Gill Gatfield – Projects / Exhibitions

2017

The Kiss

Christ's College Christchurch NZ, SCAPE Public Art

A unique 4 tonne black granite sculpture, The Kiss completed its global journey via India and Denmark, to be presented in New Zealand at SCAPE Public Art. A modern text message and a mystical sign, the X-figure conveys ancient, earthly and human content. With shifts of light and viewer movement, The Kiss becomes ephemeral, expanding and contracting, while enfolding viewers and landscape in its multiple reflective planes. Its conceptual content and sensory qualities draw people in to the geometric abstract form. Located on hallowed ground at Christ's College NZ, The Kiss imprints the universal chromosome X on a once exclusive heritage site, marking a treasured spot (x) and creating a place of art.

Winner CODAwards 2017 Landscape Category
CODAawards 2017 Top 100 Public Artwork Project

The Kiss
black granite 2mH x 3mDia.
SCAPE Public Art 
Curator Heather Galbraith
'Presence' 1 Oct 2016-20 Jan 2017
Christchurch New Zealand

Studio 125 Opening Show

Christchurch NZ

In the restored elegant C19th rooms of Christchurch's newest gallery, SCAPE Public Art presents a curated selection of contemporary New Zealand art, to stimulate debate and interest in public art in post-earthquake Christchurch. Artists include: Nathan Pohio, Judy Darragh, Neil Dawson, Gill Gatfield, Sam Harrison, Fiona Jack, Mischa Kuball, Virginia King, Dave McCracken, Julia Morison, Phil Price and Greer Twiss.

Studio 125 Gallery / SCAPE Public Art
125 Aikmans Road, Christchurch
16 March - 13 April 2017 

2016

Without Prejudice: Same Issue-New Cover

Without Prejudice: Women in the Law (550pp. Brooker's 1996; Brooker's Heritage Title 2011) documents 100 years of systemic bias against women and minority groups within NZ’s legal institutions and outlines strategies for change. Despite good intentions, more time, and more numbers entering the professions, inequities remain. Commemorating 120 years since the NZ Parliament reversed it's own law prohibiting women lawyers, this seminal text is re-issued in hardback, lending metaphoric spine to the cause of justice. Encased in purple cloth with embossed gold and white lettering, the book adopts international suffrage colours, symbols of justice, purity and hope. The new title Without Prejudice: Same Issue - New Cover reconnects cause and content, and strengthens resolve for chapters yet to be written.

Gill Gatfield Without Prejudice: Same Issue-New Cover 1896-2016
Limited Edition 50 hardback books
NZLS 120 Years Women in Law Celebration
Book Launch September 2016

Suffragettes

Corner Window, K.Rd Auckland (Curator Rob Garrett)

Located at a cross-road in a red light district, seven slim black glass I-figures bend around a corner in the window space, creating a multi-layered spatial field. An abstract rendering of C19th activists who won the vote for women and the right to be legally defined as ‘persons’, the pronouns encapsulate a central tenet of human rights: the personal is political. Cut and toughened, the I-texts punctuate white space, a row of exclamation marks; a black picket fence. Androgynous, the figures conflate male/female identity into a collective that hangs as a group, inclusive of every-one. Both organised and aligned, Suffragettes occupy the street front in present tense.

Corner Window, K Rd. Auckland NZ
Paterson Architecture Collective & Athfield Architects
Curator Rob Garrett
Corner Window Gallery Statement

2015

Glasloft/Glass Ceiling

Kvindemuseet Danmark / Women's Museum Denmark

In Glasloft/Glass Ceiling the metaphoric ‘glass ceiling’ becomes a room, as high as it is wide, in the heart of a protected historic building. The thick pool of smashed glass sparkles like a bed of giant diamonds, exquisitely seductive. Although full of promise, both access and transit within this space is problematic. Two open doorways with glass risers at the thresholds clearly demarcate a step up and expose the uncertain, precarious terrain. Sheer walls lead up to the stark glare of bare pendant bulbs which reinforce a downward gaze. The elusive 'glass ceiling' is not transparent, a singular high barrier or a level playing field. It is a structural membrane with multifaceted and toughened components, in multiple dimensions. Anchored by the weight of gravity and shaped by the historic skin of the room, Glasloft/Glass Ceiling holds shadows – a reminder of contestable ground.

