Robert George’s work is typified by his love of surrealist cinema, the materiality of film and a constant exploration of the human condition. Working within a strict lens-based practice, George weaves together an ethereal, dreamlike sensibility with the starkness of reality to consider the relationship between the outer world and the inner mind.
A featherweight parcel arrives from the north. In it is the entire Bloem en blad exhibition: green string, hatched eggs, seeds of the dandelion flower. This is a show about lightness in spring...
Oliver Perkins is the most recent McCahon House artist-in-residence. He produces works that are suggestive reminders of paintings' relationship to common objects, making reference to art histories, the potential of materials, and cognitive thought processes, all as prompts for an intensive studio practice.
Ghost Shelter 17 displays a variety of significant post-industrial structures in various states of ruin, rendered as isolated islands, evoking the 'islands of memory' of Andrei Tarkovsky's1972 film Solaris. Here, the 3D scans and renderings become models of memory, juxtaposing virtual and actual footage, while the phenomenality of space and time disclose themselves within the subjectivity of the seemingly 'objective' reality of the scan.
Louise Menzies, an Auckland-based artist, offers us objects, images and situations that explore the past and present through attention to the way they are already represented. For this exhibition, Menzies delves into feminist histories, via the Germaine Greer Archive held at the University of Melbourne.
The arts and crafts movement in the early twentieth century was a vital moment in the education and uptake of ceramics in Aotearoa New Zealand. Though most histories of New Zealand studio pottery begin with the Anglo-Oriental movement in the mid-twentieth century — which features the emergence of key ceramic figures — the earlier arts and crafts movement holds many examples of sophisticated and serious pottery, often made by women.
This collection presents Wallace Crossman's work from the One Tree Hill College art collection alongside distinctive examples from Sandy Adsett, Robin White and Haare Williams, four artists significant for their contributions to both art and education in Aotearoa.
As an annual update on the state of ceramic practices in Aotearoa, the Portage Ceramic Awards provides insights on current directions and future possibilities. Established in 2001, the awards are a hallmark event for the New Zealand ceramics community, showcasing some of the best contemporary work, and serving as a platform for dialogue about developments in the ceramics field.
Sharon Fitness explores the concept of ‘jewelleryness’ through moving image. Finding Jewelleryness includes instructional videos that share her love of wearing readymades alongside a selection of wearable screens. Sharon Fitness explores the concept of ‘jewelleryness’ through moving image.
The Burning Hours focuses on works made between 2014-2016, showing audiences what happens when Bush pushes her compositional limits and uses the entire surface of the paper. This recent body of work is rich with detail – each surface, of gouache and gold, is filled with references to illuminated manuscripts, Persian miniatures, European art history and modern life.
The terms outsider, insider and mainstream art are not in the vocabulary of the group of art makers with intellectual disabilities from A Supported Life’s ‘two4nine’ creative space in West Auckland. Their art is direct, delightful and provocative visual expression in paint, thread and clay of their unique view of the world they inhabitant.