Appliance 113

gallery guide AUCKLAND

Enjoy Public Art Gallery

71 Mt Eden Road, Grafton www.alphabetcity.org.nz

gallery guide / art insights / Dec 2011 - Jan 2012

Level One, 147 Cuba Street www.enjoy.org.nz

Alphabet City

ROAR!

Cnr Victoria and Vivian Streets www.pablosart.org.nz

ARTSPACE

300 Karangahape Road, Central Auckland www.artspace.org.nz

The Film Archive mediagallery Corner of Taranaki and Ghuznee Streets www.filmarchive.org.nz

Audio Foundation

4 Poynton Terrace, Central Auckland www.audiofoundation.org.nz

The Russian Frost Farmers

George Fraser Gallery

The See Here

Personal Best Gallery

CHRISTCHURCH

2 Eva Street www.therussianfrostfarmers.com 12 Constable Street, Newtown http://theseehere.com

25a Princes Street, Central Auckland www.georgefraser.auckland.ac.nz 456d Karangahape Road, Central Auckland www.personalbestgallery.com

ABC

337 Lincoln Rd, Addington www.abcgallery.net

Projectspace B431

The Physics Room (Closed until further notice)

20 Whitaker Place, Central Auckland www.projectspaceB431.auckland.ac.nz

Enquiries to: stephen@physicsroom.org.nz www.physicsroom.org.nz

Rm

Ground Floor, 295 Karangahape Road, Central Auckland www.rm103.org

DUNEDIN Blue Oyster Art and Projectspace

Satellite Gallery

Cnr St Benedicts Street and Newton Road, Newton www.satellitegallery.co.nz

Basement, Moray Chambers, 30 Moray Place www.blueoyster.org.nz

Second Storey

none

Project space & residential studios, 24 Stafford Street www.none.org.nz/

215A Karanghape Road, Central Auckland www.secondstorey.org.nz

[ side way ]

Window space, 1 Ponsonby Road, Ponsonby www.youthartcommitee.tumblr.com

The Depot Artspace

28 Clarence Street, Devonport www.thedepotartspace.co.nz

Waikato Institute of Technology, Hamilton http://ramp.mediarts.net.nz/

Artists Alliance receives significant funding from Creative New Zealand and ASB Community Trust.

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Calder and Lawson Gallery

Academy of Performing Arts, Gate 2B, University of Waikato www.waikato.ac.nz/foundation/calderandlawsongallery.shtml

ISSN: 2253 - 1483 This issue of Appliance is edited by Artists Alliance intern Michelle Beattie

WELLINGTON Adam Art Gallery

Victoria University www.adamartgallery.org.nz

Peter Madden Leigh Martin Tanja Nola Jill Sorensen Layne Waerea

RAMP Gallery

Matt Blomeley Deborah Crowe Philip Dadson Lyn Dallison Judy Darragh Scott Gardiner

1 Ponsonby Road, Newton, Auckland Phone (09) 376 7285, Fax (09) 307 7645 Email: admin@artistsalliance.org.nz Website: www.artistsalliance.org.nz

The 2011 Artists Alliance Mentors are:

WAIKATO

The Artists Alliance Mentoring Programme has a large pool of mentors to draw on, which sees each accepted mentee appropriately matched with the best arts practitioner in terms of what the mentee wishes to achieve.

University of Auckland Central Library Foyer, Central Auckland www.window.auckland.ac.nz

Mentors provide advice and guidance in the following ways: • Advice about professional practice.

Help to develop the skills needed for effective networking; such as •

approaching curators in public institutions and dealers in private galleries.

• Assisting with applications for exhibition involvement.

• Giving an open dialogue and practical direction for discussing ideas.

• Giving mentees the confidence to pursue a career in the visual arts once

they have left the supportive structure of an art school environment.

Window

The aim of the programme is to provide a valuable opportunity for 11 recent graduates (10 of which are featured in here) to focus on their career with the help of an experienced mentor. The programme has been made possible with generous funding from the ASB Community Trust.

