Felicity Milburn

Commentary
Her Own London

Her Own London

I laughed at your note. Our packing was not done until the last minute of the 11th hour, and when we at last got onto the train we could only think how lovely it was to do nothing and think about nothing. However, by now we realise we are really going to England. After 17 days at sea, out of sight of land, N.Z. seems as if it was in another universe.

Notes
Portobello Settee by Jacqueline Fahey

Portobello Settee by Jacqueline Fahey

This article first appeared in The Press on 19 January 2018 as 'A settee with hidden depths'.

Notes
Continuous positive I by Shannon Williamson

Continuous positive I by Shannon Williamson

This article first appeared as 'A delicate look at how the body works' in The Press on 27 November 2017.

Notes
Untitled [Quentin (Kin) Woollaston Shearing] by Sir Toss Woollaston

Untitled [Quentin (Kin) Woollaston Shearing] by Sir Toss Woollaston

This article first appeared as 'The fine juggling act to create his artwork' in The Press on 8 June 2017.

Artist Profile
Wayne Youle: Look Mum No Hands

Wayne Youle: Look Mum No Hands

He’s been called a cultural prankster, an agent provocateur and a bullshit artist (that last description came from his dad, but it was bestowed – he’s pretty sure – with love). While we’re at it, add ‘serial pun merchant’ to that list; in art, as in conversation, Wayne Youle can spot a good one-liner a mile off and has never knowingly left an entendre undoubled.

Artist Profile
Lisa Walker: 0 + 0 = 0

Lisa Walker: 0 + 0 = 0

It might be tempting to say that Lisa Walker makes jewellery out of any old thing – but it isn’t true. The eclectic objects that form her distinctive necklaces, brooches and other body-adornments are meticulously selected and shrewdly modified before they see the light of day. She salvages her materials from an unlikely cornucopia of sources – re-presenting objects such as car parts, animal skins and even kitchen utensils through the frame of body adornment’s long history. Tiny Lego hats, helmets and hairpieces – of the kind that clog vacuum cleaner nozzles in children’s bedrooms around the world – are strung on finely plaited cords like exotic beads or shells; trashy gossip magazines are lashed together to yield a breastplate befitting our celebrity-obsessed culture; dozens of oboe reeds donated by a musician friend bristle round the wearer’s neck like the teeth of some unimaginable deep sea leviathan.

Notes
In Memory of Avis Higgs (1918 - 2016)

In Memory of Avis Higgs (1918 - 2016)

With the news that ground-breaking textile designer and painter Avis Higgs (1918 – 2016) died recently, we’d like to share this watercolour of hers from our collection. 

Notes
Imagined Projects II, Limeworks by Doris Lusk

Imagined Projects II, Limeworks by Doris Lusk

This article first appeared as 'Work evolved from years of practise' [sic] in The Press on 3 November 2016.

Notes
Onekaka Estuary by Doris Lusk

Onekaka Estuary by Doris Lusk

This article first appeared as 'Lusk grabbed any chance to draw the power of places' in The Press, 20 July 2016.

Notes
The Eyes Have It

The Eyes Have It

Commentaries on Doris Lusk’s work often talk about her ‘eye’; for telling details, for spatial complexities, for colour, for line. Many of those who met the painter personally remember her eyes too, but for a different reason, recalling how she would peer out inscrutably from behind thickly rimmed spectacles, with a gaze that was simultaneously intimidating and engaging. It seems appropriate then, that when Kevin Capon photographed Lusk in 1985 the result was this extreme close-up. After setting up his camera and lighting, Capon invited his subjects to approach the camera however they preferred, catching them in the act of looking back. Lusk’s face fills the frame, the black lens of her glasses creating a portal-like opening, connecting us with her in that moment and suggesting both her curiosity and her reticence.

Load more