NZ Sculpture OnShore 2014 Exhibition Celebrating the 10th Biennial
6 – 16 November 2014 Fort Takapuna Historic Reserve, Devonport Raising funds for NZ Women’s Refuge NZ Sculpture OnShore 2014 Exhibition
NZ Sculpture OnShore Exhibition 2014 | 3 Preface 5 Curator’s Welcome 6 NZ Women’s Refuge 8 Artists 9 Karin Barr 10 Denise Batchelor 11 Russell Beck 12 Merle Bishop 13 Phil Bonham 14 Guy Bowden 15 Audrey Boyle 16 Susannah Bridges 17 Stuart Bridson 18 Sarah Brill 19 Mary-Louise Browne 20 Linda Bruce 21 Paul Brunton 22 Ke‘alaonaonapuahínanoCampton 23 Chris Charteris 24 Trish Clarke 25 Elaine Barry Conway 26 Don DeMacedo 27 Paul Dibble 28 Nick Dryden 29 Anah Dunsheath 30 Lang Ea 31 Sharon Earl 32 John Edgar 33 Gina Ferguson 34 John Ferguson 35 Ross Forbes 36 Gill Gatfield 37 Stefan Gerstmann 38 Bev Goodwin 39 Natalie Guy 40 Mia Hamilton 41 Donna and Colwyn Hanson 42 Sam Harrison 43 Veronica Herber 44 Graeme Hitchcock 45 Dion Hitchens 46 Helen Holmes 47 Lonnie Hutchinson 48 Marlyne Jackson 49 Gaye Jurisich 50 Joe Kemp 51 Irena Kennedy 52 Hannah Kidd 53 Anna Korver 54 Joachim Kreitmair 55 Juliette Laird 56 Carolyn Lawrence 57 Iwi Le Comte 58 Jin Ling 59 Samantha Lissette 60 Susan Mabin 61 Jack Marsden Mayer 62 Campbell Maud 63 Kevin McCardell 64 Aaron McConchie 65 Dave McCracken 66 Brendan McGorry 67 Jenny McLeod 68 Angela Moir 69 Steve Molloy 70 Sharonagh Montrose 71 Deborah Moodie 72 Chris Moore 73 Chris Mules 74 John Mulholland 75 Phil Neary 76 Phil Newbury 77 Kirsten Newton 78 Ainsley O’Connell 79 Robert Onnes 80 Jonathan Organ and Jessica Pearless 81 Isla Osborne and Devoney Scarfe 82 Charlotte Parallel 83 Lou Pendergrast Mathieson 84 Jamie Pickernell 85 Ramon Robertson 86 Brydee Rood 87 Rebecca Rose 88 Delicia Sampero 89 Donna Turtle Sarten and Bernie Harfleet 90 Lipika Sen and Prabhjyot Majithia 91 Sally Tagg 92 Faith Tavernor 93 Karyn Taylor 94 The Tea Collective 95 Niko Thomsen 96 Paora Toi Te Rangiuaia 97 Maurice van Cooten 98 Karen Walters 99 Frank Watson 100 Richard Wedekind 101 Jim Wheeler 102 Carolyn Williams 103 Marti Wong 104 Steve Woodward 105 Bruce Young 106 School’s ProgrammeEducation 107 Kidzone 107 Children’s Sculpture Exhibition 108 Belmont Intermediate 109 Birkendhead College 109 Birkenhead Primary 110 The Corelli Academic School of the Arts 110 Cornwall Park District School 111 Devonport Primary 112 Glen Eden Intermediate 113 Glenfield Intermediate 114 Kowhai Intermediate 114 Point Chevalier School 115 Remuera Intermediate 115 St Joseph’s Catholic School Takapuna 116 Vauxhall Primary 117 Westmere School 118 NZOnShoreSculptureLtd 119 TamakiProtectionReserveTrust 120 Devonport Rotary 120 OurSupportersGenerous 121 Friends of Women’s Refuges Charitable Trust 122 Acknowledgements 123 CONTENTS
2014 Exhibition Catalogue Published by NZ Sculpture OnShore Ltd, wholly-owned by Friends of Women’s Refuges Charitable Trust to develop and present a biennial outdoor sculpture exhibition to raise funds towards New Zealand Women’s Refuge NZ SCULPTURE ONSHORE LTD Private Bag 92093, Auckland, 1142 info@nzsculptureonshore co nz www nzsculptureonshore co nz © 2014 NZ Sculpture OnShore Ltd and individual contributors Distributed by NZ Sculpture OnShore Ltd in all countries All rights reserved Apart from fair dealing for the purposes of private study, research, criticism or review as permitted under the Copyright Act, no part of this publication may be reproduced in any form without permission in writing from the publishers Every reasonable attempt has been made to identify owners of copyright ISSN Design:Editor:2234-1535RobGarrettMelissaMiddleton, Red Gecko Creative Printed and bound by Benefitz in an edition of 3,500 copies Cover image photography: Rob Garrett
NZ Sculpture OnShore Exhibition
We hope everyone who visits NZ Sculpture OnShore enjoys the art, the site and a memorable day out Sally Chair,DewarNZSculpture OnShore Ltd
The scale and diversity of the exhibition allows a broad audience to experience art in a beautiful setting – from art collectors to family groups The Children’s Sculpture Exhibition once again showcases works by 15 Auckland schools and art groups in the underground fort Over 2,000 school children will visit the exhibition as part of our Education Programme and children of all ages can enjoy the weekend Kidzone programme and the interactive ‘Sculpture in Progress’
WELCOME TO the 10th biennial exhibition of NZ Sculpture WeOnShorearedelighted to welcome you to one of New Zealand’s most significant outdoor sculpture exhibitions, featuring over 100 works of contemporary New Zealand sculpture by senior, established and emerging artists from all around the country
PREFACE
2014 | 5
We could not stage an event of this size without the support of our patrons and corporate sponsors We would like to acknowledge Auckland Council for their continued recognition of the importance of NZ Sculpture Onshore; give special thanks to Hesketh Henry and Harcourts Cooper & Co for their loyal ongoing support and give a warm welcome to Fisher Funds Management Ltd who join us for the first time this year We wish to acknowledge wonderful work of the Friends of Women’s Refuge Trust team and Event Manager Jan McEwen, without whose dedication this event simply would not happen Thank you also to the 200 plus volunteers who give so freely of their time during the 10 day event and who make such a positive contribution to its success We are proud that our event has a 20 year history of providing financial support to Women’s Refuge NZ in the work they do throughout New Zealand, helping victims of domestic violence The proceeds from ticket and artwork sales at this event will go to this worthy cause
We are grateful to Curator, Rob Garrett for his superb artistic leadership Our special thanks also go to the artists, whose creative vision is realised in the works exhibited
“what is it with the numerous outdoor sculpture exhibitions and sculpture trails?” Nowhere else that I know of, has so many exhibitions and trails of this kind I will not presume to explain the origins and causes of this phenomenon of the past 20 years, but it does point to a healthy creative sector; indicates there is enthusiasm and interest by New Zealand audiences for contemporary art outside the gallery; and perhaps reflects our love of the outdoors
LOOKING OUT, LOOKING BACK AND LOOKING AHEAD NZ Sculpture OnShore is now the longest-running outdoor sculpture exhibition in the country; and this type of exhibition, along with its close relatives, the various sculpture trails and sculpture parks throughout New Zealand, may set this country apart globally As I travel internationally I am often asked by my overseas colleagues
Over the course of its ten biennials, NZ Sculpture OnShore has evolved from an initial focus on garden sculpture, ceramics and glass into a comprehensive survey of the variety, breadth and energy of the country’s contemporary sculpture practices Embracing the way artists define sculpture in the new century we aim to show the full diversity of art forms, notwithstanding the challenges and limitations of showing in the outdoors! This year, even video and performance make their appearance
Alongside the experimental and conceptual, the sitespecific and the issue-based projects, we are also proud to show work by our leading sculptors of stone, wood, glass, ceramics and bronze Thus the exhibition demonstrates the variety and quality of the two broad strands of sculptural practice that persist and thrive in New Zealand: conceptual and formal For us, the exhibition site – Fort Takapuna – is almost as important as the art works Admittedly, many artists have chosen to respond to some aspect of the site’s distinctive history, symbolic significance or natural characteristics, and this has been encouraged However, when I say the site is important to us, I do not mean it only in this way I believe that all the selected art works should be placed so that we gain an amplified appreciation of both the location and the art work; that each should work on the other,
6 | NZ Sculpture OnShore Exhibition 2014
CURATOR’S WELCOME
NZ Sculpture OnShore Exhibition 2014 | 7 through their juxtaposition, so that we gain something more than just the sum of their parts Thus, through the site we may see the art work in a fresh light; and through the art work we may appreciate the site in a newly memorable way This is our hope Thinking about how to present a number of the abstract works this year I was reminded of the early 20th century works of the Surrealist Max Ernst He made a series of ‘enchanted forest’ paintings in which he experimented with a new, almost sculptural technique involving densely textured grattage (scraping forms and textures into the wet surface of the paint) and frottage (taking a rubbing from an uneven surface) surfaces to evoke his vision of Oceania as “savage and impenetrable … ferocious, fervent, and likeable, without yesterday or tomorrow ”
Thank you for your interest in New Zealand’s contemporary art Thank you for supporting the wonderful artists who are participating in this year’s exhibition; and thank you too for your support for Women’s Refuge NZ
In homage to Ernst, but also as if to challenge the romanticism of his European view of Oceania, I have tightly clustered a selection of abstract and semi-figurative works on the northern-most cliff-top as if to call out a new song across the waves Looking out towards the entry to the Hauraki Gulf at a place that was once more densely wooded, hopefully this year’s sculptures face the world with a sense of New World confidence, expectation and optimism Look-outs and optimism are needed close to home too Today, we have to look out for each other in a variety of ways, and one among them is the raison d’être of the Sculpture OnShore exhibition: to help those who help our most vulnerable women and children As we all know, this is a watch that falls to all of us, not just NGOs and Government agencies Watching out for each other is the necessary work of friends, family members, work colleagues and neighbours if we are to turn the awful domestic violence statistics of our Oceanic paradise around
As an independent community organisation we work at many levels –from personal, face to face support, to involvement in policy-making
Our goal is always the same - to help prevent domestic violence Our advocates support women to make positive, safe changes in their lives; to access the services they need and obtain all the help they are entitled to Our services include 24 hour emergency safe housing, community advocacy (where women may continue to live with their abuser) and a 24/7 crisis number staffed by trained advocates
Awareness-raising is vital; we actively stage public campaigns such as our most recent – Bring Back Kate
8 | NZ Sculpture OnShore Exhibition 2014
IT IS 20 YEARS since a group of women fundraising for their local Women’s Refuge decided to use their knowledge of, and interest in, art to create an event that has become not only an important national sculpture exhibition, but also the largest source of private funding for Women’s Refuge NZ
For many years we have had a dream of creating a sustainable income through a chain of high end recycled clothing boutiques
A $110,000 donation from the 2012 NZ Sculpture OnShore exhibition has allowed this dream to become reality The first Yellow Belle store opened in April 2014 at 112 Hurstmere Rd, Takapuna; the second recently at 58 George Street Palmerston North Women’s Refuge is extremely grateful to the Friends of Women’s Refuges Trust and NZ Sculpture OnShore Ltd Your tireless efforts enable us to work towards our shared goal of a world free from domestic violence – where women and children are safe every day
To date, NZ Sculpture OnShore has raised over $1 34 million to support the wide-ranging work Refuge undertakes to make New Zealand a safer place for women and children
WOMEN’S REFUGE
With four decades experience, we are widely regarded as experts on the subject of domestic violence in New Zealand At a policy level we offer advice and make submissions to the Government, collaborate with other non-government organisations and produce original research
Every night this year we have cared for an average of 209 women and children in our 41 safe homes throughout New Zealand; and helped a woman every nine minutes on the crisis line
Every visitor to NZ Sculpture OnShore contributes to our ability to continue this work Donations from each exhibition to date has allowed us to fulfill a different need; transitional housing, appliances for safe houses, printing of resources, well equipped play rooms for our safe houses, and much more
NZ Sculpture OnShore Exhibition 2014 | ARTISTS9
Rock Cloud, 2014 Cast glass and aluminium Dimensions variable, each element between 1000 x 500 x 500mm and 1400 x 500 x 500mm | $2,200 (each) $22,000 (installation of 11)
Morrinsville Karin has work in the Wallace Arts Trust and other national and international private collections
Waitakaruru Sculpture Park (Winner of the Vazey Child Glass Award 2012), NZ Sculpture OnShore 2010/2012, Artspost Hamilton and Wallace Gallery
I collected a rock locally and my project was to reproduce this rock into cast glass using the lost wax method Inspired by the site and the always changing clouds the sky offers, I cast 11 Rock Clouds using mainly opaline white and clear glass with a small amount of blue and black Each Rock Cloud is illuminated from the inside with LED light to bring out the extraordinary colour mix of the glass As an installation I’m able to create a Big White Rock Cloud Karin Barr is originally from Germany She had a background in stone carving before she learnt the craft of glass casting at Artstation in Auckland Her playful subtle works and installations have been shown in exhibitions including
KARIN BARR 10 | NZ Sculpture OnShore Exhibition 2014
Denise Batchelor is an Auckland-based artist working in digital media, both still and moving images Completing an MFA (Hons) at Whitecliffe College in 2010, Batchelor has exhibited widely in New Zealand galleries, art centres and festivals; and in 2012 took part in the AIVA International Video Festival in Sweden A finalist in national awards including the Parkin Prize, Wallace Art Award, New Zealand Contemporary Art Award, Estuary Art Award and she was overall winner at the 2014 Waikato River Art Awards Batchelor also received the Auckland Council Regional Parks Residency in 2013 Her current practice focuses on connecting with the environment in order to more fully understand the interdependency of the world we live in
DENISE BATCHELOR NZ Sculpture OnShore Exhibition 2014 | 11
Summer Breeze, 2013 HD video, duration 04:26 Limited edition of 3 | $3,400 each Summer Breeze explores the displacement and adaptation required when changes in environment are imposed As worlds expand and overlap, the boundaries between landscapes become blurred The habitation of humanity, in a continuous swelling of development, trespasses on unseen territories In a gradual metamorphosis rural becomes urban, changing the terrain Unexpected encounters require an empathetic understanding of this convergence, in order to experience the interconnectedness that exists between all living things
RUSSELL BECK 12 | NZ Sculpture OnShore Exhibition 2014
Russell Beck is a retired Museum and Art Gallery Director who lives in Invercargill His works are represented in public and private collections in New Zealand and overseas Landforms and geology inspire his designs For more than 45 years he has worked in stone, mainly granite and jade More recently he has concentrated on the production of large works in metal, particularly stainless and mild steel for geometric and illusionary forms
Autumn Diagonal, 2014 3 and 5 mm mild steel plate galvanised and painted | 1575 x 1450 x 315 mm | $12,000
This sculpture is a development of a series of works based on the rhombohedron The design incorporates seven welded 70-degree rhombohedra with one column on the vertical and the other intersecting on the diagonal The form challenges the understanding of solid objects as it gives an illusion from the front of looking down on a column of isometric cubes with an intersecting diagonal column But they are actually rhombohedrons presenting a two dimensional effect of a three dimensional concept Viewed from the other side, the illusion is reversed A further illusion is that the ‘cubes’ can appear to be separated
Spot the Blind Dog, 2014 Bronze, silver | 440 x 250 x 510 | $8,900 In this work Spot is providing an opportunity for the blind to ‘see’ As a graphic artist my work has always been 2D visual, capturing the exuberant joy and speed of dogs, but this bronze, Spot the Blind Dog has been designed to be ‘seen’ by the unseeing through touch The tactile skill of braille readers will reveal labelled areas and other secret messages unreadable to seeing eyes! In addition to braille, I have applied relief images of dogs running so that my daily beach experiences of fun-filled moments may be shared with those who cannot see what I and others enjoy Today is a good time to appreciate what we have
MERLE BISHOP NZ Sculpture OnShore Exhibition 2014 | 13
Merle Bishop is a New Zealand artist living in Takapuna, Auckland She grew up on a farm in rural Hawke’s Bay where dogs were an essential part of the working day She is a graduate of Wellington Design School, working as a graphic designer, printmaker, pastel artist and with bronze
Challenge? 2014 Ceramic, glazes and stains (fired to 1200°C) 2100 x 120 x 3000mm | $12,800 A challenge is an invitation to compete, a dare or a calling into question These sparring partners are personifications of Man versus Nature Is this a standoff? Will these two engage in a bit of bluster and then shake hands and make up? The question mark in the title is asking whether there is, or should be, a struggle, or whether Mankind will take up the challenge to manage our interaction with Nature in a sustainable and wholesome manner Everyday events such as global warming, smog, and water pollution indicate how our actions can be detrimental to the environment It was written in the Bible long ago that Man has ‘dominion over the Earth’; if we do, can we learn how to properly care for the Earth Mother that sustains us?
