Pip Culbert
b.1938, d.2016
Pup Tent
- Purchased 2013
- canvas, metal, rope
- 2400 x 3650mm
- 2013/080
- 1999
Location: Arcade
Tags: line drawings (drawings), perspective (technique), tents (portable buildings)
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)


Above Ground, 18 December 2015 – 12 February 2017
The tent, one of the most basic architectural structures, is also a symbol for temporary shelter and a metaphor for the body. Pip Culbert has investigated its essential form by removing everything but the reinforced stitching, laying out its structure like an isometric plan. The tent is denied perspective but retains a spatial sense.
Culbert was a British artist based in France who graduated from the Royal College of Art in London in the early 1960s. Culbert showed her work extensively in solo and group shows internationally, and first exhibited in this country in 1993.
Christchurch Art Gallery acknowledges with sadness the recent passing of Pip Culbert.
Shifting lines, 9 November 2013 – 19 January 2014
Pinned to the wall, Pip Culbert’s diagrammatic tent projects like an isometric plan, denied perspective but retaining a spatial sense. Pip Culbert works with found objects made of cloth, which have included shirts, tarpaulins, flags, pockets, surf sails, trousers, quilts, ties, bags, ironing boards, upholstery, parachutes, aprons and even handkerchiefs. Her technique involves cutting away to remove everything but the bones – the essential, strengthened lines of stitching. In effect drawing by subtraction, this is also drawing in the sense of rendering three-dimensional objects two-dimensional.
Born in 1938, Pip Culbert is a British artist based in France, who graduated from the Royal College of Art in London in the early 1960s. She has shown extensively in solo and group shows internationally, first exhibiting in New Zealand in 1993.
Related reading: Above Ground, Te Wheke
Commentary

Temples for Curious Minds
I want to tell you a story. A ‘curiodyssey’ (which by the way, I thought I’d made up but is the name of an actual museum in California). So, a curiodyssey of happy places, told through the science of wellbeing.
Commentary

Identities of Journey and Return
It was the novelty of seeing white people rendered by a Japanese artist that tickled me when I first saw Utagawa Sadahide’s woodblock prints of foreigners in Yokohama in the 1860s. There’s something slightly clumsy about the Westerners’ exaggerated noses and the forced rounding of their eyes. You can sense, in these images, the artist’s struggle to detach himself from the conventions of Japanese art and beauty; his lines waver here, unlike his assertive depictions of long, flat Japanese faces in earlier prints.
Commentary

Where in the World? Placing New Zealand in the Pacific
“It is a strange fact that New Zealand can be literally all at sea in the Pacific Ocean, and yet pay that ocean, and neighbours and relations within it, so little attention.”
— Damon Salesa, Sāmoan historian
“… this small and very British country is producing some honest and lively artists whose eyes open upon a land not at all like England, but whose minds are formed in the living tradition of Western culture.”
— Helen Hitchings, New Zealand gallerist
Commentary

The Seas are Rising: So Are We
In Te Ao Māori the whakataukī “He toka tū moana” pays homage to the rock that withstands the sea as a metaphor for human strength in our cultural or political beliefs, whatever may come. But while the rock is steadfast, the octopus Te Wheke is a shape-shifter, canny and malleable.
Commentary

Te Wheke: Pathways Across Oceania
Every few years, the curatorial team at Christchurch Art Gallery Te Puna o Waiwhetū embarks on a major rehang of the first-floor collection area. It’s no small undertaking finding fresh ways to combine long-held, well-known works and new acquisitions, looking for combinations that will offer compelling viewing, immersive storytelling and intellectual engagement to our wide and evolving visitor base. This time, director Blair Jackson added another dimension to our task, challenging us to reimagine the physical orientation of the spaces to encourage visitors to interact with the architecture in a completely different way.
Notes

Massive wall painting marks opening of Te Wheke at Christchurch Art Gallery
A 36-metre painting by artist Kelcy Taratoa is part of a new exhibition opening at Christchurch Art Gallery Te Puna o Waiwhetū on Saturday.
Exhibition
Kelcy Taratoa: Te Tāhū o ngā Maunga Tūmatakahuki
A vast painting by Kelcy Taratoa about how we are bound together.
Notes

Te Wheke celebrates Ōtautahi Christchurch’s place in the Pacific
An immersive exhibition that explores art through our connections with the Pacific will be unveiled at Christchurch Art Gallery Te Puna o Waiwhetū on 30 May.
Notes

