Gallery36 Vol 3 No 2 2011 by Gallery36

V o l.3 N o.2 2011

Space For Sale You could advertise your artist, exhibition or product here

Call Selene on 021 169 9084 or email editor@gallery36.co.nz

The Film Archive’s moving image presentation at Auckland Central Library window frontage, Lorne Street. 24 hrs a day, 7 days a week, 365 days a year.

‘Owl Caged’ (2010) by Denise Batchelor May 18 - 31, 2011

Humanity has an inherent connection to nature and the natural environment. Contemporary Western culture has created however, a feeling of separateness in which we often experience nature as somehow outside of ourselves and disconnected from. My work attempts to bridge these seemingly separate worlds of nature and humanity, creating for me a more intimate space in which to engage and connect with animalia. As a metaphor for human perception, ‘Owl Caged’ alludes to the internal and external constraints that affect how we see and experience the world around us. - Denise Batchelor Denise is an Auckland based Artist specialising in photography and video who graduated Master of Fine Arts from Whitecliffe College of Arts & Design in 2011.

Nga Kaitiaki O Nga Taonga Whitiahua The New Zealand Film Archive www.�lmarchive.org.nz

studio tolhurst.com

For those of you that have been with us from the start, you will know how far we have come on this journey. What started as 10 featured artists in the iconic St Kevin’s Arcade, has now expanded across multiple venues, showcasing quadruple the amount of artists in our little community. We have come very far indeed! From the start, First Thursdays has been all about giving a voice to emerging artists through an inclusive venue and building up our local community. Laughing together, creating together and playing together, artists from all walks of life have come together along K Road to collaborate on an event that is only growing in its magical-ness! My hat is off and I am thanking you all kindly! For the June 2nd show ARTSPACE and the NZ Film Archive have jumped on board, adding some new dynamics to our event. ARTSPACE will have two mustsee exhibitions on and will be hosting a little ping-pong battle for you sports enthusiasts. Another exciting edition to this show is the First Thursdays short �lm screening which is curated and hosted by the super talented guys at the NZ Film Archive. So please make sure to either start

or end your night down at the ARTSPACE/Film Archive building as it will be worth your walk :) On the other far end of K Road is Revel Cafe, who will be hosting an exhibition by The Nine Collective and some live music. Keep wandering down the road and pop into Iron Bank for some not-to-be-missed live music and dancing, Brazilian style! Capoeira Angola will be starting off the night with a 12 piece dance and music group performance. Next will be live music from Soul Samba Sessions accompanied by the hotties from Brazilian Divas. In case of rain, we have one of the empty office spaces in the back of Iron Bank, a venue never before used.... so no excuses not to come and have a boogie! Across the way make sure to pop in to the new tattoo studio, Otautahi Tattoo for 25% off

bookings, a group exhibition from their in-house artists and some live painting. These guys have just moved up from Christchurch to start fresh and see what Auckland is all about, so do pop in and say hello! They are all super nice and have some amazing artists. Next door at Verona Cafe there will be another group exhibition from Leon Senf and Miss Hannah Jamieson. Verona will also host live Jazz music and signing from the beautiful and talented Natasha Kinsey. Next for the tried and true. We received more applications than ever for our First Thursdays handmade craft market, so that is sure to be a goodie in St Kevin’s Arcade. Complementing this venue are the gals at Alphabet City. Alphabet City is a new collective in town all about words. That’s right, words. They will be hosting a Pop-up Mail Art Exhibition + postcard and badge making workshop down on the stairs in St Kevin’s and behind the Wine Cellar. Really looking forward to this! One arcade down from St Kevin’s is the La Gonda Arcade. Here Common Tees and Whatnot are going to host an art exhibition plus a live DJ set. Make sure to pop in and take advantage of the

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$40 Tees sale running on the night! Rebel Yell Gallery will also keep their doors open late showcasing some rad prints, shirts, stickers and more! Spencer aka Random will be doing some live body painting with special guests...and there may be a few more surprises you will have to see for yourself on the night! Last but not least, make sure to visit Te Karanga Gallery aka Tea Culture aka KFM Radio. If your not already familiar with this venue, it’s a must visit! In Te Karanga Gallery there will be a group exhibition featuring 8 NZ artists from Auckland down to Wellington that First Thursdays is curating. There will also be live painting, a live DJ set showcasing female MC’s Bella Shanti and Miss bME. Pip from Mana Moko will be doing her thing and there will be plenty of tea and drinks if you get thirsty. Very excited to announce that First Thursdays has an official after party this time around. The after party will kick off with a fashion show launching the new label, Cuda Sisters, started by the beautiful and creative Meg, Mana and Tanja Jade aka Misery. Doors of the K Road Ballroom will open a little after 9pm with a �rst come �rst serve policy for the fashion show. After the fashion show join the girls and special guests for some live music, drinks and dancing in the back Pull Bar. This is de�nitely going to be a fashion show like none other! Expect glittery, sparkles and jungle babes! From Revel Cafe to ARTSPACE the streets of K Road will come alive with the sounds of samRB, Banana Girls and �re dancing from Fever Pitch. Overall it should be a great night with lots to inspire and entertain.

First Thursdays June 2nd 6-9pm www.�rstthursdays.co.nz 6 / Gallery36

What does passion mean to you? Over the last few months I have heard a variety of people talking about their changing perception of the use of the word passion. I consider the term to be a descriptive term and would consider a person who is passionate about something, to be energetic, highly committed and dedicated to something - it could be said that they really love what they are passionate about. For a long time this has been considered a good thing and something to put in the resume. Cover image: Nadeesha Godamunne 2009 Cap Acrylic and ink on watercolour paper 297 x 420mm

Editorial included in this publication reďż˝ects the opinions of the contributing authors and does not necessarily represent the views of Gallery36. Copyright for submissions belong to the contributors unless otherwise speciďż˝ed. Gallery36 | Auckland, New Zealand ISSN 1179-8319 www.gallery36.co.nz Editor: Selene Simcox Ph: 021 169 9084 E: editor@gallery36.co.nz

