Vo l.2 No.2 2010

What consumesyour time?

Cover image: Craig Ellis Fragile 2009 Acrylic on canvas 800mm x 100mm SOLD

Editorial included in this publication re�ects the opinions of the contributing authors and does not necessarily represent the views of Gallery36. Copyright for submissions belong to the contributors unless otherwise speci�ed.

Gallery36 | Auckland, New ZealandISSN 1179-8319www.gallery36.co.nzeditor@gallery36.co.nz

Editor: Selene SimcoxPh: 021 169 9084E: editor@gallery36.co.nz

Do you reach the end of the week and ask where did the time go? I’m thinking you are nodding your head in agreement and say it is a sign of the times...

I used to suffer from boredom as a teenager. I wish I had that time back - oh what I could do with it now!

I picked up a book at the Writers Festival this weekend that caught my eye. The topic is most likely a popular issue of debate: the shrinking world and how emails have helped shrink the world even more. Shrinking The World - The 4,000-year story of how email came to rule our lives by John Freeman notes the �rst email was sent 40 years ago; by 2011 there will be 3.2 billion users. Freeman argues that email’s “so-called boon to communication and productivity has become a distracting, privacy-sapping, alienating, addicting time-suck.”

I don’t necessarily agree with Freeman but I also don’t disagree. There is arising addiction to the urgency to answer the email, check the email, check it again, check it yet again. Sounds like a cult doesn’t it. As with everything, technology has pros and cons and it is up to us, as the more intelligent addition to the computer, to take time out and not be tied to the computer, internet and everything other glorious thing this technology boom has to offer.

In the mean time, yay for technology as Gallery36 reaches out again to share another issue of great talent and exciting things happening in the art world. Read on and keep an eye out for the new-look Gallery36 website.

Gallery36 is a not-for-pro�t organisation dedicated to showcasing emerging artists and photographers from around New Zealand and now also Kiwi emerging artists and photographers working internationally.

The quarterly e-zine offers an opportunity for exposure for those still �nding their feet in their career who are passionate about art and photography and the role it plays in our society and culture.

Gallery36 is dedicated to providing like-minded people with pro�les of emerging artists and photographers they will love to read about, packaged up in an easily accessible format that supports our planet by saving trees.

Here at Gallery36 we want YOU to be pro�led. Say what your work is about, what your passion is, and/or what in�uence you want to leave behind. This is your opportunity to be showcased and put yourself out there!

If you are an artist or photographer who wants to be pro�led, please submit (Approx 300 words and up to 4 photos of your works (plus a photo of yourself, if you wish to), and email all this to editor@gallery36.co.nz. Please remember to label your photos with the name, year of creation, medium and size.

Join our email database so you don’t miss out on each publication. Just email me at editor@gallery36.co.nz with join mailing list in the subject line.

So enjoy reading, and don’t forget to share it with yourfriends!

Regards

Selene SimcoxEditor

Gallery36 | Vol 2. No. 2 2010

Craig Ellis Mega Fuck 2009 Acrylic on canvas 1800mm x 1800mm

Craig EllisArtist

M: 021 335 761E: craig@craigellis.co.nz W: craigellis.co.nz

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I was in a scooter crash on Richmond Road in 2007 and as a result suffered a Traumatic Brain Injury. My current work is a journey in paint, capturing the essence of recovery and rehabilitation. It tells a powerful story of frustration, despair, acceptance, hope and happiness. The work is beautiful in its simplicity and consistent in its message, providing a valuable insight into how people live with a Traumatic Brain Injury.

Before my crash I was a design teacher and only began painting on the advice of my counselor. Depression, a side effect from my head injury, was one of many obstacles and for the �rst 18 months I worked only in black and white. In the beginning, the world seemed devoid of colour and my work became graphic and minimalist, with simple lines and smooth surfaces. As I began to heal I was able to increase

Craig Ellis Speed Dating 2009 Acrylic on canvas 800mm x 1250mm

colour, detail and scale, helping to capture the intense nature of my experiences.

I soon realised that what started as art therapy was now an invaluable tool, giving others a glimpse of what people with head injuries face on a daily basis. A great example of this is ‘Fragile’, which talks about an invisible injury in a highly visible world. Another of my works, ‘Neuropsych’ is a direct paragraph from one of my medical reports. The document was devastating to receive, but motivated me to create this powerful painting.