He Ara / Pathways
Aotearoa New Zealand is part of a submerged Pacific continent, which broke away from the Gondwana supercontinent millions of years ago to create two major islands – Te Ika a Māui / the North Island and Te Waipounamu / the South Island.
Notes

Te Wheke: Pathways Across Oceania
Welcome – nau mai haere mai. Kei Te Ararau o Tangaroa / Pathways Across Oceania is an attempt to understand the Gallery’s collection from the perspective of our place in Te Moana-nui-a-Kiwa, the Pacific Ocean. Full of stories of migration, connection and belonging, this huge new exhibition reflects the connections and tensions that shape our past, present and future.
Notes

Puta Noa I Te Ao / In the World
Artists from Aotearoa New Zealand are often well-travelled. Feeling the distance of Aotearoa from the world’s centres of art, they have often been drawn overseas to study and work, contributing to the art history of their adopted countries as well as this one.
Notes

Hawaiki Tautau Atu, Hawaiki Tautau Mai / A Distance Draws Near
Hawaiki is the ancient homeland of Polynesian people who navigated the seas in double-hulled waka from Rarotonga, Tahiti and Ra’iātea to the islands of the Pacific Ocean, including Aotearoa New Zealand.
Notes

Ko Enei Tauira Ataahua / These Beautiful Patterns
From a present-day perspective, the appropriation of customary Māori art forms and practice by Pākehā artists can be disconcerting, a more-than-awkward crossing of cultural lines.
Notes

He Toka Tū Moana
The Māori whakataukī or proverb “He toka tū moana” uses the image of a rock that stands firmly in the ocean to describe someone steadfast and strong in their culture or beliefs, who defies all opposition.
Notes

Ātea
In te ao Māori, the state of a space when cleared of obstruction is called ātea. This concept was brought to Aotearoa New Zealand from the islands of Te Moana-nui-a-Kiwa / the Pacific Ocean by Polynesian ancestors.
Notes

I Tawhiti Ra Ano / From Distant Shores
The islands of Te Moana-nui-a-Kiwa / the Pacific were settled by remarkable ocean voyagers over many thousands of years. Aotearoa New Zealand was peopled through major waves of migration from the 1200s and later the mid-1800s. The seas of Oceania are like vast pathways; ever-present reminders of distant shores.
Notes

Kanohi Ki Te Kanohi / Face To Face
In te ao Māori, portraiture can encompass rangatiratanga (stewardship), whanaungatanga (kinship or connectedness), manaakitanga (kindness towards others) and whakapapa (ancestral genealogy). A sense of wairua (the spirit of a person) also resonates within these treasured portraits.
Notes

Paerangi / The Fold in the Sky
The connection between land and sky is important in te ao Māori. In Māori creation, Papatūānuku (the earth mother) was separated from Ranginui (the sky father) by their children, creating Te Ao Mārama, the world of light.
Director's Foreword

Director’s Foreword
Welcome to the autumn issue of Bulletin. Here at the Gallery, we’re about to move into a major changeover as we rehang our upstairs collection galleries. When they reopen again on 10 April, the whole space will have been given over to a major new exhibition.
Collection

George Albert Steel, Elizabeth Pulman King Tāwhiao Tukaroto Matutaera Pōtatau Te Wherowhero (Ngāti Mahuta, Tainui)
Tāwhiao, the second Māori king, visited Elizabeth Pulman’s Photographic Rooms in Tāmakimakaurau / Auckland in January 1882 as part of a grand tour of the city to mark the end of his rule in Te Rohe Pōtae or ‘the King Country’ – a seventeen-year-long resistance by Waikato-Tainui peoples to colonisation. Having admired an impressive collection of portraits of other rangatira (chiefs), Tāwhiao returned a few days later to choose several for himself. At this visit, Tāwhiao also arranged to return in a few days for his own sitting. The result was this impressive portrait by George Steel, Pulman’s principal photographer.
Collection

