GRAHAM BENNETT by Milford Galleries

GR AHA M BENNETT SIGNAL

22 AUG - 16 SEPT 2015 www.milfordgalleries.co.nz

milford galleries queenstown

9A Earl Street (03) 442 6896 qtown@milfordgalleries.co.nz

Selfie (2015) aluminium & alkathene laminate, painted steel, brass, acrylic mirror, wood, size: 2200 x 1270 x 605 mm

Get the Measure (2015) painted steel & brass, size: 1860 x 535 x 470 mm

Sign Over (2015) painted PVC, acrylic mirror, stainless steel, corten steel, size: 2400 x 2000 x 400 mm

Refocus (2015) aluminium & alkathene laminate, stainless steel, brass, wooden tripod, size: 1390 x 500 x 440 mm

Try to Focus (2015) patinated & electrogalvanized steel, painted steel, brass, size: 1890 x 515 x 440 mm

Tension (2015) painted wood, painted stainless steel, callipers, brass, wood sculpture: 1678 x 680 x 110 mm, base: 100 x 335 x 335 mm

Tethered (2015) painted wood, painted aluminium, painted steel, size: 1270 x 702 x 280 mm

Yeah Nah (2015) painted steel & brass fittings. size: 550 x 535 x 535 mm

Manipulate (2015) stainless steel, brass, mirror, recycled kauri & rimu base sculpture: 555 x 230 x 86 mm, base: 110 x 340 x 340 mm

Wounded World (2015) painted stainless steel, wood & totara base, size: 390 x 615 x 115 mm

III

Under Scrutiny I - III (Studies for Sign Over) (2015) stainless steel & brass, sizes: 298 x 150 x 100 mm, 290 x 180 x 100 mm, 300 x 190 x 100 mm

Signals (2015) painted steel, cast bronze, sizes variable (available individually on recycled timber bases)

Flag It (2015) painted steel & cast bronze, size: 495 x 300 x 300 mm

Studies After Sculptures (2015) acrylic & pencil on paper, mounted on aluminium on stainless steel, sizes: 495 x 265 x 54 mm, 492 x 260 x 54 mm ,488 x 290 x 54 mm

Studies for Sculptures (2015) mixed media on paper, frames: 630 x 467 x 34 mm, sheets: 540 x 370 mm

Nelson-born Graham Bennett's work is a paean to the human navigating spirit. His sculpture - from the massive eternal horological observatory outside Christchurch Art Gallery to the more intimate works on display in Signal - use wayfinding and navigation as their primary inspiration, specifically the tools of the trade, the technological developments which have aided humans over the centuries in their seemingly endless quest to reach the next horizon. This journeying is not just physical through space and time, but also metaphorical. We are searching for a way forward, a way clear of the social and environmental woes which we have brought upon ourselves. The instruments presented in Signal - sextants, railway signals, and semaphore flags - are those used for choosing pathways through dangerous straits, for alerting to peril, and for relaying vital information. These are tools understood by experts, but mere cyphers to the majority. Yet in order to work through our troubles, we need to interpret and take heed of the warnings. Many of Bennett's structures are strong yet delicate, their graceful forms reflecting the orange-segment gores of maps. The crossbeams are tethered but straining for balance. The allusion to a delicate world out of balance is no coincidence. Neither is the suggestion in other works that we have been treating the world as if it were out own plaything, a tin-plate train set for adults. Bennett hints at the interconnectedness of nature - conserved momentum, cause and effect, balance and tipping point. Where once science looked to invention to gain mastery over nature by some neo-Pagan suggestion that naming was controlling, now we turn to the same science to prevent our overthrow and to help us regain balance. Bennett's sculptures invite us to look at ourselves and ask what we have done, and what is our way forward?

GRAHAM BENNETT b. 1947, lives Christchurch

Graham Bennett: How Near, How Far (2009)