‘Richmond Road To Here’ is a map of my neighbourhood. For almost two years I was con�ned within the area, as my fatigue, headaches and phonosensitivity made it impossible to travel

Gallery36 | Vol 2. No. 2 2010

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Craig Ellis Neuropsych 2009 Acrylic on canvas 450mm x 1000mm

more than a few minutes from home. I soon realized I was on a different journey than most people and started renaming the roads – from Concussion Corner to Recovery Road. Having passed thorough Despair Road and Headache Boulevard, I moved towards Courage Street and State Highway of Forgiveness.

Currently I have four paintings being shown in the Braveheart Exhibition (May 27–30), with funds raised to help youth at risk. My work has also been used to raise awareness for Brain Injury NZ and the Neurological Foundation of NZ, of which I am deeply proud.

My next exhibition ‘Here To There’ will present new work documenting my recovery and the challenges of re-entering every day life. It is mixed with a high dose of humour; as Fryda Kahlo once said, ‘Tragedy is the most ridiculous thing’.

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Te Kata (TK)PhotographerM: 027 769 2593 E: ndiginiz@actrix.co.nz

I have always been attracted to human character. I like looking at people in a moment of reality and even more so in a frame of reality stilled after the fact. There’s something unequivocal about people photography that for me transcends the moment at which the shutter is released. A photograph affords me the privilege to continuously study human character well after the fact. In studying the character of others, I believe I learn and understand a little more about myself.

A person can be limitless in their own personal idiosyncrasies, the expressions a person has at their disposal to portray, embellish and epitomise feelings and emotions with or without words can have such visual gravity, expression becomes a multiplicity that can be visually

“Old enough to see behind me and young

enough to feel my soul, in a simplistic

sense, I consider my self a people

photographer…”

Te Kata Daughter: Familial archive 2009 Digital 3872 x 2592px

Te Kata Supercity Hikoi 2009 Nikon Film 3566 x 2378px

Gallery36 | Vol 2. No. 2 2010

absorbed. What follows is a small example of the people I’ve photographed. These character studies are derived from both working and personal areas in which I utilise photography.

“My photography is not so much about me, as it is about you and your connection with what you see.”

I look at daily occurrences and I accept photography as a means to document life, though life is inherently different because of who I am and where and what I have come from. I do believe that the essence of any photographer is an integral part of them that should transcend into the frame of the photographs they capture. And in my own words, I identify this integral part as “the indelible connection to the moment,” that only the photographer has. Inspired daily, emotionally, mentally, physically and spiritually by the “normality of life,” I strive to better understand myself and others in an ever-changing and rapidly developing cultural and social New Zealand demographic.

“The world around us is in a state of constant animation and adaptation, evolution traveling faster than the speed of life.”

Te Kata Te Manawanui Te Kata (TK)

Where to �nd TK:blog: nativ �avaz tumblr.com�ickr photostream: nativ �avaz ihardyknowher.com jpg magazine: ndiginiz jpgmag.com ourspace: nativ �avaz | photography te papa.com

Click to open TK’s 2009 Pdf Portfolio 4.28mb

Click to open TK’s 2008 Pdf Portfolio 3.64mb

Te Kata Stuart Wilcox: Busdrive 2007 Digital 3008x2000px

Te Kata Actor: Cameron Rhodes 2008 Digital 3008 x 2000px

Rob BensonPhotographer

M: 021 672 205 E: rbensonx@gmail.comW: http://rbenson.deviantart.com

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I’ve been photographing over a period of more than 25 years and the amount of time I spend working at my art waxes and wanes depending on what’s happening in my life as a whole. Marriage, parenting, business, career, relationships and all the other things in life contribute not only to the content of my art but the quantity and frequency of it. Periods of hibernation can be followed by periods of intense activity. In some ways I’m an artist that emerges again and again.

I’m largely self-taught although I’ve studied the technical side of my art by correspondence and cherish the moment when I was able to leave technique to my instincts. Being able to focus on the image and simply rely on getting things right technically

without thinking was liberating. Today the camera is simply an extension of my eye, a tool to capture what I see with my eyes and compose in my brain.