Born and raised in Takapuna, Auckland, Bonham gained a BFA at the University of Hawaii and has always worked with a broad range of art mediums His first solo exhibit was in Honolulu and contained drawings, prints, paintings, and sculpture Resident in NZ again for the last 42 years, he has worked as a professional potter and as an art, craft and technology teacher in two area schools Throughout this time he has continued to exhibit in New Zealand and Hawaii, and his work is represented in both private collections and public commissions in Auckland Lately, Phil has focused on large wood sculptures and ceramic sculpture
PHIL BONHAM 14 | NZ Sculpture OnShore Exhibition 2014
Sticks and Stones, 2014 Wood (Puriri and Totara) 1500 x 1000 x 1000mm | $7,000 As a Puriri tree grows, the lower thin branches die, shaded out by the canopy above Eventually they drop to the ground and the main trunk grows over the hole and any trace of these branches disappears The thin sticks in the sculpture are incredibly strong, as is the timber of the Puriri tree The hanging gourd-like shape of the basket made from these thin sticks shows this enormous strength by holding the rocks I have lived most of my life on the Tutukaka coast where my family has farmed since the early 1960s In 1996 my wife Sandra and I established Tawapou Coastal Natives on the land I have always been very artistic and have tried many different mediums, but really feel comfortable with what I have achieved over the last few years with my wood carving GUY BOWDEN NZ Sculpture OnShore Exhibition 2014 | 15
Subtlehack arose from my previous work with the native vine kareao (supplejack) and my fascination with its capacity to form dense impenetrable thickets I wished to emulate its tangled, anarchic configuration and to capture that quality of mystery that seems to resonate with the subterranean reaches of our own psyche
Made from materials that can be shaped by hand, the installation suggests that it might be able to be shaped and reformed by viewers whose ‘drawings in space’ tie their own knots and untie the knots of others
Subtlehack hopefully reflects that thicket of barely understood longings and desires that hover at the edge of consciousness Knots, with their moments of physical tension and release, can act as a metaphor for any number of psychological states
Subtlehack, 2014 Catenary wire, Dacron, stretch fabric, utility wire, rods | Dimensions variable | $10,000
AUDREY BOYLE 16 | NZ Sculpture OnShore Exhibition 2014
Audrey Boyle was born in Rotorua and pursued various self-directed creative projects before and during extensive travel throughout Europe She has exhibited in Europe, Australia and New Zealand She returned to New Zealand to complete an honours degree in sculpture at Unitec School of Architecture and Design and most recently completed her Masters of Design by Project in Sculpture at Unitec Boyle currently practices in Auckland, working intuitively with natural materials and found objects in installation, sculpture and printmaking
Red Rosettes – Light Poles, 2014 Ceramic, copper, steel, halogen lamps 2000 x 150 x 150mm to 2500 x 150 x 150mm | $6,750 (for the set) My three Light Poles are tall ceramic columns that are lit from within to function not only as sculpture, but also as a striking lighting feature The poles are direct extensions of my Cylinder Lights – a range of smaller scale ceramic lights for which I am well known Red Rosettes is a new design in the Light Poles series My inspiration is drawn from floral forms, my previous work and methods of working with ceramic materials The bases for the poles can be adapted to suit installations for indoor or outdoor SusannahuseBridges (B Des) is an Auckland based artist and designer who can accept commissions and customise her designs to suit individual settings Her work has been acquired by the Auckland Museum and the Dowse Art Museum and has received national and international awards Susannah’s art is widely recognised within New Zealand and she has exhibited offshore As well as producing ceramic works for domestic use, Susannah also creates larger sculptural pieces, furniture and lighting, and has been commissioned to design public works She is currently developing and refining her range of ceramic work alongside new lighting and sculptural ideas Susannah has worked as an Arts Project manager and tutored at Unitec Institute of Technology SUSANNAH BRIDGES NZ Sculpture OnShore Exhibition 2014 | 17
Flat pack sculpture number twelve, 2014 Found and recycled objects, bottles, wood, rocks, paper and steel 1800 x 2800 x 1200mm | $1,800 In a sense, this sculpture is a ‘sculpture of a sculpture’ which re-examines form by deconstructing the constructed to its individual found and recycled elements The work reclaims and transforms the detritus of everyday life and refers to a culture obsessed with consumerism The art work juxtaposes natural and manmade materials; it challenges how we individually perceive the world around us providing flux between an idea and a perceived outcome I live near Raglan on the west coast of the North Island and work at the Waikato Museum I have a Masters degree in fine arts from the University of Canterbury In 2011, I won one of the Ebbett Prestige Environmental Awards at Waitakaruru Sculpture Park I was the winner of the 2013 Small Sculpture Prize a finalist in the James Wallace Art Award the same year In 2015 I will be exhibiting at headland Sculpture on the Gulf, Waiheke Island STUART BRIDSON 18 | NZ Sculpture OnShore Exhibition 2014
Polished2014stainless steel and glass 2500 x 500 x 500mm | $2,750
SARAH BRILL NZ Sculpture OnShore Exhibition 2014 | 19
The ruru ( morepork) is an important creature in Maori mythology and tradition Many of the carved figures seen on the marae have had their eyes modelled on ruru and when performing the haka, the pukana – the glaring looks from the Maori warriors – are also imitating the fiery little owl The ruru hunts by night on silent wings and has a melancholy hooting call and is associated with the spirit world Ruru are one of New Zealand’s three remaining birds of prey and one of the few native bird species that have adapted to human colonisation Ruru are here to protect, warn and advise us to ensure our landscape is a safe haven for wildlife Sarah Brill is a contemporary New Zealand artist who strives to create work which is innovative, unique and appealing to a large audience Not only does she want her work viewed within gallery spaces, she also wants it to be exhibited in public She wants to entice more people to enjoy art Sarah graduated in 1995 from the Elam School of Fine Arts with a Bachelors Degree in Sculpture and gained a Diploma of Teaching in 1996 Currently Sarah is balancing a busy art schedule with the demands of working full time as a visual arts teacher at Long Bay College, Auckland
Ruru,
Seeing Is Believing, 2014 Neon | 110 x 1500mm | $6,500
Mary-Louise Browne is a sculptor of words She works with elegant wit in a wide variety of media including granite, glass, metal, canvas, leather, paper and found objects Words drawn from movies, songs, mottoes and maxims, are a prominent feature of her work and she explores their metaphoric, material and visual qualities with her conceptual purposes dictating her selection of medium
Courtesy of Bartley + Company Art
There is a delight in the double entendre and the clash of high art and the sign-writer’s craft Browne has a Master of Fine Arts from the Elam School of Fine Arts, University of Auckland She has exhibited widely and is represented in major public and private collections She is also well known for her major public commissions in Wellington and Auckland – most notably Byword (2007), a series of nine stone seats in Lorne Street; Font (2009) in St Patricks Square in Auckland; and Body to Soul (1996), a monumental stone staircase in Wellington’s Botanical Garden
The works challenge conventional readings and demonstrate how apparently simple words or maxims can have multiple layers of meaning
MARY-LOUISE BROWNE 20 | NZ Sculpture OnShore Exhibition 2014
Cloud Machine: Irrigator, 2014 Recycled copper pipe, found metals, patina, clay, oxides, brass swivels and stainless steel wire x 930mm x 240mm | $2,800 Cloud Machine: Conveyor, 2014 Recycled copper pipe, found metals, patina, clay, oxides, brass swivels and stainless steel wire 160mm x 660mm x 240mm | $2,800 Cloud Machine: Fermentor, 2014 Recycled copper pipe, found metals, patina, clay, oxides, brass swivels and stainless steel wire 370mm x 650mm x 290mm | $2,400 Cloud Machine explores the cycle of water and the interconnectedness of nature, people, farming and the built environment I’m interest in connecting environmental concerns and narratives of community and place – in these works the issue of water quality and control Found metals and old copper water pipes are recycled as open network forms of machines and architecture, then combined with figurative ceramics to construct clouds: symbolic water carriers, metaphoric conveyors of illusionary manipulations
230mm
Linda Bruce was born in Hastings, New Zealand in 1956 and lives in rural Hawke’s Bay In 1993 she completed a Diploma in Visual Arts & Design at EIT Hawke’s Bay and combines part time tutoring at EIT with continuing her own sculptural practice Her works in clay, metals, plastics and found objects investigate transitional spaces – the boundaries between physical, psychological and cultural spaces
LINDA BRUCE NZ Sculpture OnShore Exhibition 2014 | 21
Playing the Corporate Game 2014 Wood, oiled and burnt Square: 1200mm x 1200 x 300mm Circle: 1200mm diameter Triangle: 1200 x 1200mm x 1200mm Cross: 1200mm x 1200mm x 300mm This$2,400sculpture work extends the series of works I have been making utilising the basic shapes of geometry and basic tool fire Playing the Corporate Game expands my selection of forms through the most basic compositions of two straight lines as a cross and a stack Coincidentally these basic shapes reflect the shapes chosen for a game station controller, hence the name
PAUL BRUNTON 22 | NZ Sculpture OnShore Exhibition 2014
Working in many media, Paul’s pieces often involve movement to continually provide new perspectives that reveal the hidden aspects of his work, which then draw the astute viewer into deeper contemplation A sensitivity to the flow of the water and weather developed in yacht racing, surfing, diving, windsurfing and kite-surfing has been refined by Tai Chi and Ba Gua which emphasise fluid movements, flowing technique and skill rather than brute strength This foundation is reflected in a range of works with a strong connection to nature and the fluidity and duality of life Paul Brunton learned bronze sculpting under Lyndon Smith His works are held in the James Wallace collection and several international private collections
Ke‘alaonaonapuahínano Campton was born in San Francisco, California She has lived in both California and Hawaii and now resides in Devonport, Auckland where she shares a studio with two other New Zealand artists Campton has a Bachelor of Arts degree in art studio from the University of California, Davis Her work has been exhibited in numerous galleries and museums across the United States, Canada and New Zealand, including a commissioned public work in Hawaii
KE‘ALAONAONAPUAHÍNANO
CAMPTON NZ Sculpture OnShore Exhibition 2014 | 23
Ua lani i ka lau kukui – Heavenly rain on the kukui tree leaves is a tribute to great indigenous leaders Both nuts and oil from the kukui tree provided a source of light and remain a symbol of enlightenment The rain that falls on the leaves speaks to the continued connection between heaven and earth I have chosen the form of a Hawaiian Kahili – Chiefly or Royalty standard –as the kahili reverently bows towards its celestial origins, acknowledging our ancestor’s humility and wisdom The hoaka – crescents, illuminate the pathway to a traditional understanding of leadership and the greater good Like my ancestors before me, I freely adapt and incorporate new materials into my work, embracing tradition and yet not bound by it Once I have stripped away the distracting noise of the world, the forms, lines and materials begin to merge until the work is complete in my mind
Ua lani i ka lau kukui –Heavenly rain on the kukui tree leaves, 2014 Stainless steel, acrylic, LED light 3150 x 900 x 750mm | $18,500
Untitled, 2013 Argillite | 750 x 400mm | $7,200 My carving tool was a large diamond saw I am interested in allowing this process to drive the development of this work I have left the work as untitled because each person’s imagination will see the piece differently Chris Charteris is of I-Kiribati, Fijian and English descent He has been a sculptor and jewellery maker for more than 25 years His works are in private and public collections in New Zealand and internationally He lives in the Coromandel Peninsula CHRIS CHARTERIS 24 | NZ Sculpture OnShore Exhibition 2014
Round Up aka Triffid Garden, 2014 Brushed aluminium 2400 x 6000 x 6000mm Weed 1, Weed 2, Bear Breeches, and Dock $2500 (each) Thistle Bangalow$3,600Palm $4,500 Trish Clarke’s work often revolves around the themes of the environment and gender identity Round Up aka Triffid Garden continues the artist’s study of native flora through to the destruction of New Zealand’s precious environment through introduced species Trish Clarke is a Whangarei based artist and is exhibiting for the third time at NZ Sculpture OnShore She has works in public and private exhibitions and also has a large public sculptural work on the Whangarei Town Basin’s waterfront Sculpture Park TRISH CLARKE NZ Sculpture OnShore Exhibition 2014 | 25
After a successful career as an interior designer, Barry Conway gained a Bachelor in Visual Art from AUT University in Auckland in 2005 She lives in Auckland, working from a home studio and exhibiting around the North Island and Australia Recently Barry Conway has been using photography to investigate the illusions of nature – atmospheric phenomena and their visual perception In 2012 she traveled to Antarctica to research further into the extremes in nature and the effects of weather on landscape and eventually on us She also exhibits yearly with fellow graduates as a member of Dust Art Collective dustartcollective net]
ELAINE BARRY CONWAY 26 | NZ Sculpture OnShore Exhibition 2014
Coming Soon, 2014 Inkjet print on PVC, plywood with timber frame, timber uprights 2400 x 1200 x 150mm | $3,500 Media coverage of scientific research regularly reminds us of the impact and reality of global warming The northern icecap is melting Huge pieces of the southern ice shelves now carve off regularly Warming is happening Coming Soon shows the beauty and monumental scale of the iceberg in relation to our warm marine playground around which our privileged lifestyle revolves
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Bentley’s Snow Crystals, White2014silicone rubber, natural matte finish | 1180 x 6 5mm (each) | $4,100 Bentley’s Snow Crystals celebrates the life work of W A Bentley who in 1885 created the first photomicrograph of a snow crystal This sculpture underscores and builds on the connection between cultural history and its influence on contemporary art practice With a nod to the Surrealist and Pop art movements, this sculpture invokes humour by juxtaposing the natural physical qualities of an ephemeral snowflake with the manufactured permanence of industrial silicone rubber
Born in 1959, Don DeMacedo is an award winning artist who has been exhibiting since 1976 in the USA, Japan and New Zealand His studies have included working with zinc plate and copper plate, etching, pottery, lost wax method casting and sandblasting as a fine art technique An internationally published children’s book illustrator, DeMacedo’s current focus is laser cut metal sculptures inspired by humanity’s rich, albeit arbitrary, archaeological and cultural anthropological records His art works are held in collections around the world
DON DEMACEDO NZ Sculpture OnShore Exhibition 2014 | 27
Feather, 2013 Bronze | Edition 2 of 3 1820 x 350 x 270mm | $28,000
The undeniable highlight of his career to date was securing the commission of the New Zealand Hyde Park Corner Memorial in London in 2006
Paul Dibble is one of New Zealand’s foremost senior sculptors He is renowned for works that engage a range of styles from surrealism and folk art, to a cool elegant modernism
PAUL DIBBLE 28 | NZ Sculpture OnShore Exhibition 2014
The human figure, New Zealand and Pacific narratives and objects from contemporary life form the subjects of his work which varies in size from small maquettes to large works over five metres in height Ideas emerge as beautiful fluid line drawings which are worked and reworked to a point of perfect balance before being modelled and cast through a process of ceramic shell, lost wax or sand casting The final sculptures are finished with a range of patinas – from a rich pastoral green, to a golden brown and a deep, earthy black Dibble’s sculpture has been included in numerous exhibitions since the early 1970s and has been consistently coveted for major public and private commissions
NICK DRYDEN NZ Sculpture OnShore Exhibition 2014 | 29 Despair, 2014 Joy, 2014 Hot chiselled, stretched metal 1200 x 500 x 400mm (each) | $7,250 (each) Dryden’s sculptures are figurative expressions of Joy (orange) and Despair (blue) – most deeply felt with births and bereavements Each was initially carved from a block of polystyrene with a red-hot wire loop They were then cast in aluminium in a process where the molten metal burns out the polystyrene and forms a solid replica Each sculpture is therefore unique and without copy They were then sprayed with multiple coats of car lacquer, making them totally weather-proof
For Nick, sculpture is the way he best expresses his feelings about the things he really loves His Greek and Celtic heritage has drawn him to work with fine materials – bronze, marble, copper and totara - and dictated that the finished piece has a genuine beauty
ANAH DUNSHEATH 30 | NZ Sculpture OnShore Exhibition 2014
Anah Dunsheath was born, lives and works in Auckland; and attended Elam 2003-4 In the last 11 years she has had seven solo shows and participated in numerous group exhibitions at major dealer galleries Dunsheath has been a finalist many times in national awards; and has works in private, public and overseas collections She is represented by Artis Gallery in Parnell
Flashback, a pre-selfie pic, Layers2014of marine grade (316) stainless steel | 2500 x 1000 x 600mm | $16,900 In Flashback, a pre-selfie pic, the artist is creating an image out of layers of stainless steel, in other words ‘painting’ with stainless steel Dunsheath’s works concentrate human interaction and show an interest in popular culture and celebrity images, which are then manipulated to suit a composition
LANG EA NZ Sculpture OnShore Exhibition 2014 | 31 Listen, 2014 Cement fondue 3000 x 3000 x 3000mm | $2,495
This work is brutal and raw, like the material of which it is made The message is clear: a dialogue between conflicting positions is necessary, but perhaps listening to one other is not only desirable but essential to any peaceful LangoutcomeEa’s art is one of disclosure In 1979, four years after she was born, and following the collapse of the Khmer Rouge regime, her family fled Cambodia She immigrated to New Zealand in 1982 Lang belongs to a generation of Southeast Asian artists who have had to deal with the difficult issues of memory and trauma For Lang, creating art is a necessity, inviting and promoting contemplation Her work has immediacy and often questions and explores the personal yet universal challenges of war Lang’s extensive and unique array of media ranges from painting, photography, sculpture, glazed porcelain to installations, glass and DVD Her works are exhibited and collected widely, both locally and internationally
It is believed only four warhorses were to ever return to their peaceful Pacific homeland following the war’s end This is my personal memorial to every man and beast who has served in battles on far off shores We shall remember them I work from a corrugated iron shed nestled amongst the wind-buffeted tussocky hills of rural North Canterbury Isolated geographically, working alone (except for my constant canine sidekick Elizabeth,) I swim in a silence only broken by the marvel of technology It allows me to listen to those I admire, and those I wish to learn more of via interviews, documentaries and lyrics With that, isolation is banished, and I find myself transported to Rome or Munich or Christchurch I see in space and three dimensions and I can see a finished work before I have begun I hope the tethered horse inside my head magically teleports itself to the shores of Auckland’s waters, but I imagine it may take a few hours of toiling in the shed in the hills of Canterbury
Warhorse, 2014 Welded mild steel, lacquer 1900 x 2300 x 670mm | $32,000 Warhorse has been patiently tethered inside my head awaiting his time for creation And with this centennial year since the world went to war, the time seems appropriate and heartfelt My need to make Warhorse is fuelled by my love of our nation’s history, my ongoing love affair with horses and a personal family connection to the losses at Gallipoli Along with the countless thousands of our young brave men who left these shores 100 years ago, so did an estimated 10,000 horses as part of the Mounted Rifles Regiments
SHARON EARL 32 | NZ Sculpture OnShore Exhibition 2014
John Edgar was born in Auckland in 1950 and has been a sculptor since 1977 His work is internationally recognised for its understanding of the ancient craft of stone working He has travelled widely and his work is held in many collections Edgar’s public sculptures are in the Auckland Domain, Queen Street, and Waitakere City Civic Centre In 2008 he was honoured as an Officer of the New Zealand Order of Merit for services to art
JOHN EDGAR NZ Sculpture OnShore Exhibition 2014 | 33 Discus, 2014 Basalt (Timaru, NZ) 660 x 660 x 180mm | $18,500 Volcanoes can explosively erupt molten magma into the sky and while in flight the lava cools and solidifies, falling back to earth in aerodynamic forms known as volcanic bombs These can be found on the slopes of many Auckland volcanoes Inspired by these naturally-formed bombs, I wanted to make a sculpture about streamlined stone that flies through the air
Gina Ferguson has a BFA from Canterbury University and an MFA from RMIT, Melbourne She is a lecturer and Academic Leader at Unitec in the Department of Design and Contemporary Art Ferguson has exhibited in both New Zealand and Australia She primarily works within the context of installation, but is also involved in wider art and craft practices Her work is motivated by explorations of the abject, the personal, rural and domestic world-views and discussions of our place, time and political positioning
GINA FERGUSON 34 | NZ Sculpture OnShore Exhibition 2014
Trade and Exchange, 2014
The blanket or ‘welcome mat’ is laid down in the disused lookout gun battery Embedded in the snug comfort of wool, the lead text, cold and poisonous, signals false promises or a problematic welcome This work recalls historic exchanges between Pakeha and Maori, whilst critiquing the shifting cultural make up of New Zealand in relation to immigration It is a sensory piece with the aroma of the wool and its soft feel underfoot; though comforting and warm against the skin, it will become more matted and soiled as it is trodden on through the exhibition People’s impact on the material is considered to be an integral part of the work The altered surface reflects the cultural dynamic of the country, with each visitor contributing to it in some way, each footstep making a mark ‘Welcome’ or not, each visitor becomes an increasing part of the work as integral to its changing surface, and New Zealand’s shifting social fabric