Graham Bennett’s three dimensional work comprises both large environmental installations and small scale sculptures. His art work “emphasises the importance of sea, sky and land, and the agents and instruments that navigate and connect these elements. Since the 70s, Bennett has used a paradigmatic perceptual frame (of horizontals, verticals and diagonals) as his core agent of perception. His works are not images of ‘lived reality’ but rather reflections of the artist’s experience of and enquiries into his Pacific environment.” (1) “I think it takes a lifetime to see. Seeing is standing upright and looking back and forward at the impact of our endeavours in relation to one another, the land and what notions of identify we hold. My art explores my personal questions, arguments with myself and my materials, and maybe, hopefully, encourages others to question and comment.” (2) “In his hands, sculpture is about measure, control and weight – and the exploration of volumes, of mass. Such discoveries are also the concern of the explorer, and for Bennett we are all still explorers…His sculptures can be seen as altars that elevate the land. Sometimes he mimics forms of the land – clusters of steel poles evoke clumps of tall reeds or nikau palms; curved pendants hang to resemble seed pods or canoe hulls.” (3) Born in Nelson in 1947, Bennett graduated from Canterbury School of Fine Arts with a Diploma of Fine Arts in 1970. He currently lives & works as a full time artist in Christchurch. Since 1980 Bennett has been exhibiting regularly throughout New Zealand and internationally. His work is held in public and private collections in New Zealand, Australia, England, France, Spain, USA and Japan. Notable public commissions include Extant, installed at Knox Plaza, Christchurch, 2015, Tipping Point, Songchu Art Valley, Korea, 2012, Engage, Christchurch South Library, 2006, Reasons to Return, Connells Bay Sculpture Park, Waiheke Island, 2005, Fixing Positions, Rocky Bay, Waiheke Island, 2004, Reasons for Voyaging, Christchurch Art Gallery, Te Puna o Waiwhetu 2003, Lines Extending, Kurashiki City, Japan, 2003 and Tribute to Firefighters (9/11 memorial), Christchurch, 2002. 1. Dr Cassandra Fusco, ‘Praxis in Practise’, Craft Arts International No.49, 2000. 2. Graham Bennett, Artist’s Statement, 2000. 3. David Eggleton, ‘Rock Art: The holy stones of Graham Bennett’, NZ Listener, 14 October, 2006.

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GRAHAM BENNETT b. 1947, lives Christchurch EDUCATION 1971 1970

DipTech, Christchurch College of Education University of Canterbury, School of Fine Arts (Graduated 1970)

SELECTED SOLO EXHIBITIONS AND INSTALLATIONS 2015 2013 2012 2011 2010 2009

2008

2007 2006 2005 2004 2003 2002 2000 1999 1998 1997

1996

1995

1994 1993 1992

1991

Signal, milford galleries queenstown Heavy Shadows, Whitespace, Auckland Hard to Swallow, Diversion Gallery, Picton Weighting and Waiting, Milford Galleries Dunedin Auger Augur, Whitespace, Auckland Pivot, The Arthouse, Christchurch Diversion Gallery, Grove Mill Winery, Marlborough Latitude, The Arthouse, Christchurch A Part, Cable Bay Vineyard, Waiheke Island How Near, How Far?, Koru Gallery, Hong Kong Latitude, Galerie Paris, Yokohama, Japan ZAIM Contemporary Art Space, Yokohama, Japan Converse, The Arthouse, Christchurch Affinity, Shiori Gallery, Kurashiki, Japan, with Wataru Hamasaka Seek, The Arthouse, Christchurch Ukabu, The Arthouse, Christchurch (with Wataru Hamasaka) Five Spaces, The Arthouse, Christchurch Trajectories, Diversion Gallery, Grove Mill Winery, Marlborough Spheres of Influence, The Arthouse Christchurch Behind Reasons for Voyaging, Christchurch Art Gallery, Te Puna o Wai Whetu Defining Markers, The Arthouse, Christchurch Making Connections, Diversion Gallery, Grove Mill Winery, Marlborough Judith Anderson Gallery, Auckland Questions & Connections, Milford Galleries Dunedin NICAF International Arts Festival Tokyo representing Galerie Paris, Japan Hashimaya Gallery Kurashiki, Japan Salamander Gallery, Christchurch NICAF International Arts Festival, Tokyo, Japan Galerie Paris, Yokohama, Japan Judith Anderson Gallery, Auckland 1+1=3, Joint exhibition with Gavin Hitchings, Potters Gallery, Wellington 1+1=3, Joint exhibition with Gavin Hitchings, Salamander Gallery, Christchurch Installation 'Demarcation' 300 cast iron frames, Boulder Bank Nelson Canal City (Gallery Miyabi) Fukuoka, Japan Mie Prefecture Contemporary Art Museum, Japan Gallery Miyazaki, Osaka, Japan New Zealand Embassy, Tokyo, Japan Gallery Miyabi, Fukuoka, Japan Gallery Arte Ferrana, Hamamatsu, Japan Judith Anderson Gallery, Auckland Gallery Miyazaki, Osaka, Japan Gallery Miyabi, Fukuoka, Japan Installation in steel and glass, Grey River flood wall, Westland Left Bank Gallery, Greymouth Aeroclub Gallery, Port Chalmers, Dunedin Installation Sea/Sky/Stone #2, Boulder Bank, Nelson waterfront Installation Sea/Sky/Stone, Archery lawn, Christchurch Botanic Gardens Suter Gallery, Nelson