Level One, 300 Karangahape Road, Central Auckland www.filmarchive.org.nz

This issue of Appliance profiles mentees from the 2011 Artists Alliance Mentoring Programme.

The Film Archive Auckland Exhibition Space

Corrina Hoseason

Bachelor of Design – Unitec

Through a ceramics practice that is connecting to both beaux-arts

tradition and popular culture narratives, I have become increasingly

intrigued by the romanticisation of pastoral landscape, its inhabitants,

and how this informs unrealistic aesthetic expectations of a benign

idealised agrarian society.

How important is an urban audience/setting to the reading of your work? Why?

myself taking the investigation into the romanticisation of rural life as

At present, being physically removed from the countryside I find

the conflict of a genuine yet misleading portrayal of what I know to be

an opportunity to indulge in my own sentimentalisation. This provides

a hardworking and honest lifestyle. With New Zealand’s rich agricultural

history I have found that the urban audience often identifies with this

questions, allowing the continued stimulation of the work as I seek to

disconnected yet nostalgic sentiment (on varying levels). This poses new

understand these diverse connections to the idealised pastoral landscape.

corrinahoseason.com

Image: Black and White Details Montage, courtesy of the artist.

Cover Image: Black and White Geese Portrait, courtesy of the artist.

Gemma Skipper Master of Art and Design – AUT My practice is interested in constructing series of individual, but intimately related, photographs which describe public ‘natural’ environments located amongst residential and light industrial areas. These spaces and sites are shifted and extended by formal relationships of reflection, repetition and reoccurrences.

What is your favourite site/space? Why?

Image: Alan Wood Reserve,courtesy of the artist.

It’s always changing but at the moment Alan Wood

state housing, local businesses, paths, various

Reserve near Mt Albert. This photograph is from

trees, shrubs and is used for a variety of

there but when I took it I didn’t realise there was

recreational activities. The film is being processed

much more space just beyond what you can see in

at the moment and I’m looking forward to seeing

this image. I’ve since been back and love it; there’s

how these relationships translate.

these areas of mown and unruly grass, a stream,

secondstorey.org.nz

sinmae.blogspot.com

in more of a solid form which gives physical presence to line drawing.

childhood. I find that using string can help deliver that idea of sketching

and depict space through use of lines has been a fascinating idea since

background I like fine lines and detailing, being able to create forms,

surface now and then throughout my making. Coming from a drawing

stephaniegrace.co.nz

traditional, such as clay, gum, wax, film or flame, one of my favourite

Image: 174X, courtesy of the artist.

Toward the end of my graduate year I invited a range of people to play with the components I had made so far for my final body of work. One of the most memorable was Alan Preston, who made himself a little attachment for a finger brace he was wearing at the time because of an injury. Seeing people interacting with my work in unexpected ways and enjoying themselves is really rewarding. As people start to make more crazy and elaborate pieces they tend to show one another, and the interactions begin to extend beyond the wearer-object relationship, out to the wider world.

materials to use has been string. It has been an item that has come to

Image: Pt Chev #1, courtesy of the artist.

The wearer plays an active role in your work. What is the most inventive/interesting approach to wearing your work you’ve seen?

Despite liking to work in all kinds of materials both traditional and non-

What is your favourite material to work with and why?

My recent practice involves process in play of mundane objects, looking into ideas of altering set or taught perceptions of an item’s function and form. I aim to defy traditions and generate fresh impressions of materials.

My work is inspired by interactions and experiences with my environment. I use a range of methods to draw ideas, including photographs, sketches, watercolour and collage.

These ideas manifest into hand crafted and highly interactive pieces of jewellery, which function beyond being solely wearable items.

Sin-Mae Chung

Bachelor of Design – Unitec

Bachelor of Fine Arts - Whitecliffe

Stephanie O’Neale

Anoushka Akel

Master of Fine Arts – Elam Emma Topping is an emerging Fine Artist. Her work focuses on creating a sense of depth and movement within the picture plane, leading the viewer into a new dimension of space. By fragmenting imagery from these urban environments she seeks to highlight the effects of time, movement and energy within these spaces, to lead the viewer into a new dimension of a familiar environment.

