LOUD 65 by DEPOT

LOUD ISSUE 65 - The Dinosaur In The Room: Does The Depot Run On Redundant Values? 3

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Artweek At The Depot - exhibition opening photos The Dinosaur In The Room - Linda Blincko Cultural Icons Studio Visit: Susanne Khouri Remember That November Upcoming Exhibitions Introducing The Pocket Gallery Remembering Gifford Jackson A Word From Arlo Depot Summer Calendar Studio Visit: Margaret Bray Michael Ferriss Interview Colour Me In - Robyn Gibson Depot Press Depot Sound ArtsLab Lynn Lawton New Staff - Chris Cudby Merry Xmas From The Depot

Edited by Chris Cudby / cover image by Chris Cudby, special thanks to Emma Badeia for her work in putting together LOUD 65. Welcome to LOUD #65 - the Depot Artspace quarterly magazine showcasing exhibitions, events, artists, music and musicians and a host of other creative initiatives. LOUD is a condensed representation of our values; a clear and informative voice as LOUD is the voice of Depot Artspace. LOUD is about respect, support, advocacy and promotion of the arts. LOUD is about liberation of the arts from current narrow definitions. LOUD is a forum for discussion and opinion. All content ÂŠ Depot Artspace and the respective artists, 2015 For magazine contribution, comment or criticism contact Linda (09) 963 2331 or linda.blincko@depotartspace.co.nz

ArtWeek at The Depot Artweek Auckland Opening - Saturday 10 October

The opening of ArtWeek was a busy and exciting time at the depot with three new exhibitions - Artweek Auckland is an annual Auckland-wide celebration of the visual arts

Verge Gallery came alive with Wesley Fourieâ&#x20AC;&#x2122;s interactive installation

In the main Gallery was the Il Trittico group made up of three painters: Craig Humberstone, Steve Burgess and Myung Ja Lee In Small Dog Gallery were beautiful screenprints from Susanne KHouri

Photos by Emma Badeia

THE DINOSAUR IN THE ROOM: DOES THE DEPOT RUN ON REDUNDANT VALUES? by Linda Blincko - Depot Artspace Creative Director We all know about the elephant in the room, the glaringly visible presence that everyone tries desperately to avoid drawing attention to or discussing. I’d say these days there’d be enough elephants hanging out in our living and working environments to repopulate Africa. Elephants take up a lot of room and their removal and repatriation may create a much more vital, less suffocating and socially constricted society. Some of the elephants I’m familiar with are significant, statistically identifiable but socially contentious or personally painful; suicide, poverty, bullying, sexism, differing religions and other ideologies. A willingness to front up to them means to reclaiming our social and internal territory and living more authentic lives. It is tantamount to finding freedom. We have a much more complex relationship with dinosaurs. For a start they’re extinct and most people would be unlikely to believe they occupy any space in our lives. Yet the subliminal power they exert over people is exacerbated by this belief. For example, Christianity and other religious systems hold to questionable values that validate entrenched attitudes such as homophobia. Such enculturated values may have no relation to the fundamental values from which they have somehow metamorphosed; in this instance expressed by the biblical admonition to love your neighbour and your enemy. As the Depot moves toward its twentieth year we have been discussing whether the values on which the Depot was founded are like dinosaurs, imbedded, but dated and anachronistic, or whether they endure because they transcend social trends and other transient conditions. One of the reference points for the contention that values are enduring has been the work of structural anthropologist Claude Levi Strauss, whose work identified cultural universals. While cultures may apply or demonstrate them differently the same values or practices exist from culture to culture. One of these was identified as gift-giving, elucidated on by Strauss’ contemporary, Marcel Mauss. “Right across the globe and as far back as we can go in the history of human civilization; the major transfer of goods has been by cycles of obligatory returns of gifts.” Mary Douglas, 1990. Foreword to The Gift by Marcel Mauss, 1950 The Depot’s values actually preceded its establishment and have their roots in community, and community development philosophy. The values were thus imbedded in its origins. The raison d’etre of community development is the pro-active responsiveness to identified need in the community. 4

We have spent significant time over the years revisiting the notion of community and accompanying values as this is fundamental to our presence in Devonport and in serving the arts. Here are some excerpts from early LOUD magazines which both contextualise and articulate the ongoing values of the Depot and you may determine for yourself whether they are enduring or redundant: CONTEXTUALISING VALUES: From True Community, LOUD 58: The Depot describes itself as a creative community, which, in these days of globalised, homogenised and upsized everything - cities, communication and consumerism – we believe is more important than ever. It is a truism that in order to grow and thrive, every living thing must be nurtured. And yet we fail to attend to some of the most precious things in life, with the likelihood that once gone we are, to our detriment, unable to retrieve them. Extinct animals and dying flora are often testimony to neglect, if not willful disposal/destruction, perpetrated by ill-considered or unconsidered human beings. From Small Is Beautiful, LOUD 38: Why is small beautiful when everything promoted as powerful, spectacular and worthy of respect in society – motor vehicles, buildings, personal appendages, bank balances - seems to mock the statement? Super yachts, super powers and, more lately, super cities all proclaim the glory of size. The latest addition, the imminent Auckland Super City, also boasts economy and efficiency as its raison d’etre. Well, large has never actually benefited the general populous, especially in relation to the examples above. Super City Auckland has yet to be instigated and to prove otherwise, but bigger has never proved better in other places, where downsizing to more decentralized entities has eventually been the outcome. When structures get big the things within them are, of course, smaller and can often get overlooked. This can be exacerbated for that which is already small or overlooked – minority groups, social problems, certain interest groups and sectors of the population and certain localities – is often rendered invisible. And then, when bureaucracies are formed in response to the complexity and size of services required for large populations, another significant set of problems arises; in the quest for efficiency the system often overlooks or sidelines those it is set up to serve. Hospitals, government departments, banks and other corporate entities such as telephone and internet service providers - the list is endless – are all client centred services, and yet clients often feel superfluous, like they’re languishing somewhere at the bottom of the bureaucratic structure. 5