Robin White, Ruha Fifita We are the Small Axe
The title of this tapa is a line from The Wailers’ song ‘Small Axe’. The artists use it to refer to struggles against colonial control in the Pacific, in particular Éloi Machoro, a leader of the Kanak pro-independence movement FLNKS, who smashed a ballot box with an axe in protest against the French territorial election in New Caledonia in 1984. Robin White and Ruha Fifita have collaborated on several tapa. White says, “We have created a hybrid artwork that integrates ancestral patterns and traditional design with contemporary imagery and pictorial narrative. The past is an anchor, a marker by which you can navigate forward.”Navigation is one of the themes in this work – the central shape is reminiscent of a vaka (canoe) filled with traditional and contemporary imagery being guided through the ocean by tuna (longfin eels) and fish. Tuna in particular are renowned for their extraordinary migratory journey from Aotearoa New Zealand to Tonga along the Kermadec Trench, locations that connect these two artists.
(Te Wheke, 2020)
Collection

John Henry Menzies Stanford Family Pātaka Cabinet
John Henry Menzies first took up woodcarving as a youth in Lancashire, England. He immigrated to Aotearoa New Zealand aged twenty-one in 1860, and began farming on Te Pātaka o Rākaihautū / Banks Peninsula in 1877. Menzies’ interest in Māori art began in about 1882. He is unlikely to have encountered whakairo (carving) and kōwhaiwhai (rafter patterns) as living traditions until visiting Ōhinemutu in Rotorua five years later. Captivated by what he felt were endangered art forms, he filled two of three houses he built at Kiri-kiri-wairea / McIntosh Bay (later Menzies Bay) and a church at Little Akaloa with extraordinary Māori-inspired furniture and decoration. His most spectacular pieces were made for family members – this highly decorative pātaka cabinet was made for his daughter Charlotte and her husband Edwin Stanford.
(Te Wheke, 2020)
Collection

John Pule Not of This Time (Dreamland)
“The sky is second only to the sea as a mass that fills my imagination with awe.” —John Pule
John Pule was born in Niue and at a young age moved with his parents to Tāmakimakaurau / Auckland. He returned to his home country as an artist, poet and writer in 1991. Inventive in his adaptation of traditional art forms, Pule’s work considers Pacific and migrant cultures, often provocatively. In this work, the blue clouds may also be islands. He says:Blue is associated with travel, knowledge, family and scenes from the Bible, but mostly the blue is the Pacific. The Pacific collects and shares all that we know about ourselves. In that period of cloud paintings I incorporated Niue creation stories, islands, the ocean (especially crossing the Pacific going to Niue or from elsewhere to Aotearoa).
(Te Wheke, 2020)
Exhibition
Te Wheke: Pathways Across Oceania
Experience the Gallery’s collection from the perspective of our place in Te Moana-nui-a-Kiwa, the Pacific Ocean.
Collection

Neil Pardington Te Whare o Rangiora (Chair)
Neil Pardington photographed this chair in a long-abandoned psychiatric hospital in Porirua while he was looking for locations for a short film. This is one of a number of photographs the artist has taken capturing strange and soulless places in which personal and significant life events are processed. In this image, time stands still and you can sense the institutional boredom, confinement and frustration pressing in. Pardington likened the kōwhaiwhai patterns drawn in marker pen on the chair arms to “a cry for help from within an asylum with no spiritual hope of any kind”. However, they could also be read as a wilful insertion of cultural values and meaning, a defiant visual protest against the banal hospital interior.
(Te Wheke, 2020)
Collection

Ani O'Neill 'etu iti
“Though people may not see my work as political – it is. I want to re-ignite something inside the viewer that they may have forgotten existed; the ‘Pacific Island way’ of creating the world.” —Ani O’Neill In Cook Islands Māori, 'etu iti means ‘little stars’. This work was inspired by sacred objects from Oceania that are usually never seen or touched: bundles of fine sticks bound with feathers collected from Hawai'i long ago and now held in the Museum of Archaeology and Anthropology in Cambridge, England. It was created for an exhibition in which artists responded to the museum’s collections. Interested in “passing on the flame to light new paths”, Ani O’Neill worked with the help of local school children. She often works collaboratively, empowering people through art making. Through this process she upholds Polynesian values, using her work to foster a sense of community rather than elitism. She also chooses everyday materials, and by elevating their status she challenges the western hierarchy of materials and art forms.
(Te Wheke, 2020)
Collection

Angela Tiatia Lick
With Lick, Angela Tiatia presents a balancing act between resistance and vulnerability. Filmed in Tuvalu, a South Pacific nation endangered by rising sea levels because of global warming, it shows how environmental, political and cultural issues can intersect.Because of the actions (and inaction) of much larger nations, Tuvaluans face losing their homeland and irreplaceable aspects of their culture within the next fifty years. As Tiatia fights to hold her position on a small piece of coral, we glimpse her malu – a traditional leg tattoo and adornment specific to Samoan women – through the shifting water. Associated with cultural responsibilities, sheltering and protection, the malu emphasises both Tiatia’s Oceanic heritage and the need to protect its people and their way of life.
(Te Wheke, 2020)
Collection

