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Black Coffee
Power Poles Carry the Dreams of Both Human and Electric Sheep
Pen and ink on paper. Colour version of an earlier piece. Commentary on society, the layers of technology that surround us and a speculation into the dreams of other things including a duck, a robot and a winged horse.
A first time artist raised around artists, currently working in technology, this exhibition is about finding and expressing voice through colour, mixing cultural styles and working with negative space.
WHAKATAU MAI RĀ E NGĀ HAU E WHĀ Calling In The Four Winds
I have been contemplating my life over the last few years, I had a breakthrough moment that I might only have 40 summers left on this beautiful earth mother, Papatūānuku. That within every connection to the present is a blessing, and that the gratitude that comes from this feeling is one of pure joy.
Whakatau mai rā e ngā hau e whā (Calling in the Four Winds) is a piece of work that spans the last 3 months of my life. Incorporating my travels throughout Aotearoa, and even to Melbourne (Naarm). Each piece was made on a part of whenua that I have been before, each location being in essence a place where my mauri (life force) is bound to the mauri of the whenua (land).
The creation of these Taonga Pūoro is a way for me to alchemise my mauri. These energy trails that I leave on the whenua, on this land, for me needed to be witnessed. Each piece was a way for me to transform these old energy trails into something new, by witnessing my old self, I could witness the parts of me that have grown. Calling in the Four Winds is a way for me to embrace the four directions, the power of the four winds, and for them to help me transmute my mauri, my life force.
Mauri tau
Mauri noho
Mauri ohooho
Mauri ora
From Te Pō comes Te Pū, from Te Pū comes Te Pō. From the darkness comes the light, and from light comes the darkness. I can witness my shadows and can express my light, that for every moment of darkness, eventually the light will come back.
I have made 28 Taonga Pūoro, from Purerehua, to Porotiti and for the first time Koauau (flutes) in collaboration with Sam Palmer.
Seven Taonga were created for each wind direction.
Te Hau Kauaki (northerly), Te Hau Rāwhiti (easterly), Te Hau Tonga (southerly), and Hau-ā-uru (westerly).
With each wind direction having its own colour, teal, green, red and yellow. The carved lines represent my views of the landscape around me, being the hills, or the lines of waves crashing on the shore, birds, trees, the movement of seagrass.
Each Taonga was named after the location of where the piece was carved or the intention of what I was wanting to move through at the time of carving.
Ngā mihinui,
Mumu Moore
Have you ever held a moth in your hands and it left glittery powder on your fingers? You might not be able to see it, but that powder is in fact tiny scales.
Like feathers, those scales create pockets of insulation to keep the moth warm and provide heat for better muscle regulation during flight.
They also provide camouflage through shimmering colours and delicate patterns. Just as lace can disguise the body, while simultaneously revealing everything.
Armed with just a scalpel, Julia overlays delicate floral, botanical, and geometric lace patterns with moth silhouettes, leaving behind a sprinkling of tiny paper scales in her wake.
Profile
Julia Scott is a Wellington-based artist who specialises in paper art, with each piece meticulously cut out of paper by hand.
Drawn to intricate paper collages while working towards a BFA, she also creates large scale hand-cut street maps by commission.
She currently spends most of her time trail running with her dogs, working in environmental communications, and volunteering with the Remutaka Conservation Trust.
My compositions come directly from my own experience, such as my local surroundings, places I’ve explored or friends I was with. I try to keep the subjects varied to reflect the diversity of New Zealand landscapes.
Architecture is my main passion and I enjoy painting the bright and colourful street scenes around Wellington to capture the way they harmonise with the surrounding nature. I’m currently based in Hataitai and hope to paint more harbour views of Wellington in the coming months.
"Long is the way and hard, that leads out of hell up to light"
These photographic works are an interpretation of, and were taken and produced, during a 400 day journey of sobriety after a lifetime addiction to alcohol. The images are a visual commentary on my personal labouring in the darkness, the damage it caused, and the journey to a lighter and brighter future of sobriety. Expressed through light and shadow. Hand printed in the darkroom, from 35mm and 120 roll film black and white negative, onto fiber based art paper and then selenium toned for warmth and archival permanence.
Charles Edwards worked in the screen industry playing with cameras. This led to playing with still cameras. Then the often obsessional and inevitable segues this passion has to playing in the darkroom. And has been freezing photons with film - since 1997. Currently working as a full time Dad by day and a photographic darkroom artist by night.
This dinosaur art and poetry exhibition is based on the comedy performance poem, Prehistoric Dreams. It follows the adult life of Mitchell Cunningham, who decided at a very young age that he would be a dinosaur when he grew up. However adult life is tricky without opposable thumbs or the ability to fit through doorways.
All dinosaur sketches were checked by local dinosaur nerd and biologist, Dr. Michael Michael. So there is some hope that all 17 species of dinosaur depicted are not embarrassingly inaccurate. This means FEATHERS (where appropriate).
It’s alway good to appreciate a good ass. The ancient Greeks certainly did. The male nude is unfairly under represented in art (compared to the female nude) BUM exhibition is a lil levelling up. Check out @rachie_campbell sensual collection of bums including playboy stencil art, oil on canvas super butts, spray art and bum prints.
Rachie’s work explores the blurred lines between nudes, sex and societal norms. Her work focuses on ideas of the male form, the female mind and how social and cultural constructs influence both.
Stacey Fraser-Allen is a Wellington-based ink and watercolour artist and creator of Brick and Water Creative.
After completing her degree in business she found a passion for watercolours and paired that with her love of New Zealand architecture.
Growing up in Wales, amongst estate and terraced houses, she was immediately drawn to New Zealand’s quirky and individualistic buildings and homes. The corrugated iron roofs, timber frames and in-door, out-door flow reflect the kiwi culture she fell in love with.
She began creating personalised art pieces for whanau and friends and decided to refine the process following interest from other clients.
Since then she has continues to specialise in capturing buildings, drawing attention to the little details and endeavouring to immortalise the memories that they hold.
Her first solo exhibition was held at Thistle Hall Gallery in February 2022 featuring 28 pieces focusing on and celebrating heritage-listed buildings around Wellington. Some featured works depicted buildings that had been demolished decades ago but were scenes of historical significance and cultural influences in Wellington.
She went on to participate the the New Zealand Art Show in June 2022, where six new original pieces first focused on Wellingtons iconic streets.
Her work continues to celebrate New Zealand’s historical architecture and aims to draw people away from their technology and back into the physical.
.STREET.SCAPES. will debut a collection of existing and new limited edition fine art of iconic buildings from around central Wellington and it’s southern suburbs.
This collection of abstract works explore the common thread that runs through the human experience and into the natural world. With contrasting tones, botanical and native New Zealand plant illustrations, the thread we all share returns to the earth to be reformed again and again.
My journey with mental health almost always finds its way into my art practice, where I predominantly explore expressions of the 'self' and consciousness. Painting and illustration have been my preferred medium throughout the years, and my use of abstraction allows the viewer the opportunity of "tethering" their own journey to each piece.