James Cousins has long been interested in the contingencies that painting relies upon: how do we recognise an image? What systems guide our understanding? What processes might be used to disrupt these assumptions?
Campbell Patterson turns quotidian or everyday activities into monomaniacal encounters. He is known for economically viable, unspectacular actions that are obsessively repeated and documented according to an underlying formal methodology. Though his practice crosses over a number of mediums, with a specific reputation for performance and painting, it is notably the pen that is Patterson’s primary tool in this exhibition.
In 2013, ceramicist Richard Stratton was awarded the Portage Ceramic Awards residency at Guldagergaard in Denmark, which he took up in 2015. For Stratton the residency offered an opportunity to further his research of European and Scandinavian ceramics, from mudlarking on the bank of the Thames to handling 17th century stoneware at the Westerwald Keramik Museum in Germany.
The Portage Ceramic Awards exhibition is an annual showcase for the diversity of ceramic artists throughout New Zealand. Established in 2001, the awards are the country’s best-known barometer for developments in the field of ceramics.
HaaPoom takes its title from the Korean word for ‘yawn’, an infectious and often involuntary act. The reference continues artist Seung Yul Oh’s interest in exploring creativity, expression and surprise. Working from the simplest of materials, he transforms everyday experiences into unexpected encounters that are activated by audiences.
The Brain, curated by artist Christina Read, is an exhibition of video works presented within a sculptural installation, designed and constructed by artist Paul Cullen. The Brain could be seen as an idiosyncratic spatial and conceptual diagram of a brain, using video to map questions both academic and amateur.
Perhaps best known as a columnist and commentator, Wellington-based McLeod is also an avid collector with an eye for the overlooked: many of the objects in her collection, made between 1920-1960, come from op shops, charity stores, Trade Me and friends who know of her ongoing passion for domestic handcraft.
To be associated by origin, nature or qualities is to be kindred. This show brings together a selection of furniture designers whose work shares an interest in making work informed by a distinctly New Zealand point of view. Photo: Sam Hartnett.
Wellington artist Caroline McQuarrie grew up on the West Coast of the South Island and had long been interested in the history of the region. Over the last three years, she has been researching and visiting sites where communities sprung up around gold or coal, and have since vanished as the resources ran out.
In the 1960s, Auckland was changing. It was becoming the big smoke. New motorways were enabling low-density suburban sprawl (the population had just passed half a million) and a counterculture was emerging. Unseen City offers a slice of 1960s Auckland through the eyes of then-young artists Gary Baigent, Rodney Charters and Robert Ellis.
Billy Apple was at the heart of British art when it went Pop in the ‘60s. In the ‘70s he opened an alternative space for conceptual art in New York. In the ‘80s his canvases revealed the behind-the-scenes of the art market. And he has been here in Auckland since the ‘90s, testing the system to show how art infiltrates life...
Five by Five reprises the format of showing five works from five artists who experiment on the fringes of ceramic practice. Five artists — Kate Fitzharris, Tessa Laird, Kate Newby, Louise Rive and Suji Park — each straddle the divide between craft and fine arts, promising to again challenge perceptions about what can be said about clay, with clay.
Barry Brickell is one of New Zealand’s most important potters, and a major figure in the development of a distinctive, indigenous art. From his early days as a potter in the 1950s, Brickell trusted his own original wit and invention. Using coarse local clays and hybrid forms he developed a unique sensibility, which resonates with this part of the Pacific.
Inhabiting the space where concepts of art, science and cultural knowledge intersect, The Kauri Project is a curatorial endeavour which examines the relationship between people and landscape, focusing on our unique and threatened indigenous kauri forest ecology. Encompassing performance, sound, photography and sculptural installation, A Delicate Balance explores how we ‘listen’ and speak back to this environment, bringing together new and existing work by artists from Northland, Auckland and Taranaki.
The Curiosity Corner is a specific exhibition space dedicated to showcasing and supporting contemporary jewellery practice. This year we showcase work by jewellers Jasmine Watson, Rachel Bell, Johanna Zellmer, Selina Shanti Woulfe, Kirsten Haydon, Sarah Walker-Holt, Laura Jer and Chloe Rose Taylor.
Daniel Malone’s conceptually-driven but wide-ranging practice has frequently been characterised by a keen engagement with context. For Titirangi Apocrypha, Malone returns to New Zealand from Poland with the productive distance of his recent travels to mine both the art practice and the subsequent art historisication of renowned artist Colin McCahon.
Through the language of geometry, sound, and binary code, Māori artists Tracey Tawhiao and Fred Harrison depict the Creator, known in Te Ao Māori as IO, through sacred geometry that exudes mātauranga Māori; the knowledge originating from the ancestors.
Judy Millar's recent works seek to defy gravity as they twist and contort in space, activating Te Uru’s architecture. Working on both an exaggerated scale to build an overblown gesture in the gallery, and scaled down works that pop up from walls and floor, Millar’s The Model World will work with the slippages between painting, printing and three-dimensionality to provoke new experiences of looking and being in space.
This years Window Space includes artists Eve de Castro-Robinson and Sarah Guppy, The Noemi, Sorawit Songsataya, Paul Hartigan, Christina Read, Paul Cullen, Sam Morrison and the 2015 Portage Ceramic Awards judge Ingrid Murphy.
Artist Shannon Novak asserts that ‘music is in everything.’ He creates compositions for objects, locations, and people much as musicians might compose for or about places, persons or experiences with emotional resonance for them.