Andrew Drummond
Aotearoa New Zealand, b.1951
Rotated Sample 3
- 2008
- Photograph
- Presented by the Friends of the Christchurch Art Gallery, 2010
- 1060 x 1060mm
- 2012/020
Tags: abstraction, black (color), coal
Andrew Drummond is a Christchurch-based artist who works across different media, best known for his large-scale kinetic sculptures and installations. A major survey of his work was held at Christchurch Art Gallery in 2010.
Drummond takes a transformative approach to materials, and has sometimes incorporated meticulously hand-polished pieces of coal into his sculptural work. His photograph of this elemental material in its jewel-like, modified state utilises double exposure, and is from a series exploring the subtle, varying effects of rotation, reflection and light. (Above ground, 2015)
Exhibition History
![Image: uploads/2022_11/2012_020.jpg](/media/cache/ca/ad/caadcdc83bd3c9de9ce1860da70a05ce.jpg)
Related reading: Above Ground
Notes
![Final weekend](/media/cache/bc/cd/bccd21b6577c7816774270d8479518db.jpg)
Final weekend
Final chance to see Andrew Drummond Observation / Action / Reflection and Taryn Simon: An American Index of the Hidden and Unfamiliar, both exhibitions close Sunday 5 September at 5.00 pm.
Notes
![Andrew Drummond Book Launch](/media/cache/06/11/061113743719fc948663ef94e5b153ee.jpg)
Andrew Drummond Book Launch
Andrew Drummond Observation / Action / Reflection book launch 25 August 2010.
Notes
![Andrew Drummond exhibition opens this week](/media/cache/a5/2d/a52d7adcb630ac95cc4ddf1b6012bece.jpg)
Andrew Drummond exhibition opens this week
Spanning a career of over thirty years, this exhibition draws on Drummond's rich and diverse practice between 1980 and 2010. It is the first major comprehensive survey of this important artist's work, and it's on here at the Gallery.
Notes
![Kinetic sculptures installed in foyer of Christchurch Art Gallery](/media/cache/09/60/09609aa2d60cff5045c91d54f06bdba3.jpg)
Kinetic sculptures installed in foyer of Christchurch Art Gallery
Two kinetic sculptures from the forthcoming exhibition Andrew Drummond: Observation / Action / Reflection were installed in the foyer last week.
Commentary
![Above Ground](/media/cache/3d/1c/3d1cec979cc139c64d8a647d3a01fd6b.jpg)
Above Ground
I go into the Gallery. Haven’t been there in a while. Building closed. It was open to begin with. Civil Defence HQ in the weeks following the shock that laid the city low and who knew glass could be so strong, so resilient? Then the Gallery closed. It was cordoned off, behind wire netting. Something was going on in there. Someone said something had cracked in the basement. Someone said they needed to insert a layer of bouncy forgiving rubber beneath glass and concrete, ready for any future slapdown.
Commentary
![City of Shadows and Stories](/media/cache/58/8f/588f8a3cdfecf88f68e273cb6c77ef3d.jpg)
City of Shadows and Stories
If cities are the ground into which we plant stories, the soil of Ōtautahi – later Christchurch – is undergoing a protracted tilling season. Five years is a long unsettlement in human terms; on a geological (or indeed narratological) scale, time moves more gradually. Christchurch exists today as a rich aggregation of narratives, propping up physical edifices of crumbling stone and cardboard.
Notes
![Yertle the Turtle by Glen Hayward](/media/cache/d5/f3/d5f30e56b232075a4832d7b04aa0f934.jpg)
Yertle the Turtle by Glen Hayward
This article first appeared in The Press as 'An Ode to Yertle the Turtle' on 13 May 2015.
Notes
![Louise Henderson, Addington Workshops](/media/cache/93/87/938789d0f4fc59c40edb1b2a9b7a3f90.jpg)
Louise Henderson, Addington Workshops
For many years, the piercing whistle of the railway workshops off Blenheim Road was Addington's alarm clock.
Article
![Shifting Lines](/media/cache/a9/62/a962f1dcdbc62075eefc05cbd9b58f5a.jpg)
Shifting Lines
It's where we live: the encrusted surface of a molten planet, rotating on its own axis, circling round the star that gives our daylight. Geographically, it's a mapped-out city at the edge of a plain, bordered by sea and rising, broken geological features. Zooming in further, it's a neighbourhood, a street, a shelter – all things existing at first as outlines, drawings, plans. And it's a body: portable abode of mind, spirit, psyche (however we choose to view these things); the breathing physical location of unique identity and passage.
