Intrigued by Mayoral Chains seen at official events, artist Brigid Grant has created a set of official chains for imaginary officials.
Using a diverse range of materials including bullet cases, pencils, thimbles, tracing paper, leaves and old books, these whimsical 'Chains of Office' explore official jewellery and neckwear. The 'Chain' currently in the Thistle Hall Lightbox, features aluminium and steel soft drink cans shaped into kowhai like flowers with crochet tops, attached to a hand beaded band. The colours of the cans sparkle in the sunlight – just as a gold or silver Mayoral chain does.
Brigid is a 3D artist who has been exploring the juxtaposition of unlike materials to create work. Her 2013 "No Good For Fruit' series combined clay and rusted wire in an extension of the traditional vessel, and the 2012 series 'Discarded Torsos' also in clay, rusted wire and wax explored the cliché of the female torso in art practice.
'Chains of Office' will be exhibited in 2014.
Firestarter - gouache & silver-leaf on paper.
"The unread story is not a story; it is little black marks on wood pulp. The reader, reading it, makes it live: a live thing, a story."
Ursula K. Le Guin
Firestarter is a one-off, hand painted poster that draws on my love of street art, iconography and medieval painting. I'm interested in how people interpret Firestarter in the context of the advertising and signage surrounding Thistle Hall.
Firestarter is part of the Heretic Series; these works imagine a future beyond Aotearoa's toxic legacy of neo-liberalism.
Digital prints of original Jane Hyder paintings, feature gardens with European plants in a New Zealand setting. The idea for these artworks is to express Jane's
cultural identity as a 5th generation European New Zealander, seeking peace, beauty and harmony in a New Zealand setting. The Artworks are titled "Pacifica" and "Italian Garden Karori".
After years of staying safe and only using pencil when creating portraits I got bored and decided to push myself out of my comfort zone by instead forcing myself to use print, typography, and ball point pen instead. These are some of the results.
For more information or to see more of my work please visit www.megsrussell.com or email firstname.lastname@example.org
In 2007 I shot two rolls of black and white film of the whirling brothers circus animals and staff in Wellington. Mila was introduced to me as Jumbo (the name she was called while with the circus). She caught my attention from afar as she was striking yet slightly out of place in the back of this truck. It became apparent that she was living a fairly solitary and uncomfortable existence.
Jumbo has been on the shores of NZ for over 28 years. Discussions began sometime ago via email with Sacha Dowel; a campaign officer for SAFE, the black and white photographs I had shot in 2007 would potentially be used in order to help release Jumbo from the Loritz circus (where she had been) under their campaign at the time.
Mr Ratcliffe (owner of the Whirling Brothers Circus) retired from circus ownership in 2008 and had arranged to sell Jumbo to Loritz Bros for $70,000 and work for them looking after her. With SAFE actively involved after years of campaigning and support of other local animal right activists Jumbo was released and given to the SPCA.
Jumbo now resides at the Franklin Zoo in Tuakau, Waikato. Plans have been made to raise money to send Mila to an elephant sanctuary in California, United States.
For more information about Mila please visit the Franklin Zoo website www.franklinzoo.co.nz.
Painting from To Somewhere from Here series.
Mixed-media on panel, 600 x 600mm.
Using oil paint like water color, she tells visual stories, often reconstructing scenes she encounters in the forests and mountains.
Yukari lives and works in Wellington city.
Yukari is exhibiting in the Thistle Hall Gallery from 18 - 24 February.
Liz Willoughby-Martin has never liked summer all that much. In an attempt to get past this, 'Sweet Spot' is a positive exploration of her sand-gritted and sunburnt feelings about the season.
Liz's illustrations are based on whatever she's feeling alongside flat patterns drawn from plants, animals and the night sky. She tries to pay attention to the small and beautiful things in the world around us.
You can contact Liz at email@example.com
Gouache, acrylic and ink on watercolour paper.
Colour makes our strange, mad and chaotic world of humanity beautiful. Let's celebrate it.
We Wellingtonians can often get a little stuck on black, so this exhibition is a gentle tease about ditching black, and joining us in celebrating colour.
This exhibition brings together the work of husband and wife artists, Alan and Ellen Hodgetts. We will be displaying posters of one each of our individual works, plus one joint creative work, displayed over the course of three weeks.
