie Auckland Mist Dweller and Abacus (working title) 2021 Rata, paint, wax, rewarewa, brass, coconut shell bead, wooden bead, gouache, chip carved Jelutong stand.

350 x 250 x 120mm 243 x 348 x 38mm Wendy Hannah Auckland Maumahara - Memories 2021 Perspex, dichroic, wood, Smart LED flex 1200 x 600 x 150mm Yukari Kaihori Auckland After nature, follow where the rain goes 2021 Bronze, pewter, wood, organic matters 1000 x 1300mm 34–35

history of the award

MMCA 3D 2022

The original award began 36 years ago as the Shell Art Award in 1986. It was instigated by Jacqui Hughes and Lynne Dawson of the Whakatāne District Community Arts Council (Arts Whakatāne) and then became the cornerstone event of a multi-disciplined annual Summer Arts Festival for Whakatāne.

In 1991 the Molly Morpeth Canaday (Whakatāne) Fund became the principal sponsor and the award became known as the Molly Morpeth Canaday Award - Painting and Drawing, held annually in conjunction with the Summer Arts Festival.

The Molly Morpeth Canaday Award - 3D was first discussed 1997. The Trust (through Greg Reid) approached the Whakatāne Society of Arts and Craft with ideas for the new project, and together with Museum and Arts collectively came up with the Molly Morpeth Canaday 3D Ceramics Award to compliment the Molly Morpeth Canaday Painting and Drawing Award. In 2018, the 3D Award merged and alternated with the Painting and Drawing Award that launches during February each year.

Frank H. Canaday wanted to assist the arts in New Zealand by the establishment of a series of funds. Named for his artist wife, The Molly Morpeth Canaday (Whakatāne) Fund is one of the few remaining. It benefits emerging artists nationwide in 2D and 3D work in two events: the Molly Morpeth Canaday Award 3D and the Molly Morpeth Canaday Award Painting and Drawing.

Why Whakatāne? When Frank was setting up the trust after Molly's death in 1971, he worked in contact with Molly's cousin - Whakatāne local Rex Morpeth, and a solicitor on the wording for the trust document that would cover Frank's wishes for the fund.

36–37

Our exhibition partners Te Kōputu a te whanga a Toi - Whakatāne Library and Exhibition Centre is an exceptional public space that aims to open up new ways of experiencing the arts, learning and communities.

Offering a year round programme of local and national exhibitions, library services and children’s programming it has established an innovative cultural hub in the centre of Whakatāne.

The Lifelong Learning team at Te Kōputu use the power of local heritage and creativity to enrich learning opportunities for the people of the Whakatāne district, supporting local and national artists to bring vibrant discussions to the Eastern Bay of Plenty.

Arts Whakatane and Whakatane District Council are proud to be showcasing contemporary three dimensional art in Aotearoa. We present this 2022 Molly Morpeth Canaday Award 3D to a wide national audience.

Purchase of artworks: Staff located near the front desk at Te Kōputu a te Whanga a Toi will assist with the purchase of artworks.