Tag Archives: Exhibition

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

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.

Impact 10 Print Conference


Santander, Spain,  September 1st to 9th, 2018

It was certainly a wonderful encounter with a beautiful city, a large contingent of passionate print enthusiasts and a host of exciting venues, events, galleries, beaches and Cantabrian sunshine! Thanks to the wonderful organisers at SM Pro Art Circle.

I felt privileged to exhibit my burnt, compacted book, ‘Dreamwork’, at MUPAC, The Museum of Prehistory and Archaeology and I presented a paper on the projects undertaken in the Print Lab. I also submitted a print for the Mini Print Biennial at Centro de Arte Faro Cabo Mayor, the local lighthouse.


Estuary Art and Ecology Prize 2018

9 July – 19 August, 2018

I was thrilled to be announced winner of this year’s Estuary Art & Ecology Prize organised by Malcolm Smith Gallery, UXBRIDGE Arts & Culture in Howick, Auckland.

My work Unplugged responded to the Tāmaki Estuary, to underscore the ecological value of this vital waterway and encourage action against its pollution.

Artist statement:

The catalyst for this artwork is a book purchased in a charity shop, ‘Auckland Unplugged, Coping with Critical Infrastructure Failure’.* The book reports on the electricity blackout that disrupted Auckland’s central business district for five weeks over the summer of 1998 revealing a vulnerable city infrastructure requiring detailed risk evaluation in order to maintain efficiency. This crisis highlights our dependence not only on power supply but also town water supply and waste management and exacerbates a future of unsustainable uncertainty. These networks are interconnected with population growth and consumption placing huge demands on this post-industrial oasis. In attempting to create an artwork that conveys the adverse human impact on the environment, while acknowledging the waterways of the Tāmaki estuary and indeed the many contaminated waterways of Aotearoa, New Zealand, the book ‘Auckland Unplugged..’ is ironically reduced to pure carbon to be used as a filtering agent to hypothetically purify (or unblock) our polluted waters.

The artwork comprises the carbon remains of the book stored in a reagent bottle with the book title etched on the glass and photographic evidence of estuary water before and after filtration.

* Newlove, Lindy. Eric Stern, Lina Svedin. Lanham, Md. : Lexington Books, 2003

The judge, Paul Brobbel had this to say of my work:

“A work that stands askew from the other works in the exhibition. Unplugged is, on first consideration, a challenging artwork – intelligent with possibly an element of humour to some. But tilting at the political, the bureaucratic and the pathetic, this work adds a unique element of anger and aggression to the exhibition. Unplugged is still, like all the works here, optimistic, but the artist took a much more visceral ride to get there.”

Above is the original book and the carbon remains following slow pyrolysis. The ‘book’ was then crushed and used in a home made water filter.

Unplugged install

Unplugged, 2018

Unplugged opening

Exhibition opening 7th July, 2018