tag:blogger.com,1999:blog-41298153559545089062024-03-14T06:51:33.355+13:00ProjectspaceAssid Abraham Corbanhttp://www.blogger.com/profile/03386801736004523197noreply@blogger.comBlogger138125tag:blogger.com,1999:blog-4129815355954508906.post-37135163953911772172014-04-23T12:32:00.001+12:002014-05-14T09:34:38.017+12:00'Picnic' - Andrea Gardner<h5>
<span style="color: #38761d;">by Kara Wallace</span></h5>
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Taking its
title from the leisurely excursion into nature, <i>Picnic</i> by Andrea Gardner presents a series of photographs and
sculptures that explore artifice and reality in faux outdoor settings.<br />
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Her works clearly looked staged, with their bright saturated colours and mix of the familiar placed in unexpected and unusual contexts. She includes a myriad of materials, such as taxidermy animals, constructed mud boulders, astro turf, gingham cloths, to name a few. Gardner acknowledges this artifice, indicating that there is no pretence, and thus crafts a space to consider the human effect on nature.<br />
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The condensed staging of her art is reminiscent of <i>vanitas</i> painting, a type of still life painting popular in the 17th Century which featured an array of symbolic objects that question mortality. And Gardner does indeed query the mortality of our environment. She is interested in exploring the relationship between culture and nature, themes
that are bound up in romanticism and nostalgia, as well as having an awareness of modern science and the overarching environmental concerns of the 21st Century.
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This relationship between nature and culture is undoubtedly becoming more complex over time. Gardner plays on this theme of a ‘picnic’, which can be seen as a domestication of nature, a taming of one’s pastoral surroundings, by including a subtext of ‘no picnic’. The high artificiality contributes to a disconcerting sensation that arises from her work, and Gardner hints at other issues which are unsettling and problematic.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnY44g4NDfM1g5If7taQxOw5oOPge44CnfoYrjryT6tamUAYICW9IGBmx0p_ysaO987eH7gem8skx6egX6J1Wn-HVWgZZbdykJCSuTXRCc4bF_oKfP0zyslHmC7Q6f1aWgEctluEz4j_c/s1600/PicnicRock.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em;"><img alt="Shelley Gardner at CEAC" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnY44g4NDfM1g5If7taQxOw5oOPge44CnfoYrjryT6tamUAYICW9IGBmx0p_ysaO987eH7gem8skx6egX6J1Wn-HVWgZZbdykJCSuTXRCc4bF_oKfP0zyslHmC7Q6f1aWgEctluEz4j_c/s1600/PicnicRock.jpg" height="320" title="" width="213" /></a></div>
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Artist Talk | Saturday 17 May, 11am</h3>
Andrea will discuss her exhibition <i>Picnic</i>, along with her process of working in the mediums of photography and sculpture. This is a free event, no bookings needed.
infohttp://www.blogger.com/profile/01176521920650331565noreply@blogger.com0tag:blogger.com,1999:blog-4129815355954508906.post-30577110062077058762014-02-10T15:26:00.001+13:002014-05-14T09:35:14.437+12:00<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="color: #6aa84f;"><span style="font-size: large;"><span style="color: #38761d;"><span style="font-size: x-large;"><i><b>Art comes in many forms</b></i></span></span><br />Corban Estate Art Centre</span></span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="color: #6aa84f;"><h5>by Kara Wallace</h5></span><br /><br />Corban Estate Arts Centre's latest exhibitions feature artists Laura Marsh, Galia Amsel and Chiara Corbelletto. These three exhibitions are on display from 7 March till 13 April 2014.<br /><br /><i>A Thinner Line</i> is an installation of artworks by Laura Marsh that collectively consider the line between life and death. Marsh’s latest exhibition features new works developed during her time in Colombia, South America on an artist’s residency.<br /><br />Internationally acclaimed glass artist Galia Amsel’s survey exhibition <i>Take Ten</i>, showcases ten cast glass works. These works represent ten years of making since leaving the UK and settling in West Auckland. We see the fundamental influence the surrounding landscape and climate has had on Amsel’s evolving glass practice.<br /><br />Chiara Corbelletto’s <i>Morphic Field 2 </i> presents a series of floating and ethereal sculptural works, visualizing how forms may emerge from space. Corbelletto’s selection of sculptures are inspired by current theories in physics, and transformed by the idea of a unified field of potentiality as the ultimate fabric of reality.<br /><br />On offer is a full range of free art gallery activities. Auckland based artists Galia Amsel and Chiara Corbelletto will give artist talks at CEAC’s Open Arts Day Saturday 29 March at 11am and 2pm. Laura Marsh will be making string drawings at her kids workshop Saturday 5 April, 11am. All materials provided, no bookings required.<br /><br /><b>Image captions: </b><br />Galia Amsel <i>Floe 9,</i> (2011, Courtesy of Masterworks Gallery.<br />Laura Marsh <i>Dreamweaver 2</i> (detail) 2013<br />Chiara Corbelletto <i>Space Event, </i>2013 Courtesy of Bath St Gallery<br /><br /><b>Exhibitions details:</b><br />Exhibition:<i> A Thinner Line</i><br />Artist: Laura Marsh <br />Exhibition dates: 7 March – 13 April 2014<br /><br />Exhibition: <i>Take Ten</i><br />Artist: Galia Amsel<br />Exhibition dates: 7 March – 13 April 2014<br /><br />Exhibition: <i>Morphic Field 2</i><br />Artist: Chiara Corbelletto<br />Exhibition dates: 7 March – 13 April 2014<br /><br /><b>Public programmes </b> <br />Exhibitions opening: Thursday 6 March, 6pm - 8pm<br />Galia Amsel Artist Talk: Saturday 29 March 2014, 11am<br />Chiara Corbelletto Artist Talk: Saturday 29 March 2014, 2pm<br />Kids Art Workshop: Saturday 5 April 2014, 11am<br />CEAC Open Arts Day Saturday 29 March 2014, 10am - 10pm<br />Entry: Free, all welcome</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br />If you would like more information about these exhibitions or for media inquiries please contact the curator, Kara Wallace: 09 838 4455 extension 203 or curator@ceac.org.nz</span>infohttp://www.blogger.com/profile/01176521920650331565noreply@blogger.com0tag:blogger.com,1999:blog-4129815355954508906.post-90336301187877364732014-02-04T17:09:00.003+13:002014-05-14T09:45:22.697+12:00<div class="separator" style="clear: both; text-align: center;">
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<span style="color: #38761d;"><i><span style="font-size: x-large;"><span style="font-family: "Trebuchet MS",sans-serif;"><b><span style="font-family: "Trebuchet MS",sans-serif;">First is Last, Last is First </span></b></span></span></i></span><br />
<span style="color: #38761d;"><span style="font-family: "Trebuchet MS",sans-serif;"><b><span style="font-size: large;">Sam Mitchell</span></b></span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="color: #38761d;"><b><span style="font-size: large;"><span style="color: #93c47d;"><span style="font-size: xx-small;">by: Kara Wallace</span></span></span></b></span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="color: #38761d;"><b><span style="font-size: large;"><span style="color: #93c47d;"><span style="font-size: xx-small;"> </span></span> </span></b></span><br /><b><i>First is Last, Last is First</i></b> is a new series of large scale portraits by Auckland based artist, Sam Mitchell. There are a few central influences in this series –fairy tales, cartoons and comics, current affairs, socio-sexual politics and popular culture, death and beauty. The series is insightful and imaginative, playful and humorous with the familiar tattoo imagery and 1920’s and 1940’s images overlaid on faces giving the works the layered look of a screen print, a discipline Sam learned at art school.<br /><br />Mitchell is a collector and recycler of pop culture images; she has collected her eclectic motifs from multiple sources: tattoos, movies, magazines and the internet. These are transformed into loaded narratives and scattered across floating heads of people, famous and unknown.<br /><br />The paintings are created through a technique of painting acrylic backwards and in reverse usually on a perspex sheet to get a slick glossy finish. This is a demanding technique which requires the last touches to be made first and the background, which is normally applied first, last. This process which most would struggle with comes naturally to Sam, who is dyslexic.<br /><br />Portraiture and collaging of images has consistently been the subject and mode of working for the artist. Art critic Warwick Brown says, “She is a figurative artist with an obsessive drive to create images” 1 Mitchell describes her works as “Portraits from the inside out”. The portraits share a tattoo parlor aesthetic with the eclectic motifs tattooed on the paintings reminiscent of cartoons or comics.<br /><br />It is important for Mitchell that the viewer “owns” the works and brings their own narrative to the pieces. The surface is littered with loaded images making it easy for the viewer to construct their own fairy tale, imagined history or narrative. Mitchell is giving us her view on the world. She can’t tell us how to look, it is up to us to interpret it as we wish.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br />1.Warwick Brown, Seen This Century: 100 Contemporary New Zealand Artists. A Collector’s Guide (Random House New Zealand: Auckland, 2009) p. 284<br /><br /><span style="color: #38761d;"><i><b>Artists’ biography</b></i></span><br />Sam Mitchell currently lives and works in Auckland. Mitchell has exhibited works nationally and internationally in private galleries as well as public art institutions. Recent solo exhibitions include: <i>Hip </i>(Bartley and Co, Wellington, 2013), <i>Members Only</i> (Melanie Roger Gallery, 2012), <i>Glean</i> (Melanie Roger Gallery, 2011), <i>Time May Change Me </i>(Anna Bibby Gallery, 2010) and <i>Samantha Mitchell</i> (Newcastle Regional Gallery, Australia, 2010). Mitchell has received many prestigious awards for her work including the Paramount Award at the <i>Wallace Art Awards</i> (2010) allowing a six-month residency at the International Studio and Curatorial Programme in New York. Additionally Mitchell has been featured in recent publications such as Warwick Brown’s Seen this century: <i>100 contemporary New Zealand Artists: A Collector’s Guide</i> (2009) and <i>Richard Wolfe’s New Zealand Portraits </i>(2008).2.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br />2. Artist Bio text by Victoria Wynne Jones, Courtesy of Melanie Roger Gallery<br /><br /><span style="color: #38761d;"><b><i>Sam Mitchell – Artist Talk | Saturday 15 February, 11am</i></b></span><br />2010 Wallace Art Award winner, Sam Mitchell talks about her latest exhibition <b><i>First Is Last, Last Is First, </i></b>and her artist residency in New York. This is a free event, no bookings needed.<br /></span>infohttp://www.blogger.com/profile/01176521920650331565noreply@blogger.com0tag:blogger.com,1999:blog-4129815355954508906.post-49226808177693122422014-01-23T12:39:00.006+13:002014-01-23T12:45:45.776+13:00<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "Trebuchet MS",sans-serif;"><i><span style="color: #38761d;"><span style="font-size: x-large;"><b>Eclectic motifs and contemporary methods </b></span></span></i><br />Corban Estate Arts Centre's latest exhibitions feature Sam Mitchell and various artists newly graduated from Auckland art schools. These two shows are on display from 24 January till 2 March 2014. </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /><i><b>First is Last, Last is First </b></i>features new room sized portraits by artist Sam Mitchell. These works are tattooed with eclectic motifs collected and repurposed from fairy tales, cartoons, legends and Corban Estate’s history. Underlying Mitchell’s popular culture portraits are a concoction of social, political and gender issues. </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /><i><b>New Grads Show 2014</b></i> is a chance to see the latest approaches in contemporary art. Come along to Corban Estate Arts Centre’s annual selection of new work from ten visual arts and fine arts school graduates from across the Auckland region. </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br />On offer is a full range of free art gallery activities. Auckland based artist and 2010 Wallace Arts Award winner Sam Mitchell talks about her latest exhibition <i><b>First is Last, Last is First,</b></i> and her residency in New York on Saturday 15 February 2014, 11am. In response to the <b><i>New Grads </i></b>exhibition children will recreate art that is inspired by the contemporary art coming out of visual art schools today. All materials provided, no bookings required, Saturday 22 February 2014, 11am. <br /><br /><b>Image captions:</b><br />Sam Mitchell, Sofia (detail), 2013, Collection of Diocesan School for Girls. Image courtesy of Melanie Roger Gallery. <br />Julia Hannig, Hayr Road (detail), 2013. Image is courtesy of the artist.<br /><br />Exhibitions details:<br />Exhibition: First is Last, Last is First<br />Artist: Sam Mitchell<br />Exhibition dates: 24 January – 2 March 2014 <br /><br />Exhibition: New Grads Show 2014<br />Artists: Tunisia Angell-Kea, Andy Baker, Janette Cervin, Mark Grubner, Julia Hannig, Annie Puri, Deborah Rundle, Caleb Satele, Paula Schaafhausen, Winston Shacklock<br />New Grads Show features graduates from: Auckland University of Technology, School of Art and Design; Elam School of Fine Arts, The University of Auckland; Manukau School of Visual Arts; Unitec Institute of Technology, Department of Design & Visual Arts and Whitecliffe College of Arts and Design. <br /><br />Exhibition dates: 24 January – 2 March 2014<br /><br />Public programmes<br />Exhibitions opening: Thursday 23 January 2014, 6pm-8pm<br />Sam Mitchell Artist Talk: Saturday 15 February 2014, 11am-12pm<br />Kids Art Workshop: Saturday 22 February 2014, 11am<br />Entry: Free, all welcome <br /><br />If you'd like more information about these exhibitions or for media inquiries please contact the curator, Kara Wallace: 09 838 4455 extension 203 or curator@ceac.org.nz<br /></span>infohttp://www.blogger.com/profile/01176521920650331565noreply@blogger.com0tag:blogger.com,1999:blog-4129815355954508906.post-65400131543426178842014-01-10T11:24:00.006+13:002014-01-10T11:26:20.533+13:00<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="color: #38761d;"><b><span style="font-size: x-large;">Inland Empire</span></b></span><br /><span style="color: #6aa84f;"><span style="font-size: large;">Ruth Cleland and Gary McMillan</span></span></span></span><br />