Collection
![Pup Tent](/media/cache/e5/56/e556e0ffb7625be91317894b967e9056.jpg)
Pip Culbert Pup Tent
In this deconstructed tent, Pip Culbert has removed everything except the seams. What’s left is like a line drawing, or a plan of a tent at one-to-one scale. Culbert’s work claims space, yet sits lightly on the wall – much as a tent sits lightly on the land while providing a temporary home for its inhabitants. Culbert was a British artist who often exhibited in Aotearoa New Zealand, regularly travelling to visit friends around the country. Her ‘ghost tent’ evokes a sense of movement through, and temporary encampment within, the local landscape.
(Te Wheke, 2020)
Notes
![New exhibition: Shifting Lines](/media/cache/ec/88/ec888bf09a5ca91df025c63fe34c177d.jpg)
New exhibition: Shifting Lines
Here's a little from behind the scenes. Shifting Lines opens tomorrow, 9 November, and runs until 19 January 2014. It's a show about drawing as an idea, which is permitted here to take very different forms. It includes work by six artists – Andrew Beck, Peter Trevelyan, Katie Thomas, Pip Culbert, Gabriella Mangano and Silvana Mangano – all of whom use line to investigate space and structure in unexpected ways.
Notes
![Rooftops, backyards, urban scapes](/media/cache/e2/77/e2779217eb8046e5764ea6bb5f6a37c8.jpg)
Rooftops, backyards, urban scapes
As a supplement to the article in today's Press GO section, highlighting the recent purchase of Ivy Fife's Untitled (Towards Worcester Street from St. Elmo Courts), here's a modest selection of paintings of rooftops, backyards and urban scapes from the collection...
Notes
![The Queen's visit by Ivy Fife](/media/cache/8b/a8/8ba87f4f1d7944d7df31dd9f31782440.jpg)
The Queen's visit by Ivy Fife
This article first appeared as 'Hello and goodbye' in The Press on 5 October 2012.
Collection
![69 Worcester Street](/media/cache/25/78/2578d164b79ad42e325c727c6894500c.jpg)
Ivy Fife 69 Worcester Street
Ivy Fife directs the eye towards the red brick building, designed by local architect Cecil Wood and completed in 1928, home to Digby’s Commercial College in Worcester Street. Fife’s vantage point is her own rental accommodation in St Elmo Courts, a 1930-built apartment block that stood on the corner of Hereford and Montreal Streets until the 2010–11 earthquakes, opposite the old Canterbury College where she was a lecturer at the School of Art. Below, archetypal inner-city flats form a scruffy barricade between the refined Georgian-revival secretarial college and her elevated apartment.
(From Here on the Ground, 18 May – 17 November 2024)
Collection
![Reflection](/media/cache/f0/7f/f07fdd6636bc0759dd0bb5ff80a64fe6.jpg)
William Dunning Reflection
Capturing a time and place that remains familiar for many, William Dunning’s photorealistic painting of Christchurch’s Cathedral Square pictures the window-reflected Regent Theatre and southeast corner of the 1960s modernist Government Life Building. Both were demolished after the 2010–11 earthquakes, as was the building in which they were mirrored.
Dunning is a Christchurch artist for whom local history is an ongoing concern. Reflection is a significant early work, and was presented by the artist in 2011.
(Above ground, 2015)
Collection
![Some thing, for example](/media/cache/4a/33/4a339d86f16b198fc0d1518c20134aa1.jpg)
Julia Morison Some thing, for example
Julia Morison’s 'Some thing, for example' is like a broken life-support system for the waiting, blob-like entity which, although securely caged, seems more traumatised than dangerous, and without anybody to administer aid.