From Service, LOUD 35: These days service seems to have evolved, along with the technology that now defines it, into a much less personalised, more corporate activity. A service industry these days may not even make contact directly with people. Impenetrable bureaucracies full of faceless workers, automated voices at the end of answer phones or call-waiting options, comprise some of our significant relationships with organisations whose role is ostensibly to serve us. It’s got to the stage that organisations, for whom personal service should be a given, are flaunting their capacity to provide contact with a human being as a significant point of difference. Quality of service is a gimmick generated primarily by the profit motive. From Ethos and Identity, LOUD 45: Auckland City is soon to become a mini-megalopolis relative to its previous incarnation as a cluster of independent self-governing cities and districts. This is an unprecedented change in New Zealand’s local body politics, and, potentially, in terms of how we view ourselves. Already the transition has precipitated a Super City identity. To maintain a sense of local community is often labelled pejoratively as parochialism, although the Super City structure accommodates and supposedly celebrates local identity. More and more we see community values absorbed into big city thinking. Examples include: community identity superseded by regional branding; pulling together replaced by individualism and competition; neighbourhoods replaced by dormitory living where working commuters are up before the crack of dawn to miss rush-hour traffic; the family or whanau supplanted, through need or convenience, by care programmes for children or fragmented out of work and school activities; communication over difficult issues giving way to disputatious litigation; computers as a key source of relationship. 1996-2015: DEPOT VALUES From Possible Utopias, LOUD 16: According to Buckminster Fuller, visionary and an environmental voice of the 60’s, unless we find new and more cooperative ways of living we’re likely to selfdestruct. “The world”, he said, “is now too dangerous for anything less than Utopia.” Here at the DEPOT ART SPACE our philosophy informs our modus operandi and we consciously seek to stay true to its precepts. 1. Vigilance is the precursor to value-based living: More vigilance and concern is required for the things we take for granted. These can be the most important things; the values we live by, the places we live in and the people we live with. How can we question, sustain or protect what we have ceased to pay attention to? In an environment subject to accelerated change it is likely we could lose the things that actually underpin our lives. One such component is community. 2. Big We, Small I: As John Donne most famously asserts, “No man is an island, entire unto itself…..” People recognise that interdependence, mutual support and exchange, achieves greater sustainability for the group. The recognition of mutuality or interdependence provides the pivotal characteristic of community, something the Dalai Lama refers to as Big We, Small I. “Community is vital and unifying, self-sufficient and harmonious, an antidote to a fragmented, commercialised society that is fatally and contagiously diseased.” Robert Houriet, Getting Back Together, 1971.

From Christ’s Bare Tree; Christmas Edition, LOUD 13: Good will to all human beings is the utopia that the Christmas season is supposed to exemplify. In this LOUD what we are celebrating with you is that there is a spirit alive which embodies not only Christmas but a way of living authentically in the world. To live by the spirit of Christmas is to live with good will toward all beings, not just at Christmas as we are admonished to do, but all year round. Here are some guiding principles that always keep us true to the pursuit of Utopia on these terms and as expressed by our infinite circular mantra, of ‘Creating An Environment that Encourages Creating’. Some of them appear antithetical to current societal values. From Vision, Values , Philosophy, LOUD 41: “The Depot is open and inclusive and encourages engagement in all art forms - to this end it offers a variety of facilities and services which support and galvanise the creative community. We believe that “the arts enrich and fulfill the lives of both those who create and those who appreciate them.” This statement concluded with the following quotation: “The arts are what make us human. The arts should be a part of everyday life. They don’t have to be heavy and pedantic and you don’t have to wear a neck tie to enjoy them.” At the Depot the essential human aspect of the arts is represented by the values it continues to uphold; the key ones being inclusiveness, accessibility and encouragement. These values are inter-related and together create an environment which is vibrant and meaningful. They enrich the world by encouraging diversity and innovation; they create good will and generate and a sense of belonging and identity. These values support an environment which allows for the greatest possible freedom to artists, part of which is the opportunity to take on and develop a project. In this context ‘yes’ supports and does not dominate; it understands equity and cooperation. Just as responsibility is an aspect of freedom it is also a component of vision. How is it possible to live according to a vision without embodying the values inherent within it? How can the Depot Artspace envision ‘an environment (environment being a universal as well as local consideration) that encourages creating...’ without being an environment that embodies its vision and represents it as desirable, for example, by providing the means of encouragement? And the means themselves comprise many facets which continue to unfold as one engages in the process of enacting the vision. Linda Blincko 7