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<span style="font-size: xx-small;"><b><i><span style="color: #6aa84f;"><span style="font-family: "Trebuchet MS",sans-serif;">Steph Chalmers, Art Collection Curator, University of Waikato<br />Extracted from the Inland Empire catalogue essay</span></span></i></b></span><br />
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">Uninhabited spaces, ordinary scenes, overlooked views. Ruth Cleland and Gary McMillan make drawings and paintings of the places we fail to notice, as we are preoccupied with the busyness and activities of daily life. </span></span><br />
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><br />It’s not uncommon for new viewers to confuse the works of these two artists. Ruth and Gary share a consistent attention to detail, a similar ‘everyday’ subject matter, and both use photographs as the starting point for their drawings and paintings. But it’s a mistake to assume that the intent of their work is the same. </span></span><br />
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><br />Gary describes his work as being “closer to fiction.” He thinks of his paintings as frames from an imaginary film, where each scene has a sense of impending action. With a slight tilt or blur to the image, a movement is caught and there is a feeling that the view itself is about to shift. Like an in-between shot that segues to the next moment of action, his paintings deliberately evoke a feeling of unease.</span></span><br />
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><br />Ruth’s works are “closer to non-fiction.” There is a sense of social documentary in her scenes of suburbia, empty shopping malls and parking buildings. Not wanting her work to be a direct statement on suburban sprawl, but rather a snapshot in time without overt judgement or commentary, Ruth’s work raises questions of what do we value, where do we spend our time, and what will these places be like in the future? </span></span><br />
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><br />The use of the grid has become an integral feature in Ruth’s recent work - bringing the method of image transfer to our attention – a further acknowledgement of the source photograph and a nod to historical art practice. The meticulous enlargement, square by square, from the original photograph is a process both Ruth and Gary employ.</span></span><br />
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><br />Ruth and Gary’s work and practices are symbiotically interlaced; through each influencing, encouraging, and acting as each other’s sounding board. With the amount of time devoted to creating their artworks, it’s advantageous for them each to have a partner that understands the drive and intent behind the making.<br /><br /><span style="color: #38761d;"><i><b>Artists’ biography</b></i></span><br />Ruth Cleland and Gary McMillan are Auckland based artists, both originally from the Waikato region. They studied at Dunedin School of Art, each gaining a Master of Fine Arts with distinction, Ruth in 2002 followed by Gary in 2003. Ruth and Gary have featured in numerous exhibitions both nationally and internationally, in dealer galleries and public galleries, including the Dunedin Public Art Gallery, Blue Oyster Gallery, Hocken Gallery, Vermont Studio Centre, Gus Fisher Gallery, and the University of Waikato. Among other successes, both artists have been awarded the 1st prize at the National Painting and Printmaking Award (Ruth in 2003 and Gary in 2012). In 2008, Ruth was the recipient of the Wallace Trust Development Award and in 2009, Ruth and Gary completed artist residencies at the Vermont Studio Centre, USA. Ruth and Gary are represented in the collections of The James Wallace Arts Trust, The Hocken Library, Otago Polytechnic and Eastern Southland Gallery. Ruth is also represented in the Chartwell Collection held at the Auckland Art Gallery and the Trust Waikato Collection held at the Waikato Museum. </span></span><br />
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><br />Ruth and Gary have had a significant influence on each other, having met at art school and been together for 18 years. Inland Empire is their first joint show and both artists feel it has been a natural progression bringing their work together.</span></span><br />
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><br />Ruth Cleland is represented by Melanie Roger Gallery and Gary McMillan is represented by FHE Galleries.</span></span><br />
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="color: #38761d;"><br /><i><b>Artists talk with Ruth Cleland and Gary McMillan | Thursday 16 January, 4.45pm </b></i></span><br />Join artists Ruth Cleland and Gary McMillan in a conversation about their joint exhibition, Inland Empire. (Free event)</span></span>infohttp://www.blogger.com/profile/01176521920650331565noreply@blogger.com0tag:blogger.com,1999:blog-4129815355954508906.post-89112300279005144232014-01-10T11:09:00.002+13:002014-01-10T11:12:52.219+13:00<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0maTLjA2mjL2N4x8I-CMeXMGN57gwfJgWVJz8QhJdrT_GzRDTDIJgeEnvu_u_sfV_04I182hqECtEq6bUIz87V5nkANQaGPjL-EApe3nrFEiXwwhEIuwAQGJ1wuAZOy1Nf6TPwR42ogQ/s1600/BLOG_News_Director.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0maTLjA2mjL2N4x8I-CMeXMGN57gwfJgWVJz8QhJdrT_GzRDTDIJgeEnvu_u_sfV_04I182hqECtEq6bUIz87V5nkANQaGPjL-EApe3nrFEiXwwhEIuwAQGJ1wuAZOy1Nf6TPwR42ogQ/s1600/BLOG_News_Director.jpg" /></a><span style="color: #38761d;"><span style="font-size: x-large;"><b><span style="font-family: "Trebuchet MS",sans-serif;">Welcome to Corban Estate Arts Centre </span></b></span></span><br />
<span style="color: #38761d;"><span style="font-size: x-large;"><b><span style="font-family: "Trebuchet MS",sans-serif;">in 2014!</span></b></span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"></span>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="color: #6aa84f;"><b><i>We are looking forward to this year and what it will
bring.<span style="mso-spacerun: yes;"> </span></i></b></span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="color: #6aa84f;"><b><i><span style="mso-spacerun: yes;"> </span></i></b></span> </span></div>
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</div>
<div class="MsoNormal">
<span style="font-family: "Trebuchet MS",sans-serif; font-size: small;">We re-opened on 6 January 2014,
and get straight into our Summer School on 13 January. There are diverse courses on offer spanning
printmaking to silver jewellery, singing with freedom to children's book illustration. </span></div>
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<span style="font-size: small;"></span></div>
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</span><br />
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<span style="font-family: "Trebuchet MS",sans-serif; font-size: small;">New to Summer School is the film-making course. During 2013 we trialled the end to end
film-making course with Bryan Hudkins, Mike Lough and their team, Dreams in
Shadow. In just two days participants
completed short films and directly uploaded them to You Tube. </span></div>
<div class="MsoNormal">
<span style="font-family: "Trebuchet MS",sans-serif; font-size: small;">On Saturday 29 March we have our Open Arts Day, replacing
the Open Studio Weekend held annually till now. </span><br />
<br />
<span style="font-family: "Trebuchet MS",sans-serif; font-size: small;">Open Arts Day will be non-stop from 10am till 10pm, with several
exhibitions to see, artists to converse with, art workshops to try, and
performances and films to indulge in.
This year we are making special provision for the Deaf community to
participate, providing NZ sign language where we can. </span></div>
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<span style="font-size: small;"></span></div>
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</span><br />
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<span style="font-family: "Trebuchet MS",sans-serif; font-size: small;">While Open Arts Day is primarily for adults, further into
the year, we have our Kids Arts Festival on 17 May, where children cut loose
creating and performing; and starting late June we will hold several Matariki
Festival events. </span></div>
<div class="MsoNormal">
<span style="font-size: small;"></span></div>
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</span><br />
<div class="MsoNormal">
<span style="font-family: "Trebuchet MS",sans-serif; font-size: small;">Meanwhile with summer here, enjoy it and hang out with a
nice coffee under the umbrellas at the Coffee Studio café. It’s a great spot for that lunch meeting or
for just getting together with friends.</span></div>
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<span style="font-size: small;"></span></div>
<div class="MsoNormal">
<span style="font-size: small;"><i><b><span style="font-family: "Trebuchet MS",sans-serif;">Martin Sutcliffe, </span></b><span style="font-family: "Trebuchet MS",sans-serif;">Director</span></i></span></div>
<div class="MsoNormal">
<span style="font-family: "Trebuchet MS",sans-serif; font-size: small;">Corban Estate Arts Centre</span> </div>
infohttp://www.blogger.com/profile/01176521920650331565noreply@blogger.com0tag:blogger.com,1999:blog-4129815355954508906.post-53933801325832267582013-11-28T16:37:00.001+13:002013-11-28T16:37:07.343+13:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOLeFw3jGyIcQY6UBFYLRMxlvVmHLJi7KyX1CiPfpC2T-Pvj-J_cjdErklBTXvTPP-paTbDzOGPJH57vkLSoJNoc-PohCXBP2f5dvgGhrIPBQ3RGKEX3F17K4iTj9C112DQuQzF6_F9e0/s1600/Exhibition+Profile.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOLeFw3jGyIcQY6UBFYLRMxlvVmHLJi7KyX1CiPfpC2T-Pvj-J_cjdErklBTXvTPP-paTbDzOGPJH57vkLSoJNoc-PohCXBP2f5dvgGhrIPBQ3RGKEX3F17K4iTj9C112DQuQzF6_F9e0/s1600/Exhibition+Profile.png" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigvdMPFkbcI4El_On_AmNR4UxmNBhlgWG9NSlWR7lkt6f0Iw7bCysrlcjJSaiuXZ62HoDOL3HAHscvmXN5QDfu4SkUXnzs7U04w9twQ0awOJJMvWTzi0s0mc1x8uilsnK_TxMs4rEDSEQ/s1600/BLOG_Judy-Darragh.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="295" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigvdMPFkbcI4El_On_AmNR4UxmNBhlgWG9NSlWR7lkt6f0Iw7bCysrlcjJSaiuXZ62HoDOL3HAHscvmXN5QDfu4SkUXnzs7U04w9twQ0awOJJMvWTzi0s0mc1x8uilsnK_TxMs4rEDSEQ/s400/BLOG_Judy-Darragh.jpg" width="400" /></a></div>
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="color: #38761d;"><i><b><span style="font-size: x-large;">Walk This Way</span></b></i><br /><span style="font-size: large;">Judy Darragh</span></span><br /><span style="color: #6aa84f;">by: Kathryn Tsui</span><br /><br />In <i>Walk this way</i> artist Judy Darragh constructs a new floor and wall based installation out of consumer by-products and everyday objects that are attacked with psychedelic colour. <br />Infamous for her resourceful use of cheap found materials, Darragh contorts these into new assemblages. As an artist, she observes how consumer society measures success on material wealth. By reusing low-cost throw-away objects she draws attention to this capitalist logic and subverts it. </span></span><br />
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><br />Just as the appearance of wealth through materialism is somewhat illusionary, so is another point of interest for the artist, Science Fiction. From this semi fictional world Darragh borrows visual metaphors and connotations.</span></span><br />
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><br />Generic science fiction imagery of star scapes, radiating beams and brightly hued gradients invade the wall works. PVC banners that once advertised the latest film releases are no longer commercially relevant and have been repurposed with astral graffiti of neon coloured spray paint and grids of tape. </span></span><br />
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><br />These galactic wall works are analogue not digital, they are produced by hand and to the artist they take on a new form of futurism in reaction to an increasingly digital world. Darragh says, “they act as glitches like a manual low-fi process, breaking down the screen surface and undermining notions of technology.”</span></span><br />
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><br />Meanwhile the installation crossing the floor is made out of low-fi and high tech materials. Bent industrially produced aluminium rods with strange growths and attachments of familiar household objects are given a new form of meaning. These highly animated foreign forms have human and bodily qualities, and observed closely we see the artist has used bandages, cotton wool, make-up sponges and inner soles from shoes. The inner sole or soul is a recurrent motif in this new exhibition titled Walk this way, in which the foot prints can represent the steps it takes to crossover into an alternative world or reality. </span></span><br />
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><br /><span style="color: #38761d;"><b>Artist Biography</b></span><br />Auckland based artist Judy Darragh was born in Christchurch. She gained a Diploma in Visual Communication and Design from Wellington Polytechnic. She has exhibited widely and her works are held in various public collections including; Christchurch Art Gallery Te Puna O Waiwhetu, Museum of New Zealand Te Papa Tongarewa, Auckland Art Gallery and Govett-Brewster Art Gallery. In 2004 the Museum of New </span></span><br />
<br />