Glasloft/Glass Ceiling
glass, room
4mH x 4mW x 2.7mD

Artist in Residence Exhibition
Kvindemuseet Danmark/Women's Museum Denmark
4 June - 30 December 2015

Curator Julie Rokkjaer Birch
'Do Not Enter - Transcend: Gill Gatfield 
Glass Ceiling / Glasloft', Women's Museum Denmark 2015 Essay 

Women's Museum Denmark Press Release

The Kiss

Sculpture by the Sea, Aarhus Denmark

An abstract X-figure created from four tonnes of specially quarried outsized black granite, the modern text message (x) is multiplied into a monumental love-mark. Both a primitive marking and futurist cave, The Kiss imprints universal human DNA, the female chromosome X, on the earth. Like an ancient stone circle, people are drawn into the folds of the sculpture, enchanted by the play of light, brilliant reflections, abstract composition, and maze-like form. Its method of construction enacts a kiss: the granite panels interlock, separated by a sliver of air - the breath in a kiss. This coupling creates an abstract figure that celebrates connectivity while enabling freedom of movement - unlike The Kiss visualised by Rodin, Brancusi, Munch and Klimt. Presented in Denmark at the centenary of women's right to vote, The Kiss presents a partnership of equals.

The Kiss 2015
absoluto nero/black granite
2mH x 3mDia. (4 tonne) 

Winner CODAawards 2017 Landscape Category
CODAawards 2017 Top 100 Public Art Projects

Sculpture by the Sea, Aarhus Denmark 2015
SCAPE Public Art, Christchurch New Zealand 2016-2017 

Artist Talk, Creative Mornings Aarhus July 2015
See Video  (View The Kiss @ 33min.)

Multiple Choice

Denmark / New Zealand / Australia

Referencing the spiritual monochromes of Malevich and the later abstractions of Mondrian, Multiple Choice explores colour, form and figure. A combination of Italian marble and Indian granite creates a blend of iconic stones from different continents. With symbolic references to gender, race and power, this multiplication sign presents a compass, an intersection and a crossroad with many paths to follow. Like an x selecting or striking out answers on a voting paper or a test, it can raise as many questions as answers. With no right side up or singular viewpoint, Multiple Choice places equal value on all directions.

Exhibited: 

Sculpture Inside, Sculpture by the Sea 2015 Aarhus Denmark
Headland 2015, Waiheke Island NZ
Shapeshifter / NZ International Arts Festival 2014 Wellington NZ
Gatfield - Square Root 2014, Langford120 Melbourne Australia
Sculpture Inside, Sculpture by the Sea 2013 Sydney Australia

Carrara marble, Indian granite
90mmH x 500mmW (ed.3, 1 A/P)

Silver Fox - Black Fringe

Langford120 Melbourne

Disrupting the black square, thousands of polished steel shafts amass on the surfaces of Silver Fox and Black Fringe. Razor sharp end-points contrast with the seductive beauty and illusion of fragility. Glistening and tempting touch, the objects stimulate a chemistry of aesthetics. Ideas of stealth, status, wisdom and charm arise from the processes of segregation, manipulation and control. A quiet sense of unease and latent anarchy permeates the artworks. At any time, the media and image can shift and slide, camouflage, or change direction. From the allure of silver fox to the geometric fringe, these steel-clad works render the arts of seduction and disruption.

Exhibition: Trajectories: Fifteen, Langford120, Melbourne
14 February - 14 March 2015

2014

x

New Zealand Sculpture Onshore

The minimalist black granite enacts a state of constant multiplication through an unending display of shifting qualities and fleeting images. Interacting with movements of sky, water, weather and audience, the polished stone sparkles in the sun, warms to touch, and casts deep shadows. It reflects, in miniature, people, plant-life, birds and scudding clouds. An abstract figure and ancient rock form, x connects humanity and nature. Grounding and inclusive, personal and anonymous, the exponential qualities and symbolism of x make a diminutive work seem monumental.

Exhibited: NZ Sculpture Onshore, Auckland 2014

Review: Deborah Stone, 'Size matters: sculpture scale speaks volumes' ArtsHub Australia, 28 Jan 2014  Read Review

Kahukiwi

NZ Small Sculpture Prize, Waiheke I.

