Our Stories tn MAU MAHARA Our Stories in Craft

im Barr; “We are going to focus ”The Crafts Council of New Zealand “To control that environment so that on the stories craft can tell, this year celebrates 25 years since its they could survive and be able to keep rather than on the story of craf ”. inception and as part of the 1990 living with it and appreciating it at the Mary Barr; "...we were just going to commemoration, this exhibition was same time, it was necessary for them have to take slices. The question then conceived to pay tribute to the to develop certain ideas around these was: How were we going to decide on energies that have shaped New things. Consequently you get this what the slices would be?” Zealand crafts.” whole development of the gods. They MAU MAHARA really weren’t gods for that is co- Jim and Mary Barr were the something that comes from a ordinators for Mau Mahara. From Christian idea, a Christian their concept, the three interpretation. They were more like commissioners, Justine Olsen, John A fascinating forces that were recognised. Some look at the lives and memories ofour Parker and Cliff Whiting chose the were known to a certain degree, others exhibition, objects to make up the were not that well known. people through 150 years oftheir crafts. objects reflecting the past and the present, from all parts of our culture. ”So you get, say, a person like Tane, part of Rangi and Papatuanuka, the A unique the book MAU and extraordinary craft event that will capture In the introduction to sky father and the earth mother. He MAHARA- OUR STORIES IN CRAFT would be the youngest of a family of the hearts and imagination ofevery New Zealander published by Random Century, John about seventy brothers having to live Scott had this to say: in the confined space between their ”This exhibition is about stories — the parents. From this you get the idea of stories our crafts contain and of the the need for light and growth, the people who created those stories. Look need for people to acquire knowledge around you. What are the objects in and then to pass it on so that the our lives that you really value and learning is carried through and would hate to lose? The family retained as well as being added to. In heirlooms, the special gifts, the vases so doing you find that Tane in his first or stools your children made, as being the SMITH position is recognised grandfather’s walking stick and great— power of light and growth and energy. grandmother’s quilt and the photo And as the social structures and the

albums with the family history DEBORAH Maori people themselves developed, recorded. Hinaki (Eel catching pot) made by Cliff Whiting his role became greater and greater “Those are the images which maintain in the early 19705 until for the ordinary person it was our emotional and visual links with In the following extracts from the enough to say, well he’s the God of the past. People have many tell the forest. "He mokopuna na "When they work they‘re "You couldn't get boy dolls. book, the three commissioners Taharakau", you might hear lovely. I probably had about So Grandma turned Stephen mechanisms for triggering their stories of pieces from the ”If you go into that place, into the said to someone of that place half a dozen things work last into a boy for me by making associations, remembering good times exhibition that particularly moved forest, there are other stories like the kitted out for bad weather on year - but then I also had all him boy clothes. Those and for protecting values they wish to them. Rata story where things are taken a fine day, "Ah. you must those lovely failures." clothes mean Grandma." maintain. Among the strongest of CLIFF WHITING without permission, without the right descend from Taharakau." these is our craft. Craft, through its kinds of regulatory experience being Ann Robinson bowl Doll Stephen 's clothes indigenous culture doesn’t uniqueness, its ’made by hand’ ”If the brought to mind. Then you find that Flax pakee (rain cape) access to its natural resources it is quality, its aesthetic sensibilities, its have all of these things are also regulatory to die because so much of it is clearly stated functional intentions doomed in terms of how the people then based on its philosophy of its and its social or community meaning regarded their resources - and that’s Touring Nationally: That environment provides us with a multi-level environment. only talking of one - and their uses. means its land base, the sea, the air - Wellington National Art Gallery's Shed 11 17 November 1990 - 27 January 1991 § reference to both historical and So, in terms of making, a hinaki all those things. It means that to current values. requires some permissions or some organised by Auckland Auckland Institute 8: Museum 23 February 1991 - 7 April 1991 survive here they used all these The Crafts ”Mau Mahara — Our Stories in Craft is entry into the world of Tane.” Council of / e various resources to either catch or eat New Zealand Christchurch Robert McDougall Art Gallery 4 May 1991 - 23 June 1991 "“Zm’“ a celebration of these values, of the or whatever. If there wasn’t that human condition and of our society as Dunedin Otago Museum 20 July 1991 - 1 September 1991 relationship with their environment portrayed and illustrated by the there was no way they could survive. @ crafted objects in this exhibition. Presented by The Ford Motor Company of New Zealand Limited NZ Crafts 1 JOHN PARKER now been long lost, this unpretentious holder is a superb example of ”Any colonial country by its very appropriate design, isolation has to become an efficient form and function. It is deceptively simple. It and creative recycler. The process of was never intended for viewing by laterally thinking beyond intended those outside the musterer’s living use into the‘unthought-of possible has quarters. It is quiet and gentle, but been cliched as ”kiwi ingenuity”. contains a weight of history and ideas, “Necessity and an intuitive hand have defining what we and this exhibition given us icons like the concrete beer are all about. bottle wall, the tyre swan and the ”I wonder about the feelings and front fence made of planted washing emotions of those who read or wrote machine bowls. But the fundamental Council Magazine 34 Summer 1990 papers or books or love letters by the Crafts raw material which literally has held light its candle gave out.” New Zealand together is number eight

fencing wire. Ji-rug-a~wuw— hath-1‘- ~A-u—lml-Diidl A,»

“This insignificant wire candlestick, In]. made just for use, has that naive II humble purity of purpose that the

enlightened try to find in the Japanese rim-1.1..” SMITH craft culture of the Unknown ”kin”#1:, .e‘lmnmmma515" 115"

Craftsman and wrongly apply self- h-MMb'mw J IM- SMITH

1:...4.‘ . DEBORAH consciously to their own twentieth century work. imiillilltlkth‘I-plsmi. Number Eight Fencing Wire Candlestick, made around 1900 “Made on a high country sheep DEBORAH Page 28 station, by a musterer whose name has John Parker.

“Our crafts also provide us with COVER STORY Crafts Council of New Zealand (Inc) Mau Mahara material evidence of our history in 22 The Terrace Wellington BOWL MADE BY ANN ROBINSON IN Phone (04) 727-018 l’ax (04) 727-003 this land. The stories associated with 1988. The Bishop's New Clothes these crafts tell us about where we are 101 Putiki Drive, Wanganui “At the moment, with things going so Presidentzjohn Scott, Robin Gardner-Gee from and our growth as individuals, (064) 50-997 W, (064) 56-921 H. Vice-President: badly, I’m beginning to think it is a bit Balmoral Drive, Invercargill. communities and as a nation. Dave Russell, 174 14 Calligraphy masochistic really. You can’t devote (021) 89-685. Executive Committee: Jenny 84— “The presentation casket is your whole life to making broken Barraud, 10 Richardson Street, Nelson. (054) Wendy Laurenson consciously a New Zealand work. 619. Malcolm Harrison, 2/57 Norwood Road, things. It seems too wasteful on the Bayswater, Auckland. (09) 457-243. Wally Hirsch, 17 Glaze and Colour Development- When Bishop Selwyn departed for world’s resources not to have a higher 9 Macl’herson Street, Meadowbank, Auckland 5. England in 1868 after twenty—six success rate. When they work they’re (09) 547-695. RenaJarosewitsch, P.O. Box 1874, Metchosin Summer School years, a gift was made to mark this Christchurch. (03) 662-085. David McLeod, lovely. I probably had about half a Harrington Point Road, 2 R.D., Dunedin. (024) Raewyn Atkinson occasion. It was this casket, made to dozen things work last year but then I 780-635. Owen Mapp, 118 Ruapehu Street, contain lists of signatures to an also had all those lovely failures!” Paraparaumu. (058) 88-392. Mark Piercey, 201 26 Rangimarie Taheka Hetet illuminated address. Made by Anton Bridle Path Road, Heathcote, Christchurch. (03) Ann Robinson, Auckland. Toi Te Rito Maihi Seuffert and carved by Anton 849-567.Judy Wilson, 32 Butley Drive, Pakuranga, Auckland. (09) 566-340. Teutenberg, the inlay technique and 29 Artiture choice of some images reflect their Corporate Members Sue Curnow European cultural traditions. But the Azimuth Systems Ltd; Icam Ltd; Caltex ()il (N.Z.) Limited; Cain 8t Co; Martin,Jarvie, Underwood 8t I representation of New Zealand flora Oil New Zealand Limited; New Zealand and Criticism l: Hall; Mobil 33 Craft History and Maori art is from our own land. Tourist and Publicity Department; New Zealand m Leo King I Trade Development Board; Minister of Arts 8: < Those craftsmen in 1868 were x Culture; Wellington City Council; Dept oflnternal .O m establishing new the Governor General. Nelson, 'u.) Affairs for His Excellency Editor: Peter Gibbs, RDI, Brightwater, 0 roots, defining new Pb (054) 20716. Presentation casket made for Bishop Selwyn in boundaries from V Crafts Council Staff Features Publishers: Crafts Council of NZ (lnc), P 0 Box Belich. Inforrrzntion 727-018. 1868 which to work. Executive Director: Margaret 498, Wellington, Ph (04) Director: Pamela Braddell. Gallery I)irector:James 4 Letters Copy deadline for issue 35, January 28,1991. Assistant Gallery Director: Celia of original articles, reviews, news JUSTINE OLSEN “In style and Bowman. Contributions meaning the casket Kennedy. Office Manager: Lynda O’Connor. of events or commissions, press releases and ”The growth of a New Zealand Office Assistant: Julianne Lafferty. 6 Editorial photographs are welcome and will be is significant to us If in doubt, first consciousness in craft has been an Sunbeam Glassworks Limited considered for publication. as New Zealanders, Production 7 In Brief contact the editor or publisher. important development for this for it is inspired by Art Direction: Peter Gibbs. Typesetting and layout: Subscription: By Crafts Council membership. 7 O Mackelvie St. Ponsonby Productions Ltd. Printing: Wright & country. The response to the land, its the Maori waka Graphic 19 Commissions flora, fauna and materials has Telephone (09) 762 744 Carman Ltd. Advertising, subscription and editorial: Copyright © 1990 Crafts Council of New Zealand huia, a box made to Crafts Council of New Zealand (Inc), P O Box 498, this publication may be facilitated this process, and our unique 21 Reviews (Inc). No part of hold precious Handblown glass workshop Wellington, (04) 727—018. reproduced, stored in a retrieval system or blend of cultures has provided a large transmitted in any form without permission of things. For Bishop and gallery OPEN (Inc) is not design vocabulary from which the The Crafts Council of New Zealand 31 Books the publishers. Selwyn this responsible for statements and opinions published craftsperson has been able to work. meaning would in NZ Crafts as they do not necessarily reflect the 39 Resource Centre The Crafts Council acknowledges the generous Amongst these cultures is the Maori, have been very Monday to Friday 10am - 5pm views of the Crafts Council. assistance of the Queen Elizabeth II Arts Council in production of New Zealand Crafts. the tangata whenua. clear." Saturday 10am - 4pm 41 Recent Work the