Lisa Reihana Sex Trade, Gift for Banks, Dancing Lovers, Sextant Lesson (18550) (19205)
In 2008 Lisa Reihana was visiting Sydney where, by chance, she saw an exhibition of a French neo-classical wallpaper that had been printed almost exactly two hundred years earlier, Les Sauvages de la Mer Pacifique (savages of the Pacific Ocean). It depicted the explorations of Captain James Cook in twenty panels. The exhibition label, recalled Reihana, “said how it was about the people of the Pacific. I could not see it. I thought that the piece itself was a marvel, but I just couldn’t see the Pacific in it at all.”Inspired by Les Sauvages, in 2015 Reihana made In Pursuit of Venus [infected], a 26-metre panoramic video in which vignettes of Pasifika, Aboriginal, Pākehā and Māori characters are superimposed over the idyllic Pacific landscapes imagined two centuries ago on the other side of the world. Reihana’s narratives of sexual violence, trade, dance, exploration, misunderstandings, conflict and violent incidents challenge colonial stereotypes, giving agency to indigenous peoples and adding nuance to colonial histories. “I hope that as a viewer you’re always trying to work out what exactly is going on in this work”, says Reihana. “Just like these historical figures would have. When you suddenly meet new people and new things are happening, you have to decipher and make sense of the world yourself. There will always be lots of misunderstanding – layers of misunderstanding.” This work is a panoramic photographic print derived from In Pursuit of Venus [infected]. It combines different interactions between English sailors and Pasifika peoples. While Cook’s botanist Joseph Banks – who gave his name to Banks Peninsula – takes a chief’s wife to his tent, two sailors approach some seated Tahitian women. One of the sailors coughs and spits blood on the ground. They smile and hold up two spike nails as a suggested trade...
(We do this, 12 May 2018 - 26 May 2019)
Collection

Yuki Kihara After Tsunami Galu Afi, Lalomanu (2013)
Dressed in Victorian black, Salome laments the impact of colonial histories on Samoan life and culture. A persona developed by Yuki Kihara, she is like a spectre or apparition, created in response to past events.These works are part of a series in which Salome pays witness to Samoa in the aftermath of 2012’s Cyclone Evan. In each work, Salome is positioned with her back or profile to the viewer, guiding our gaze towards landscape, environment, monuments and architecture – opening a space for us to enter. We are Salome’s guests, but she controls our gaze. We are not witness to people in states of shock or trauma, nor are we invited to view panoramas of devastation. Instead she performs in a quiet way, slowing things down and letting the juxtaposition between the dress, the landscape and architecture fill each image with a complex range of senses, ideas and emotions.
(Te Wheke, 2020)
Collection

Charles Frederick Goldie Study from Life or One of the Old School, Wiremu Watene Tautari (Ngāti Whātua)
Wiremu Watene Tautari was one of Charles Goldie’s earliest Māori portrait sitters – according to his descendants he met Goldie through the timber shipping business. Tautari was a merchant who ran a substantial kauri trade between the upper Waitematā Harbour and the timber mills of Tāmakimakaurau / Auckland, including one at Commercial Bay operated by the artist’s father, David Goldie, who was also the city’s mayor at the time. As a small boy, Tautari was present in 1841 when Ngāti Whātua gave the Crown the land that would become central Auckland. When almost complete loss of lands followed, he was active throughout his long life in campaigning for the return of Ngāti Whātua rights and land.
(Te Wheke, 2020)
Collection
![Untitled [T & G Mural]](/media/cache/7c/ad/7cade8a243d62c090a2a3fec60442ac6.jpg)
Russell Clark Untitled [T & G Mural]
Russell Clark’s spectacular composite mural, a modernist architectural relic, was created to decorate the foyer of the (now demolished) T & G Insurance Building in Ōtautahi / Christchurch. It was one of many murals by Clark, who was a painter, sculptor, illustrator and art school university lecturer. Against a variegated green background, juxtaposed raised amorphous and geometric shapes resemble fish, fishhooks and whakairo (carving) motifs. Clark has also used pieces of domestic crockery to make ceramic mosaics. Completing the arrangement are hand-worked amoeba-like forms in copper, pewter and brass. This mural reveals Clark’s active engagement with Pacific forms and his keen sense of the contemporary moderne architectural moment.
(Te Wheke, 2020)
Commentary