Using contemporary media and tools of abstraction Kahukiwi evokes early Maori taonga (treasure) - kahukiwi, a rare and precious traditional kiwi feather cloak, worn by tribal leaders. A labour of love, each steel point is pierced through the field of linen, the support for weaving, a modern muka (flax). Rendering the silky down of silver-grey kiwi feathers, the multiple shafts of steel drift down, shimmer, amass depth, and appear soft and sensual. While tempting touch, the beak-like sharp points prick the skin. In an archival rethink, Kahukiwi assuages conservation concerns. The rabbit, an introduced pest destroying native kiwi habitats, is reduced to glue skin size, here preserving the linen field. At night and when lit, the artwork mimics the surreptitious behaviour of the nocturnal flightless Kiwi. Raking shadows blur and camouflage steel outlines against the bare linen ground. Approximating the volume of feathers from a plucked kiwi, Kahukiwi offers a new heritage option.

Finalist, NZ Small Sculpture Prize 2014, Waiheke I.
Kahukiwi 2014
polished steel, linen, copper nails, rabbit skin size
400mmH x 400mmW x 60mmD 

2013

Square Root

Langford120, Melbourne Australia

A new body of work, Square Root considers the future of abstraction. Using a framework of squares, monochromes, singular media, and minimalist form, the pieces simultaneously promote and defy the rules of abstraction. In title, media and metaphor, they grow, stretch, absorb, recede, reflect and hinge, beyond formal geometric constraints. Embracing abstraction's intial motivation - to change cultural, political and aesthetic norms, Square Root questions the status quo. Located in an Australian cultural landscape, the works connect the notions of freedom, territory and title to contemporary economics, gender politics, and race conflicts. Presented in 'Squaring Up' at Langford120, Melbourne, Gatfield's Square Root marks 100 years post Kazimir Malevich’s Black Square (1913-).

Review: Jennifer Choat, 'Conversations with the Black Square: Revisiting the art and theory of Kazimir Malevich through the sculpture of Gill Gatfield' Trouble Magazine, 30 October 2014  See Review

'Squaring Up', Langford120 Melbourne
Curators Dr Wilma Tabacco & Stephen Wickham
23 Nov-20 Dec 2013
Artist Talk 24 Nov 2013

x

Sculpture by the Sea, Sydney Australia

Stationed like a cross or compass on a rocky outcrop beside the Pacific Ocean, the gloss-black granite x links prehistory, ecology and the politics of place. Rendered as a primitive form, the stone marker points to Aboriginal rock etchings and caves, spiritual and ancient sites: hidden treasure – protected and marked ‘x’ on the site map. Like the anonymous signatures of indigenous peoples on historic documents transacting land and rights, the x-form is drawn on the earth in the manner of a hand-made mark – one line crossing the other, anchoring past and present.

Sculpture by the Sea, Bondi 2013
17th Annual Exhibition
Sydney, Australia

Review: Deborah Stone, 'Size matters: sculpture scale speaks volumes' ArtsHub Australia, 28 Jan 2014  Read Review

Vanity Fair

Parallax Art Fair, New York

In a high-contrast blend of soft velvet and reflective steel, Vanity Fair creates a sensual experience. In the context of the Art Fair, the attention-seeking artwork questions the boundaries of popular culture, fashion and fine art. Both the square of black velvet and the vanity plate contain ambivalent art pedigrees. Originally developed as a substrate for religious painting, the black velvet genre became the domain of male artists painting nude dark-skinned women in exotic scenes, and more recently is associated with kitsch, irony and mail-order art. Presented as a black square, the velvet monochrome also conjures an aesthetic high ground of Minimalism and Modernism, and forms the substrate for Curate (religious or spiritual leader; art director). Centre-stage, Curate  shines in the spotlight and under flash light casts a halo on the velvet ground. Like a celestial angel or a celebrity blinded in a blaze of light, the artwork becomes a medium, shedding light and reflecting ideas about influence, values, competition and egos.

Parallax Art Fair, May 2013
The Prince George
15 East 27th St
New York 10016

Ally Sloper

16th International Open, WomanMade Gallery, Chicago USA

The curved glass text/number Ally Sloper exerts equal pressure on floor and wall, holding the notion of I/One in a tentative state of equilibrium.  Shifting presumptions about art categories, materials and themes, the anthropomorphic form is both figure and abstraction, with masculine and feminine qualities suspended in an androgynous structure and geometry.  Neither wall piece nor freestanding object, the clear glass is a hybrid, creating a protective shield while claiming space in the room. The curve, both concave and convex, poised on a square platform, marks out the diameter of an incomplete yet measurable circle: denoting the mathematical conundrum of circling the square.  Like a futuristic shelter, it cups the corner, an ethereal arch or crystal-clear rainbow; an inviting passage - defining an 'alley' with its polished edge and 'I' shadow.

