The Burning Hours focuses on works made between 2014-2016, showing audiences what happens when Bush pushes her compositional limits and uses the entire surface of the paper. This recent body of work is rich with detail – each surface, of gouache and gold, is filled with references to illuminated manuscripts, Persian miniatures, European art history and modern life.
Ornamental Residue originates from a study into the typology of brooches. For this series, Melbourne-based jeweller Manon van Kouswijk creates and extends iconic brooch forms and motifs from the history of jewellery.
Modernism, a slippery art historical trajectory to describe, could most simply be understood as a path away from representation. As a philosophy, though, modernism could also be thought of as a committed desire to break with tradition in order to herald in new ideas and encourage individual freedom. Pocket Histories brings together artists who are interested in both understandings...
For this commissioned project, Kerry Ann Lee continues her interest in the relationship between craft, identity and place by drawing upon the specialist craft knowledge and legacies associated with West Auckland. The Learning Centre gallery is re-imagined as a whimsical garden.
Auckland Arts Festival and Te Uru Waitakere Contemporary Gallery present an interactive survey exhibition on the sonic innovations and invented instruments of renowned art/music ensemble From Scratch, including six performances by the latest incarnation of the group.
In this exhibition Fickling presents a display of carefully sculpted paper creatures - part animal, part machine - of a fictional era inspired by industrial design. The still and stark white paper gives way to imagined colours, movements and interactions between the underwater beings swimming through the exhibition space.