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
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.
Collection

Shane Cotton The Haymaker Series I–V
Haymaker suggests the act of making at the right moment in time. It’s also a boxing term for a powerful punch. In this massive, psychedelic, sci-fi-like painting, Shane Cotton has gathered together signs, symbols and references with elements from past paintings and unloaded them into the ether of te pito o te ao, the centre of the Māori universe. Time, power, Māori culture and tradition, semiotics and art history all play out across these five panels.The carved wooden figure shown in the first panel is Arnold Manaaki Wilson’s 1956 'He Tangata, He Tangata', Cotton’s homage to this pioneering Māori artist he respected greatly. The final panel of the work is titled Staging Post, and suggests a moment for taking account and preparing to set forth again. Here Cotton acknowledges two contemporary Māori artists, both of whom feature in Te Wheke – Peter Robinson (the chain) and Michael Parekowhai (the doe).
(Te Wheke, 2020)
Notes

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
For many years, the piercing whistle of the railway workshops off Blenheim Road was Addington's alarm clock.
Article

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

Andrew Drummond Rotated Sample 3
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)
Notes

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
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
This article first appeared as 'Hello and goodbye' in The Press on 5 October 2012.
Collection

Michael Parekowhai Poorman, Beggarman, Thief (Poorman)
“The thing about identity – it’s much more complicated than just being Māori or just being this or just being that.” — Michael Parekowhai
The title of this work recalls the old children’s rhyme that lists tinker, tailor, soldier, sailor, rich man, poor man, beggar man, thief. Chanted to suggest careers for boys, or who a girl might marry, the song removes all self-determination. The implication here is that for Māori the options are limited. Modelled on the artist’s father, Poorman’s suave appearance is undercut by the name badge reading “Hello my name is Hori” – a transliteration of George (Parekowhai’s father’s name), but also a common racist term for Māori. Parekowhai says, “I make objects that set a scene or present a stage on which other things can happen, on which the real art can take place.” Poorman operates on many levels – its visual appeal is quickly replaced by discomfort as we realise we might be looking at the subject of racism dressed up in a dinner suit.
(Te Wheke, 2020)
Collection

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

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

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

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

Fiona Connor What you bring with you to work
In 2010, the ex-Auckland, Los Angeles-based Fiona Connor produced nine precise replicas of the bedroom windows of a group of art gallery attendants. Connor’s flexible installation plan sees these replica windows fitted into cavities in a building’s walls, allowing views into the fabric of its hidden structure.
'What you bring with you to work' tests out various ideas, implicit in its title, including the imprint of a person's home environment, and the meeting of private and public space. In a local, post-earthquake context, Connor's window structures may gather a different set of associations. (Above ground, 2015)
Article

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
Fiona Pardington Portrait of a Life-cast, possibly of ‘Taha-tahala’ [possibly Takatahara], Aotearoa New Zealand
Across her career, Fiona Pardington has a history of working with found objects. This portrait acts to reclaim an image believed to be of her ancestor, Takatahara from Te Pātaka o Rākaihautū / Banks Peninsula. The subject was introduced to the plaster-cast technique of naturalist and phrenologist Pierre Marie Alexandre Dumoutier at Ōtakou during one of his visits to Aotearoa in the early 1800s. Often mistaken for death masks, life-casts were in fact made with the subject’s participation. Takatahara was known as a robust toa (warrior) who fought in, and lived well past, the battle with Te Rauparaha at Ōnawe pā (fortified village).
(Te Wheke, 2020)
Collection

Charles Frederick Goldie Ina te Papatahi, a Ngāpuhi Chieftainess (Te Ngahengahe, Ngāpuhi)
Ina te Papatahi lived at the Waipapa Māori hostel in Mechanics Bay, Tāmakimakaurau / Auckland, not far from Charles Goldie’s Hobson Street studio. She sat for him many times, the first time in 1902. The niece of prominent Ngāpuhi rangatira (chiefs) Eruera Maihi Patuone and Tāmati Waka Nene, both signatories of the 1840 Treaty of Waitangi, she was well-connected and introduced Goldie to many other Māori who agreed to sit for him. Ina te Papatahi was later remembered by Goldie’s friend, the writer and historian James Cowan, for her “very likeable nature”, “keen sense of humour” and the “great interest [she took] in the painting of her portrait”.
(Te Wheke, 2020)
Collection