NZ Crafts 3 2 Spring 1990 Craft Promotions Crafts Council information. LETTERS There have been rumblings in Earlier this week the Christchurch CONTEMPORARY ART recent months from some Hawke’s CCNZ group gathered to hear James Bay potters of my acquaintance Bowman speak about the Gallery. about the place of the “Great We enjoyed this talk and felt that it 8. Commercial Craft Promotion” that would be helpful to many happens around the provinces craftspeople, who have no other JEWELLERY annually. How, they have begun to way of hearing these comments, if ask, does it fit into the scheme of he could produce an article for the things in promoting and benefiting magazine. He spoke about the potters and their craft in an overall policy for the Gallery, how it is way? staffed and works, what sorts of An interesting (and probably things have to be done, the physical 55 inevitable) element in this activity conditions and constraints they Hours: has surfaced this year with the impose and how difficult things can GALLERY appearance of a competitor for the be if craftspeople arrive without or by appointment (04] 846-346 A/H 736—522 original organisers who have been notice or send work without prior in operation since 1985. This new advice. And so on Such an article Tapestry Workshop. as they were in the 19505 when the constructed in America, and air 9—H Martin Sq. (off Toronoki St.) Wellington commission for Graham organisation, called Craft is more difficult to write than Yvonne Sloan’s article regarding the freighted to Melbourne. It has Karen Overton died in speaking to our group but the policy Sutherland’s gigantic tapestry for performed magnificently. Promotions NZ. Ltd, held a show in weaving in Australia of Robert Ellis’s the new Coventry Cathedral was Nelson on Sunday, Napier in September and it was needs to be stated and not just in We are grateful to John Shannock design for the Aotea Tapestry (N.Z. awarded to a French workshop November 18. Crafts interesting to find in our local paper the appropriate jargon of the day! for his sensitive understanding of Crafts, Summer 1989) raises once rather than to Britain’s own Council Gallery Director a public disclaimer from the original Perhaps each staff member could our needs, for his commitment to again the possiblity of establishing a Dovecot Studios. from May 1987 to January prornotors of The Great Craft Show perform this exercise and we could tapestry workshop in New Zealand. what was truly a labour of love, and 1990, she was loved and of New Zealand. In it they then see them as real people with Bennetts The experience that we have gained Given your country’s significant for skill in building a “Rolls Royce” respected by craftspeople announced that they were not in problems, brickbats and a few WHERE CRAFT BOOKS ALWAYS COME FIRST artistic resources, the proven in Victoria over five years in loom for our use. More new ground throughout NZ. any way associated with any other bouquets. And i do understand that planning technical skills and the ready and weaving our largest has been broken and tapestry has At the Crafts Council AGM, copied craft shows. They stated that this sort of article may not fall commission for Australia’s new - Wool & Needlerafts availability of quality woollen yarn, once again shown itself to be President John Scott paid they are genuinely proud of the within the policy of the magazine. it is not surprising that this question Parliament House, as well as the capable of forging warm personal tribute to Karen's work high quality exhibits they have 0 Woodcrafts experience of some 120 other A request: could the deadline for is regularly considered. links around the world. during the most successful brought to Hawke’s Bay and that tapestries woven over 15 years, gives copy be included within the 0 Ceramics Ever since period in the gallery's their hope was that any confusion 1976 when the Victorian us confidence that our weaving of column listing executive members, Government history. caused by similarity of names would 0 Jewellery/Metalworking decided to provide the Aotea Tapestry will do justice Sue Walker, staff, magazine staff etc. 1 know that establishment not harm their excellent reputation. costs and to maintain both to the New Zealand artist who Director, Sympathies are extended to deadline dates are published 0 Special orders accepted a significant annual subsidy for the designed it and to the high profile Victorian Tapestry Workshop. her parents, Bill and Dorrie Various comments and opinions somewhere but flick through Victorian Overton, 0 Mailorders and Credit Cards welcome Tapestry Workshop we architectural location in which it children Sarah have been passed on to me looking for it with little success have received numerous requests for will hang. and Joanna Patterson and regarding these shows. Some of the sometimes. Bennetts Bookshop Wellington information and advice from New husband Adrian Faulkner. questions asked are: P. O. Box 1799, 134-138 Featherston Street, Wellington Zealand groups eager to set up their We hope that New Zealand’s artists - Do they really benefit craftspeople Helen Halliwell own workshops. We have been and weavers will share our Phone (04) 499-1388 Fax (04) 499-2290 excitement when the tapestry is in our area? Education Coordinator happy to help as best we can and Association ofNZ. Ernbroiderers’ finally hanging in Auckland. For us - Are they sucking money out of the have done the same for the Scheuer Guilds Inc. Tapestry Studios in New York (no the project has syrnbolised a district that would otherwise go to longer operating as a production growing cultural relationship local businesses and craftspeople? fi'é Quilt Connection Ltd 5 Editor’s Note. workshop), for colleagues in between our two countries that NANCY’S - Are these shows becoming too Specialising in Patchwork and Embroidery i Canada, and more recently for an should in time enrich all our lives. frequent and creating resistance Anything which helps craftspeople lnnuit Workshop in Alaska. We have appreciated the trust from the buying public? (A good understand and relate to the body placed in the workshop by Elizabeth which is there to serve them must be a The generous help that we received question considering the cost of just xv; Patchwork fabrics Currey and her committee, and by EMBROIDERY good idea. How best to do that? from Archie Brennan of the Dovecot getting through the gate.) the tapestry‘s sponsors, Fletcher Articles such as you suggest are Studios in our early days was \./ Patchwork and Embroidery books Development and Construction Ltd. - Who decides on the standard of certainly worth investigating, if not invaluable in our establishment of a We would like to think that other an... SHOP goods on display and what through the magazine then through the \ I Linens and DMC Threads philosophy and a direction that New Zealanders will find this trust 326 Tinakori Road qualification do they have to do newsletter. Your suggestion about proved to be extremely successful. to be well founded when they see this? deadline dates being placed more x.) Classes His warmth and encouragement set PO Box 245 the tapestry at first hand. - What is the overall quality of prominently has been taken. an example of truly international Wellington pottery for sale? (Opinions passed \./ Mail Order send $5 for samples co-operation which has been a As a final point I would like to on to me recently would suggest powerful influence in contemporary clarify the situation regarding our PH (04) 734-047 that the standard is declining.) tapestry circles. magnificent new loom which was 214 Knights Road Hours described by Yvonne Sloan as being The promoters, of course, suggest Following Archie’s advice we Moari 9am—5pm found borrowed. In fact this masterpiece that they provide stallholders with Lower Hutt that the establishment HOURS of a new of engineering skill and sensitivity high public exposure, large public Ph 693 427 Saturday 9.30—4pm workshop requires extensive was specially constructed for us in Mon-Thur 9.30-5.30 attendances, financial benefits, an research, sound artistic America. Experience had shown opportunity to build your philosophies, technical Fri 9.30-6pm expertise that our existing and continually reputation as a craftsperson, direct and experience, considerable For New Zealand and Scandinavian modified looms were not adequate Sat 10-4pm contact with the buying public, and financial support, and astute for continuous use on large scale so on. management and JEWELLERY business skills. projects. With the possibility of When these elements Whether one agrees or disagrees all come further large commissions, Wellington's only specialist with a... difference together with quality materials and with the thoughts expressed above, including the Aotea Tapestry, we efficient equipment needlecraft and patchwork shop. perhaps we need to think a workshop can searched the world for someone be an exciting venture, especially if objectively about who we are really who both understood the unique Stockists of - Liberty Kitsets. there is a healthy benefiting by our participation in demand for its problems of tapestry weavers and work. — Royal School of Needlework these shows. With the competitive fir/dune had the capacity to build successful aspect I have mentioned creeping Certainly it would - Designers Forum (William Morris) have been most looms. By good fortune and in, there must be a lot of money in rewarding it New Zealand had had Anger/sen persistence we finally found John - Ivo Canvases (Trammed and Printed) it for someone. Are these events in an experienced and soundly based Shannock, brought him to Australia danger of becoming not so much workshop - Ehrman (With Kaffe Fassett) that could have to discuss our requirements, and craftshows as sideshows? FOR SILVER AND GOLD undertaken the weaving of the then offered him the biggest - Beech Floor and Tambour frames Aotea Tapestry. But workshops with challenge of his career. The - Specialist Linens (Cambric and Irish) experience of monumental scale Victorian Government provided a Bill Hague, Hastings lst Floor, Gresham Plaza works are as rare in the world today generous grant, the loom was 226 Lambton Quay, Wellington 712-814

