Author Archives: marionwassenaar

Hold Dear

Hold Dear is a group exhibition with friends and colleagues from the Print Studio DSA and held as a virtual exhibition for the Impact 12 Print Conference in Bristol, UK, 21-25 September 2022.

Each producing separate works, we then spent a weekend on Quarantine Island / Kamau Taurua, Ōtepoti, Dunedin, NZ to film the works for the virtual exhibition.

Kiri Mitchell, Is this seat taken, 2022, screenprint & drawing for paper stop motion film

Lynn Taylor, Graze, 2022, laser cut MDF for frottage, roller prints on Abaca paper, paper boats, digital prints

Marion Wassenaar, lifelines, 2022, laser and hand cut MDF woodcuts, handprinted on emergency blankets

lifelines installed in the historic married quarters building

Images in the slide show above are screen shots from the video footage used to produce the 3 minute video of the combined works. Below are film stills from the final production.

Parkin Drawing Prize 2021

I was very excited to receive a Merit Award in the 2021 Parkin Drawing Prize.

Congratulations to Mark Braunias on his tremendous win.

 Mark Braunias’ winning work “In Search of the Saccharine Underground” in the right foreground

My thanks to the judge and selection panel, and to the curator and team at the NZ Academy of Fine Arts.

Installation view

Diamond Mine

Exhibition at RDS Gallery 19 March – 10 April 2021

I had the wonderful opportunity to exhibit my works at RDS Gallery. Thanks to Hilary Radner for having me, to Bridie Lonie and Hilary for the essays in the catalogue, to Chris Collins from Gray’s Studio for the beautiful, albeit challenging framing (charcoal works are never easy) and to Phillip Madill for help with the install.

Thanks too to Robyn Maree Pickens for the ODT review.

The install is complete. RDS Gallery opposite Ōtepoti Dunedin’s iconic railway station.

Meanwhile, my experimentation with, and love of, the carbonization process continues…..

The Complete Entanglement of Everything

A group exhibition coinciding with the symposium Mapping the Anthropocene. Exhibition dates: 28 September ― 2 October, 2020 at the Dunedin School of Art, Ōtepoti Dunedin

Exhibition Curatorial Group: Bridie Lonie, Pam McKinlay, Marion Wassenaar. Exhibition catalogue can be viewed here

Image credit: Marion Wassenaar, Long Beach, 2020

Included in the exhibition were screenprinted multiples titled 1/1200 (after Duchamp) Take 3. These were posted up on the entrance ways to the school.

Marion Wassenaar 1/1200 (after Duchamp) Take 3, 2020, screenprint on paper

During the symposium my screenprinted paper towel intervention in the public toilets.

Marion Wassenaar Yeah Noah, 2020, screenprint on paper towel

Otakou Press Artist in Residence

To celebrate the 150 year anniversary of the University of Otago in 2019, Otakou Press connected with Lynn Jenner who compiled a number of letters to the editor of the Otago Daily Times written by Charles Brasch. As a significant figure associated with the University, Brasch’s letters raised many concerns, among them the architecture of the University’s buildings and the looming proposal for construction of the Aramoana aluminium smelter.

The letterpress publication was set and printed by Dr John Holmes and included relief printed illustrations in an edition of 100 copies. See the University article here, the ODT article here and a Dunedin City of Literature article here.

Printing 100 copies for publication
Working with Dr John Holmes, passionate letterpress printer

Parkin Drawing Prize

It was such a privilege to be announced a finalist in the 2019 Parkin Drawing Prize and to be showing my work with friends and colleagues from the Dunedin School of Art. Congratulations to all the finalists and the winners.

I was lucky enough to attend the opening and was very impressed with the install and curation of the wide variety of works on display.


The Anatomy of Plants

The Brendel anatomical model collection housed in the Department of Botany at the University of Otago comprises thirty-six specimens. They were procured for the university in the late 1800s by T.J. Parker (1850-97), the first Professor of Biology. The collection is still in use today as a teaching aid in the anatomical and morphological study and classification of plant life. The finely detailed and accurate models are larger than life-size ranging in scale from two times to fifteen hundred times magnification with many of the models modular in order to study their internal botanical structure.

An email request from Janice Lord at the Department of Botany sparked interest in the cataloguing and documentation of the Brendel models housed in the department’s laboratory classrooms. This provided me with the opportunity to not only catalogue but also realise an exhibition outcome to expose the beauty and complexity of the Brendel models to a wider audience through my photographic documentation.

The intricate models are made from papier mâché, with other materials such as wood, cotton, rattan, pulp cane, glass beads, feathers and gelatine. The models are hand painted with oil paint to replicate their natural colours. Their robust nature and ability to withstand damage enables handling in a class setting.

08 111 IMG_1350 salvia

#111 Salvia officinalis, Common Sage

Photographic prints on Moab Slickrock paper plus a catalogue were on display at Inge Doesburg Gallery, Dunedin, 1 – 22 June 2019. A review by James Dignan appeared in the ODT.

Care Ecology Suite

Custom Print Project collaboration with Madison Kelly

The ‘Care Ecology Suite’, 2018 is a series of six screenprints printed on Pescia fine art paper and produced in the Print Laboratory at the Dunedin School of Art. The suite consists of six drawings by Madison reproduced as screenprints using a double exposure on each. Each print is individually titled as: Takahē, Tui, Hoiho, Kōtare, Kea, Kererū.

I approached Dunedin School of Art graduate Madison Kelly in late 2017 regarding a custom print collaboration to help raise funds for the Wildlife Hospital. I knew that Madison was passionate about animals and shared my interest in wildlife preservation and environmental concerns. Madison’s art practice increasingly adopts ephemeral outcomes as temporary wall drawings. I saw this collaboration as an opportunity to document Madison’s drawing style while at the same time offering funding support to a worthy cause.

Over the course of the year, Madison visited the wildlife hospital and several rehabilitation sites in the area. In her visits, she examined textures, equipment, and spaces that defined the patients’ time at each location. Resulting drawings present hypothetical spaces of care, formed using the visual cues of blankets, wiring, tubes, containers, and wild habitats. The drawings aim to suggest an ecology of care in both artificial healing spaces and the original habitats patients are eventually returned to. Madison’s constructed ‘habitats’ were then constructed into positives for screenprinting. The limited edition screenprints incorporate the outlines of six different species, double exposed into each of the six prints in the series. Two prints, Takahē, and Kea, include a second colour in an attempt to acknowledge the level of care and healing undertaken by the vet nursing staff at the Dunedin Wildlife Hospital.

All proceeds from the sale of this print/series go to the Wildlife Hospital.

Our thanks to Otago Polytechnic for funding support for materials.

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