<span style="font-size: small;">Zealand Te Papa Tongarewa featured a major retrospective of her work curated by Natasha Conland and entitled <i>Judy Darragh: So... you made it?</i>. The artist has held many secondary and tertiary teaching positions including Henderson High School and Elam School of Fine Arts. Darragh was also involved in the development of ARTSPACE, Auckland and artist run initiatives, Teststrip and Cuckoo. Judy Darragh is represented by Two Rooms Gallery, Auckland.<br /></span>infohttp://www.blogger.com/profile/01176521920650331565noreply@blogger.com0tag:blogger.com,1999:blog-4129815355954508906.post-24305176608111576972013-11-27T16:25:00.002+13:002013-11-27T16:25:37.329+13:00<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZXLn9u2J52WJrSf8Fm9q5yfU6rrJj-WKtwVIEI7XWaCJCWJyaYBaksAsR8CP2ONIUAbUbPCNZDhccOOyVe5isY7MHIQhky_n_ERg4Q_HsFKhfhcNw-AXFR9Zf_6KnneoCmTUrovw-phs/s1600/FRONT_SS_05.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="172" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZXLn9u2J52WJrSf8Fm9q5yfU6rrJj-WKtwVIEI7XWaCJCWJyaYBaksAsR8CP2ONIUAbUbPCNZDhccOOyVe5isY7MHIQhky_n_ERg4Q_HsFKhfhcNw-AXFR9Zf_6KnneoCmTUrovw-phs/s400/FRONT_SS_05.jpg" width="400" /></a></div>
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<span style="color: #38761d;"><span style="font-family: "Trebuchet MS",sans-serif;"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 18.0pt; mso-bidi-font-size: 10.0pt;">SCULPTING ENDLESS POSSIBILITIES IN SILVER</span></i></b></span></span></div>
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<span style="color: #38761d;"><span style="font-family: "Trebuchet MS",sans-serif;"><span class="bodytext"><b><i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">Sculpting Pure
Silver Jewellery, a new Summer School workshop with Ingrid Schloemer</span></i></b></span></span></span></div>
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<span style="color: #6aa84f;"><span style="font-size: xx-small;"><span style="font-family: "Trebuchet MS",sans-serif;"><i><b>By Patricia Aguilera</b></i></span></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 10.0pt; line-height: 115%;">Now you can
create your own jewellery accessories in <i style="mso-bidi-font-style: normal;">Sculpting
Pure Silver Jewellery</i>, a new workshop with silver clay artist Ingrid
Schloemer, offered at Corban Estate Arts Centre from 13 – 17 January 2014 as
part of the centre’s annual Summer School arts programme.</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 10.0pt; line-height: 115%;">Ingrid Scholemer
is an exceptional jewellery artist whose passion for silver has led her to
exhibit and sell her work internationally in Germany, the United States,
Australia and throughout New Zealand.<span style="mso-spacerun: yes;"> </span>Her
interest in silver began in 2006 when she discovered the versatility of
precious metal clay and soon engaged in learning contemporary silver
sculpture.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">“The most fascinating aspect of silver is the transformation of a soft,
clay-like substance that can be shaped in infinite ways”</i> - Ingrid says.<span style="mso-spacerun: yes;"> </span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibSP7OMNxCm47Crtf_54vDmw8DNofDUIMCtOEr0tSJ2LvEDrb2wF5nPkjuU7FT71slxOSQixIc3sNUNgywAFbE0OtWN68H_MVZdVBGczwRMZPLT7nnafwGPj6po0d8uK-ro0oZvAOGGzk/s1600/Sculpting+pure+silver+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibSP7OMNxCm47Crtf_54vDmw8DNofDUIMCtOEr0tSJ2LvEDrb2wF5nPkjuU7FT71slxOSQixIc3sNUNgywAFbE0OtWN68H_MVZdVBGczwRMZPLT7nnafwGPj6po0d8uK-ro0oZvAOGGzk/s320/Sculpting+pure+silver+1.jpg" width="167" /></a></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 10.0pt; line-height: 115%;">Ingrid
finds her inspiration in her immediate surroundings. <span style="mso-spacerun: yes;"> </span>Nature and its constant changes, the effects
of light and darkness are the inspiration for decorative motifs used in her
creations. <i style="mso-bidi-font-style: normal;">“My eyes are constantly
hunting for pleasing shapes, colour combinations and textures to incorporate
into the design of another jewellery item.”</i> – Ingrid says.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrpNCR7AaWWt3zZ3y-NhjaPkitN2AHSR3tPZa5s38mR1fkZqio_tghvPHfALB4BZ01vxCqem3SAmQZZws0sHNYf5_atp6l86WWzHE7ek4jzdYzdScig3uyqhmfUYkMDrZi6xyVv8CVD3o/s1600/Wedding+bands+Pure+Silver.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrpNCR7AaWWt3zZ3y-NhjaPkitN2AHSR3tPZa5s38mR1fkZqio_tghvPHfALB4BZ01vxCqem3SAmQZZws0sHNYf5_atp6l86WWzHE7ek4jzdYzdScig3uyqhmfUYkMDrZi6xyVv8CVD3o/s320/Wedding+bands+Pure+Silver.jpg" width="320" /></a></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 10.0pt; line-height: 115%;">Over seven
years of practice and dedication have enabled Ingrid to become a senior clay
silver instructor. As a certified tutor, Ingrid has taught over a thousand
students of all ages. Ingrid says of her teaching experience, <i style="mso-bidi-font-style: normal;">“The possibilities are incredible and
attendees see what others make, get new ideas and also learn from each other’s
successes and mistakes. It’s always an honour for me to guide every participant
to create an original jewellery item and witness the joy and amazement this
medium provides!”</i></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 10.0pt; line-height: 115%;"><i style="mso-bidi-font-style: normal;"> </i> </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 10.0pt; line-height: 115%;">Enthused
over sharing her passion for silver, Ingrid will take you through the design
aspects of sculpting jewellery for the different kinds of items. You will acquire
skills to shape, refine and finish your individual silver jewellery pieces. You
will learn various decoration techniques such as the use of moulds for applying
textures and working with a syringe to create filigree and intricate hollow
items. </span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgnVW7Iw22CVNwmL0Yg_8qm8-JcRKLvPFD1DB6zPxALyBU_R7qdOeFnuRc-nMSxDcMrQdqMFeLgA4_mT6w-YazFeO_t5jklU-oY2eW73ZOi14bA28kg_xB8v92-oVdnRxuLc66SR9q8qo/s1600/Ancient+Treasures++Antique+Glass+beads+in+Pure+Silver.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgnVW7Iw22CVNwmL0Yg_8qm8-JcRKLvPFD1DB6zPxALyBU_R7qdOeFnuRc-nMSxDcMrQdqMFeLgA4_mT6w-YazFeO_t5jklU-oY2eW73ZOi14bA28kg_xB8v92-oVdnRxuLc66SR9q8qo/s320/Ancient+Treasures++Antique+Glass+beads+in+Pure+Silver.jpg" width="320" /></a></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 10.0pt; line-height: 115%;">At
the end of this five-day workshop, you will have produced at least four
jewellery items and gained new skills and inspiring ideas to continue creating
original jewellery at home.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">“Beginner or not, everyone will create
individual silver jewellery. My promise is that by the end of the week you will
look at your world with different eyes”.</i> - Ingrid says about this workshop.
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</span><span class="bodytext1"><i style="mso-bidi-font-style: normal;"><span style="font-size: 10.0pt; line-height: 115%;"></span></i></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 10.0pt; line-height: 115%;">Enrolments
for<i style="mso-bidi-font-style: normal;"> Sculpting Pure Silver Jewellery</i>
and other Summer School workshops are now open.<span style="mso-spacerun: yes;">
</span>To ensure a place call (09) 838 4455 or email </span><a href="mailto:info@ceac.org.nz"><span style="font-size: 10.0pt; line-height: 115%;">info@ceac.org.nz</span></a><span style="font-size: 10.0pt; line-height: 115%;"> . For more information about this
class and the full 2014 Summer School programme, please visit</span><span class="bodytext1"><span style="font-size: 10.0pt; line-height: 115%;"> </span></span><a href="http://www.ceac.org.nz/"><span style="font-size: 10.0pt; line-height: 115%;">www.ceac.org.nz</span></a><span style="font-size: 10.0pt; line-height: 115%;">.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAfCZYtf-DfqPVaGjL7i3FaG-1SCiVRZBmWTr2Poknf7Ki8PbrxYWfVinsvLoI3qrTPGLtfv3kNZm7BmH5ycN6GAR3Brsdg29tsh2jdqq7HxnSN9HpoZXqyo0iDs_rusgv5yhQLfS3PXw/s1600/05-Ingrid.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAfCZYtf-DfqPVaGjL7i3FaG-1SCiVRZBmWTr2Poknf7Ki8PbrxYWfVinsvLoI3qrTPGLtfv3kNZm7BmH5ycN6GAR3Brsdg29tsh2jdqq7HxnSN9HpoZXqyo0iDs_rusgv5yhQLfS3PXw/s320/05-Ingrid.jpg" width="225" /></a></div>
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infohttp://www.blogger.com/profile/01176521920650331565noreply@blogger.com0tag:blogger.com,1999:blog-4129815355954508906.post-42713138291938157332013-11-19T16:16:00.000+13:002013-11-19T16:16:03.181+13:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq_Ow4u6fDD-n6OjEWxssWexepuGsOsu6fbS1FrIxXf1nfFce-WPFhUCBFDWO0LdTKdNjW6piWv96JkJlpk1ijAfIbWAS-Qn9nBrx2yI2ISwfdhDjV9RR0NGSdx71PHR_HtxSgHxw4cbI/s1600/Elephant.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="207" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq_Ow4u6fDD-n6OjEWxssWexepuGsOsu6fbS1FrIxXf1nfFce-WPFhUCBFDWO0LdTKdNjW6piWv96JkJlpk1ijAfIbWAS-Qn9nBrx2yI2ISwfdhDjV9RR0NGSdx71PHR_HtxSgHxw4cbI/s400/Elephant.jpg" width="400" /></a></div>
<span style="color: #38761d;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-large;"><b>A New Play Tackles Youth Issues Head-On</b></span><br /><i><b>Elephant in the Garden of Gethsemane – a story of courage and unspoken truth</b><br />By Jay Junior Williams</i></span></span></span><br />
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><i> </i><br />Facing up to the issues of youth bullying and the resultant effects within communities,<br />especially those in the West Auckland area is a task that Jay Junior Williams, the<br />creator of ‘Elephant in the Garden of Gethsemane’ has taken by the horns.<br />With a cast of talented young West Aucklanders, Williams fuses Maori and Pacific<br />motifs with gritty hard-hitting realities of youth living real daily lives – somewhere<br />between lost and found. It is an ugly duckling story described as a poetic and operatic<br />drama of transcendence.</span></span><br />
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><br />“The transcendence we’re talking about is that of self-worth and the freedom to be<br />yourself,” explains Williams.</span></span><br />
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><br />The play touching on issues of bullying, depression and suicide have all been issues<br />big in the news of the day re: Roast Busters and others. But, Williams says, these are<br />not new issues and he’s been working with them since 2007 when he began Phoenix<br />NZYP (New Zealand Young Performers).</span></span><br />
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><br />“Contrast to the Roast Busters, we’ve got a group of young men doing incredibly<br />positive things. But, what these guys have done is highlight the issues we’ve been<br />working with all along. Bullying today has changed and it’s time communities and<br />especially schools started recognising that.”</span></span><br />
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><br />Elephant in the Garden of Gethsemane examines some of these issues, which<br />Williams is passionate about. He goes on,</span></span><br />
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><br />“You know it’s about responsibility; of the bystander, the community, the schools all<br />to feel a certain level of responsibility towards each other. If we had more of this, then<br />intervention and reaction would be so much more meaningful. What we’re about<br />[Phoenix] is being proactive and tackling the problems in a real multi-dimensional<br />way, which is what our communities and schools should also be doing.”<br />As a secondary school teacher, Williams explains that all too many times bullying<br />would go unnoticed until it was too late – especially cyber bullying which is almost<br />invisible except to those involved.</span></span><br />
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><br />“This is the worst thing about it. We haven’t yet learnt to identify it as something as<br />real as getting punched in the face. But, it can be much worse than just a physical act.<br />This is part of the reason I wanted to do the play, to bring awareness to the power of<br />words and the humiliation this can wield over others, especially in an online context.”<br />Williams says that the recent spate of news items about these issues serve to highlight<br />the gap in societies responsibilities to teach emotional literacy and care particularly<br />through our schooling system.</span></span><br />
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><br />“Phoenix as an organisation is robust and has provided opportunities for hundreds of<br />young people to transition and transform through accessible forums and empathetic<br />encounters. These are not always accessible in the schooling system and so we find<br />that we are catching those who leak through the cracks.”</span></span><br />
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><br />Elephant in the Garden of Gethsemane examines the issues in a non-traditional<br />narrative. It points to a betrayal of the system, as in the Garden of Gethsemane,<br />whereby the elephant standing in this garden is covered in a shroud of secrecy and<br />ignored.</span></span><br />
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><br />“We’re using a non-traditional narrative because what people don’t understand is that<br />these issues have evolved and yet we are still using old mechanisms. We’re trying to<br />make it accessible and also to be able to bring out the discussion that needs to be had<br />around these issues. It’s not about laying blame, as some have been doing, it’s about<br />finding solutions and forums in which young people may be free to share.”</span></span><br />