Week one: Acid Girl (the original is oil on canvas, by Alan Hodgetts).
Week two: Noise Virus (the original is mixed media on paper by Ellen Hodgetts).
Week three: A Christmas Blow Job (the original is acrylic on glass by Alan and Ellen Hodgetts).
As our marriage in life flourishes, we want to celebrate our marriage in art and our recent emergence on to the Wellington art scene. We celebrate colour with these quirky, lively and eye-catching artworks.
You can check out our website www.sweetarts.info for more information about us.
Mixed media on found canvas, 600 x400mm
After a recent trip to New York City, Wellington-based artist Don Smith has been making a body of new work towards a solo exhibition in 2013 entitled LoST IN MoMA ... a visual response to his time spent in the "Wonder City".
I try to imagine the shapes the wind makes in the Arctic as it tries to balance this crazy world.
Installation by Bridget Nawalowalo of Bent Designs Ltd.
For more information, contact: firstname.lastname@example.org or call 0277506118.
I've been making artwork and writing for over twenty years – for about as long as I lived in Wellington.
I wrote this phrase, and drew this drawing of it, to mark the occasion of me leaving Wellington to begin a new life in another town. This artwork is a kind of love letter to this marvelous beautiful windy city that has treated me so well.
If you'd like to see more about me and my work, best place at the moment is www.facebook.com/FleurWickes.
Alison and Nicola started their latest project by combining their love of hand built ceramics, printing, painting and images of the Seatoun foreshore. The series soon expanded to NZ birds and flora and some of their other favourite areas of Wellington, including Lyall Bay and Island Bay.
Each print is unique. Some replicate the look of antique photographs, while others are crisp and clear. Commissions can be taken.
Alison and Nicola met at The Learning Connexion and have been working together for a couple of years. They live and work by the coast in Wellington and this is reflected in their work.
They have recently exhibited at Swell Gallery in Kilbirnie, and their pieces can be found in cafes around Wellington and from The Clay Penguin Studio.
Studio: The Clay Penguin, 13 Hector St, Seatoun, Wgtn.
Ph: Nicola 04 938 3356 or Alison 021 299 3700
Josie's paintings often depict the figurative with recurring symbols and imagery. Sometimes animal, sometimes human, they explore relationship…with self, each other, environment and the unknown.
She draws upon personal myth, narrative and experience and often finds that meaning unfolds and reveals itself in time, reflecting various states of being.
She is interested in the endlessly shifting imagery that hovers in psyches between spirit-matter, nature and that which brings the unseen into the seen…
Josie was born in Whanganui in 1975, has had several solo exhibitions and paints in her studio in Island Bay where she currently resides.
Directed Chaos, chaotic direction.
Chaos and order; concepts in life, concepts from the fantasy books by Michael Moorecock about Elric who was caught between the two. These books had a huge impact on me when I was young. The hero was an agent of order in the elemental battle between the archetypal forces of order and chaos. His weapon was a soul stealing sword though, as chaotic as it gets really, so there he was working for the life preserving forces with a life taking sword. It made me wonder if it is alright to use chaotic means to uphold order? I do like the way sci fi and fantasy can explore deep human issues outside the context of history, politics, etc. Visual art can do this too, it can be a tangible creation questioning or pointing out intangible ideas. I was always a bit torn between the ideas of chaos and order in the Elric books, I liked the idea of law, but the older I got the more life in the material human world seemed like chaos. I guess there is always a tension between the two, both exist and have an ongoing interplay.
This can be seen in the area this work now resides, the attempts to order the chaos of the roads around Thistle Hall, the order imposed in a chaotic manner, the chaos that is barley ordered. This work is constructed as a 3D solid, but it really is more space than substance - the mesh is less (and more in its vibrancy) than the whole of the piece. It is a symbol / sign made from a material that is used extensively to communicate a 'keep out' message, but in this case it is more a question of directions / instructions / competing ideals. I hope it makes people stop, look and ponder - this is a key function of art to me.
For the past few months I have been working with tissue paper; to experiment with its properties and explore the many ways it can be used as a material for making art. Draped is the result of one of these experiments.