4 Spring 1990 NZ Crafts 5 — — EDITORIAL IN BRIEF

S 0 this is my first editorial as editor of NZ Crafts. Always, country. In his last editorial he threw down a challenge for craft FLETCHER CHALLENGE CERAMICS AWARD NEW ZEALAND CRAFTS IN A spectacular window display below when I read the editorial in a magazine or newspaper, I’m writers to define the place of craft in our culture. Can we do that THE U.K. the New Zealand flag contained the The Fletcher Challenge Ceramics for the next three years. Their hope impressed by the authority it carries. The writers of editorials, successfully and capture a wider public at the same time? For there A major breakthrough in the U.K. work of Bie Baker, Brian Gartside, Award will continue. The was that it would continue the Mirek Smisek, Darryl Robertson, it seems, carry the world before them, they know what they think is no question but that we must. Crafts need a wider, more trend which market has been achieved by Art announcement was made at the growing international Christine Bell—Pearson, Tom Elliot, and how to say it. How can I do that? appreciative, better educated public. The magazine must strive to opening of the Auckland Studio was especially noticeable in 1990. At N.Z., set up by ex-Aucklanders Steven and Lynette Murray and Wailin Elliot, and Gill Gane and Jon I’ve always tried to push doubt aside in writing, to start with a basic meet this need, for we need those readers too. NZ Crafts is not cheap Potters’ annual exhibition in the same time, Mr Dawson hoped Benge of Neudorf. NZ that New Zealand potters would not based in Northamptonshire. premise, then build on it until a logical structure emerges. Listener to produce and as far as I know has never made a profit. Can the October. In a statement to Another feature of the agreement is of Fletcher feel overawed by the increasingly Established in March of this year Crafts Council continue to justifythis expenditure just so craftspeople Crafts, Graham Dawson that the gallery will actively columnist Denis Welch was speaking on the radio recently. He said, that the company high standard of work in the show they have recently entered into a Challenge said promote the collection throughout ”How do I know what I think until I see what I say?” I feel the same. can gaze at each others navels? I don’t think so. Sales must increase. the exhibition and would continue to see selection three year contract with a leading was committed to the South of England, leaving Steve At exhibitions people ask me what I will say in my review. I never pledged $100,000 annually to the exhibition as a personal goal. contemporary London Gallery who The debate must continue. Serious craft writers need a forum and and had and Lynette free to concentrate on know. They all have such strong opinions while I have so many. But craftspeople must continue to discuss and question their role and will display a minimum of 50 pieces from the Art N.Z. collection at any the rest of the country. Planning I don’t know which ones are important NZ LEATHERWORKER VISITS AUSTRALIA until I see them written their history. At the same time, the magazine must become more one time. The Opus 1 gallery is has already begun for a major New entitled ”From down. accessible, provide news and information to a wider public, interest Marie Potter, national director and skills. I was most impressed with situated off Regent Street in the Zealand exhibition White Cloud” in Perhaps I need to explain what I plan to do as editor of this them in crafts as a Viable art form which will enliven and add beauty editor of the Association of New what I saw and very grateful to heart of London’s West End. Under the Long April ’91 and sponsorship is magazine. (How will I know until I do it?). We need thoughtful and to their lives. Zealand Leatherworkers visited Steve Bates and also Jam Factory The aim of Art N.Z. is to raise the Director Frank McBride for their currently being sought. serious writers to sum up the issues that affect us. We need to Thank you Alan Loney. You have given a strength, a solidity to NZ Australia recently with the profile of New Zealand’s artists and assistance of the Queen Elizabeth time, knowledge and interest. in Britain. This has Planning is also under way to attend honour those amongst us who have achieved great things, who craftspeople Crafts. I regard that as a platform on which to build for the future. the Second Arts Council. "During my stay I met with been achieved to date through the "Art ’91" exhibition at The planned have inspired us. Important events need to be discussed, opinions Peter Gibbs, “Material I hoped to gain included members of the South Australian exhibitions, one in the Midlands Design Centre in Islington ofjanuary 1991 and for need to be aired, achievements, people, nice things, information, up to date slides of Australian Leather Guild. They felt that and two in Scotland, and by placing for the end Editor, NZ Crafts, Nelson. time New Zealand works news, facts, pictures, concepts. As editor, I don’t want to leave leathercraft, videos, written matter Australian leather in general was individual artists’ work in suitable the first will be included, as part of the Opus anything out. This magazine has to reach craftspeople - all and general information. This going through a definite quiet time. gallery outlets. 1 display. This is a major trade and included contacting suppliers of bag It was very evident that the The collection held in Opus 1 craftspeople. It also has to reach other people who like crafts, who The new editor ofNZ Crafts, Peter Gibbs is a Nelson potter and writer. Introduced public event with attendance over and attache case fittings unable to economy was going through a represents work from approximately buy, or touch, or teach or talk about craft, those who would give it to clay at Teachers College in 1970, he became a fiilltime potter in 1975. First 100,000 last year. be purchased in New Zealand. It is a recession with financial cuts 40 artists working in many different or receive it or just look at it. published in NZ Potter magazine in 1978, he has since written for many continual disadvantage to our affecting the arts and crafts media. Sales to date have been Lynette and Steve are delighted with In becoming accessible to the public, there’s the danger that the magazines both in NZ and overseas. Most recent writing has been with the members not to have access to including the craft of leather. Many encouraging, with 40 pieces selling the results to date. It seems obvious that the British market is ready to magazine’s role as a service to craftspeople will become diluted. The Listenerand as editor ofthe newsletter ofthe NZ Society ofPotters. With his wife sophisticated imported fittings. In leather departments at tertiary level in the first 6 weeks to the end of had closed down including T.A.F.E. consider New Zealand works as a previous editor, Alan Loney clearly saw a need for a critical and [ulie Warren he operates Omalo Pottery, near Nelson. addition I wanted to take the September. Particularly popular opportunity to study the state of North Adelaide, T.A.F.E. Bendigo have been the tea sets of Bob Steiner marketable entity. scholarly journal charting the progress of serious craft debate in this They have four children. leathercraft in Melbourne and and the Meat Market course, and Sharon Maude, working Anyone interested in learning more Adelaide and make contact with the Melbourne. Naturally this had a collectively under the name Eido, about Art N.Z. should write to 2nd South Australia Leather Guild. depressing effect on leatherworkers and the raku work of Penny Evans Floor, 1 Cristi/inn Terrace, IpmlLW'INWY '0". I EW'WM.“AM'"T “My first place of study was the Jam in general. and Margaret Sumich. Northampton, NN1 ILD, England. V Factory in Adelaide. I spent time "The availability of imported mass I /\ B with Steve Bates - Head of Leather produced leatlIerware has also

i' M A l) R ( ) Department Currently four trainees caused a time of reassessment and lease space and produce mainly created a challenge to craftspeople bags, wallets, attache cases and to create unique, saleable work. duffle bags. These are either "My study in Melbourne was done marketed independently by the at the Crafts Council of Melbourne FURNITURE FOR THE DISCERNING trainees or sold at the Jam Factory and the Meat Market. I was gallery or interstate galleries. surprised to learn that the Meat “The trainees have the use of all Market had recently gone into equipment, which is bankruptcy. However with

Swaggma comprehensive, and they are refinancing and restructuring u new (including reducing staff), it is \ supervised, guided and taught [I The WEAVING SUPPLIERS skills by Steve Bates. They are also carrying on. More major exhibitions I WE ARE SHIFTINGI! OUR NEW ADDRESS 18... encouraged to learn marketing are to be held to encourage 0‘ 22 Broadway, PO. Box 313, Picton. Ph. (057) 36-966 5 patriotism. Commented new "ll“ /hiM““ilMM\ General Manager Amanda Lawson, III WWW /W’l¥£”“K\‘“.””M¥F”WMPl& “We want to secure a sound base for ourselves without relying on tourism". (1 was naturally very disappointed to learn the leather CABINETMAKERS TO 1 HOSE WHO training department had just closed APPRECIATE THE BEST IN due to the financial difficulties.) HIGH QUALITY “Time spent with leatherworkers leasing space in the Meat Market TRADITIONAL AND CONTEMPORARY was very productive but once again FURNITURE the effects of the economy were \\ It SOUTH STREET GALLERY obvious. It was reassuring to see 10 NILE STREET, NELSON that, as at the jam Factory, good Woodu’oas FLTrRiture Gallery work was being recognised by the 1-3 RIDDIFORD STREET NEWTOWN. TEL 899077 WELLINGTON public." MONDAY-FRIDAY 11AM - 6PM SATURDAY 10AM—1PM More information about Marie Potter’s visit, a list ofslide sets acquired, and Fine pots from Nelson. Il I information about the Association of I NZ Leathenvorkers is available fi‘om a ‘ ‘ , 44 Clifiord Rd, Takapuna, Auckland 9. Coat by Marie Potter winner Darryl Robertson: Work in London "Aotearoa 1990" award. Purchased Recent work; Christine Bell—Pearson by Auckland Museum

