New works by an internationally acclaimed New Zealand jeweller.
Lisa Walker’s audaciously imagined works don’t sit comfortably within the contours of conventional jewellery. Co-opting increasingly unlikely materials – animal skins, children’s toys, even kitchen utensils – she confounds expectations, redrawing the margins in strange and delightful ways. An acute sense of colour and composition, alongside a healthy sense of irony, have made Walker one of New Zealand’s most influential art jewellers. Christchurch Art Gallery Te Puna o Waiwhetu presents an exclusive exhibition of new and recent works by this internationally acclaimed artist, who received the prestigious Françoise van den Bosch Award in 2010 and became an Arts Foundation Laureate in 2015
- Curator: Felicity Milburn
- Exhibition number: 1020
Renowned Swiss contemporary jeweller Otto Künzli will talk about some of the projects he has undertaken with his students, who are now some of the world’s top contemporary jewellers.
Twelve New Zealand jewellery artists have made new work responding to the theme of talismans in culture. A selection of rare Oceanic talismans from Canterbury Museum are also included.
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.
Shannon Te Ao: Tēnei Ao Kawa Nei
Tenderness and human longing are revealed in Shannon Te Ao’s award-winning video installations.
The Devil’s Blind Spot: Recent Strategies in New Zealand Photography
Recent photography by an emerging generation of New Zealand artists.
Francis Upritchard: Jealous Saboteurs
Exquisitely imagined, startlingly strange works by an internationally acclaimed New Zealand artist.
Energies: Haines & Hinterding
See, hear, smell and feel the invisible energies that surround us as Australian artists David Haines and Joyce Hinterding summon unseen forces.
Great Britten! A work by Billy Apple
Billy Apple blurs the line between life and art with a new installation that celebrates the triumphant, record-shattering 1995 campaign of the Christchurch-designed Britten V1000 motorbike.
Fiona Pardington: A Beautiful Hesitation
A survey exhibition by a leading New Zealand photographer explores sex, death and the female gaze.
Contemporary works that create subtle openings for connection and contemplation.
The pleasure of making: objects taking centre stage in the space of the art gallery
Was it serendipity that the opening of Christchurch Art Gallery's Burster Flipper Wobbler Dripper Spinner Stacker Shaker Maker coincided with that of Slip Cast, a group exhibition at the Dowse Art Museum that also focused on the pleasure that artists take in manipulating materials in the process of making art?
A texture-rich new exhibition at Oxford showcases the considerable talents of six Canterbury artists.
A number of Gallery staff are planning to take part in the final Host a Brooch event this weekend.
Simplicity and Splendour
An overview of the much-loved Arts and Crafts movement in Canterbury from 1882.
The title of this work translates from Mâori as ‘to bring to light, to claim again’. Each of the seven silver gelatin photographs depicts a Ngai Tahu heitiki (greenstone pendant) from the Auckland Museum. All from South Island locations, the heitiki are very sacred objects and it took Fiona Pardington 18 months to get permission from hapu (sub-tribes) to photograph them. Traditionally worn close to the heart, heitiki are fertility symbols and so are strongly connected with life and death.
Pardington has used an average of ten flashes for each exposure. This process recalls a Mâori idea that light is held within greenstone, suggesting that what Pardington was doing was not illuminating the heitiki, but releasing a light that was already there.
Pardington was born in Auckland. She is of Scottish and Mâori (Ngai Tahu, Kati Mamoe) descent. Since graduating with a degree in photography in 1984 from the University of Auckland, Pardington has exhibited widely and lectured on photography throughout New Zealand. She lives in Auckland.