In Draped I am exploring the translucency of the paper, soft versus hard lines, shadow and light, the play of pattern on pattern, matt versus shiny and the affect of gravity on a relatively weightless material.
It is my hope that as you view Draped you will find your own meaning within. That Draped will evoke something in you which takes you somewhere outside of your normal existence, even for just a moment. A place where anything is possible.
If you enjoyed Draped you may see more of my work in the upcoming Detritus Project, an installation show featuring installation works by seven artists. The Detritus Project runs from 20 – 24 August, 2012 at The Learning Connexion, Taita.
For more information regarding my work or The Detritus Project please contact me on: 021652027 or email: email@example.com
"Boundaries in interior architecture have often been thought as physical, manifesting themselves in the form of walls or immovable structures. Yet an active dynamic boundary enables whoever moves through the boundary to define it.
By setting the camera to a slow shutter speed, I began to paint with light through the camera lens. This method arose from the frustrations and consequences of not having a tripod and wanting to capture light that may have been somehow obscured. For example, the light emitting from a room I could not get into because it was locked. From these frustrations I developed a set of elaborate physical actions, gesturing with my arms through the air, jumping and crouching in painful contortions. By capturing found light in space with the camera and these physical actions I was able to create immaterial boundaries.
By taking photos of light that could never be captured in the same way again, a moment in time was recorded, as well as a trace of human action."
Sophie Rzepecky in a recent graduate of Massey University's Textile Design program and will be undertaking her Masters in Social Design at the Design Academy Eindhoven in September.
When the container ship The Rena hit a reef off Tauranga last year, it spilt around 350 tonnes of oil.
An art collective made up of creatives from Publicis Mojo and Greenpeace volunteers came up with the concept of making 'oil prints' with two of the birds that died. These were conceived both as a memorial to all the marine life killed as a result of the incident, and as a warning of what might happen in the event of a deep sea oil spill ... the prospect of which is becoming more real by the day, as exploratory drilling is set to begin off the Otago and Taranaki coasts later this year.
Ten of the prints on display were made on canvas; another 20 were used as A3 posters.
The two birds were found dead and covered in oil on Matakana Island by Greenpeace volunteers while they were helping the local iwi, Nga Hapu o te Moutere o Matakana, clean oil off their beaches following the spill. The birds have since been returned to the iwi.
My latest series of drawings explores the relationship of chaos and flow, with inspiration from the rhythms and patterns that occur within water.
Everything within the universe requires a balance of contrast to survive - sharp-soft, light-dark. I question whether within our own society, do we have the right balances occuring?
Willow charcoal on 300gsm watercolour card.
An exhibition of installation art, music, drawings and photography. The Translucent Landscapes exhibition will pop-up on 1 March at 75 Ghuznee Street, and 26 February at the Thistle Hall Lightbox. The work moves across, through or beyond landscapes infused with light or marked by clarity. The landscapes are real (landscapes of liquids, gaseous landscapes and crystalline landscapes) or imaginary environments where the land and (semi) natural elements are ascendant.
Including work by: Margaret Elliot, Iain Gordon, Katherine Joyce-Kellaway, Tony Kellaway, Poppy Lekner, Doris Lindstrom, Mary McCallum, Helen Reynolds (curator), Molly Samsell, Mike Ting and Nathan Young.
For more information visit
Rowan Panther developed an interest in lacemaking as an artistic endeavour while studying at Auckland's Elam School of Fine Arts. While her lacework began as an exploration of the constructed distinction between art and craft and the role of women within that dynamic, it has since developed to encompass elements of multiculturalism. Reprising the old-world charm of lace patterns and figures with flax, a singularly unique New Zealand material, as the medium, Rowan's current work looks at both the past and present culture of New Zealand. It simultaneously harks back to a colonial idealism and supplies a contemporary variation. In this context, one might wonder which culture is being appropriated, and whether such concerns are really relevant in a multicultural society.
For more info: www.facebook.com/rowanpantherlace
Pam Brabants' comic strip entitled Juju's Big Night Out documents a madcap escapade experienced by one of her friends in Brighton, England. To find out what happened to Juju take a stroll by The Lightbox in Arthur St.
Pam's pencil drawings have been described as cartoon observations. She takes the perspective of narrator and throws the viewer into the trivial details, secret lives and phobias of various sub-cultures, social misfits and ordinary people. All of Pam's drawings are based on real events and she often translates these into comic strips.