But recently, it seems people are becoming wary of the term passion. I have heard things like people are using the word passion to describe everything and too much passion can be dangerous and passion is simply so overused. So is this a kiwi thing or a global over-use of the word that has made people feel saturated by the word? Personally, it seems a sign of the times that words come and go out of fashion. They are re-claimed by sub-cultures, or they may fall out of favour from over-use. But terminology is just another example of the way that we critique and analyse our contemporary society. The fact that passion is out of favour with some people is a by-result of current social trends. One note that I consider important is the comment too much passion can be dangerous because it was said in reference to German philosopher Friedrich Nietzsche in reference to totalitarianism. I wonâ&#x20AC;&#x2122;t lecture you here on the facts, but it is worth a read. But back to passion. The dictionary describes passion as any powerful or compelling emotion or feeling, as love or hate and the thesaurus uses terms like strong emotion, adoration, love, strong interest, intense love, and many more. So feel free to choose what word works for you. I will still be using passion and passionate to describe my relationship with my art practice, but I think I will take it off my resume. It is my pleasure to bring you a variety of artists in our latest issue. Happy reading. Vol 3. No. 2 2011 / 7

Gallery36 is a not-for-pro�t organisation dedicated to showcasing emerging artists and photographers from around New Zealand and also Kiwi emerging artists and photographers working internationally. The quarterly e-zine offers an opportunity for exposure to those still �nding their feet in their career who are passionate about art and/or photography and the role it plays in our society and culture. Gallery36 is dedicated to providing like-minded people with pro�les of emerging artists and photographers they will love to read about, packaged up in an easily accessible format that supports our planet by saving trees. Here at Gallery36 we want YOU to be pro�led. Say what your work is about, what your passion is, and/or what in�uence you want to leave behind. This is your opportunity to be showcased and put yourself out there! If you are an artist or photographer who wants to be pro�led, please submit (Approx 300 words and up to 4 photos of your works (plus a photo of yourself, if you wish to), and email all this to editor@gallery36.co.nz. Please remember to label your photos with the name, year of creation, medium and size. Join our email database so you don’t miss out on each publication. Just email me at editor@gallery36.co.nz with join mailing list in the subject line. So enjoy reading, and don’t forget to share it with your friends! Regards Selene Simcox Editor 8 / Gallery36

Artists & Photographers 10 12 14 16 20 22 30 32

Contents

Denise Batchelor Emma Topping Michael Dudding Nadeesha Godamunne Ariana Gillrie Marc Daniel McFadyen Carol Banner Alex Stone

Interview 18

Jane Alice

Realise your Potential 26

Shelley Simpson

Metonymy 34

Forging New Creative Connections

Watch this Space 38

Anna Birchall

SmARTips 40

smARTips with Ariane

Up for Discussion 43

Megan Knarhoi-Hansen & the Theory of the Maternal - A critical essay Vol 3. No. 2 2011 / 9

Denise Batchelor

Artist

M: 021 822 142 E: denise@denisebatchelor.com As a visual artist with a background in photography, an exploration into the medium of moving imagery evolved as somewhat of a natural progression. While many of the same principles exist between photography and �lm, characteristically, stillness and silence may be linked to photography, while time and motion may de�ne a moving image. It is the deliberate combination of these seemingly opposing elements in my work that distinguishes my practice.

Denise Batchelor 2010 Lifeline HD Video 00:20 looped Collection of the Artist

Inspired by the natural environment and the myriad of species living within it, my primary focus is however to observe the inherent connections between humanity and nature. These connections range from subtle nuances to the more obvious, evoking feelings of separation or inclusion that affect the way in which we view and experience the world. Observing and �lming the natural world around me has become part of my everyday life, where in a childlike manner, I �nd wonder and joy in the smallest detail. By Denise Batchelor

Denise Batchelor 2011 Piha Blues HD Video 00:05:47 looped Collection of the Artist 10 / Gallery36

Suggestions of bridging and connecting are critical to considerations of Batchelor’s work. A spider building a bridge from a single silk thread as a link to something else reminds the viewer of his or her interconnectedness with other forms of life. Simultaneously, the works also hint at the fragility and the tentative nature of those links that form connections to the other. Batchelor also captures the interruption of otherwise serene encounters by the subtle yet insistent presence of the material world imposing itself on the natural world. These transitory appearances of the material world are puzzling in the context that they appear and do not easily reveal their identity. The anomaly of these momentarily converging yet differing forces creates a curious kind of friction that animates the work with potentially diverse narratives.

Denise Batchelor 2010 Tui Photograph, digital inkjet print 385mm x 550mm Collection of the Artist

The Film Archive is presenting Owl Caged at View�nder (Auckland Central Library window) from 18th – 31st May.

Batchelor’s videos are, at once, both surprisingly curious and utterly familiar. Viewing the works is to engage with nuanced and enigmatic occurrences of utter simplicity that bridge the distance between different, but �eetingly related worlds; where language and thought surrender to unreserved sensations. By Janis Mysliwiec

Denise Batchelor 2010 Owl Caged HD Video 00:02:33 Collection of the Artist Vol 3. No. 2 2011 / 11

Emma Topping

Artist

M: 021 025 59822 E: emmaktopping@gmail.com W: www.emmatopping.blogspot.com Her paintings are built up through layers of acrylic paint on canvas overlaid with mark-making using pencil and pen. She mixes these forms together to create a view of a new city landscape, one of abstracted space. Her art historical references include the Italian Futurists and the geometric abstraction of Malevich and Mondrian. Working from photographs she creates imagery that reďż˝ects an active urban environment. Architecture, Drafting, Painting, Photography and Drawing have been pulled together as a way of processing a response to the urban environment. Her canvases re-

Emma Topping is an emerging Fine Artist. Her work focuses on creating sense of depth and movement within the picture plane. Leading the viewer into a new dimension of space. Looking at the ways of navigating through an environment especially those of a metropolis. By fragmenting imagery from these urban environments she seeks to highlight the effects of time, movement and energy within these spaces, to lead you into a new dimension wihin a familiar environment. 12 / Gallery36