Like all who experienced the 2010–11 earthquakes in Canterbury, Morison, living near the edge of Christchurch’s cordoned ‘red zone’, was delivered a frequent heightened dose of adrenaline. With this, she encountered new aesthetic possibilities in found, discarded objects; sculptural media of a kind that the physical environment had never previously supplied. From a situation of dislocation and abandonment, she has created work of an unexpected material and formal beauty. (Above ground, 2015)
Collection
![Yertle](/media/cache/cb/94/cb94f8674f818b78d7f3814905e97d8f.jpg)
Glen Hayward Yertle
Glen Hayward’s towering Yertle had its origins in a collection of twenty-eight abandoned paint tins he spied in a back-of-house Christchurch Art Gallery storeroom, containing the residue of wall colours from past exhibitions. Meticulously recreating these tins out of wood, Hayward then painted his carved replicas, faithfully reproducing every smear and drip of forgotten paint.
Stacked up like its namesake, Dr Seuss’s vainglorious turtle king, Hayward's Yertle is a feat of painstaking fearlessness. (Above ground, 2015)
Collection
![Christchurch NZ 1923. No.1 (View of Christchurch City from the Cathedral Tower)](/media/cache/1a/42/1a42935026f5eed1c47e82c57ea3f75d.jpg)
Robert Percy Moore Christchurch NZ 1923. No.1 (View of Christchurch City from the Cathedral Tower)
R. P. Moore ascends the cathedral’s spire to put his swivelling Cirkut camera to its familiar task. Up the narrow spiral stone staircase, a breezy ladder, past the bells, he reaches the balcony with its clear view facing west. A heavy morning frost means it is cold; the coal smoke of home and office fires lend partial soft-focus to the view.
The Square below has a single horse carriage and thirteen motorcars neatly parked. A tram beside the Clarendon Hotel curves right towards the Square. Tram tracks cut sweeping lines in the frost. None below have noticed the elevated cameraman, who turns the switch. it's five past nine as the camera begins its mechanical roll.
(Above ground, 2015)
Collection
![What you bring with you to work](/media/cache/3c/a9/3ca9610d2c06240b6a8d485034d387eb.jpg)
Fiona Connor What you bring with you to work
Fiona Connor is known for subtle interventions that invite us to consider how we use and inhabit different spaces. This domestic window (one of nine in a larger series) occupies both actual and imagined territory. Embedded directly into the wall, it allows rare and disconcerting access to the Gallery’s underlying structure. Fiona’s windows are also meticulously reconstructed replicas, based on the real-life bedroom windows of gallery attendants from the Australian Centre for Contemporary Art, Melbourne, where the work was first shown. The memory of their dreams and imaginings complicates our view, as the personal oozes into the institutional.
(Perilous: Unheard Stories from the Collection, 6 August 2022- 21 July 2024)
Article
![De-Building](/media/cache/00/f1/00f16bf66c5db2fd52a2f1af84897900.jpg)
De-Building
For many passers-by, Christchurch art Gallery is identified by its dramatic glass façade—the public face it presents to the world. but De-Building is an exhibition that offers a very different view. bringing together the work of fourteen artists from new Zealand and farther afield, this group exhibition draws inspiration from the working spaces gallery-goers seldom see: the workshops, loading bays and back corridors; the scruffy, half-defined zones.
Collection
![Royal Visit](/media/cache/8e/65/8e65849e3655971584c1861e3191a754.jpg)
Ivy Fife Royal Visit
A youthful Queen Elizabeth II became the first reigning British sovereign to visit Ōtautahi Christchurch, efficiently arriving (from Te Tai Poutini / the West Coast via Otira and Darfield) at the city railway station with Prince Philip, Duke of Edinburgh, at exactly 5.45pm, Monday 18 January 1954. The moment inspired a unique response from local artist Ivy Fife, whose deft, expressive mark-making captured something of its excitement and energy. Pictured in warm evening light beneath the distant Port Hills and pitched roofs of the Gothic railway station, a somewhat chaotic scene is held together through strength of colour, composition and brushwork.
(From Here on the Ground, 18 May – 17 November 2024)
Collection
![View Of Cathedral Square From Hereford Street](/media/cache/8b/71/8b71899d8896acf0e6f74582df362aaa.jpg)
James Fitzgerald View Of Cathedral Square From Hereford Street
Edinburgh-born commercial artist James Fitzgerald exhibited this meticulously rendered view of Cathedral Square in Ōtautahi Christchurch alongside another titled A Corner in the Square. The two paintings were described as “large street scenes, very bright and almost photographic in quality”. One reviewer found their “frank realism … notable” but also expressed the wish “that an artist of such ability had employed his imagination to greater advantage”. This work, however, was published by several Te Ika-a-Maui / North Island newspapers alongside the heading “Fidelity in Painting”. When shown again at the Otago Society of Arts in November, a reviewer deemed this one the less successful, being “not so well handled, and considerably overstated in colour passages”. Putting vintage quibbles aside, Summer Evening in the City may be recognised as something rare, recording a now unrecognisable view from High Street into Cathedral Square, on a balmy 1930s evening in raking summer light.
