November 14th - 26th 2005
Fingers Annual Group Show
October 10th - 22nd 2005
Kobi Bosshard and Peter Mckay
September 19th - October 1st 2005
Fran Allison, Andrea Daly, Shelley Norton, Lisa Walker
Weeds
"I wonder why someone would choose to be a weed in the garden of jewellery. The answer seems to have something to do with a desire to intensify awareness of everyday things as things in them selves rather than as signs of something else. It is that experimental sensate thing to which Sontag points, the pleasure of touching the familiar and finding it strange, the pleasure found in the weedness of weeds."
Grant Thompson
August 8th - 27th 2005
Joanna Campbell
Swatches 2
In 'Swatches 2' Joanna Campbell continues her process driven exploration of
textiles and metal. She investigates specific qualites of fabric such as drape, weight and bias and reinterprets them using gold and silk.
July 18th - 30th 2005
Karl Fritsch
blind diamonds and rough rubies
"In George Perec's novel A Void, which he wrote entirely without the letter 'e', there's a story about a ring. Perec compares it to a scab, because it has almost become part of the body with age and wear. Karl Fritsch's rings have that quality. It's like inverse alchemy. He uses precious materials and turns them into childish, rough objects that look like they've come out of a candy machine. They're so immediate you can see the fingerprints. A Karl Fritsch ring is like an heirloom, something your great-grandmother might have worn." Francis Upritchard
July 4th - 16th 2005
Brian Adam
Finger Rings
"These ring forms come from their process. I added bit of natural force,
pressure, heat, gravity and steam, to the material's own properties to shape the
objects." Brian Adam, 2005
June 7th - 18th 2005
Areta Wilkinson
Legere to gather
Brooch, Pohutukawa, Metrosideros excelsa, Christmas Tree
"Fabricated silver plants build on earlier investigations of colonisation and identity. Legere is Latin the language of taxonomy, Legere To Gather is a gathering of stimuli and the exhibition a celebration of process.
New works were developed from a range of visual and research sources relating to the botanical collecting on Cooks first 1769 voyage to New Zealand. They included original Banks and Solander plant specimens housed in Auckland Museum and Lincoln herbariums, Sydney Parkinson etchings, botanical photographs painting and drawings, my own pressed plant specimens and material experiments." Areta Wilkinson, 2005
Areta would like to acknowledge the support of Creative New Zealand.
May 16th - 28th 2005
Tania Patterson
Specimens
"This group of work continues my interest in New Zealand natural history and the overlaps between science and art. At Auckland Museum I came across some drawers filled with dead birds, I was struck by how little they told me about birds. These sad inanimate creatures spoke to me more of my own dead, yet these dead things do teach us about life. I am interested what the static museum display does and doesn't teach us." Tania Paterson, 2005
March 21st - April 2nd 2005
Andrea Daly
Drawing Angel Wings
"This is a whimsical body of work referencing the romantic angel figure. They inhabit the world of 'just out of sight' and though rarely seen they leave their traces everywhere through our literature, religions, myths and contemporary media. They represent potential and possibility, the magical promise of the unknown."Andrea Daly, 2005
February 14th - 26th, 2005
Pauline Bern
The Ring Project
"I have re-viewed my local environment as a resource, selecting from the beach worn fragments of Waitemata papa, weathered pohutukawa and man-made remnants for intervention and transformation, reassessing the banal.
Made from structures and materials susceptible to wear and tear the rings are as vulnerable as the relationships they so often represent. Care must be taken: unlike the timeless durability of the convention of gold and diamonds, these rings may act as a reminder of the fragility of our emotions and interactions." Pauline Bern, 2005
January 17th - 29th, 2005
Lynn Kelly
Exotic or Not?
Historically and even today the Pacific conveys the idea of the exotic to new comers. To recognize this view of ourselves and our surroundings is almost unimaginable. It is this possibility of seeing the familiar with an alien gaze that Kelly explores. She represents iconic botanical symbols of New Zealand in a variety of materials that demand a re-inspection of that which we take for granted.
Pennie Hunt writes, "Lynn Kelly's confident use of diverse materials explores the ways in which native plant species can appear delightfully strange, even to accustomed eyes. The real lure of these pieces is that each one has the ability to explore our botanical residents afresh, re-inventing and re-discovering what constitutes the native."
(Art New Zealand Summer 2004-2005, p47).
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