Branches - wire and wool, knitted and wrapped. Approximately 900mm x 300mm. Arrangements variable.
Mei Ling Lee
Mei Ling explores a sense of belonging to a place and its relationship to the world. She is interested in the handmade and the colour fields that the techniques of painting can produce.
Being part of a urban sketch group, she can connect to her environment with an eye to everyday details.
powder coated steel and timber - headlands Sculpture on the Gulf, Waiheke Island
Goldilocks Choice 2008
glass, plastercine and found paper balls
cast earthenware and slip
Someday I Will Tell You 2004
acrylic on canvas - Waikato National Art Award
What's On Your Plate 2012
Found assortment of plates photograph - Respond/Response Project - Papakura Gallery
cast earthenware, glaze and perspex blocks - Portage Ceramic Awards
found bamboo birdcage and bamboo skewers - Trust Waikato National Contemporary Art Awards
Bugatti Vehron (detail)
Flock and automotive paint on board, 1500 x 1200mm, 2007
Cuisenaire Cube 1 + 2 = 3 Sq.
Lacquer on wood, 300 x 300 x 300mm 2004
Cube as Tower 1 + 2 = 30
Lacquer on Wood, 1000 x 300 x 100, 2004
Wood carving was Robin’s initiation into her art practice which awakened an appreciation for nature’s precision, resilience and fragility. She works in a variety of media responding to her interest and inspiration from organic form and design. Following her notion that “perception is a personal interpretation in all we do, see and feel”, many of her works explore compassionate issues.
Navigating the territory between intentional and unintended outcomes, the structured and the unorganised, order and randomness, Linda’s painting practice is driven by her interest in investigating and gaining an understanding of the material properties and qualities of different pigments, the subtle variations in how they operate and interact. Underpinning this investigation is her interest in exploring how colour, process and materiality might be used to generate an awareness of light, movement and time within the world.
Serene Thain had a background in Architectural Draughting and modelmaking. She uses these skills in her installations to create a silent and intimate discourse, that may allow for the exploration of the real and imaginary world.
Raewyn's art practice comprises a philosophical viewpoint, which investigates ideas and notions of "being", and incorporates her interest in contemplative writings. Her practice of undirected drawing, is a continuation of the Abstract Expressionist tradition, which explores the workings of the mind and the unconscious.
Raewyn is a graduate Bachelor of Visual Arts, University of Auckland
Her past artistic experience includes figurative painting, portrait painting and children's book illustration.
ARTS WHAKATANE AWARD 2017
HIGHLY COMMENDED FINALIST Molly Morpeth Canaday Award 2017
Caro Williams' art encompasses a range of materials and processes to create installations, sculptures, visual poems, sound and mixed media work. Her art practice explores her on going fascination with the relationship between language, sound, nuance and space. Frequently referencing poetry and the natural world as well as diverse cultural and historical narratives, much of her work incorporates text, spoken words, and field recordings.
Caro Williams graduated from AUT Auckland, where she received a postgraduate research scholarship and gained a Master’s of Art with first class honours. Caro exhibits widely and has received awards for her work, including the 2008 Wallace Postgraduate Award (Visual Arts), the 2013 Gen-i Selector’s Award for her installation at Headland Sculpture on the Gulf, she has been a finalist in both the 2014 Wallace Arts Awards and Premio Celeste 2015, and is a 2016 recipient of Creative New Zealand World War 1 Centenary (WW100) Co-commissioning Fund. Her work is held in public and private collections including the Wallace Arts Trust, New Zealand and Luciano Benetton Collection, Italy.
Site sound recordings, electropolished marine grade stainless steel sound notes, hand cut clear tubing, stainless steel cable, corten frames
10,000 x 1750 x 100mm
Site: 2014-2016 Brick Bay Sculpture Trail, Warkworth
Sound recordings of birdsongs heard onsite at Brick Bay have been gathered and transcribed into sound notes and laser cut into stainless steel pieces. These are attached to steel wires threaded with hand cut clear tubing. The sound notes have been sequenced a like a musical score with each birdsong broken up into timed sections. The artwork is suspended high in the Kahikatea trees.
On-site sound recordings, aluminium, rubber thread, 3200 x 3000mm
Site: 2013 Headland Sculpture on the Gulf, Waiheke Island
Winner of Gen-i Selector’s Award
Selected by Axisweb for Category of the Week 'Sound Art'. https://www.axisweb.org/collections/zr6n3tlp8o5d/
James Wallace Arts Trust Collection
Field Notes is a site-specific installation created from sound recordings taken in the environment around the tree transcribed and cut into aluminium and attached to rubber threads anchored in the ground and connected to the branch of the tree. Each ‘sound note’ visually encapsulated the sound and duration of a particular moment in the dawn chorus.
Poem, voice font created from sound bands generated by spoken alphabet
Inkjet print on paper
841mm x 594mm
100 Curators 100 Days, Saatchi Art & ArtAscent– Distinguished Artist Award
This work is created using a Voice Font. Voice Font is a typeface I invented made from the spoken alphabet. The shape that each letter of the alphabet takes is created from the sound band generated from the speaking of the letter.