Felted sheep’s wool, lead (sealed in polyurethane) | 8000 x 10000mm (dimensions variable) | $4,750
I think my Dialogue friends, through conversation and acceptance of their situation are ready to dance into autumn
JOHN FERGUSON NZ Sculpture OnShore Exhibition 2014 | 35 Blooming Buckets, 2014 Aluminium (paint finish) and plastic 5500 x 1950mm | $7,400 Dialogue, 2014 Polypropylene fibre, emulsion and cement mix, welded steel and paint 2500 x 1200 x 700mm | $8,400
I am passionate about discovering and expressing the thoughts, dreams and hopes of the human heart Through the pain and pleasure of life, each of us has a unique story to be told Everyday items take on a touch of humanity and become pieces of art In Blooming Buckets, everyday buckets are transformed into blooms of colour when we look with the eyes of a child Beauty and hope blossom in the seemingly basic objects that surround us Dialogue deals with the arrival of the autumn years, which should be colourful and beautiful; the hard work of summer is left behind and the fruit of our work is ripe for the picking Autumn creeps up on all of us; some stumble into autumn, some fall into autumn and some dance into autumn
John has a background in design, working mostly in the signage industry, specializing in pictorials, air brush work, gold leaf and 3D logos and forms John works in stone, steel, aluminium and wood He has recently completed public art works for Auckland Council, the D’Oyly Reserve Bridge (Rodney district), Browns Bay Library, Mason Pond Bridge, Albany Senior High footbridge, North Shore Hospital; and a carved figure for the Alexandria Library, Egypt
ROSS FORBES 36 | NZ Sculpture OnShore Exhibition 2014 Cart History, 2014 Found paintings and artefacts, wheels, steel, fastenings 2400 x 2000 x 2000mm | $6500
Cart History is a playful response to the history of art as well as an attempt, possibly futile, to see if there is any traction in its study The recycling of paintings and artefacts could also be read as a paean to the diminished status of painting in contemporary art, or a trenchant endorsement of this fact The fact is we cannot stop the wheels from turning and history is a litany of dead ends and train wrecks Today’s Formula One art is tomorrow’s old dunga but people are still moved by such contrivances and we all hope that it’s just not RossdownhillForbes is a recent graduate of AUT where he completed a Masters in Art and Design He has exhibited in numerous outdoor sculptural exhibitions, has work in the Wallace Trust and has exhibited work in various city galleries He has an abiding interest in materiality and the surreal
GILL GATFIELD NZ Sculpture OnShore Exhibition 2014 | 37 x Indian2013Absolute Black Granite (polished and sealed) | 100 x 725 x 725mm | $17,500 As text, number and symbol, this small abstract x enacts a state of constant multiplication A universal chromosome – shared by women and men – and a reflective mystical form with outstretched arms, the figure-X expresses human presence As an unknown variable in calculations, a sign of buried treasure, and a signifier in the ‘X-factor’, it encapsulates mystery and allure Representing a range of gestures from a correction to a kiss, in any location this x marks the spot Auckland-based artist Gill Gatfield exhibits widely in New Zealand and offshore Recent curated exhibitions include the 16th International Open 2013 Chicago; Parallax Art Fair 2013 New York; Sculpture by the Sea 2013 Sydney; Squaring Up 2013 Melbourne; In[box] 2013 Christchurch; Small Sculpture Prize 2014 Waiheke; Trajectories 2014 Melbourne; and Chicago Sculpture International 2014 Gill’s abstract-conceptual artworks combine material, form and title to reflect context and express ideas She has a Master of Fine Arts (Hons) and Bachelor of Law Her award winning public sculpture, Silhouette 2011, is at the entrance to Smales Farm Station, Takapuna Another major work, Native Tongue, carved from ancient kauri, is in the atrium at Spark NZ in Auckland Gill’s work is held in collections in Australia, NZ, USA, Canada, and Europe
Gerstmann was born in East Germany He studied interior and furniture design in Stuttgart and qualified as a master cabinetmaker and designer He has taken part in many exhibitions in Germany and created the design for two roundabouts in Bavaria After a holiday trip to New Zealand in 2006 he and his wife decided to start a new life in this beautiful country They arrived in Auckland in 2007, where they still live
STEFAN GERSTMANN 38 | NZ Sculpture OnShore Exhibition 2014
Happy Girl, 2014 Mixed media 2200 x 600 x 400mm $3,200 (including plinth) When I made this sculpture, I didn’t follow a certain concept My intention was quite simple I wanted to make something funny, something that cheers you up and makes you smile, even if you don’t feel like it It was more a playful working with different materials and ideas; and so was my ‘baby’ created, well tempered, happily believing that she holds the world in her hand – at least for now I hope you have as much joy as I Stefandid
BEV GOODWIN NZ Sculpture OnShore Exhibition 2014 | 39 Rambler, 2014 Recycled telephone wire and No 8 wire | 1500 x 2100 x 400mm | $3,500 Rambler is constructed using recycled coloured telephone wire, threaded through and wound around thicker natural wire No 8 wire runs through the centre and curves each piece into rambling forms The work is inspired by the beautiful nature of recycled telephone wire Inside the abandoned grey tubing there’s a myriad of wonderful colour combinations The softness of the wire lends itself to being closely curved, the variations are endless The form brings to mind how easily a totally exotic and artificial rambling plant can seem to be part of the natural world All of nature’s colours are there As an artist I’m concerned with environmental issues and the effects of mass consumerism I feel the need to recycle what’s already around and to make comment on our actions in this fragile world These I mix, match and construct according to what each work requires Usually I am doing site-specific works for projects and I plan and build around the existing environment Every site calls for a particular development and it affects all my artistic decisions Bev Goodwin has also exhibited works in Sculpture by the Sea 2013, Bondi Beach; headland Sculpture on the Gulf 2013; The Big Egg Hunt 2014; Harbourview Sculpture Trail 2014, and No 8 Wire National Art Award 2014, Hamilton
View to the Pavilion, 2014 Painted and unpainted cast iron, polystyrene | 1800 x 1800mm (dimensions variable) | $8000 (for whole group), $1,500 (each screen), $1,000 (large sculpture), $800 (each small sculpture)
The modernist mid-century interior is loaded with design memories and assumptions, especially around those of style and taste The designs of this period are often utilised today to contextualise contemporary aesthetics and art in a way that makes all the objects involved more desirable I am particularly looking at materiality and its illusions, in both physical approximations and ideas of worth The materiality of these finished objects is an illusion, a combination of found and copied, replica and facsimile, creating a pseudo-modernism This work was inspired by the Sonsbeek Pavilion in Arnhem, by Aldo Van Eyck (1966), rebuilt at the Kröller-Müller Museum in 2006 The design of the pavilion introduced specific viewing angles and concrete block ‘rooms’ much like an Natalieinteriorcompleted a Masters of Fine Art with first class honours at Elam School of Fine Arts, 2013 having completed a Post Graduate Diploma in 2011 She holds a Diploma in Fine Arts from Otago Polytechnic Natalie was a finalist in the Parkin Drawing Award 2014; National Contemporary Art Award 2012, 2013 and 2014 and Annual Wallace Art Award 2012 and 2013 She has represented Elam School of Fine Arts twice in the annual Elam-Ilam exhibition and was selected for the Elam New Graduate Award exhibition in 2013
NATALIE GUY 40 | NZ Sculpture OnShore Exhibition 2014
MIA HAMILTON NZ Sculpture OnShore Exhibition 2014 | 41 Daisy Blanket #3, 2014 Heavy duty plastic (danger tape) and crocheted twine | 7000mm diameter (dimensions variable) | $3,000 Home Sweet Home, 2014 Wood framing, back and legs, steel mesh, polypropylene stitching | 3500mm x 1000mm Mia$3,500remembers the daisy blanket her mum and dad made when she was a child Dad shore the sheep and spun the wool while Mum made the daisies and crocheted them together In Daisy Blanket #3 I have supersized the daisies and made them from strong contemporary materials My mission with this work is to brighten the viewer’s day and evoke a smile of recognition
Home Sweet Home will be visible from a distance, its bold NZ colour scheme making it easy to read A smile will flicker across the face of the viewer as this item is normally seen on the lounge wall of yesteryear Up close they will realise that the work is actually a tapestry and probably peer around the back to see how neat my stitching is Mia Hamilton graduated with a Diploma of Art & Creativity from The Learning Connexion, Wellington in 2008 She also has a Diploma of Interior Design from Academy of Fine Arts, London and a Bachelor of Business Studies from Massey University Since 2008 Hamilton has been a full time artist, recently exhibiting in Sculpture by the Sea, Bondi and Perth; headland Sculpture on the Gulf; Auckland’s Sculpture in the Gardens; and the Dowse’s Shapeshifter She has also been a finalist in numerous other art awards
the balloon as a powerful symbol of so many things: joy, hope, youth, potential, freedom and life itself
Full of air it is vital and free to roam; to glide towards the heavens It also has a life span – a vitality that is finite The bare skeletal tree is in direct opposition to this life force, like death – stalling and threatening the freedom of a fragile being The dead trees used in pieces such as this, are sourced on roadsides or decaying on farm land They are then taken apart branch by branch and individually sand cast in aluminium or bronze before being welded back together to form full-scale trees
DONNA AND COLWYN HANSON 42 | NZ Sculpture OnShore Exhibition 2014 Trapped II, 2014 Cast aluminium, fibreglass and auto enamel | 3000 x 1500 x 1200mm We$11,500know
Colwyn and Donna Hanson are a father and daughter team For a decade they have shared farm sheds and workshops on the west coast of Auckland, combining talents and tools to produce large scale sculptures shown in exhibitions around New Zealand and also to create one-off works for private commissions Donna, with a background in sculpture and art direction, comes up with the concepts and the initial design of a piece Colwyn has an engineering background and manages all of the calculations and logistics The construction is a joint effort Their themes are currently inspired by the storm ravaged coastline – lifeless trees that become skeletal shapes on the landscape There is something both macabre and alluring about these ravaged forms
SAM HARRISON NZ Sculpture OnShore Exhibition 2014 | 43 Gretchen, 2014 Plaster and steel (bronze version is available) | 800 x 780 x 900mm $25,000 (plaster version) $75,000 (cast bronze version; edition of 3 and 2 AP)
Sam Harrison is a sculptor of precocious ability, an ability he neither flaunts nor is complacent about His approach to the figure is to treat the form as object, imbued with sensuality and dignity regardless of age or condition Sam sees beauty in the characteristics popular culture steadfastly ignores His is a sculpture that captures the dimension of personality without relying on the theatre and drama of implied narratives – rather it is the unswerving honesty of his gaze that manages to ‘interrogate with care’ He is productively restless - continually enquiring, scrutinising and assembling the sensitive visual and psychological data to make his extraordinary sculptures and Sam’woodcutssworkshave been collected by the National Gallery of Australia and the Wallace Trust in Auckland His work has been involved in a major solo project titled Render at the Christchurch Art Gallery and was included in The Obstinate Object exhibition of sculpture at Wellington’s City Gallery Sam has undertaken major public and private commissions on either side of the Tasman including an important work for the Woollahra District Council, Sydney, NSW Seated Woman II was chosen to commemorate the women of Woollahra and is now situated in Blackburn Gardens in the heart of Double Bay, where she is a much admired public work in the city’s permanent collection
VERONICA HERBER 44 | NZ Sculpture OnShore Exhibition 2014 Loop 2, 2014 Masking tape, acrylic adhesive, hand-made wire staples | Dimensions variable | $10,000
The concept for Loop 2 is an extension of the previous work I did for NZ Sculpture OnShore in 2012 I used very fine tape for the 2012 piece and have since worked in collaboration with the tape manufacturer to have custom-made widths of Washi masking tape that allows me to explore much wider gauges So the 2014 work is still a loop but made in much bolder, more confident fashion
The tape clothes the entire gun emplacement and carries on to the grassed area in front of the concrete structure to give the impression of a thrown ‘loop’ It reveals the ability of the tape to take over any surface and make it its own
Veronica Herber studied at AUT University, graduating in 2011 Her interest in masking tape commenced midway through her undergraduate studies Starting with covering small objects and extending this concept to larger surfaces and eventually developing a tape ‘fabric’ made from hand-torn tape Since graduating Herber has been in sculpture shows in New Zealand and overseas, exhibiting at Sculpture by the Sea in Bondi and Cottesloe, Puebla, Mexico and Sculpture on the Gulf, Waiheke Island
Graeme works full-time as an artist from his studio and home in Waikanae on the Kapiti Coast
GRAEME HITCHCOCK NZ Sculpture OnShore Exhibition 2014 | 45 Flying Ties, 2014 Patinated bronze | 1450 x 1000 x 600mm | $65,000 (each) Graeme Hitchcock progresses his popular Man Looking series, which originally came about after he observed a group of business men in suits at a bus stop; obviously on their way to work, hands in pockets and all gazing skywards and looking as if they wished they were elsewhere This new work is large scale and creates an opportunity for the audience to interact In the open air setting his business men are liberated, free from work routines and disciplined drudgery The men are happy, they gaze about; their ties and their dreams fly free in the Largelybreezeself-taught
DION HITCHENS 46 | NZ Sculpture OnShore Exhibition 2014 Kaarewarewa, 2014 Aluminium, stainless steel, steel, wood, paint 3400 x 3400 x 3400mm | $24,500
I
This
bird
Humans have stood on the edge and marvelled for centuries over the freedom that a has to possess the magic of flight spirit of wonder transcends culture making them a universal symbol for freedom and the flight of a soul The Kaarewarewa for Maori are associated to Chiefly Tupuna personally find these birds fascinating, majestic, powerful and beautiful They definitely have a chiefly charisma Dion Hitchens is a Chinese Maori artist who trained at Elam School of Fine Arts in the nineties He has exhibited both in New Zealand and overseas His works are in a number of collections around the country including the Auckland City Art Gallery and Te Papa Tongarewa Museum of New Zealand Dion’s work has recently returned to galleries after he spent several years making commissioned civic sculptures around New Zealand His recent works were developed while in Taiwan on an artist residency at the end of 2013 www dionhitchens com
HELEN HOLMES NZ Sculpture OnShore Exhibition 2014 | 47 To Kauri With Love, 2014 Kauri, galvanised steel 1500 x 250 x 250mm | $1,500 Inspired by the sad plight of Agathis Australis (Kauri), I wanted to bring attention to the battle to save one of our most ancient iconic trees New Zealand has joined a worldwide club fighting serious forest pathogens as ‘Kauri DieBack’ which has become a major threat to the one percent of remaining forest My time working in jewellery and sculpture has reflected my love of New Zealand’s flora and fauna In my work I like to retain the human touch and the qualities of the raw materials
Lonnie Hutchinson studied for four years at Unitec, Auckland and obtained a Bachelor of Design in 1998 followed by a further year at the Christchurch College of Education in 1999 In 2000 Hutchinson was the first woman recipient of the Macmillan Brown Centre for Pacific Studies residency at the University of Canterbury and in 2003 was also a recipient of the first International Indigenous Art residency at the Banff Art Centre, in Alberta, Canada More recently Hutchinson’s practice has extended into the public realm
Public commissions include Te Waharoa ki te au Marama (2013), a Corten steel sculpture at Hamilton Lake; and Honoa ki te Hono Tawhiti (2011) comprised of 12 permanent wall works for the Auckland Art Gallery Her work has been reviewed in a variety of arts related publications
LONNIE HUTCHINSON 48 | NZ Sculpture OnShore Exhibition 2014 Comb (Black), 2009 Steel and automotive paint 980 x 1200mm | $18,400 Comb (White), 2012 Stainless steel and automotive paint 980 x 1200mm | $18,400 During my childhood years in Auckland in the 1960s and all of the 70s I would receive parcels from one of my favourite aunties in Western Samoa In these parcels were jeans and dresses from the United States and hair combs (very similar in form to Comb sculptures) Some were decorated across the top with plaited hair and pearls, others had painted tropical beach scenes I received many of them over the years and rather than wear them in my hair I would arrange them on my dressing table In 1994 I made my first prototype of the Comb in wood, but it wasn’t till 2007 that I had the opportunity to realise the Comb in steel
MARLYNE JACKSON NZ Sculpture OnShore Exhibition 2014 | 49 and the dance goes on 2014 1) glass, crystal, ceramic, stainless steel, brass, silverplate, chrome and pewter | 500 x 500mm (dimensions variable) | a) $270 | b) $390 | c) $570 (2) glass, crystal, stainless steel, brass, silverplate | 650 x 450mm | $750 ... and the dance goes on ... conveys a sense of reflection and fragility through a fluid dance of light and patterns By assembling discarded treasures, the collection plays with the dichotomy between the traditional and the MarlynecontemporaryJackson was born in the UK and now lives and works in Auckland She has had solo shows at Te Tuhi, Lopdell House Gallery and Artstation as well as a window installation at Objectspace and also works with various groups to produce community-based projects Marlyne’s work is inspired by the infinite formations found in nature’s spectrum Photograph: Kylie Jackson
This work uses old found woollen blankets; they have been cut and re-sewn into a long runner that stretches out across the grass covering it like a pathway At one end it will be hung over a tree branch or pole so that it looks as if it is hung out to dry Blankets keep us warm, we take refuge under them and they can hide transgression
It has become more and more obvious to me that my works are a dialogue that involves the reality of space and time, visual associations and ambiguity My work reveals elements of the journey, the familiar becoming unfamiliar and the known becoming unknown Elements of trust, human mortality and feminist ideology are
GAYE JURISICH 50 | NZ Sculpture OnShore Exhibition 2014 Coverted, 2014 Woollen blankets | 20000 x 1400mm | $3,000
exploration points It is important that my work challenges ideals, initiates thought and provokes discussion about connectedness to our past and future It isn’t about making beautiful things, it’s more than that, a deeper purpose, although I can’t always pinpoint or describe it as eloquently as I would like Gaye Jurisich is a Hamilton based artist of many years’ experience Her work includes painting and sculpture in a variety of media www gayejursich com
JOE KEMP NZ Sculpture OnShore Exhibition 2014 | 51 Hine Moana –Mermaid Bench, 2013 Wood (macrocarpa) | 650 x 3400 x 800mm Sculpted$16,500 as a bench seat from a single macrocarpa log is the mythical mermaid Hine Moana, the lady of the sea In Maori mythology, Hine Moana is the female element of water, where Tangaroa is the male element, she is a kaitiaki (guardian) of all creatures beneath the oceans, rivers and lakes I’m a self-taught sculptor of 16 years, owning and operating Te Haa gallery on the shores of Lake Rotoma I first exhibited with NZ Sculpture OnShore in 2012, so this year will be my second involvement with this exhibition
Nature, 2014 Aluminium | 850 x 50 x 150mm | $2,000 Nature mimics a perch found in a zoo enclosure This rendition of ‘nature’ found in zoos, works with the simulation of environments, where man-made reconstructions endeavour to achieve what is often a romanticised vision of a mythic nature For this sculpture, a mould was taken from a pohutukawa branch and re-cast in aluminium; through its reproduction it becomes a simulacra, a falsity that is beholden in a new truth Aluminium is chosen because it conveys a sense of artificial sterility or cleanliness Through the duration of the show the work will oxidize, changing from the look of a utopic object (shiny in its appearance) to one of dystopia (dull and matt) These changes will be administered by nature itself, highlighting the human action of upkeep deemed necessary to keep a man-made object perfect Irena Kennedy completed a Bachelor of Fine Arts (Hons) at Dunedin School of Art in 2006 where she was awarded the Con Hutton Memorial Scholarship; and is currently a MFA candidate at Monash University Irena held a residency at the Anteroom in New Zealand in 2013 and the same year was awarded second place at the Waitakere sculpture awards Notable 2014 exhibitions include Substation contemporary art awards, Melbourne; Auckland Grammar Art Expo; Fat of the Land, and Ocelate both at NKB Gallery, Auckland She has recently also shown at Portage Ceramic Awards, Dunedin School of Art Alumni show and NZ Sculpture OnShore
IRENA KENNEDY 52 | NZ Sculpture OnShore Exhibition 2014
Three Urns were commissioned by the Fortune Theatre for their production of Samuel Beckett’s Play, performed during the 2012 Otago Festival of the Arts Reminiscent of Ali Baba and the Forty Thieves, each urn was required to house an actor for the duration of the performance Kidd’s fundamental mastery of representational disciplines – anatomical accuracy, portrayal of character, personality, animal spirit, and so on – is almost without parallel in New Zealand sculpture The Methven-based artist speaks with a rural vernacular which is deeply informed by observation, participation and a noticeably wry sense of humour
HANNAH KIDD NZ Sculpture OnShore Exhibition 2014 | 53 Domestic Bliss, 2011 Steel rod, corrugated iron, paint 930 x 2200 x 810mm | $16,000 Urn 2, Corrugated2012iron, mild steel 1280 x 1510 x 1380mm | $9,500 Domestic Bliss reveals Hannah Kidd’s keen observation of behavioural mores and her uncanny ability to capture the absolute essence of her subjects, be they man or beast or bird Whereas the King of the Beasts is often shown in all his leonine glory, we know that it is the snarling lioness who does the real work in the pride –‘Domestic Bliss’ indeed Kidd invites us to look at gender roles in our own species: how do humans fare in a world based on Darwin’s theories of survival of the fittest?