6 Spring 1990 NZ Crafts 7 made possible by the Waewae Tapu USA TEXTILE ARTIST IN NZ materials give a texture that paint The visit ofBJ. Harris is TV ARTS PROGRAMME —To produce a gift or gifts for WAIKATO ARTISTS-IN- organised by Distinguished Visitors Scheme so By Helen Halliwell cannot give, a warm/cool, soft/hard, the Association 0fN.Z. 10AM has the potential to destroy someone attending the symposium. RESIDENCE Embroidercr’s that she could give lectures and casual/refined, bright/subdued, Guilds with the Sunday morning. Thank goodness -Make a symbolic diary of events. By Sonia Veelenturf B.J. Adams is an American textile support of the (21511 workshops in Wellington, sheer/opaque and many more for the VCR. This programme is —Consider in some form the concept of artist. She will be teaching at the Lynne Curran is a tapestry weaver Christchurch, Auckland and contrasts. Thread can do it all and producing a wonderful mix of of a third eye, the eye of the soul. Waikato Polytech 1991 Summer international repute whose work Hamilton. School. In addition she will give more - art produced using features and crafts are doing as well Many of our leading jewellers were has been commissioned and Also from the UK is designer-artist workshops during January and embroidery as the medium lives a as anyone. Many of the craft at the symposium. The experience exhibited by such distinguished David Swift. He works in a variety February in Christchurch, Dunedin, fuller life for the viewer.” related stories are channelled to was summed up by Paul Annear, organisations as the Victoria and of media, drawing inspiration from Wellington, Palmerston North and She says her workshops "are for 10AM by Crafts Council Resource who said; “If you’re making Albert Museum, Sotheby’s, the a year at mime school in Paris, the Auckland. participants to develop their own Director Pamela Braddell. jewellery, or doing anything, you’ve British Craft Centre and the ideas stored in his sketchbook and a new ideas, their own style, not Frontperson Kathryn Asare manages got to be constantly examining International Biennale of Applied Commenting on embroidery as a passion for Italian art. His three mine. These workshops are 'idea to avoid the problems with what you’re doing. But in a Art. She is currently artist-in— medium for expression in art and dimensional wooden pieces have gathering' times to be expanded presentation style which have situation like this we have Otto, residence at Waikato Polytech. Her craft today she says “trained in art been commissioned by noted upon later. They are for all artists, troubled many previous presenters who is par excellence a re-examiner visit is supported by the QEII Arts and design, I consider 'embroidery’ galleries and art centres. another medium to use the same stitchers, quilters, weavers, wearable of NZ arts programmes. It would be of the obvious almost, of looking at Council and the British Council. way I use paint on canvas ~ but art artists etc." difficult to be too serious with everything again, asking questions An extension of one month was tongue—in- better; threads, fabrics, flexible Detail from Illegible Scroll, B] Adams funnyman Peter Hawes’ and coming up with remarkable cheek script, so loaded with pathetic answers...lt’s a marvellous puns that the viewer can only wait experience.” NEW ZEALAND CRAFT IN NEW to QEII also caused delays, so the the encouragement and support work in transit. weakly for the next. In her In another programme, 10AM IOHN PARKER SURVEY random flash effects. I even started YORK application was withdrawn and the that such an undertaking requires. Earlier this year Christine received a introduction to the jewellery covered the opening of the touring Back in the days when stoneware to spray glazes.” project abandoned. In the It does benefit New Zealand and By Margaret Maloney request from the Castelli Museum symposium held earlier this year at exhibition ”Art in the Subantarctic” was king and potters mixed their John designed the Auckland Studio meantime, the gallery terms this is what we are being Opening in New York during and Art Institute in Italy for three Larnach’s Castle in Dunedin, Asare at the Southland Museum and Art own glazes, preferably from Potters exhibition in 1972. Since changed and these were accepted. encouraged to do, present good October was an exhibition of work pieces to be included in their said; "Otto the odd, the rolled gold Gallery in September. personally quarried raw materials, then he has designed the Fletcher Because of the loss of time during work at an international level. by New Zealand artists/craftspeople museum collection of international goldsmith. At an exhibition in on the John Parker was the odd man out. Brownbuilt/Fletcher Challenge the application procedure the Eight artists were dropped Christine Bell Pearson, Kobi ceramics. This continues the communist Europe he put his own south of He identified with the work of Lucie exhibitions many times. Since 1984 already tight schedule became Auckland Islands, 320km Bosshard, Margaret Maloney and increasing international recognition image on the medal of Lenin and They spent a month Rie and looked to European studio he has worked regularly as set and almost impossible. However, Stewart Island. Peter McKay. The artists were of her work. called it art. Others may call It mad. ceramics for his inspiration. costume designer for many having made the decision there, then recorded their chosen by the R.J. Fryer Gallery, Margaret presented 12 acrylic In a poor country he put a gold exhibition. productions at Theatre Corporate everything else was put on hold so experiences for this “My work really changed at the Soho, from a file of photographs paintings including large canvases brick on the shoulder of a tuxedoed Among them was Kaipara potter Royal College of Art, London. I and the Mercury Theatre. Since that the next six to eight weeks is collated earlier this year during the and smaller, more intimate works. gent and called it jewellery. He Chester Nealie. As a result of the began turning feet on everything, 1981 he has been film critic for could be spent working for the MALONEY New Zealand visit of M. Moir, an Some canvases were folded and his own work of art, his statements experience Nealie says he now feels refined my technique and Metro magazine and he was one of exhibition. and question. He is Otto agent in New York. stitched taking them into a third outrage free from the label of ”potter”. For discovered commercial stains, the three commissioners for Mau Christine/s work in the exhibition and if you want Christine Bell Pearson, ceramist and dimension. The paintings were a Kunzli of Germany the works in this exhibition he also industrial techniques, started Mahara. consists of 40 boxed pieces In continuation of the Pacific Journeys a cluster of NZ jewellers to question Margaret Maloney, painter, have MARGARET worked in wood and bone. He says, working with porcelain, using an His Survey Exhibition at the stoneware, porcelain and been exhibiting regularly together, Series with reference to her own the very basis of jewellery, who “I can now create what my feelings electric wheel and firing with Waitakere Arts and Cultural Centre earthenware. Christine has been both here and overseas for the past journeys and I’acifc migration. better to throw into their midst.” dictate, work through emotions.” electricity. I’d always been took place during October— experimenting and developing four years. Some works were assemblages of The challenges set by Otto Kunzli interested in starkness and the November. various types of packaging and October is the beginning of the smaller paintings stitched in were three-fold. purity of form and control and in boxing for her works for the past exhibition season in New York and sequence on a long horizontal black and white but I was struggling two years. they were advised that it was a good format. For these, fine linen canvas these in an oil fired kiln

BELL—PEARSON to achieve time to exhibit. Judging by the Initially this invitation appeared was used, echoing the intimate which was perfect for the Brown response so far, the work has been impractical in terms of nature of the work. All canvas and Green school. Firing with well received. transportation. However, it became works were unframed, this enabling electricity at college now gave me Initially Christine and Margaret an opportunity to explore and easier packing and transportation. CHRISTINE the control that I’d been battling develop the idea of small boxed declined the invitation due to Some of this series was recently UpperzMargaret Maloney against in the cone 10 reduction pieces. Each box had a dual gallery costs and the exchange rates, exhibited in London and Scotland. "Navigation Shield“ Acrylic and syndrome. Now I could eliminate purpose, being specifically made to which would have made the Where there are opportunities to Canvas echo the feeling of the work it exhibition very expensive. exhibit overseas, it would be helpful Lower: Christine Bell—Pearson contained and also protecting the Problems with a grant application if those invited artists received all Multi—fired porcelain

BODY ADORNMENT SERIES decoration of the body clothing, February 2-March 24. The Dowse Art Museum in Lower protection of the body Share of Sky - Warwick Freeman Hutt is currently showing jewellery, February 2-March 24. marking social identity and exhibitions in the ”Body status Adornment Series”. Series curator Neil Anderson says: “...'I‘he series creation of portable wealth features the work of early-career, and investment mid-career and mature New Zealand -mediation with the spiritual artists working in a variety of media. -stimulation of sexual and Its primary intent is to educate on sensual desire the development of contemporary New Zealand adornment for the -transmission of political 19905. The work on display will views range from that which is strongly The series began in June with “Iron visual and ornamental through to in the Soul” - Tania Patterson the heavily conceptual. jewellery and “Bitter and Twisted” - Accordingly, exhibitions will feature Ron 'I‘e Kawa clothing and both work to adorn the body and continues until March 1992. work that discusses the role Further exhibitions include: adornment plays in society. The Lauren Lethal - Genuine Synthetics MUSEUM Series exhibitions will be located in — Deconstructing the myths of ART the Dowse mezzanine galleries and clothing, December l-January 27. will run on seven to eight week Womyn and the Church — Andrea cycles. In total, twenty—nine artists Daly jewellery, December 1-January DOWSE

are involved in either single person 27. SAMESHIMA

or group shows.” COOK< Kim Brice and Barbara Blewman - HANSEN The series aims to aid the

Contemporary jewellery, January HARU IENS understanding of body adornment l9~March 24. RALPH x ' 3 "P a- through discussion of its widest Castle john Parker survey- works from 1980 Sally Campbell - Contemporary Paul Annear cavorting with his third eye at Larnach's functional qualities, for example, Tania Patterson, Brooch, 1989, Possum Bones, Silver

NZ Crafts 9 8 Spring 1990 NELSON 1990 FIBRE EVENT It was necessary the first weekend to the work of Kristin Hollis. The By Naomi O’Connor establish parameters - the front; canvas, cloak shaped and flax It’s a scene as old as fireplaces. underlying philosophy, a design bordered, is a mosaic of ROBIN GARDNER-GEE A dozen or so women clustered brief, expertise and skills of interpretations of the Nelson ethos. around the hearth in the middle of participants, materials and Everyone in the group has at least winter » their hands busy, as the talk techniques - a complete one individual creation on the piece and ideas fly between them. understanding of the whole project and many of the components are Yet this is 1990, and the fire is a pot and of each other. "H combined efforts. The co-operation belly stove in the middle of Mere and Betty McCallum shared required for tasks like painting the Margaret Maloney’s Nelson studio. Maoritanga, fibre techniques and a large canvas backdrop on the studio Wool, seaweed and feathers seem to karakia giving a spiritual dimension floor amidst the general chaos of be creeping together to join up with to the practical work. artistic production was demanding The Bishop’s New Clothes silk pieces and basket weaving. A Unfortunately, due to other and hilarious. 1990 Fibre Event is taking shape. commitments, they were not able to Margaret saw the event as a great attend later sessions. When Margaret Maloney decided to chance to commemorate 1990 pick up the idea promoted by the Time was spent discussing and within Nelson’s strong tradition of Southern Regional Arts Council, she sharing ideas. Each of the 11 craft. Despite exhaustion, all the

MALONEY threw out a general invitation. The participants gave a resume of their eventers professed deep satisfaction creative interests and an insight resulting group was a mixture of into with the end result. sumptuous vestments and elaborate younger and older women, some their personalities. Notes were The piece was pleasing and most of embroideries are a conspicuous aspect fibre professionals and some taken. Tangible evidence of all the friendships, the chortles, the \.. MARGARET individual ideas of content and talk about of church history. What was unusual dabblers. A few had worked with anything and everything Quilt details Margaret in workshops before. overall concept were sketched and and the chance to be with people was the considerable publicity They were Maori, immigrant collectively discussed. Decisions outside everybody’s usual daily run surrounding this particular ordination, Europeans and Pakeha. were made and Willa and Mere were a delight. started work on the baskets. publicity that included coverage of They first met in the studio just The group were Thelma Addison, these craft items. Briefly the names outside Richmond in late March. From there everything took off. Jenny Cooper, Kristin Hollis, Betty Over the next three months in four Strict vigilance by Margaret and lots McCallum, Barbara Morrison, and works of the craftspeople involved frenetic weekends they managed to of work by her, thinking and Naomi O’Connor, Aroha Pasley, were visible in newspapers and on design by committee, and then preparing in between weekend Willa Rogers, Wanda Tait, and Mere television screens. This media bursts, kept all the enthusiasm from produce, a mixed media fibre work - Wallace. Also included in the attention presented the ”The Three Baskets of Knowledge”. running amok. offerings was a ceramic container The theme was based on Maori It’s a large work - a two metre, donated by Christine Bell Pearson. commissioning of craftspeople as legend suggested by Mere Wallace multilayered wall hanging, which The event was funded principally by something newsworthy (which it is) during the first weekend. Baskets focuses on three baskets containing Southern Regional Arts Council and TIMES and something new (which it isn’t; became the basis of the piece, using offerings - fibres and shells which lie Nelson Provincial Arts Council, also the making is traditional, the level of the expertise of Willa Rogers and beneath it. The back panel, which by the participants. DAILY publicity for the makers is unusual). Mere. The theme was one of flows forward underneath the

offering, a display of the joys of baskets, is heavy canvas, acrylic However, while making ceremonial OTAGO fibre craft and Nelson’s natural painted and flax bordered. The items for a Bishop’s ordination is not middle environment. panel is floating dyed silk, new, obviously making these items for