(From Here on the Ground, 18 May – 17 November 2024)
Collection
![Factory At Widnes](/media/cache/d3/a6/d3a63620142d2cc66df037c17e95c916.jpg)
L S Lowry Factory At Widnes
L. S. Lowry’s best-known paintings present rhythmic crowds of ‘matchstick figures’ spilling across tightly constructed northern English industrial and urban landscapes. The sparser setting of Factory at Widnes presents one of Britain’s grimmest environments, a birthplace of the chemical industry. Some have interpreted the trio of strolling bowler-hatted figures as factory managers, others as perhaps visiting comics – Charlie Chaplin and transatlantic duo Stan Laurel and Oliver Hardy were still in the public eye when this was painted, and two of the three had performed in Widnes. Lowry had developed his own uniquely comical outlook over forty-two years while treading the streets of Manchester as a rent collector with the same company, from which he retired on full pension in 1952. This part of his story was long kept hidden from an admiring public.
(Leaving for Work 2 October 2021 - 1 May 2022)
Collection
![The Drawbridge, Plate VII (second state) from the series Invenzioni Capric di Carceri](/media/cache/a7/39/a7398da963d3c2f942a82fa04a011800.jpg)
Giovanni Battista Piranesi The Drawbridge, Plate VII (second state) from the series Invenzioni Capric di Carceri
Giovanni Battista Piranesi’s The Drawbridge is one of sixteen plates from a folio of prints depicting imaginary prisons that has repeatedly haunted and inspired writers, artists and architects for over two and a half centuries. Three of Piranesi’s Carceri engravings, for example, were included in Alfred H. Barr’s exhibition Fantastic Art, Dada, Surrealism at the Museum of Modern Art in New York in 1936.
First issued in 1749–50, but attracting little attention to begin with, the series was republished with heavily reworked plates in 1761, yielding darker, more detailed and more resolved prints that brought an attendant increase to their public reception and acclaim. (Above ground, 2015)
Collection
![Veduta della Gran Curia Innocenziana](/media/cache/7c/46/7c464dcd58cfedbf27c8e10b1547879c.jpg)
Giovanni Battista Piranesi Veduta della Gran Curia Innocenziana
Giovanni Battista Piranesi, son of a Venetian stone- mason and master builder, trained in architecture and stage design before moving to Rome and training there as an engraver. Producing many picturesque Grand Tour views of Rome, he was hugely influential on the classical revival in European architecture. In Rome in 1755 he befriended the visiting architect Robert Adam, who praised Piranesi in a letter to his brother in London:
'[S]o amazing and ingenious fancies as he has produced in the different plans of the Temples, Baths and Palaces and other buildings I never saw and are the greatest fund for inspiring and instilling invention in any lover of architecture that can be imagined.'
(Above ground, 2015)
Collection
![Private Lodgings](/media/cache/58/a5/58a5466afa82808a59db89a097523fad.jpg)
Bill Sutton Private Lodgings
Bill Sutton’s Private Lodgings captures a sense of the history of a notorious Ōtautahi Christchurch boarding house, the Manchester Private Hotel. This hundred-room, three-storeyed timber boarding house on the corner of Manchester and Southwark Streets had fallen into disrepair. The hotel’s address appears frequently in newspaper reports, starting with repeated requests for replacement porters and kitchen staff. Next to these were frequent court reports documenting varied misdemeanours, its occupants including bankrupts, petty criminals, arsonists, thieves, trespassers, vagrants and one murderer. Further reports spoke of damage from frequent room fires as well as unchecked borer, dry rot and rats, and the late discovery that it operated without a license, leading ultimately to its demolition in 1963.