CULTURAL ICONS Cultural Icons is a series of interviews with iconic New Zealanders who have shaped the arts and culture landscape of New Zealand. It features the histories, stories and experiences of some of our most significant visual artists, architects, writers, musicians, composers, arts commentators and philanthropists. Our most recent episodes include artist, author, and curator Sheridan Keith in conversation with Michael Smythe (Episode 75) and artist Fatu Feu’u interviewed by Denys Trussell (Episode 74). Sheridan Keith has long been interested in the way that objects are impregnated by time and rich in history, and looks to examine her ongoing fascination with art, science and wider culture. Keith views writing as a way of capturing experiences and putting them into form, not just for her lifetime but also beyond. This episode is filled with marvellous stories, such as the ice cream cake competition she won as a child in the middle of winter, and when her mother, artist June Black, commissioned her friend Rita Angus to paint Keith’s portrait. Sheridan Keith’s wit and warmth emanate throughout this interview, along with her insightful observations on art, existence and all things blikfang. Fatu Feu’u talks about the difficulties he encountered when he first started out as an artist, as there were few Pacific artists exhibiting. He divides his time between New Zealand and Samoa, and desires to see greater support to help nurture and develop young artists in Samoa. The conversation includes when Feu’u slipped out of the 2005 Wallace Art Awards early, unaware that he was later announced the winner; his pride in being included in Bottled Ocean (1994) the first survey exhibition of Pacific art in New Zealand curated by Jim Vivieaere; and his admiration for Pablo Picasso, who he believes to be the greatest painter of the last one hundred years. What impresses in this interview is Fatu’s passion for and knowledge of art, and his grateful, humble attitude about his experiences and role as a leader in contemporary art in the Pacific. Watch these episodes online at www.culturalicons.co.nz 8

Susanne Khouri

be rolled out on a plate. A door leads to a garden where she can make a mess and wash her screens.

Susanne Khouri is a printmaker based in Mount Eden. Originally from Sweden, she has made her home in New Zealand for the past 37 years.

Khouri uses both plate and screen-printing techniques to create her works. She is known for her choice of colours, soft greys, blues and yellows. Her works explore themes of landscape as the theatre of memory, of longing, hope and transition. They convey a sense of simplicity and stillness.

Entering her studio one immediately becomes aware of how small and busy it is. Every available wall, bench and shelf space is occupied by art materials or photographs of family and friends. There are messages and notes written on the wall, something to inspire or to remember. The works for her next exhibition are spread out on a table and next to it another table where a piece of frosted glass is covered with ink ready to

In addition to her studio work, Susanne Khouri teaches screen-printing classes at Lake House Art Centre in Takapuna. photos by Emma Badeia 9

Donâ&#x20AC;&#x2122;t miss Susanneâ&#x20AC;&#x2122;s exhibition at the Depot Artspace 21 November - 21 December: Undercurrents, an exhibition with Devonport printmaker Celia Walker.

On 28th November 1893 women voted for the first time. The legislation that granted women the franchise passed in September and women had less then ten weeks to enrol to vote. 84% of eligible women did so. Of those enrolled, 82% cast their vote. Come and celebrate that amazing achievement at 2pm on Saturday 28th November in front of the Devonport Library. Music, speakers and memories Options: suitable snacks, scones, gems etc a cushion or rug For more info contact ruth.calliope@gmail.com or 09 445 1254 Womenâ&#x20AC;&#x2122;s International League For Peace and Freedom. 12

UPCOMING EXHIBITIONS Group exhibition: 6.2 EX Saturday 21 November to Monday 21 December Featuring Bev Goodwin, Robyn Gibson, Carole Driver, Annie McIver, Andrea Halley and Janette Cervin Main Gallery Six female artists exhibiting individual genres of works; painting, drawing, sculpture and mixed media. Collectively driven, this exhibition sustains artistic integrity, personal achievements and explorations in each chosen field â&#x20AC;&#x201C; these artists independently generate the elusive connection between art and everyday life and share the desire to interpret their own ideology using the language of creativity. Opening Saturday 21 November, 2pm to 3.30pm.

Celia Walker and Susanne Khouri: UNDERCURRENTS Saturday 21 November to Monday 21 December, Main Gallery Each artist has produced a series of twenty works using print-based processes, ranging from solar-plate etching to monotype and screenprinting. The progression of works in Undercurrents explores the theme in metaphorical and more literal ways. Opening Saturday 21 November, 2pm to 3.30pm.

Peter Paul Barker and William Nesbitt: TRIBAL ART Saturday 21 November to Monday 21 December Small Dog Gallery “The artifacts I have collected have been made by skilled artisans incorporating a sophisticated style which include many different factors in their work. They used the power of emotion, combined with psychic phenomena to influence and control. The costumes, the dances, the masks, the festivities and the rituals were used not only as an educational tool teaching history and ritual but also as a way of bringing their culture to life making it alive and majic.” - Peter Paul Barker Tribal Art: Selections From A Personal Collection Opening Saturday 21 November, 2pm to 3.30pm.

Grant Sutherland MACHINE

and

Robyn

Gibson:

Saturday 21 November to Monday 21 December, Verge Gallery In this new exhibition Grant Sutherland continues his explorations in assemblage sculpture playfully utilising found and salvaged objects from the past breathing new life and humour into pre-loved everyday objects and discarded mechanical and industrial parts. Robyn Gibson’s new works contemplate the word ‘machine’ and how we relate it to some of our human actions, as a reverse anthropomorphism. “Our visual language has always intrigued me; my art practice often focuses on snippets of conversation or a published article, I then reinterpret it visually in a humorous, often cryptic way”. Robyn Gibson Opening Saturday 21 November, 2pm to 3.30pm. 14

U P C O M I N G

Beatrice Carlson: ENCAGED CAMEOS Saturday 21 November to Monday 21 December

The Encaged Cameos exhibition is a distinctive range of bespoke jewellery handcrafted by French-born New Zealand artist Beatrice Carlson. Opening Saturday 21 November, 2pm to 3.30pm.

