Summer School 2012 Interview Series: Alexis Neal on print-making and teaching

Alexis

CEAC staff member Kyla Mackenzie interviews Alexis Neal in the lead-up to her Summer School class ‘Te Mata Kia Mahi ‘To Work the Surface’ in January 2012. Click here for a full description of Alexis’s class & enrolment details.

KM: I think I first saw your printmaking in the 1990s when you were producing beautiful, mysterious mezzotints of taonga – at that stage you had left Elam SFA and were studying at the Slade School of Art in London.  In what ways did being so far from home affect your print-making practice and perspective on yourself?

AN: I felt I needed to go and see things from another perspective to explore another side of my Identity and my placement within that context. And I achieved that, I come back a lot more confident in my ideas and had a better understanding or over sight of where my position could be developed.

KM:  Do you think there are still misconceptions about the medium of printmaking?  The word alone is often confused with straight reproductions.

AN: Unfortunately in New Zealand we are consistently defending Print and to educate the public is not an easy thing. The diversity of the medium and its layers is very technically demanding and challenging just for the artist alone, let alone the average person to understand the process. So yes the conversation between limited edition print verses reproduction is a difficult one. And it’s value.

KM: How has tutoring over the years affected your perspective on your own work – if at all?

AN: I have really enjoyed the teaching aspect as I love to share knowledge and its really rewarding when you see your students achieve their goals. It certainly has informed my practice and made me look at aspects of my own work, the directions I have gone through and the surfaces I have been creating.

'Exchange for a musket'

KM: You’ve got four days to get students into creating their own imagery: what do you enjoy about teaching others?

AN: Introducing students to new ways of working, asking them to consider layers and how they build those layers. Being resourceful with found materials, how they could use them within their work and just to experiment.

KM: How should or can students generate ideas? A work-book? 

AN: A work book is great as it is a place where we can develop our thoughts and working drawings, a place to store research in a particular area and a place to revisit later on. My self my studio wall has become that work book. But honestly I say to my students sometimes we need to work through the process to understand our ideas. Making mistakes, learning what doesn’t work and what does.

KM: What kinds of materials can add to the rich layering possible in printmaking? 

AN: Re- cycled materials like fabrics, organic surfaces, anything that can give you an impression. Multiply printing using a number of plates inked up and printed on top of each other creating constructed compositions. Chine Colle to collage or to add thin wasi Japanese paper can enhance areas of imagery.  

KM: What qualities do you think are particular to printmaking as opposed to painting?

AN: Firstly they are very different applications and processes, both giving very different effects. The surface quality, the subtly of constructed line and tone and the materials used on works on paper sits very different than paint on paper. The print allowing us the multiply, and the painting, the original.

KM: Alexis, you’ve claimed elsewhere that printmaking and its processes appealed to an organized, methodical person such as yourself.  Is there a balance to be found and encouraged between the method, procedure and the happy accidents along the way?

AN: I think you’re either attracted to print or not, for me I enjoy the technical layers as it allows me to develop my ideas through the process. And that unknown happy accident draws me in even more to discover ‘what if’?

KM:  How does one incorporate playfulness and spontaneity with the discipline of making editions of the same (consistent) image? 

AN: Well the edition is there to be challenged, but there is something quite rewarding when you have spent a lot of time working on plates, creating your relief layers and working out the order of what layers are going down first is where you start to see the work take shape. There’s a technique in getting things consistent. And to really answer your question, it’s in the mark making and the above surfaces that keep it playful and fresh.

KM: What do you find each process within printmaking offers to your own practice and development?  For example, a mysterious quality with the dark medium of mezzotint

AN: There has been a continuous area of research and investigation made so far in my career and sometimes print isn’t the best medium for my ideas. But print is the backbone of my practice and it informs everything else that I do. I see print as my working drawings, but those drawings have been made on plates allowing me to manipulate in any way, giving me options. But I have chosen certain print processes because I am seduced by the velvety black of a mezzotint, I am seduced by the layers I can create through woven surfaces and the endless possibilities of what if.

KM: What elements do you feel make a picture, regardless of medium, compelling?   Meaningful concepts or rich allusions for example, or can a work stand on its formal elements alone?

AN: Content is really important to me and good execution of those ideas. Sometimes we can’t always get it right but if you demand the viewer to look closely at your work I believed it has worked on some level. 

KM: What would you like to see in terms of raising the profile for print medium in New Zealand – to receive the same reception and exposure as painting?

AN: I think it’s about time that the big gallery institutions start putting print shows together that celebrate how rich print is in New Zealand. We need to show case celebrity artists working in print through to emerging artists and community based artists all in the some space. I’m in the process of curating a Works on Paper show at Art Station in October 4^th where I will be installing print within a large Poutama wall installation to start that conversation.