What is your favourite city in the world? How has this place influence your practice?

Image: No Title, courtesy of the artist.

A trip l took to New York in 2009 opened my eyes, and developed my thinking towards art that I had previously only viewed through reproductions.

My time spent in New York, staying in the chaos of Times Square, made me see the world in a new way, one of change, movement, growth, and development. One of my strengths is that I break things down and rebuild them, breaking down an environment from a photo into lines and shapes that suggest movement through a space. When I was standing in Times Square I felt almost transported to another realm, a visual sensation that influenced this new style I am working in.

Image: courtesy of the artist.

raewynwalsh.com

Laura Marsh Image: A Flag That Has Now Written On It, courtesy of the artist.

Master of Art and Design – AUT

My current art practice applies a ‘soft activist’ approach to the colonial condition of overwriting history. In order to do this I must understand the cultural and social context of my environment. Knowledge gain or selfinforming is a key method in my practice, running parallel to ‘observation’.

I keenly document my environment with video and photography, in a mode of ‘humanist geographer’ and ‘flaneuse’. Objects materialize to operate as ‘souvenirs’ to these moments of discovery.

Learning through research is clearly important in your practice. How do you manage/balance research and making?

Balance is a key challenge, discipline is a key word. A constant practise of input which involves the faith that tangible objects will eventually manifest is required. When a line of research peters out then I return to a mode of play and making for the sake of making until the next quizzical sensation arrives. This first year out of the institution without a heavy project deadline on my shoulders has been spent mainly learning how to establish this mode within the freedom of ‘practising artist’, it’s been a hard year! Next year with the help of the Olivia Spencer Bower Award I will be able to more freely dedicate maximum time to the research factor and (faithfully!) the making will abundantly flow.

lauramarshartist.blogspot.com

Lisa Rayner

secondstorey.org.nz

that urge that compels them to do it.

is perceivable, which is easy to test but makes finishing more difficult.

explains my fascination with those who do and with

then it feels done. I use this even emphasis of pressure to play with what

Claudia Jowitt

I do not collect anything in particular which probably

wouldn’t be a whole. When there is a certain ‘alloverness’ to the surface

your practice?

I have quite a strict process that I follow, so if I skip a stage the painting

Are you yourself a collector? How does this influence

outcome of the work. How do you decide when a painting is finished?

us with the people that surround us. I use jewellery as the medium to explore these themes.

translated to the viewer.

mechanism by which we connect to the world around

ultimately becomes the subject of the work and is what I want to be

the collecting, possession and ownership as the

relies in controlled gestures and a rigorous working methodology, which

nostalgia and belonging. Consequently I look to

Bachelor of Visual Arts – AUT

Image: courtesy of the artist.

I am interested in the ideas that surround memory,

fallibilities of hand and eye. The process of the paintings construction

Bachelor of Design (hons) – Unitec

I am interested in narrowing the differentiation between the experience

Raewyn Walsh

The process of how you make a painting determines the finished

Image: Evolution, courtesy of the artist.

emmatopping.blogspot.com

of making a work and the encounter of viewing through fluctuations and

Master in Fine Arts – Elam

What are you currently working on?

contains motion, violence and intimacy within a small pictorial space.

I am reworking a typically theatrical 17th Century battle painting. It

I am attempting to bring forth an affect or quality akin to witnessing

the insides of a painting.

Emma Topping

Master of Art and Design – AUT

My practice looks at ways of mediating across time between images in paint. Drawing connections through time - brief and fleeting – I look to open up possible new narratives of time through an unreal, painted space.

How important is paint to the ideas in your practice? Explain?

Paint is very important to the ideas in my practice as my work is a searching for connection through the medium of paint. Through a sort of studied play composition is shifted, recomposed, broken down and built back up continuously; a meditative exploration of form through the plasticity of paint. The work comes out of an intuitive engagement with the event of painting and the indeterminacy of paint. secondstorey.org.nz

Image: Site 1, 2. courtesy of the artist.