Finalist, 16th International Open 2013
Exhibition: 1 March - 25 April 2013
WomanMade Gallery, Chicago USA

2012

The Snake Charmer

New Zealand Sculpture Onshore

The Snake Charmer is a sculpture tableau comprising a slender I-shaped column of ink-black granite beneath twisting serpentine branches, amidst dense unique planting.  The tableau reconceptualises and inverts a 1907 painting of the same name by Henri Rousseau, transforming 'Eve' - from Rousseau's exotic chanteuse into a modern icon; and 'Eden' - from idealised jungle to a real Pacific island. High on a cliff at NZ Sculpture Onshore, The Snake Charmer presides over a world renowned snake-free paradise, one that is under immediate threat.  Poisonous sea snakes migrating across the Pacific Ocean and land snakes smuggled across borders, challenge the Island nation's 'Godzone' status.  Amidst concerns about global warming affecting sea temperatures and ocean currents, The Snake Charmer maintains watch over land and water, protecting and warning of things we cannot yet see.

NZ Sculpture Onshore, November 2012
Fort Takapuna, Auckland NZ

Jennifer Buckley, Gill Gatfield: Sculptor, Problem Solver, Ground-breaker, Auckland Art Fair e-news, Nov. 2012  Read Article

Native Tongue, Spark NZ

Victoria St. Auckland

In the Spark NZ head office in central Auckland city, Native Tongue brings organic and historic content to the world of high tech communication. Made from 45,000 year old kauri heartwood, the 'I' form stands tall and proud in the atrium, quietly complimenting the 5 star 'green building' design. The warm glow of the wood and reference to an I-beam shape, serves to highlight existing architectural details.  The sculpture's placement is geometrically aligned with key axes within this architectural setting, and is visible from all levels within the 8 storey building.  Native Tongue 'speaks' of a centrality bringing together primordial connections, present communications, and future networks.

Platform

Waikato Sculpture Trust, Hamilton

Up 147 stairs, in a secluded circular clearing, the stone and glass Platform is revealed as spectators climb and arrive, breathless. In this quiet space, the sculpture also regulates breath. Sealed between two skins of polished glass, a sliver of factory air transacts hot and cold, and supports a double image. Both lectern and altar, Platform alternates between functions: prop, manifesto and critique; a stage for performance and a site of production.

Summer: sky above, earth below, Curator: Andrew Clifford
20 Nov 2011 - 4 March 2012

2011

Not I - II

Sculpture on the Peninsula, Canterbury NZ

Mounted on specifically shaped black columns, the white limestone sculptures Not I and II align to form vertical and horizontal grids of symbols, pronouns, letters and numbers. II crowns a Tau cross, a sign of life and reincarnation while Not I offers a philosophical communal perspective. Viewed head on and together, II rests on the foundations of Not I. The interplay of combinations and sequences using the negative and positive shapes of these works as modular units, invites exploration of viewpoints and metaphorical conclusions. Sited in earthquake torn Canterbury at the historic Loudon Farm, this installation triggers connections with the physical, social and mental building blocks required to restore and rebuilt.

Finalist, Sculpture on the Peninsula 2011
Banks Peninsula, Canterbury NZ

Native Tongue, Sculpture in the Gardens

Auckland Botanic Gardens, Auckland NZ

Flanked by groves of Australian gum and New Zealand totara, the ancient kauri sculpture, Native Tongue, positions prehistory at centre-stage.  The solid timber sculpture is formed from the heartwood of a single giant tree, a rare and unique timber radio carbon-dated at over 45,000 years old.  Pre-dating modern Man, the kauri I-form re-connects humanity with primordial beginnings.  With a curved geometry and silky smooth to touch, Native Tongue seduces the eye, the heart and the mind.

Silhouette

Smales Farm Station, Auckland NZ

Located at the gateway to a busy city transport Station alongside the motorway, Silhouette offers a contemplative moment in a place of constant transition. A geometric grid of intersecting planes, the sculpture also has organic qualities - balanced proportions, gentle curves, reflective surfaces, and an ever encircling shadow. Green spaces, pond, buildings, Station, roadways and people are framed and contained in Silhouette.

Developed in response to the site's history and ongoing transformation - from pasture to 'green' business park, from horse drawn carriages to modern transport hub - Silhouette relays an underlying theme of aspiration. The vertical black stone and horizontal white glacier stone platform reflect the elongated seams of dark basalt that once ran through the old Smales Quarry, and register the Station's location at the edge of a volcanic lava flow.

