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.
Meanwhile, my experimentation with, and love of, the carbonization process continues…..
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.
Curated exhibition of artworks from the Otago Polytechnic Art Collection celebrating the University of Otago’s 150th sesquicentennial. Opened 29 May 2019. Law Faculty, Richardson Building, University of Otago.
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 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.
#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.
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.