Clive Kelly, Seth Kelly, Luke Kelly and Matthew Kelly: CONVERGENCE Saturday 2 January to Wednesday 13 January 2016 Main, Small Dog and Verge Galleries

E X H I B I T I O N S

Convergence is a collective exhibition by two generations of the Kelly family, Clive and his three sons, Seth, Luke and Matthew. It’s an opportunity to converge their unique creative views on the world into one gallery for the first time. Clive Kelly is an artist and art tutor who has exhibited frequently for many years. In this new series he continues his fascination with surface and depth, stillness and movement. It continues his preoccupation with the balance between abstraction and the recognisable image. Seth Kelly is an art director in film/TV who is developing ‘The Violet Sea’ project that examines his interest in explorers, the emotional and technical challenges they face and how paradise can quickly become hell and visa versa. He is also inspired by the contrast in scale between the materials and forms of human-made objects being engulfed by a vast natural environment. Luke Kelly is a graphic designer whose sculptural work merges themes of migration, movement, family histories, and cultural cross-references through mixed-media constructions. The crux of his artwork comes from observing, and being part of, the constant ebb and flow of New Zealanders’ lives and history. Matthew Kelly is also a graphic designer, living and working in London. His work is created using a process that fuses photography and found imagery. The conflict between what is a controlled medium in photography and a somewhat chaotic medium of expressionist painting creates a heightened sense of drama. 15

UPCOMING EXHIBITIONS Michael Ferriss: NINETY-NINE NAMES OF GOD Saturday 16 January to Wednesday 3 February Main Gallery An exhibition about our world under surveillance whether by satellite, street cameras or smart phones. Ninety-Nine Names of God illustrates our acceptance, not only through the works themselves, but also by transformation of the gallery space into a surveillance area where the viewer becomes part of the exhibition. In mystical ages God monitored our lives, our every move and even our thoughts. In this scientific age God has been replaced by satellites and the book of life is now digital, where information is stored on an unprecedented scale with dossiers on the lives of millions of people. Ninety-Nine Names of God, the second solo exhibition at the Depot Artspace by Michael Ferriss, depicts in abstract and surrealistic forms this age of technological surveillance. With the use of collage, paint and sculptural forms he gives them an ironic beauty not usually associated with the subject. Each piece of art is named after intelligence surveillance operations conducted by the ‘FiveEyes’ nations (an intelligence alliance between Canada, the United States, Australia and the United Kingdom where information is accessed and shared thus subverting privacy and surveillance legislation in any one country). Michael Ferriss studied art under Gavin Bishop at Linwood High School, Christchurch, New Zealand in the 1970s. He then explored electronic music for many years both through recording and live performances. He has released four albums to date along with the several recent live solo performances, including improvised music for theatre. (www.shima.co.nz) He has returned to the visual arts and exhibited his first body of work in 2014 with the theme of cartography for the new millennium using ideas of cyberspace, mapping memory and imagination through pictures. With two successful exhibitions of this work - the Depot Artspace and in Sydney’s Platform 72 - he returns with a new exhibition based on the subject of surveillance. Opening Saturday 16 January 2pm to 3.30pm. 16

We encourage you to come and be a part of the community. All are welcome at Depot Artspace exhibition openings and events.

Fraser Toulmin: CUBA INTACT

Saturday 16 January to Wednesday 3 February Verge Gallery Spending a month in Cuba at the beginning of 2015, Fraser Toulmin endeavoured to capture the heart and soul of Cuba while it remained ‘intact’. Fraser Toulmin is an avid traveller and citizen in a world without boundaries. A self-taught photographer and artist, he enjoys capturing what he encounters ‘on the road’. Photographs allow him to share with others, long after the moment has passed. Opening Saturday 16 January, 2pm to 3.30pm.

Pocket Gallery Change is in the air at the Depot as we consider a fresh approach in 2016 with the addition of a small art and objects gallery. Introducing… ‘The Pocket Gallery’. The Pocket Gallery will provide opportunities for artists to exhibit and sell their creations in a curated retail environment. We hope to show a wide range of finely made works that will be curated to create an atmosphere that celebrates the high standard and diversity of artistic talent in Aotearoa. These pieces will be affordable, ranging from $25 to $160, as we aim to appeal to a broad audience and make it achievable for everybody to take home an original work of art. As we continue to ‘create an environment that encourages creating’ the Pocket Gallery will be an inviting space that supports community engagement and collaboration. Stay tuned for updates in the Depot e-newsletter!

REMEMBERING GIFFORD Jackson

JACKSON, Gifford (Alban) ONZM: 1922-2015 We pay tribute to the remarkable Gifford Jackson, enlightened industrial designer and Cultural Icon, of Devonport, who passed away on October 30, 2015. Gifford Jackson was a wonderful friend of the Depot, introduced to us by designer and design champion, Michael Smythe who organised and curated a most marvellous retrospective exhibition here. Titled ‘Gifford Jackson, New Zealand Industrial Design Pathfinder’ it introduced manufactured examples of his design work including Clearlite baths, Feltonmix showers, a PEC petrol pump, a toy sundial wristwatch and a range of electric fence products. Along with examples of his design work and working drawings the exhibition also featured Jackson’s original Marisol skiff. It was the first review exhibition of a specific New Zealand industrial designer’s work to be mounted anywhere in the world. Gifford Jackson was the eldest son of Gainor and Margery Jackson and brother of the late Gainor Junior (Gem) and Phillip (Bloss). He is survived by his nieces and nephews, Davina, Jeremy and Hugo Jackson, Sarah Ward, Claudia Page and Ruth Jackson. We are proud to have featured Gifford Jackson on the Depot’s Cultural Icons series where he is interviewed Michael Smythe over two episodes. Supported by a wealth of images, Jackson recalls with astounding visual memory many of the experiences which formed his career, his life in New York and his eventual return to New Zealand. www.culturalicons.co.nz