COURTESY a woman Bishop is. The cope, mitre and morse, ring, cross and crozier,

PHOTO made by Otago craftspeople, all have

JILLIGIBENS POTTERS FEATURE 0N historical meanings and form that CORPORATE CALENDAR Bishop Penny Jamieson at her ordination Crozier, Sycamore with solid silver ferrules and National required re-interpretation to end cap, by Jill Gibens NZ Steel/s 1990 corporate calendar featured Maori cloaks from the acknowledge Bishop Jamieson’s unique position. The cope (or cape) Auckland Museum exhibition “Te Library terminates with a simple open spiral - Aho Tapu - The Sacred Thread”, a theme particularly B ishop Jamieson; first woman in was based on Gibens thought of this as ”an photographed by Brian Brake. The relevant to women, and to the first 1991 calendar once again the world to become an Anglican unfurling fern, growing a strong new features woman Bishop: the annunciation, the NZ crafts, this time it’s pottery. Bookshop Bishop. She was ordained here in direction for women within the moments when the angel appears to Six potters feature in the body of Dunedin, New Zealand, June this year. church system”. The carved amythest the large format (400mm x 600mm) Quite an event; the ordination was Mary, announcing that she has been in the ring made by Tony Williams calendar, with another four in the both a traditional ceremony, and a chosen by God, and Mary’s also links up with these ideas. introductory page which provides that calling. Bishop Books celebration of tremendous change. An acceptance of Amythest is anciently associated with an overview of New Zealand pottery Jamieson specified that theme, and from the 19305. occasion that merged the traditional women, with transition, with change. Print asked embroiderer Elizabeth Auton to The ten potters whose work with the very new, and also an Again, while craft's involvement in the features are; Barry Brickell, Brian design the cope around this idea of Antique engravings occasion that involved crafts. church is traditional, for some of the Gartside, Jean Hastedt, Royce Numerous craftspeople were offer and response. McGlashen, craftspeople involved a Church Chester Nealie, Charles Old maps commissioned to make the ceremonial Auton describes the resulting cope as Newton Broad, James Robb, Rick commission was something new to clothing and jewellery presented to dancing all around blue, the colour of Rudd, Robyn Stewart and Carrol Specialists in the them. Dunedin jeweller Blair Smith Swan. the new Bishop. But were these Mary, Vibrant and gutsy, reflecting the was asked to design and make the to break Tur‘rtbull Library commissioned craft items part of the courage needed by the Bishop morse (the clasp that fastens the protocol reproduction prints old, or part of the new? through hundreds of years of cope). This was the first time he had The involvement of craftspeople is not and tradition. worked an item for the church. To The Foyer actually unusual or new, nor is the The cope is also pieced silk - design the morse Smith examined the National Library Building commissioning of gifts. The patchwork was chosen as a traditional historical meaning and the use of the of special gifts is normal women’s craft to represent the reflects not Molesworth St presentation morse. The final design at a Bishop’s ordination, and more historical presence of women in the only this research but also his own Wellington generally, crafts have had a long church. Similarly Jill Gibens sought to interest in the idea of symbols, and in New Zealand PETIT association with the churches. The acknowledge the significance of the working with garments. The flowing Telephone: (04) 743-124 anonymous works of past craftspeople occasion in her design of the crozier. pattern of the morse is formed by two JOHN - the ornate gold, stained glass, Tall and elegant the crozier (or crook) interlocking fish shapes. Barry Brickell; Thinso" Jug— November's pin—up \__/

10 Spring 1990 NZ Crafts 11 involved in the gifts were from Otago where Dr Rachel Lang and The cross and ring have a much Dunedin, this was fortuitous rather Cheryl Wilson were responsible for shorter tale behind them - although than co—ordinated as the gifts were designing the pattern and making up commissioned separately by the commissioned separately by various the garment. In turn, Dr Lang Dioceses of Wellington and Dunedin groups. Jill Gibens for example was contacted Blair Smith and they were organised by one person, approached because her work had commissioned him to create the and were both made by Tony been seen and appreciated in the morse. The patchwork of silks was Williams. I i: Wellington Crafts Council gallery. repeated in the mitre (peaked hat) m2 The commissioning, designing and made by by one of the embroidery E 5 the making of the cope was a complex team, Jenny Bain, an experienced DD process, beginning in Wellington but milliner. Morse, stirling silver and mother-of—pearl, by Blair Smith ending up in Dunedin and involving large numbers of people. The initial Made from mother of pearl, the morse concept for the cope originated from a combines both historical Christian brief conversation between Bishop and contemporary Pacific imagery, as Jamieson, and Elizabeth Auton, then well as relating back to the swirling living in Wellington. Fund raising for lines of the cope. the cope was then initiated by a It was also the first church Wellington woman, Mrs Robinson, commission for Gibens, and she also and the cope was formally presented researched her design thoroughly, from the women of New Zealand. viewing existing croziers, contacting Before ordination however, Auton church people for information and shifted to Queenstown, bringing the scouring religious books for cope project with her to Otago. So it photographs. Tony Williams had was a group of Dunedin embroiderers made one other Bishop’s ring, and for who pieced together the silk him this commission fitted into his patchwork: Gay Eaton, Jan Wilson, normal practice of working to client Jenny Bain, Maureen Trevor, Fay specifications. For Elizabeth Auton, Brook and Kath Cain, co-ordinated by

WILLIAMS however, the cope design is part of a Robin Aitken. The completed outer patchwork layer was handed over to Cross and chain, oxidised silver, chain pieces personal tradition of ecclesiastical TONY linked with 18ct gold pieces, by Tony Williams designing. the Department of Consumer and Seal ring, 18ct Otago gold and carved Applied Sciences at the University of amethyst, by Tony Williams Although all of the craftspeople And now, three months after the ordination, after the commissions, the designings and making, the presentation and publicity, are the " articles actually used, comfortable, practical? Bishop Jamieson affirms that yes, the gifts are used, and are WHARE TAONGA comfortable to wear and work in. The "‘QTE cope and morse in particular travel 4,. National Art Gallery with her all the time and are worn at National Museum of New Zealand each service she participates in. The The Museum Shop has work by Clem crozier too is designed with travelling I‘ Mellish, John Edgar, Brian Flintoff, Hepi - it is made in three sections in mind EATON Maxwell, Paul Annear, Brian Adams, that screw together with solid silver

GAY ,1; John Collins, Te Moanaroa and Alan and ferrules and a silver end cap. .u-J.‘ v ‘a "trying on" ceremony . Heather Hobbs, to name a few. Books on However, Bishop Jamieson tells that ishop Jamieson in the cope during Art and folk art. V, ‘ netsuke, African when she met with Maniototo farmers Buckle Street, Wellington, New Zealand, these details of function did not PO. Box 467, Wellington. impress them - the spiraled crozier, in Phone (04) 859 609. Fax (04) 857157. their opinion, was no good. They . New opening hours: the Bishop with a new Every day of the duly presented week 9 am. — crook - one with a vicious hook; Premier 4.45 pm. much better for catching sheep with. It seems that the ancient traditional Crafts associations between crafts and the churches are definitely alive - and laughing. 316—31 8 Jackson Street, Petone, Phone é84—98l MANAGER: WENDY BACHLEI? fish out of water Robin Gardner-Gee is a second year craft design student at Otago Polytechnic. She AGENT FOR SELECTION OF WOOL SUPPLIES FOR KATE WELLS plans to carry on her studies in Art 0 THORP LOOMS 0 HANDWOVEN JACKETS 0 SPINNING ...oeoo’ooo History. This is her first published article. 0 ASHFORD SPINNING WHEELS 0 HANDWOVEN RUGS 0 WEAVING ....aoo«uoo¢ 18 january - 10 march 1991 yummy 0 PEACOCK SPINNING WHEELS 0 HANDWOVEN TAPESTRIES 0 KNITTING oaooovaovodv‘ .9.«o \v ‘39 V dunedin public .4 art gallery 000 O. a" ("g 1 4

12 Spring 1990 NZ Crafts 13 found their art and lettering banana leaf, as well as doing small beautifully simple and elegant.” He illustrations throughout the story. The WENDY LAURENSON later lived in Denmark where he finished book will be exhibited in St. worked in calligraphy for four years. Paul’s Cathedral in London in a In that time he wrote the first book on combined calligraphy/bookbinding calligraphy in Danish. The Danish exhibition in August 1991. She has alphabet has three more letters than also been working on a commissioned ours, so he designed those. He is handbound book for the Aotea entirely self taught by using his Centre. These larger commissioned CALLIICRAPHY father’s gear. works are fitted in around more Now with a family, he says it’s mundane orders for cards and memos. impossible to survive on calligraphy Deirdre trained in calligraphy in doing what he wants to do so he London at the Digby Stuart College teaches, does some freelance inspired first by going to classes by commercial calligraphy and tries to Dave Wood. “He suggested I follow it alligraphy is coming of age. After Calligraphy is a personal art form, so its A calligraphy/bookbir1ding exhibition held find time to do something of his own up more, and I am very grateful for his C belonging to a bygone era, the dust at Compendium Gallery in Auckland emphasis is difi‘erent for each work everyday. “I know I could do input. There’s a tendency to come out is being brushed off ”beautiful earlier this year, confirmed the interest calligrapher. We spoke with three people what would sell, but I believe in of Digby Stuart College a bit moulded, handwriting”, and it is finding a place in who from both participants and the public. It love letters and placing them on honesty of expression and for me I but having had the influence of Dave, the 19905. brought the work ofseven calligraphers pages. couldn’t do it with integrity. Others I managed to retain some freedom of and seven bookbinders out in the open can. This way I do what I want and if LAURENSON’ style.” and introduced the public to something it sells, great. In the future I would like And she is watching what’s happening many didn’t know existed. WENDY to work more closely with calligraphy to calligraphy around the world. She as a book art. Books have certain DEIRDRE VAN DER has since returned to England where challenges that you don't get she saw other calligraphy and went to anywhere else. They provide a VOSSEN workshops and has also spent time in sequential form where it’s possible to “Calligraphy marries what the eye Australia. “There are three main areas subtly change a letter form through 7“” sees, what goes on in the mind, and in the world where calligraphy is alive ., , ~. mL-{I‘mfiudfiemwumammmm‘ .1 - WI:inn-1M. 7L.Lun.m“~amvw.»m' the book.” I and well. The U.S.A. is vibrant and lihalyynophmylgdhu-éwlfla-A- what the hand does." That’s the (l 51,:, «1lwe.. r..uu,.-...,,..-Mi~nr. Peter has noticed an increased interest ‘9. exciting. England tends to concentrate .mugmnqw fascination of calligraphy for Deirdre