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1990 1989 1989 1987

1986

1985 1984 1983 1982

1981 1980

Jonathan Jensen Gallery, Christchurch Installation Sea/Sky/Stone #1, Boulder Bank, Nelson waterfront Exhibition of 1988 Artist in Residence work, Suter Gallery, Nelson Annex Gallery, Robert McDougall, Public Art Gallery Christchurch Parameters (invited Artists Project), Robert McDougall Public Gallery, Christchurch Carnegie Centre, Dunedin Louise Beale Gallery, Wellington Gingko Gallery, Christchurch Louise Beale Gallery, Wellington Bishop Suter Gallery, Nelson Brooke/Gifford Gallery, Christchurch Louise Beale Gallery, Wellington Louise Beale Gallery, Wellington Red Metro Gallery, Dunedin Dunedin Public Art Gallery Gingko Gallery, Christchurch Bishop Suter Gallery, Nelson Brooke/Gifford Gallery, Christchurch Art of Man Gallery, Sydney Brooke/Gifford Gallery, Christchurch

RECENT SELECTED GROUP EXHIBITIONS 2014 2013/14 2012 2011

2010

2009

2008

2007

2006

Significant Works, Milford Galleries Dunedin How Near, How Far?, The Suter Art Gallery, Nelson International Sculpture Festival 2012, Hangaram Art Museum, Seoul, Korea Auckland Art Fair, Whitespace, Auckland Sculpture on the Peninsula Sculpture in Central Otago, Wanaka Chambers 241 opening exhibition, Christchurch My City, Whitespace, Auckland Shapeshifter Dowse Art Museum, Wellington Arts Festival PromoArte, Tokyo, Japan Sculpture on the Peninsula, Canterbury Brick Bay Sculpture Trail, Matakana Headland Sculpture on the Gulf, Waiheke Island Sculpture in Central Otago, Rippon Estate, Wanaka Promoarte Gallery Tokyo Attitude, with Mild Red, Galerie Paris, Yokohama Brick Bay Sculpture Trail, Matakana Conversations Across Time, Canterbury Museum, Christchurch Save our Water, Ng Gallery Christchurch 3Bs, Milford Galleries, Auckland ID Dunedin in collaboration with Mild-Red Shapeshifter, Dowse Art Museum, Wellington Arts Festival Sculpture in the Park, Waitakaruru, Waikato Sculpture Trust NZ Artists, Taipei Art Fair, Taiwan Koru Gallery, Hong Kong ID Dunedin, collaboration with Mild-Red Collaborative Tapestries, Marilyn RaeMenzies, Ng Gallery, Christchurch Sculpture on the Peninsula, Guest exhibitor, Christchurch Manifest, Guest exhibitor, Nelson Arts Festival Art in Central Otago, Bannochburn Brick Bay Sculpture Trail, Matakana Second Side, The Arthouse, Christchurch Group Exhibition, North Art, Auckland Shapeshifter, Dowse Art Museum, Wellington Arts Festival Gowshed opening exhibition, Connells Bay Sculpture Park

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2005

Crowded House, The Arthouse, Christchurch Sculpture in Central Otago, Bannockburn Trilogy, Diversion Gallery, Marlborough Shriek Revisited, 100 International Artists, Medialia Gallery, New York COCA, Large-scale tapestry weaving with Marilyn Rae-Menzies NZ Sculpture On Shore , Takapuna, Auckland Shape shifter, Dowse Art Museum, Wellington Arts Festival Dowse Foundation Auction for the Galvan Macnamara/James Mack Tribute Bannockburn Outdoor Sculpture, Central Otago Transit of Venus, Milford Galleries, Auckland After Woollaston, Catchment Gallery, Nelson Seven, The Arthouse, Christchurch Sculpture on the Gulf, Waiheke Island Participated in innumerable group exhibitions in the period from 1979 to present New Zealand, Australia, Spain, Japan, USA

2004 2004

2003 2002

SELECTED COMMISSIONS 2015 2012 2010

Extent, Knox Plaza, Victoria Street, Christchurch Tipping Point, Songchu Art Valley, Korea Reflect, Sumner Christchurch Traverse, Hotel reception, Christchurch Reach, Wanaka Kaputone Creek Pedestrian Bridge, Christchurch Insight, St Margaret’s College, Christchurch Engage, Christchurch South Library Reasons to Return, Connell’s Bay Sculpture Park, Waiheke Island Fixing Positions, Rocky Bay, Waiheke Island Reasons for Voyaging, Christchurch Art Gallery, Te Puna o Waiwhetu Lines Extending, Kurashiki City, Japan Tribute to Firefighters, Christchurch Sea/Sky/Stone, Kaipara The Farm, Kaipara