Anna Korver is an established New Zealand artist working nationally and internationally She completed her BFA in sculpture from the University of Canterbury in 2003 and now co-owns
ANNA KORVER 54 | NZ Sculpture OnShore Exhibition 2014 The Three Sisters, 2014 Coromandel basalt and steel Figures: 400 x 300 x 300mm to 600 x 300 x 300 (dimensions variable) Plinths: 1100 x 200 x 200mm to 1300 x 200 x 200mm (dimensions variable) $5,000 (each, including plinth)
dress figure series
The Korver Molloy Gallery – a fine art gallery and sculpture park in Taranaki Korver’s works are feminine in their identity and perspective; the fundamental concepts and feeling of the works inviting intimacy and personal connection The forms conceal complex ideas about feminine roles and the projection of the inner self through the outer form Often abstracted and minimalist, they challenge what is traditionally female and deconstruct the social power relationships within these roles Her current works explore internal dialogue and definitions of personal culture while developing new ways to relay these themes through the simplicity of form
The dress has always represented the form and memory of the person wearing the gown but here the connection of the architecture part of the dress depicts a specific memory of a place as well
the dress and
is a triptych from
The Three Sisters the artist’s
becoming
The work uses the faceting of surfaces to suggest the stair
becoming one
JOACHIM KREITMAIR NZ Sculpture OnShore Exhibition 2014 | 55 Perception, 2014 Mild steel plate (5mm/8mm) and plasma-cut oxidized finish 1900 x 1550 x 1000mm | $22,000 Perception explores identity beyond occupation, appearance, ethnic group and social standing I began making sculptures in the mid-seventies, using river stone and shaped timber Later on I branched out into the restoration of old farmhouse furniture and the design and making of contemporary furniture My formal education led to a degree in financial science and 15 years of working in various government departments After a visit to New Zealand in 1993, my wife and I were so fascinated by the space and beauty of this wonderful country that we decided to sell most of what we owned to begin a new life here Since then I am focused on my passion of over 30 years My inspiration comes from the infinite beauty and variety of nature I predominantly use steel, stainless steel, copper, timber, bronze and stone to form abstract objects up to 5m in height Guided through the inner radiance of the materials used, the form often develops almost by itself My work is represented in many galleries throughout Northland, and is held in private collections within New Zealand and overseas
400 x 250 x 200mm (each figure; overall dimensions variable) $120 each (includes optional plinth) 18 figures available [Note: the work may not be suitable for long term display outside; and a plaster plinth for indoor or sheltered display is available on request ]
Creating objects which depict stories related to the site, I explore issues of identity, connectedness and justice I use everyday materials and handcraft processes such as sewing, knitting and papier maché and enjoy the possibilities for delight or surprise which arise when these indoor traditions are employed in making outdoor pieces I graduated from AUT with a Bachelor of Visual Arts in 2006 and, as well as exhibiting regularly, also teach art at Glendowie Primary School
This site – O Peretu or Takapuna Point –has been contested over the years, like many other desirable locations in Tamaki Makaurau Today the rumblings of urban development threaten to unsettle the wairua (spirit) of the land and the local IcommunitylivedonAuckland’s North Shore as a child when my family moved here from England in the 1960s, but my interest in the area’s history has come from being involved in NZ Sculpture OnShore
JULIETTE LAIRD 56 | NZ Sculpture OnShore Exhibition 2014
Unsettled, 2014 Wire, Dacron fleece, fabric, paper, glue, paint)
A cluster of small figures scurry in the grass, evoking tales of elves, patupaiarehe, ‘little people’ and other manifestations of the spirits of place, a belief found in all cultural traditions
CAROLYN LAWRENCE NZ Sculpture OnShore Exhibition 2014 | 57 Not quite a brace, 2014 Corten and mild steel | 2450 x 400 x 400mm and 1800 x 280 x 280mm Stone$3,700 chair, 2014 Mild steel, Corten and marble 800 x 620 x 540mm | $3,200 These works focus on the engagement between mankind and the natural world; man’s controlling presence, nature’s bounty The Pohutukawa tree is claimed as a component of the work as it nestles in the embrace of Not quite a brace The work acts as a prop for interventions imposed on the landscape As the title suggests, does Not quite a brace help or hinder? Inspired by Salvador Dali’s Portrait of Mrs Isabel Styler-Tas Melancholy (1945) this work draws attention to forms shaped by both man and nature Stone chair explores the role we as individuals play in the world surrounding us The work represents the human body as part of the built environment, its dependency on the natural world and the need for conscious regard for this in our everyday routines Using a range of materials and often unexpected juxtapositions, Carolyn’s practice is evidence of her passion for merging forms She lives and works from her home in Devonport and is a member of the Dust Art Collective She gained a Master of Art and Design (Hons) from AUT University in 2009 and last year exhibited in Sculpture by the Sea in Sydney
Iwi Le Comte - Te Arawa, Ngai Tuhoe, Ngati Kahungunu ki Wairoa Le Comte Graduated with Honours in 2008 from the New Zealand Maori Arts & Crafts (Te Puia) He has since started his own business Ko-Iwi Arts Ltd, based in Rotorua where he creates national and international commissions In March 2014 he represented New Zealand at World Wood Day International Wood Culture Expo, held in the Fujian Province of China Working in a variety of art forms including Ta Moko (Tattoo), sculpture carving and graphic design, Le Comte considers his background in traditional Maori carving to be the cornerstone of his art practice “He toi whakairo, He mana tangata” (Where there is artistic excellence, there is human dignity ) www koiwiarts co nz
Poutiaki is carved from the English oak species, native to Europe and also found in South Africa The oak is held in high regard across most cultures in Europe The oak was sacred to many gods including Zeus (Greek), Jupiter (Roman) and Dagda (Celtic) Each of these gods ruled over thunder and lightning and oak trees are prone to lightning strikes as they are often the tallest living feature in the landscape
IWI LE COMTE 58 | NZ Sculpture OnShore Exhibition 2014
The term Poutiaki, Pou meaning Pillar, Tiaki – to safe guard Poutiaki a symbol of support but also refers to the Whakatauki (Proverb)
“Ruia taitea, kia tu ko taikaka anake” (“Strip away the sapwood and let the heartwood alone stand ”) Be not concerned with what will not last, but concentrate efforts on quality and endurance
Poutiaki - Symbol of Courage, 2014 English oak, stain application, natural oils | 2400 x 700 x 600mm | $12,650
JIN LING NZ Sculpture OnShore Exhibition 2014 | 59 Dove, Hand-made2014terracotta | 520 x 360 x 1200mm A$3,950young girl lying on the ground on her tummy, the white dove in hand which she looks at lovingly This work seeks to promote concepts of peace harmony and non violence Jin Ling was born in the Henan province of mainland China She has a fine arts degree from Guangzhou University, majoring in sculpture, and was commissioned to design large scale sculpture for Suzhou city Since arriving in New Zealand in 1997 she has exhibited at NZ Sculpture OnShore and Shapeshifter, Lower Hutt
Windswept leaves carry a snail up into the air as it reaches forward feeling the breeze with its tentacles Contemplating my journey through life I wonder about some of the paths I have been down and where my current path is taking me This piece is an allegory for our lives and those journeys as we are carried forward through time and space, down unknown roads, reaching out to find foundations and safety or instead to ride the wave? In this incarnation I am feeling the slowness of my pace, my progress forward, perhaps at odds with the elemental speed of my surroundings
Samantha Lissette exhibits regularly throughout New Zealand and internationally She works extensively in all scales of the bronze medium, from the monumental to the miniature Her sculptures explore the relationship between designed elements in the natural world and man’s adaptation of them – merging organic and constructed ideas, exposing an innate link between the two There is a strong narrative quality to her sculpture, questioning aspects of the human condition; and often employing humour or irony She brings a sense of playfulness and delicacy to a medium traditionally associated with weight and substance Her work is in public and private collections across New Zealand and China
SAMANTHA LISSETTE 60 | NZ Sculpture OnShore Exhibition 2014 Riding the Wind, 2014 Cast bronze | 1200 x 500 x 500mm | $8,000
Susan Mabin’s works hunting for and of is an integral part of the for Mabin, who believes that the found objects hold echoes of their past lives that are carried over into the Susannewhas shown work in both solo and group exhibitions in the Waikato and Bay of Plenty since 2001 Premier award winner at the Waimarino Art Awards in 2010 and awarded the David Fine Memorial Scholarship in 2013, in recognition of creative and academic achievement Susan is currently in her final year of a Bachelor in Visual Art and Design at EIT in Hawkes Bay
process
these materials
gathering
utilise diverse materials in combination with ceramic figurative elements, which act as metaphors for the physical and mental spaces of domestic intensity The
SUSAN MABIN NZ Sculpture OnShore Exhibition 2014 | 61 King of the Castle, 2014 Ceramic, acrylic paint, building materials, bed springs, white picket fence, concrete, concrete reinforcing rod 140 x 560 x 2250mm | $2000 Grounded, 2014 Ceramic, oxides, found firewood 870 x 250 x 250mm | $1800
Humpback Whale, 2014 Galvanized steel frame, driftwood, oil 2000 x 2000 x 5000mm | $15,550 I decided to do a humpback whale this year, as I love whales and have always felt a whale would translate well in driftwood I look forward to shows like this, as I get a chance to tackle new projects and creatures I haven’t made before and it’s a nice balance to my commission work Humpback whales in the southern hemisphere once numbered 14,000 – but by the whaling ban in 1966 only 1% of that number remained Since the ban, numbers have slowly increased up to around 5,000 – or 37% of past numbers It will take another three decades at this rate to reach numbers of the past I come from the north of England but have been living in New Zealand and working as a sculptor for the past seven years I recently moved to Whanganui where I have a large studio warehouse Situated near the beaches of the west coast, it’s the perfect place for me and my driftwood needs JACK MARSDEN MAYER 62 | NZ Sculpture OnShore Exhibition 2014
CAMPBELL MAUD NZ Sculpture OnShore Exhibition 2014 | 63
Watersource, 2014 Cast bronze, fabricated copper 2000 x 600 x 600mm (including plinth) In$15,000thiswork I explore the unexpected: possibly a representation of our perceived dominance of our environment or an uneasy symbiosis People can make their own recognitions and draw conclusions based on their own experience
Campbell has been working as a full time sculptor since graduating in 1992 from art and design school, with distinction in his chosen area of study His preferred mediums include copper, steel, cast bronze and slumped glass He worked in Japan for four years after undertaking a project in Australia Since re-establishing his New Zealand studio, Campbell supplies selected galleries throughout New Zealand and has made a variety of commissioned works for local and overseas clients Function is often included as part of Campbell‘s work in creating pieces that are both beautiful and practical These works have been described as a meeting between art and function
Best Seat in the House, 2014 Wood | 1150 x 950 x 1700mm (includes dumpy in front of chair) | $23,000 The Best Seat in the House concept is about lazy Sundays, relaxing with the paper in a favourite chair The sculpture begins as an object; inanimate But to sit in it, the sculpture becomes an experience It then has purpose and is complete Walk away and it returns to its original state Just as I have created the material object, the viewer is invited to complete it by adding their experience to become part of the sculpture I am a self-taught sculptor with 20 years experience working in wood Clothing and objects from our daily lives are the main themes of my work, with an emphasis on the realism I love the illusion, and the idea things in life aren’t always as they seem I work from my gallery in Tauranga and my sculptures are held in private collections both in New Zealand and overseas KEVIN MCCARDELL 64 | NZ Sculpture OnShore Exhibition 2014
AARON MCCONCHIE NZ Sculpture OnShore Exhibition 2014 | 65 Untitled, Weatherproof2014steel, fibreglass, foam, gelcoat, lacquer 3600 x 1400 x 800mm | $7,841 The concept of communication is an ever expanding topic with a continuous stream of new ways to connect with each other across the globe Untitled asks the viewer to consider the possibility that verbal communication is becoming irrelevant and the spoken word becoming less powerful, deflated The gravity of this concept weighs heavily on our ability as a society to continue to forge an effective path of two-way communication and not the current multi-channel broadcast system we are currently embracing Aaron McConchie is a South Aucklandbased artist who utilises a broad range of materials to communicate with the viewer Working with both the viewer’s cultural and physical position in society, Aaron pushes his audience to question their role and relationship with artwork and each other After completing his BFA at Whitecliffe College, Aaron has travelled extensively through Europe with time spent living in the USA and Australia
‘…our closeness and parting…’ 2014
I am trying to realise something deeply personal in this piece about the nature and shape of relationships… A lot of my work is about honouring or elevating a humble, sometimes even a utilitarian or banal form into a memorable object I see it as a kind of amplification, a material ‘soap opera’ I like the idea of the sculpture as a slow (stationary!) drama I am continually working on aspects of process and devising systems which are the engine room of my production – if the processes are reduced and have integrity, the forms will follow David McCracken is a sculptor with a background in theatre and the performing arts; now with a practice largely of fabricated artworks in Corten steel, stainless steel and aluminium He has produced land art projects as well as floating and kinetic sculpture He lives and works with his family in Auckland
Fabricated Corten and stainless steel 2000 x 430 x 400mm | $22,000
DAVID MCCRACKEN 66 | NZ Sculpture OnShore Exhibition 2014
BRENDAN MCGORRY NZ Sculpture OnShore Exhibition 2014 | 67 Call Me I Love You, 2014 Acrylic, glass, timber, iron 2600 x 1500 x 2200mm | $24,000 Part phone box, part temple, part confessional, this work is dedicated to our desire to commune with those we love Call Me I Love You considers the history of human communication from cave painting to the ubiquitous mobile phone Award winning artist Brendan McGorry has been part of the Auckland art scene since 1988 Recent work draws on his experience studying frescoes in Italian renaissance chapels His work weaves an enchanting path through art and social history
Sea of Bowls, 2014 Fused plate glass with stainless steel 600 x 130 x 50mm, 700 x 170 x 50mm and 800 x 190 x 300mm | $295 (for group of 3) 25 sets available These small bowls can hold water or bird seed – or adorn a garden as a sculptural group. The green shades of glass relate to the Sea in the title and the number of bowls undulating at different Jennyheights.McLeod has been making fused glass for over 20 years. She has been a finalist in numerous selected exhibitions and holds a Diploma in Craft and Design with a distinction in glass. Jenny is well known for her outdoor sculpture, functional glassware and Wall Necklace series of works. JENNY MCLEOD 68 | NZ Sculpture OnShore Exhibition 2014
NZ Sculpture OnShore Exhibition 2014 | 69 ANGELA MOIR Plastizonic, 2014 Recycled plastic, steel rods and concrete | 300 x 260 x 1220mm, 240 x 210 x 1790mm, 300 x 250 x 2120mm, 250 x 250 x 600mm (including plinths) $950 (each) Plastizonic explores our disposable and ephemeral world, the proliferation of plastic and the symptoms of overabundance and glut It creates this artificial plethora of objects we all accumulate, sort and stockpile; the plastic domestic items we live with, build up or even hoard Like the K2 asteroid global layer of dust, will these remnants of our era be the findings of tomorrow’s archaeologists as they probe down into the earth’s crust? The assemblages are piled high, resembling geometric structures The materials’ evolution evokes geological samples, exhibiting various stages of decomposition, compression, transformation and mergence caught in a transitional AngelasnapshotMoir is a recent BVA graduate from AUT University She works with a broad range of media from domestic plastic to more industrial materials such as demolition wood Angela sees potential in all materials, including traditional sculptural ones like plaster, but is more interested in their inherent behaviour and physics rather than investing too much in their connotations
Safe Journeys, 2014 Recycled steel with a rust preserver 2800coatingx1200 x 1200mm | $6,700 Safe Journeys was made using found recycled steel offcuts, welded together to tell the story We can see the Boat, Ship, Waka, at the top with the Moon or the Sunrise in the background The wing-like shapes represent the beacon that stands on the shore and guides us safely there on the last leg of our journey
Steve Molloy is a New Zealand artist currently producing works in wood, stone and metal He is also developing works of photography and painting inspired by the contemporary New Zealand landscape Molloy began sculpting in Hokitika and has since exhibited extensively throughout New Zealand He has also attended many national and international symposiums throughout the country Molloy comes from a richly varied background and draws on this for inspiration in his work Themes he often considers involve his connection to the land and bush, as much of his past work has been in areas such as the Southern Alps
STEVE MOLLOY 70 | NZ Sculpture OnShore Exhibition 2014
The place of hope that defies logic, a place that is often more accessible to children that adults; the place that gives us hope and the space between the words that define; where change can move beyond assigned and determined parameters of meaning to speak new conjunctions There is more to the game than meets the eye
The work Hopscotch is a place of play that sits at the junction of time and nature It is said that Hopscotch was used by the Romans to train their army, which lends well to the site but was not the primary inspiration for the work It is about the lines that define the space between formal shapes and sounds that interest me, the mid-leap, the half-sound, the place where all can change
SHARONAGH MONTROSE NZ Sculpture OnShore Exhibition 2014 | 71 Hopscotch, 2014 Wooden bridge, ceramic insulators, hightensile wires, speakers, amplifier and solar panel | 900 x 1100 x 40000mm (dimensions variable) | $3,000
Sharonagh Montrose has a PhD in Fine Arts as well as degrees in sciences and sociology of languages, including a postgraduate qualification in education from Cambridge University Her works are in private collections in New Zealand, Australia, Ireland, England, France, Italy, Spain, Croatia and Kenya She exhibits nationally and internationally
She Picked up her Skirts and Ran (Blood Knot, Lover’s Hitch, Sheet Bend), Aquatic2014 rope and wire rope 1000 x 2500mm, 1200 x 1700mm and 700 x 2000mm | $550 (each) She Picked up her Skirts and Ran is about attachments Rope has been knotted and tied to reflect romantic bonds and sentiments - love, possessiveness, jealousy, curiosity, friendship and partnership Macramé inspired patterns are repeated with gestures that are illogical and go beyond functional expectations She Picked up her Skirts and Ran is an impulsive, intuitive response to the union of diversities within gender, tradition and purpose
Deborah’s work is comprised of uncomplicated and often recognisable objects Interests that she researches relate to boundaries, perceived or physical – geographical, migratory, demographic expectations, and the visual expectations of an object Her works include film, painting and wall drawings Deborah has a Bachelor of Art and Design, Visual Arts (Painting) from AUT and a Certificate in Visual Arts from Manukau Institute of Technology She is a member of the DUST Art Collective and has exhibited in galleries and outdoor group shows
DEBORAH MOODIE 72 | NZ Sculpture OnShore Exhibition 2014
CHRIS MOORE NZ Sculpture OnShore Exhibition 2014 | 73 Competitive Cooperative, 2014 Bronze on Corten steel plinth 2140 x 560 x 450mm $14,200 (fixed plinth included) It is said that competition remains a powerful instinctual drive in human nature We have always needed to be competitive in order to survive as individuals We have also been instinctively cooperative in order to give us balance as a species and to help us survive as a species This work reflects a balance, competitive/cooperative The three figures are positioned on a small perch, each one playing their part in the situation in order to prevent themselves from falling The strongest is supporting not only the weakest, but those that have the vision to solve problems and move forward together
Chris Moore has been a full time artist and designer for almost 20 years Working in a number of different mediums ranging from painting to large-scale sculpture, Chris has completed a number of commissions including large works for both the Mairangi Bay town centre and Waitakaruru Arboretum and Sculpture Park
An Indeterminate Illusion, 2014 Mixed media | 750 x 550 x 1000mm | $4,500 This is an up-scaling of previous works from an ongoing series that had its genesis in 2012 A platform is the first mark in the ‘drawing’ Selected groups of objects, tools and materials are repeatedly juxtaposed, dismantled and layered allowing the development of a composition of enigmatic objects that hold traces of narratives and histories I have been making objects since early childhood and have two degrees, majoring in sculpture, from Elam School of Fine Arts, University of Auckland I work with materials ranging from cat fur to concrete, and with an interest in scouring op-shops I also find a diverse range of objects to incorporate into works My process is to have selected materials and objects in the workshop and repeatedly assemble and disassemble until there is a ‘making sense’ moment It’s like doing a series of 3D drawings I have taught at tertiary level and also do contract work making mounts for objects, installing art and objects and associated exhibition work CHRIS MULES 74 | NZ Sculpture OnShore Exhibition 2014
Two artefacts of inequal height: It is often the gaps between things that best express their relationship, gaps explicit and gaps implied This work explores the dichotomy between individualism and sociality, as and how this difference – particularly in the age of social media and virtual worlds – creates statuesque loneliness in the midst of group solidarity; increasingly it seems we are together apart John Mulholland was born in 1951 in Folkestone, England and migrated to New Zealand when he was a child; and now lives and works in Warkworth John studied art theory, art education and architecture at the University of Canterbury whilst working full time as a structural designer This culminated in his selection as a finalist for the Christchurch 2000 Millennium bridge design competition
JOHN MULHOLLAND NZ Sculpture OnShore Exhibition 2014 | 75 Love of air, 2014 Aluminium plate, steel plate, automotive paint 4800 x 600 x 600mm | $28,000 Two artefacts of inequal height, Aluminium2014 plate, automotive paint | 3000 x 800 x 400mm and 2300 x 600 x 300mm | $32,000 Love of air: The mechanics of breathing are beautifully designed for emptying and filling We breathe in We breathe out Our chests rise and fall Diaphragms expand and contract This work describes the simplicity and strength of this process, the concrete reality of air’s necessity to life and its ephemerality, as a sculptural integration
PHIL NEARY 76 | NZ Sculpture OnShore Exhibition 2014
It’s Not About, 2014 Lost wax bronze cast with hot traditional patina 2000 x 600 x 600mm $11,500 (including plinth)
It’s not about juxtaposition It’s not about any particular order It’s not about the artist It’s not about pollution It’s not about numbers It’s not about the next art work It’s not about religion It’s not about the lack of art galleries on the North Shore It’s not about the sea It’s not about conceptual art work It’s not about missing It’s not about the animals It’s not about recurring patterns It’s not about experimentation It’s not about PhiltreesNeary was born in Takapuna in 1971 He was the Auckland University Senior Scholar of his BFA year at Elam and has been working as a sculptor since graduating Master of Fine Arts (Hons) in 1998 He has exhibited in many solo and group shows and over the past few years his work has been showcased in outdoor sculpture exhibitions including the Stoneleigh Sculpture in the Gardens, Brick Bay Sculpture Trail and NZ Sculpture OnShore
