Local Talent

A selection of art made in our Children’s Holiday Classes, Term Classes and School Education programme over the past few years.

We would like to credit the individual artists, so please comment (below) if you recognise any of the artworks.

Family Ties with Mandy Patmore

Super Junk Fusion with Andrew Hall

Mask Making with Kris Kell

Portraiture with Anne-Sophie Adelys

Tapa Mono-prints with Joy Tiumalu

Sun prints with Lynn Houghton

Cartoon Self-portraits with Victoria Scott

Clay Cupcakes with Kairava Gullatz

Clay Castles with Kairava Gullatz

Kiwiana Clocks with Joy Tiumalu

Comic T'shirts with Grant Cole

Artwork by Alex Terzaghi

Summer School Tutor Interview Series - Bridget Brandon

CEAC staff member Kyla Mackenzie interviews Bridget Brandon in the lead-up to her Summer School class ‘Igniting the Creative Fire of Writing’ in January 2011. Click HERE for a full description of Bridgets' class & enrolment details.


KM: Your upcoming writing course in January Igniting the Creative Fire of Writing revolves around each participant's own life story. Is this focus on understanding one's own life, a crucial step for meaningful writing of any kind?

BB: I feel the core of my work is about creating the platform for individuals to dive into themselves and at the same time into their creativity...It seems we have a lot of hang ups about our writing in particular. In addition people think their life is ordinary and they can’t express themselves. Given the right circumstances and encouragement most people are creative.

KM: A previous student of yours said:
“I feel that 'writing' my life is also like 'righting' my life - setting it out before me, so I can look at and understand the reason for decisions I have made throughout the years I have been writing about.” (http://storyworks.com.au) Is this a common experience for your students?

BB: Yes it is!

My goal is to allow people to see their life is not ordinary. No ones life is ordinary. (It is) quite the opposite and telling their stories and having their stories listened to in a non judgemental way allows them to appreciate the uniqueness of their life. With the feedback I focus on what works and I get the group to provide feedback on what works. Once someone is feeling confident, sometimes then I introduce the element of what else or what if...

KM: What is an example of one of your ‘loosening up’ exercises to get thoughts and memories flowing?

BB: One example is to draw a word out of a hat and write about what it means for 5 minutes.
Another is to choose a colour and then keep observing where you see that colour and next day write for 10 minutes on that colour.

KM: What's an example of a writing discipline you get your students to use?

BB: Just do it, just have a go. Early on I give out 5 writing principles. These really help people deal with their critic and issues. Each day they choose one to work with and at the end of the day we check in to see how they have gone. So the key is active engagement and not letting them get away with saying they can’t do it.

…. Focus on the story and the words will follow whereas if you focus on the words paraylsis sets in and the story is lost.

An excerpt below is written by someone who I think sums up my approach:

I arrived at the Larapinta River without a story in my mind and no idea whether I would actually be able to write anything. I have never had any confidence about writing and this was my first experience of putting my stories onto paper. The week was full of insights, friendship, grace and fun. Thinking about what made it possible for me to get so much out of it. Here are some thoughts.

The written hints we were given (eg the Basic Prinicples/ Seven Rules//Haiku guidelines) were sufficient to give practical help and to set a tone of freedom without being prescriptive (ie that there was a "correct" way to write and a benchmark to achieve).

No activity went for too long - most of the exercises were quite short in duration and I had a sense that even if I wasn't sure I was "on task" it didn't matter as the time spent doing it was limited and the next task would come along shortly. I didn't have time to "get stuck".

The reading back to the group was great - it gave me a sense of each person's uniqueness and that there were a lot of different ways of approaching a task - all of which were valid and which, therefore, validated my own voice/expression.

The fact that it was compulsory to read aloud was important - it helped to know that you "could run but you couldn't hide"(as it were). At some point you had to put into voice the words written on the page.

I arrived at the Larapinta River without a story in my mind and no idea whether I would actually be able to write anything. I have never had any confidence about writing and this was my first experience of putting my stories onto paper. The week was full of insights, friendship, grace and fun. Thinking about what made it possible for me to get so much out of it. Here are some thoughts.

