Further until 16 March - a touring show by NZ emerging Large Format photographers Harry Culy, Sam Curtin, Tash Hopkins, Tom Hoyle, Clayton Morgan and Thomas Slade.
Excerpt from the catalogue: [....]Four by Five by Six offers a feasible antithesis, a way of working with photography to create images that last. For the six photographers of the large format camera process, of slowly and deliberately capturing what is there, tends to result in images that deliver their content at similarly slow rate but also, often, with a good deal of personal attachment and something to say. [....] James Gilbert
Now on - until 16 March. Local artist Jimena Johnston with her body of work 'Individual'
Jimena Johnston is a visual artist originally from Mexico. Her chosen medium is acrylic, which she uses in combination with charcoal and cutouts from magazines to create layers of mixed media on canvas. The figure, painted with gestural marks and vibrant colour combination, is the central theme of her work.
In a world concerned with individuality, she looks for a universal identity. In her process, the figure is painted over and over to strip it down from their differences, may it be culture, gender, race and other categories. This play in repetition creates a flow where the figure merges with the background and the background with the figure. It is a search for interconnectedness, a process of becoming one with all.
The Potter's House, an exhibition in three parts.
the gathering and the broken
...with contributions by Nelson/Tasman potters Sue Newitt, Sue Scobie, Darryl Frost, Michael Potter, Katie Gold, Ingrid Firmin, Stephen Robertson, Ali Kennedy and David Carson.
_maybe I should have closed my eyes by Loren Pasquier [sound/video]
vessels by Martha Blanche Sidonie
[concept/text Ann Braunsteiner]
Featured artist in our Foyer - Rebecca Morcombe Young - Installation
[...] each day as a new object was sourced and configured onto the walls of the empty room of an empty house in which the artist was living, consciously aware of the faded carpets which were once pink and reinterpreting the textile design of the living room curtains as seen on the single roll of wallpaper, the installation continues to restage such preloved interiors. Justified and contextualised in harmony by the colour pink, ambiguously stripping objects of their purpose the artist recalls the solitude and isolation of the pink painted corridors and cells which where present during a visit to Alcatraz in 2015. www.instagram.com/rartyoung/?hl=en
Left - detail and an impression from the Centre for Fine Woodworking.
Right - Ali Kennedy's sculptures from 'Weathered 2'.
Both until 12 January 2019.
We are closed 25 & 26 December, Sundays and 1 & 2 January.
24, 27, 28, 29 & 31 December 11m - 4pm
3,4 & 5 January 11am - 4pm
Thank you, apologies for any inconvenience and wishing you all a merry festive season.
The Centre Fro Fine Woodworking wiht their annual end of year Master Fine Furniture Programme exhibition - until 12 January 2019.
Ali Kennedy - Sculptures and Drawings, until 12 January 2019.
“Place and mind may interpenetrate until the nature of both is altered” Nan Shepherd
I began this work following a family history trip with my sister and my daughter to Riverton in Southland. Standing on the beaches and searching graveyards in the midst a southerly storm we envisioned the lives of our ancestor women who came to the whaling station on the Aparima River in the 1840s. How did these women weather this experience and how were they shaped by it ?
Stories that survive from this time come to us in small sharp fragments speaking of strength and steadfastness softened by my mother’s nostalgia for a summer place of beaches where she spent her childhood.
The work is also a reflection on how I belong in this land and, as I am now approaching my seventies, how I have been weathered by my own life.
Clay is of the land and I love how, in the process of forming and firing, the distinctive nature of a particular clay influences the work. In some pieces I have left the marks made while working the pieces intact. In others I have considered how the rocks in the landscape are sculptured by sand, rain and wind. I prefer to leave the pieces unglazed, using only oxides and slips, as I enjoy the colours and tactile nature of exposed clay.
This body of work is a continuation of work done in 2016 for an exhibition at Three Eyes Gallery in Wellington.
Weather and place mark us. We must learn how to be immersed in a place and will be forever altered by it.
The winds have blown us here to this place
How will we stand when the wind blows
Now open - work by Dunedin based, MFA [distinction] School of Art, artist Jessica Ritchie. Until 8 December.
‘Paintings are a reflection upon the art of painting itself: abstract, drawing from colour, light, and music. The work is concerned with process, with the exploration of the formal qualities of painting, and of the infinite possibilities of touch with paint. Located within the context of the field of abstract painting, the term ‘abstraction’ is used in a questioning and provisional sense rather than as a categorising or labelling term; considering complexity rather than reduction. The paintings show the potential of abstract painting to communicate light and space.’
Drawn to anything reflective, lustrous, iridescent, and saturated, Ritchie’s recent paintings have focussed on intensity and exuberance. On closer inspection many reveal themselves as ‘accumulations of debris’ from building up of surfaces from scraped and gathered paint and other materials. The expressive force resides in the materiality of colour, texture, and excess.
We are happy to present completed Phase 1 of the front 'face-lift'. Thank you Charles Anderson with the Nelson Weekly. Read here....nelsonweekly.co.nz/2018/11/refinery-gets-hot-pink-makeover/ We would like to extend our thanks to the Arts Council/Refinery ArtSpace development team, NCC for support during the process, for gaining approval and funds towards the new look. Also to the Coleman team on site.