Smales Farm Station Public Art Award 2011
Silhouette 2011
black granite / white aggregate
20m x 4m x 3m 

2010

Third Person

COCA Centre of Contemporary Art, Christchurch NZ

A procession of glass and concrete forms move, in both materials and substance, from light to dark and into the depths of the long front gallery. Embodying the rubric 'I', each work notes the presence of third and subsequent persons. The three Maquettes are 'read through' one another, personae or masks that reveal and conceal sex and strategy. Like Greek Muses, they line up - backing vocalists to the lead characters: the large glass, Untitled, and the wall-hung Je suis. Dissolving boundaries between subject and object, Third Person considers the transformative potential within perception and identity.

Shapeshifter

The New Dowse, Lower Hutt / Wellington NZ

NZ International Arts Festival 2010 Wellington NZ

In collonade form and parallel proportions, dressed in black and white, Babel and Portia conduct a one-word, one-number, one-sound dialogue - in duplicate.  Like a film, the changes in weather, swaying trees, spectators and other structures surface and disappear from the works' reflective and transparent planes.  Movement is stilled in the concrete body of the works, grounded, as Portia and Babel retain focus - taking turns to frame, interrogate and delete the other.

Cliffhanger

Waikato Sculpture Trust, Hamilton NZ

Poised precariously at a cliff edge, Cliffhanger refers to the film technique where a hero is exposed and left hanging in a hazardous situation.  An hourglass, neither empty nor full, the barbed text waivers between heroic leap and authorial pause, a screensaver or placeholder for the next act.  Left unrestrained, the spiked wire sculpture recoils and abandons form, reverting to its origins like a spring.

Exhibitions: Sculpture in the Park 2010, E-Scape 2011; Waikato Sculpture Trust 2012

2009

Babel

Kaipara Coast Sculpture Gardens NZ

Stationed in an undulating rural landscape, this contemporary Tower of Babel conveys the idiom and icons that shaped a cultural psyche - from John Mulgan's Man Alone (1939) to Colin McCahon's Victory Over Death II (1960).  Babel initially strikes a heroic pose but in profile, the muscular I- form reveals a hesitant grip on the text.  The 'Glazed I' is pinched between two columns of rough masonry.  A shaft of light fills the void between the pillars.  Based on the ancient parable of the Tower of Babel - where ambition and humility collided and the languages of the world dispersed - the freestanding 'I' looks out while it is looked at.

Kaipara Coast Sculpture Garden NZ 

Half Glass

Headland Sculpture on the Gulf, Waiheke Island, NZ

Half Glass rises improbably on a windswept coastal hillside, a slender perpendicular glass that disappears in profile but re-forms in its own shadow.  A precise calculation of half glass and half air, the sculpture abstracts the proverb: ‘A glass half empty or glass half full?’   Viewers shift perspective to see landscape, seascape and people framed or reflected in the void and the margins.  As light values and conditions change, images layer on top of one another, catching unexpected detail that might otherwise be overlooked in a panoramic Island scene.

En Plein Air

COCA Centre of Contemporary Art, Christchurch NZ

From the C19th French term 'in the open air', the exhibition title refers to the practice of painting outdoors under natural light.  This innovation changed the essence of landscape painting, enabling a direct connection between reality and its representation.  In an art-historical twist, En Plein Air brings the outside inside to make landscapes of live grass and magnetic fields within the confines of the gallery, 'remaking' key paintings first made en plein air by modernist NZ painters who were also seeking to represent an abstract landscape.

Suspended Sentence

Physics Room Kiosk, Christchurch NZ

Hooked to the electricity mains and suspended inside a steel sentry box, a barbed 'I' pulsates in a central city square.  In daylight, the text/number is a slender line drawing, a subtle refrain to the noise and constant passage of city workers.  As night falls and the square is traversed by streetkids, skaters and nightworkers, the text beats bright and insistent.  Incomplete and open to each viewer's reading of 'I', Suspended Sentence starts an open-ended series of unique sentences, all beginning with 'I'.

2008

Mirror Image

New Zealand Sculpture Onshore, Auckland

A 'transparent mirror', Mirror Image shows the potential of an ‘absent presence’.  A Victorian cheval mirror shape, of adult human scale, is deleted from the centre of Mirror Image.  The empty space frames an ancient volcanic island and ships passing through the channel.  As the light changes, the margins offer a reflection, imprinting people, buildings, and trees directly onto the landscape, bleeding content with context.   Mirror Image blends into the environment, like a chameleon, sliding between translucency and reflection, and recreating itself in shadow, using the natural chemistry of light, cloud, shadow, and movement.