PHIL NEWBURY NZ Sculpture OnShore Exhibition 2014 | 77 Miti Miti Max, 2014 Fused glass, vitreous enamels, stainless steel 2000 x 400mm diameter | $22,000 Miti Miti Max is made from sheets of window glass and bottles with the addition of vitreous enamels The individual pieces are kiln-fired three times in the fusing and enamelling process and the work is named in memory of the late Ralph Hotere Phil is one of the most versatile studio glass sculptors in New Zealand, working with the flat sheet of window glass since 1966 He has a wide range of completed commissions involving staining, curving, etching and slump-fusing the material In 1994 he began to fuse multiple sheets into thick sculptural pieces and has work in public and private collections here and overseas
Paper Crane, 2014 Steel (electroplated and powder-coated) 3000 x 2000 x 1500mm | $7,000 Paper Crane is a result of an exploration into the balance of geometry within origami mathematics
The connection with geometry is clear and yet multifaceted; a folded model is both a piece of art and a geometric figure Unfold it to uncover a complex geometric pattern Every point has an equal and opposite reaction, governed by the law of KirstenfoldingNewton completed a Bachelor of Design from Victoria University She specialises in graphic, interior and furniture design Since returning to full-time work after raising three boys, she has focused predominantly on graphic design and exploring utilitarian objects In 2013 her piece The Pipedreamer was selected for the World of Wearable Arts Man Unleashed section More recently she has joined a collective studio on Auckland’s North Shore and is focusing on the principles of folding, unfolding and creasing to produce objects Her work often takes a twist on an old classic and gives it a modern interpretation
KIRSTEN NEWTON 78 | NZ Sculpture OnShore Exhibition 2014
Torso, 2014 Lost wax, kiln-cast 45% lead crystal, cold worked; timber, oil stain, Corten steel, bees wax 1800 x 100 x 100mm | $4,350 (including plinth)
Working with the glass casting technique allows the light qualities to be explored through the different forms Ainsley believes that we are able to influence our environments through close relationships between art and architecture to create a better, more rewarding environment for all of us, as maker, user and observer
Torso alludes to the female form; the geometric shifts of the sides, in and out, making reference to the female silhouette
The cast circular voids can be read as the heart and womb, the essence of woman, the receptacles for the soul and life of our current and future societies The glass medium reinforces the tranquillity, beauty and fragility of women The lead crystal holds and radiates out the warmth of the life-giving sun, just as women give life to the next generations
For the last ten years she has lectured in architecture at Unitec This move into the academic world enabled her to devote more time to her art practice She sees that studying architecture was a key factor in enabling her to express her ideas in an artistic format and strongly influences her creative approaches
AINSLEY O’CONNELL NZ Sculpture OnShore Exhibition 2014 | 79
Ainsley O’Connell studied architecture after leaving school and worked for over 20 years in
New Zealand, USA, and England as a practising architect
SCOTTFINNPHOTOGRAPH:
Much of his inspiration comes from modern industrial design and contemporary art critics including Dennis Dutton
ROBERT ONNES 80 | NZ Sculpture OnShore Exhibition 2014 Time and Tide, 2013 3mm Corten steel 740 x 1680 x 1970mm | $19,000 I spent many mornings walking my dog at Red Beach and the rock formations always fascinated me After much thought, a way of using them as inspiration for a series of sculptures emerged The form simply consists of two smooth curving lines at the base and two at the top, with surfaces developed between RobthemOnnes is an established New Zealand sculptor working predominantly with steel and copper, exhibiting in many group and solo shows in New Zealand
Though sculpture has been his principal medium since 2007 he has also enjoyed classes with local artists Michael Shepherd and Brendan McGorry
Originally from Waikato he is now based in Auckland He plans to relocate in the next few years to Detroit which is fast becoming a centre for artists
Onnes’ background in electronics and as a developer has influenced the current processes he uses which include CAD design, CNC cutting and MIG welding
One of the unique distinctions about his work is his interest in the constraints and possibilities found with using sheet metal to design three dimensional forms and his use of steel and copper allows the construction of substantial forms, which also ensures they maintain an earthy organic quality
2014 | 81
JONATHAN ORGAN AND JESSICA PEARLESS Adrift Grid for Fort Takapuna, 2014 Black UV-stabilised 20mm nylon horse braid rope 10000 x 5000 x 20mm | $15,000 Adrift Grid for Fort Takapuna references geometric abstraction, the grid and the golden section whilst portraying an important message about the environment
The work calls for the necessary protection of our unique coastal environment, our seas and wildlife Adrift Grid for Fort Takapuna will enmesh the site allowing the surface beneath to be read; for air and light to seep through; at once containing the space yet allowing it to breathe Jonathan Organ and Jessica Pearless are Auckland-based visual artists, and have been working collaboratively for over 10 years through painting, installation and sculpture Jonathan Organ holds a Master of Fine Arts, (Hons) from Elam School of Fine Arts, University of Auckland He has exhibited throughout New Zealand and internationally, and his work is collected worldwide Jessica Pearless holds a Master of Fine Arts from Elam School of Fine Arts, University of Auckland She has received numerous awards including a merit award in the New Zealand Painting & Printmaking Awards (2013 & 2014), an AMP National Scholarship (2011), the inaugural Artists Alliance Artist in Residence (2010) and has been a finalist in many of the Wallace Art Awards
Recent sculptural collaborations have been exhibited at headland Sculpture on the Gulf, 2013; Sculpture by the Sea, Bondi 2013; and Silo Park Auckland NZ Sculpture OnShore Exhibition
Ladies a plate, 2014 Royal icing | 2500mm diameter (dimensions variable) | $2,500 Ladies a plate is a playful study of traditional icing techniques juxtaposed against rusted iron and weather-worn concrete The artists use piping bags and royal icing, decorating surfaces with traditional motifs that are more likely to be found on a wedding cake than a heritage artefact What makes the work more interesting is that it may melt off the surface and disappear almost as fast as it goes up Devoney and Isla are particularly interested in the link between opulence and decay With one part of the installation uncovered, the work will deteriorate gradually starting from the front and moving toward the back; unless of course the ants get there first Auckland artists Devoney Scarfe and Isla Osborne create beautiful graffiti using cake icing instead of cans of paint Devoney Scarfe is an artist and cake maker, exploring the grey area where food meets art Isla Osborne makes contemporary glass artworks and jewellery Together they create beautiful icing graffiti in unlikely places www sugarmama co nz and www isla co nz ISLA OSBORNE AND DEVONEY SCARFE 82 | NZ Sculpture OnShore Exhibition 2014
The artist acknowledges the New Zealand GeoNet project and its sponsors EQC, GNS Science and LINZ, for providing data and images used in this project
Monogenetic field, 2014 Sound work with speakers, marine batteries, inverter, computer, solar panel | Dimensions variable | Not for sale (similar site-specific works $1,500) Monogenetic field is a site-specific sound work which amplifies data from Geo Net Monogenetic field as a term is the predominant kind of volcano that underlies much of the metropolitan area of Auckland Specific monitoring systems are installed in what is known as the Auckland Field to translate movement into sound
Of particular interest for this project are the seismic monitors that collate data as acoustic waveforms By streaming and amplifying the sound picked up by the monitoring systems, Monogenetic field will be situated as an auditory experience of geological systems
Charlotte Parallel (b 1974) lives and works in Dunedin She is an inter-disciplinary artist with a temporal and site responsive focus, realising projects across the fields of sculpture, sound, installation and performance
CHARLOTTE PARALLEL NZ Sculpture OnShore Exhibition 2014 | 83
Collaboration is also a key point of interest that is initiated through a range of artistic and curatorial projects Parallel has been exhibiting within New Zealand consistently over the last 10 years and internationally since 2010
The Arthouse next to Mairangi Arts Centre where she has been teaching glass casting since 2009 She completed a BA in Design (glass major) in 1998 and a Post-graduate Teaching Diploma in 2000 Her work is held in public and private collections in New Zealand, Australia, China and the USA
Gnomeless, 2014 Kiln cast glass, glass enamels Gnomes (small) - 10 available 203 x 60 x 40mm | $380 each Gnomes (large) - 10 available 300 x 80 x 60mm | $680 each
How to Spot a Gnome: red conical coloured coat, long full white beard, tool belt (20cm tall without weighing 4kg Small stout humanoid beings, seven times stronger than a man, with a life span of 400 years They can live in the forest but prefer gardens, their smallness making it difficult to see them They move through earth at night, but by daylight the sun’s rays turn them to glass They are symbols of good luck and protection, and with their mystical powers they are said to help plants grow They don’t want to be ‘gnomeless’ and like nothing more than finding a good home to live happily for hundreds of years
cap);
Lou Pendergrast Mathieson works in her studio
LOU PENDERGRAST MATHIESON 84 | NZ Sculpture OnShore Exhibition 2014
hat,
boots,
OnShore Exhibition 2014 | 85
James graduated in 1996 with a fine arts degree majoring in sculpture from Taupo Quay’s School of Fine Arts in Whanganui He loves making furniture and architectural hardware as much as he does sculpture which has kept burnout and bankruptcy at bay James uses a lot of wit, humour and story in his work which has landed him the People’s Choice award two years running at the Auckland Botanic Gardens Sculpture Show Also over the last 15 years James has become one of this country’s leading contemporary blacksmiths NZ Sculpture
JAMIE PICKERNELL Beach Master, 2014 Corten steel, stainless steel, andesite bolder 2800 x 800 x 800mm | $45,000 Did you know there are ‘lions’ native to New Zealand? Mighty lions of the deep marine, sea lions! They are critically endangered and of course the blame is fairly and squarely laid at our collective feet Steps are well underway to avoid extinction by DOC and the New Zealand Sea Lion Trust, but the battle is far from over When Beach Master is sold, 5% of my take goes to that trust I was lucky enough to encounter sea lions in a unique way, circumnavigating Stewart Island by sea kayak Landing permission and campsite designation was often negotiated with these magnificent beasts To be challenged and eye-balled at water level by lions of the deep marine has left me with a deep awe and respect for them So here we have the Beach Master, a name commonly given to dominant males who’ve fought for and won the breeding rights of a harem of female sea lions
Only in the world, 2014 Reinforced casting plaster, timber, various renderings | 1800 x 1500 x 600mm $7,900 (each) “Only in the context of the world we inhabit do we know who we are and what our purpose is,” said Maurice Merleau-Ponty Human conditioning and ritualistic behaviours are intrinsic to the environments and spaces we inhabit These integral matters regarding our presence in the urban setting help shed light on a human obsession with controlling all aspects of our urban Ramonlandscapegraduated from Glasgow School of Art with a BA Honours Degree in Fine Art Sculpture and completed a MA in Interior Design at Manchester Metropolitan University His artwork engages with aspects of architecture and urbanisation Mass production and standardisation of objects is also a focus, with an observation on the effect of our visual perception of objects and environment RAMON ROBERTSON 86 | NZ Sculpture OnShore Exhibition 2014
BRYDEE ROOD NZ Sculpture OnShore Exhibition 2014 | 87 Wind Drawing Sunday 10 11 2013 14:06, 2013 HD video loop [duration 15:54] Edition of 1 to 7 plus artist proof (supplied in either DVD or USB file format) | $1,770 (each) Wind Drawing Sunday 10.11.2013 14:06 captures the energy released through my process of creating art In this time, place and circumstance it draws on the mesmerizing swirling of the freshly washed and recycled, vintage silk sari fabrics and their hypnotic motion in the light sea breeze and shadow-play in the afternoon sun, in my garden which often doubles as a studio
Brydee gained a BFA (1999) and MFA (2007) from the Elam School of Fine Arts, University of Auckland In 2011 she won the Fulbright Wallace Arts Trust Prize receiving a Fulbright scholarship in 2012 to continue visual research projects in San Francisco at the prestigious Headlands Centre for the Arts She has recently exhibited and had residencies in Germany, India, USA and the Netherlands At the time of NZ Sculpture OnShore she will be in an artist residency in Germany and in a video/installation project in Brydee’Georgias current practice evokes ritual whilst seeking to extend her sentient connection to the earth, digesting cultures of waste, ecological and agricultural concerns via site This has seen her working with fresh cow dung in Kaliyanwala, Kasanova (a horse) at the Presidio Riding Club in the Marin Headlands and a sacred village cow in desert Rajasthan
In Flight Entertainment, 2014 Stainless steel | 1500 x 1500 x 120mm Looking$7,000 from our deck perched among the bush of the Waitakere Ranges I found myself transfixed by the downward spiral of the seeds being shed from the Kauri tree This spinning flight seemed a marvellous natural adaptation to facilitate new life These tiny highly evolved seeds became the basis of this installation Finding beauty in the Rebeccaminutiae trained initially as a landscape designer, and her love of gardens and outdoor spaces sparked a desire to create artworks for these areas Training under sculptor Theo Janssen during 1990-1993 Rebecca worked in bronze A desire to build larger pieces led her to exploring concrete as a medium From 1995-2000 Rebecca completed five series of tall figurative works in concrete, now found in gardens throughout the country These include a gathering of nine pieces at Government House, Wellington Rebecca’s recent work has centred on the cyclic nature of life and humanities interconnectedness In exploring these themes she has created abstract work using metals and alloys Rebecca, her partner Matthew Chamberlain and their three young children live and work from a dramatic home/studio in Titirangi, Auckland REBECCA ROSE 88 | NZ Sculpture OnShore Exhibition 2014
Delicia Sampero is an Auckland-based artist Her paintings and installations have been exhibited widely through New Zealand and internationally Her current work focuses on reflective road-sign material as an artistic medium This includes readymade works as well as transforming roadsigns into site specific art signs and objects to extend the information inherent in the material
board spray-
grass
game,
playing figures,
grass, if required Rules and instructions provided
every square The design can
Delicia thanks her sponsor 3M http://www deliciasampero com/
and
three large dice made from recycled road signs attached to wood cubes Playing with notions of directions, destiny, chance and choice (They also make great coffee tables ) It can played like
the Game is
Playing a physical conceptual consisting of a the on a temporary game painted onto the with symbols on be recreated on most surfaces transferred onto a roll-out mat of artificial at
road-sign
or
the site
board game by people becoming
DELICIA SAMPERO NZ Sculpture OnShore Exhibition 2014 | 89 Playing the Game, 2014 Recycled road signs, wood, coloured rocks and grass paint | 600 x 600mm, 750 x 750mm and 5000 x 4000mm (dimensions variable) | $3000 (each dice) | $11,000 (for the whole game)
Feed the Kids Too is made up of 6000 empty lunch boxes, which is only a small percentage of those that go hungry each day The artists acknowledge Sistema NZ for their support in providing the boxes for the project Our aim is to fill each lunch box with a nutritional lunch and to feed 6000 kids Everyone who ‘buys’ a lunch box effectively purchases a ‘share’ in the project, thus enabling us to buy food to fill the boxes and then distribute them to kids in need A percentage of the purchase price also goes towards the project transport, installation costs and the Friends of Women’s Refuges charity
Feed the Kids Too: 270,000 New Zealand children live below the poverty line Of these an estimated 85,000 go to school with no lunch each day While political debate, and domestic finger pointing aims to come up with answers and proportion blame, one thing is clear, we need to feed the kids too
Domestic, 2014 Treated pine, wool blanket, nails, glue Dimensions variable, 225 x 150 x 235mm (each) $24,000 (whole installation) Feed the Kids Too, 2014 6,000 2-litre plastic lunch boxes, cord, tree Dimensions variable, 80 x 170 x 235mm (each) $18,000 (whole installation) | $20 (each)
New Zealand Women’s Refuge offer safe housing for up to 240 women and children every night of the year For some a blanket is their only roof each night Domestic is composed of 240 house forms
Domestic: New Zealand police attend a family violence domestic incident every seven minutes
Both Donna Turtle Sarten’s and Bernie Harfleet’s art practices focus on the darker side of human behaviour Each artist investigates themes that sit outside society’s comfort zone, asking us to think about things that are often pushed aside and not talked about Their topics include aspects of war, adoption, child and domestic abuse, and the aged Sarten has a Master of Fine Arts degree from Elam, while Harfleet is self-taught
DONNA TURTLE SARTEN AND BERNIE HARFLEET 90 | NZ Sculpture OnShore Exhibition 2014
NZ Sculpture OnShore Exhibition 2014 | 91
LIPIKA SEN AND PRABHJYOT MAJITHIA
Evoking a typical Indian village where women often walk for miles to collect drinking water from the simple water well, the Tricky Box 5 draws you into a pertinent story, inviting you to peep in Intriguingly, there is not a drop of water in sight What you encounter instead is a modern, consumptive city, spreading its tentacles wide and deep Even the last resort of the Indian rural poor – the distant village well has been licked dry by a hungry Internationalcitycontemporary artists, Lipika Sen and Prabhjyot Majithia create multi-dimensional works that include 3-D installations, acrylic on canvas, digital drawings, words, sound, music and film Their animation films/virals have won several awards In October 2013 their travelling exhibition:
Tricky Box 5 – The Curious Indian Water Well, 2014 (in collaboration with Schulze Poursoltan architects) Multi-media experiential art installation; timber, plaster, Corten steel, sound 2200 x 4500 x 4500mm (dimensions variable) ‘And$16,500then it licked up the very last drop the insatiable tongue of the hungry city’
Inhaling the spirit – New Zealand showed to thousands of visitors at the Aotea Gallery, Auckland, Creative Tauranga Gallery and the NZ High Commission and galleries in New Delhi, India www inhalingthespirit com and www hichki com Project collaborators, Fery Poursoltan and Jorg Schulze of Schulze Poursoltan Architects are dedicated to healthy architecture and environmentally conscious architectural practices, they have been practising in NZ since 1987 www schulze-poursoltan co nz
The Conch, 2014 Hand forged, galvanised steel, epoxy paint, custom-printed canvas 2300 x 950 x 900mm | $9,500
The Conch shell is revered in many cultures It may be used to sound a battle cry, or to evoke gentle childhood memories of the sea
The blowing of the conch shell is said to purify the environment, bring love and good luck
SALLY TAGG 92 | NZ Sculpture OnShore Exhibition 2014
The encircling whirls of the conch are the inspiration for this theatrical day bed offering shelter from the storm; or perhaps a private sound shell in which to rest and dream Sally Tagg’s work has featured at the Sydney Botanical gardens, at the Auckland Botanic Gardens, Connell’s Bay Waiheke, the Villa Maria Estate and Brick Bay Sculpture Trail Her photographic artworks feature in a number of private collections in the USA and UK Sally has published several books, specialising in garden and botanical photography
FAITH TAVERNOR Loci, 2013 Clear acrylic, mirror acrylic, enamel paint | 2200 x 800 x 800mm | $5,700 Loci is a spatially challenging art work that encourages the viewers’ act of looking, expanding their encounter with, exploration and enjoyment of art Loci interacts with and transforms its environment, adding to the viewers’ visual encounter, extending and intensifying their visual perceptions It also intermingles reality with reflection to create a playfully enigmatic visual FaithexperienceTavernor studied Fine Art at the College of Art & Design in Christchurch She has exhibited in New Zealand and the UK She likes to create art that explores and addresses spatial issues Her work has been shown in exhibitions in Christchurch, at the Waitakaruru Sculpture Park and Arboretum, the Kaipara Coast Sculpture Gardens and the Te Atatu Harbourview Sculpture Trail NZ Sculpture OnShore Exhibition 2014 | 93
Karyn Taylor’s art practice considers the idea that our relationship with objects and our surroundings are a simplification of a latent and complex exchange She is interested in the transitional state between energy and matter, the state within quantum physics where all potentials of the physical world exist simultaneously As quantum physics denies our logic of the physical world, this work tries to disrupt our viewing logic The neon lines of this work look to be electrically lit, but instead it is only the surrounding ambient light that activates it Changes in light and viewpoint will determine what is revealed or concealed in an attempt to abandon a singular outcome
KARYN TAYLOR 94 | NZ Sculpture OnShore Exhibition 2014
Karyn Taylor is an installation artist who works with light, animated projection and object; she has an interest in quantum physics and how we experience our world as solid when it is really only energy She holds a BFA (Hons) from Massey University, Wellington and an MFA (First Class) from Elam School of Art, Auckland Her work has been shown in Auckland, Hamilton, Wellington, Christchurch and Dunedin
Enfolded/Unfolded Order, Acrylic2014 | 1700 x 600 x 50mm | $4,500
OnShore
2014 | 95
Soup Kitchen, 2014 Ceramic, soup | 209 ceramic bowls, 209 ceramic spoons (dimensions variable) $55 per bowl (including soup) $15 per spoon 209 handmade ceramic bowls and spoons, filled with soup are available for purchase on weekends between 11.00am and 3.00pm Soup Kitchen is a performative community based project that brings together a diverse range of craft practitioners through the process of making and nourishing It discusses and draws upon the role of Women’s Refuge in New Zealand, acknowledging the contribution this makes in helping women and children in need The work is a response to the need for a safe haven, with the kitchen at the centre of the home where warmth, nourishment and love is a hub for the family For many women and children this is not the reality – between 2012 and 2013, 209 beds were used per night by those in need at Women’s Refuges in New Zealand In 2013 alone, 20,000 women and children needed Women’s Refuge help – statistics that reiterate the need to make the home a safer place
COLLECTIVE
THE TEA
The Tea Collective is a group of ceramic artists who are members of Auckland Studio Potters including: Brendan Adams, Margaret Bray, Suzy Dunsder, Gina Ferguson, Peter Lange, Ann O’Sullivan, Nadine Spalter, Carol Stewart, Chris Southern, Margaret Sumich, Teresa Watson and Gretchen Werder Students from Unitec Department of Design and Contemporary Art made the spoons Thanks also to Corelli’s Café for the nourishing soup NZ Sculpture Exhibition
The arrow of time, Mild steel,
The$4,900reason I made this artwork is to focus on the stimulus weapons have on us The year I was born was 1966, the year of the horse I grew up in West Germany in the old harbour city Luebeck on the Baltic Sea, right on the border to East MyGermanycountry was divided, with an insurmountable border in the middle called the iron fence As roaming kids we played right next to this dangerous site Rows of very high electric fences, with land mines and dogs guarding the strip of land in-between called the death zone Furthermore, on both sides of the fence nuclear weapons were stationed They had the potential to destroy our whole world several times over Not so long ago, in 1914, countries in Europe had armed themselves up to their teeth, and old rivalries between those countries and stirring minority groups had led the world into a gigantic disasterAllthisis now part of our history, and a peaceful revolution in East Germany in 1989 has brought the fence down However, those weapons still exist What if they get into the hands of the wrong people? Most recently we have witnessed that militant minority groups have access to sophisticated systems capable of shooting a passenger plane out of the sky The question is where are those nuclear bombs?