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><br />Although the Elephant in the Garden of Gethsemane ends in a positive, as with the<br />story of the ugly duckling, this doesn’t always happen in real life. Williams points to<br />the fact that for a real change to happen over the long-term to stop bullying, violence<br />and suicide the community has to stand-up attack it in a multi-dimensional way and<br />get support from government dollar for dollar. Williams concludes,<br />“I don’t have all the answers but I do know that at least my organisation has been and<br />will continue to be part of the answer. I’d like to see community, schools and<br />individuals really find solutions that connect and share through a focus on wellbeing.<br />We’re helping out with providing art as a mechanism for change and we hope that<br />others may see some worth in this.”</span></span><br />
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><br />* Jay Junior Williams is the founder of Phoenix NZYP, a Senior Secondary Schools drama<br />teacher and social change agent.</span></span><br />
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">* As a recipient of the Vodafone World of Difference Award 2013, Jay worked on a number<br />of projects through the year - Matariki (drawing awareness of it's significance for Maori),<br />Phase 1 young writers festival, Candid (showcase of emerging artists), Blood in Water theatre<br />piece, Women's Refuge Campaign in Palmerston North, The White Ribbon Campaign, Anti-<br />Bullying Campaign in schools, visit to NYC.<br />* Elephant in the Garden of Gethsemane also has limited public seating in a fundraiser<br />performance for Leadership NZ on Tuesday 26th November 8pm, preceded by an address by Mr Williams at 730pm. Contact Q-Theatre for enquiries.</span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">For ticketing details at Corban Estate Arts Centre (Shed 1) on Friday 13th December<br />at 8pm (preceded by a directors talk at 730pm), you can find out more at<br />info@ceac.org.nz or ph: 838 4455, website: www.ceac.org.nz.</span></span>infohttp://www.blogger.com/profile/01176521920650331565noreply@blogger.com0tag:blogger.com,1999:blog-4129815355954508906.post-1723938635071248532013-11-19T16:06:00.001+13:002013-11-19T16:07:37.340+13:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq_Ow4u6fDD-n6OjEWxssWexepuGsOsu6fbS1FrIxXf1nfFce-WPFhUCBFDWO0LdTKdNjW6piWv96JkJlpk1ijAfIbWAS-Qn9nBrx2yI2ISwfdhDjV9RR0NGSdx71PHR_HtxSgHxw4cbI/s1600/Elephant.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="207" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq_Ow4u6fDD-n6OjEWxssWexepuGsOsu6fbS1FrIxXf1nfFce-WPFhUCBFDWO0LdTKdNjW6piWv96JkJlpk1ijAfIbWAS-Qn9nBrx2yI2ISwfdhDjV9RR0NGSdx71PHR_HtxSgHxw4cbI/s400/Elephant.jpg" width="400" /></a></div>
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<span style="font-size: x-large;"><span style="color: #38761d;"><span style="font-family: "Trebuchet MS",sans-serif;"><b><i>Elephant in the Garden of Gethsemane</i></b></span></span></span></div>
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<span style="color: #6aa84f;"><span style="font-size: large;"><span style="font-family: "Trebuchet MS",sans-serif;"><b><i>A story of courage and unspoken truth</i></b></span></span></span></div>
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<span style="color: #38761d;"><span style="font-family: "Trebuchet MS",sans-serif;"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="mso-no-proof: yes;">A play by Jay Williams, Phoenix NZYP director</span></i></b></span></span></div>
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<span style="color: #38761d;"><span style="font-family: "Trebuchet MS",sans-serif;"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="mso-no-proof: yes;">(Project K)</span></i></b></span></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 115%; text-align: justify;">
<span style="font-family: "Trebuchet MS",sans-serif;"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="mso-no-proof: yes;"><span style="color: #38761d;">Backstory</span> </span></i></b></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 115%; text-align: justify;">
<span style="font-family: "Trebuchet MS",sans-serif; font-size: small;"><b><i>Project K</i></b> is developing a hybrid body of work that involves up to 30 young people
who will be engaged in an intensive creative process. While Jay Williams is the
Director, the creation of this body of work brings together specialist practitioners
to mentor young people through a series of comprehensive workshops.</span></div>
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<span style="font-size: small;"><br /></span></div>
<div class="MsoNormal" style="line-height: 115%; margin: 3pt 0cm; text-align: justify;">
<span style="font-family: "Trebuchet MS",sans-serif; font-size: small;"><b><i>Project
K’s</i></b> devising and research processes provide an environment that foster reflective
thinking and promote greater skill in social decision making.</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif; font-size: small;"><b><i>Project
K</i></b> will result in a 45 minute
installation/theatre piece that explores identity and culture in Aotearoa
today. </span></div>
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<span style="font-size: small;"><br /></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif; font-size: small;"><b><span style="line-height: 115%;">Creative Process</span></b></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif; font-size: small;">Young people will be involved in a series of
discussions and workshops where they share their own experiences, listen to the
experiences of others and then reflect on their own understandings and
responses. This process gives them a
platform to explore, interpret and translate experience into the essential
meaning it has for them in today’s world.</span></div>
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<span style="font-size: small;"><br /></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif; font-size: small;"><b><span style="line-height: 115%;">The Story</span></b></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif; font-size: small;">The story is based around Hans Christian Andersen’s literary
fairy tale, The Ugly Duckling, a classic tale of searching for one's own
identity as an alternative to conformity and assimilation. The story centres
around Maui Felimu, a half Samoan/Maori born out of wedlock. Maui’s narrative looks
at his journey with mental illness and how this impacts on his perception of
himself. Maui’s pulsating question is
“How do I fit?”</span></div>
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<span style="font-size: small;"><br /></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif; font-size: small;"><b><i><span style="line-height: 115%;">“Some are
commercial flowers, always watered, fed, hydroponic clones, harnessed in a
man-made glasshouse. I'd rather be a
dandelion weed, free like the phoenix, uncaged, candid, real, growing on the
side of the road, broken through the surface of stone, to live, to share with
nature, to seed without prejudice. To float by the breeze of my tupuna, carrying
my DNA beyond the confines of a shop window.
I'd rather be invisible, than be an decoration in someone’s kitchen or
an after-thought on Valentines day. I’d
rather be a dandelion weed growing wild any day.” (Opening spoken word, Jay Williams)</span></i></b></span></div>
infohttp://www.blogger.com/profile/01176521920650331565noreply@blogger.com0tag:blogger.com,1999:blog-4129815355954508906.post-21771110153621267332013-11-19T09:06:00.000+13:002013-11-19T09:06:55.391+13:00<div class="separator" style="clear: both; text-align: center;">
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<span style="color: #38761d;"><span style="font-size: x-large;"><b><span style="font-family: "Trebuchet MS",sans-serif;">Odysseus</span></b></span></span><br />
<span style="color: #38761d;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: large;"><b>Elliot Collins</b></span></span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: large;"><b> </b></span><br /><span style="color: #6aa84f;"><span style="font-size: x-small;">By Kathryn Tsui</span></span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br />Artist Elliot Collins latest exhibition is based loosely on <i>The Odyssey</i> by Homer. Through the interplay of text, sculpture and photography Collins visually relocates this classic story to take place within the islands of the Hauraki Gulf, representing his on-going interest in the perception of New Zealand as a vibrant place for exploration and discovery.<br /><br /><i>Argonauts</i> (2013) refers to the great ship Argo, that took the warrior Argonauts to Troy. Ironically Collins has reframed the Optimist, a single handed sailing dinghy into the Argo. The Optimist being a common sight around Auckland’s coast line as countless New Zealand children have their first sailing experience in this boat. Now, as individually hand painted brooches the <i>Argonauts </i>(2013) become a talisman or portable artwork that can be travelled with. </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br />Situated on Great Barrier Island within the Hauraki Gulf are the two photographic works and map work. In the two photographic works there is a sense of isolation and entrapment that comes from island life, of travelling from place to place. Collins has taken two different perspectives of the island, that of looking outward at dawn and inward at daytime. <i>Follow me to Great Barrier Island (Aotea Island) </i>(2013), is from a series of 60 nautical charts of New Zealand’s coastlines and features the Twitter instruction to ‘Follow Me’. </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br />Communication is a founding interest for the artist and he is well known for his lyrical text based paintings. In <i>Hermes </i>(2013) the words are less poetic and more code-like, alluding to the simple coding that underlies both nautical communication and current forms of social media. Hermes is known to be the messenger between Greek gods and humans, and this work will be interactive between the artist and the viewer, as the show progresses he will randomly change the message. <br /><br /><i>Tempest</i> (2013) a work of suspended poles further signifies visual codes of nautical travel. The banded poles symbolise tidal markers which can mark the safe or unsafe passageway through measuring water levels. Collins paints grey stripes as a colour cue for storm clouds since the word tempest is a synonym for a natural storm.<br /><br />By focussing on the epic trials of Odysseus as he makes his way home after the fall of Troy, Collins combines concepts of mythology, adventure, travel, navigation and communication.</span>infohttp://www.blogger.com/profile/01176521920650331565noreply@blogger.com0tag:blogger.com,1999:blog-4129815355954508906.post-72166672314102788182013-11-13T10:32:00.001+13:002013-11-27T16:26:59.038+13:00<div class="separator" style="clear: both; text-align: center;">
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<![endif]--><span style="font-size: 10.0pt; line-height: 115%;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="color: #38761d;"><b><span style="font-size: x-large;">DREAMING OF FILM-MAKING?</span></b></span></span></span><br />
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<span style="font-size: 10.0pt; line-height: 115%;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: large;"><i><b><span style="color: #6aa84f;">End to End Film-making, a new Summer School workshop</span></b></i></span></span></span><br />
<span style="font-size: 10.0pt; line-height: 115%;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: large;"><i><b><span style="color: #6aa84f;"><span style="color: #6aa84f;"><span style="font-size: xx-small;"><span style="font-family: "Trebuchet MS",sans-serif;"><i><b>By Patricia Aguilera</b></i></span></span></span> </span></b></i></span></span></span><br />
<span style="font-size: 10.0pt; line-height: 115%;"><span style="font-family: "Trebuchet MS",sans-serif;"><br /><i>“End to End Film-making is designed to emulate the entire film process”</i> explains film director Bryan Hudkins. Hudkins talks about a new workshop offered as part of the Corban Estate Arts Centre’s Summer School programme, 13 – 17 January 2014.</span></span><br />
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<span style="font-size: 10.0pt; line-height: 115%;"><span style="font-family: "Trebuchet MS",sans-serif;"> Bryan Hudkins is an American film director and scriptwriter with a remarkable trajectory in the film industry. His experience includes an internship at Walden Media, producers of The Chronicles of Narnia series, as well as working in the Hollywood film Aliens in the Attic. Hudkins has directed TV commercials, participated in international and local film festivals and is co-founder of Dreams in Shadow, a joint venture with a group of passionate industry professionals. The Dreams in Shadow team includes film and art directors, stunt coaches, storyboard drafters, executive producers, together with camera and lighting experts.<br /><br />In this Summer School workshop, participants will learn the art and business of film-making as they develop a story, create a budget, pitch it to studios, hash out storyboards, then cast and shoot a film with their team. In the edit room they will work with professional editors to prepare for the screening. “Workshop participants will emerge with an arsenal of tools ready for tackling any film project”, says Hudkins. <br /><br />Enrolments for End to End film-making and other Summer School workshops are now open. Ensure a place. T: 8384455 E: info@ceac.org.nz. More info www.ceac.org.nz.</span></span><br />