I’ve been shooting artistic nudes over the last few years

concentrating on the natural beauty we have in the scenery on our doorstep here in Auckland and the women that live here. That focus has led to a signi�cant body of work that will shortly �nd its way into a book as culmination of this phase of my

Rob Benson Machine 200718” x 12” Limited edition print

Gallery36 | Vol 2. No. 2 2010

artistic endeavour. As life allows I expect that I will build on the exhibitions I’ve held in Auckland and Melbourne and look for further outlets for my art. Recognition in international competitions and web based forums has given me the con�dence to push on and share my art with the world.

Recent changes in my life allow me to push the boundaries further. Blessed with an understanding partner and muse who I worked with extensively, I was able to hone my skills and produce art I am proud of. Yet the relationship itself constrained my work. Out of the sadness of that relationship ending comes a new found energy and interest to develop my work in new directions, push boundaries further still, confront and perhaps even shock. A period of sustained activity is close to hand.

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Rob Benson Reach Out 2007 18” x 12” Limited edition print

Rob Benson Amazing Grace 2008 18” x 12” in Limited edition print

Rob Benson Clear Day 2009 18” x 12” Limited edition print

Rob Benson Landscape 2007, 18” x 12” Limited edition print

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Judy BlanchardArtistM: 027 2066822E: judyblanchard@xtra.co.nzW: judyblanchard.vc.net.nz

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I have been making art for over 30 years. I paint, print make, draw and photograph - sometimes all in the same image! I make art that connects humans with the earth and celebrates the beauty of nature. My images are romantic, whimsical, spiritual and full of feelings, fantasies and memories often humorous. I see each painting as a small theatrical set, where music is played and a story told.

A farmer’s daughter, my great interest is in the natural world.

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While my art is rooted in the New Zealand landscape, I try to connect with my heritage by referring to European cultures. For example, my painting Demeter’s Hearth refers to the Greek Earth Goddess. In the etching Small Ripening I used the imprint of real wood cells to make the swirling pattern at the top, thus tracing my long interest in science, especially biology and botany.

Two of my paintings Precious Extinction 3 & 4, which were exhibited at the Florence Biennale, are a tribute to the work of conservationists. They draw attention to the plight of our endangered native birds, some of which are close to extinction. I use colours and shapes for symbols. The bright green colour at the top represents life, while the red further down refers to the earth and death. The little green curved shape at the bottom is a ‘lifeboat’; the conservationists!

Judy Blanchard at the 7th Florence Biennale 2009

In December 2009 I had the privilege of being in Florence, standing at the bannered entrance to the Biennale Internazionale Dell’Arte Contemporanea, in the Fortezza da Basso in the centre of the city. It was built in 1543 by the Medici family who ruled Florence at that time and facilitated the �ourishing of Florentine art. The Fortezza is a huge medieval fort containing a custom-built exhibition hall for important contemporary art and cultural events in Florence, including the International Contemporary Art Biennale. The Biennale is an official partner in the United Nations programme “Dialogue Among Nations”. Its raison d’etre is to bring people together using the common language of art, which transcends ethnic, linguistic and religious traditions.

Eighteen months prior to this I was invited to exhibit my paintings by the Biennale’s International Committee of curators, art critics and historians. I was thrilled to be asked and felt that my art �tted with the committee’s aims and philosophy – love, spirituality, peace and protection. I had exhibited etchings in Brisbane in the 1980s, but this was a new exciting opportunity. My motivation for participation was to refresh my mind, gain ideas and broaden my conceptual horizons.

All invited artists were free to choose what to exhibit and funded their own way or were assisted by sponsors. I decided to send two multi-media

Gallery36 | Vol 2. No. 2 2010

Judy Blanchard at the 7th Biennale Internazionale Dell’Arte Contemporanea “Bringing Together” in Florence

(5-13 December 2009)

paintings that incorporate references to New Zealand’s concerns about rescuing our endangered native birds, some close to extinction. My two paintings Precious Extinction 3 & 4 are my tribute to the work of conservationists. I labelled each bird with their Mäori name to emphasise our New Zealand culture.

There were 647 artists participating from 78 countries, including three other New Zealand artists: Lianne Adams, Lynne Uggulden and Tawira Tahuri. We all agreed that not only was this a great chance to exhibit overseas in an international forum, but more speci�cally to �nd that we ‘stood up’ well there, con�rming my view that creativity is high in NZ in all areas of the arts.