Emma Topping 2010 Chaos & Harmony Acrylic on Board 910 x 1200 mm ea panel

examine space into a new dimension, combining line, form and multiple perspectives. As with the Cubists, she is exploring a fresh way to look at things. Her works are an artistâ&#x20AC;&#x2122;s interpretation of real space, as they are pictures inspired by reality, rather than representative of actual reality. Through the mix of marks and coloured forms, her work represents the speed of the modern city depicted, with the time-aged materials of pencil and paint. Emma has completed her BFA (Hons) from the University of Auckland Elam School of Fine Arts where she also recently completed her MFA. This year she has been selected as a Mentoree for the Artists Alliance Mentoring Program. Recently her work has been selected for exhibition in Agora Gallery in New York as part of the Chelsea International Art Competition, as selected by Ms. Elisabeth Sherman from the Whitney Museum of Art. She is currently working on a new body of work. She aims to be an active supporter of the Auckland Arts scene volunteering for White Night, Living Rooms, supporting the Lost Playgrounds event and working as a Gallery Assistant. Emma wants to work as an Arts Educator alongside building her proďż˝le as an Artist. Top right: Emma Topping 2010 From the Lookout II (from the Walking the Square Series) Acrylic on board 1200 x 2400mm

Emma Topping 2010 Divergence Acrylic and graphite on canvas 610 x 910 mmm

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Michael Dudding

Photographer E: Michael.Dudding@vuw.ac.nz W: m-dphotographs.tumblr.com There are many things that excite Wellington photographer Michael Dudding about photography, but chief among these is the documentation of the contemporary built environment, which, although frequently banal, is given in his work the potential to be reframed into images of extraordinary power and beauty. Michael’s part-time ‘day job’ as a lecturer in Architectural History at the Victoria University of Wellington School of Architecture is an obvious in�uence on his ability to ‘see’ the built environment in this way, but it is fair to say that what may have resulted in a dry academism is tempered by a sensitivity for composition that transcends the mere ‘document’. This ‘sensitivity’ is manifest in carefully thought out compositional geometry, as well as a tight control over tonal balance – the latter in terms of 14 / Gallery36

both photographic exposure and the manner in which light and dark contributes to and supports these compositional structures. The power of Michael’s work, although recording real places and buildings, lies in these highly constructed abstract attributes. Temporal events,

potential narratives, and even the presence of �gures, are rarely seen in his images. This tendency to privilege form over meaning is perhaps retrograde insofar as it conforms to the modes of expression favoured by Modernist architectural photographers of last century,

Michael Dudding 2009 Calder/Mies (“Flamingo”, Alexander Calder/Kluczynski Federal Building, Mies van der Rohe, Chicago Illinois)

but if the re-presentation of these mid-twentieth century buildings is somewhat familiar, something has also clearly changed. The clean lines, pure forms and modulated repetition are still there for all to see, but so is a certain something else. What was once the built expression of the brave new world of Western progress, is now slightly forlorn - if not altogether sinister. There is an irony then, which relies upon the formalism of Michaelâ&#x20AC;&#x2122;s work, but also moves beyond it. The critique is a subtle one that can also be read as homage â&#x20AC;&#x201C; a peculiar situation to be sure, but one that lends a note of discord and uncertainty to the viewing of these otherwise harmoniously composed images.

Michael Dudding 2008 Wanganui War Memorial Hall 2 (Greenhough, Smith and Newman, Wanganui NZ) Below left: Michael Dudding 2009 The Fall (Farnsworth House, Mies van der Rohe, Plano Illinois) Below right: Michael Dudding 2009 Farnsworth Detail (I AM) (Farnsworth House, Mies van der Rohe, Plano Illinois)

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Nadeesha Godamunne Fashion Designer/Artist M: 021 263 4052 E: godamunne@gmail.com I completed my Bachelors in Fashion Design at the Auckland University of Technology in 2008. In recent years my graduate collection Trompe L’oeil has had great success, winning the ‘special prize’ at the I.D Emerging Designer Awards. This enabled me to showcase in Italy, at the prestigious Mittel Moda Fashion Awards (2009). The collection also triumphed at New Zealand’s most prominent fashion competition: The Style Pasi�ka Fashion Awards (2009), where it received the prize for ‘Best Three Piece Collection’, and took home the Grand Supreme Award for ‘Best Collection’. Trompe L’oeil features hand illustrated garments, which were digitally printed on shift dresses, giving the illusion of several layers of clothing. The collection challenges the boundaries of conventional clothing and embraces forward thinking by utilising the latest technology. These I believe are important elements for creating innovative fashion that captures the spirit of the times.

a sharp look at New Zealand’s fashion culture. Acerbic, attentive, and sometimes outrageous, its observations are a celebration of both the fashionista and the power of satirical illustration.

Having completed my Degree I continued on with post grad - Masters, exploring one of my other passions, illustration. In celebrating a decade of New Zealand Fashion Week, my Masters publication, Illustration as Inquiry takes 16 / Gallery36

Nadeesha Godamunne 2009 Cap Acrylic and ink on watercolour paper 297 x 420mm

During my Masters, I was also selected to receive a teaching grant, which also enabled me to lecture illustration to undergraduates adjacent to my learning. The teaching was focused on making known the importance of visual communication in the design process (from initial working/technical drawings to �nal illustrations for presentations) and providing the tools and techniques to visually express ideas. I completed my Masters in Art and Design last year (2010), with First Class Honours.

Nadeesha Godamunne 2009 Tom & Jerry Ink & pen on watercolour paper 297 x 420mm

Nadeesha Godamunne 2010 ‘Zambesi’ After Party Ink & pencil on watercolour paper 297 x 420mm

Nadeesha Godamunne 2010 60s Ink on watercolour paper 297 x 420mm

This year I am continuing to lecture part time, and am pursuing illustration through collaborative and editorial work. The satirical approach I examined for my masters is an aspect I would further like to explore and re�ne as it incorporates humour, a powerful characteristic in my work. To date, I have been featured in a number of reputable publications such as ‘The Australian Creative’, Martin Dawber’s ‘The Big Book of Fashion Illustration’ and Sandra Burke’s new ‘Fashion Designer’ series.