Colin S. Lovell-Smith The Destruction Of O-tu-matu Goose Bay
With the arrival of the motorcar, Otama-a-kura / Goose Bay (south of Kaikōura) became a popular camping spot for summer visitors. Christchurch-born couple Colin and Rata Lovell-Smith stayed there regularly throughout the 1930s, joining the throng heading north each season to camp, fish and relax – and, for these two, to paint. The results of Colin’s labours include a pared back evening coastal scene at Haumuri Point; and this painterly record of civil engineering works disturbing the usually tranquil Otumatu (near Goose Bay) during the completion of the Main Trunk Line in 1939.
(Te Wheke, 2020)
Collection

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

Louise Henderson Manchester Street, Christchurch
Arriving in Christchurch from Paris in 1925, Henderson immediately started painting her new environment. The works that have survived from her first few years in this country reveal a young artist determinedly working her way through problems in painting – structure, form, light and colour. Manchester Street, Christchurch is painted from the rooftop of an adjacent building, and is an accomplished study in tone and architectural perspective. “As a young painter I would paint forms for about a year, then change to a different type of form,” she said. “I wanted to clarify certain points in my own production.”
(Louise Henderson: From Life, 27 June – 11 October 2020)
Collection

Bill Sutton Private Lodgings
Prominent Christchurch painter Bill Sutton was an influential teacher from 1949 to 1979 at the University of Canterbury School of Fine Arts. Sutton has chosen here a restricted palette – ochre, brown and black – to portray this aged wooden façade under streetlight glare, with a reflected neon glow of red.
The Manchester Private Hotel, already rundown when Sutton painted it in 1954, was a somewhat disreputable boarding house on the corner of Manchester and Southwark Streets on the outskirts of central Christchurch. Belonging to a series of paintings that Sutton made depicting old, inner city buildings, it conveys the imprint of memory and the local past.
(Above ground, 2015)
Collection

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

Buck Nin The Mamakus
For the exhibition Untitled #1050 (25 November 2017 – 14 October 2018) this work was displayed with the following label:
“Land is essential to the Māori people because it’s been used by the ancestors for centuries. I believe that during that time, of centuries past, there has been a spiritual content left in the land. This spiritual content infuses and gives soul to the land and in turn the land gives it back to us and humanises our soul because of our ancestors.”
In this painting Nin’s inspiration is the Mamaku Range lying just West of Rotorua. Landforms have been simplified while an abstract pattern based on the traditional prow and stern carvings of the famous 200 year old Māori war canoe, Te Winika, has been overlaid.
Nin said, “I’ve taken that whole aspect of the canoe prow and the stern post and looked at it and planted it on my painting so that you look through the lattice-work, as it were, into the land, through into the soul of the land.”
Studying art at Ilam Art School here in Christchurch during the 1960s, Nin emerged as a modernist painter interested in abstraction which he combined with Māori culture. His time at Ilam “opened the door for me to bridge the gap between the Pākehā world […] and the Māori world. My paintings are a synthesis of the bi-cultural situation that we have here in New Zealand.”
—Buck Nin, 1981
Collection

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

Ivy Fife Queen’s Visit
Many artists have depicted this city’s urban spaces, including Ivy Fife, who studied at the Canterbury College School of Art from 1920 to 1931 and taught there from 1936 until 1959.
Fife captured the clamour of Christchurch’s railway station on Moorhouse Avenue during the new Queen’s royal visit. Opened in 1877, the station had been a handsome structure, but by 1954 its Venetian gothic arches were under lean-to additions and its brick warmth covered in paint. Demolition came five years later; its replacement, a landmark modernist building, was itself demolished after the Christchurch earthquakes.
(Above ground, 2015)
Collection

Archibald Nicoll Industrial Area (Tuam Street, Christchurch)
Based on a view of Tuam Street on the outskirts of central Christchurch, some 500 metres from his studio in Cambridge Terrace, Archibald Nicoll’s Industrial Area was first exhibited in Wellington in 1941. While existing as a record of local urban landscape, it also effectively illustrates a comment made by Nicoll in 1923 that “a man became an artist because he suffered from the incurable complaint of making shapes and recording visual impressions”.
(Above ground, 2015)
Collection

