Exhibitions
Events
On display
Friends' Summer Studio Visit: Mark Lander and Wayne Youle
Mark Lander in front of one of his flower tryptichs. Photo: Margaret Forward
Wayne Youle in his studio. Photo: Margaret Forward
Friends
Past event
Cost $30 | Optional return bus transport an additional $35
Our Friends’ summer studio visit is to Amberley. Visit the Paper Mill Gallery – the working paper mill, print studio and art gallery of Mark Lander – and the studio of Wayne Youle. This event is exclusively for Friends of Christchurch Art Gallery.
Mark Lander
Twenty-five years ago Mark’s study of early New Zealand watercolours and a desire to do large scale art installations led him to becoming a skilled paper maker. Not only did he teach himself to make fine papers, he experimented until he succeeded in building his own Hollander paper making machine. In 2000, as he was preparing to embark on teaching workshops overseas, he realised he needed a portable version that would fit in a suitcase. He developed a kit machine, the Critter, now exported worldwide to developing countries and art and community groups. Mark is now known internationally as much for his hand built machines as for his art.
Mark created major paper installations at Corcoran Gallery in Washington DC, and the Robert Hull Fleming Museum in Burlington, Vermont. Guest artist at Art Expo Revisited (2015, Art on the Quay, Kaiapoi), Mark created a triptych of beautifully crafted and coloured individual handmade paper flowers.
Currently he is working on a project with the Amberley community to make wreaths for the Transitional Cathedral as a gift to the cathedral to mark the fifth anniversary of the major earthquake.
Wayne Youle
Wayne Youle’s work traverses a range of art practice and materials: painting, sculpture, photography, installation, 3D, and found objects, executed in acrylic paint, ink, resin, bronze, vinyl and fabric. He is an acute observer of the everyday and the nature and beliefs of people and society, and comments on these in a satirical manner, often from a bicultural perspective.
Wayne’s work is held in national galleries and collections and he has exhibited in New Zealand and internationally, most recently at Sydney Contemporary, 2015. Recently you may have seen his large mural in Colombo Street, I seem to have temporarily misplaced my sense of humour, Flauntatiousness, the art car for SCAPE 7 and Dear John, his postcard installations around the Gallery. Wayne also created the Friend's exclusive limited edition artist badges.
His current studio is above a panel beating workshop in the main street of Amberley, but he is constructing a spacious new studio out of town which he aims to have completed for the Friends’ visit.
Reservations
email Maggie Worthington at friends@christchurchartgallery.org.nz or phone 941 7356. Please indicate if you require bus transport.
Related reading: Friends
Notes
How to Book Friends Tickets
To book tickets from your phone, follow these simple steps (or click here for instructions with images).
- Find the event you’d like to book for on our website www.christchurchartgallery/friends
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Don’t forget we’re here to help so get in touch if you have any problems!
friends@christchurchartgallery.org.nz | 03 941 7356
Notes
Underworld 2 by Tony de Lautour
This article first appeared as 'Painting offers a multiverse of symbols' in The Press on 21 June 2017.
Notes
Walk the Beat
Volunteer guide Rod McKay talks about his life, being an art tourist, and guiding Gallery tours.
Notes
The Art Whisperer
Christchurch Art Gallery volunteer guide Bella Boyd talks about her love of guiding, her favourite works in the Gallery collection and interpreting art with poetry.
Commentary
Mediating Reality
In the late 1980s, a significant shift for photography in Aotearoa New Zealand was identified in two art publications. The essays and images in these books showed how artists were utilising new strategies, breaking away from the prevailing documentary photography tradition that was, and still is, widespread in Aotearoa. Six Women Photographers (1986) was edited by artists Merylyn Tweedie and Rhondda Bosworth for Photoforum; and Imposing Narratives: Beyond the Documentary in Recent New Zealand Photography (1989) was the catalogue for an exhibition curated by Gregory Burke for City Gallery Wellington. The artists included in both publications questioned in various ways the assumptions and rules of image making, manipulating the media and making a political move from the standpoint of taking a photograph, to making one. No longer was a photograph considered a truthful representation of reality. Instead, photography was seen as a product of, and a participant in, current social and cultural values.
Commentary
Do You See?
With the death of Julie King late in 2018, art and art history in Aotearoa New Zealand lost one of its great champions and major scholars. Julie was born in Yorkshire and grew up and was educated in Alnwick, Northumberland; she moved to Christchurch in 1975 to take up a role lecturing in the newly formed art history department at the University of Canterbury. She retired three decades later, having pioneered the teaching of New Zealand art in Canterbury.
Collection
Julia Morison Dulia
In the early 1990s, Julia Morison used gold and shit in many works, exploring the idealised and base elements of human experience. She drew on the Jewish Sefiroth as a model for thinking about the relationship between the physical and the metaphysical. “Personally, I need to put some kind of order on experience for sake of sanity and negotiation,” she said. “The Sefirothic structure, or Tree of Knowledge, is really a metaphorical file and folder system for all; a conceptual paradigm for understanding everything. Putting that at the core of my practice gives me the freedom to admit everything and anything, micro and macro, metaphysical and corporeal, as legitimate content. It also gives me an interface to compose works.”
The title of this work, Dulia, is a Catholic term for worship given to saints and angels. Here Morison has pressed gold and excrement on to handmade paper balls, which are threaded together like the beads of a catholic rosary—an invitation to meditate on the relationship of the sacred and the profane, on a monumental scale.