On opening morning a huge crowd poured in to the fort and gathered around the main entrance, apparently waiting for Florence’s Mayor to open the show. Finally he arrived wearing a shoulder ribbon in the colours of Italy – -red, white and green. A ceremonial band carrying a banner inscribed Uffizi, referring to the famous Uffizi Gallery, marched us all through to the formal speech area where the dignitaries and visitors waited. Their speeches explaineding the Biennale themes and philosophy, and were given followed �rst in Italian, then English and Spanish.

It was like a great feast – a smorgasbord of art! I talked to some visitors who had come over from London especially

www.florencebiennale.org

for the exhibition. They expressed amazement at the size and scope of the event. Referring to my art, some Italians wryly told me that birds in Italy don’t get much respect – they shoot them!

There was a week of organised lectures during which two international artists, Marina Abramovic (former Yugoslavia) and Shu Yong (China), spoke and were awarded the Lorenzo il Magni�co Awards for lifetime achievement. I particularly admired Shu Yong’s big paintings, which seemed very western in style. The paintings were about corporate greed, and depicted a Chinese �gurine surrounded by lots of bubbles.

I also admired some Turkish, Indian and Danish artists – Turkey’s Ilknur Ozturk and the Indian Puja Bahri. I seemed to connect with their stylistic and technical qualities. I’m a printmaker/painter and have an etching press in a large workshop. My paintings have printed components, something which really interested the visitors and artists. It’s possible that the art I admired and photographed re�ected my own taste, my NZ culture, my life experience, and the traveling I have done. But really there was such a variety of styles and subjects to choose from that there was something for everyone.

It was an honour to be in beautiful Florence representing New Zealand in the company of so much international talent.

Francesca GalloArtist & PhotographerM: 021 051 2248 E: francegipsy@ezeeye.co.nz W: francegipsy.ezeeye.co.nz

I was born in 1978 in Livorno, Italy, where I’ve gained an Art Diploma and a Certi�cate in Graphic Design and Serigraphy. I’ve been working as Graphic Designer and Magazine Designer between 2000 and 2005 when I begun a trip in Australia of a year that opened a new direction in the expression of my creativity, especially through writing and photography.

Back in Italy for few months, but with my heart still overseas, I’ve travelled a second time in Australia and in New Zealand, where I became a permanent resident in 2007. In Auckland where I live, I’m juggling

freelance jobs as Graphic/web designer, Fashion and Web Photography with less creative ones of any sort, and I work occasionally as extra in the Film/TV/commercial Industry.

At the moment I’m mostly painting, using dry leaves and other natural textures, mixed up with resin and acrylic on canvas, photographing fashion collections of young new kiwi fashion designers, but even landscapes, people, events, and anything I see around in my everyday gipsy lifestyle.

Once were Nature art collection:Dry leaves, cane, bark, lead the composition onto over recycled canvasses. Glue, gold and silver highlights, staples, nylon thread and acrylic

colours help to combine the elements together. Resin is used in the �nal stage, to conserve the natural beauty, like a piece of history through display glass.Fixing Nature on canvas and

Francesca Gallo Water Leaf 2009 Acrilic on canvas, dry leaf & resin 25.5 x 51cm

Gallery36 | Vol 2. No. 2 2010

Francesca Gallo White Flags 2010 Photo collage on block mounts made from 25mm powder coated MDF 36 x 24cm

As member of the Nz Art Guild, Francesca Gallo will take part in the 2010 Legato Exhibition in Cassino, Italy. The exhibition of Kiwi artists who have grandparents, uncles and relatives who fought in World War Two or who fought in Italy and the Battle of Monte Cassino. The commemoration art event has been labelled the Legato exhibition. De Lautour said legato in Italian meant intertwined, like strands of rope, giving it strength.

making an art object out of it, it’s for the future, for the memory of it, in the worst futuristic view of a totally non-green environment.

But still these works are vulnerable, fragile, ephemeral themselves, we don’t really know how long theyare going tolast.

My photograhy is a dynamic, casual style created by a natural external and internal lightening that re�ects New Zealand changeable weather. The models are pretty much new in their experience, showing off a mix of shyness and a nonchalance attitude that works. No directions that is not concerning technical advises, but freedom of movement and posing: the story unfolds by itself.