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
Peter Robinson Mission Statement: First we take Island Bay then we take Berlin
Mission Statement was painted in a friend’s studio in Ōtautahi / Christchurch at a time when Peter Robinson was regularly travelling back and forth between Aotearoa New Zealand and Germany. Riffing off Leonard Cohen’s lyrics, he outlined a plan for geopolitical success as a contemporary artist: a campaign first to be waged in a suburb of Wellington, then in Berlin. When he first started exhibiting in Germany, he found that his work was in danger of being misread – or exoticised – because of its New Zealand cultural references. He made his own ambition to succeed in Europe the supposed focus of a body of work, casting himself as an enterprising tourist with a plan for world domination. Although it seems humorous, the real subject is cultural alienation and the difficulty of communication between people with different cultures and languages.
(Te Wheke, 2020)
Collection

Olivia Spencer Bower Hokianga
In 1948, Olivia Spencer Bower spent several months at Rawene in the Hokianga Harbour recovering from suspected rheumatic fever, and was reinvigorated by the setting: “I was excited by the spirit of the old fortified hills, the mixture of the old Maori culture with the new, the mangrove swamps, the remoteness of the place and the speedy accessibility to them by launch.” She painted at least five variations of this work.
(Te Wheke, 2020)
Collection

Margaret Stoddart Diamond Harbour
Margaret Stoddart was born in Te Waipapa / Diamond Harbour. Her father gave the harbour its English name after its sparkling waters, and commissioned the jetty’s construction in about 1857. Stoddart spent nine years in Europe studying, painting and exhibiting. When she returned home in 1906 she brought with her a skilful impressionist approach to her work. Stoddart was a prolific watercolourist who favoured coastal locations. At her first solo exhibition at the Canterbury Society of Arts in 1911, most of the fifty works shown had been painted near her family’s home at Diamond Harbour. However, as a reviewer for the Lyttelton Times noted, “New Brighton has received a share of attention, and perhaps it is shown at its best during a storm, gusts of wind howling across the Estuary, bending the tussock and grass on the beach.”
(Te Wheke, 2020)
Collection

James Fitzgerald View Of Cathedral Square From Hereford Street
James Fitzgerald moved from England to Auckland in 1903, and then twenty years later to Christchurch, where he established his own commercial art studio. His watercolour view captures Christchurch’s Cathedral Square at its most architecturally cohesive and complete. Many will remember the United Service Hotel at left, built in 1884–85, demolished 1990; fewer will recall the neoclassical Bank of New Zealand building at right, designed in 1866, demolished 1963. While it is possible to lament our general cultural attitude to architectural heritage, it is also difficult to imagine anything here, even if it had been protected, as capable of surviving the 2010-11 earthquakes that hit the city.
(Above ground, 2015)
Collection
![Rakapa, an Arawa Chieftainess: Rakapa Te Tira (Ngāti Te Takinga, Ngāti Pikiao, Te Arawa) [also known as Rakapa Manawa/Ngatatau/Rapana/Mitai]](/media/cache/7c/0d/7c0d36ca89f454a6d7d62cde00069c46.jpg)
Charles Frederick Goldie Rakapa, an Arawa Chieftainess: Rakapa Te Tira (Ngāti Te Takinga, Ngāti Pikiao, Te Arawa) [also known as Rakapa Manawa/Ngatatau/Rapana/Mitai]
Rakapa Te Tira (also known as Rakapa Manawa/Ngatatau/Rapana/Mitai) was a rangatira (chief) of Te Arawa who lived at Te Takinga marae at Mourea, on the eastern shores of Lake Rotorua. Charles Goldie painted Rakapa’s portrait at least six times between 1910 and 1918.
(Te Wheke, 2020)
Collection

L S Lowry Factory At Widnes
One of England’s most-loved painters, Laurence Lowry’s depictions of grimy, overpopulated urban and industrial environments were representations of the Lancashire region where he lived. His vision of industrial England saw his canvases filled with factories, tenements, steeples, smokestacks and, typically, rhythmic, spilling crowds. Factory at Widnes is one of Lowry’s least-populated industrial landscapes, and one of his tightest, most minimal compositions; an unexpectedly deserted space within his brimming tribute to the industrial north.
(New Dawn Fades, November 2018)
Collection