2008

2006 2005 2004 2003 2003 2002 1997

SELECTED AWARDS 2012 2007 & 2008 1996 1995 1995,96,2000 1990 1988 1984

International Sculpture Festival, Residency Seoul, Korea NZ Japan Exchange Programme (NZJEP) Grants Trustbank Community Trust Arts Excellence Award Fellowship in Visual Arts, New Zealand Arts Council, Toi Aotearoa Asia 2000 Foundation Grants New Zealand Arts Council Grant Artist in Residence, Nelson Polytechnic New Zealand Arts Council Grant

BIBLIOGRAPHY 2014 2011 2008 2008 2008 2006 2006 2004 2004 2004 2004/05 2004

Blundell, Sally, ‘Changing the Global Gaze’, World Sculpture News, Winter 2014, pp 41-45. A Gallery Without Walls, John and Jo Gow tour of their outdoor gallery at Connells Bay, Artsville TV1 45 mins. Stevenson, Karen, Conversations Across Time, Whakawhiti Kōrero, Michael Reed. How Near, How Far, Koru Contemporary Art Catalogue. Woodward, Robin, Connells Bay Centre for Sculpture, pp 48 – 51. Gina Irish & Ruth Harvey, Squaring the Circle: New Work by Graham Bennett, Exhibition Catalogue, Milford House Ltd. Reasons to Return, DVD Documentary on Connell’s Bay commission, Mindseyeflicks. Fusco, Dr. Cassandra, ‘Changing Reflections’, Craft Arts International, Vol. 60. ‘World Artist’, Feature article in a Korean Art magazine, ArtPrice Vol 10, 08/04. Fusco, Dr, Cassandra, ‘Of Time and the Ocean’, World Sculpture News, Vol. 10. VIP Magazine Summer 04/05. Hay, Jennifer, ‘Reasons for Voyaging’, Sculpture,Vol 23. No.3 April 2004 (ISC, USA).

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2004 2003 2003 2002 2001 2001 2000 1997 1996 1996 1995 1994 1994 1992 1991 1991 1989 1989 1987 1987 1987 1986 1985

Ross, James, The Farm, Kaipara New Zealand. Editor John Freeman-Moir, Walking Through: Graham Bennett's Reasons for Voyaging, Southwalk Publishing. Shiels, Rosa, Journey, The Story of the Steel, Christchurch City Council. Moore, Christopher, 'Fire and steel', Christchurch Press , October 23, 2002. Milburn, Felicity, 'Reasons For Voyaging', Christchurch Art Gallery Bulletin, 125. Winter 2001. A shriek from an invisible box, Meguro Museum, Tokyo catalogue. Fusco, Dr. Cassandra, Praxis in practice, International Craft Arts [Aust] Issue 49. Fusco, Cassandra, 'The Importance of Dialogues', World Sculpture News, Vol 3 No 2, Spring 1997. Blankstein, Amy, Sculpture (International Sculpture Centre, USA) recent commissions, October 1996. Brown, Warwick, 100 New Zealand Artists, Godwit Publishing. Rewi, Adrienne, 'Diverse Talent Focussing on Place', Pacific Way, April 1995. Beatson, Dianne and Peter, The Crane and the Kotuku, Manawatu Art Gallery Catalogue August 1994. Fusco, Cassandra, 'Making Relations Forms and Forces', Art NZ, No 72, September 1994. Bibros, Vol 12, Fukuoka Japan, July 1992. Freeman-Moir, John, 'Objects in Landscape - Landscape in Objects', Craft New Zealand no 38, Dec 1991. Gilling, Naomi, Christchurch Press, October. McIntosh, Jill, Contemporary NZ Prints, Allen & Unwin. Freeman-Moir, John, 'Artists Construction of Nature', Art NZ, No 51. Smart, Jonathan, Art NZ, No 44. Freeman-Moir, John, Louise Beale Gallery newsletter, No 108. Parameters, Robert McDougall Gallery Catalogue. Betts, Elva, New Zealand Art: A Modern Perspective, Reed/Methuen. Smart, Jonathan, Landfall, No 44.

Graham Bennett: T.R.I.G. (2008)

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