Kā Kaupapa o te Wā
What’s On
Edith Collier: Early New Zealand Modernist
A rare opportunity to view the work of one of Aotearoa New Zealand’s most adventurous and experimental modernist artists.
Made in the Pacific: A Collection of Tāoga
A selection of Pacific tāoga from the Canterbury Museum in conversation with contemporary artworks that highlight the continued strength in culture and traditional art forms.
Mark Adams: A Survey | He Kohinga Whakaahua
A comprehensive survey spanning the artist's career.
E tuwhera ana te wharetoi i kā rā e 7 o te wiki, 10am - 5pm
Ka tuwhera ki te 9pm i kā pō Wenerei
Open 7 days, 10am - 5pm
Late night Wednesday until 9pm
Uruka utukore, ahokore utukore
Free entry, free wifi
Collection
Max Gimblett For Yves Klein
“The quatrefoil is an ancient image with limitless meanings. It has long appeared on Christian churches, the four leaves sometimes being taken to stand for the four evangelists. […] It appears in the design of Japanese sword guards. It echoes the mandalas that fascinated Carl Jung with his four-way division of human activity: sensation, intuition, feeling, and thinking. For [Max] it is [also] the outline of your mother’s crochet work discovered under glass in her house after she died.” —Lewis Hyde, writer and cultural critic, United States
(Max Gimblett: Ocean Wheel 1 August – 15 November 2020)
Collection
Max Gimblett Adam
In 1983, Max took a break from painting and focused on his drawing practice. He began exploring shapes, and one that stuck was the quatrefoil – four overlapping circles reminiscent of a rose mandala found in cathedral stained glass windows. He has continued to paint it ever since. The symbolism of the quatrefoil and its meaning to different cultures and religions appeals to the artist.
(Max Gimblett: Ocean Wheel, 1 August – 15 November 2020)