A Word FRom Arlo The Depot is very fortunate to be supported by a fantastic team of volunteers. The wonderful Arlo Calkoen has enjoyed spending this time for over two years, below we hear about her experience during that time. I’ll start at the end as that’s the place which has most clarity. In short, over the past couple of years it would be fair to say the Depot has taken on a very special quality far beyond any expectations I might have had. Awe inspiring, contemplative, thought provoking, exciting and much, much more, it’s the place where I come to experience the humanity in us all. I admire the bravery of artists who, like sports people, put their hearts and souls on the line for critique by one and all. I’d describe the Depot as a place of hearts and souls. Sadly, the artists will never know the outcomes of their efforts, how their work changed perceptions, educated, touched, inspired, challenged or soothed. Sales are great, but the ripple effects of art go further, deeper. Images from around 100 exhibitions are now burned onto the hard-drive of my mind, how lucky am I? Strangely enough it’s a few of the works which challenged me the most to start with which now share my home, and one in particular which is there to remind me that its good to be challenged and how first impressions can change with time and understanding. There are artists I got to know through their work like Simon Kerr who shared his history through his work so intimately, iconic artists like Paul Hartigan whose work literally exploded with intensity, Dietlind Wagner’s Dede take on DaDa - the list is endless. I’ve loved them all and learnt from them too. Depot Artspace is such a special place, unique, free, ever-changing (exhibitions generally last for three weeks with numerous exhibitors) beautifully curated and brought about by an amazing team of people. Musicians both established and emerging have access to the best facilities through the Depot Sound recording studio. Artslab’s extensive programme helps artists into work. Yup, it’s a place to be very proud of and as we know, “ Earth without art is just Eh? and Heart without art is just He “ I wonder why people don’t spend more time with art. We hear a piece of music and grow to like it more over time, or go see a movie and maybe see it again, read and reread a book, but seldom give artworks a second chance. Final word. Depot Artspace. Notre Dame of Devonport. Don’t miss it.

“Earth without art is just Eh?” 19

Depot Summer Calendar

November 2015

21st opening 2-3:30pm

18th Closing

Andrea Halley, Bev Goodwin, Robyn Gibson, Carole Driver, Annie McIver, Janette Cervin ‘6.2 Ex Main Gallery Susanne K houri & C e ‘Undercurr l ia Walker ents’ Main Gal e ry

ters t o P o i Stud d n a l k Auc ers’ d n e b y ‘Cla l ery a G n i Ma Maree Scarlett rker a B l ‘Seeds’ u a Peter P Nesbitt Small Dog Gallery Wil iam ted Works & Anna Klek , Selec l ection’ t r A l ottka a o ‘Trib ivate C ry ‘Square a r P a nd Grid’ From l Dog Gal e Verge Ga Sma l ery Robyn Gibson & Grant Sutherland ‘Machine’ Verge Gallery 20

December 2015

21st Closing

Barker l u a P Peter Nesbitt rks m a i l i & W lected Wo t, Se r A ction’ l e l a o b i C ‘Tr e Privat l ery a m o r F g Ga o D l a Sm

Andrea Halley, Bev Goodwin, Robyn Gibson, Carole Driver, Annie McIver, Janette Cervin ‘6.2 Ex Main Gallery Susanne Kh ouri & Cel ia Walker ‘Undercurren ts’ Main Gal ery

Robyn Gibson & Grant Sutherland ‘Machine’ Verge Gallery

Depot Closed 22nd Dec - 2nd Jan

January 2016

2nd-13th Clive Kelly ‘Convergance’ Main Gallery, Verge Gallery and Small Dog Gallery

Opening 16th

Michael Ferr iss ‘Ninety Nine Names of G od’ Main Gal ery

Fraser Toulmin ‘Cuba’ Small Dog Gallery

Margaret Bray: Ceramicist

detail and captivating in their narrative as they tell stories of the natural world whilst also honouring the traditional techniques of pottery, an ancient art form through which many have found solace in the digital age. Her handmade wood-fired kiln which she laboured over for a number of years in order to achieve the desired finish on her ceramics is a testament to Margaretâ&#x20AC;&#x2122;s dedication to her craft.

From a hilltop in rural Ramarama where the home studio of Margaret Bray is perched, the artist enjoys an abundance of open space and fresh air. Her appreciation for these simple pleasures is what inspires her sustainable lifestyle as well as her ceramic practice. With a love for the organic and versatile nature of clay, she spends her days elbow deep in this natural material, creating both sculptural and functional pieces. Margaretâ&#x20AC;&#x2122;s creations are intricate in their

photos by Emma Badeia 22

Don’t miss Margaret Bray’s work at the Depot Artspace as a part of the Auckland Studio Potters’ exhibition ‘Claybenders’ 31st October - 18th November.

Depot Gallery proposals The Depot Artspace’s philosophy, ‘Creating an environment which encourages creating,’ is brought to life by the approach we hold in regard to exhibiting work. We are looking for artists with a strong cohesive body of work who are committed and want to attract and engage their audience. If you’re interested in exhibiting work at Depot Artspace please check out our proposal guidelines at http://depotartspace.co.nz/proposals/ image: Robyn Gibson