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Interview

Jane Alice

Photographer M: 021 822 142 E: jane@surfshot.net W: janealice.com W: surfshot.net

E: Once you graduated, what happened with your art practice? Did you have a lull time or did you not miss a beat? JA: After graduation I was exhausted. Not only had I completed 4th year but I had had hip surgery and 3 part time jobs to cover the cost of the end of year show. The �rst thing I did was head to Raglan for about a month - literally went into hibernation. When I came back to Auckland I spent about two years looking

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for a job when I came to the conclusion that I would need to create my own opportunities if I wanted to carry on doing what I love. I played a small part in the beginning of the arts organization Crossover, where I took part in the exhibition that launched the website. I moved to Australia for six month and upon my return I came across an opportunity to take over Aotearoa Liquid, the Christian Surfers New

Zealand magazine. I had no idea what I was doing really but ended up getting the gig. I learned a lot, met lots of people and built up the con�dence to step out and do what I’m doing now. E: What led to the move to Raglan? JA: Aotearoa Liquid lead me to Raglan, I spent a fair bit of time here and in Taranaki for articles that I covered for the magazine. I had friends with a property here that had been offered to me to live on so mid August last year I moved to the cow shed in Raglan. It’s kind of a typical starving artist story where I lived in a paddock in the rainy season without the comforts of a shower, fridge, washing machine etc. E: Does your work re�ect the issues that you were talking about whilst in your fourth year of

Jane Alice Do Mermaids get Scared?

your BFA? JA: Yes and no. I think it has naturally progressed. My work has always been very personal, and has always had a kind of theme running through it about human behaviours and where they come from. During my time at Whitecliffe I was very focused on the family as a starting point for these behaviors and I used my anger towards my own family and our outcomes in my work. Since then I have become more focused on myself and the mind as the source of emotional behavioural issues. E: If so, what are these discussions/issues? JA: In fourth year I was very interested in the Fight or Flight

theory and I honed in on one emotion - Fear. I was looking at past experiences in the family home, the way you learn behaviour from your parents. Now I am more focused on fear being something you can choose to overcome; however there is such a strong temptation to let your own mind stand in the way of your relationships with people, yourself, and life. E: If not, why was there a shift? What is your new work about? JA: My ideas just naturally progressed. I used my art as therapy; therefore, I overcame the anger I once had and started to take responsibly for my emotions, how I see myself and I am seen by

I also think there has been a shift in my aesthetic because of the freedom I have had not having a head of department to ok everything with before making it. For my last series I wanted to make art that was beautiful, which is something I haven’t let myself do before. Also my investigations of water have been far more extensive since leaving Whitecliffe, I have been able to focus a lot more on the aesthetic that I am passionate about yetI’ve still kept quite a minimalistic approach reminiscent of my previous work. E: So you have moved into a studio space at the combined Artist Gallery and doing most of the admin work there. Where do you see this going? JA: Yes, I have a studio space at the Combined Artist Studio. I have set it up as a space where I can sell my Surf Shot Photography. E: What are you working on at the moment in regards to your art practice? JA: My business has taken over for the moment, I am looking forward to getting into making some more art. Vol 3. No. 2 2011 / 19

Interview

others and I think that is re�ected in my work.

Ariana Gillrie

Photographer Ariana was raised nomadically, between countries and sometimes in a bus, caravan, or boat and has since lived and explored as much as she can afford. From the hitchhike from Turkey to Poland, the bike ride along the entire west coast of South Korea, or adventures around Australia and New Zealand, she is drawn to shooting the slightly out of sync; the strangely repeated or overlooked. A big focus of this is on people and catching a glimpse of the little patches of them that show who they are, the things they’ve kept, the things they’ve left behind, or the adventure they’re on. Most of these moments that have been caught are ones that would have passed by without any notice; just another second of someone’s everyday life that might not have typically stood out, but suddenly they’re given a stage of their own. In this, you can see all the human

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traits, daily rituals and other similarities that make us who we are and how even with different languages or different experiences, we are more alike that not. Film has become a more integral part of her shooting; so in addition to her Canon DSLR, she

E: arianarobot@gmail.com W: iamadroit.com

also constantly packs around a 35mm Yashica FX103(35mm), and a Yashica EM (120 format), and has had each of these three cameras stolen or lost (once horribly all three at once), but they’ve still managed to stay along for the ride. To see more of her photography or contact her, head over to www.iamadroit.com. Left: Ariana Gillrie 2010 Trash Daegu, South Korea 35mm fuji �lm Bottom left: Ariana Gillrie 2010 In Boxes Guangzhou, China digital SLR

Ariana Rock 2010 Haenyeo (Women Freedivers) Jeju Island, South Korea 120 format �lm

Ariana Gillrie 2011 Bulldog Thermal digital SLR Ariana Gillrie 2011 Iban in the River Northern Borneo, Malaysia digital SLR

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Marc Daniel McFadyen

Photographer M: 021 297 5483 or 021 297 5482 E: 222leaves@gmail.com W: 222leaves.com

Marc Daniel McFadyen is a West Auckland photographer who has spent over 13 years abroad living in the U.K, France and China. He has a love for cultures and languages. Through photography he communicates to others the beauty and often overlooked subtleties of international cultures. He believes in learning the language of the country he spends time in, integrating with the local people and exploring their communities. This is why his photography is always up close and personal as relationships develop and the people reciprocate by welcoming him into their lives. 22 / Gallery36

Marc spent three years in Paris developing black and white images in his home darkroom and had an exhibition in Montmartre exhibiting his work on skateboarding. Henri CartierBresson, who is a personal favourite of his, compositionally inspires his work. He also has a high regard for the Magnum Photographers. Marc also draws a lot of inspiration from painters. Mark Rothko and his colour ďż˝elds, Rembrandt and his mastery of light and detail, and Hundertwasser for his childlikeness, all contribute to the processes Marc tries to explore within. His work in China saw him exhibiting alongside American painter Sandi Grubbs, who had studied Chinese traditional painting for more than 18 years. Together they created a joint work expressing their visual interpretation of how they see China.

Marcâ&#x20AC;&#x2122;s upcoming exhibition is based on a migrant community living in Shanghai, China. CognizanceReďż˝ections of a Blue Community, is a collection of images that are formed from Marcâ&#x20AC;&#x2122;s talent of observing and interacting with the Chinese especially the children. His aim is to exhibit images, which may help New Zealanders deepen their understanding of Chinese people and dismantle stereotypes. Marc has spent eight years living amongst the Chinese, mingling especially with those

Vol 3. No. 2 2011 / 23

whom travelling abroad is a virtual impossibility. He sees a beauty in them and has a special affinity with the culture that strongly shows through his images. He made a special effort to receive permission from parents to photograph their children and to the best of his ability returned copies of images to the families involved. He also organised students from an international school to visit and distribute stationery and toys as gifts to the children from the migrant community.