I think also maybe the more established galleries should be show casing print more to meet the market and to educate them. We are in a turbulent time where most people can’t afford to buy an original painting and that’s where print should come in, making it more assessable to the public to purchase at an affordable price depending on the edition size and who the artist is.

Up close and personal with some of Peter Sauerbiers work…

Over the next few weeks I will be having a closer look at some of Peter’s work from our current exhibition, Re-Made: the Assembled World of Peter Sauerbier.
First up is the many spouted oversized teapot aptly named Almost Functional. I love this work and the story behind it (see below in Peter’s own words). Personally, it puts me in mind of the Mad Hatters Tea Party or some sort of magical pot used to concoct potions and spells.
If we jump back to real life though, part of the charm of Peter’s work is figuring out what all the pieces are from and where he may have got them.
The brass jardinière’s original use would have been as a plant pot, probably placed outdoors on a porch or in a landscaped garden setting. The legs and top were from two different Edwardian lamps – electric lighting was only just being introduced into homes during the Edwardian period (1901 – 1910) and would also have been limited to those who could afford it so the lamps would have been originally very expensive items. The stylised plant/leaf motifs decorating the brass lid of the pot are Art Nouveau and are likely to have come from a Tiffany style lamp, popular during the Edwardian time period.
My stepfather pointed out to me that the small dangling bell like objects on the bottom are probably curtain weights – he remembers having something similar on the bottom of the curtains in his parents ‘front room’ when he was a child – they were used to keep the curtains from blowing about when the windows were open.
The fabulous clawed feet, from a different, possibly silver plated lamp, are particularly anthropomorphic, making me wonder if Almost Functional has a life of its own… I wouldn’t be surprised if it comes to life at night and has a wander around the gallery, chatting to Peter’s bird sculptures on its way!

Lisa Rogers curator

Almost Functional

1993
Materials: Brass Jardinière (approx 100 year old), Top: Cast iron door knobs, Legs and Top: Part of Edwardian lamp, Hanging: Lid from lamp fittings, Victorian kerosene lamp, pewter coffee pot spouts, gas pipe tubing.

“My favourite place for fossicking among the junk and second hand items is at flea markets. On one occasion I was browsing as usual when I asked an old man what was in a cardboard box he had on his stall. He said “How do I know, have a look for yourself,” so I opened it to discover 14 tea or coffee pot spouts. A find like that absolutely made my day. A few weeks later I saw an old lady setting out her bits and pieces, amongst which I noticed an old brass flower pot. It was really on its way out, so I didn’t take much notice at the time, but a bit later I realised I could use it to make the 14 spouted coffee pot! I went straight back but it seemed to have been sold. Then I saw it in her van and she said that when I had asked the price she had changed her mind about selling such an old family heirloom. It had been in the family for about a century and she couldn’t bear to part with it. However when I told her what I had in mind to do with it I could see the twinkle in her eyes and she said, “It’s all yours.”

Peter Sauerbier

Q &A with New Art Tutor Kathryn Stevens

Kathryn Stevens


'Pulse', 1200 x 1000mm oil on canvas 2010


Viewfinder at bath st 2008

“Painting ... is just so... open and endless. Painting can be anything that you want it to be."

Kyla Mackenzie interviews CEAC's new tutor Kathryn Stevens in the lead-up to her Adult Art Classes in August. Click HERE for the full class descriptions and enrolment details.

KM: You will be launching a new beginners 6 week art class at Corban Estate Art Centre from 17 August to 21st September; after 10 years of teaching painting and drawing, what are some of things that you enjoy most about teaching others?

KS: The thing I enjoy most is students surprising themselves, both in what they can achieve and in how much fun they can have in the process.

KM: What do you start with first when teaching beginners?

KS: I start very much at the beginning, with building practical drawing skills, learning to really look at whatever it is you are drawing, and gaining trust in your creative process.

KM: You like your students to loosen up and play; what are some of the exercises you teach to allow the creative process to flow?

KS: I think that creative flow is about engaging with painting in a curious way so I like to work on developing that curiosity. To approach painting with a desire to find out ‘what happens if...’

KM: What are the best ways to overcome painter’s or artist’s ‘block’?

KS: New materials or even just a new paint colour can change the game enough to get the ideas going again.

KS: The most important thing though is to just keep showing up and doing the work regardless of, in fact especially, if you have that feeling that you aren’t getting anywhere. Working always generates the inspiration and ideas not the other way around.

KM: Are there other areas of ‘play’ or hobbies that you enjoy?

KS: Making things with my seven year old daughter, cardboard, glue, paint etc...

Learning anything new.

Yoga

Gardening, I like to keep a vege garden and even when I don’t get much time in it I love the fact that it is growing and I can walk out and pick something to add to a meal.

KM: What are some good working habits for artists to learn?