Michael FerrisS interview Exhibiting at Depot Artspace from mid-January 2016, Auckland-based artist / musician Michael Ferriss will be showing a selection of of detailed collage works, watercolour paintings and more based around the theme of surveillance. We caught up with the artist who kindly leant his time towards answering a few questions for LOUD. Interview conducted by Chris Cudby, all images by Michael Ferriss. Can you talk a little about the process of assembling your large scale collages? With these works I have started off with concepts and sketches. Some are modelled on satellite images of Earth, for example. It’s a very interesting process in that I am using the paper - usually from magazines and books - as paint, rather than the image on the page. So I am looking for colour, line and texture and the serendipity of stumbling upon images that then lead the picture in a new direction - rather like improvisation in music. I like how you’re talking about the implications of mass scale information gathering while at the same time making works out of info that you’ve personally gathered / collected – could you please discuss the meaning conveyed by some of your collage works? You’re right. We are in Orwell’s dystopia of the screen looking back at us. There are so many levels of this I find it intriguing, and this art is my attempt to capture its strange power as if the omnipotent God has been replaced by satellites looking down on us. I think there is a kind of iconography to some of these images only these are to science and its mysteries and power over our lives. The exhibition features some fine watercolour images too – is this a recent development for you? Is the content of these images different to your collages (eg. more directly representational)? Yes, I like the idea of the juxtaposition of high tech buildings captured by a low tech method, and so I have created a series of pictures of some of the government spy bases around the world in watercolours. It makes them

look a bit surreal, which they probably are.

You’re a sound artist / musician / performer too. Does your sound work relate to your visual work, tangential or otherwise? It does, both in technique and ideas. I approach creating music in terms of layering textures, rhythm, harmony and melody, in a similar way one might apply paint to create images. The pictures are also improvisational in their own way as I mentioned, allowing a fluidity and a sense of movement. Perhaps the images and a condensing of the soundwaves - that’s a nice idea.

What would you anticipate the fallout might be from the recent TPPA signing? These trans-nation agreements are an extension of what Naomi Kline writes about in her book The Shock Doctrine. With corporate power now exceeding the power of governments we are seeing the breakdown of the nation state and a new corpocracy emerging with its own laws coming in to play. This of course is not new, governments have often gone in to bat to protect corporate interests. I think TPPA could also mean The Pharmaceutical Protection Agreement given how they are the most profitable and potentially deadly industry on Earth. It makes for an interesting future, because people will realize their vote is cosmetic as the real power belongs to elite - something we perhaps have always known at a certain level, but now the veil is lifting and we can see it for what it is. This also completes a circle when discussing surveillance, because really surveillance and the idea of a monitored police state serves the elite, not the people. It isn’t there to protect the people, it is there to protect the gated communities from the proles, to use Orwell’s term. Michael Ferriss: Ninety-Nine Names Of God Saturday 16 January to Wednesday 3 February Main Gallery, Depot Artspace 27

image by Robyn Gibson 28

Depot Press In late 2015, Depot Press will release the latest edition of The Vernacularist. This edition, themed ‘Urban-Rural: The Great Divide!’ explores in-depth the culture, values, and landscape of cities and non-urban communities, and the issues they each face. New Zealand is changing rapidly and our conceptions of urban and rural living are now moving beyond dated stereotypes.

It’s been a few months brewing, but we are very close to launching. The publication will include a wonderful array of ideas and images thanks to the input of some fantastic contributors, including: Jack Gray, Atamira Dance Company; Tony Watkins, Vernacular Architect; Linda Blincko, Depot Artspace Creative Director; Nigel Brown, Artist; Kemi Niko & Co, Artists; Arohanui Lawrence, Aunty’s Garden; Riki Bennett, Conservationist & Maori Cultural Educator; Vanessa Green, Photographer; Dawson Clutterbuck, Artist; Sophie Jerram, Letting Space; Tim Flower, Film-maker; Chris Howard, Academic & Social Anthropologist; Fauze Hassen, Artist; Jermaine Reihana, Artist; Jessica Ward, Photographer; Sam Morrison, Artist. Visit www.depotartspace.co.nz /depot-press/ for updates on the launch date and where to buy copies. You can also view our other titles and find out more about the work of Depot Press. Louise Evans - Depot Press

photo by Tim Flower, from Minginui piece in The Vernacularist : Urban-Rural 29

A BRIEF HISTORY OF Depot Sound Depot Sound opened in 1996 as a part of the Depot Artspace creative community in Devonport. Originally a practice room, it was soon taken over by Rikki Morris who ran The Bus recording studio until 2005. Rikki nurtured seminal Devonport artists including Finn Andrews and The Veils, The Checks, White Birds and Lemons, and The Electric Confectionaires along with musicians Gin Wigmore and Kimbra. Rikki also recorded albums with kiwi icons Barry Saunders, Graham Brazier and Paul Holmes. From 2006 Depot Sound was run by engineers Spencer Fairhurst, Kenny MacDonald and Mark Howden. It continued to focus on nurturing young talent and remaining accessible to the Devonport and wider music community. Many more up-and-coming artists were recorded during this time including Lorde and Graham Candy. In 2012 Tui award winning engineer Dave Rhodes was employed to manage the studio. “What I love about the Depot is that it’s affordable for your average musician, so we get to work with all sorts of people and musical styles.” says Dave. Under Dave’s management the studio has built a great reputation for affordable quality recordings and is busy musical hub in Devonport. To meet growing demand, a new control room was built in March 2015 to accommodate larger groups. At the same time, a second production studio was added for singer-songwriters and artists who need instrumentation to flesh out their musical ideas. Engineer/Producer Morgan Allen is currently working in the new production studio producing pop, hip hop, electronic music and movie scores. In the past few years, Depot Sound has recorded an eclectic mix of bands including Brendon Thomas and the Vibes, The Warratahs, Dead Beat Boys, John Rowles, Fire At Will, Shepherds of Cassini, Static Era, Ghosts of Electricity, The Dirty Sweets, Play it Strange, School of Rock, and a lot of as-yet-unknown artists, including many young people who had never been in a recording studio before and left inspired to pursue their musical dreams. “We provide a friendly creative space where artists can express themselves and, with our experience and technical knowledge, we guide them to achieve the best possible recording, while still retaining their individual uniqueness and style” says Dave. dave@depotsound.co.nz www.depotsound.co.nz www.facebook.com/depotsound 30

all images from Depot Sound Facebook page - https://www.facebook.com/DepotSound 31

