The exhibition is open and looking stunning. The quality and innovation of the work this year from practitioners throughout Aotearoa is at another level. Lynn Taylor and Gillian Saunders our guest judges brought their wealth of experience in fibre and textile to to assist long time judge Ronnie Martin (Creative Director) in selecting some worthy award winners. It was a treat to host you both at Refinery ArtSpace and for you to share your perspective with us. Arts Council are very proud to have presented this award for the last 13 years.We were very fortunate to still have had an opening albeit a pared back preview for sponsors, artists and their families. Come and support the exceptional mahi of this group of textile and fibre practitioners.
In his 1947 manifesto, French artist and curator Jean Dubuffet described the term art brut (Raw Art) as follows: "We understand by this term works produced by persons unscathed by artistic culture, where mimicry plays little or no part (contrary to the activities of intellectuals). These artists derive everything...from their own depths, and not from the conventions of classical or fashionable art."
'Raw 22 - Work outside the edge' has been a fabulous exhibition featuring work created by people from around the country who have no formal or traditional art training with expressions of individuality and inventiveness that are ‘Raw’ and uncooked by cultural and artistic influences.
We would like to thank all of the all of the artists from around Aotearoa who submitted work. A special thanks also go out to the arts access studios Kapiti Art Studio, The White Room, Community Art Works, Magenta Art Space, and WestREAP for the outstanding work that they do for our creative communities.
Participating artists (no particular order):
Diane Brand, Sara Brown, Rex Bennet, Erin Coleman, Tamzin Hine, Sophie, Jim Alley, Paul Healy, Chrissy Taylor, Ken Ruffell,Christian Martin, Akanksha Kargwal, Shashini Weerakoon, Evon Ashoka Silva, Caitlyn Bloomfield, Julia Holden, Christine Cameron Holland, Paula Lister, Jayden Munsey, Lucia Zuniga Caceres, Susanne Williamson, Wendy Rutledge, Peter Quayle, Edward Hoffman, Kan Koon, Nathan Wilson, Stacey Menzies, EIK NOS, Gaelynne Pound, Kate Cornwall, Oscar Porter, George Smeaton, Francie Heathfield, Phil Sigglekow, Debbie Holland, Amrit Kaur, Samantha Allen, Jessie Macaw, Andrea Monds, Judi Trompetter, Mathew Nordberg, Marina McPherson, Aramoana du Feu, Leanna Brown, Anna McCarthy, Chris McFarlane, Graham Adams, Gary Buchanan, Darren Dawson, Virginia Fowler, Kayla Hood, Neville Shapcott, Billy Gargett, Rachael Ward, Andrius Kilgour, Mark Lewis, Lianne Murphy, Karolina Serrano Paton, Philips Eberlein, Jean Guile,Donna Hunt, Janine Neville, Jo Jago, Michael Taylor, Isaac Tait, Dennis Kepa, Francesca Marmi, Gabrielle Ashdown, Bevan Dick, Christine, Dorothea Shireman, Charlotte Turner, Erena Wylie, John Jensen, Claire Hargreaves, Lauchau, Grace Alexander, Fonda Griffith, Chrissy Taylor, Melissa Barret, Kerry Callaghan, Robbie McManaway, Lorraine Keely, Rick Allender and Sebastian Crow
Taarn Scott is an emerging artist from Ōtepoti. She graduated from Elam school of fine arts with a BFA(hons) in 2019. Working over different disciplines she illustrates, sculpts, paints and prints drawings through alternative mediums. Scott shares her practise of archival pencil rubbing and it's fundamental nature as an alternate record. This is the last week of Outlining/Shifting Channels at Refinery ArtSpace on show until 22nd Jan.
Ngā mihi o te tau hou ki a koe, we are looking forward to 2022 at Refinery ArtSpace. Kicking it off with our old friends Centre for Fine Woodworking, the maestros of modern timber design. Emerge is a slightly different show in that it incorporates aspects of two new projects; one is the mentoring of a new generation of teachers and the other is the launch of the Thorkild Hansen Scholarship Programme with details of how you may be able to help support this project and his wonderful legacy at the centre. We are lucky enough to have some of Thorkild's work as well as the finest doggy day bed that ever was by Louise Fuller and Robert Godoy from the Emerging Tutor Programme. Emerge is in exhibition until 22nd January.
The ethereal sentinels of Taarn Scott's Shifting/ Outlining Channels denote 'drawing with a greater physical presence'. They will be holding space until January 22nd. Stay tuned for some further opportunities to engage with Taarn and the practise of textural rubbings.
Stuff to look forward to...
We are eagerly awaking the triumphant return of Wāhine to Whakatū and the stories of wāhine toa that have been collected by Loren Pasquir since it has been on tour of Te Wai Pounamu. Lotus Eaters Lullaby brings together selected works from enigmatic installation artist Lee Woodman created during the last two years. Homer's Odyssey describes the blissful forgetfulness that overcame the 'Lotus Eaters', the large gallery will be an oasis of contemplation to lose yourself in as Woodman's hypnotic works artfully come together. Malsha Ariyawansa will be bringing her colourful work depicting Sri Lankan temple paintings to the Refinery in her first solo exhibition. Ariyawansa paints on unconventional found materials giving her work an interesting dimension.