I’ve been working for www.wearyogaclothing.co.nz (part of the 2008 collection), www.monicam.co.nz (2009 & 2010) & www.mollyn.co.nz (2010 collection)

Legato Exhibition15 - 16 May | Cassino, Italy

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Melinda ButtArtist M: 021 919 898 E: melindabutt@gmail.com

W: artslant.com/global/artists/show/48481-melinda-butt

Born in 1976, Melinda grew up on a small farm in the rural community of Waimauku in the western outskirts of Auckland. She expressed a strong passion for art from an early age and was a proli�c painter throughout her education.

After �nishing her Bachelor of Arts degree, Melinda worked in the �lm and television industry for 10 years both in the UK and New Zealand. Strong connections were still maintained to other art mediums throughout this time.

After extensive travel through Europe, the Middle Ease and Asia, Melinda returned to New Zealand. Her experiences abroad created a renewed focus towards her art. Over the following years, Melinda has redirected her energy towards painting.

Melinda’s current series of work re�ects her appreciation of ‘60s architecture. Through a hard edge, illustrative approach, she highlights its beauty in simplistic compositions, drawing attention to the quirky charm many buildings have to offer, while they are often overlooked.

Melinda Butt The Pink Poodle 2010 Acrylic on canvas 45cm x 36 cm

Melinda Butt Baradine 2009 Oil on canvas 90cm x 75cm

My in�uences include: Pop art, old book illustrations, architecture, and nature. I’m currently developing my skills to allow surface and texture to play a signi�cant role in my imagery. I believe it’s a skill to allow the simplicity of a surface to become an integral part of the �nal outcome. My current series is working with gold paint, pen, and pencil on black paper and black velvet.

With all my work, I like to give new life to my subject matter, and create a slightly surreal environment - one that compliments and enhances its character. I warp reality to bring draw out personality - I guess it’s aspects of my personality projected into the image.

My latest series of work is from the Gold Coast. Hosting a constant transformation of bigger and brighter accommodation, the Gold Coast landscape has never slept; the gleaming coastline re�ecting a rendition of pro�t per square metre. While the subject matter is from a bygone era; I feel this work offers a poignant pause for the current day.

Typically, no time is spent looking back, as the race continues for the latest investment return; however this exhibition allows us a moment of reminiscence, as the development of our coastal settings continues.

You can also view Melidna’s work at www.sebro�neternational.com

Influences:

Melinda Butt Anglesea 2009 Oil on canvas 90cm x 75cm

Melinda Butt Queensleigh 2009 Oil on canvas 90cm x 75cm

K Road Artwalk

Kelvin HayesPhotographer

E: iscalight@yahoo.com W: myspace.com/kelvinhayesofficial

Kelvin Hayes was born in Wales and raised in both New Zealand and the UK. Hayes’ work offers a blend of European mystique and Australasian directness with in�uences drawn from music, literature, �lm and of memory and travel. He formed the small press equivocal in 1998 and released several books of poetry including A Lyrical Oasis, Notate and Circles & Bumps as well as travelogues Voyage of NomadReturning/Repeatingand Temp. He has contributed to many publications and websites, mainly All Music Guide, Record Collector and Lonely Planet Wales.

In 2004 his compiled project RE:COVERED, a history of New Zealand music cover art, went online and in 2007 a new poems retrospective Symposium of Empty Envelopes 1992-2007

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was issued. His books have been acquired by libraries worldwide and aroused the interest of many luminaries such as rock legend Robert Fripp, Iva Davies (Icehouse), Cocteau Twins, Lloyd Cole and travel writer Peter Moore. Hayes remains a cultural nomad producing work which is both contemporary and which push boundaries.

During a hugely busy 2008 he found time to exhibit photography, support blind charity RNIB, release the short stories book Beats Per Minute, interview a-ha, promote Aussie art rockers Boom Crash Opera and Where I’m Calling From. The following year Hayes has made progress with his photographic work and commenced an extensive e-book reissue campaign leading to the release

Kelvin Hayes Victoria & Albert Museum - Gallery 122 #3 2010 Digital Image 2736 x 3648px

Kelvin Hayes Chinese New Year 2009 Digital Image 3648 x 2736px

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Tiger Translate 2010 is moving to a new home – with stages and gallery spaces spread over three �oors.

Pitch us your artistic vision for one of those spaces and we’ll give the winning entry $500.00 for materials, and $2000.00 as a thank you!

We’ll also be showcasing artworks from loads of other people too, as well as music from DJKENTARO (Japan), Muscles (Live) (Melbourne), The Naked & Famous, The Turnaround vs. The Hit It & Quit It, and more.