. in calligraphy in the last ten years a lot van der Vossen, one of New Zealand’s on traditional calligraphy. And Europe n21l35‘r of which he says is directly due to few full time calligraphers. is drawing on tradition but using it in Dave Wood who was the first person a new way. Australia too is now on the To survive she does anything from to publicise calligraphy and to do a lot map with a fellow of the Society of wedding invitations and of teaching. ”It’s also a reaction Scribes and Illuminators (an commissioned works, to teaching and

AU / . xi Junktn 4." .‘ w_‘.. against computers in a time of international organisation based in exhibition pieces. She does embossing, .lmlr‘ 'rrmt yruwrlmrd mm ir “2:133:33 reassertion of the individual. I teach England)." fMA'nJrandsmtlal/r‘r W" , _ , guilding, watercolour on vellum, n! 'm'rr mhldnurmurl MW? idmnm‘vlbfll computer people calligraphy at night wmhmllvmxwm glam). goauche on parchment. She uses pens, The amount of available calligraphic

LAURENSON class as a reaction to their work world. quills, ends of chopsticks. ”By keeping work amazes Deirdre. She began from Calligraphy is a mobile personal in daily tool contact, they become like obscurity working at home, moved to WENDY means of expression.” your own hand.” Ponsonby, and now has trouble Calligraphy- Dave Wood The calligrapher‘s tools, Deidre Van Vossen’s office keeping up with requests for her He sees calligraphy starting to become But her ultimate aim is to put in some services that come into her office in part of our society. "The written word study each day on her craft. “There is mishaps as part of the energy of that qualms with my own words or the Newmarket. ”People have woken up PETER GILDERDALE is around us all the time. We still have such a richness in historical and work, and links it into the lettering. alphabet. out of a sleepy phase of accepting I do the work to find out a way to go before developing a contemporary work that I want to what I’m going to do next. One thing machines. They now want to see some Sometimes he uses a deodorant roller. Peter’s work is distinctive in that he distinctive New Zealand calligraphic learn. One step just follows another leads to another." evidence of the human hand behind Sometimes he uses a cork. But usually often uses the alphabet instead of style, and I’d be wary of trying to do it rather than my having a set goal, but the work.” he uses a broad edge pen. Peter texts. ”I don’t see the letter form as Peter now teaches design history and consciously but I think it will come it’s like a natural progression. One Gilderdale likes to experiment with something fixed. It remakes itself calligraphy at ATI and is aware of an provided people are working out of thing opens after another. I’d like to Deirdre was pleased to be involved in different materials to bring letters to every time it’s written down. That’s area of confusion as to where or in fact themselves." learn more brush work which could the exhibition at Compendium life. why I do alphabets at the moment.” whether calligraphy fits into the art And he warns of any short cuts to then lead to working with fabric, and Gallery because it motivated her to do ”I like to work with whatever But he doesn’t discard traditional world. “There is a tendency to try and being competent at calligraphy. I’d like to do some lettering in stone more decorative works, and because it instrument is there and get the best letter forms or try to invent new ones. lift the profile of calligraphy and call it ”Design students want to be able to do and glass.” raised public awareness. There was an abstract art. I don’t like it. I think it’s exhibition in 1989 of 3 calligraphers possible out of it. Before I used to ”I like to push letter forms rather than this stuff straight off. I’ve been Deirdre finds it hard to identify what demeaning to the craft. I like people (Deirdre, Dave Wood, and Theresa worry about getting the perfect predict where they are going to go. I working at it 14 years. You don’t get typifies her work. "It is a combination O’Leary) at the French Art Shop in instrument, then I heard a woman learn a letter base but then I let it to see it in terms of art plus as based the freedom to work freely without of my use of colour, the fluidity of Ponsonby, and Dave used to have one make a honky tonk piano sound like a develop. We have a link to traditional on traditional lettering. If it’s entirely investing the time. Having done the writing, the simplicity, and the overall man shows at “Gallery Pacific”, but Steinway. The ideal is to find a way for text work but we are twentieth traditional I think it loses something time, to get the energy into my work I layout and presentation. What I do this was the first to draw calligraphers the material to link in with you. The century people.” that our contemporary world has to now don’t pre-plan too much. I let it changes. I keep growing.” offer. And if it’s entirely new without from all over New Zealand and so result is that the letter form is never Previously Peter has done commercial happen.” any base of tradition, it tends to fall Recently she was working on creating meant greater exposure for more the same. Each ’pen’ writes in a calligraphy where he felt a need for an flat on its face.” a handbound copy of "The Garden people. slightly different way." exact correspondence between the Party” by Katherine Mansfield with ”The public are interested because it is And he lets accidents happen. Where text and the letterform to get the Peter didn’t mean to do calligraphy. bookbinder Michael O’Brien. Deirdre not a singular thing. There is the text a runaway blob of gouache would intent of the person who wrote the His father was an artist and he hand lettered the entire script for the selection as well as the way they are have previously meant a discarded words. ”But now I like to do my own intended to be an art historian. But on short story in a subtle progression of portrayed. There is quite a trick in the page, he now uses any momentary writing. There are not the same the way he specialised in Egyptian. ”I rainbow colours on paper made from

14 Spring 1990 NZ Crafts 15 selection of words. We’re responsible person did the writing, one did the not to detract fom the words, but to illustration, one did the vellum visually enhance them.” preparation, and one did the book RAEWYN ATKINSON And she notices more people move to binding. Then there's a more razz-a- learn calligraphy now . "People love to ma-tazz approach closer to a graphic be able to give of themselves. This is designer where the work gets a bit something that is done by hand but more distant from the letter forms. you don’t have to be an artist to do it. The third way is doing more painterly It isn’t difficult. It’s a matter of things, using the letter forms as an Glaze and Colour Development learning a skill and practising it. Some abstraction. I’m between the first and people do it because it is very relaxing. second.” It is magical watching the ink come The work Dave most enjoys is his out of a pen. It stimulates a natural “inspired work’. ”I call it playtime. The Metchosin Summer School - Canada inclination where you can also find words I choose have to make the hairs rest.” of my neck stand up. They usually Because of the renewed interest in come into my hands rather than my calligraphy, Deirdre is concerned to looking for them — I’m not a literary see more training opportunities person at all. Good calligraphy is become available. She runs workshops spontaneous, and in my freestyle stuff in her studio but only periodically and I do anything I want to and without with limited numbers of people. LAURENSON worrying about whether it will sell. If "There is no school in calligraphy in it does it’s a luxury. Sometimes I New Zealand. There are various night WENDY repeat something until I’ve explored all the possibilities. I try not to make it classes where you can learn 10 scripts DAVE WOODS in 10 easy lessons. The calligraphy too illegible which is hard sometimes centre in Parnell is closing down. Dave Wood’s relationship with his because I feel I’m not being trendy. There is a general introduction at work is simple. “I love it. It’s a way of But when you move too far from Auckland University, and there are the life. It’s fulfilling for me." The man tradition calligraphy moves into the courses I run. There is certainly a who virtually introduced this country world of art.” demand for tuition in calligraphy, but to calligraphy, loves letters. Dave says this can cause confusion. we need teachers trained with a sound It’s contagious. Anyone who talks “People who don’t know where they understanding of letter forms, and about calligraphy here talks about want to be, then start inventing perhaps more integration with what’s alphabets. The critics of art never see Dave Wood but we can’t claim him as Z happening in Australia and USA.” a New Zealander. He was born in calligraphy as an art. I choose my way mO Z England and now lives in Australia. and am happy in it. I have no X

ATKINSON ,_

New Zealand’s biggest asset in the ATKINSON _< world of calligraphy according to Dave was guest exhibitor at this year’s inclination to change direction. z Deirdre isn’t facilities, or things, but Compendium Gallery exhibition and Letters are my niche. They are my

RAEWYN E <2: RAEWYN people. “We have access to people like ran a two day workshop during that given talent.” K Dave Wood. Dave is very creative. He time revealing “Tricks of the Trade.” Dave has done his time in letters, and Bark of the Madrona Robin Hopper and 19th Century Delft Lichen on Douglas Pine makes a piece of calligraphy like a Dave works full time doing a mixture he says it is the years invested that hen I read Brian Gartside’s empirical, try it and see approach to course, and a QEII Arts Council Short piece of art. A lot of people can learn of hand lettering, graphic illustrative distinguish his work from that of W enthusiastic report about glaze making. I wanted to meet the Term Study Grant enabled me to technique but don’t have the ability to work, advertising commissions, and others. Robin Hopper’s Summer man and experience his approach first attend. incorporate illustration and overall teaching both in Australia and further School in Glaze and Colour hand. The chance to take two weeks This was the sixth year of the design. Dave is an inspiration.” afield as requested. (CONT ON P39) Development I was immediately away from the demands of studio and Metchosin International Summer Dave identifies three ways of interested. I had been using Robin’s teaching, to work with glaze materials School of the Arts, of which Robin practising calligraphy. ”There are the book on simplified glaze and colour in a country I have always wanted to Hopper is president and instigator. traditional old ways ordered by the development “The Ceramic visit, had me immediately finding out There were also courses in Paper wealthy in the times where one Spectrum”, with the design students at how to get there. Brian was very Making, Calligraphy, Design and Waikato Polytechnic, as I liked his helpful with information about the Drawing for craftspeople, Japanese

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RAEWYN 1:" ‘4 RAEWYN Recent work: Dave Wood "Madrona" glaze tests "Lichen" glaze tests

