Lois McIvor (1930-2017) was a significant force in the local West Auckland art community in many ways. She lived almost next door to the McCahon family for a number of years, later taking art lessons from Colin, and her book Memoir of the Sixties is an important document of the Auckland scene at that time. She was a founding member of the Association of Women Artists, Artists Alliance and the Titirangi Community Arts Council.
Sarah Smuts-Kennedy was artist-in-residence at McCahon House from September-November 2016 and will be returning to Titirangi to exhibit at Te Uru for the anniversary of that pariod.
Acclaimed Auckland-based artist Christine Hellyar has long been interested in how people see and depict the landscape. Working with a range of materials and formats, she presents here botanical drawings of a flooded Coastland Broadleaf Forest in the Waitakere Ranges, printed life-size onto silk alongside sculptural textile figures and upholstered furniture.
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...
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.