The written hints we were given (eg the Basic Principles/ Seven Rules/Haiku guidelines) were sufficient to give practical help and to set a tone of freedom without being prescriptive (ie that there was a "correct" way to write and a benchmark to achieve).

No activity went for too long - most of the exercises were quite short in duration and I had a sense that even if I wasn't sure I was "on task" it didn't matter as the time spent doing it was limited and the next task would come along shortly. I didn't have time to "get stuck".

The reading back to the group was great - it gave me a sense of each person's uniqueness and that there were a lot of different ways of approaching a task - all of which were valid and which, therefore, validated my own voice/expression.

The fact that it was compulsory to read aloud was important - it helped to know that you "could run but you couldn't hide"(as it were). At some point you had to put into voice the words written on the page.

I did find that once my secrets became stories they were set free. There was an alchemy that took place. The stories still belonged to me but they didn't have the same grip on me as before. They became things to respect as the experiences that had shaped me and I didn't feel scared that people would judge me.

Telling my stories allowed my light to shine. Active listening was important - you knew that at the end of your reading there would be comments which kept me grounded in the experience (not able to quickly slam the book and pretend it had never happened).

Working with metaphor was really useful. It was helpful to step outside my own reality and to use the language of "tree/landscape/nature" to write more evocatively. It allowed me to experiment with language and to look at situations from a different perspective.

The process of rewriting the "hard" situation using the language of the landscape was particularly helpful. It changed the language and tone of the story completely and that was a revelation to me.

The process of drawing the life scheme (rapids/billabongs/flowing) was very useful. To then take a "chapter" and break it down into "moments" made it easy to approach the story. It also allowed me to see how rich each of those "chapters" was and that there was a wealth of material for stories. I felt proud of my life when I thought of it like that - such a rich life!!

The consistency around the time keeping was good. Knowing that there was a set time to complete a task and that we would be kept to that made it possible to concentrate on the task at hand - your instruction to "find a way to finish the sentence" meant that the task didn't "bleed" into the time available.

The clarity of instructions and permission to take the task wherever it wanted to go. It meant there was both structure and freedom.

Bridget’s management of the "subtle “level to the group was masterful. Especially on the morning that Paul left - you brought us back to a a more centred space. You did this by naming the tension that was in the group and by asking us to renew our commitment to the process.

Having all the logistics taken care of was fantastic - it freed me to concentrate on the tasks at hand - no distractions and no rushing to ensure that I was on time for tasks - I was free to chill out and follow my own thoughts.
~ Participant 2005

Make Do. Get By. Live Life

The Vigneron at the Corban Estate Art Centre Gallery - December 5th 2010.
Writing by Kyla Mackenzie.

In the former living room of the Corban family homestead, built in 1923, the 100 year life of Najib Corban is celebrated in the exhibition The Vigneron. Son of pioneering winemaker Assid Abraham Corban and Najibie Corban, this humble, hard working family-man is remembered through images, words, and wine. Fittingly, the ArtSpeak for this exhibition took place in the estate's cellar, built in 1907 by Najib's father. His son Brian, grandson Ben Corban and Peter Gough from Ngatarawa wine (owned by Brian and Alwyn Corban) spoke before a gathering of largely friends and family.

Born in 1909, Najib was the youngest of four older brothers and sisters, a large family typical to this era in New Zealand. He left school at age 12, a norm in those days, to work at Corban Winery Estate set up by Assid and Najibie, his enterprising and hardworking parents from Lebanon. Large families and their labour resources enabled the “human engineering”, as Brian Corban puts it, required for surviving and building a future. Najib's failing eyesight from the age of 9 was not to prevent him from making a full contribution to the family business.

Najib worked a long, often hard but productive life as vigneron, or vine grower. A man who worked much of his life using the simplest of make-shift tools, he also pioneered other vineyards in Henderson Valley, Whenuapai, Kumeu, Taupaki and Gisborne. In his 90s he was still working hard cultivating his and his family's properties. Principled and persevering, in the words of his son Brian Corban, Najib was “the greatest man that I ever knew”.