Current Work

City Art Rooms, Auckland NZ

Rethinking the constraints of the banal 'new work' or 'recent work', Current Work develops a mise en scene in a suite of works 'still in the making'.  Deadline, an 800volt electric current dissects and connects the two galleries.   The live wire imposes an element of care and the need to genuflect before the large glass text I AM / MAI in one space and the registration plate, QR8, in the other.  Placeholders for characters in a production, the texts embody and critique the roles of author, artist, curator, viewer and gallery, within a landscape of concrete, magnetic and lawn painting.

Performance Painting

Blue Oyster Gallery, Dunedin NZ

Dunedin Performance Art Series 2008

Where performance art usually centres on the artist in the act of making or on mechanical and digital devices, Performance Painting continues to develop independently.  During an underground exhibition, the art objects relied on internal energy systems and the care and attention of gallery visitors.  Prick hovered and shimmered in the spotlight while Lawn (Otago) grew upwards, seeking light in the dark.

2007

BeingMade

City Art Rooms, Auckland NZ

Proposing a departure from Duchamp's readymades, the Being-made shifts internally in pivotal ways, evolving and inhabiting a permanent state of flux.  Transforming mass produced and natural media (turf-grass, float glass, mirror, bird feathers) into permanent performative art, the beingmade activates a direct relationship between artwork, environment, viewer, gallery, and collector.

Beingmade n. 1. a work in progress 2. an object or idea permanently in production 3. an image in flux through materials, context and open authorship 4. a work of art able to manifest in multiple, unique versions.  (Definition:  Gill Gatfield, 2007)

Canvas

Auckland Art Gallery, Auckland NZ

'Off the Wall', a fundraising event and final show at the old Auckland Art Gallery prior to redevelopment, provided a context for Canvas, a 12 sq m disposable nappy weave.  Through media, form and context, the work explores the notion of 'support' - for the gallery and by the gallery.  Literally a support for painting, Canvas stretches over and covers the wall, simultaneously soft and taut.  The open nature of the work is carried also in the verb: 'canvas' - to sample, enquire and explore.

Exhibited: Off the Wall 2007, Auckland Art Gallery NZ

2006

Lawn, National Contemporary Art Award

Waikato Museum and Art Gallery

Finalist, National Contemporary Art Award (3D) 2006

Before installation of Lawn (Greener on the Other Side) in the National Contemporary Art Award exhibition, the Waikato Museum requested that the work be doused with pesticide - effectively killing it, to prevent insects migrating and invading important historic works.  With the assurance that worms  and grass insects prefer a warm ecosystem over a dry alternative, Lawn was hung alive in the exhibition, along with gallery pheromone devices for the 10 week show.  Trimmed and watered daily by gallery staff following a schedule of instructions, the grass grew upwards and went dormant inside the cool dark gallery.  In subsequent years the rules of entry for the Art Awards specifically excluded living art.

2004

Kaitiaki

Te Tuhi/Manukau Public Art Gallery, NZ

A monochromatic 30 sq metre grid of crisp white disposable nappies/diapers stretch in one continuous plane from gallery entrance to curator office door.  Central to Maori collective land ownership and a cornerstone of the Treaty of Waitangi, 'kaitiaki' also refers to the management and care of public art/taonga and to the collective care of small children.  Kaitiaki weaves sacred concepts in a profane material, creating an absorbing membrane that both repels and appeals.

2003

In-Out

University of Auckland, Auckland NZ

Enveloped by high rise construction works, a rooftop installation of natural and manmade media abstracts the inside and out. Movement and light create liminal context where walls also function as windows and glazing becomes substrate. Feather discs float and fill circular cutouts in square mirrors. A tryptch of crane, drain and flag mark out terrain and assert territory. Gendered symbols and forms interchange. Entry and exit points are reframed.

MFA(Hons) Exhibition, Mount Street Studios Rooftop, Auckland University

1999

1000 Words

ASA Gallery, Auckland

From a deconstruction of the eponymous proverb ‘a picture paints a thousand words’, the exhibition 1000 Words develops a linguistic and numeric composition in 10 drawings presented in the form of paintings.  Reduced to two words/numbers/symbols and a two-colour palette, each work conveys a verbal expression as a visual gesture.  Presented in the last month of 1999, a time of heightened anxiety about the effects of digital technology and prophecies of the world ending, 1000 Words is a collection of notes on 'life' at the end of a century.