Looking further into the future...
RAW 22. Work Outside the Edge 22nd February - 19th March. An Arts Council Nelson initiative showcasing work created by people from around the country who have no formal or traditional art training that express individuality and inventiveness that are ‘RAW’ – uncooked by cultural and artistic influences. Go to the RAW 22 page on our website for entry details. http://www.acn.org.nz/raw-22.html
Changing Threads Contemporary Fibre Textile Award 25th Mar - 23rd April
The search is again on for original work from artists stretching the boundaries of fibre and textiles. Arts Council Nelson invite entries until the closing date of February 23rd 2022. Check our page http://www.acn.org.nz/changing-threads.html for entry details and further announcements about our judges and major prizes.
We may have a few delightful surprises pop up in the gallery for summer and autumn. Stay tuned...
kia kite wawe koe
See you soon.
We had to say goodbye to Dii Moffatt and her sumptuous exhibition, New Forms but not before we were treated to some insight from back to back artist talks by and her and Linda Dimitrievska this week. Linda Dimitrievksa's The Cloud of Unknowing is in place until 13th December.
Patrick Malone brings his first solo show for several year's to the Refinery, The Brightness is Beautiful is a comment on his reaction to the light in his new home in the Nelson Lakes district. We were gratefully able to celebrate the opening of his return to exhibition on Monday night.
Taarn Scott brings her series of Nelson Coastline panels in Outlining/Shifting Channels. This is a series that explores drawing with 'a greater physical presence. Through a process beginning with woodcuts carved into reclaimed doors, these pieces exist on the intersection between traditional print making and sketching. Mapping the Nelson coastline, these works are pencil rubbings taken from original wood carvings, which can also be seen in the space.'
The Brightness is Beautiful and Outlining/Shifting Channels are in place until 22nd January.
An interactive live cyberperformance by digital multi media artist Vicki Smith and collaborators as part of the Mobilise Demobilise International Digital Arts Festival.
Repose physically and virtually explores the shifting geographies of the Whakatū/Nelson coastal edge by introducing the lethal Victorian practices of crinolines and the application of the Cartesian grid. Three billowing figures trace current and historic paths, creating a tidal strandline through urban infrastructure and flooding carparks.
With thanks to processional performers Mel McColgan, Lyn Russell and Sally Shaw.
Refinery Artspace; GetFrocked, John-Paul Pochin, Faye and Karl Wulff.
KATHALEEN MARIE BARTHA
The defining elements of my work are line, form and movement.
In my observations of 'line' I find infinite possibilities, symbols and patterns.
And In their simplicity, lines are like metaphors guiding me to places where I often find my sense of freedom.
As Kandinksy’s theories state ‘the process always begins with a ‘POINT and LINE, to PLANE.’
I use free hand drawing as a ‘thinking tool’ to generate new graphic relationships and ideas. These drawn relationships are not thought out and planned beforehand ( unlike my architectural practice), but instead I utilise fast, repetitive, improvisation techniques
.... a kind of stream of consciousness.
One line will generate the next line. One group of lines will generate the next group of lines and so on and so on.
What comes before will generate what come next and that next action could be anything chosen in that moment.... something abstract, figurative or maybe surreal.
This process is used to generate sequences of composition to stimulate future drawing work and architectural work.
I am entirely drawn to these minimal shapes and forms that are stripped of colour, but which
are, I hope, still quietly insistent and determined to exist. There’s a void, or gap, between
how the work looks and the drivers that led to it being created. People talk about how
meditative and calm the work feels but I have a great deal of determination and focused
energy when I’m working. I like that there is this tension, even if it isn’t obvious to the
One artist that has a major influence on me is Donald Judd. He described his work as a
“simple expression of complex thought”. This sums up how I feel about my art practice.
Ano Me He Wharepuungawerewere is a Maori proverb that likens a beautifully carved or weaved house (Wharenui), to that of a beautifully and intricately weaved spider's web. This whakatauki can also be used to express or denote the ideas of a house full of spider webs, collecting dust etc.
Ano me He Wharepuungawerewere began as a woven sculptural object for Changing Threads 2021, inspired by the waiata Te Moemoea o Whakatū by Hone Nuku, by contemporary artist Samara Davis and has evolved into her first solo exhibition of intrinsically made objects exploring the marae and the whāriki (woven mat) as places for connection, understanding, Turangawaewae and the sharing of knowledge. You are invited to an artist talk Saturday 23rd October 1pm and you are invited for community engagement in an ongoing work with Samara every Tuesday and ongoing during the exhibition.
Unfortunately due to social distancing restrictions we have had to cancel the opening. Stay tuned for a closing celebration on November 6th
Sadly today we say goodbye to Maggy J's fabulous exhibition NO EXIT. I will miss the diaphumous Victorian nighties crocheted in copper wire made from solenoids from the Nelson Cathedral organ. If you missed Maggy's artist talk you can find it via this link...