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<span style="font-size: 10.0pt; line-height: 115%;"><span style="font-family: "Trebuchet MS",sans-serif;"><i><span style="color: #38761d;"><span style="font-size: small;"><b>END TO END FILM MAKING | ALL LEVELS | 5 DAYS </b></span></span></i><br /><span style="color: #6aa84f;"><i><b>Dreams in Shadow team: Bryan Hudkins, Mike Lough and special guests</b></i></span><br /><br />Launch yourself into the heated fray of film with a passionate group of writers, directors, producers and editors. With professional filmmakers teaching and supporting you, learn the art and business of filmmaking as you develop a story, create a budget, pitch it to studios, hash out storyboards, then cast and shoot a film with your team. In the edit room you will work with professional editors to prepare for the screening which completes the end to end process of film making and sets you up as a film maker. <br /><br />Bryan Hudkins is an American director who has worked on everything from Hollywood movies to local documentaries, music videos and TV commercials. His great interest is in using film to tell a story and to make feature films.<br /><br />Mike Lough is an avid actor passionate about the film and television industry. He has appeared in several NZ TV shows and is well known for his work in several large TV commercial campaigns. He has been an entrepreneur in digital technology innovation and marketing for over fifteen years. Mike’s production company, License to Film, partnered with<i> Lord Of The Rings</i>’ co-writer Stephen Sinclair, on a portfolio of feature film projects. </span></span><br />
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<span style="font-size: 10.0pt; line-height: 115%;"><span style="font-family: "Trebuchet MS",sans-serif;"><b><i><span style="color: #38761d;">END TO END FILM MAKING | BOOK NOW!*</span></i></b><br />Dates: Mon 13 – Fri 17 January 2014, 10am – 4.30pm<br />Fee: $600 (Includes all materials and equipment)<br />Location: Corban Estate Arts Centre. 2 Mt Lebanon Lane, Henderson, Auckland<br />Bookings: Phone: 838 4455 or Email: info@ceac.org.nz <br /><br />1O% OFF SPECIAL! - For school teachers and students with ID<br /><br />/ Join this workshop's Facebook event here and invite your friends! / <br /><br />* Classes fill up fast. Early bookings advised to avoid disappointment.</span></span><br />
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infohttp://www.blogger.com/profile/01176521920650331565noreply@blogger.com0tag:blogger.com,1999:blog-4129815355954508906.post-28405311797623191472013-11-04T13:56:00.002+13:002013-11-04T13:57:54.808+13:00<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "Trebuchet MS",sans-serif;"><b><i><span style="color: #6aa84f;">Corban Estate Arts Centre brings together leading arts practitioners to offer their talents in a variety of stimulating workshops at its annual Summer School, from the 13th to the 17th of January 2014. </span></i></b></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"></span><span style="font-family: "Trebuchet MS",sans-serif;"><br />This summer, twelve inspiring and experienced artists will share their skills in a selection of diverse arts workshops, led by notable arts practitioners. Renowned sculptor Martin Selman, award-winning theatre company Red Leap and the Dream in Shadows Film Company’s crew will come on board for the first time to offer three brand new workshops at the Summer School 2014. <br /><br />Sculptor Martin Selman is well known for his exquisite and refined Carrara marble sculptures. His commitment to the medium has involved extensive work, research and travel in New Zealand, Italy, England and Switzerland. Selman’s workshop will introduce participants to stone carving techniques, the basic principles of design and how to transpose their concepts into soft Oamaru stone. <br /><br />Red Leap is New Zealand’s leading movement and image based Theatre Company, renowned for fantastical theatrical work that enchants audiences. Participants of their workshop will learn expertise in creating puppets and imagery to bring stories to life and discover powerful ways of storytelling, involving performers to complete the picture. <br /><br />In an end to end filmmaking workshop, a passionate group of film industry professionals come together to share their knowledge. This complete workshop will set up participants to tackle any film project, and will provide them with a simulated real-life film production experience that involves writing, acting, directing, producing, editing and screening. Dreams in Shadows is an emerging film company with multiple production projects that include TV commercials, music videos, documentaries and short films.<br /><br />Other workshops offered at the 2014 Summer School include printmaking, oil painting, life drawing and painting, graffiti art, sculpting jewelry, darjit sculptures, singing, up-cycled fabric art and children’s book illustration.<br /><br />In addition to spending time in the course of their choice, participants may choose to attend an evening where each tutor/artist presents an aspect of their arts practice. These widely varied presentations are always a much anticipated element of the Summer School, stimulating ideas for participants. Another optional element of the Summer School is a private visit to the house where Colin McCahon and his family lived, hosted by the McCahon House Trust. Participants will also meet McCahon House Artist in Residence, Tiffany Singh. <br /><br />The Summer School provides participants with a week of arts experiences where they can expand their imagination, master new skills and push the boundaries of their talent. The spacious environment of the Corban Estate, gives participants the opportunity to meet others with similar interests and enthusiasm for creating art and often develop new friendships. <br /><br />Set in the character filled industrial winery buildings of the Corban Estate Arts Centre, with its parklands and handy on site café, the arts centre is a twenty minute drive from central Auckland and there is abundant parking on the Estate. It is also only a ten minute walk to the Henderson railway station and town centre. </span>infohttp://www.blogger.com/profile/01176521920650331565noreply@blogger.com0tag:blogger.com,1999:blog-4129815355954508906.post-34336187018545364392013-10-30T11:39:00.004+13:002013-10-30T11:43:31.049+13:00<div class="separator" style="clear: both; text-align: center;">
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<i><b><span style="color: #38761d;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-large;">Absence is all that is left behind</span></span></span></b></i><br />
<span style="color: #38761d;"><b><span style="font-size: large;"><span style="font-family: "Trebuchet MS",sans-serif;">Robert George</span></span></b></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-large;"><i><span style="color: #6aa84f;"><span style="font-size: x-small;">by: Kathryn Tsui, curator</span></span></i> </span><br /><br />In this two part moving image and sound work artist Robert George captures the interior landscape of the human mind, to consider death and life after death. He captures a space in which the waking mind gives way to the unconscious mind, where dreams, memories and symbolism take over.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /><i>Absence is all that is left behind</i> (2013), portrays life after death in one long continuous shot. It is a surreal moving image work that is full of luminous light with one figure who’s details burn out to white light.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /><i>The Embrace of Night (Go To Sleep)</i> (2013) contemplates the possible frenzied moments surrounding death. It is an aggressive visual piece with a rapid rush of figures that come and go from the dark. This piece involves over 500 edits. </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br />Increasingly, George’s filmic art practice is non-narrative and experimental. As a film maker George still values fundamental techniques and the craftsmanship of the film medium, working consciously on colour, tone, lighting, framing and editing. Visually his moving images are highly stylised and heavily treated a lasting influence of 10 years of experience in the film and post production industry.<br /><br /><span style="color: #38761d;"><i><b>Artist biography </b></i></span><br />Robert George is an Auckland based film maker with Cook Islands and Māori (te Arawa) heritage. Originally he studied Fine Arts and Design at Waiariki Polytechnic in Rotorua before completing a Bachelor of Arts majoring in Sociology from Victoria University, Wellington in 2001. George has a background in painting and illustration and over 10 years’ experience within the Film and Television industry. Recent exhibitions include, <i>Fly Me Up To Where You Are: Te Waharoa</i> in collaboration with Tiffany Singh for the Auckland Arts Festival 2013, and <i>PIRIANGA TOTO - BLOOD TIES</i>, Fresh Gallery Otara, 2013.</span>infohttp://www.blogger.com/profile/01176521920650331565noreply@blogger.com0tag:blogger.com,1999:blog-4129815355954508906.post-90939083829553324012013-10-08T17:11:00.002+13:002013-10-08T17:12:31.538+13:00<!--[if gte mso 9]><xml>
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<![endif]--><b><i><span style="color: #38761d;"><span style="font-size: x-large;"><span style="font-family: "Trebuchet MS",sans-serif;">Art installations in many forms at Corban Estate Art Centre</span></span></span></i></b><br />
<span style="font-family: "Trebuchet MS",sans-serif;"></span><span style="font-family: "Trebuchet MS",sans-serif;"><br />Corban Estate Arts Centre's latest exhibitions by Judy Darragh, Elliot Collins and Robert George are three distinct art installations assembled out of objects, text, moving image and sound, on display from 25 October to 1 December 2013.<br /><br />Judy Darragh’s newest floor and wall based installation is constructed out of consumer by-products and everyday objects that are attacked with intense colour. Infamous for her resourceful use of non-valuable materials, Darragh contorts these materials into new and unrecognisable assemblages.<br /><br />Artist Elliot Collins fills the gallery space with text, sculpture and photography in his latest exhibition based on The Odyssey by Homer. Collins visually relocates the story line to take place within the islands of the Hauraki Gulf, representing his on-going interest in the perception of New Zealand as a vibrant place for exploration and discovery.<br /><br />While artist Robert George captures the interior landscape of the human mind through large scale moving images and sound. He creates a space in which the waking mind gives way to the unconscious mind, where dreams, memories and symbolism take over.<br /><br />On offer is a full range of free art gallery activities. Artist Elliot Collins will run a kids workshop on Saturday 23 November and the curator will give a guided tour of Judy Darragh’s latest exhibition on Saturday 30 November. </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">Find more information about this exhibition and associated activities on our website: <a href="http://www.ceac.org.nz/">www.ceac.org.nz</a></span>infohttp://www.blogger.com/profile/01176521920650331565noreply@blogger.com0tag:blogger.com,1999:blog-4129815355954508906.post-71197132812088191852013-10-08T17:01:00.000+13:002013-10-08T17:03:22.594+13:00<span style="font-family: "Trebuchet MS",sans-serif;"><span style="color: #38761d;"></span></span><br />
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<span style="font-size: x-large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz_COFWFtNI62stFVlYFlO4zVD4sau4gWuybR9jzzjuBEizBQcccJTcU2A3iL7etZGC8VX7m6vU0LKJEEFlEbBMvDS3iguajLwWOITrS225Fgf5EZvl8GfOMZV8xI9Q79e3dFsb6WG-6k/s1600/Exhibition+Profile.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz_COFWFtNI62stFVlYFlO4zVD4sau4gWuybR9jzzjuBEizBQcccJTcU2A3iL7etZGC8VX7m6vU0LKJEEFlEbBMvDS3iguajLwWOITrS225Fgf5EZvl8GfOMZV8xI9Q79e3dFsb6WG-6k/s1600/Exhibition+Profile.png" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG_KULmaAh5R8Yx0nhP99oye_IH7Azw8aNlNo4vZeN1SPQ_A0porenLZYk2p7c-nP4QcK9ptv2J4iFspwMQFkoyLhKj8eK3Ua1tCLE8HYoiYLfk-H8tczGjXQmD36m3N4mgYBpxr4Mf4c/s1600/BLOG_Kaan.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="295" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG_KULmaAh5R8Yx0nhP99oye_IH7Azw8aNlNo4vZeN1SPQ_A0porenLZYk2p7c-nP4QcK9ptv2J4iFspwMQFkoyLhKj8eK3Ua1tCLE8HYoiYLfk-H8tczGjXQmD36m3N4mgYBpxr4Mf4c/s400/BLOG_Kaan.jpg" width="400" /></a></span></div>
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<i><span style="color: #38761d;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-large;"><span style="line-height: 115%;">Te H</span><span style="line-height: 115%;">ā</span><span style="line-height: 115%;"> O Te Whenua (The Breath Of The Land)</span></span></span></span></i></div>
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<span style="font-size: x-large;"><span style="line-height: 115%;"><span style="font-size: large;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="color: #38761d;">Simon Kaan</span></span></span> </span></span></div>
<span style="font-size: x-large;"><span style="color: #6aa84f;"><span style="font-size: xx-small;">By: </span></span><span style="color: #6aa84f;"><span style="font-size: xx-small;">Kathryn Tsui, Curator</span></span>