16 Spring 1990 NZ Crafts 17 Woodcut Printmaking, Fabric Collage, Discovering the Decorated Ceramic the inlet where there were always seals Watercolour and Silk Painting. Surface” to be published in 1991. waiting for scraps from the fishing COMMISSIONS The venue is Pearson College, one of Apart from the morning lecture and boats, or walking. The college is set in the famous United World Colleges, some individual discussions with an area of extraordinary natural which aims to demonstrate that Robin about our own glaze projects, beauty and I took time to go on the education can be a force to unite we could work in the laboratories ”deep wood trails” and lakeside walks. rather than divide nations. Robin had mixing glaze tests. An extremely I was fascinated by one tree, particular to that area, the madrona, which has been a part-time ceramic tutor there tedious task, given the number to be BROOKE-WHITE brilliant red peeling bark, and new and saw it as an ideal location for a done, about 400 - 600 each, was let” summer school; because it is broken by some hilarious and witty bark coloured lime green. This interest _ he . " ‘ Ic .L" 1.1...rsrzi IULIA Ngaio Triptych: Panels I, II, and Ill somewhat isolated it is conducive to repartee. The instructions to bring a began a series of glaze tests based on the intensive development of the arts sense of humour seemed‘to have been colour and surfaces of bark and with few distractions. heeded by most, and the fact that lichens growing in that area. The college is located on Vancouver 1“sense of humour” varies with the Students came from Thailand, Alaska, nationality of the person made these California, Pennsylvania, San Diego as Island, on the wooded hillside of an NGAIO LIBRARY COMMISSION three panels measures 800mm x strike in me. Combined with textures they form glaze weighing sessions very enriching inlet to Peddar Bay, 29 km from well as many parts of Canada to By Toni Gernert 2,400mm and is constructed of Panel III (the right hand piece) an abstraction of the ancient and Victoria, the capital city of the ones. attend the summer school. There was In early 1989 I was commissioned pieces of manipulated fabric, which represents the threatening power of timeless beauty of rock formations province of British Columbia. The The laboratories (we worked in a very plenty of opportunity to mix with by the Wellington City Council to with fibres, threads and unorthodox Mount Kau Kau in stormy wintry and surfaces found in several areas, students attending other courses and produce an art work for the new techniques of machine stitchery, are weather; dense dark shades of particularly the Ngaio Gorge. college is architecturally designed in scientific environment in an all applied to a canvas background observe their work in progress. There Cummings Park Library being built colour dominate - black, dark Evidence of human existence has the West Coast traditional style and unscientific way) were never locked; in Ngaio. This was part of a policy which is stretched and laced over greens, greys, blues - but merge into been deliberately excluded from the constructed from cedar, the so we could work late into the night if were cross-media programmes held in to use work by local artists for foam board and then framed. lighter tones which are repeated and work because despite the buildings, indigenous timber. The campus, we wished. Some of us did, to take the evenings. I was able to show slides public amenities. The library As an artist living in Ngaio I am extended in the middle panel. Here, roads, the power lines and pylons, harmoniously set amongst the tall fir advantage of all the materials of the Craft Council exhibition opened in November 1989 and such constantly affected by the striking in Panel 11, landform impressions the railway, even the reshaping of was the interest and curiosity of the and powerful landscape (something, predominate in greens and earth hills for new residential trees, produced the feeling of a small available, and the chance to use them. “Celebratory Offerings”, which was very well received. I have the feeling public I was asked to write a according to a local newspaper colours but the focus is an inverted developments - it is the dominant community. Robin had acquired and accumulated description of the medium used and article, similarly experienced by triangle of clear turquoise, for the landforms, majestically indifferent that New Zealand artists keep well After a brief tour of the campus on the every possible material for testing, the meaning of the largely abstract author Maurice Gee who has moved tantalizing glimpse of the sea is a to such impermanent achievements informed of current developments images. This was printed and made here from Nelson) and this work delight to be seen from many of people, that for me truly evening of our arrival, Robin gave us beyond what is usually available to us and trends l’overseas”, but that this accessible for people to read in the conveys not only the physical vantage points in the area. Panel I characterize the Ngaio region. each a book, containing our 14 from suppliers here in New Zealand. need or interest is not necessarily felt library. images of the environment but also features the lightest colours of grey, individual glaze assignments for the The advantage of testing with a group through the use of texture and beiges, greens, touches of terracotta by counterparts in those ”overseas” The ”Ngaio Triptych" is an example two week course. The teaching of people exploring different types of of fabric art. Each of the colour, the emotional response they and metallic silver and gold. countries. approach in the course is diagnostic. glaze is that it is rather like working on When our application for the course a giant jigsaw puzzle. Each have a few It was as valuable to be able to make important contacts with artists from was accepted we were sent a of the pieces and by putting them FLETCHER CHALLENGE TRADE MISSION TO IAPAN CITY CUPS At first they were reluctant to other countries, exchanging and questionnaire about our requirements together, more sense can be made of Fletcher Challenge will shortly be ceramic boxes. Auckland graphic When restaurateurs Miranda and subject the cups and saucers to the from the glaze course, and from that the picture. sharing experiences, as it was being undertaking a goodwill mission to design firm DesignWorks handled Ben van Dyke needed some coffee rough and tumble of a dishwasher, able to get first hand knowledge from but soon found hand-washing Robin compiled a series of glaze tests. I had told Robin that I wanted a better Japan. As gifts, they commissioned this part of the commission. The mugs, they went straight to their such a very knowledgable and 300 ceramic boxes. The NZ Society bookbinding skills necessary to local community and asked thirty impractical. Now they are treated There was a different series for each understanding of how fluxes affect the same as the other restaurant seemingly tireless man as Robin of Potters were asked to assist in the make presentation boxes of suitable Nelson potters to make them. Each student so that at the end of the colour and surface in glaze so I was set quality are not readily available in potter was asked for six cups and crockery and are holding together Hopper. commissioning of the gifts. Thirty course, when the test tiles were laid a series of flux saturation glazes to test potters were invited to each make NZ. Indeed, suitable boxes could be saucers. fine. out we could get a wider View of the with colour progressions in each glaze, Raewyn Atkinson’s introduction to clay at ten boxes with no dimension obtained much more cheaply in Miranda van Dyke tries to guess The van Dykes are now wondering ceramic spectrum and how this was Palmerston Teacher’s College has lead to exceeding 100mm. A preview of Taiwan. DesignWorks located which cup and saucer will suit each where to get their next plates from. amounting to about 500 tiles. From They have thirty good ideas to start possible. The emphasis was not on a fulltime involvement with ceramics. She the boxes was held at a function in suitable makers, who constructed customer, giving a different one to my own series I was able to see, by Auckland during Japan week the lidded boxes from heavy card. each person at a table. The van from. achieving one particular glaze testing systematically, what a is currently tutoring Craft Design Students (October).- Special linen finish paper was made Dyke’s are enthusiasts for Nelson however, but in understanding how profound effect flux has on colour and at Waikato Polytechnic. Being aware of the importance of with silver ferns motifs on a dark pottery and often send customers blue background, echoing the materials worked together to create surface particularly in saturated presentation, Fletchers also off equipped with the address of the commissioned containers for the mission stationery. potter who made their cup. colour. amounts, and how small variations of There was a lecture each morning, amounts of oxides affects the resultant with slides tracing the development of colour. ceramic glaze and colour from As well, I was experimenting with volcanic origins through geology, texture for the tree forms I have minerology, chemistry, and world begun working on, and did a series of ceramic history to contemporary two-step glazes using engobe, gumbo ceramic expression. These lectures and glaze to develop lichen and related to the set reading we were to cracked mud surfaces. One series was liaillillli do each evening; selected chapters for cone 9 reduction; because of lack from Robin’s book ”The Ceramic if. ..a L9 of kiln space some were fired cone 6 jewellery'workshop/gallery Spectrum”. oxidation, which led to interesting As well as glaze, Robin has a vast and comparisons. I also did some tests l sound knowledge of ceramic history, with low-fire glazes at cone 06 Blair Smith 1 which he demonstrated throughout oxidation to compare them to possible goldsmith/jeweller these lectures. His first book ”The colours and textures achieved at GIBB

Ceramic Spectrum” was published in higher temperatures. Anthony M. Williams PETER 1984, his second "Functional Pottery - It was not all work however. There was goldsmith/jeweller Form and Aesthetics” in 1986 and he plenty to do to take a break and relax, Potters preview at Fletcher Challenge House: Cups and Saucers at City Lights is currently working on a third book Peter Collis, Leo King,Graham Dawson (Fletcher Challenge Corporate from swimming in the large heated Patti Meads, to be called ”Making Marks - 319 George Street. Dunedin Affairs), Lee Le Grice, Tui Morse, Jan Cockell, Rick Rudd, indoor swimming pool, canoeing in Cecilia Parkinson, Evelyn Kelly PO. Box 5779, Ph: (013)477-3783

18 Spring 1990 NZ Crafts 19 PREMIER’S HOUSE front entrance and stairwell, in a By Carol Delaney, contemporary style, giving due Public Affairs Unit, consideration to the existing IEWSH Department of internal Affairs - Te Victorian stained glass panels. ”I Tari Taiwhenua worked in consultation with Kelvin Magnificent stained glass windows Grant,” she said, "and submitted my proposals to an official are a much admired feature of the "FISH OUT OF WATER” HANDWOVEN TAPESTRY BY KATE WELLS this unique artform, with its own The 15 pieces which make up this committee for approval.” Her restored Premier’s House in style and special appeal. current touring exhibition, show approach was to look for patterns Reviewed by Adele Gait her work was exhibited as an Wellington. Caryl McKirdy, a technical ability and design skill, and details in the existing windows “Tapestry is an exciting and Handwoven tapestry, because of its contemporary stained glass and an affinity with the artist’s which could be picked absorbing art form. I have a need to It is only in the latter part of this intricacy, is very labour intensive. designer, was responsible for out and chosen medium. The 15 pieces developed in the new panels in a express myself visually, to explore century that tapestry weavers have Usually it starts as a drawing, then h f d restoring some of the existing ideas and concepts, colours and taken part in designing as well as 15 transposed ”“0 a full 5l cartoon progress rom . esert scenes to windows and creating both freer, contemporary style which referred back to and was in shapes, and to 'create’ things. weaving their work. Previously the showing the outline and POSihOh 0f cryptlc analogies and ambiguous additions and entirely new Tapestry satisfies these needs, craftsperson would copy and shapes. This is then marked onto statements, windows. harmony with the older windows. giving an insight into The budget involving a combination of translate the design into a woven the warp threads already Oh the Kate S View Of the world around her. was a tight one, says Colour and shapes abound, with a The house, in Tinakori Road, Caryl, and the work took 12 weeks spontaneity in design, and precision form, but would have little input loom. The colours are translated Wellington, was built in the mid in execution.” This statement by into the design process. People of from the original drawing into variety of style, and the central free to complete... a little extra with the hanging tapestry ”The Exquisite 18005. it became the Prime Kate Wells, appeared in the the calibre of Kate Wells, with strands of yarn, perhaps five or six repair of one window which was Pink Fish of Insomnia” allows the Ministerial residence in 1865. Later - broken after installation! catalogue of ”World Tapestry talent, dedication and fine threads running together, in 1937 - it became a statement of which are then wound onto viewer to examine the excellent The end result is excellent, a Today", an international exhibition determination, have brought the social conscience during the term of bobbins, and the weaving can workmanship from front and back. beautiful "first impression” of the of handwoven tapestry held in designer/weaver to the forefront of office of the first Labour Melbourne, Australia in 1988, where begin. Fish themes occur in each work and Government... as part of their house, as the first set of windows are generally accompanied by the health care programme, the house are in, and surround, the entrance suggestion of a human form. I doors. became a dental clinic. It remained Caryl both renovated and particularly enjoyed the ironic added to these windows, using "4.7.; as the much feared "murder house” humour of “Traffic Island Crawl” until 1976. Renovation and hand-blown and machine antiqued with ”sharks” circling, waiting for glass. Internal hallway doors have restoration of the house was taken the traffic lights; ”Preparing for on by the Department of lnternal stained glass surrounds, and this Insomnia”, with its shapes and work is Affairs as a 1990 project. It has entirely new. The final set of colourful fragments; and “The returned the house to an elegant windows are in the stairwell, where Witch Fish is Too Thin to be of home for the Prime Minister’s Caryl has added a large centre panel Edible Value”, with a second eye family and their guests. to the existing stained glass. viewing the viewer, while a barely Kelvin Grant of Grant Group Caryl, who is 34 and has two discernible figure stands to one side children, took lessons in stained Architects, Auckland, was watching over. responsible for renovating and glass design and technique in 1979 The accompanying workbooks restoring the house. In looking for a with James Walker and John deserve time to peruse, as they bring Wellington based artist to restore Croucher. Since then, she has another dimension to studied further, and been a teacher ER and create new stained glass, the understanding initial ideas and herself. With family commitments,