For more of Pam's work go to: www.freewebs.com/pamelabrabants/
Juju's Big Night Out (detail), pencil on paper, 510 x 620mm.
Emma Anderson's recent photographic works extend on previous discussions into the photograph's role as a fragmented and abstracted trace of illumination. As light is inversed, diluted and mediated from experience through a camera lens, onto film, then paper - each photograph leaves an isolated trace of what was. This fragmented work, consisting of individually folded, twisted and solarised photogram's, documents Anderson's departure from a lens-based obsession with fleeting abstractions of light and modes of portraiture. Shifting the focus to the photographic process itself, the new works discuss the mediums scientific roots in light and chemistry paired with the photographic act of inversion, both with the images created and the final action of solarisation.
Photographic Print on Fibre Based Silver Gelatin paper, 800 x 1000mm.
This work is about re-constructing the scenery from memory. It is an exercise to re-compose a narrative story. Our surroundings go through metamorphosis: the environment we live in is fragile and ephemeral, it changes and transforms the physicality that we captured with our eyes, becoming the past in a moment.
Antoinette Ratcliffe brings The Plush Room to the Lightbox at Thistle Hall, with 'Goldies zombie kitten, Gray'.
Antoinette chose to use the zombifying process, in conjunction with cute innocent characters to extend the cute and grotesque hybridity that she uses in her installations. Her work explores thematic narrative derived from contemporary animation, horror conventions, banal situations and anthropomorphic association, creating an existentially humorous situation which alludes to B grade horror films.
'Goldies zombie kitten, Gray' has appeared in the book 'The Plush Room: photographic portfolio 2010 -2011' and keep your eyes peeled for Gray's littermates down Cuba Street – they have accompanied him this time.
If you would like to subscribe to The Plush Room monthly email, click here or visit www.theplushroom.com for details.
In response to the 2011 Rugby World Cup I decided to create an
artwork that looks back to 1960 - a controversial time in NZ's rugby
history, when Maori were not allowed to tour South Africa.
The Howard Morrison Quartet's My Old Man's an All Black was a
parody of a popular song My Old Man's a Dustman by
Lonnie Donnegan, and proved to be a hit due to its
humour and also the topicality of the song's controversial subject.
To listen, google 'My Old Man's an All Black mp3'.
Colour inverted digital print, 1000x1050mm.
Slide 22 box 3/5 Chelsea flea markets, New York City, 2011, pigment on archival paper, 900 x 900 mm.
Kate Adolph's recent works extend on an ongoing discussion into what constitutes as a photograph and its function. Here she pushes the medium's traditional constraints as a two-dimensional form through structured geometric folding methods along with her use of found imagery. Slide 22 is derived from negatives the artist acquired at the Chelsea flea markets, New York City in June 2010. Unwanted boxes of personal photographic negatives spilt over the market tables unaware of where or how they may be interpreted, manipulated and displayed. As well as investigating photography's function and the value of the archival document, Adolph's interest also lies in the medium's relationship to the 3D and the results of this integration.
There can be a sort of epiphany coming across an urban tragedy. One we may walk past and not see in the night, which suddenly draws us to the plight of the unseen, sometimes heard snuffling in the shrubbery, scuttling along a path, but one that has a part to play in the urban landscape.
Finding a place amongst giants, constantly altering its landscape. This is but one character having a role that we do not see, whose existence we rarely acknowledge, but who plays its part in the drama of the city. The humble Hedgehog. Respect.
Photograph, dead hedgehog foetus, Thompson Street, Wellington, 2009.
In the seamlessly repeating arborescent-style wallpaper, fantastical yet familiar hybridized wildlife (pests and pals) perch simultaneously obliviously, yet menacingly, in branches over a background of traditional pattern – leaving no space unfilled. The work suggests a romanticised, yet uneasy and precarious, cohabitation between the native flora and fauna and introduced species, where to survive is to adapt to the rapidly changing landscape. True to arborescent-style wallpapers of the 1800s, this design is the product of a cultural exchange, and although inhabited by exotic flora and fauna, is firmly grounded within a New Zealand context.
Digital print on vinyl (from INFILL exhibition).