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<span style="font-family: "Trebuchet MS",sans-serif;">Artist Simon Kaan examines whenua (land) issues in this latest exhibition through landscapes that depict the connection of land to water, and land to sky. To consider the responsibility that belonging and living in a place has. </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br />These hauntingly sparse vistas relate to Kaan’s political concerns toward land and access rights. Sparseness is essential in the work, he explains it allows room to breathe, pause and meditate on what is not there. It alludes to the unseen spiritual and physical connection his shared ancestors would have had in the past. </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br />Kaan’s landscapes are ancestral, within the landscapes are a combination of visual motifs inherited from the artist’s Kai (Ngāi) Tahu and Chinese heritage. Ancestral balance is important to Kaan and this is demonstrated by neither image dominating the other, but rather coexisting within the picture plane. Structurally his landscapes follow the traditions of classical Chinese landscapes in which there is often a flow top to bottom, left to right.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br />“The landforms that Kaan creates are often loose adaptions of actual views or embedded memories, in which he captures the rhythms of the land. These portrayals of land are once again accompanied by images of water, that seem to simultaneously divide and synthesise, in the form of rivers, waterfalls, mist and oceans,” Sanderson Contemporary Art.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br />As land, sky and waterways continue to dominate Kaan’s art practice he is able to capture scenes that are not only shaped by natural physical and political forces but also by absence and ancestry.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /><span style="color: #38761d;"><b>Artist biography</b></span><br />Simon Kaan is a renowned painter, printmaker and multidisciplinary artist who lives and works in Dunedin. In 1993 Kaan gained a Diploma of Fine Arts with Honours, majoring in Printmaking from the School of Fine Art, Otago Polytechnic. Since then his work has been exhibited publically and with dealer galleries in New Zealand, Australia, New Mexico USA and China. Kaan was awarded the Creative New Zealand Red Gate Gallery Residency in Beijing in 2004. In 2012 he presented an installation at the International Symposium of electronic arts in New Mexico, USA.</span>infohttp://www.blogger.com/profile/01176521920650331565noreply@blogger.com0tag:blogger.com,1999:blog-4129815355954508906.post-88235828498070035022013-09-30T13:08:00.000+13:002013-09-30T13:11:17.710+13:00<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3sSkixtlDdYOgCCmSNenN2c9uGk3-n-VlODAXhBOoAoLG7XAt6wkctVJnk7ksgwOYWyiKy9Gjx1oG2Hp0kGbWqls-RUN6-on8TUtGwS4iML2QDqSxElAd2mTarVlT-6px_NkSQrw_xpM/s1600/Exhibition+Profile.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="32" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3sSkixtlDdYOgCCmSNenN2c9uGk3-n-VlODAXhBOoAoLG7XAt6wkctVJnk7ksgwOYWyiKy9Gjx1oG2Hp0kGbWqls-RUN6-on8TUtGwS4iML2QDqSxElAd2mTarVlT-6px_NkSQrw_xpM/s200/Exhibition+Profile.png" width="200" /></a><span style="color: #38761d;"><i><span style="font-size: x-large;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "Trebuchet MS",sans-serif;"> </span></span></span></i></span><br />
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<i><span style="font-size: x-large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOP6i2OxWIKV8OWHqY2FqXpwDWffAdlIlHgKUZDKRqxsTQPkNoraVqljN8pSTyoPDctHeUYcSv1T8xLvxP-v9fdQ-el9VAtDfQt6iQqCcY7A9SZWNK5KWHh0uiNRFo6z5w-9Spa2mYejM/s1600/BLOG_KimLowe.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="295" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOP6i2OxWIKV8OWHqY2FqXpwDWffAdlIlHgKUZDKRqxsTQPkNoraVqljN8pSTyoPDctHeUYcSv1T8xLvxP-v9fdQ-el9VAtDfQt6iQqCcY7A9SZWNK5KWHh0uiNRFo6z5w-9Spa2mYejM/s400/BLOG_KimLowe.jpg" width="400" /></a></span></i></div>
<b><i><span style="font-size: x-large;"><span style="color: #38761d;"><i><span style="font-size: x-large;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "Trebuchet MS",sans-serif;">Mrs Chrysanthemum patiently waits...</span></span></span></i></span></span></i></b><br />
<span style="color: #38761d;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span style="font-size: large;">Kim Lowe</span></span></span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span style="font-size: large;"><i><span style="color: #6aa84f;"><span style="font-size: xx-small;">By: Kathryn Tsui, Curator</span></span></i> </span><br /><br />In <b><i>Mrs Chrysanthemum patiently waits...</i></b>, artist Kim Lowe employs a diverse range of printmaking techniques to depict the varied extracts of her family's mixed New Zealand Chinese and Pakeha history.</span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><br />Lowe draws upon the wealth of stories surrounding her ancestral history and the marginalisation of pioneering NZ Chinese migrant families. The prints in the exhibition relate to her paternal grandmother of Chinese origin who was born in Cuba and then brought up in New Zealand. “Even though she had been in New Zealand since she was 6 or 7 she still kept her Cuban passport so was classified as a NZ alien because she refused to denounce her <i>Chineseness</i>”, says the artist. </span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><br />Akin to her grandmother the artist resiliently represents her mixed cultural heritage, through her chosen art medium of print. Both printmaking and working on paper connects to European and Chinese art traditions. Even the fundamental act of making prints requires a negative image to create the positive printed image, this relates to the artist’s interest in the Chinese concept of polarity where opposites are necessary to create balance. Also embedded in Lowe’s works are visual symbols and motifs from Chinese and European art history and antiquity. </span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><br />Cultural hybridity, elements of Taoist Philosophy and nature are often starting points for the artist. A more recent influence for the Christchurch based artist has been the 2011 earthquake. Making the best out of the aftermath Lowe has incorporated by products from this destructive natural disaster.</span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><br />Earlier works in this exhibition, <i>96 Lotus Feet</i> (2007) and <i>Underbellies</i> (2007), were damaged by liquefaction during the quake. The artist has chosen to retain the liquefaction on these works and new post-quake works adopt the same grey palette. Not only as a response to the quake the grey also symbolises Lowe’s recollection of visiting her ancestral house in China, where everything was caked in a similar coloured dust. </span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><br />The overall narrative in <b><i>Mrs Chrysanthemum patiently waits</i>...</b> is themed around cultural hybridity based on the artist’s ancestral roots. Lowe describes hybridity today as, <i>“being less infused with biological cross breeding and has lost some of its negativity. It has become a term which describes more of an exchange, borrowing, mixing or combining of different cultures.”</i></span></span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span style="color: #38761d;"><b>Artist biography</b></span><br />Kim Lowe is a Christchurch based artist with an art practice grounded in printmaking and painting that centres around mixed cultural identity. In 2009 Lowe completed a Master of Fine Arts from Ilam School of Fine Arts, University of Canterbury. Recent art projects include coordinating the Sendai-Christchurch Art Exchange in response to the 2011 quake and tsunami events in Christchurch and Japan. Lowe recently returned from presenting at IMPACT8 International Printmaking Conference in Scotland. </span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><br /></span></span>infohttp://www.blogger.com/profile/01176521920650331565noreply@blogger.com0tag:blogger.com,1999:blog-4129815355954508906.post-3956049100455328672013-09-24T15:05:00.004+12:002013-09-24T15:51:51.321+12:00<div class="separator" style="clear: both; text-align: center;">
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<i><span style="font-family: "Trebuchet MS",sans-serif; font-size: x-large;"><span style="color: #38761d;"><b>Beauty Through The Four Hands</b></span></span></i></div>
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<span style="color: #6aa84f;"><span style="font-family: "Trebuchet MS",sans-serif; font-size: small;"><b><i>Sang Sool Shim & Keum Sun Lee </i></b></span></span><br />
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<span style="color: #6aa84f;"><span style="font-family: "Trebuchet MS",sans-serif; font-size: small;"><b><i><span style="font-size: xx-small;">By: Kathryn Tsui, Curator</span> </i></b></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif; font-size: small;">Sang Sool Shim and Keum Sun Lee are self-taught potters,
together they collaborate on ceramics that incorporate both traditional Korean
and contemporary ceramic techniques. Their works reflect their cultural heritage
and a life set in the Waitakere Ranges.</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif; font-size: small;">Their two-way clay practice is an extension of their
relationship as husband and wife. Pottery became their self-selected career in 2001,
it meant the couple could work together full time in their home based studio. Primarily
their small and large scale ceramics are hand built by Shim and then intricately
decorated by Lee. </span><br />
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<span style="font-family: "Trebuchet MS",sans-serif; font-size: small;">Shim is a renowned 8th Dan master in the Korean martial art
Tae Kwon Do, he was the former national couch for Brunei and instructor to the Brunei
royal family. Now he tackles the intense physical nature of clay, often starting
with 15cm thick slabs of clay he paddles and hand forms this dense material
into delicately thin oversized vessels and sculptures.</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif; font-size: small;">Lee has a Doctorate in public administration and since
living in New Zealand has turned her academic mind to study classical Korean ceramic
decorative techniques. Many of the decorative methods featured in this
exhibition come from the <i>Bun-cheong </i>style of ceramic ware which dates back to
the Koryo Dynasty (918 -1392AD). Lee in particular specialises in several of
these techniques including, <i>Sanggam </i>in which designs are incised or stamped before
applying white clay or coloured slip which is then wiped away to reveal the design. Another process distinctive to Shim and Lee’s
work is <i>Bakji </i>a reverse inlay process in which the background is scrapped off,
revealing a raised pattern. </span></div>
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<span style="font-family: "Trebuchet MS",sans-serif; font-size: small;">Complimentary to these customary techniques, they use
equipment and materials common to the current ceramic practices in New Zealand.
They fire their pottery in both gas and electric kilns and use contemporary
glazes.</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif; font-size: small;"><br /></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif; font-size: small;">Their time intensive clay works are completely handmade and require
a lot of patience and concentration to complete. The couple enjoy this laborious and slow
process as it contrasts with the pace of contemporary life. “In these days
everything is so fast but we want to think of <i>slow</i>. That is why we concentrate
and make fully handmade works. It is a kind of <i>meditation</i>,” say the artists.</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif; font-size: small;"><i><b>Artists Biography</b></i></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif; font-size: small;">Sang Sool Shim and Keum Sun Lee are Korean born ceramic
collaborators that live and work from a studio in West Auckland. Ceramic awards
and accolades include; the John Green Artist Award in 2008 and 2009, the 2011
People’s Choice Award in the Portage Ceramic Awards, being international
finalists in 2011 at the International Biennial of Ceramics, Austria and the International
Ceramic Accessory Competition, Korea. In 2013 they were selected to present a
lecture at the The 7th Gyeonggi International Ceramic Biennale, Seoul, Korea. Shim
and Lee’s ceramics can be found in the collections of Kapsenberg Museum in
Austria and the Portage Licensing Trust.</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif; font-size: small;"><br /></span>infohttp://www.blogger.com/profile/01176521920650331565noreply@blogger.com0tag:blogger.com,1999:blog-4129815355954508906.post-65865496553224882572013-09-05T11:40:00.004+12:002013-09-05T11:41:32.247+12:00<!--[if gte mso 9]><xml>
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<span style="font-family: "Trebuchet MS",sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihrgutPjAAVVoOhTbMfbmJjWRpjnEvVNj-SsMEH2E8m9MJIM_5xUyT-SYlGgy-vt5ikGAgqE1c7joRIbzykeacCMdjTl-9-QTy8075vxCToRg4j_8DVx7aqBRs3Jdnp4bnnryQmbdXCgg/s1600/Kaan_Lowe_ShimLee.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="206" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihrgutPjAAVVoOhTbMfbmJjWRpjnEvVNj-SsMEH2E8m9MJIM_5xUyT-SYlGgy-vt5ikGAgqE1c7joRIbzykeacCMdjTl-9-QTy8075vxCToRg4j_8DVx7aqBRs3Jdnp4bnnryQmbdXCgg/s400/Kaan_Lowe_ShimLee.jpg" width="400" /></a></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="color: #38761d;"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "Calibri","sans-serif"; font-size: 24.0pt; mso-ansi-language: EN-NZ; mso-bidi-font-family: Calibri; mso-bidi-font-size: 11.0pt;">Cross cultural visual inheritance</span></i></b></span></span></div>
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="color: #38761d;">
</span></span><br />
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="color: #38761d;"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "Calibri","sans-serif"; mso-ansi-language: EN-NZ; mso-bidi-font-family: Calibri; mso-bidi-font-size: 11.0pt;">Corban Estate Art Centre</span></i></b></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
<div class="Body1" style="line-height: 105%;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US" style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 105%; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman";">Corban Estate Arts Centre's
latest exhibitions by Simon Kaan, Kim Lowe, Sang Sool Shim and Keum Sun Lee, explores
hybrid Asian identities through painting, printmaking and ceramics are on display
from </span><span lang="EN-US" style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 105%; mso-bidi-font-family: Calibri; mso-bidi-font-size: 10.0pt;">13
September to 20 October 2013</span><span lang="EN-US" style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 105%; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman";">.</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US" style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 105%; mso-bidi-font-family: Calibri; mso-bidi-font-style: italic; mso-bidi-font-weight: bold;">Dunedin based
artist Simon Kaan, examines whenua (land) issues in this latest exhibition.