lanolin | 900 x 800 x 1500mm
NIKO THOMSEN 96 | NZ Sculpture OnShore Exhibition 2014
2014
PAORA TOI TE RANGIUAIA Huia Kai-Manawa, 2014 Anodised cast aluminium, macrocarpa Male and Female Huia 1000mm X 300mm X 200mm | Macrocarpa Plinth 1000mm X 360mm X 560mm $16,000 (including plinth) The whakatauaki / Maori proverb ‘Huia Kai-manawa’ originates from observation of the huia, and refers to the commitment of undying love These manu paired for breeding purposes also joined in a feeding partnership: the male with the shorter beak would break through the outer bark of fallen trees so that the female with her longer beak could extract the grubs for the shared meal
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In creating this silhouetted form of huia I hope to capture the intangible essence of love sustained by a cherished memory For myself, it is a symbol of remembrance of those who have gone before Toi-Te-Rangiuaia (Paora) began his professional career as a jeweller in 1978 and then continued through a series of migrations to jade carving and sculpting Working from a jewellery scale to his largest, a 10 x 5 metre work in France, Paora’s works transition from metals, glass, wood and stone
MAURICE VAN COOTEN 98 | NZ Sculpture OnShore Exhibition 2014
Voronoi Pattern, 2014 Modular assembly of anodised aluminium fabricated parts | 550 x 1800 x 2980mm $12,500 Voronoi Pattern is an outcome arrived at through CAD processes Through an interface defining space by Cartesian co-ordinates, algorithmically generated models can have a scientific appearance that may illustrate aspects of the actual world Mathematical computation with CAD lends itself to a modular fabricated assembly and can result in patterned formations, these patterns can be found in nature and are reducible by numbers The suggestive form comprised of Voronoi cells are in a flux of emergence, modelling tessellated structures identified in crystallisation
Maurice van Cooten received his Bachelor of Visual Arts from the Gerrit Rietveld Academy, Amsterdam, The Netherlands in 2002, his Post Graduate Diploma of Fine Arts from Elam School of Fine Arts in 2007 and his Masters of Creative Technologies from AUT in 2014 He has work in prominent collections such as the James Wallace Trust Collection Towards defining ‘process’, Maurice continues to investigate computer aided design (CAD) methods within sculptural practice and explores computer aided manufacture (CAM) in aid of fabricating sculpture
new, new
rimu
KAREN WALTERS Tree of Golden Pods, 2014 Rimu, rock, steel, nylon rope, oil 600 x 115 x 70mm (small), 700 x 135 x 90mm (medium), 850 x 160 x 100mm (large) $1,200 (small, each) – 6 available $1,900 (medium, each) – 5 available $2,500 (large, each) – 3 available Seed pods are a symbol of newness; of that which is on the cusp of growth and centred within the transition of change
Pods
OnShore Exhibition 2014 | 99
Karen is a Tasman-based artist operating out of an art gallery / workshop space that she owns and shares with her jeweller husband Mike After attaining a BEd at Auckland University, Karen moved to Australia and completed a BVA at James Cook University, winning the Top Sculpture Award in 2002 Returning to New Zealand the same year she taught art and senior design for three years Karen then went on to pursue a full time career in art She has been involved in solo shows and group exhibitions from 2006 until the present Karen creates sculptures for the floor, wall, table and the outdoors that are carved out of carefully selected timber Aesthetically the sculptures are organic and reflect the energy and essence of life forms and lines within the New Zealand landscape Sculpture
NZ
old and
The Tree of Golden is representative of the the experiences which should be constant in that which is aging These Golden Pods incorporate the use of aged swamp and golden rocks from Golden Bay – smooth and orb-like, created by a life-time of movement
FRANK WATSON 100 | NZ Sculpture OnShore Exhibition 2014
The Thoughtful Fish, 2014 Bronze | 1200 x 1100 x 200mm | $ $15,000
Ltd I bought the company in 1985 and at that time Artworks was probably the first commercial foundry specializing in fine art casting in New Zealand I sold Artworks in 2000 to cast the Kupe Group sculpture (now on Taranaki Street Wharf, Wellington) On completion of that job, Toby Twiss and I started Monument foundry
Einstein’s scientific brilliance has always amazed me, yet his non-scientific life was a bit chaotic His scientist’s observations on other fields were still pertinent, if somewhat obscure I’ve always loved this peculiar analogy he used as an inspirational anecdote, it does conjure up all sorts of weird visions This work is my interpretation of Einstein’s quote combined with my fascination for pushing my boundaries of metal casting knowledge to the limits His quote goes: “If you tell a fish it cannot climb a tree, it will spend the rest of its life thinking it’s stupid ” It’s clumsy but fun I have been casting bronze fine art since 1982, when I took up a position at Artworks Studios
Later I established Flux Studio as a one person boutique foundry-sculpture studio, with the long suppressed desire to make my own sculpture using the old world skills of lost wax casting
The lone, red painted, weatherboard figure of
Quarter-acre Weatherboard Paradise symbolises the process whereby man ceases to be part of the environment but becomes the environment
The loss of productive land, traffic congestion and pollution are associated with the degradation of once pristine environments
RICHARD WEDEKIND NZ Sculpture OnShore Exhibition 2014 | 101 Quarter-acre Weatherboard Paradise, 2013 Timber weatherboards, plywood, galvanised steel | 2700 x 1700 x 300mm | $14,500 Quarter-acre Weatherboard Paradise references the 1972 book The Half-Gallon Quarter-Acre Pavlova Paradise that celebrated New Zealand as heaven on earth My work hints that now, like everywhere else, there is trouble in paradise
Urban sprawl resulting from the kiwi dream of a weather-board clad house on a quarteracre section is spilling over our hills and along our coasts
Richard is a painter and sculptor based at the ‘bottom end’ of Waiheke Island, New Zealand Richard has a Ph D in geology and geochemistry and spent 15 years working in the mining and exploration industry throughout Australasia before returning home to pursue a long-term passion for the arts His work references current issues in science – notably climate change and the state of the environment The ‘body language’ of his figures tell stories about relationships and the conversations they might be having
JIM OnShore
Epiphytes, 2014 Stainless steel | 1700 x 700 x 500mm (each) | $5,000 (each)
WHEELER 102 | NZ Sculpture
This sculpture references native lichen – Usnea capillacea; a delicate species often found hanging from the branches of Tanekaha trees Being an epiphyte which absorbs all nourishment directly from the air, thereby inhabiting a space between the earth and sky, traditionally they were attributed sacred or magical properties Indeed, an anti fungal tincture can be made from this species Meticulously made of stainless steel, carefully filed blunt and brazed together, Epiphytes is enlarged purposely to celebrate an ancient yet under-noticed order of plant life As a unique ecology New Zealand’s flora is indeed an international treasure Jim Wheeler grew up in small town USA and studied Art and Biology at University, graduating with a BA in Studio Art A two year apprenticeship at Johnson Atelier, Princeton, NJ in techniques of sculpture gave Jim skills to immigrate in 1981 He helped set up Art Works Studio before leaving in 1989 to work as a full time sculptor Jim has undertaken public and private commissions, lectured at MIT 1995-6 and was Lord of the Rings department head in 1999 He has exhibited since 1979 with eight solo and many group shows Recent work has been seen at Sculpture in the Gardens, Brick Bay Sculpture Trail, headland Sculpture on the Gulf, NZ Sculpture OnShore, Sculpture in the Woolshed and Shapeshifter Jim’s works are held in British Museum (UK), Weatherspoon Art Museum (USA), Auckland Museum, Auckland Botanic Gardens, James Wallace Arts Trust and Zealandia at Mahurangi
Exhibition 2014
A Wordless Song draws from Siegfried Sassoon’s poem, Everyone Sang, to create a multi-sensory contemplative space within the gun emplacement structure
Early morning recordings of sounds heard inside the concrete structure play back into the space The spoken words of the poem, transcribed into tangible acrylic ciphers and threaded onto strands of glass beads hang from ceiling to floor
A Wordless Song, 2014 Chalk, glass beads, acrylic, lead, cloth, sound | Dimensions variable | $5,000
The phrase - the singing will never be done – is used as a refrain and coupled with each line of the poem on every strand The written words of the poem are translated into Morse code and inscribed in chalk around the walls These renditions have not been made to recompose into their original form but rather to suggest lost narratives Born in Hong Kong and currently living in Auckland, Carolyn attended Camberwell College of Art, London, and AUT, Auckland where she gained an MA with first class honours She exhibits widely and recently received the 2013 Gen-i Selector’s Award for her installation at headland Sculpture on the Gulf Her work is included in the James Wallace Arts Trust and private collections in New Zealand and the UK
CAROLYN WILLIAMS NZ Sculpture OnShore Exhibition 2014 | 103
MARTI WONG 104 | NZ Sculpture OnShore Exhibition 2014 Old Man of the Sea, 2014 Recycled steel and car parts, lacquer 1500 x 1200 x 1300mm | $15,000
The old hermit crab itself is made from recycled steel and made to look ancient and rusty, wizened and dented Old man of the Sea symbolises the wise old guardian of the bay and coast Possibly thousands of years old to grow to such an immense size, he is the lonely old hermit, living in exile beneath the waves, who still knows the ancient secrets of the sea, the lost knowledge of eons, the Yoda of the ocean Marti is from Hamilton His parents met at university in Dunedin and settled here in the 60s
His father is full Chinese and his mother European which was a modern mixed marriage for the time and set the scene for a liberal family environment He took a welding course after the birth of his first son A welding job followed ending with a severe case of RSI in both wrists and elbows and being unable to work Marti turned back to creativity
My concept is a steel and copper sculpture of a giant Hermit crab, looking very old and wise and ancient, crawling up from the harbour He is enormous, inhabiting a giant 1-metre spiral copper shell, encrusted with barnacles and anemones, all fabricated from copper and steel, to represent the abundant sea-life underwater
His interests in the natural and prehistoric worlds, fantasy, mythology and creative drive to make stuff ensures there is always plenty of inspiration He believes nothing is impossible!
Steve Woodward was born in Montreal, Quebec, Canada where he trained as a carver in the Carrara tradition After furthering his training in ceramics, stone, and bronze in Italy and France, Steve moved to New Zealand in 1984 Since 1992, Steve has worked on numerous public and private sculpture commissions including Taipei, Guilin, Phuket, and the Tjibaou Cultural Centre in Noumea His public sculptures in New Zealand are environmentally conscious works, sensitive to site, place and space
Also Isamu Noguchi’s granite Black Sun which I always saw as a symbol of nuclear winter White Prune stands poised on a square plinth; the smoothed white marble branches out to softly absorb light The marble’s de-materialising qualities suggest a ghostly memorial Represented as an autumn-pruned or hibernating tree, this ivory-white form is a metaphor for control and ultimate destruction
STEVE WOODWARD NZ Sculpture OnShore Exhibition 2014 | 105 Black Branch, 2009 Granite, dye, wax 1800 x 135 x 135mm | $10,350 White Prune, 2011 Beijing white marble, Portuguese limestone base 1410 x 600 x 600mm | $27,600 Black Branch is a wink to works from the 60s by artists living and working at the peak of the Cold War Artists such as Guiseppe Penone and his series Alberi (trees) where peeling away the rings from a wooden log or beam he represents the tree as it was and introduces us to the original life form
BRUCE YOUNG 106 | NZ Sculpture OnShore Exhibition 2014 Arrival, 2014 2040 x 1700 x 800mm | Blasted and watered Corten (weathering) steel, electro polished Stainless steel | $14,000 We attempt to keep control of our lives but some things are just beyond us This is a sculptural interpretation of the helpless and uncontrollable feeling that large falling objects can stimulate A sense of fatalism: if an anvil is going to get you there is no escape! Hopefully the viewer will be drawn to look skywards and wonder “ are there any more coming?” I began sculpture with Oamaru stone carving, progressing to cast aluminium and fabricated steel works My father was a panel beater/coach builder, finishing his apprenticeship building steel panelled wooden framed buses We grew up with a well equipped workshop and encouragement to make things I learnt many skills from both parents After a career in museums, I turned back to sculpture, working mostly in metals I have an object-orientated approach to art: I like objects and how they are made, the aging of the surfaces, the manufacturing problems I now live and work just out of Whangarei
ON WEEKENDS families with children are invited to collaborate in a large scale sculptural project which will ‘grow’ during the course of the exhibition Parents and children can enjoy the art experience together by heading to our designated Kidzone area which complements the rest of the exhibition
To encourage students to fully interact and engage in this experience, our education programme is designed for learning prior, during and post exhibition The comprehensive teacher’s kit provides biographies on key artists and explores the production process, background and nature of sculpture in a way that is meaningful to Thischildrenisthe third consecutive time that we have offered this enriching school’s education programme
NZ SCULPTURE ONSHORE is committed to making sculpture accessible to everyone, including our children and youth This showcase of over 100 New Zealand artists gives school children a unique snapshot of contemporary New Zealand art
The programme organisers gratefully acknowledge the funding received from ASB Community Trust that supports the development and staging of the programme
NZ Sculpture OnShore Exhibition 2014 | 107 SCHOOL’S EDUCATION PROGRAMMEKIDZONE
108 | NZ Sculpture OnShore Exhibition 2014
THE CHILDREN’S SCULPTURE exhibition has been an integral part of NZ Sculpture OnShore since the event moved to its current location in 2004 The event has grown and evolved to include work by primary and intermediate schools and art groups from around Auckland Held in the historic underground fort, the Children’s Sculpture Exhibition gives children a unique opportunity to exhibit alongside professional artists at a nationally significant exhibition In 2014, children in several participating schools also benefitted from the opportunity to learn from exhibiting artists at a series of workshops in schools Three professional artists created unique, and very different workshops which all enabled the students not only to learn new skills but to gain inspiration and confidence
These four women plan, curate, promote and co-ordinate the exhibition, bringing together their considerable skills, energy, enthusiasm and commitment to both children’s art and the work of Women’s Refuge
The children’s exhibition brings together the local and wider community including teachers, artists, local iwi, the Department of Conservation and the Tamaki Reserve Protection Trust It is a fantastic opportunity to raise awareness of the amazing creative work produced by talented young artists and raise money for Women’s Refuge New Zealand
EXHIBITION
CHILDREN’S SCULPTURE
The organising group for the 2014 event comprises volunteers Zoe Hoeberigs, Val Hoeberigs, Rhonwen Dewar and Tania Stewart
The organising group gratefully acknowledge the funding support generously received from Auckland Council Creative Communities scheme over the last four exhibitions This funding supports the co-ordination and staging of the children’s exhibition Auckland Council
Teachers: Judith Rive, Jim Mathewson (Principal)
These buildings are currently being used as community artist studios and classrooms at their new site on Barry’s Point Reserve
We have researched guardian or “protective figures” which are common to a number of cultures Many of these are depicted as bird-like, winged creatures
Naomi Bell, William Kim (teacher trainee) Wayne Smyth (technology) and support staff Lloyd Buckingham
Theme: Protection
140 Birkdale Road, Birkenhead, Auckland 0626 Roll: 750 Motto: Where Everybody is Somebody
Belmont Intermediate School 188 Lake Road, Takapuna, Auckland 0622 Roll: 550 Motto: Respect – Responsibility –Commitment – Aroha Belmont Intermediate School is located on the North shore It is a high performing, multi-cultural school with approximately 550 students The school opened in 1957 and continues to be a learning community, focusing on meeting students’ individual needs Our students are encouraged to aspire to the school’s traditional values: Respect, Responsibility, Commitment and Aroha As a school we actively encourage and support involvement in the visual arts Specialist art lessons and extension art groups provide students with a range of quality opportunities to learn new skills and express themselves using a variety of media Theme: Birdcage Although birds are the predominant theme in this exhibit, you will spy numerous other creatures that have snuck into the aviary to compliment and enjoy the vibrant habitat of their fine-feathered friends This colourful, eclectic display is reflective of the dynamic and organic visual arts programme at Belmont Intermediate School which students8createdmediaofexplorationencouragesofavarietysubjectmatterandArtworkswerebyyear7,yearandartextension
Teachers: Larissa Johnson and Jenny Bezuidenhout
Birkenhead College is a co-educational secondary school set in an attractive environment on Auckland’s North Shore
Participating Children: Ciara Alpress, Abi Barnard, Lucy Berry, Hannah Bewg, Hannah Body, Charlotte Body, Lauren Bremner, Kezia Cain, Catherine Fairbairn, Niamh Chalmer-Greaney, Tom Christie, Jordan Claridge, Molly Clark, Tom Clougn, Olivia Cullen, Elsa Dai, Katherine Daniel, Anna de Boyett, Claudia Dempsey, Matthew Du-Faur, Tyle Everson, Catherine Fairbairn, Ursula Goodwin, Ella Grant, Jacob Groenendyk, Grace Hancock, Jade Hollick, Elizabeth Howard, Makayla Jolly, Semi Jung, Jonothan Kim, Lamano Kolo, Lauren Bremner, Alexia Le Bret, Lea Gracifua - Del Valle, Poppy Lester, Felicity Lewis, James Li, Madeline Lowry, Joyce Ma, Ella Madson-Brough, Serina Mansell, Zoe Martin, Grace McCloud, Abbie McGarvey, Rosie McGregor, Max McPheat, Olivia Miles, Kate Millington, Rachael Mueller, Sienna Norman, Melanie Page, Leah Pank, Milly Pearson, Phoebe Peng, Caitlin Price, Amy Pullen-Burry, Charlotte Rayner, Yi Jie Ren, Lucca Robb, Alana Rodrigues-Birch, Jake Saussey, Asha Silk, Emily Smith, Wenyi Soon, Josh Spillage, Stella Stiven, Orlagh Stratton, Beau Swift, Siobhan Taylor, Ella Thomas, Ethan Tubb, Becky Walton, Mia Walton, Juno Wangford, Ruby Warrel, Evan (workingBirkenheadWilliamsCollegewithLakeHouseArts Centre)
NZ Sculpture OnShore Exhibition 2014 | 109
The college has a consistently strong academic record and we are proud of our significant success in sport and high profile in the creative and performing arts where individual creative flair is nurtured The learning climate is characterised by high expectations, wide learning opportunities, good resourcing and high quality human relationships
The sculptures are motivated by the site itself; the Fort in its role both past and present We have discussed ideas of protection and preservation - of life, the environment and heritage Students have also investigated the ways in which artists explore and develop ideas and various materials in their work
The school was invited to collaborate with Lake House Arts Centre which has strong heritage links to Fort Takapuna, in that it has been the welcome recipient of some of the old barracks
Participating Children: The students involved are a Year 9 art group; Malcolm Anderson-Lambert, Richard Bautista, Tyler Cassidy, Katie Foster, Mary Fuataimi, Noema Gaualofa, Liam Guthrie, Raven Hopomata, Jenica Iligan, Rhys Kingi, Sean Nicholson, Nelson Petelo, Tyler Polley, Lizzy Randall, Sydney Sharpe, Jack Stenersen, Helena Wade, Tyran Ward, Kate Watt, Stella Wendelborn, Richie Wijaya
The Corelli Academic School of the Arts
Birkenhead Primary celebrates its centenary in 2019
Teacher: Christie Houghton
Birkenhead Primary School 77 Mokoia Road, Birkenhead, Auckland 0626 Roll: 415 Motto: Forbear and persevere
The school’s roll starts at 360 and grows to 415 by the end of year, taking children from Years 0 to 6 We have a diverse student population - predominantly Pakeha/NZ European, but with about twenty percent Asian/Indian/ Middle Eastern and many other smaller groups, including NZ Maori, Japanese, African, Samoan and Tongan Our Vision – to ‘reach our heights and look to our horizons’ Our Values – ‘We strive, inquire and achieve; We participate, contribute and care; We act with integrity and respect’ Our original motto ‘Forbear and persevere’, which we interpret as ‘Get over it, and get on with it’
Theme: Remembrance and Looking Forward to the Future With this year marking the 100th anniversary of World War 1 and being given such a formidable space in the Fort to exhibit our work, our art takes on a theme of remembrance and looking forward to the future Walking into the gun fort, people will be welcomed into the area by Tiki and Kowhaiwhai cylinders to stand amongst a selection of poppies overlooked by generations gone by In front, two children, holding hands, look out to Rangitoto and a future filled with love and peace, reflecting on the past, remembering, but also moving into the future Individual works were completed in various year groups as well as paired and team projects depending on the year level and chosen installation
Participating Children: Although not individually listed, every child from Birkenhead Primary has actively participated in some way towards our school installation Whether that be in the preparation and design stages, completing individual sculptures, contributing to a group sculpture within the installation, or reflecting on the theme, process and combined end product as a school On viewing our installation, you will notice each individual sculpture is named and group projects are identified by contributing year groups
The Corelli Academic School of the Arts was founded in 2001 by husband and wife team, David and Kirsten Selfe, who saw the need for a kind of ‘creative immersion’ in New Zealand where the arts played a major role in a child’s school curriculum Corelli is located in picturesque Browns Bay and boasts a boutique education that is rich in diversity, expression and progressiveness Class sizes are small with mixed age groups learning together in creatively charged classroom environments that foster adaptability for varying learning levels, encourage peer support and inspire individuality
110 | NZ Sculpture OnShore Exhibition 2014 from Birkenhead College Lisa Rogers (Manager) and Sally Lush (Education co-ordinator) from Lake House Arts Centre Michael Pritchard from Tamaki Reserve Protection Trust Also thanks to Timberworld Birkdale for their assistance
50 Anzac Road, Browns Bay, Auckland, 0630 Roll: 90 Motto: Excellence through the Arts
Participating Children: Oscar Aitken, Yousef Al Shadiefat, Alexandra Al Shadiefat, Austin Alcock, Amber Allport, Coen Anderson, Luka Arandjus , Maddi Arnold, Flynn Arthur, Ben Ashley, Kaia Ashmore, Anjali Attli, Kyle Aung, Daniel Bae, Sean Bajan, Lida Bao, Aileen Bao, Sophia Baranyai, Keira Barlow, Chloe Barton, Tyler Becroft-Erickson, Riley Betham, Zareena Bharuchi, Sarah Boswell, Georgia Bradley, Isabel Bradley, Tessa Bradley, Sammy Bridge, Penny Brill, Oscar Bringans, Abood Bsaiso, Meg Burrell, Samuel Burton, Logan Butler, Amelia Campbell, Joshua Campbell, Tristan Cantlon, Hansen Cao, Ethan Cham, Emmanuel Chambers, Adria Chan, Julian Chan, Jarvis Chan, Sophia Chan, Jonny Chan, Jasper Chan, Marcus Chan, Dipshay Chand, Justin Chao, Fiona Chen, Janis Chua, Alyssa Clark, Eden Clark, Toby Clelland, Emma Clelland, Aimee Clemow, Alex Cole, Eden Cotton, Melia Cotton, Angelo Crapanzano, Ryan Curtis, Olivia Curtis, Sophia Davies, Sonny Davies, Annabelle Davison, Riyana Dayal, Nikeel Dayal, Alice Deng, Shriya Dijo, Jack Dixon, Chanith Doluweera, Amy Dong, Emme Dudley, Ethan Dudley, Ella Durovich, Eden Dwight, Luke Eastwood, Aaron Edwards, Jordan Eksteen, Jacob Elliott, Elliot Ernstzen, Nick Ewens, Ben Ewens, Ella Ewing, Ailini Finau, Kate Fitzgerald, Tobias Fleming, Cameron Foster, Blair Foster, Rory Francis, Callum Francis, Daniel Freeman, Michaela Fuatimau, Elise Galbraith, Natalie Gane, Siddharth Gautam, Matthew Gaze, Keira Gentry, William Gerrie, Leo Gillard, Ryan Gillingwater, Tessa Goffin, Aashi Golchha, Spencer Gollan, Jordan Gray, Olivia Greenfield, Jacob Greig, Ryan Greig, Anna Gu, Omesh Gupta, Deja Halford Eaton, Max Han, Iris Hanley, Rosalie Hards, Mitchell Haydon, James Haydon, Gabby Hayward, Emma Hayward, Gabrielle Hayward, Dora He, Andrew Heaven, Keira Heffernan, Lucy Hill, Timothy Hitchcock, Eve Ho, Cale Ho, Charlie Hodge, Charlotte Hodge, Madeleine Hogg, Cassandra Hollu Pathirage, Lily Holt, Olivia Hong, Lucy Howard, Coral Huang, Sway Hullena, Daniel Hutchinson, Aden Ibrahim, Monique Jackson, Angus Jessiman, Siddharth Jindal, Timothy Johnson, Seth Jones, Connor Jorgensen, Nour Kalache, Dima Kanani, Lily Kane, Varnika Kanji, Manveer Kaur, Manit Kc, Jessica Kearney, Tamara Keys, Vivaan Khanwalkar, Cindy Kim, Emma Kim, Chris Kim, Kaden Kim, Ella King, Ilyaas Kumandan, Matthew Kushnerov, Hannah Kynoch, Alex Kynoch, Jacob Lambert, Sam Lambert, Rita Lan, Maia Langatuki, Katie Langeveldt, Jayde Larsen, Mary Laurenson, Yen-Cheng Lee, Alva Lee, Gio Lee, Xin Xuan Lee, Juni Lee, Monique
Participating Children: Jessica Arrowsmith, Keziah Bowden, Shizandra Bowden, Isabel Davies, Jack Davies, Annabelle Duncan, Liam James, Luca Mckiernan, Jesse Oh, Bogdan Pavlyuk, Pelageya Pavlyuk, Liam Taylor, Tobias van der Harst, Ayaka Watanake Cornwall Park District School 193 Green Lane West, Greenlane, Auckland 1051 Roll: 670 Motto: Honour not Honours Adjacent to the beautiful One Tree Hill Domain and Cornwall Park, on the slopes of Maungakiekie, our primary school was established over 90 years ago We have a roll of over 670 children
NZ Sculpture OnShore Exhibition 2014 | 111
Theme: Here we are!