As Najib was reaching his 100th year, the decision to recognize his life and philosophy was developed into an understated but compelling tribute by design studio Alt Group. Ben Corban, grandson to Najib and managing director of this award-winning design company, was inspired by the man and grandfather who instilled such a strong work ethic in his children and their children. The quality of the design has won them numerous awards, including Gold and Silver Lions at the Cannes Lion Awards in France and a Pinnacle Award at the AGDA awards in Australia this year.

The book entitled The Vigneron is central to the project. Selected images and text from it are reformulated into an arrangement on and against the walls of the gallery. Beginning with its simple uncoated card packet, the unbound, hand-stitched book, was designed to have a low-key, “hand-made feel” both for his blind grandfather to touch and to reflect a life of simple means. The font on front and back covers is hand-painted, raised, and glossy. Gold surfaces on pages inside also provide textural contrasts.

The exhibition includes contextual historic images of the early site and dwellings. The main gallery showcases images of Najib’s handmade and repaired tools, photographed by Alistair Guthrie. Ben recalls of the worn pitchfork featured in the tribute book, “I spent endless summers on the end of those pitchforks”. The tools, humble items in themselves, vividly illustrate the do-it-yourself, waste-not-want-not values of the times and of the man himself. Some are cobbled together with wire or bound with rags. Others are modified, reshaped and fused with other items to form new uses. Though an historical tribute, isolated on the page, they also become iconic and timeless. They illustrate the pithy maxims towards the end of the book: Make Do and Get By. Live Life is followed by Full Stop, which marks the end of the story and a long and full life.

Diminishing orbs of gold on pages of black suggest the disappearing sight of Najib, who worked on the estate until he was in his 70s. Whilst flicking through the pages from back to front, or viewing them on the wall, however, the gold spheres also suggest the growth cycle of the grape.

We are given particular entry into the personality and philosophy of this man through a selection of his engaging poetry which is sometimes droll and often contemplative. They come from his published collection, Footprints in the Sand, printed in 1983.

The Other Side:

Two sides to an argument,
Two sides to a coin,
Two sides to anything,
That we try to join,
Two sides to a person,
Two sides to reveal,
But often there's one side,
That we like to conceal.
Look in a mirror.
What do we see?
Just the exterior image,
Of you or me.


True Story

I bet on a horse,
He ran in a race,
I lost all my money,
He couldn't make the pace.

His son Brian notes him as being a “humble man”, and a “tough task-maker”. A short, candid poem describing the dark, compressed sensations of depression points to further complexity. A regular church goer of St Michael's Church nearby (and which is now on the estate), Najib's faith in God is revealed through his open wonder at nature and gratitude for life's gifts: family, marriage, and the strength to endure hardship.

The fact that Najib left school at 12 like many children of pioneering families, and had impaired sight, may seem surprising in view of his literacy skills. Ben relates that his grandfather “always had a poem on the boil” and recalls him as loving language and story-telling. His love of poetry also reflects the times. Much more so than now, the writing and reciting of poetry was once a comfort as well as private and social entertainment.

Najib would note his verses in chalk on the blackboard and family members would transcribe them to paper. His grandson recalls the importance of momentum, and upon interruptions by phone, being asked; “Ben, Ben, would you make of note of this for me, please”.

The blackboard and chalk then, was emblazoned on the memory of Ben Corban. It was given meaningful form on 100 special edition magnums of red wine in honour of his grandfather and the 100th year he reached. (Najib died 2 months before his birthday in 2009). The bottles, coated in blackboard paint and editioned in chalk, greet the viewer as they enter the exhibition space. The number 100 provided a governing principle. It is the number of pages in the book, The Vigneron. ($100 is also its price.)