Through multiple art disciplines the exhibition investigates the connection of
land with water, to consider the responsibility of belonging to a place. <span style="mso-spacerun: yes;"> </span>This exhibition features landscapes that combine
visual motifs inherited from the artist’s, Kai Tahu and Chinese ancestry.</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US" style="color: black; font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 105%; mso-bidi-font-family: Calibri;">Kim Lowe is a Christchurch based artist and printmaker of
New Zealand Chinese and Pakeha descent. Lowe’s latest exhibition of prints features
new works based on past events and snippets of her diverse family's history.</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US" style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 105%; mso-bidi-font-family: Calibri;">Sang Sool Shim and Keum Sun Lee are self-taught potters, together they
collaborate on large and small scale ceramic works. Hand thrown by Shim and
intricately decorated by Lee, they work with both traditional Korean and
contemporary ceramic techniques. Their artworks are influenced by their
cultural heritage and a life set in the Waitakere Ranges of Auckland.</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US" style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; mso-bidi-font-family: Calibri;">On Saturday 14 September, 10.30am artists Simon
Kaan and Kim Lowe will present a joint exhibition talk, presenting an opportunity
to hear these two South Island based artists. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Calibri","sans-serif"; line-height: 115%; mso-ansi-language: EN-NZ; mso-bidi-font-family: Calibri; mso-bidi-font-size: 11.0pt;">Image captions: </span></b></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; mso-ansi-language: EN-NZ; mso-bidi-font-family: Calibri; mso-bidi-font-size: 10.5pt;">Simon Kaan, <i style="mso-bidi-font-style: normal;">Untitled </i>(detail),
2013. Courtesy of Sanderson Contemporary Art.</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US" style="background: white; color: black; font-family: "Calibri","sans-serif"; font-size: 11.0pt; mso-bidi-font-family: Calibri; mso-bidi-font-size: 12.0pt;">Kim Lowe, <i style="mso-bidi-font-style: normal;">Mrs
Chrysanthemum patiently waits.... </i>(detail)<i style="mso-bidi-font-style: normal;">,</i> 2013.<br />
Sang Sool Shim and Keum Sun Lee, <i style="mso-bidi-font-style: normal;">The
Eclipse Jar</i> (detail), 2012.</span><span style="background: white; font-family: "Calibri","sans-serif"; font-size: 11.0pt; mso-ansi-language: EN-NZ; mso-bidi-font-family: Calibri;"><br style="mso-special-character: line-break;" />
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<span style="font-family: "Trebuchet MS",sans-serif;"><b style="mso-bidi-font-weight: normal;"><span style="background: white; font-family: "Calibri","sans-serif"; line-height: 115%; mso-ansi-language: EN-NZ; mso-bidi-font-family: Calibri; mso-bidi-font-size: 11.0pt;">Exhibitions details:</span></b></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US" style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-bidi-font-family: Calibri;">Exhibition: <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Te hā o te whenua -The breath of the land</i></b></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US" style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-bidi-font-family: Calibri;">Artist: </span><span lang="EN-US" style="background: white; color: black; font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-bidi-font-family: Calibri; mso-bidi-font-size: 12.0pt;">Simon Kaan</span><span style="background: white; font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-NZ; mso-bidi-font-family: Calibri;"><span style="mso-tab-count: 3;"> </span></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US" style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-bidi-font-family: Calibri; mso-bidi-font-size: 12.0pt;">Exhibition dates:
13 September – 20 October 2013</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="mso-bidi-font-family: Calibri;">Exhibition: </span><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-size: 12.0pt;">Mrs Chrysanthemum patiently waits....</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri;"><span style="mso-tab-count: 1;"> </span></span></b></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US" style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-bidi-font-family: Calibri;">Artist: </span><span lang="EN-US" style="background: white; color: black; font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-bidi-font-family: Calibri; mso-bidi-font-size: 12.0pt;">Kim Lowe</span><span style="background: white; font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-NZ; mso-bidi-font-family: Calibri;"><span style="mso-tab-count: 3;"> </span></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US" style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-bidi-font-family: Calibri; mso-bidi-font-size: 12.0pt;">Exhibition
dates: 13 September – 20 October 2013</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="mso-bidi-font-family: Calibri;">Exhibition: </span><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Beauty
of the four hands</i></b><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri;"><span style="mso-tab-count: 1;"> </span></span></b></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US" style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-bidi-font-family: Calibri;">Artists:</span><span style="background: white; font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-NZ; mso-bidi-font-family: Calibri;"><span style="mso-tab-count: 1;"> </span>Sang
Sool Shim and Keum Sun Lee<span style="mso-tab-count: 1;"> </span></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US" style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-bidi-font-family: Calibri; mso-bidi-font-size: 12.0pt;">Exhibition
dates: 13 September – 20 October 2013</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><b style="mso-bidi-font-weight: normal;"><u><span style="background: white; font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-NZ; mso-bidi-font-family: Calibri;">Public
programmes<span style="mso-tab-count: 3;"> </span></span></u></b><span style="background: white; font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-NZ; mso-bidi-font-family: Calibri;"><br />
Exhibitions opening:<span style="mso-tab-count: 6;"> </span>Thursday
12 September, 6pm-8pm</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="background: white; font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-NZ; mso-bidi-font-family: Calibri;">Joint artist
talk – Simon Kaan and Kim Lowe:<span style="mso-tab-count: 3;"> </span>Saturday
14 September, 10.30am<span style="mso-tab-count: 1;"> </span><br />
Entry:<span style="mso-tab-count: 8;"> </span>Free,
all welcome</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="background: white; font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-NZ; mso-bidi-font-family: Calibri;">If you'd
like more information about these exhibitions or for media inquiries please
contact the curator, Kathryn Tsui: 09 838 4455 extension 203 or </span><span lang="EN-US"><a href="mailto:kathryn@ceac.org.nz">kathryn@ceac.org.nz</a></span></span></div>
infohttp://www.blogger.com/profile/01176521920650331565noreply@blogger.com0tag:blogger.com,1999:blog-4129815355954508906.post-72606824683243839472013-08-27T11:07:00.000+12:002013-10-02T15:23:56.297+13:00<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="color: #38761d;"><span style="font-size: x-large;">Circle of Riffs</span></span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: large;"><span style="color: #38761d;">Dane Taylor</span></span></span><br />
<span style="color: #38761d; font-family: "Trebuchet MS",sans-serif; font-size: xx-small;"><i>By Kathryn Tsui</i></span><br />
<span style="color: #38761d; font-family: "Trebuchet MS",sans-serif; font-size: xx-small;"><i><br /></i></span>
<span style="font-family: "Trebuchet MS",sans-serif;">Auckland based artist Dane Taylor works on pre-existing images that he then overlays with painted abstractions. In <b><i>Circle of riffs</i></b>, Taylor’s latest exhibition, he continues to use these found images as the basis for interactions between the recognisable world and the supposedly abstract.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br />Many of the works centre on hand painted kaleidoscopic abstractions that refract the image, surrounding them in a visual exchange. The artists says,<i> “the work is intended to facilitate visual thinking, to exercise the part of the brain that explores and understands visual language without necessarily being able to translate what is said into spoken language.”</i></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br />Rather than methodically sourcing images, Taylor prefers to follow a rendezvous style of approach, a concept used by artist Marcel Duchamp (1887- 1968) known as the predecessor of conceptual art. The rendezvous between the artist, and the object they appropriate, functions as a random element in the artwork connected to the artist’s daily life. In the case of this show, many of the images are from rare old books and postcards Taylor discovered hunting through the Avondale markets near his home, which he frequents weekly. <br /><br />Taylor’s painted and printed image compositions combine hand painted elements with digital methods. He often adapts the original image reworking the composition to suit, before applying the opaque gouache medium to render a multi-layered portal between unique artwork and reproductions, abstraction and the representational.<br /><br /><span style="color: #38761d;"><b>Artist biography</b></span><br />Dane Taylor is an Auckland based artist with an art practice grounded in abstract painting and photography. Taylor graduated with a Bachelor of Fine Arts (Honours), from Elam School of Fine Arts, University of Auckland in 2009 and completed a Bachelor of Arts Majoring in Film and Anthropology, Victoria University in 2001. In the past four years his works have featured in a variety of galleries including Robert Heald Gallery in Wellington; and in Auckland, the George Fraser Gallery, Papakura Art Gallery and Snake Pit. <br /><br /><span style="color: #38761d;"><b>Kids art workshop with the artist </b></span><br /><b>Saturday 31 August, 11am-12.30pm FREE</b><br />In this art workshop with artist Dane Taylor we will explore the possibilities of collage with existing images and get to colour in your own crystalline jewel shape! All materials provided!</span>infohttp://www.blogger.com/profile/01176521920650331565noreply@blogger.com0tag:blogger.com,1999:blog-4129815355954508906.post-81181139601815032013-08-13T09:49:00.000+12:002013-10-02T15:24:22.259+13:00<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span style="font-size: x-large;"><span style="color: #38761d;"><b>Black+White+Red</b></span></span></span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="color: #38761d; font-size: large;"><b>John Parker</b></span><br /><span style="color: #38761d; font-size: xx-small;"><i>By Kathryn Tsui</i></span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="color: #38761d; font-size: xx-small;"><i><br /></i></span>Artist John Parker presents new ceramic works in black, white and red, a colour palette that he believes encompasses New Zealand, Aotearoa as an evolving nation. This series refers to the colour range of the national Māori (Tino Rangatiratanga) flag which was identified through a nationwide consultation process. </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><br />As an artist Parker plays on ceramic traditions and discourse. His pieces are typically recognisable as bottles or vases, however he pushes these forms beyond the traditional pottery vessel shape towards stark minimalism. The artist says,<i> “my concerns are with finish and control and the infinite possibilities of minimalism.”</i> His semi functional forms contribute to the debate between functional and non-functional objects.</span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><br />His works exist in the territory between handmade originals and mass produced ceramics. Highly finished and faultlessly geometrical, Parker’s clay forms look industrially made yet they are all thrown by hand and turned on a potter’s wheel. This relates to his on-going interest in reworking industrial ceramic styles by New Zealand born Wedgewood designer Keith Murray (from the 1930s), and his intern Earnest Shufflebotham (during the 1950s), for New Zealand’s iconic factory ceramic ware manufacturer Crown Lynn.</span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><br />Influences on Parker’s clay practice are vast, from modernist ceramics to traditional and contemporary Chinese ceramics. In 2007, Parker was part of an Australasian residency at the FuLe International Ceramic Museum in Fuping, China. This influential international exchange for contemporary ceramists was an opportunity for him to work with Chinese clay and experience first-hand China’s vast ceramic history that he had previously only studied in books. His time in China is referenced by the red glaze, red being an auspicious colour.</span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><br />In <i>Black + White + Red, Parker’s</i> ceramic pieces combine as one overall staged scene, in an interplay of forms and colours to create a unified whole.<br /><br /><span style="color: #38761d;"><b>Artist biography</b></span><br />Based in West Auckland John Parker is considered to be one of New Zealand’s leading studio potters and has been exhibiting ceramics since 1967. In 1975 Parker completed a Master of Arts (ceramics) from the Royal College in London. He has received numerous awards for his work including the respected Arts Foundation Laureate Award in 2010. Parker has exhibited extensively nationally and internationally in the UK, Italy, USA and Australia. His work is held in major New Zealand and Australasian public collections including, Powerhouse Museum in Sydney, the Museum of New Zealand Te Papa Tongarewa and the Dowse Art Gallery in Wellington. Recently Parker undertook a residency at Sturt Pottery in Mittagong, outside of Sydney. Multi-talented Parker is also a renowned theatre designer.</span></span>infohttp://www.blogger.com/profile/01176521920650331565noreply@blogger.com0tag:blogger.com,1999:blog-4129815355954508906.post-60628280144094989932013-08-07T14:20:00.001+12:002013-10-02T15:24:53.696+13:00<div class="separator" style="clear: both; text-align: center;">
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<span style="color: #38761d;"><b><span style="font-size: large;"><span style="font-size: x-large;">Resolution</span><br />Liyen Chong</span></b></span><br />
<span style="color: #38761d; font-size: xx-small;"><i>By Kathryn Tsui</i></span><br />
<b><i>Resolution</i></b> by visual artist Liyen Chong is a new series of work developed since travelling to South Korea, on an AsiaNZ Foundation artist residency in 2012. <br />
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This exhibition represents a sample of Chong’s research into 60s and 70s visual imagery, sourced from encyclopaedias and Britannica yearbooks. Combining national and international visual subject matter Chong responds to her time living in a contemporary Asian society that allowed her the distance to reflect on what it means to be an artist based in New Zealand.<br />
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Theories based on comparative mythology are relevant to Chong, as they provide a framework for finding collective myths across different civilisations. In <b><i>Resolution</i></b>, the works point to archetypical myths across a selection of disparate encyclopaedic pictures. Visually these found images are scanned and enlarged, then interrupted by pictorial studies to translate their shared mythic and iconic qualities.<br />
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The artist describes these works on paper as,<i> “performing interventions on the surface of these reproduced images, finding new visual possibilities with a combination of media and methods.” </i>These painterly and print grain-like interventions draw attention to the external meaning of factual photographs and give the images new potential associations.<br />
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Primarily an image maker, Chong’s multi-faceted art practice continues to be based on an in-depth engagement with diverse disciplines and media. To date this has included embroidery with hair, printing on ceramics, text-based graphic design work and photography.<br />