Artslab As a sophisticated society, we feel proud to be surrounded by artistic and creative things, to have galleries, museums, community art centres, theatres, studios, sculptures, and architecturally innovative buildings throughout our cities and towns. We see real estate being advertised with claims that an area has a burgeoning arts scene. We see countries now measuring the worth of their creative sector and can see clear correlation, especially in Scandinavian countries, between strong creative sectors and strong research, development and growth in the highvalue tech industries. The frustration though for those who work in creative areas both as professionals and in a support capacity, is if we socially value creative work, then why are we not so keen to pay for it? In industries such as film and media, the visual arts, design and animation, we have an expectation that graduates need to work several months, if not years, in internships and work experience roles (after having studied from anywhere between a year to five years) before finally landing a role, often not getting the support and mentoring they require to fully develop professionally. For example, there is growing vexation in the music industry with the wider availability of music, free or incredibly cheap to download, which leads musicians to feeling they have to post free online content to promote their work. These musicians hope that by distributing their work for free in the short term it will lead to a sustainable income in the long term, which is rarely the case in reality. In ArtsLab, we see the compounded effect of creative people frustrated at not being valued, and at the same time feeling that they are struggling to meet the expectations of society. Having a productive and fulfilling place in society gives us self-esteem, purpose and direction, so by not valuing our creative people in both a financial and vocational sense we are causing an entire industry’s worth of talent to suffer. The longer individuals experience unemployment and a lack of personal progress, the harder it is for them to remain positive and find their feet again. Finding income often comes down to the self-confidence someone has in approaching potential employers or clients, so the downward spiral of a lack of engagement in society, reduced confidence and a lack of financial security is extremely hard to get out of. The Depot ArtsLab team does this successfully of course, but wouldn’t it be nice if we didn’t need to? The ArtsLab team http://depotartspace.co.nz/arts-lab/

The Artslab team have expanded into a new room at the Kerr St Artspace for their weekly group job seeking sessions. This room is also available for hire if you’re looking for a local small classroom space. If interested please contact Margaux on 09 963 2328 or Margaux.Wong@depotartspace.co.nz 33

Lynn Lawton

The theme of this LOUD issue is ‘The Dinosaur in the Room - does the Depot run on redundant values?’ For me it has been one of the most challenging articles to date to write for LOUD and on reflection I ‘wonder’ if it indicates something of the difficulty we experience when attempting to move beyond superficial social imperatives to the nub and deep analysis of such things as values; identifying and defining them and describing how these fundamentals inform our living.

This is something we are obviously not adept at since even two millennia ago we read that Socrates sought to convince his debaters to turn from the superficiality of a worldview based on the acceptance of convention to the examined life. The ‘superficial’ approach to living gained further weight from Nietzsche who opened the modernist era with a selfconscious praise of superficiality: ‘What is required is to stop courageously at the surface, image: Futurians - Spock Ritual album cover the fold, the skin, to adore appearance, to believe in forms’. Post-modernist writers have reinforced Nietzsche’s view by calling on us to ‘abandon the idea that behind appearances there is an ultimate truth to be found; with the consequent growing replacement of depth by surface’ (https://en.wikipedia.org/wiki/Superficiality ). I don’t hold that values are redundant in any aspect of life and work, but that they appear near to extinction, because the superficiality that pervades so much of life in the twenty first century leaves us with only vague ideas and limited understanding about values like inclusive, empowering, reflective, encouraging and courageous leadership; values we have identified as fundamental to the way we work at the Depot. I am thankful to those in our community who courageously live an examined life, encouraging and challenging us to do so also. Lynn Lawton - ArtsLab manager The Logical Song - Supertramp When I was young, it seemed that life was so wonderful, a miracle, oh it was beautiful, magical. And all the birds in the trees, well they’d be singing so happily, joyfully, playfully watching me. But then they sent me away to teach me how to be sensible, logical, responsible, practical. And they showed me a world where I could be so dependable, clinical, intellectual, cynical. There are times when all world’s asleep, the questions run too deep for such a simple man. Won’t you please, please tell me what we’ve learned I know it sounds absurd but please tell me who I am. Now watch what you say or they’ll be calling you a radical, liberal, fanatical, criminal…………. 35