Theme: Arabian Nights
These sculptures are the work of Year 1-6 children from 16 classes This extravaganza of form and colour is inspired by our 2014 Year 6 production, Aladdin Trouble Every year the production is a major occasion All levels within the school aspire to be part of this Each class has been learning the songs and has enjoyed encompassing the ‘bling’ associated with this legend Our works are based on the themes of the Arabian nights, a captivating world of good versus evil, of magic, of wishes and of love The different classes followed their own interpretations to express themselves around this We are mindful of how the combined contributions of all who take part help us to achieve our goal We feel that our school motto, Honour not Honours is about making our own personal best effort to express ourselves with others
Teacher: Aurelia Zatta
Teacher: Sue Tapene
This installation is the self-portrait work of Corelli’s primary school children Each child’s presence and personality is brought to the site in an artwork that represents them as a life-size paper doll One student says, “Our self-portrait figures stand in for us It is like we are there at The Fort, waiting to meet, and even perhaps to surprise the people who walk through the tunnels and rooms ”
Teacher: Abbey-Lee McMahon
Devonport Primary School
112 | NZ Sculpture OnShore Exhibition 2014 Lewis, Charlotte Lewis, Stella Li, Dena Li, Annie Li, Karl Libo-On, Lewis Lim, Raymond Lin, Raechelle Lin, Ben Lindsey, Stacey Linkhorn, Erica Liu, Karen Liu, Jake Liu, Gaius Lo, Kirsty Lo, Cyrus Lo, Sophie Logan, Elly Low, Nicholas Lowe, Alex Luscombe, Maskil Ma, Matthew Ma, Maive MacAtual, Jamie Mackie, Emily Mackie, Karlos Maddren, Dhananjay Manon, Alicia Marshall, Daniel Massey, James Mather, Amber Matson, Alexia Matson, Cole McCulley, Seb McFarland, Olivia McFedries, Jurelle McLaren, Daniel McNeil, Max Mei, Akala Membrey, Micaiah Meuli, Noah Meyer, Hannah Milne, Emily Mitchell, Samuel Moncur-Burmeister, Sophia Monk, Ruby Monk, Jack Morison, Xavier Morris, Troy Morris, Shivnesh Naidu, Josephine Nataatmadja, Annie Nath, Jacob Neary, Greer Newman, Monelle Niuhulu, Lachlan O’Brien, Carise O’Brien, Jam O’Brien, Yuji Ochiai, Jack Olson-Carsons, Connor Olson-Carsons, Daniel Organ, Ahmed Ozturk, Dawson ParekowhaiLage, Chloe Park, Scarlett Parsonson, Victoria Paul, Imogen Perry, Rhys Plumpton, Daja Posoni, Maggie Potuguntla, Eesha Prasad, Hamish Prasad, Isabella Prescott, Oscar Qin, Nicole Qin, Luka Radich, Samantha Ratcliffe, Joshua Reay, Isaac Reay, Talitha Reed, Oscar Reed, TylaJane Reed, Rebekah Reed, Ke Ren, Ruffell,Rudolph,Ropati,Rollinson,Rodgers,Rodan,Robinson,AndrewKatieRobertson,BraydonRobinson,KhaleReneeAlyssaOliviaGodfreyOliviaRuby Ruma, Ariana Runciman, Oscar Ryall, Rio Rye,Sneha Safaya, Keith Sait, Anne Sait, Andrei Samson, Neo Sangkaew, Selwin Sanjay, Oliver Sargison, Mackenzie Seales, Peter Seko, Jarrod Seko, Raran Selwyn, Khaled Shablak, Mahlaqa Shah, Jifei Shao, Annaliese Sheehan, Rachel Shibu, Rebekah Shutt, Finley Silvester, Adam Simpson, Jessie Simpson, Zabir Siregar, Myah Smith, Laura Smith, Aneyce Smith, Ruby Smith, Eric Smith, Connor Smythe, Christian Solomon, Ava Spittal, Charlie Spittal, Connor Steele, Maddison Stokes, Briana Su’a, Joshita Subramanian, Jasmine Summerville, Oliver Summerville, Asher Suri, Mohinder Suri, Riley Sutcliffe, Josh Sutton, Harrison Taylor, Ari Taylor, Anson Tea, Alexander Teale, Cooper Teratana, Ijemima Tereora, Maceo Thompson, Mathias Thompson, Lauren Thornley, Patrick Thornley, Falefehi Toamotu, Bailey Towns, Denver Tumupu, Athana Umaparan, Aimee-Laurel Unwin, Niam Vasan, Shamanth Venkatesh, Alexander Vujanic, Marina Vujanic, Isaac Waldin, Kylie Walker, Blake Walker, Chloe Wallace, Stephanie Wan, William Wan, Angel Wan, Eric Wang, Ryan Wang, Luke Webb, Ethan Wei, Ruvindi Welathanthri Gurunnanselage, Te Kahurangi Whata, James Whineray, Calvin White, Henry Whiting, Ted Whiting, Mae Whiting, Alex Wilkins, Zach Williams, Leo Wilson, Connor Winfield, Mackenzie Winfield, Lachlan Wong, Jessica Wright, Jessica Wu, Jasper Wu, Jefferson Wu, Emily Wu, Jamie Wu, Sherman Wu, Jimmy Xu, Kelly Yang, Alan Yang, Wei Cheng Yao, Betty Yao, Sophie Yeoman, Hannah Yin, Alexander Yong, Sean Yoon, Matthew Yoon, Thomas Young, Mathew Young, Ophelia Yu, Sylvia Zeng, Frank Zhang, Chloe Zhang, Allan Zhang, Samuel Zhang, Ashton Zhou, Rikki Zhou, Hui Zhou, Angie Zhu, Olivia Zhu
Theme: Colour My World Colour My World references how our world is created with emotions, learning, experiences and values, all reflected in colour For our sculpture installation we used shapes, text and colour to create something that had meaning to us and represented all these things that colour our world
18 Kerr Street Devonport, Devonport, Auckland 0624 Roll: 313 Motto: Moving Young Minds to Higher Ground Devonport Primary School is located on Auckland’s North Shore, perched on Mt Victoria looking out over the Auckland Harbour Our school is unique in its setting and boasts spectacular views Devonport Primary has approximately 313 students The school opened in 1870 making it one of the oldest schools on the North Shore Our school is a future focused learning community Our students are referred to as Devonport Learners and are encouraged to aspire to the school’s values; hardworking, helpful, happy, healthy and honest
Participating Children: William Anderson, Jack Avery, Lucas Bailey, Max Bailey, Jacob Baldock, Samantha Barnard, Jessica Beattie, Samuel Beattie, Ursula Begg, Frida Besier, Frederick Birch, Isabel Body, Ashlee Bourke, Charlie Bourke, Dylan Boyce, Shea Bratton, Sasha Bremner, Eleanor Brown, Anna Browning, Belle Burch, Ethan Burke, Connor Burton, Oliver Burton, Keira Byers, Daniel Byrne, Joshua Cabraal-Schmidt, Ava Cairns, Iris Cairns, Huia Cameron, Jasper Cameron, Lachlan
We delight in the opportunity to take part in NZ Sculpture OnShore, as we value learning through creativity and the arts
At GEIS we value: Respect, Responsibility and Learning
At GEIS our aim is to: equip all students with the skills they require to become lifelong learners In all curriculum areas, we aim to make learning powerful by providing them with experiences that are meaningful and challenging
At GEIS we believe: Teachers have a right to teachStudents have a right to learn
NZ Sculpture OnShore Exhibition 2014 | 113 Campbell, Lewis Campbell, Anna Clark, Lola Clarkson, Angus Cliffe, Jack Clough, Lucy Collett, Elliot Collinge Moore, Tessa MichaelCordner,Cotter, Emily Cowan, Thomas Cowan, Rebecca Craig, Cumiskey,Crowther,Crowther,BrodieCameronCharlotteHannah Cumiskey, Erin Cutts, Isla Cutts, Nicholas Davies, Ollie Davies, Ciara De Hora, Finn De Hora, Saskia de Vrij, Matthew Dennison, Hugo Dixon-Hall, Oscar Dixon-Hall, Taylor Dodds, Lauren Dwyer, Sophia Eagles, Blue Eakin, Brooke Eakin, Theo Edmonds, Edward Ellis-Pegler, Madeleine Ellis-Pegler, August Elworthy, Evelyn EnglandHall, Kodi Enoka, James Ford, Zara Ford, Gene Garea, Benjamin Garelli, George Gaskin, Geraldine Gibson, George Glass, Toby Glass, Holly Glennie-Crosby, Sidney Glennie-Crosby, William Goodger, Tiaki Greenstreet, Benjamin Grotrian, Mischa Grotrian, Tomas Gustafson, Claire Hall, William Hall, Marcus Hall-Taylor, Hamish Halls, Chloe Harper, Benjamin Hayde, Jackson Hayde, Oscar Heim, Aksel Hopkins, Emanuela Hopkins, Finn Hoskin, Isla Hosking, Sienna Howes, Tilly Hudson, Kiara Ibarraran Hetz, Nikita Irene, Elliot Irving, Raiha Jeory Reynolds, Patrick Johnson, Eleanor Johnston, Isobel Johnston, Brennen Jolly, Alice Jones, Georgia Keane, Joseph Keane, Jamie Kelly, Peter Kenedi, Oni Kidman, Nikita King, Matthew Kirk, Annabelle Knowles, William Knowles, Karin Kozuka, Quinn Lampen, Jett Langdon, Nathaniel Lee, Nikita Lee, Amelia Legg, Emma Leonard, William Leonard, Sophia Lester, Douglas Lindsay, Alexander Linklater, Adam Little, Charlotte Lochhead, Harrison Loretz, Mackenzie Loretz, Jimmy Macken, Nicholas Mansell, Clara Marsh, Miles Maxwell-Paver, Hebe Mayes, Sam McCarthy, Sofie McGibbon, William McGibbon, Oscar McGowan-Martin, Hayden McKay, Elizabeth McKendry, Milla McKendry, Ella McKinney, Molly McLennan Leathem, Tobias Melhuish, Eloise Miles, Harrison Miles, Finnigan Miller, Georgia Miller, Charlie Millington, Emily Mitchell, Isla Moffatt, Michael Moran, Jamie Moss, Keanna Moss, Finn Norris, Louie Nunnington, Taimana O’Neil-Nikora, Millie Oxley, Dylan Paget, Vedant Patel, Taylah Pausina, Claudia Pearce, Emilia Perry, Miller Perry, Nicholas Petherick, Olivia Peyton, Havana Pick, Bruno Pinto, Maximilian Pollock, Rupert Powell, Oliver Price, Kaiden Pulsford, Hennessy Quinn, Pablo Quinn, India Raftery, Thomas Rebbeck, Willa Rebbeck, David Richardson, Henri Riley, Kristian Riley, Oliver Riley, Amelia Robertson, Laura Rooney, Oscar Rooney, Aimee Rumball, Lily Rushworth, William Rushworth, Daisy Ryan, Sylvia Ryan, Elga, Sapalia-Dombrowsky, Christian Scott, Jessica Scott, Joshua Scott, Owen Seibel, Carsten Shaw, Nadia Shaw-Bell, Holly Sherlock, Nina Sinclair, Ava Slade, George Spooner, Grace Spooner, Felix Standley, Isabella Steel, Harrison Strong, Oliver Strong, Sylvia Strong, Hugo Sutcliffe, Tristan Sutcliffe, Lennox Tapp, Sophia Taylor, Shannon Taylor-Innes, Charlotte Thomas, Noemie Thomas, Rianon Thomas, William Thompson, Jack Tiplady, Lucy Tolcher, Harrison Toxopeus, Lia Tui, Daniel Twine, Sophia Twine, Saskia Uri, Karthick Vaduganathan, Iwi Vaughan, Skylah Walden, Lucia Walden-Green, Sophia Walker, Ella Wall, Ethan Wall, Eleanor Waterworth, Isla Waterworth, Isabella Watson, Maxine Williams, Charlotte Wills, Harry Wills, Tamsin Willson, Luke Wilson, Adam Wright, Vincent Wright, Eloise Yallop, Connie Yee Werry, Vincent Yee Werry, Oliver Yeung, Max, Zollner Glen Eden Intermediate Kaurilands Road, Titirangi, Auckland 0604 Roll: 1023 Motto: ‘A Dream school where everyone loves to learn’ –‘Te kura kitenga it te GlenMaatauranga’EdenIntermediate is a large, multi-cultural school set in the foothills of the Waitakere ranges The school opened in 1961 and takes pride in offering a quality Middle School programme that recognises the distinctive learning needs of Year 7 and Year 8 students
Fish seemed an obvious choice in the end due to the size of some of the pieces of wood, and a ‘school of fish’ moving in response to the wind was born after a discussion with our Property Manager Andrew Howe The scales were cut using a guitar pic cutter
Glenfield Intermediate 138 Chivalry Road, Glenfield, Auckland 0642 Roll: 343 Motto: Building Powerful Learners with Relationships, Resilience, Resourcefulness and Reflectiveness
Participating Children: Tiana Bostock-Kautau, Pailin Chiangraeng, Jade Cook, Iman Ibrahim-Jerrywo, Gizelle Jacobs, Toni Johns, Janine Kaminski, Richard Mann, Jorgia Maxwell, Hemika Patel, Eden Paulsen, Akasha Rayner, Logan Roesli, Megan Stott
Glenfield Intermediate School is located on the North Shore It was established in 1972 and maintains a special place within the Glenfield community, providing a high quality intermediate education in a positive environment
We promote high relationshipslearningofexpectationsbehaviour,and within an environment of mutual trust and respect that supports students academicwithlearning, while also providing outstanding sporting, cultural and creative opportunities Our cultural diversity is a valuable asset that contributes greatly to the unique and special character of our school Theme: Fishy Sustainability
Teacher: Tina Hormann
This project was created by a group of Year 8 students using entirely recycled materials The wood is left over from other murals and all the scales are made out of old credit cards, iTunes cards, pressie cards, Dreamworks Heroes cards and surplus plastic from the Hard Materials’ room plastic molding machine
The title ‘Fishy Sustainability’ reflects Glenfield’s unique interpretation of sustaining our oceans A variety of ‘fishy’ artworks have been created across both Year 7 and Year 8 students, including an extension art group Our oceans are important to the environment and the students would like to draw attention to the fact that New Zealand has led the world in not standing by until drastic measures are needed to conserve, restore and rebuild marine resources Instead New Zealand is an area where eco-systems have never been overfished and are effectively managed for ecological sustainability which is so important for future generations
Participating Children: Ashley Baracael, Connor Bickford, James Brindley, Arianne Capulong, Kimberley Claffey, Kevin Colita, Arianne Dallas, Gelline Ebreo, Cyrus Grafil, Harleen Kaur, Angela Kim, Calab Lunavich, Jemima Maningas, Jessica Mak, Alina Neznamova, Rachelle Nicdao, Shraya Patel, Renee Paterson, Lexi Primrose, Monique Quizora, Neha Reddy, Emily Reid, Peaches Scott-Merino, Holly Thai, Jenny Tran, Uvindi Walallawita, Madison West Kowhai Intermediate School 26 Onslow Road, Kingsland, Auckland 1003 Roll: 402 Motto: We Learn: No Exceptions
Right in the heart of Central Auckland, adjacent to Eden Park, Kowhai represents middle New Zealand Our diverse school community is rich in cultures - a preview of how all Auckland will be in the decades to come Kowhai is New Zealand’s first peopleoutgoingcreativeinquisitive,onbeenyearsschoolintermediateandfor90wehavefocusedgrowingandyoung
Teachers: Tracy Taylor – Visual Art and Dave Kindley –Hard Materials
114 | NZ Sculpture OnShore Exhibition 2014 Theme: School
Students came up with a variety of different scenarios and influences of the human environment and how the art can be used to represent these aspects in sculpture form Their particularofandtechniques,consistedbrainstormingofdifferentmaterialsscalesEachpieceartrepresentsastoryofhuman activity
Teachers: Andrea Adams Gibson and Sarah Boddy
Roll: 940 Motto: Reliability, Integrity, Service Mission Statement: TALI: We are Thinkers, Achievers, Leaders and Innovators
Teacher: Sam Ibrahim Participating Children: Kate Baker, Matariki Bennett, Oscar Bowman, Connor Fellowes, William Kung, Izzy Mackenzie, Daniel Mackay, Emily Sharpe, Mahina Watta, Will Newton, Ruby Osborn, Eva Williams, Lucca Woodward, Harriet Woodward Point Chevalier School 7 Te Ra Rd, Pt Chevalier, Auckland, 1022 Roll: 690 Motto: Progress with honour Point Chevalier School is a Year 1- 6 inner city state school in Auckland with a growing roll of 690 students We are a school with a focus on educational achievement for our students in an environment of respect At Point Chevalier School we see our most important resources as the people – students, staff and community Theme: Ocean life Our theme reflects our proximity and connection to our local beach, Point Chevalier We have a strong commitment to environmental issues and support the extensive work carried out by Sustainable Coastlines Therefore our theme also reflects this Our Year 4 artists selected a marine animal to research and learn about They then shared their learning on their blogs before sketching and designing animals with a view to creating the 3D artworks We have really enjoyed the process of researching and sharing what we have found out in both text and visual media This journey has involved lots of learning for all involved
NZ Sculpture OnShore Exhibition 2014 | 115 Theme: Art of Humanitarian
A group of talented Year 8 students were selected to create a sculpture in our technology workshop After some discussion and investigation, the group selected ‘Art of Humanitarian’ as the theme of their sculpture
Participating Children: Aika Alanson, Grace Allan, Joshua Allington, Peter Babich, Sophie Baden-Myers, Johnny Barnes, Finlay Baynham, Joe Berman, Maxwell Blackmore, Loic Bosman, Georgina Bottomley, Nikolai Bouzaid, Lola Brown, Jed Burgess, Ashley Chan, Mattia Cucciniello, Keira de Beer, Eric Davison, Sasha Farman, Toby Gracewood-Easther, Noah Fleming, Sabine Grootegoed, Charlotte Hancock, Oscar Harding, Isla Harrow, Isabella Houghton, Aimee Hulme, Charlotte Jones, Anna Lepua, Ben Levis, Tayla Lowe, Oscar Lyons, Toby Marsh, Bede Maxted, Anneke van Oorsouw, Samot Parker, Rose Perry, Grace Russell, James Silcock, Milana Smith, Brooklyn Strang, Thomas Stokes, Britta Sumich, Matthew Sutton, Marie-Isabelle Ussher, Luke Ward, Sophie Westenberg, Cade Wheeler, Stanley Whineray, Maggie Wright, Miro Wrightson-Lyons, Rose Zhang Remuera Intermediate School Ascot Ave, Remuera, Auckland 1051
We have a school zone, the majority of our pupils are local, but we also have a large number of out of zone pupils from a wide catchment area which makes us the multi-cultural school of 940 students we are today We have an expectation of excellence and cater for a wide variety of learners The emphasis is given to the inclusion of, and provision for, all learners and
The visual arts are well supported both resource-wise and through positive encouragement for the need to keep creativity alive Through the visual arts we are thinkers, achievers, leaders and innovators
The fun thing about this collaboration is that there is no right or wrong answer – just lots of imagination and the knowledge of how to create your vision This ceramic piece was created by two Year 8 classes who spent 12 weeks learning processes, problem solving and then working in unison to create pods and plants that work together Trying to piece it together and ensuring all students were represented was only a small part of creating our installation Deconstructing and setting up for the exhibition was the next part of the challenge
Amediumssketch of their ideas for this land was drawn up and the children chose the area they especially wanted to work on Their creativity was evident in the suggestions of fire people, toadstool houses and hanging tree people
Participating Children: Tjasa Arandjus, Miran Ariawansa, Natalya Carter, Jarrod Chan, Jasmin Chiu, Hannah Farmiloe, Alex Goodwin, Benjamin Hart, Tyrell Holloway, Emma Johnson, Jasleen Kaur-Grewal, Minjae Kim, Luke Kneale, Yiran Liu, Emily Lott, Shannon Lunny, Sol Min , Jessica Moana, Honoka Osaki, Keerthiharan Prabaharan, Brasilia Reti , Waimarie Rewiri-Beck, Rachel Sadler, Asta Schnell, Alysha Selby, Alex Smith, Jerry Stowe, Phoebe Warn, Samuel Wilks, David Wilks, Cassius Williams, Bonna Yang, Grace Yang, Jo Zhang, Daniel Zhu St Joseph’s Catholic School 2TakapunaTaharotoRoad, Takapuna, Auckland 0622 Roll: 400 Motto: Courtesy, Care, Cooperation, Courage St Joseph’s Catholic School Takapuna,for boys and girls from Year 1-6, was founded by the Mercy Sisters and is situated adjacent to the Catholic Church at 2 Taharoto Road, Takapuna It has a rich history dating back to 1846, when St Mary’s Industrial School was started on the site St Joseph’s School was started in 1893,with six boy students, as an orphanage and school Today, the majority of our 400 students come from Takapuna, Hauraki, Milford, Forrest Hill, Sunnynook, Glenfield, Unsworth Heights and Highfield and include many different ethnicities Our school values of Tika Justice, Pono Truth, Aroha Compassion, Manaakitanga Hospitality and Tapu Respect for our Environment, based on the Mercy Charism, form the basis of our living and learning at St Joseph’s They are expressed in our motto of Courtesy, Care, Co-operation, Courage Theme: Imagination- The Enchanted Land At St Joseph’s School we encourage all students to be creative, innovative and effective problem solvers Our term three concept is Imagination and when we spoke to the Year 5 and 6 children their ideas ran wild We eventually settled on an Enchanted Land as this would enable all of the school, from our five year olds to our 11 year olds, to be involved using many different sculpture