The theme for this year’s event is „Balance’ - striking a balance between the various elements that occupy our lives has always been at the heart of Asian value systems.

We would like the artwork concepts to capture the theme “Balance” in the context of East meets West.

If you are interested in entering the art competition, please contact entries@peadpr.co.nz to receive details of the brief and how to submit your artwork concept for the competition. Entries close Sunday 28 February 2010.

For more info, please visit www.tigerbeer.co.nz

Tiger Translate 2010 takes place March 20, at the Masonic Lodge & The Winchester, St Benedicts St, Newton.

Gallery36 | Vol 2. No. 2 2010

of a new poems book Because of SE and ongoing project w198 collaborations starting 2010.

It has been difficult subbing �ve images to represent my activities. I’ve focussed on work that bridges a multi-cultural, �ne art and architectural ethos. Choosing �ve images really made me think about what it is I actually love shooting and the themes that come up often. I realised there is a strong sense of pattern - I look, albeit somewhat unconsciously, for shapes and in some cases, things that determine different cultures.

The selection here describes how in the absence of travel we can quite often �nd many exotic cultures within our own. All of these images were shot in London and three-�fths are interiors. Firstly, there is the Chinese New Year celebrations from last year, then a recent image shot in the east end of the Muslim Centre. Third is an image from the then unopened West�eld shopping centre that imbues both warm and a sense of being somewhere else. The fourth is perhaps the most English and �ttingly comes from the Victoria & Albert Museum. I chose it for its clean lines making up a four part harmony of green/black/white and grey. Finally, a restaurant which again doesn’t suggest a speci�c culture but has a clearly de�ned sense of pattern in its décor.

Above left: Kelvin Hayes West�eld Meat & Wine Co - Interior #2 2009 Digital Image 1728 x 2304pxAbove right: Kelvin Hayes Muslim Centre 2010 Digital Image 2736 x 3648pxBelow: Kelvin Hayes Mary Janes #4 2009 Digital Image 3240 x 2441px

Emerging artists and photographers w

orking abroad

Peap (Samapeap Tarr)

Artist E: samapeap@gmail.comW: myspace.com/peap_tarr

Bangkok, Thailand

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Peap, or Samapeap Tarr originally born and based artist, graphic designer and illustrator from Auckland New Zealand now living and creating in Bangkok Thailand with wife and daughter is a person whose cultural background has in�uenced him to create his signature sinister yet tranquil works of art which has caught the attention of art lovers around the world and also gained respect from many of his art peers including legendary LA Graffiti Cholo style artist Chaz Bojorquez.

Known primarily for his use of bold black ink and paints on a blank white medium including

canvas and walls, Peap’s art exists in a world where light and darkness battle, yet coexist in the same breath to balance each other and contrast against each other.

“It represents the ups and downs of life, the yin and the yang, the ongoing war that ends up being waged on canvas or whatever medium his work lies on” (Peap)

Peap over the years has received international attention via the media press including Magazines such as Hi Fructose issue 7, Computer Arts China, Faesthetic magazine issue

9 and 11, Clouded Thoughts (Australia), Acclaim Magazine, North and South (NZ current affairs magazine) and various other local magazines in New Zealand.

Peap also appeared in Qantas Media award winning New Zealand art show The Gravy

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Gallery36 | Vol 2. No. 2 2010

Emerging artists and photographers w

orking abroad

CREW:

http://armyofsnipers.blogspot.com/

http://acclaimmag.com/blog-article/items/AOS_NZ_TOUR_PT1.html

http://acclaimmag.com/blog-article/items/AOS_NZ_TOUR_PT_2.html

http://acclaimmag.com/blog-article/items/AOS_Recap.html

PEAP’s Internet Links:

http://www.�ickr.com/photos/peap/sets/72157603942818088/

http://acclaimmag.com/feature-article/items/peap.html

http://www.youtube.com/watch?v=0OqN8TPMvdg

http://www.3news.co.nz/TVShows/Nightline/Kiwi-gaining-world-recognition-for-bold-street-art/tabid/728/articleID/92158/cat/17/Default.aspx

http://www.qubicstore.com/galleries/5/

http://www.qubicstore.com/blogComments/149/ffffound

which features him in Series 3, Episode 2. Another recent documentary that Peap has been involved with and one of great signi�cance to his birth place of New Zealand is the project called Canvassing The Treaty which is bringing together six artists from diverse backgrounds, pairing them up, educating them about the Treaty of Waitangi, and watching dawning realizations for some as they produce equally diverse works of art.