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Through his cognizance work Marc challenges each of us to dig deep and ask ourselves the question - Where is my childlikeness? Childlikeness is important to our humanness and is different to immaturity. In fact, in Christianity Jesus declared, â&#x20AC;&#x153;I tell you the truth, unless you change and become like little children, you will never enter the kingdom of heaven.â&#x20AC;? Marc, now based in New Zealand, aims to create a body of work that speaks about the importance of the family unit and how the brokenness of a family directly and negatively impacts society. He is inďż˝uenced by his Christian belief that God greatly esteems the precept of a healthy family, which in turns creates a robust community.

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Realise Your Potential

A year long mentoring programme at Corban Estate Arts Centre

Artists Anne-Sophie Adelys and Andy Tolhurst have teamed up to offer a year long course to take intermediate level artists to the next step of their arts practice. ‘Realising your potential’ is an exciting year long course providing guidance and mentoring from Tutors and professional arts practitioners, with each term covering one aspect of arts practice. This course encourages artists of any media to develop a professional art practice, create a body of work and to be better prepared to navigate the arts environment and understand its expectations. ‘Realising Your Potential’ is divided into 4 school

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terms, classes run in the evenings and some weekends to �t around participants work commitments. For information about enrolling in the 2012 intake, please email: info@ceac.org.nz

Realise Your Potential Artists

Shelley Simpson

Artist

E: shelley@shelleysimpson.co.nz W: shelleysimpson.co.nz

I am currently part of the Realise Your Potential year long course at CEAC. My work so far this year has been about experimentation. I have been inspired by the Sumi ink drawings of Roland Flexner (www.roland�exner.com). Flexner’s images ‘ “act as traps for the interpreting gaze, which makes out forms the artists did not plan while at the same time being fascinated by the precious effect of the �nish.” As Marcel Duchamp said it is “the beholder who makes the picture”.1 I have been endeavouring to achieve a balance between having control of my materials and allowing random effects/reactions to occur. I created a large number of experiments, documenting the materials, surfaces, mediums and processes used in each experiment. Many of the experiments continue to change through time as the pigments remain �uid instead of fully drying, therefore the work can be seen as interactive because the paint is sealed between the sheets of acetate. This series of experiments, mounted on glass and including my documentation of the Top right: Shelley Simpson 2011 Untitled 9 Ink, FAT medium, UHU glue and acetate on paper Right: Shelley Simpson 2011 Untitled 19 Ink, FAT medium, UHU glue and acetate on paper Vol 3. No. 2 2011 / 27

Realise Your Potential Artists

process, was exhibited at Corban Estate Arts Centre in the group show Neighbourhood, March 2011.

Shelley Simpson 2011 Blue Brown Diptych Oil, pigment, mediums, UHU glue between acetate

Shelley Simpson 2011 Red Brown Diptych Oil, pigment, mediums, UHU glue between acetate

My current process means the work can be �xed, but retains the �uid look of the materials. Using sheets of acetate I can layer drawings. Conceptually, my work is exploring the relationships people form and maintain through social networking - our networks in the Cloud. Speci�cally I am commenting on the way people relate to each other, but can not touch each other, and the closeness that can be achieved through digital contact despite the distance that the medium insists on. My work explores how this distance affects peoples’ digital relationships. By using maps of my own digital social networks, I illustrate these networks over representations of the nebulous Cloud. Jean-Marc Reol Repition from 1:1 Michel Bavarey 2002 1

Right top: Shelley Simpson 2011 Untitled 21, ink FAT medium UHU glue and acetate on paper Shelley Simpson 2011 Blue Diptych Oil, pigment, mediums, UHU glue between acetate 28 / Gallery36

Right: Shelley Simpson 2011 Untitled 23, ink FAT medium UHU glue and acetate on paper

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Realise Your Potential Artists

Photos from RYP Weekend Workshop:

Carol Banner

Artist

M: 027 600 2562 E: carol.naturalfantasy@gmail.com W: naturalfantasy.co.nz

Basically self taught, I started with graphite pencil, coloured pencils followed and ďż˝nally pastels. Have tried other mediums but am more comfortable with pencil and pastels as I am able to get a lot of the detail that I like in the work along with the brilliant colours of pastels. I have always been inďż˝uenced by the graceful

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style of Art Nouveau, with the work of Alphonse Mucha having a particular appeal. This style, with its curvilinear lines, symmetrical and asymmetrical forms and designs, was largely based on nature. Discovering M.C.Escher opened a whole new world for me. His sense of design, use of space, perspective and mathematics was truly innovative, along with his mixture of fantasy, distortion and metamorphosis. I also admire the work of Rodney Matthews. His use of colour, semi-abstract insects and plant forms was quite amazing.

Nature, with its myriad shapes and textures and colour, dead or alive, is a great source of inspiration. Dead or dying plant forms often have a distinct beauty of their own which is frequently overlooked. Patterns and colours in deteriorating man-made products also have an unusual beauty. As with many things, you are only limited by your imagination and time. My work is based mainly on nature, with slight variations, so anything different and/or unusual appeals to me, hence the name for my work â&#x20AC;&#x201C; Natural Fantasy. Have won various awards and am a member of PANZ (Pastel Artists of NZ) and work in my studio/gallery at home. Was invited to enter the Florence Biennale this year and currently have a solo exhibition at Aratoi. 1. Carol Banner 2011 Dying to be Pretty Pencil/Pastel on Acid free paper 25 x 38cm 2. Carol Banner 2010 Fungal Paradise II B/W Pencil on acid free paper 37x 27cm 3

3. Carol Banner 2009 Moonďż˝ower Sonata Pastel on acid free paper 29x 41cm 4. Carol Banner 2006 Concave Moth B/W Pencil on acid free paper 20x 28cm 5. Carol Banner 2011 Fractional Pencil/Pastel on acid free paper 55x 398cm

5 4

Vol 3. No. 2 2011 / 31

Alex Stone

Artist

M: 021 917 777 E: alzzstone@xtra.co.nz

of unique weathervanes. These are a response to a long-standing interest in folk art, and re�ect his abiding closeness to wind and weather, and perhaps the result of Stone’s experience as a competitive sailor at international level.

