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
8 - 28 April 2017, Call and Response, David Nathan Park, Nathan Homestead, Auckland, NZ (Opening 8 April from 1to 4pm additional details)
Call and Response2016-2018
Exhibited at the 2016 Ageas Salisbury International Arts Festival and now touring South West England and Auckland as part of the Cicatrix International Cultural Exchange Project.
9 Jan – 7 Apr 2017, The Spring Arts & Heritage Centre, Havant, UK
8 – 28 April 2017, Nathan Homestead, Auckland, NZ
April 2018, Trowbridge Arts, Trowbridge, UK
Oct – Dec 2018, Swindon Museum and Art Gallery, Swindon, UK
Born in Hong Kong, Caro currently lives and works in Auckland, New Zealand. She graduated from AUT Auckland, where she received a postgraduate research scholarship and gained a Master’s of Art with first class honours. Often based on nature, poetry, and historical narratives her art practice makes use of a wide range of materials and processes to create sculptures, installations, text and sound based work. Central to her art is an ongoing fascination with the exploration of the relationship between language, sound, form, nuance and space. Caro exhibits widely and has received a number of awards for her work, including the Wallace Postgraduate Award (Visual Arts), the 2013 Gen-i Selector’s Award for her installation at Headland Sculpture on the Gulf, and has been a finalist in both the 2014 Wallace Arts Awards and Premio Celeste 2015. and most recently 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 and Luciano Benetton Collection, New Zealand: Kiwi Consciousness
Caro recently completed a residency on the Salisbury plain funded by Creative New Zealand World War 1 Centenary (WW100) Co-commissioning Award. During the residency she completed her sound installation entitled Call and Response, which links the military landscapes of the Salisbury Plain and a tract of historic land in New Zealand through intertwining birdsong punctuated by a Morse code transmission of a WW1 poem - Returning, We Hear the Larks byIsaac Rosenberg. Call and Response was exhibited at the 2016 Ageas Salisbury International Arts Festival and is now touring South West England and Auckland as part of the Cicatrix International Cultural Exchange Project.
Call and Response at the Nathan Homestead 8-28 April
Strange Joy, White Night Auckland
Strange Joy at Heard Park, Parnell for White Night Auckland 18 March 2017 from 6pm...
I'm now in Auckland, staying on beautiful Waiheke Island and working on my installation for White Night. It's a light, sound and text installation called Strange Joy.
Sound box 1 suspended from a Mulberry tree emitting dawn chorus recordings from the Salisbury Plain (by the Bulford Kiwi) with a Morse code transmission of a WW1 poem.
Call and Response
Sound box 2 suspended from an Acer tree emitting dawn chorus recordings from Fort Takapuna Reserve, Auckland and a Morse code transmission of a WW1 poem.
Call and Response, Cicatrix International Cultural Exchange Exhibition
Site: Wardrobe Museum Gardens, Salisbury, UK
Size: Sound boxes with speakers h280 x w300 x d180mm each
Media/Finish: Audio component created from early morning site recordings (WW1 military training sites - Auckland, NZ and Salisbury Plain, UK) and Morse code translation of poem, speakers, laser-cut and engraved mirror finished stainless steel sound boxes
Call and Response
Dawn Chorus Field Recordings, , Fort Takapuna Historic Reserve, Auckland 2016
Call and Response, study in brass 2016
Salisbury Plain, Bulford Kiwi
Arriving for my residency on the Salisbury Plain
Songs from the Sky
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.
Acrylic, ribbon, pins
3090mm x 3880mm x 1000mm
Code and Reverie Exhibition, Black Asterisk Gallery, Auckland(Photo courtesy of artsdiary.co.nz)
This text-based installation is drawn from The Final Harvest Collection of Emily Dickinson poems and comprises laser-cut words threaded onto ribbons suspended from ceiling to floor. The words all represent sounds and have been extracted from their original contexts within the poems.
Site: 2013 Headland Sculpture on the Gulf, Waiheke Island, Winner of Gen-i Selector’s award, James Wallace Arts Trust Collection
On-site sound recordings, aluminium, rubber thread, 3200 x 3000mm
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.