New Staff - Chris Cudby As the Depot’s new kid on the block it’s been a pleasure to get to know both the team and community surrounding Depot Artspace as Exhibition and Promotions Manager. So I’m not a total stranger to you all, what follows is a little info about myself and my experiences in the arts community. I’ve beamed across the harbour from my previous role at Krd’s Audio Foundation, where I helped organise and promote countless exhibitions, live events, film screenings, workshops and more, plus managing their website and music shop for four and a half years. It’s fair to say I’m delighted to have the opportunity to put that experience to good use in helping support the Depot’s amazingly diverse programmes. Originally hailing from the ‘other side of the motorway’ over in Beachhaven, I’ve been involved in the arts since my late teens – as a member of music & art duo Golden Axe (with Daif King), graduating from Elam School Of Fine Arts, contributing to Special Gallery (an artist run space in the early 00’s), curating exhibitions, exhibiting my own works, performing solo as both Power Nap and Futuresports, drawing and publishing comics, my aforementioned work with the Audio Foundation, writing about art and music and a bunch more. An important characteristic of the Depot for me is its pluralistic approach to supporting the arts community, engaging locally and within a broader NZ arts context - always with an eye on considering new strategies towards inclusivity. This idea can be clearly seen in the multidisciplinary departments of Depot Artspace; Depot Galleries, Depot Sound, ArtsLab, Depot Creatives, Depot Press as well as the upcoming Pocket Gallery. In assembling LOUD 65 alongside uber-talented assistant-editor Emma Badeia, I looked through the gigantic pile of past issues and mused to myself about the ever-changing character of the Depot represented by the stack; from impassioned anti-capitalist rants to slick minimalist aesthetics, from lush painterly images to rugged-as underground cartooning. What tied all this stuff and all these people who’d contributed to LOUD over the years together, beyond geographic proximity? After having a good leaf through, I don’t think it’s a reach to suggest that LOUD contributors were united by a passion for what can be broadly called ‘art’ and saw value in promoting a culture of creativity within NZ – perhaps working towards a goal of developing and participating in an environment worth living in, and recognising what each of us has to offer beyond myopic economic concerns? With this spirit in mind we’ve aimed to present a fresh spin on things with LOUD 65, and are definitely looking forward to what 2016 has to bring. Special thanks to all the contributors to this issue and all the members of the Depot community for your support - have a cool Summer! Chris Cudby - Exhibition and Promotions Manager image by Chris Cudby 36

Merry Xmas from the depot This has been a reflective year for the Depot. As you can see in the current edition, we have been revisiting our values to see whether they continue to stack up after twenty years of forming our philosophical and operational foundations. To use an analogy somewhat suited to Christmas, do we still stand solidly on rock or are we shaky on the shifting sand of redundant values? Below are excerpts from an allegorical poem by Lawrence Ferlinghetti, written around 1955 and first published by the Depot in LOUD 13, November 2002, which we believe continue to reflect our sentiments regarding the things that matter most in the world and to resonate with our values, especially regarding authenticity and truth. So, in LOUD 65 we celebrate with you the spirit which embodies not only Christmas but a way of living authentically in the world. To live by the spirit of Christmas is to live with good will toward all beings, not just at Christmas as we are admonished to do, but all year round. Christ Climbed Down**

and ran away to where no intrepid Bible salesmen covered the territory in two-tone cadillacs and where no Sears-Roebuck crèches complete with plastic babe in manger arrived by parcel post the babe by special delivery and where no televised Wise Men praised the Lord Calvert Whiskey

Christ climbed down from His bare Tree this year and ran away to where there were no rootless Christmas trees hung with candy canes and breakable stars Christ climbed down from His bare Tree this year and ran away to where there were no gilded Christmas trees and no tinsel Christmas trees and no tinfoil Christmas trees and no pink plastic Christmas trees and no gold Christmas trees and no black Christmas trees and no powderblue Christmas trees hung with electric candles and encircled by tin electric trains and clever cornball relatives

Christ climbed down from His bare Tree this year and ran away to where no fat handshaking stranger in a red flannel suit and a fake white beard went around passing himself off as some sort of North Pole saint crossing the desert to Bethlehem Pennsylvania in a volkswagon sled drawn by rollicking Adirondack reindeer with German names and bearing sacks of Humble Gifts from Saks Fifth Avenue for everybody’s imagined Christ child………

Christ climbed down from His bare Tree this year

**The poem was published by New Directions publishing in 1958, first copyright of 1955. 37

A MULTIDISCIPLINARY CREATIVE COMMUNITY Depot Artspace is an open and inclusive multidisciplinary community that encourages engagement in all art forms. To this end it offers a variety of facilities, services and events that support the creative community and provide opportunities for participation and appreciation. www.depotartspace.co.nz Depot Galleries are three galleries in the Depot that provide diverse exhibiting opportunities for artists â&#x20AC;&#x201C; the Main Gallery exhibits large bodies of work and group shows, Small Dog is a light-filled, street facing gallery hosting solo or small group shows and Verge Gallery links the galleries and Depot Sound Recording Studio. It provides a great opportunity for artists to exhibit their work for a minimal gallery rental, ideal for small solo exhibitions. Depot Press is an ongoing series of publications created by the Depot Artspace with an emphasis on exploring Aotearoa/New Zealandâ&#x20AC;&#x2122;s unique cultural identity. www.nzculturalgenealogymapping.wordpress.com Depot Sound is the Depot Artspace recording studio. Depot Sound is dedicated to providing a friendly and productive outlet for artists along with support and advice for musicians. Rehearsal rooms are also available to hire. www.depotsound.co.nz Ph. (09) 963 2328 Kerr Street Artspace is a large space, located at the foot of Takarunga/Mount Victoria, for workshops, performance and theatre as well as an intimate space for self-managed exhibitions and meetings with very reasonable hireage rates. ArtsLab offers professional development workshops, seminars, and mentoring to creative people seeking career guidance and employment in the creative sector. Ph. (09) 963 2328 Cultural Icons is a series of interviews with iconic New Zealanders who have shaped the arts and culture landscape of New Zealand. www.culturalicons.co.nz Morph Magazine is an online arts and culture magazine featuring articles, overseas columnists, reviews and artist profiles. www.morphmagazine.co.nz Urban Arts Village Devonport celebrates everything that makes Devonport the rich and distinct community it is; its history, heritage, landscape, landmarks, arts and people. www.urbanartsvillage.co.nz

DEPOT ARTSPACE 28 CLARENCE ST, DEVONPORT, AUCKLAND PH: 09 963 2331 WWW.DEPOTARTSPACE.CO.NZ OPENING HOURS: MON: 12-5PM TUE-SAT: 10AM-5PM SUN & PUBLIC HOLIDAYS: 11AM-3PM 38

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