However, the project also took on timely universal values in the face of recession with its messages of resilience, perseverance and gratitude. The context of the bleak economic environment of 2009, meant this project took on added personal meaning for Alt Group. The man who extolled the virtues of making do, getting by and the pride to be gained through hard work, experienced, as Ben says, “Depressions, recessions, boom-times and bust-times”. The sayings in the book became potent “studio mantras” at work.

The recession continues. The quiet story they present of Najib Corban and his inspiring approach to life, therefore, hits just the right note.

Coming Up @ the Corban Estate

For more information contact Yaw 021 0316293, Missy 021 1491977 email info.roots.art@gmail.com or visit their website

Sewing School with Sarah Bird

"It was like being in Project Runway (one of my favourite shows!) – but without the competition edge. It was just pure fun! Four of us lined up in an arts studio, with our machines, piles of gorgeous vintage fabrics, books on sewing and appliqué, patterns and accessories to drool over."

Aimee from On Top Of A Lily Pad reports back on a practice run of the 'Sew Inspired' Summer School Class with Sarah Bird.

Read the full story on Aimee's BLOG.

Metonymy Closing Event; Awards and Performance Night

Photos from the Metonymy performance evening and awards night.
These were stollen from Renee Liangs facebook album...

The Most Dedicated

Watch TMD create SubUrban Development. We'll let you know when TMD's next painting event takes place so you can watch in real-time.

Video by Askew

Margaret Lewis wins Style Pasifika 2010 Street Wear Award

Special congrats to Margaret Lewis for her winning Street Wear design in Westfield Style Pasifika 2010. Margaret has shared the story behind 'Rattle your Daggs' here . She also came runner-up in Resene Asia Pasifika with an entry called 'She was a Skater Girl' inspired by Avril Lavigne going Harajuku. Among Margaret's many talents she's also The Big Idea Marketing and Business Development Manager.

Waitemata Theatre Presents

Charlies Aunt
Opening Night: this Thursday September 30th at 7:30pm.
The season runs till October 9th.

They are also building the "Christmas Wonderland" set. Construction is planned from November 7th. The Wonderland is open to the public every evening from December 8th through till Christmas eve.

Get into The Big Room @ The Big Idea

Inaugural Digital Artist in Residence, Luke Munn is creating The Big Room - a room that explores our everyday work spaces. He describes The Big Room as “a fluctuating sonic space - a combination of concrete floors, motorway ambience, conversation snippets and ambience which is constantly shifting, and only possible through the online medium."

Luke invites anyone to contribute their own acoustic to this unique soundscape, by submitting a short audio recording and image of their room.

There’s no need for elaborate equipment. No technical skills or editing are required. It's about listening to your space and attempting to capture that - whether that's very quiet (silent), loud, chaotic, or 'uneventful'.

To record your room, you can use a variety of free and low-cost equipment. Windows users can utilize Sound Recorder software that comes pre-installed, while those on the Mac can bring up Garageband to also easily record. If you want to crop your audio, change the volume, or make other basic edits, He recommends Audacity - an open source, cross platform audio editor (http://audacity.sourceforge.net/).

If you have a microphone, plug that in and start recording, or use the built-in microphone on your laptop. He'd also encourage you to listen to your space while you're recording - moving your hearing outwards to capture filtered sounds, hums, clicks, and vague tones that form the subtle sonic backdrop to your space. Then simply export the audio as WAV, AIFF, or MP3 format, and send it through.

http://www.thebigidea.co.nz/colab-tbi-digital-residency

SubUrban Development

Corban Estate Arts Centre (CEAC) has been working with Waitakere City Council and Graffiti Art Crew TMD (The Most Dedicated) and have formally agreed that a wall at Corban Estate will be adopted by TMD for their high end artwork. The project titled SubUrban Development links to their project Urban Development at Rhubarb Lane in the central city.
TMD certainly lived up to their name as they painted their way through last weekend's storm. A spokesperson for the graf art crew, Askew says, "TMD took it to mothernature this past weekend and managed to pull off a pretty impressive wall if I don't say so myself. Fighting wind, cold and driving rain and armed with paint, towels and a never die attitude the guys got in there and smashed it like the champions they are..."
TMD is a group of urban artists at the top of their game in NZ, with an international reputation and linked to a worldwide network of graf artists.
Other graf artists wanting to be involved need to contact CEAC in the first instance.