Having exhibited in Los Angeles USA, Auckland, New Zealand and Sydney Australia Peap has now set his sights on the whole Asian region particularly the South East Asian region to really take his art and crew to new heights on grand creative level and to make new and exciting projects happen. “I am always looking forward to making new and exciting projects happen on the creative level every day and to follow through with my goals and ambitions.” (Peap)

Outside of art hours Peap also has helped design shirts for various local New Zealand brands such as Cleatis Preston and Eshe and also a new project in the works with New Zealand Skate label ABC that both Peap and Angry Woebots are working on!

Top: K-Road, Auckland, New Zealand.Middle and bottom: BiBiChun, Me and They AOS (Army of Snipers) South East Asia in Phnom Penh Cambodia at the Mith Samlanh Centre (Friends International) Center to help Street Children in Cambodia.

What’s on

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Susan Nelson’s works from Pink Ravens II have a Canadian/European/Northwest Coast Indigenous �avor. They are hybrids of a culturally confused and ancestrally challenged ‘pink’ girl from the disco era. The challenges put forth form a modern topic of mobile and adoptive culture that many people in today’s world can relate to.

Susan Nelson at The Lake House Arts Centre

Susan Nelson Spirit Carousel Horse 2009 Found object, hand carved wooden mask, oil paint, human hair, & gilding 14cm x 17cm

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Like wine and cheese, the creation of good things takes time. So it’s been with the design and manufacture of a new public artwork about to be installed on Auckland’s Karangahape Road later this month.

The ceramic, wood and rolled steel seat-come-artwork, four years and $30,000 in the making, will replace the derelict ferro-cement street furniture which once graced the area outside what is now Calluzzi Bar and Cabaret.

The former quarter century-old seat, which incorporated shrubs and greenery into its original off-beat design, was a favourite with locals and tourists, who enjoyed being snapped sitting amidst the chaos of its pockmarked and undulating

K’ Road invites Aucklanders to take a pewPeter Lange with a preview of his new creationexterior. Caluzzi’s drag queen dancer’s also favoured the drama of alighting on the quirky creation as a means of enhancing their evening performances.

So, when it became clear, the old seat had to go, K’ Road Business Association (KBA) Manager Barbara Holloway, was determined to replace it with something she believed would resonate just as strongly with users.

Auckland potter Peter Lange, renowned for his large scale works and penchant for injecting humour into his pieces, was approached by the association to do the job. And the result has been a Paci�c-in�uenced 300-400kg steel reinforced ceramic seat made up of twelve-hundred hand-made tiles, which gives the impression of a �ax mat unfolding.

‘I liked the image of material unrolling,’ says Peter, ‘and the illusion it looks like something it isn’t.’

And although he approached the task of decorating one of the city’s most colourful streets thinking he had to produce, ‘something which was a little bit over the top and not too tasteful,’ the end result is surprisingly tasteful and delicate – considering he’s allowed for the possibility of three large transvestites electing to dance on it. The humour in the work this time being reserved for the name Peter has chosen, Chaise Lange.

This seat has been jointly funded by the KBA, Western Bays Community Board, Auckland City Council, Uptown Arts Trust and Caluzzi Bar and Cabaret and is to be gifted to the city by the business association. It is scheduled for installation on Friday 28 May 2010 at 461 K’ Road with the official opening, which is open to the public, set for 7.30pm that night. ‘’We’ve chosen Friday night to �t around Caluzzi’s drag queen diva’s giving a performance on the seat.’ says Barbara.

Barbara HollowayPrecinct Manager, K’ Road Business Association Peter Lange with a preview of his new creation.

Top corner: The former K’ Road seat

22

What’s on

What’s on

Titirangi Community Arts Council

2010

EMERGING ARTIST

AWARDS

8th July—1st August

CALL FOR ENTRIES in any medium

from EMERGING and COMMUNITY Artists

TWO Grants To Be Awarded $1000 and $500

entry forms are online now, or pick one up from the Upstairs Gallery

Deadline for submissions: Friday 18th June

Level One, Lopdell House, 418 Titirangi Rd, Titirangi visit: www.upstairs.org.nz or call 817-8030

Previous winners clockwise from Top Left: Rachel - Elise Ure. Podform & Nepenthes Podform - Annie McIver, Twilight Tide, Bethells—John Simpson, Nuance– Linda Dixon.