(From Here on the Ground, 18 May – 17 November 2024)
Collection
![House and School](/media/cache/74/9b/749b3b09abe8442d962ca295a7bf0fc2.jpg)
Ronnie van Hout House and School
Ronnie van Hout’s installation recreates his childhood home in Aranui, a suburb of eastern Christchurch, and his primary school in nearby Wainoni. A looped video replays his daily bike ride between the two locations. Together, these elements present the story of van Hout’s beginnings.
Familiar architectural structures, however, are taken beyond the ordinary by the presence of a hovering, makeshift UFO, whose surveillance results appear on a nearby monitor. Can we read this as a picture of suburban childhood experience as an alien might see it, or as the artist’s memorial to the need for imaginative survival and escape?
(Above ground, 2015)
Collection
![Manchester Street, Christchurch](/media/cache/1a/c1/1ac11bd5b1d17529471f7191c5ae8d75.jpg)
Louise Henderson Manchester Street, Christchurch
Paris-born Louise Henderson’s subtle architectural study cleverly frames a section of Manchester Street east of Cathedral Square in Ōtautahi Christchurch – a streetscape largely intact until the 2010–11 earthquakes. Her vantage point was the seven-storey New Zealand Express Company Building in Manchester Street (later known as Manchester Courts, and demolished after the earthquakes). The location of Henderson’s studio at this time is unknown, but it is tempting to speculate that this was the work she exhibited in 1933, titled View from Studio Window.
(From Here on the Ground, 18 May – 17 November 2024)
Collection
![Addington Workshops](/media/cache/93/87/938789d0f4fc59c40edb1b2a9b7a3f90.jpg)
Louise Henderson Addington Workshops
Louise Henderson was a Paris-born interior and embroidery designer who moved to Ōtautahi Christchurch in 1925. In her earliest paintings, from 1933 on, she was regularly drawn to urban and industrial subject matter such as city streets, brickworks and rock quarries. She became a key figure in local art circles, including as part of The Group, and influential in the development of a Canterbury landscape painting style. The Addington Railway Workshops opened in Christchurch in 1879 and closed in 1990, at its height employing over a thousand people. In its depiction of workers assembling locally produced locomotives, Henderson’s fascinating composition reflects something of her left-leaning political interests through the 1930s and 1940s.
(From Here on the Ground, 18 May – 17 November 2024)
Collection
![The Lighted Pillar](/media/cache/36/ca/36ca6853ed2a1de7d3fe934d3b0efd22.jpg)
James Fitzgerald The Lighted Pillar
Christ Church Cathedral, a defining symbol of this city since its consecration in 1881, was designed by the English architect George Gilbert Scott, with input from the local supervising architect Benjamin Mountfort. In its present earthquake-damaged state it represents a significant challenge for this city’s church, civic and cultural leaders.
James Fitzgerald and the younger John Mills Thomasson were both British-born commercial artists who settled in Christchurch: Fitzgerald in 1923, after twenty years in Auckland, and Thomasson after serving in Mesopotamia (Iraq) during World War I. Both produced etchings of local Christchurch views and exhibited with the Canterbury Society of Arts.
(Above ground, 2015)
Collection
![Industrial Area](/media/cache/de/13/de1387bb975fb522e292ca202866daf2.jpg)
Archibald Nicoll Industrial Area
Ōtautahi Christchurch-based Archibald Nicoll found good, paintable material not far from his Cambridge Terrace studio in the lines of warehouses, factories and cars on Tuam Street. Industrial Area sold quickly when exhibited at the New Zealand Academy of Fine Arts in Te Whanganui-a-Tara Wellington in 1941, and supports his reputation as a leader in what became known as the Canterbury School of painting. Nicoll created a captivating work through practised painterly skill and a subtle palette, convincingly portraying the scene in long shadow and low winter light.
(From Here on the Ground, 18 May – 17 November 2024)
Notes
Factory at Widnes by L.S. Lowry
This article first appeared in The Press on 13 October 2004
Laurence Stephen Lowry painted Factory at Widnes in 1956, at which time he was Britain's most famous living painter. Lowry's fame increased in that year as he became the subject of a BBC television documentary, though his work had already been popular in British homes and schools as reproductions since the end of the war. If appreciation for his individualistic painting style was widespread, there was also fascination with L.S. Lowry the artist, who had projected in the press the image of a lonely recluse.