KS: To make time and space for your art making and then just stick to it.

KM: What value do you place on the creative process for a person’s overall happiness?

KS: Being creatively active is normal and essential and benefits us in most areas of our lives. People are usually happier, more stimulated and better to be around when they are creatively engaged.

KM: What was the catalyst or catalysts for your own foray into art making? You began with engineering..., so what made you change tack?

KS: My studying engineering was largely as a result of being directed (at School) in an academic direction, and at that time that was to the exclusion of art. I guess the catalyst for the change was pretty much dissatisfaction and a determination to find my right place.

KM: You’re also a make-up artist for the fashion and advertising worlds – do you find there’s any overlap between the layers of colour and texture that you play with in both fields?

KS: I guess there is but they never seem linked to me. Painting for me is just so much more open and endless. Painting can be anything that you want it to be. Everything about my painting is driven and evolved by me and that makes it ultimately challenging and rewarding.

KM: What are you looking forward to most with this new course at Corban Estate Art Centre?

KS: I just love starting people off on the journey of painting, and showing them that they can do it!

Donna Sarten wins the Fieldays No. 8 Wire National Art Awards 2011

High art and agricultural products are not things which are normally associated with one another but that is the beauty of the Fieldays No. 8 Wire National Art competition.

No. 8 wire is not easily malleable, it’s a difficult material to work with and it takes months to create a sculpture, but when an artist can create something faced with such complications, you can be sure it’s something spectacular. No. 8 Wire National Art Awards takes the humble kiwi invention and asks artists to put an innovative spin on it.

Judge Carole Shepherd chose Donna Sarten’s work from amongst 14 other finalists; Shepheard said she found ‘Unsolved’ to be beautiful and mesmerizing.
“It is a work that that genuinely stirs the imagination and challenges ones understanding of both art and the law. It is successful in a way that most influential political work is. It raises the issue, creates the structure to best explore the idea and leaves some questions for the viewer to resolve.”

Shepheard commented on the obvious attention to detail that Sarten had given and labour intensity that the piece took in its construction; “It shows a real tenacity, doggedness and commitment to the clear uncompromising concept. This work speaks of justice and conscience as much as it does contemporary art. It also goes beyond speaking of a specific event in New Zealand’s criminal history to the more pressing concern of child abuse and neglect."





Unsolved

41 years ago there was no bigger story in New Zealand than the killing of Jeanette and Harvey Crewe.

Killed in their Pukekawa farmhouse and dumped in the Waikato river, the murders cast a shadow over rural life in a country proud of its farming heritage.

The Crewe's daughter Rochelle was found crying in her cot 5 days after the couple died. An innocent man was jailed for the crime and then pardoned.

The case remains unsolved.

BUSINESS OF ARTS 2011 Master Class Series Ann Robinson, glass artist

Ann in her studio - photograph Kieran Scott

Ann Robinson is acknowledged as one of the great glass artists in the world and is indisputably New Zealand’s leading exponent of cast glass. Her work has received numerous national and international awards, with widespread and on-going critical acclaim.

The source of her inspiration is clear, she says. “I have a great reverence for the plant world – plants are so sensual. When I walk in the bush, I observe detail very closely – the crisscross of the nikau, the pattern at the base of the flax, the pattern of life emerging from the source. I respond to the rhythmic patterns. The eye picks out the harmonies. I like the idea that my pieces encapsulate the music of the forest.”

She points out that the qualities in the natural environment that she sees emerge in her work are those of light and mood, pattern and rhythm, strong simple form, strong contrast, strong sharp colour. Also the persistent evidence of erosion by water and wind, the rubbing of one element against another.

“I used to say that my ambition was to take one's breath away, to suspend the ordinary, to create a moment of stillness,” she says. “But glass is also wonderfully expressive material – magical to live with. Light changes reflect as a change of mood in the work. It’s a very human quality.”

Funded by the Creative Communities Scheme, Business of Arts seminars are low cost, accessible, relevant and specialist. Created especially for arts groups and individuals in the arts sector, each Master Class will contribute to a better understanding of the key factors that promote the survival of your arts initiatives.

In this Master Class Ann talks with arts consultant Tara Jahn-Werner about the realities of creating her work in an often harsh economic environment; the way she operates her new studio near the Whau River in Glendene, and gives her thoughts about how she has remained sustainable over the years.

BUSINESS OF ARTS 2011 Master Class Series
Ann Robinson, glass artist
Thursday July 7th
Corbans Estate Arts Centre
9.30am – 12.30pm
$30 each (includes light refreshments)
Bookings essential: Email info@ceac.org.nz or phone (09) 8384455

Che Fu to headline at Mean Matariki Mean

One of New Zealand’s leading hip hop/R & B and reggae artists, Che Fu, is set to headline at the Mean Matariki Mean concert at the Corban Estate Arts Centre in Henderson on Queens Birthday Weekend.