Alex Stone is a multi-disciplinary artist, and resident of Waiheke Island for �fteen years. Stone has a MA in Art and Design from Auckland University of Technology, and has had many successful solo exhibitions (mostly of paintings) in New Zealand. Returning to New Zealand after three years in Perth, and a few other commitments, Stone is now back on Waiheke Island and focusing on sculpture. Stone’s current work extends to sculptural expression in the form 32 / Gallery36

In the �eld of installation art, Stone participated in Momentary Inversions Project (1999) and the Whakanewha Earth Art Event, on Waiheke Island. The works for these have included a huge puppet strung in an ancient Pohutukawa tree, a burning coordinate line on the foreshore, and a bus stop shelter obliterated from the landscape. Other notable sculptures Stone

has made have been Forms 1 and 2 for the Kaipara Coast and Waitakururu Sculpture Parks respectively. Stone has established innovative marketing strategies to promote his work; and have been the official corporate artist of Winstone Wallboards, the result of a partnership agreement established in 1998. The company underwrote all expenses for an exhibition tour around New Zealand for my work. The Stone on Stone exhibitions were held at the Bruce Mason Centre, Auckland, the concourse at Te Papa in Wellington, and the Great Hall at the Arts Centre in Christchurch. Television coverage on One Network News was achieved.

“While Stone’s images are the result of consistent thinking around a strong and integral theoretical framework, they also transcend this and move into areas of mystery, paradox, and visual delight. The art of Alex Stone is at once seemingly ancient yet immediate, deeply personal yet universal.” - Nancy de Freitas, Senior Lecturer, School of Art & Design, Auckland University of Technology.

Stone was nominated for the 2002 NBR Arts Sponsorship Award for his Stone on Stone exhibitions. Although sculpture has captured Stone’s attention, he is still paining – “always painting” (Stone 2011). Stone is also a writer of short stories, Stone has been shortlisted for the BNZ Katherine Mans�eld Awards, and the Manhire Prize. In a review of Stopped and Expounding, a book of poems and stories, the NZ Listener called him “a robust and multi-facetd talent.” Alex Stone 2011 Form 2 Treated pine, galvanised �xings, #8 wire, stainless steel milk vat, cowhide 4m long x 2.4m wide x 2m high. Sculpture Park at Waitakururu Arboterum, 2011

Alex Stone The History of Anchors Acrylic, shellac on stretched canvas 1600 x 910mm

Alex Stone 2009 (From the) Exclamation Island series Acrylics and shellac on canvas 1600mm x 9200mm Alex Stone 2011 Form 1 Kanuka & Manuka logs, basalt rock, epoxy-infused hemp rope, cowhide 4m long x 2.4m wide x 2m high. At the Kaipara Coast Sculpture Gardens, 2011

Vol 3. No. 2 2011 / 33

Join us on Metonymy 2011 – creative blind dating Writers and Artists are paired in a 2 month blind date to create a unique and innovative work of art. Ever wanted to work with an artist from another discipline but didn’t know where to start? Looking for that creative X-factor to kick off a new project? Metonymy might be for you! Now in its fourth year, Metonymy started because a group of writers and visual artists wanted to collaborate. The idea grew (as ideas do) to include the idea of introducing artists to each other, and seeding a community and new creative partnerships. Participation is free and is aimed at writers and artists in all mediums including music, moving image and performing arts. Both emerging and established practitioners are welcome. In 2010, over 112 artists took part, creating over 60 pieces of innovative new work. 34 / Gallery36

How it works: Go to http:// metonymy.weebly.com Click on “sign up” at the sidebar and give us a few simple details with a sample or image of your work. On July 4th, you’ll be contacted with the name and contact details of your “creative blind date” from another discipline. You’ll have two months to create an amazing work together. There are invitations to regular drinks nights to meet others in the Metonymy community. In September, you’ll have the chance to be selected to show your work at a visual art exhibition (8 Sep – 9 Oct), performance night and �lm night,

Human Archaeology by Renee Liang and Paul Woodruffe

Blind by Dianne Rimmer and Rata Gordon. Photo taken by Anne-Sophie Adelys

hosted at Corban Estate Arts Centre (CEAC). An ezine catalogue will be produced to showcase all work and artists to potential buyers, gallery owners, curators and publishers. Why do it? Why not? The idea is that by pairing with someone you don’t know, sparks will �y…. you might be encouraged to explore new ideas or media outside your comfort zone… and you’ll have fun and be part of a community. It doesn’t cost anything*, so check out the website and give it a go! * materials and costs such as transport are the responsibility of each artist pairing. A 33.3% commission is taken by CEAC on work sold during the exhibition.

Let’s See Where It Takes Us by Sin-Mae Chung and Rachel Heimann. Photo taken by Anne-Sophie Adelys

Watch this Space

Anna Birchall

Photographer E: annibirchall@yahoo.co.nz W: mcbirchall.tumblr.com

I’m �fteen, and my name is Anna-Louise Birchall. My hometown and current place of living is Palmerston North. I’m currently doing my work through correspondence right now for my �nal year of school, and it seems to be the right thing for me to do at the moment. At intermediate we started to do sketching and self portraits. Being a perfectionist and terrible drawing, this combination inevitably had a bad outcome. To my rescue like the superhero equivalent of a stress ball, was my father who offered to show me his camera. After seeing my sketching attempt, he smiled understandingly and told me he’d help me make ‘real’ portraits. We went around photographing my brothers and sister. Being an angry �fteen year old, my sister wasn’t so happy with it, and while my eighteen year old brother couldn’t care less he wouldn’t make an effort. But low and behold, my eight year old brother absolutely loved being the centre of attention. He’s nearly fourteen now, and if there’s a boy with strikingly blond hair in a photo of mine, it’s probably him. So that’s how I discovered my love of photography. I admired how it was such an honest representation. Since then, I’ve been using friends and friend’s friends as models. I’m still young on paper, but really I’m an old soul and know my calling is within a big city. I’d like to develop my love for photography into a skill in the �eld of fashion. I am inspired by Damon Baker and Nirrimi Hankanson. I’m scouting out universities to offer me the opportunities I’m after, and I’ve a pile of international prospectuses stacked upon my bedside table. I know anything is possible if you are prepared to 38 / Gallery36

work hard. I’m constantly learning new things and I’m in a positive frame of mind. The future looms, a portal of excitement and surprise, I’m keenly stepping forward ready to take up the opportunities it holds.