2009 Winner: Nuance by

Linda Dixon

Our third Emerging Artist Awards exhibition for those that are still �nding their ‘art feet’ with two fortunate artists coming away with an arts grant to help further their arts careers. A panel of 3 respected judges will award two grants to fresh new talent in Waitakere City – one for $1000, including a plaque that the artist will hold for one year, and the other for $500.

This concept was developed to bring out our hidden (emerging) Waitakere talent – the ones that have had little or no exposure to the public - and assist them by guiding them through a number of processes they will need to understand as they emerge: applications for awards, competitions, funding – exhibiting – advertising – building databases of buyers, galleries etc. The Emerging Artists Awards Grants have a mandatory ‘accountability process’ that the recipients will also be guided through. The grants must be spent to further artistic endeavor.

Get your application in before 18 June 2010!

2010 Emerging Artist AwardsUp For Grabs One Winner - $1000 Grant, plus $150 Resene Gift Voucher & $150 Gordon Harris Voucher One Runner Up - $500 Grant, plus $100 Resene Gift Voucher & $100 Gordon Harris Voucher 20 Finalists - $20 Resene Gift Voucher

Titirangi Community Arts Council - Opens Thursday 8th July 6-8pm

What: The Emerging Artists Forum is a peer to peer information session, a chance to network and swap tips.

Why: Because as emerging artists, we think there are many questions and experiences common to all of us, no matter what discipline we are in, and that by sharing the answers, we can all bene�t.

Who: Emerging artists from all disciplines.

How: The Forum’s point of difference is that it is participatory and uses a round-table discussion format. Rather than didactic speeches by invited experts, topics are nominated by the group and then someone with a special interest in the �eld is invited to kick off the discussion. The topics of discussion for the next forum will be revealed in the coming weeks on our Facebook page http://www.facebook.com/pages/Emerging-Artist-Forum/119343058089001

Emerging Artist ForumWhen: Approximately every month on a Sunday afternoon - join our Facebook group to receive updates. Next forum will be from 2pm – 5pm on Sunday 27th June.

Where: Satellite Gallery, corner Newton Rd and St Benedicts St.

Cost: FREE! But if you can contribute, a coin or two to cover nibbles and drinks. We’re currently unfunded....

Who runs it: Emerging artists of course! Currently the organisers are: Lewis Bostock (social media artist and �lmmaker), Meghan Geliza aka SisterDarling (visual artist), Yee Yang Lee (theatre producer and director), Renee Liang (writer) and Mark Leonard Watts (photographic artist and gallery manager). And we’re doing it because we want to.

What’s on

What’s on

Gallery36 has joined the donation website Give a Little. We are asking our supporters to donate a little to help us continue to grow. Through promotion, marketing, networking and advertising, we hope to share our pages with many more artists and our wonderful readers.

You can donate at http://www.givealittle.co.nz/org/Gallery36

Accumulation Art ProjectAccumulation art is more than just accumulating or collecting stuff. It is what you do with that stuff. It may be 50 minutes of road noise every day for one year directed into a song, or a book made out of bus tickets that were collected over the period of a signi�cant time, in this case an internship. When is a collection an accumulation? What makes them different or similar? Is dust an artwork if it is accumulated for a period of time and then exhibited in a gallery space?

The idea of accumulation art was introduced to me when I was researching something completely different. www.accumulationproject.org was organised by Other Leading Brand in New York. I loved their accumulation project so much I contacted them. What if we could do a New Zealand collaboration aspect alongside their project…. No response. I contemplated this for a while and then though bugger it! Do it the Kiwi way. Let’s do one of our own. So here I am in the process of collecting people to join our New Zealand Accumulation Art Project.

Other Leading Brand de�nes their project as experimental – I like that. The accumulators choose something to accumulate either acquire or produce over the course of one year. THEN the work will be exhibited. Initially Other Leading Brand had to exhibitions to compare the development and progress of each project and the role that time plays in them. The cool thing is there are monthly archived documentations of each project available via their website.

New Zealand Accumulation Art Project has a few artists onboard but is looking for more people to join our project. You can reach us at www.nzaccumulationartproject.wordpress.com or email us at nzaccumulationartproject@gmail.com

Selene Simcox | Fine Artist