Michael Parekowhai Kiss The Baby Good-Bye (the maquette)
Appropriation—specifically, the use of indigenous cultural material by non-indigenous artists—was one of the critical issues of 1990s art in New Zealand, mirroring the other arguments about Māori land and property rights that were being waged in wider society. Michael Parekowhai’s monumental work Kiss the Baby Goodbye made a major contribution to that heated debate, when he reworked Gordon Walters’ painting Kahukura, completed in 1968—the year of Parekowhai’s own birth—as a sculpture in three dimensions, a giant kitset model ready to be snapped out and made up.
In the late 1980s and early 90s, Walters had been both vigorously attacked and fiercely defended for his earlier use of the pītau (fern frond) design taken from kōwhaiwhai panels in wharenui. Parekowhai’s Kiss the Baby Goodbye was an adaptation of Walters’ painting that both acknowledged the older artist’s work and asserted Māori ownership of its significant forms. It also brought the pītau design back from two dimensions into architectural space.
Christchurch Art Gallery’s work is a smaller version of Parekowhai’s original, made for his first major solo exhibition in 1994. Both sculptures share something not included in Walters’ painting: a final circle at the bottom right corner, which appears like a full stop. Parekowhai, it seemed, would have the last word.
(Your Hotel Brain 13 May 2017 - 8 July 2018)
Collection

Richard Aldworth Oliver The Māori Settlement, Purau Bay, Port Cooper
Richard Aldworth Oliver was commander of the British Navy’s HMS Fly in Aotearoa New Zealand in the service of Governor George Grey. Stationed here from 1847 until 1851, his duties included conveying Grey and his officers on missions to Māori settlements. He also made watercolour records of the places and people visited.In June 1848, aboard the Fly, Oliver was a witness to the signing of the shameful Kemp’s Deed, or Canterbury Purchase, which saw the iwi (tribe) Ngāi Tahu forced to accept two thousand pounds in exchange for nearly five and a half million hectares of land, leaving the iwi with a little over two and a half thousand hectares – less than 0.05 per cent. In December 1850, not far from the pictured settlement at Purau in Te Whakaraupō / Lyttelton Harbour, Oliver oversaw the arrival of the first Canterbury Association colonists.
(Te Wheke, 2020)
Collection

Olivia Spencer Bower Harbour, Akaroa
Olivia Spencer Bower was often drawn to coastal settings, and painted this lively composition at a moment when she was responding with fresh eyes to the Aotearoa New Zealand landscape.After two and a half years’ study and painting in England and Europe, returning at the end of 1931, she had successfully exhibited her European work. Turning now to the local environment, newspaper reviews at the time show she was soon noticed as “one of the younger generation […] whose art shows every possibility of developing into something distinctively New Zealand in character”; and for the “brilliance and verve and a feeling of assured spontaneity” of her work.
(Te Wheke, 2020)
Collection

Lonnie Hutchinson Sista7
From her studio window in the port town of Ōhinehou / Lyttelton, Lonnie Hutchinson could see the volcanic range commonly known as the Seven Sisters running along the back of Ōhinetahi / Governors Bay. A pivotal work in the artist’s career, Sista7 celebrates this evening vista and the sense of belonging she felt nestled in the rohe (territory) of Ngāti Wheke, the hapū (subtribe) based at nearby Rāpaki. The spiritual and cultural values of Hutchinson’s dual Samoan and Ngāi Tahu heritage are firmly embedded in her practice. Hand-cut in black builder’s paper, positive and negative elements recall the fundamentals of Polynesian and Māori design. The rhythm of folds and the elegant shadows cast by the motifs inspire a natural sense of wonder.
(Te Wheke, 2020)
The dimensions given here are for one of this work's seven individual parts. The spacing between each part, and thus the width of the entire work, can vary. In this image from the exhibition Te Puāwai o Ngāi Tahu (10 May – 24 August 2003), the parts are installed 300mm apart.
Collection

Louise Henderson Addington Workshops
Addington Workshops depicts a locomotive shed in the massive engineering workshops in Addington, Christchurch, where railway carriages and wagons were built for more than a century. This is one of the first paintings in which Henderson’s great skill as a colourist is evident. Its precise geometries and complicated arrangement of figures have something of the grandeur of nineteenth-century history painting. An ode to the dignity of work, the factory floor is clean and bright and the men’s overalls are immaculate. Aotearoa New Zealand has little tradition of social realist art. Addington Workshops stands out among the relatively few paintings concerned with the significance of work for New Zealanders during the Great Depression.
(Louise Henderson: From Life, 27 June – 11 October 2020)
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.