Above: Anna Birchall 2010 Cheeks Like Nails Digital Photo Right: Anna Birchall 2011 Daisy Taste Digital Photo

Anna Birchall 2011 Adorn the Bed in 40 Winks Digital Photo Anna Birchall 2011 Alabaster Assortment Digital Photo

Vol 3. No. 2 2011 / 39

SmARTist

smARTist By Ariane Goodwin, Ed.D. W: Ariane of smARTist: smartistcareerblog.com/about/ W: smARTist: smartist.com/live-telesummit/hse-2011/ W: smARTist Telesummit: smartist.com/live-telesummit/hse-2011/ W: smARTips: smartist.com/live-telesummit/weekly-smartips/ Hi! - I’m Ariane of smARTist and I’ve been passionate about artists since I was a toddler tripping out on the cliffs of Big Sur, California while my artist mother held her breath hoping I wouldn’t fall into the Paci�c before she could get to me. These days, I hang out on the smARTist® cliffs, soaking in the sweet salt air of artists who love what they do in the studio, and feel just a bit lost when they come out. For the last �ve years I’ve been running the only professional development art career conference for visual �ne artists (the smARTist Telesummit), coaching private clients so they can fast forward their art careers, and developing information, inspiration, and insight for artists who want to bridge the gap between making art and making a living. I also write a free weekly newsletter, smARTips™, offering you one tip a week, which sculptor Kevin Caron tells me are “scintillating, practical insights that really help my career.” Here in Gallery36, I’ll be pulling together a series of four of my best tips for each issue. Four smARTips for a foundation that will Hold Your Art Career Strong And Steady right from the start. 40 / Gallery36

smARTip #1: When is enough, enough? Aren’t you weary of the whole starvin’, sufferin’ artist thing? It’s not who you really are. I know that. You know that. --------------------Vincent didn’t do any of us any favors. Sure, “Starry Night” is sublime. But he left lots of people confused about the difference between making art and suffering. Misery won’t make anyone a better artist. Misery also won’t pay the bills, put food on the table, or let you shine your light. Misery is just, well, miserable. And it’s entirely optional. Exercise. Eat well. Breathe. Laugh. Play. Rest. Make art. Eat a little more. Read a book. Make more art. Watch a movie. Sleep deeply all night long. You get the drift. Misery is not what convinces people that you’re an artist. It’s your art that convinces people. --------------------Your smARTist Move on smARTip1: ®

OK, time to pull out the skeletons. What’s your favorite self-

It might help to remember that any of these behaviors is simply, purely a *choice,” and you are in the driver’s seat. Passion and the deep pleasure of making art are what got you here – and those are the same energetic realities that move your audience. ***** smARTip #2: What’s In An Expectation? It’s important to give ourselves goals that pull us out our comfort zone, that keep our curious imaginations juiced and �owing. But aiming too high can be as dangerous as not aiming at all. It can be tempting, especially when you want to please, say, a new gallery owner, to push the limits of what you can produce. Don’t. Be realistic about what you can do. Only one thing is more frustrating to a gallery owner than having a hot new artist who can’t keep up with the demand for his work. And that’s an artist who promises she can - but doesn’t deliver. When you’re in the �nal stages of negotiating with a gallery owner, resist the urge to commit to more than you can handle. No matter how sweet the deal seems, it’ll turn sour if you can’t hold up your end. Before you talk to a gallery owner, know how much you can produce over the next year and a half. And don’t let enthusiasm or eagerness in�ate your estimate. ---------------------

Your smARTist® Move on smARTip2: Figure out how much art you can produce in the next 6 months. Not how much art you want to produce, but how much art you really can create in the next six months. Factor in things like time off, sick days, and times when you just have to be somewhere besides your studio. If you track your time in a spiral notebook for two weeks, you should have a decent idea of how long it takes you to do what. ***** smARTip #3: If you’re low, dig deeper. Does your artistic self-esteem chronically run on empty? Maybe it’s time to take a look at what else might going on. Feeling bad about your artistic self is no fun. But, sometimes, low self-esteem is a way of protecting yourself against other things that might feel even worse. Like pride and ambition that are running amok. Or the reality of what being successful really means. If you think that $40—or $400—for a piece of your art is beneath your dignity, you might �nd it easier to believe that you’re no good as an artist than to take the money your art does bring in. And if you really want to see your work on the walls of MOMA, you might �nd it easier to believe you’re no good than to keep making art that will carry you to the top. How do you know if this is true for you? One sign is if this conversation makes you feel like ducking your head. ---------------------

Vol 3. No. 2 2011 / 41

SmARTist

negating, misery inducing, suffering artist strategy? Not eating while you work? Living on caffeine and nicotine? Not having enough fun and working WAY too hard?

SmARTist

smARTist® Move on smARTip3: If you feel like your artistic self-esteem is shaky, consider what else might be going on. If it’s true that pride and ambition are getting in the way of feeling good about making art, it’s time to take care of yourself in a new way. What can you do outside of the art world that makes you feel good about yourself? Serving others is often a good way to shift this dynamic. Then we can return to serving our creative spirits. Or, if success means you are going to be more visible, consider how this makes you feel. Women are often wary of too much visibility because we are chronically stalked and abused. Or, becoming successful might mean we have to value ourselves in ways we aren’t used to. Research in education shows that one of the best antidotes for low self-esteem is to become really competent at what we do. Competence, not praise, is what makes us feel good about ourselves. ***** smARTip #4: Grow From Where You’re Planted It’s easy to think the grass is greener … in another town, another province or state, or even another country. Start where you are. It’s easier, cheaper, and more fun! Looking for markets in other areas of the country – or the world – is seductive. It always looks as if there is greater opportunities for expansion over there somewhere. But it’s exhausting and expensive to expand before you’ve got a strong home base. Instead, grow naturally from where you are. That gives 42 / Gallery36

you a real track record you can point to when you approach galleries and collectors in other areas. Put your roots down where you are – and then start spreading your branches into other areas. If your area isn’t art friendly, �nd the absolutely closest place that is and plant your seeds. --------------------smARTist® Move on smARTip4: How are you overlooking opportunities right in front of you? If there aren’t galleries, are there other artists who might want to start a coop gallery with you? Or a collective exhibit where you rent a space and share expenses? Are there businesses that need art: consider leasing with the option to buy. Or show your work for exposure, just be sure to leave great secondary material that people can walk away with (a postcard with all your contact info is good). Identify one action you can take to reach out within your local community – and then go for it! ***** Now, with your bright outlook on the art world, a con�dent sense of self with a realistic idea of what you can produce, I challenge you to �nd one local venue where you can sell your art and start to build a following. I’d love to hear all about it: ariane@smARTist.com In the August issue, look for a series of smARTips on Connecting With Your Audience through publicity, marketing, websites, and artist statements.