Photos below are by Rimoni, for more see Rimoni's blog

Word Up! 2010 photos

Photos by Molly

Robbie
- aspiring West Auckland Poet

The Latin Soldiers
- an exciting hip hop abd RnB group on the rise

Gabrielle
- singing her origional works

3DOM
-3DOM are an all family hip hop group, who make their own beats & songs & record them at their home studio.

As Colour Fades
-A West Auckland post-hardcore band. Their songs are written about issues that young people can relate to e.g. break-ups, fighting peer pressure, standing up for yourself... that sorta thing.

Samara and Milly
-performing their origional song

Etta
-Keen on words in this language and others

Matt and Adele
-a folky, singer songwritery duo of dreaded folk from Waitakere College, signing about life and stuff.

Summer School Tutor Interview Series - James Moore

James Moore

'Untitled' 2009 - 2010

CEAC staff member Kyla Mackenzie interviews James Moore in the lead-up to his Summer School class ‘Drawing Beyond the Boundaries’ in January 2011. Click HERE for a full description of James's class & enrolment details.

KM: You are holding a three day workshop, Drawing Beyond the Boundaries, 18 – 20 January 2011, at Corban Estate Art Centre in Henderson. How would you describe your approach to drawing in this class?

JM: It’s a broad and explorative approach, covering a wide range of media, techniques and perspectives on the notion of drawing.

KM: Paint is used in this class and you have taught both painting and drawing for 15 years. Are drawing and painting as categories in art potentially confusing?

JM: Categories of drawing and painting may have a large area of overlap. Rather than being confusing it just means that the categories shouldn’t be seen as being too separate. If I make a preparatory study in painted line then it can be a drawing and a painting.

KM: What do you love about teaching art?

JM: It is really satisfying to see students make progress in their work. It is powerful to help instill and support the self belief that students need to make keep making art.

KM: Is it hard to find the time for your own art?

JM: Yes. Sometimes. It can be frustrating to have the ideas and motivation but have other commitments keeping me from getting in to the studio… It’s a matter of grabbing the windows of opportunity when they come along and hope the opportunities coincide with some inspiration.

KM: I have asked painter Viki Garden if she considers painting to be “... a difficult pleasure”. Is a certain amount of struggle simply part of the creative process?

JM: Yes. I would describe it as a difficult pleasure. I generally run into problems in a painting sooner or later even with things quite well planned before hand. Problem solving is a big part of the art making process. A lot of people want to believe that it’s all feverish emotional outpouring and soul bearing split by a lightning bolt of inspiration.

KM: Some of your own work is montage-like. Objects are placed together within the frame creating intriguing combinations. Could you describe them as ‘picture-poems’?

JM: Yes in the sense that the combinations of elements in my work do not necessarily have literal narrative connections. They resonate in more oblique ways so yes it’s more like poetry than prose I guess.

KM: What are some of the things around you that inspire your own work?

JM: I’m interested in certain elements of popular culture at the moment. Computer games, still-frames from T.V. dramas, urban street art, street signage, shopping mall interiors.

KM: Do you keep a work book/diary with ideas on you?

JM: Yes. I have always kept a visual diary and encourage my students to do the same. It’s good to have your thoughts, doodles and pictures collated in one place.

KM: You’re also a musician. Does this have any influence on your visual art?

JM: Music and art work separately for me. When I am not teaching I am either doing a music project or painting project but generally not both. I feel I absolutely need to be doing both music and visual art and they complement each other rather than one being a direct influence on the other.

KM: Who are some of the artists, historical or contemporary, who inspire you?

JM: James Ensor, Francis Picabia, Anette Messager, Alex Katz, Neo Rauch, David Salle, Martin Kippenberger, Sigmar Polke, Bill Hammond, Andrew McLeod, John Pule, Joanna Margeret Paul, Julie Mehretu, Beatrize Milhazes.