The four elements of fire, water, wind and earth are represented in the design Teachers: Organisers; Gulgan Yilmaz, Erika Bon, and all staff at St ParticipatingJoseph’sChildren: Noah Andrew, Eva Angjelinovic, Stella Burns, Ethan Drury, Sophie Drury, Kieara Fernandez, Liam Kelly, Charlotte Kyme, Aedan Nicholls, Felix O’Sullivan, Jake Paul, Raewen Puntanar, Kiera Sinton, WijesinhaSutjiadi,JaniceTasha
Theme: Alien Garden
116 | NZ Sculpture OnShore Exhibition 2014 their interests
Teachers: Billie Sturgiss and Neva Summers
Theme: Our Place, Our Pou and Pickets for the Pacific Vauxhall School’s overarching theme for the year is Our Place The children have created Pou, which represent and reflect their understanding of our place Pou traditionally are boundary markers and stand to guard and protect They tell the stories of the people, their ancestors and the place Standing alongside our Pou will be an additional project by our Year 5/6 students, Pickets for the Pacific This piece acknowledges the strong connection we have here in Devonport with the ocean, the land and sea, with the pickets referencing our colonial heritage
VauxhalltogetherSchool is situated in the historic Devonport area on the North Shore of Auckland and is located off Vauxhall Road between Narrow Neck and Cheltenham beaches By Auckland standards Vauxhall School is a small school with a roll of 292 Vauxhall School is a variable space school where classes are grouped together to share teaching spaces, teachers and resources Variable spaces are used to create the best possible individualussituationslearningItenablestocaterforneedsand to encourage children to develop together’-Mottoencompassedallandinter-personalindependence,skillsresponsibilityofwhichareinourof‘Onwardmovingforward
NZ Sculpture OnShore Exhibition 2014 | 117 Vauxhall Primary Morrison Avenue, Devonport, Auckland 0624
Roll: 292 Motto: Onward – moving forward
Teacher: Sarah McIntyre
Participating Children: Zac Adler, Galeyt Alexander, Peri Alexander, Lachlan Anderson, Isla Andrews, Niamh Andrews, Josh Arneil, Tom Ashwell, Cruz Baker, Felix Baker, Jarvis Baker, Lyla Baker, Tataiarangi Baker, Julian Barker, Leon Barrett, Noah Bayliss, Sam Bayliss, Blake Bellingham, Charlie Birks, Jacob Birks, Eddie Biss, Jemima Biss, Jodie Blackwood, Luke Blackwood, Jamie Blair, Laura Blick-Moroney, William Blick-Moroney, Leon Boardman-Hill, Nathan Bremner, Amelia Brewer, Henry Brewer, Keating Brick, Lucy Brick, Mia Brown, Nina Brown, Joe Brownlie, Dalton Burrows, Melissa Busch, Natasha Busch, Archie Caldwell, Lovisa Camburn, Matilda Camburn, Ethan Cash, Zara Cash, Connor Christensen, Eve Christy, Matthew Claridge, Max Clarke, Jamie Clumpas, George Collier, Grace Collier, Tom Collier, Dominic Cook, Brooke Cooper, Lucy Cooper, Oliver Cooper, Skye Cooper, Rooster Cope, Violet Cope, Bethany Corbett, Lily Corbett, Hannah Crook, Madeleine Crook, Ethan Curson, Isla Davis, Gemma Dean, Gabriella Dellabarca, Oliver Dellabarca, Giselle den Breems, Luka den Breems, Benjamin Drew, Sofia Drew, Elka Drozdowski, James Dyne, Asha Edwards, Pippa Edwards, James Fairbairn, Charlie Farthing, Malia Faulalo, Si’ai Faulalo, Alyssa Fellingham, Lilly Fellingham, Ava Fitzgerald, Eden Fitzgerald, William Fleming, Mikyle Fonagy, Sarah Forbes, Fedor Fox, Jasper Fox, Antony Frase, Nina Fraser, Sam Frazerhurst, Eden Gibbes, Ollie Gibb, Jack Gillbanks, Luc Gladwell, Charlie Glass, George Glass, Raahi Hannah,HollyLucyBraydenScoutNathanielTommyOscarMaxLouisGray,SavannahRowanMollieGould,Goudie,Krishnan,Gossage-LewisBarneyFinnGranger,Granger,Grapputo,Gray,ZacAriaGrimshaw,Grimshaw,Grimshaw,Grimshaw,Gustafsson,Hallman,Hallman,Hamilton,Hamilton,Hamlin,JamieAdelaideHare, Anna Hare, Luka Hart, Lewis Hawes, Jessie Hitchen, Maui Hitchens, Alice Hobbs, Chloe Hobbs, Ethan Honiss, Rhys Honiss, Kianni Hooker, Shanae Hooker, Emily Howcroft, Alisa Howden, Mariana Howden, Katie Huggins, Osis Iliohan, Evie Ismay, Logan Ismay, Leila Ison, Hamish Jardine, Lachlan Jardine, Abby Jenkins, Cece Jenkins, Charlie Jenkins, Marc Johnson, Skyla Johnson, Allie Johnstone, Otis Jones, Ongelique Kaipara, Amelia Kaye, Kate Kaye, Phoebe Kennedy, Lucy King, Samantha King, George Layburn, Brooke Leonard, Jude Leonard, Isaac Lough, Reef Lough, Amelia Lucas, Mischa Lucas, Jessica Lusis, Yuzuha Mabuchi, Bianka Maclaren, Alex Macrides, Luca Macrides, Oliver Maher, Lewis Maurice, Charlotte McBrde, Lily McBride, Logan McCallum, Chloe McCarthy, Tom McCarthy, Finn McGregor, Eva McLean, Cooper McNaughton, Aaron McPherson, Luke McPherson, Elsa Mead, Lucas Mead, Claudia Meade, Tom Meade, James Megrath, Aleksander Miernik, Chloe Mikkelsen, Max Mikkelsen,
The work of our new entrant children in this exhibition illustrates our belief that our vision of all children leaving our school as active, engaged learners who are successful and passionate about life and learning begins from the moment they step in the doors!
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We worked collaboratively to decide where to place the different shaped bottles and lids and which were the best colours to use
Teachers: Kylie McBeth, Linda Poole, Linda Bowman, Clare Thompson, Isla Osborne, Bruce McNaughton Participating Children: Ngamata Ahiao, Sam Baddeley, Maya Bojarski, Daniel Brophy, Hollie Buckley, Ella Clark, Dash Coles, Jasmine Curran, Tom Curteis, Jessica Donnelly, Charlotte Dorrington, Gemma Douglas, Cato Fong-Fitzpatrick, Zion Fruean Peeni, Jemima Garnett, Maddie Harcourt, Nate Hiki, Josh Hollard, Molly Hutton, Anthony Jakicevich, Monika Jakicevich, Finn Jones, Aria Kells-Burgess, Ava Kennedy-Grant, Ashton Kirke, Mattie Lang, Rose Larmer, Skywalker Laulu Siuiepa, Ava Lee-Smith, Arthur Linton, Jemma LorchChurch, Dylan Lord, Georgia Marshall, Cooper McAnulty, Tehya McDade, Archie McGregor, Ella McLeish, Oscar Miller, Beatrix Muir, Finn Nelson, Eleanor Parkins, Dylan Parker, Luella Pickering, Lola Pillay-Welch, Chloe Rawlence, Isla Roberts, Mickey Ryan, Lucas Sandoval, Toby Schaffer, Sienna Smith, Julian Stevenson, Daniel Tattersfield, Hollie Thomason, Anna Watt, Richie White, Olive Wilson, Zach Zagalsky, Leo Zigliani
Theme: Transformation: Transforming the building site with Totem Poles
Westmere School Corner Garnet Rd and Larchwood Ave, Westmere, Auckland 1022 Roll: 660 Motto: Pride, Honesty, Respect Westmere School is a vibrant, urban inner city Decile 10 school of 660 children We have a Maori language unit, Nga Uri O Nga Iwi and value our Treaty partnership relationship with local Iwi Westmere School is being rebuilt with learning spaces to meet the needs of a 21C curriculum In these places, teams of teachers work collaboratively together in purposeful, flexible environments Our curriculum aims to develop the holistic nature of the child; so while we pursue high levels of personal excellence in core academic subjects, there is a strong emphasis on the performing and visual arts, sport and cultural activities
Our school is being transformed around us We made these totem poles to transform the building site We learnt that traditional totem poles used symbols and images to represent different messages and that they told a story As a community we collected a variety of plastic containers and lids and sorted them into colours We then chose stories to look at in detail For some of the totems we used the colours to represent the characters and the places in the story For others we used the colours to represent the emotions or feelings
Eva Miseriaux, Matthieu Miseriaux, Stanley Mobley, Grace Moore, Harrison Moore, Jacob Moore, Caitlin Morrison, Phoebe Morrison, Toby Morrison, Charles Morse, Holly Morse, Kiki Muir, Maaki Muir, Amelia Murch, Alex Ness, Sebastian Ness, Caleb Newton, Ethan Newton, Ruben Newton, Daniel O’Connor, Cruz O’Connor-Hood, Sam O’Sullivan, Mia Ohlin, Eva Oldham, Sianna Palmeri, Arpita Patel, Alex Perkins, Denver Perkins, Heloise Phillips-Smith, Bjorn Piper, Markus Piper, Mika Poor, August Popadich, Samuel Porter, Nick Probert, Rohan Rakim, Jemma Ramsay, Marcel Raymond, Natalie Rayner, Alex Rendle, Matthew Rendle, Jessica Rice, Willem Richardson, Matthew Rogers, Kiri Ropitini, Nathan Russell, Ben Ryan, Ella Ryan, Maddie Ryan, Svea Sagar, Grace Sara, Jack Sara, Amber Saunders, Lucas Saunders, Michael Saunders, Alex Schenkel, Josh Schon, Karl Schuster, Oliver Service, Isla Silk, Jim Simpson, Julia Sjaarda, Vincent Sjaarda, Annabelle Skerten, Juliette Skerten, Sebastian Skerten, Alexander Skilton, Daniel Skilton, Hannah Smith, Ollie Smith, Mason Smythe, Leo Soboil, Lucas Soboil, Alizee Stern, Christian Stern, Isla Stewart, Skyla Stoddart, Bianca Stokes, Mala Sullivan, Henrietta Sutherland, John Sutton, Darcy Taylor, Nash Taylor, Rose Thatcher, Ngaio Thomsen, Joel Thomson, Luca Tollemache, Heath Tomlinson, Misha Wakuluk, Georgina Walker, Isabelle Walker, Janishka Walpola-Lokuge, Felix Warringsholz, Lilly Warringsholz, Kita Weir, Florence Welton, Iris Welton, Will Westgate, Benjamin Wheeler, Amelie Williams, Freya Williamson, Maya Willis, Olivia Willis, Maxwell Wilson, Lola Wood, Christopher Woodfine, Maddie Wylie, Bethany Yates, Soraya Yates, Tabitha Yates, Ella Yazici, Kaan Yazici
Set on a historic cliff-top reserve in Devonport with panoramic views of Rangitoto and the Hauraki Gulf, the event is New Zealand’s largest outdoor sculpture exhibition, featuring more than 100 works by as many artists, and offering a unique snapshot of contemporary three dimensional art practice Complementing the outdoor sculpture is an indoor gallery featuring smaller works suitable for domestic gardens and interiors
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NZ SCULPTURE ONSHORE has come to be recognised as a premier art event showcasing contemporary sculpture by New Zealand artists – from senior and established practitioners to exciting new faces
The event is also a major fundraiser for Women’s Refuge NZ All of the works exhibited are for sale, and along with ticket and other revenue, this has enabled donations of $1 34m to be made to Women’s Refuge to date NZ Sculpture OnShore Limited is wholly owned by Friends of Women’s Refuges Trust – a charitable trust established in 1995 to support the work of New Zealand Women’s Refuges The vast majority of those involved in planning, organising and staging the exhibition are volunteers This not only allows us to keep overheads to an absolute minimum, but provides an opportunity for a large number of people to be directly involved and to contribute to the work of Women’s Refuge We are very grateful to these wonderful, generous people, without whom this exhibition could not take place
NZ SCULPTURE ONSHORE LTD BOARD OF DIRECTORS Sally Dewar, Chair Nigel Arkell Erich CaroleSuJoJenniferBachmannBuckleyEveLeslieSorrell THE EVENT TEAM Rob Garrett, Curator Jan McEwen, Event Manager Melanie Weeks, Artist Administrator VOLUNTEER CO-ORDINATORS Front Gate: Jill Goddard Art Ambassadors: Liz PennieDarlowKennings Guides: Helen Gillespie Art Sales Team: Alix TSharmanSuSueShelleyBachmannChignellHarveyLeslieRingrishaWhiting Ticket Sales: Lisa McCloskey Parking: Devonport Rotary Children’s SculptureTVZoeRhonwenExhibition:DewarHoeberigsalHoeberigsaniaStewart School’s EducationFionaTAlysonMichelleJillProgramme:CahillMaleCraigracySampsonWhite Kidzone: Jacqui Reid nz sculpture onshore Supporting NZ Women’s Refuges
Devonport Rotary has provided funds in excess of $300,000 over recent years, to worthwhile charities and community projects
If you would like to know more about Devonport Rotary and would like to help in any way, please go to our website www devonportrotary co nz Graham PresidentRowe2014 - 2015
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The Takapuna Grammar students have now completed all of the double hung sash windows in the barrack room of the fort Each year, they are assisted with installation work by DoC, Rotary Club of Devonport, Bunnings Warehouse and Resene Michael Pritchard, Chair Tamaki Reserve Protection Trust Inc
Installing the six-light double hung sash windows in the Barrack Room.
FORT TAKAPUNA is again the venue for the Children’s Sculpture at the Fort exhibition The historic fort built in the late 1880s is administered by the Department of Conservation The Tamaki Reserve Protection Trust Inc assists with the restoration of the fort and other historic buildings on the site Inside the Fort
A very warm welcome is extended to you all, by Devonport Rotary, on this, NZ Sculpture OnShore’s 10th Anniversary
We continue to give our support to many local and international causes These include supporting local students in their studies, providing technology for special needs children, and assisting in the worldwide eradication of polio in co-operation with WHO and the Bill and Melinda Gates Foundation
DEVONPORT ROTARY
you will see results of the work achieved since 2006 by year thirteen technology students at Takapuna Grammar School As part of the NCEA technology programme the TRPT is the client, and the stakeholders have been DoC, Salmond Reed Architects and exhibiting schools
This event has become something of a North Shore institution and Devonport Rotary is very proud to be associated with this bi-annual event to help raise funds for Women’s Refuge
TAMAKI RESERVE PROTECTION TRUST
NZ Sculpture OnShore Exhibition 2014 | 121 OUR GENEROUS SUPPORTERS SPONSORS: NZ Sculpture OnShore is grateful for the generous support provided by its sponsors COOPER & CO REAL ESTATE LTD MREINZ LICENSEDREAAAGENT2008 The Officers Mess At Fort Takapuna
THIS YEAR, BEING our tenth biennial exhibition, we reflect on the foresight, integrity and commitment of the women who conceived this project and brought it into the world through hard work, determination, love and laughter Their legacy is a magnificent exhibition, which has enriched everyone involved, and benefited Women’s Refuge by more than $1 34 million Their pledge to raise funds for, and awareness of, Women’s Refuge and the plight of the victims of domestic violence has remained central to the values of the Friends of Women’s Refuge Trust and NZ Sculpture OnShore
Dorothy McHattie (Deputy Chair) Genevieve Becroft QSM Liz TrishaTaniaSuPennieSueJillJillianJoSallyRhonwenDarlowDewarDewarEveEwartGoddardHarveyKenningsLeslieStewartWhiting FRIENDS OF WOMEN’S REFUGES TRUST PATRONS Judy Bailey ONZM Genevieve Becroft QSM Erika LenoreCongreveSumpter QSM
The money we have donated has been used by Women’s Refuge for special projects like ‘emergency essentials’ packs for children arriving at refuges with their mothers, updating and printing the Fresh Start handbook for those mothers, the Mokopuna Child Advocacy kits and the Women’s Information Support and Education (WISE) programme Without the support of Friends of Women’s Refuges Trust these projects may not have been possible
As a result of our donation of $110,000 from the 2012 event, Women’s Refuge was able to establish a boutique recycled clothing chain – Yellow Belle The first shop opened in early 2014 in in Takapuna, with an associated distribution centre – called the Kowhai Tree – in Silverdale These are providing a solid foundation for Women’s Refuge to create an ongoing, sustainable income stream, and we are incredibly proud that our funding has enabled this to happen
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As a voluntary organisation, we rely heavily on a very large number of people who willingly take on all of the challenges of organizing an event on this scale – and do so with incredibly good cheer Our gratitude goes beyond words We are grateful also for the public support that contributes so much to the success of our event
We take pride in the belief that each event is better than the last So we welcome you all to NZ Sculpture OnShore 2014 We hope you enjoy it as much as we will!
FRIENDS OF WOMEN’S REFUGES CHARITABLE TRUST FRIENDS OF WOMEN’S REFUGES TRUST Alix Bachmann
Alix Chair,BachmannFriendsof Women’s Refuges Trust (Chair)
NZ Sculpture OnShore Exhibition 2014 | 123 FoundationPATRONS Donor David and Genevieve Becroft Foundation Gold The James Wallace Arts Trust Silver Dame Jenny Gibbs Helen MichaelGillespieandCatherine Hapgood Andrew and Jenny Smith John and Sondra Wigglesworth Bronze AMA Capital Management Limited John MarkCincoBarnettCineandSue Dixon M Peters Contributors PDAnonymousandRM Lane Warren and Fay Sowerby Estelle AlasdairMartinWhye ACKNOWLEDGEMENTS BettesAdfenceBar & Eatery Ron Browson, Senior Curator of Auckland Art Gallery Devonport Business Association Carmel College Empire JeremyMarlyneJulietteIanIntentsJulieGillGillTomRebeccaElectricalEmeryGrayGatieldHanlyIbbotsonEventsPetersPlumbingLairdJacksonSchmid–Officer Mess Lisa Paterson – Blakat Aaron MikeMairangiMcConchieArtsCentrePritchard–Tamaki Reserve Protection Trust Nessie Cupcakes New World Albany Royal NZ Navy Chris McGowan – Original Image Portent MelissaComputersMiddleton – Red Gecko Creative Hayden Rountree – A Strange Cast Rotary Club of Devonport Red Badge Security Stefan Sebgrets – DOC Whitespace Gallery Howard Williams Isaac Williamson – A Strange Cast ACKNOWLEDGEMENTS
LocalDevonport-TakapunaBoard bringing great events to your community We are a proud sponsor of NZ Sculpture OnShore, an event supporting NZ Women’s Refuge and the prevention of violence in our society. To find out more information on the support available to your event by Auckland Council and its local boards, go to aucklandcouncil.govt.nz Photographer Luke Harvey
BC3861
On behalf of Hesketh Henry get ready to awaken your imagination. As a founding sponsor of NZ Sculpture OnShore Hesketh Henry is proud to support NZ artists and help raise over $1.34m for the NZ Women’s Refuge.
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NZ Sculpture OnShore Exhibition 2014 | 133 Art ImpObject+OrtAntpAIntIngs And cOntemp OrAry Art 27 nOvember Colin McCahon, Clouds No. 7 Realised $263 810 (April www.artandobject.co.nz2014) www.theofficersmess.co.nz4456377or021574733 New Zealand chef Jeremy Schmid has recently opened The Officers Mess. Situated on the cliff top at Narrow Neck Beach, Devonport. The Officers Mess is a venue for hire. We would love to hold your e vent at our venue. We are both creative and flexible in our delivery of service & food. We can cater for any event. Open every Thursday for Dinner (booking s essential) Sunday Brunch 9am till 2pm Devonport’s New Wedding & VenueFunction
134 | NZ Sculpture OnShore Exhibition 2014 b 09 307 0133 h hello@blakat.co.nz c www.blakat.co.nz It’s more it’saccountingthantous,yourlivelihood hawkes bay heritage classic INTRODUCINGstyleA new look reflecting over 100 years of the superb quality and heritage of Vidal Estate wines. vidal.co.nz We deliver cost effective business advice, account preparation and taxation support. Big enough to get the job done but small enough to care The Business Advisory Group is proud to be a sponsor of NZ Sculpture OnShore nz sculpture onshore Supporting NZ Women’s Refuges
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