By Hana Aoake Artist Megan Knarhoi-Hansen’s work examines ongoing themes such as sex, sexuality, ethnicity and colour stereotypes. Crochet is her chosen medium and one which serves to critique the relationship between craft and high art. The ideologically loaded world of high art upholds bourgeois values which covertly endorse gender stereotyping and racism. Craft throughout the history of modern art has been largely dismissed as women’s decorative work due to its traditionally practical element. Her installations such as White Boob/ Black Boob (2006) and Hanger (2005) examine the themes detailed above. These works can be seen as an examination of the semiotic aspect of signi�cation and its association with the maternal body. Her work can be closely associated with Julia Kristeva’s concept of the maternal, which is based upon the Freudian

concept of drives as instinctual energies which operate between biology and culture. Drives are energies, or rather forces, which shift between the body and representation. This short essay will examine the way in which Hansen’s installations White Boob/Black Boob and Hanger incorporate these themes and the

way Julia Kristeva’s concepts can be used to examine these works in a broader context. White Boob/Black Boob (2006) examines both the representation of difference races (through Hansen’s extensive use of different colours) and the multiple meanings of the [word] boob,

Megan Knarhoi-Hansen White Boob/Black Boob Installation Courtesy of Mary Newton Gallery

Vol 3. No. 2 2011 / 43

Up For Discussion

Megan Knarhoi-Hansen & the Theory of the Maternal - A critical essay

Up For Discussion

most notably in reference to the female breast. White Boob/Black Boob (2006) was an installation featured at the Mary Newton gallery in Wellington consisting of crocheted boobs joined back to back and exhibited in groups of three. The exhibition also featured other crocheted boobs, such as Yellow Boob/Brown Boob and Red Boob/Tan Boob, as if to seemingly represent different races and the racial stereotypes these colour palettes suggests. Megan Knarhoi-Hansen’s intention in titling these works was the different signi�ers the word ‘boob’ conjures. Both as a reference to the female sex and an object of female sexuality. The most obvious is of course the reference to the female body. According to Julia Kristeva’s theory of the maternal (composed of Freudian psychoanalytic theory) all signi�cation or representation is the result of the constant negotiation between two elements: the semiotic and the symbolic. It is constant negotiation between the two elements. Kristeva’s adaption of Freud states that the semiotic characteristic of the signi�cation process is tied to the maternal body and the infant’s �rst experiences in connection with 44 / Gallery36

it. In the process of signi�cation the semiotic is considered to be an expression of the return to that repressed, primary bond to the maternal female body. In this way, both literally and theoretically, Hansen’s artistic representation of breasts in her installation White Boob/Black Boob (through the emphasis on the semiotic element in all signi�cations) refers back to the maternal body. Hansen’s installation Hangers (2005) critiques the relationship between high art and craft through its emphasis on the minimal monetary value placed upon these intricate coat hanger covers, its emphasis on the hangers’ creation. In doing so she ultimately challenges the apparent meaninglessness of these objects. Hangers consists of a vast array of found coat hanger covers created with much love, expertise and care. Some are knitted, some crocheted, embroidered, laced, dirty, faded and scented. Each is unique and intricately made. Yet their purpose is for something to be hung on them, to be placed in a wardrobe never to be seen. When hung together these hangers have a rather ominous skeletal appearance, reminiscent

of the term ‘skeletons in the closet’. To Hansen these objects are priceless. This installation honours the time and effort invested into these objects by the women who created them. It begs the question: why are these objects dismissed as unnecessary decorative items, never to be seen or appreciated? Craft as Art is often rejected by the exclusionary boundaries of high art, largely because it is commonly considered mere ‘women’s work’. In placing these objects on display in such a manner and using crochet as her medium Hansen critiques this rejection, reincorporating authority into this particular art form. Julia Kristeva’s concept of the ‘semiotic’ and the ‘symbolic’ can be used to examine this relationship between craft and high Art. The semiotic aspect of representation refers back to the maternal body. Hansen both literally and theoretically refers to the female, literally in that women created these objects, theoretically in that her work is an expression of the repressed connection to the maternal body (the semiotic) on both an individual and socio-political level. In conclusion, Megan Knarhoi-

and theoretically to the semiotic element in representation, which always reverts back to the ‘maternal’. This is evident in her work White Boob/Black Boob which, as its title suggests, refers to the multiple meanings of the word ‘boob’, most notably the reference to the female body. Her selection in colours is suggestive of the different racial stereotypes certain colours suggest. Hangers pays tribute to the much overlooked time, effort and care involved in the production of coat hanger covers, while also critiquing the amount of attention, appreciation and

monetary value these objects receive. In a broader context Hansen is critiquing the high art world, which excludes this kind of work. References: Bove, C. M. (2006). Language and politics in Julia Kristeva: literature, art, and therapy. Albany, USA: State University New York Press. Costello, D & Vickery, J. (Eds.). (2007). Art: Key contemporary thinkers. New York, USA: Oxford. Elliot, M. (Ed.). (2003). Handycrafts: at home with textiles / curated by Rose Griffin. Manukau City, Auckland: Te Tuhi - the Mark. Jones, A. (Ed.). (2003). The Feminist and Visual Culture Reader. London, England: Routledge. Murray, C. (Ed.). (2003). Key Writers on Art: the Twentieth Century. London, England: Routledge. Packer, Ann. (2006). Stitch: Contemporary New Zealand Textile Artists. Auckland, New Zealand: Random House.

Megan Knarhoi-Hansen Red Boob/Tan Boob detail Courtesy of Mary Newton Gallery Vol 3. No. 2 2011 / 45

Up For Discussion

Hansen is an artist whose work examines sex, sexuality, ethnicity and colour stereotypes. In conclusion Hansen’s work White Boob/Black Boob challenges the bourgeois values endorsed by the exclusionary boundaries of high art, particularly gender stereotyping and the dismissal of her favoured medium craft as being simply women’s decorative arts. Julia Kristeva’s theory of the ‘maternal’ can be consistently applied to Hansen’s work. This is due to Megan Knarhoi-Hansen’s emphasis on the repressed connection to the maternal body. Her works refer both literally