Mean Matariki Mean is a family event that’s been organized especially for primary and secondary-aged children to celebrate Matariki, the Maori new year.

Organisers for the event say Che was chosen because of his ability to capture and move audiences of all ages.

“Matariki is a time of new beginnings and we hope that this show – a mix of successful and up and coming performers might encourage budding artists in the audience to pursue their dreams,” says Martin Sutcliffe, the director of CEAC.

At the young age of four, Che Fu was inspired to become a musician when he stood stage left at the legendary Bob Marley concert in Auckland in 1979.

He went on to become one of the founding members of the iconic kiwi band, Supergroove, while he was at Western Springs High School. The band did a world tour and their debut album, Traction, went triple platinum in the mid 1990s.

To date Che has had more top-ten singles in the New Zealand charts than any other artist.

Che will be joined by a host of other acts at the Mean Matariki Mean concert 5 June between 1-4pm. They include kapa haka, DJ Poroufessor, 2011 NZ Junior Hip Hop Champs, Lil Saints and comedian Mike King’s daughter, Alex King. Alex King won three bronze medals at the World Performing Arts Championships in the States last year.


MEAN MATARIKI MEAN
With Che Fu, Lil Saints, Alex King, kappa haka, and more.
Sunday 5th June (Queens Birthday Weekend)
1pm to 4pm
At the Corban Estate Arts Centre, Henderson
PH 8384455 more informatin on our website

Viky Garden - BlueGirls

Don't miss out on these limited addition prints from Viky Garden. More information here

Question Session

Location: Old St Michaels Church, Corban Estate Arts Centre

Time: Saturday, 04 June 2011 19:30

This is a music event!

$5 concert of creative music emerging from a jazz tradition! Featuring: Matt Steele on piano, Matt Bray on guitar, Song Bae on bass, Reuben Jelleyman on kit!

Also for those who read the newspaper, this event is not on the 7th of May!

Kids Art Festival 2011

Visitor numbers were up and the rain stayed away, the Kids Art Festival 2011 was another full-on day of art classes, performances and fun.

Most art classes were held in the sheds this year and as such, they were a bustle of non-stop creative activity which lasted all day, an impressive feat of stamina from our brilliant teachers and their assistants.

The performance stage was a real highlight, showcasing the talented music and performance groups from local primary and intermediate schools. Other groups such as Lil Saints blew the crowd away & MC’s Kasina and Taups from New Native Dance Company did a great job of keeping the crowd entertained between acts.

Well done to the schools who participated in the ‘Proudly Kiwi’ exhibition displaying some real originality and ability with the visual arts. Schools involved this year were: Bruce McLaren Intermediate, Royal Road School, Kelston Int School, Rangeview Intermediate, Te Atatu Intermediate School, ACG Sunderland School (Primary & Intermediate), Western Heights School, Henderson Intermediate, Sunnyvale School, Peninsula Primary, Henderson Valley Primary, Henderson North Primary, Glen Eden Intermediate, Nga Kakano Christian Reo Rua Kura, Glen Eden Primary, Swanson Primary, Green Bay Primary/ Intermediate, Konini School.

Thanks to the Children’s librarians for their wonderful story time, Captain Fantastic and his mobile library & the Henna & face painters.
And a huge thank you to our excellent volunteers who came from Massey High School and Waitakere College.

We hope to see everyone again next year!

Art classes in the Sheds

MC's Kasina and Taups on the performance stage

Backstage

Schools art exhibition

Story Time with Auckland Library Children's Librarians Christine and Erica.

Captain Fantastic

Our excellent volunteers from Massey Highschool and Waitakere College.

Interactive sound installatio in the old Corbans wine vats by Sound Artist Sam Morrison.

Dampa bread with Riki Bennett.

Local Talent II

Students test their flying machines in 'Leonardo Always Wanted to Fly' class with tutor Eilis Galuszewski

A selection of art from the talented students who took part in our recent Children’s Easter Holiday Classes.

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

Life-sized self portraits with a difference with Tutor Mandy Patmore

The Enchanted Ocean with Tutor Boe Busch

The Enchanted Ocean

Oh What a Circus! with tutor Claire Hey

Oh What a Circus!

Maintenance work on the estate

On Monday the major maintenance work to the buildings of Corban Estate kicked off. Work is going to include re-roofing some of the buildings, earthquake strengthening and improvements to some of the infrastructure services below ground, such as water supply and sewage.

On the whole, CEAC is operating ‘business as usual’ fitting our classes and events around the work. However many of our artists have to vacate their studios while their roofs are being fixed, and (as pictured) the Pop-up Café is now camped in Shed 2, a VAST warehouse on the estate. Here they are, nicely set up in the left corner, keeping company with the whale.