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<span style="color: #38761d;"><span style="font-size: large;"><b>Artist biography</b></span></span><br />
Liyen Chong is an Auckland based artist with a multi-disciplinary art practice. In 2003 Chong completed a Master of Fine Arts from Ilam School of Fine Arts, University of Canterbury. Recently her work has featured in solo exhibitions at Blue Oyster Project Space in Dunedin, Gus Fisher Gallery and Melanie Roger Gallery in Auckland. She was the recipient of several prestigious artist residencies including the McCahon House Artist in Residency, Titirangi in 2011 and in 2012 the Asia New Zealand Foundation artist residency in Goyang Art Studio, South Korea. Chong’s work can be found in major public collections including: the Chartwell Collection, Auckland, The University of Canterbury Art Collection, Christchurch and the National Gallery of Australia Collection, Australia.<br />
<br />infohttp://www.blogger.com/profile/01176521920650331565noreply@blogger.com0tag:blogger.com,1999:blog-4129815355954508906.post-33942546374702651752013-08-05T15:09:00.002+12:002013-08-05T15:16:31.148+12:00<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: x-large;"><span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></span><span style="color: #38761d;"><span style="font-size: x-large;"><span style="font-family: "Trebuchet MS",sans-serif;"><i><b>Stories Explode at Youth Film and Theatre Festival</b></i></span></span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br />Young performers and filmmakers will compete for supremacy at the Phase 1 Youth Theatre and Film Festival in West Auckland on Saturday 31 August at Corban Estate Arts Centre, as part of this year’s Going West Books and Writers’ Festival.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br />“We never know how important our voice is until it is taken away from us” says Lavinia ‘Uhila, a Ranui based actress, who is currently preparing for her debut as director of a collaborative theatre piece that explores how domestic violence affects women. “Our play focuses on bringing hope and encouragement to women and daughters going through any struggle, to speak out about injustice” continues ‘Uhila. </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br />Lavinia ‘Uhila (25), graduated from the National Academy of Singing and Dramatic Art (NASDA) in 2009. Among her successes since graduating, have been her performances as a soloist in Coca-Cola Christmas in the Park 2011 and in the lead role in Sinarella, a joint production between the Auckland Theatre Company and the Pacific Institute of Performing Arts.<br />Actor Jason Wu (22), a graduate of Unitec’s Bachelor of Performing and Screen Arts, will premiere a short documentary about the formation of a new band, Midnight Trips, and the skyrocketing success of its music on local radio. He will also act in a theatre piece about men discovering and coming to realise the effects of their violent behaviour on their families and themselves. <br /> <br />Wu, is perhaps best known for his lead role in Michael Bennett’s award-winning feature film, Matariki (2010). Since graduating from Unitec in 2012, he has performed in Titus at Q Theatre and in Te Manawa at Corban Estate Arts Centre. </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br />The Phase 1 festival, only in its third year, is shaping up to include the highest standard of original theatre and film-making seen yet at the festival, and is funded once again by Creative Communities. “This year’s event offers a fresh platform for many young people with undiscovered talents, to take their creative energy to the stage and onto film” says Jay Williams, Director Phoenix Performing Arts, based at Corban Estate. </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br />Film and play entries are expected both from teams of young participants connected to Phoenix, as well as teams from several local high schools. These will be judged for their originality, script and overall production, by leading directors and scriptwriters from the film and theatre industries at the festival’s ‘heat nights’ on Thursday 29th and Friday 30th August. The judges top choices will compete for the glory of the supreme award at the Phase 1 Gala Night on Saturday 31st August. All the performances and film showings begin at 7pm and take place in Shed 1, Corban Estate Arts Centre. Further information and bookings can be made at info@ceac.org.nz or by phoning 838 4455. </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br />For further information please contact: <a href="http://www.blogger.com/null">Patricia Aguilera | </a>Marketing and Communication Manager Corban Estate Arts Centre | p. +64 (09) 8384455 ext. 208 | e. patricia@ceac.org.nz | w. <a href="http://www.ceac.org.nz/">www.ceac.org.nz</a>. </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="color: #38761d;"><b><span style="font-size: large;"><br />PHASE 1</span></b></span><br /> <i><b><br /> A 3-day festival of original short plays and films by young writers, film-makers, directors and actors.</b></i><br /> <b><br /> FILM HEAT NIGHT<br /> Thursday 29 August, 7pm</b><br />Shed 1, Corban Estate Arts Centre<br /> All films accepted into the festival will be shown and a panel of judges from the film industry will select the best to be presented at the Gala Night.<br /> Entry: $10 (EFTPOS & cash door sales only)<br /> <br /> <b>PLAYS HEAT NIGHT<br /> Friday 30 August, 7pm</b><br />Shed 1, Corban Estate Arts Centre<br /> All plays accepted into the festival will be performed and a panel of judges from the theatre industry will select the best to be presented at the Gala Night. <br /> Entry: $10 (EFTPOS & cash door sales only)<br /> <br /> <b>FILMS & PLAYS GALA NIGHT<br /> Saturday 31 August, 7pm</b><br />Shed 1, Corban Estate Arts Centre<br /> The best works as selected by the judges in the preceding nights will be presented and a Supreme Award will be awarded by a panel of judges. <br /> Entry: $20 (Tickets include a light supper. Limited seating, so pre-bookings advised. Limited door sales available. Cash bar. EFTPOS & cash door sales only)<br /> <i><br /> [Note: Some content in the festival programme may offend some people. Parental guidance is recommended. Not suitable for those under 15]</i><br /> <br /> <b>More info: </b><br /> <a href="http://www.ceac.org.nz/">www.ceac.org.nz</a><br /> info@ceac.org.nz</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /><b>ABOUT CORBAN ESTATE ARTS CENTRE</b><br />The Corban Estate Arts Centre is located at the historic Corban Winery Estate in Henderson, Auckland. The arts centre utilizes the historic winery buildings and is home to galleries which feature a changing programme of exhibitions, as well as a café, gallery shop, and artist’s studios. CEAC also offers a wide range of arts and cultural events and education programmes, including art classes for adults and children and a schools education programme. The Centre is open 7 days a week, 10.00am – 4.30pm. </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /><b>ABOUT PHOENIX</b><br />Phoenix NZYP is a youth performing arts company, based at Corban Estate Arts Centre. Phoenix takes a holistic approach to performance, beginning with shared stories which form the themes that are crafted into original drama and music pieces. Through participating in this creative process, young people learn more about the world in which they live. The company is renowned for its innovative performances which do not shy away from strong themes that are renowned for moving audiences. <br /> <br /><b>ABOUT GOING WEST BOOKS AND WRITERS FESTIVAL</b><br />Now in its 18th year, this festival celebrates all that is inspiring, challenging and unexpected in the words of our New Zealand writers and performers. As well as the Phase 1 Festival, Going West includes a theatre season with Auckland Theatre Company, a Poetry Slam and the key event, the Books and Writers’ Weekend. </span>infohttp://www.blogger.com/profile/01176521920650331565noreply@blogger.com0tag:blogger.com,1999:blog-4129815355954508906.post-69440492204653958922013-07-30T11:23:00.001+12:002013-07-30T11:39:44.487+12:00<h2>
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<span style="color: #38761d;"><span style="font-size: x-large;"><i><span style="font-family: "Trebuchet MS",sans-serif;"><b>Minimalism,
abstraction and reproductions in exhibitions by ceramic and contemporary
artists at Corban Estate Art Centre</b></span></i></span></span></div>
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Corban Estate Arts Centre's latest solo exhibitions by John Parker, Liyen Chong and Dane Taylor features new works in ceramics, painting and printed images is on display from 2 August to 8 September 2013.<br />
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Well known West Auckland ceramic artist, John Parker will present a new series in black, white and red, a colour palette that the artist believes encompasses New Zealand Aotearoa as an evolving nation. Parker’s works are typically recognisable as bottles or vases but he pushes beyond the traditional pottery vessel shape towards industrial minimalist forms.<br />
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Artist Liyen Chong has built up a multi-disciplinary art practice dealing with cultural generalisations and issues. In Chong’s latest exhibition, Resolution she continues these cultural investigations onto reproduced images sourced from the 1960s and 70s. This new series of work developed after travelling to South Korea on an AsiaNZ Foundation artist residency in 2012.<br />
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Auckland based artist Dane Taylor, also works on pre-existing images that he then overlays with complex painted kaleidoscopic abstractions. In Circle of Riffs, Taylor’s latest exhibition he continues to depict the interaction between abstraction and realism.<br />
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In a series of free public programmes with the artists; Liyen Chong will run a workshop about migration on 10 August and John Parker will present an artist talk on 17 August, while Dane Taylor will run a kids art workshop on Saturday 31 August.<br />
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Image captions: <br />
John Parker, BLACK + WHITE + RED, 2013.<br />
Dane Taylor, Dear Violet, 2011.<br />
Liyen Chong, Ellipses elicit eligible elemental themes, 2013. Courtesy of Melanie Roger Gallery.<br />
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Exhibitions details:<br />
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<b>Exhibition: BLACK + WHITE + RED </b><br />
Artist: John Parker <br />
Exhibition dates: 2 August – 8 September 2013<br />
Public programmes <br />
Exhibitions opening: Thursday 1 August 6-8pm<br />
Artist talk – John Parker: Saturday 17 August, 11am <br />
Entry: Free, all welcome<br />
<br />
<b>Exhibition: Resolution </b> <br />
Artist: Liyen Chong <br />
Exhibition dates: 2 August – 8 September 2013<br />
Public programmes <br />
Exhibitions opening: Thursday 1 August 6-8pm<br />
Workshop with artist – Liyen Chong: Saturday 10 August, 11am<br />
<b><br /></b>
<b>Exhibition: Circle of Riffs </b> <br />
Artist: Dane Taylor <br />
Exhibition dates: 2 August – 8 September 2013<br />
Public programmes <br />
Exhibitions opening: Thursday 1 August 6-8pm<br />
Kids Art Workshop with artist Dane Taylor: Saturday 31 August, 11aminfohttp://www.blogger.com/profile/01176521920650331565noreply@blogger.com0tag:blogger.com,1999:blog-4129815355954508906.post-31442886325369584782013-07-08T12:42:00.001+12:002013-07-08T12:42:37.036+12:00Whare Taonga<br />
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<span style="font-size: x-large;"><span style="color: #38761d;"><b>Whare Taonga</b></span></span><br />
<span style="color: #38761d;"><b><span style="font-size: large;">Alexis Neal & Rona Ngahuia Osborne</span> </b></span><br />
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<br />The wharenui (meeting-house) is a universally acknowledged symbol of traditional Māori culture. Being the central focus of most marae, the experiences of the wharenui are memorable and significant. Wharenui are places of peace and growth, learning and understanding.<br />This installation explores the artists shared and individual relationships with the concept of wharenui. Together they have examined some of the key functions of the wharenui, by creating two ‘whare-like’ interior spaces. Firstly the Whare Tūpuna (ancestral house) that looks backward into history and acknowledges the collective whakapapa; it shelters and comforts. Secondly the Whare Wānanga (house of learning) looks toward the future, enriches an awareness of the universe, teaches valuable skills and provides connections to community.<br />As a collaborative art project installation the artists have a diverse, multidisciplinary approach which includes printmaking, weaving, and textile techniques. Printing and stitch craft, being traditionally European art forms, are used to render a distinctly Māori world view reflecting on biculturalism in Aotearoa-New Zealand. <br />
<br />Rona Ngahuia Osborne’s (Clan Fyfe, Clan Caduggan, Kai Tahu, BFA Elam School of Fine Arts, Auckland University) textile moenga (beds) primarily references cultural and historical themes in Aotearoa, combining strong Māori imagery with colonial symbols, a reflection of Osborne’s own family’s heritage. Her blankets evolved out of the historical importance of blankets as objects traded by the European for Māori land. Implicit in Osborne’s work is an understanding about the mana (spiritual power) and the accumulated stories associated with handmade items that have been passed down.<br />As an artist Alexis Neal (Te Ati Awa, MFA Slade School of Fine Arts, London) examines issues of cultural identity. In Whare Taonga, Neal investigates the form and traditional implications of whariki (floor mats). Whariki are customarily laid beneath the mattress of an overnight visitor of distinction, placed beneath a coffin during the tangihanga (funeral) as a mark of respect or at the birth of an important child. This whariki series honours such occasions. Neal combines printmaking with Māori weaving techniques to push the print medium into three dimensional works.<br />This immersive installation moves beyond the re-creation of the aesthetic structure of the wharenui, celebrating the human presence within this extraordinary space. Viewers may choose to sit or lie on the beds, to make themselves at home and take in the space.<br /><br /><b>Rona Ngahuia Osborne (Clan Fyfe, Clan Caduggan, Kai Tahu)</b><br />Rona Ngahuia Osborne’s work primarily references cultural and historical themes in Aotearoa, combining strong Māori imagery with colonial symbols, a reflection of Osborne’s own family’s heritage. Her practice is based around the two central interwoven ideas of biculturalism and trade.<br />Osborne recognises that diverse cultural perspectives become more pronounced when viewed in the context of trade. Her blankets evolved out of the historical importance of blankets as objects traded by the European for Māori land. However the blankets as domestic items relate to whakapapa and tradition from both a Māori and a Pakeha perspective. Stories become associated with handmade items, each owner adding their individual layer of experience to an object thereby increasing its value exponentially. Implicit in Osborne’s work is an understanding about the mana (spiritual power) of an object, imbuing it with spiritual value deserving of reverence, which in turn drives the quality of craftsmanship. Osborne says, “Imbued with the wairua of the past the blanket f77 orms intimate associations.”<br />Rona Ngahuia Osborne holds a Bachelor of Fine Arts from Elam School of Fine Arts, Auckland University.<br />
<br /><b>Alexis Neal (Te Ati Awa)</b><br />As an artist Alexis Neal examines issues of cultural identity. In Whare Taonga, Neal investigates the form, function and traditional implications of the whariki (floor mats). Whariki are customarily laid beneath the mattress of an overnight visitor of distinction, placed beneath a coffin during the tangihanga (funeral) as a mark of respect or at the birth of an important child. This whariki series honours such occasions. <br />Printmaking is the fundamental backbone of Neal’s art practice and through her recent study of Māori weaving she combines these techniques, to push the print medium into three dimensional works. Neal says, “My works are an adaptation of traditional weaving patterns but put into my own artistic format.” <br />In 2000 Alexis Neal gained a Masters degree from the Slade School of Fine Arts, London.<br />infohttp://www.blogger.com/profile/01176521920650331565noreply@blogger.com0