Queen Elizabeth 11 Arts Council RAYN meanings, and to realise just how Caryl decided early on in her career introduced him to Caryl McKirdy. much of her own personal life and not to try to make stained glass her

Caryl is very careful about the work EDITH feelings are involved in her work. main source of income. She has a she takes on. She is particularly part time job, and in the time left Stained glass by Caryl McKirdy Congratulations must go to the involved with exploring stained available to her, concentrates on Manawatu Art Gallery for organising this touring exhibition, glass as an art form and so keeps her stained glass projects she really cares work to projects where she has about. and it is a certainty, that in the control. ”It is hard and dirty work - design, development and execution Caryl shares a studio with another the joy is in producing something of this collection of work, Kate stained glass designer, and a painter. you have personal commitment to," Wells is definitely not a “Fish out of she said. Her work has been shown at Water”. numerous exhibitions, mainly in Her brief at Premier House was to the Wellington region. create stained glass panels at the

NORWICH UNION LIFE INSURANCE BUILDING Yvonne Sloan This commission was for the refurbishment by CPRW architects, of Auckland’s first ”skyscraper” ”Fish out of Water” has appeared at building built about 25 years ago. the Manawatrr Art Gallery, the The brief was to design and weave a Waikato Museum ofArt and History, free—form hanging for the atrium. The Dowse Art Museunr and the The space was very high, reaching Bishop Suter' Art Gallery. Future to the ceiling of the first floor. The locations are: hanging would be viewed from Robert McDaugall Art Gallery, three directions and two floor Christchurch, 9 November 1990 - 6 levels. The work which evolved was January 1991 a three piece installation, double Dunedin Public Art Gallery, Dunedin, sided, shaped and hanging from SLOAN 18 Ianuary - 10 March 1991 polished stainless steel rods, which Hawkes Bay Art Gallery and Museum, accentuated the sculptural effect. Napier - 22 March - 28 April 1991 The theme was carried on to the YVONNE Auckland Institute and Museum,

outside of the building in Queen SfOAN The motif from Yvonne Sloan's Auckland - 10 May - 16 lune 1991. Street to a series of banners which hanging (right) were carried were printed with a variation of the through to the banners outside Work from “Fish out of water". Top: "Preparing for Insomnia". motif taken from the hangings. (pictured above) YVONNE Bottom: "The Witch Fish is Too Thin to be of Edible Value".

20 Spring 1990 NZ Crafts 21 WAIKATO POTTERS’ ANNUAL EXHIBITION CERAMICS AND ART WORKS BY JOHN CRAWFORD AT THE VILLAS CANTERBURY GUILD OF WOODWORKERS' NATIONAL INVITED MALCOLM HARRISON AND Reviewed by Joanne Kilsby An example is Janet Faulkner’s GALLERY, WELLINGTON. MERILYN WISEMAN AT MASTERWORKS EXHIBITION GALLERY Competitions, merit certificates, award winning piece, ”Bondage”. Reviewed by Roy Cowan prizes - do we need them? Are they An upright figure wrapped in comprise panels of brushwork in Reviewed by Colin Slade the opportunity to give voice to its Reviewed by Pat Baskett satisfying were the bold crosses Give an active infant a bag of medium tones reinforced added incentives or is competition a bandages, it has delightful large clay by The Canterbury Guild of message. The furniture fared better. Looking at this exhibition of work which once or twice almost became to make a horse, and you may winding black lines dirty word amongst artists and black feet poking out beneath. get a on sides, Woodworkers’ National Invited David Trubridge’s lashed chair set by fabric artist Malcolm Harrison aeroplanes. horse-mountain; at least some sometimes folding craftspeople? Richard Parker’s pieces evoke a . , over rims. Exhibition held at the end of August got ample space, as did Marc and potter Merilyn Wiseman, I Merilyn Wiseman has developed viewers might think this This year committee members of similar strong reaction, far ' ' is how In this exhibition, John Crawford was an ambitious one-off event. It Zuckerman’s chair and bench seat. found myself considering what her “rough diamond” theme with a Trojan Horse I and II came the Waikato Society of Potters preferable to bland acceptance. Are about. manifests a control of his mediums, received substantial support from David Haig’s ash rocking chair makes the word l’craft” at times group of diamond-shaped platters In terracotta red with buff decided to present merit certificates these conceptual pieces being made slips, capability in drawing, design, and the 1990 commission and attracted impressed on its second (and last - it inadequate: something unforeseen in which she explores, through the then a coat of brillant red with and a Supreme Award at their 18th as props in some interior decorating the use of tones and colour. entries from some 30 leading New sold) Christchurch outing. John happens, a barrier is crossed. This is surface treatment, how clay can scattered incidents Annual Exhibition. As a committee scheme or as work that commands in other colours, Drawing on these resources, Zealand woodworkers. Such a Shaw’s low table of quiet but not to make a value judgement remain essentially clay, and at the the finish is discontinuous member I did not see a mere attention in its own right? or figuration is introduced and themes strong response might owe assertive form was, however, between art and craft. The same time glow pink or be rich abraded as of an ancient competition resulting from the Other qualities that I admire are worn relic. are developed. The images are in something to the generous terms swamped by the adjacent orgy of advantage the craftSperson has is viridian blue. The body is Omhorseback, insecurely mounted, introduction of awards. Rather, it shown in works by Raewyn the plain language of the (freight paid both ways and only brass and teak in Lionel Jefcoate’s the potential to produce an object stoneware covered with slips, black is a minute rider in porcelain. was an added incentive, a sign of Atkinson and Elizabeth Boyd, two of This cartoonists, the conventions of 15% on sales), but equally points to traditional sea chests. that, transcending tradition and in the bisque to give a unity to the motif, the lesser human recognition for the high standard of the Merit Award winners. This is and the decoration and good taste are set the scarcity of generic national The smaller pieces got the best of function, exists as a work of art. pot, and then porcelain coloured powerful horse, has work presented. It gives added the move away from brightly been in art from aside, the situations have mood, can wood shows for accomplished this scrum. Jill Giben’s work The most important aspect of such a with stains. The resulting surface Trojan and more distant times. prestige to an exhibition which is painted decoration to texture. The It invoke laughter, or concern. artists to enter. To the invited work continues to demonstrate her fresh piece is its integrity. has large bubbles on the rims which mostly survives in found no longer a ”low key local show” texture of Raewyn’s lichen green terracottas The trends which controlled the rise was added a respectable quota of vision, the carved maire shell piece burst to reveal the black underslip, and remains a live influence, At first I thought how different held in an ”off the beaten track” glaze and the corrugated clay neck of the studio pottery have produced selected work by local guild particularly 50. Alan Brown’s three and crowsfeet crazing inside. witness the horse and rider these two people must be - but a venue, but an exhibition which fits of her Nikau forms and the silky an essentially abstract style in members. The result (even allowing urns, meticulously worked and close look reveals their essential Rims and feet are the most telling sculptures of Marino Marini. Marini comfortably alongside many smooth feel of Elizabeth’s unglazed decoration, and have tended to for my possible bias as an exhibitor) constructed (see “Recent Work”, parts of any pot. The best of these also made portrait heads in oneness of spirit. Both work with national and international shows polished hand carved porcelain downgrade ornament and left little was perhaps the best and broadest N.Z. Crafts 33), provided an platters have a virtuosity about their terracotta with added slips absolute integrity. Paramount is held at the Waikato Art and History bowls delight your sense of touch. treated or no understanding of the use of array of New Zealand woodwork yet interesting contrast with the rims, where the clay is draped in a in painterly washes, evoking their love of, and their expertise Museum. Much current work relies on images. The special quality ofJohn seen in one place. Only the bleached, time-worn appearance of with, their material. This is what bold, generous fold, with minimal memories of ancient Aegean styles. This year our guest exhibitor and painterly decoration for visual Crawford’s talent permits his entry Sarjeant Gallery’s “Out of the Roly Munro’s tall urn, its lack of any illuminates and unifies this detail highlighting the edges, or The critic and historian Peter selector Richard Parker, chose five impact. How much more enjoyable into this field as new territory. Woods” show (which like most New finish belying the amount of work exhibition. stretched in long flutes which add a it could be if we were Dormer has identified the latent However, the conditions Zealanders, I did not see) could have that had gone into it. I was pots which, in his opinion, deserved also enticed to which Malcolm Harrison’s five small sewn wonderful tension to the pot. Only touch. capacity of ceramics to evoke produced the abstract exceeded this selection. interested to look at the work of the special recognition. He chose four style are now pictures, called ”Mortal Angels’" in one or two where the tension is reference to works distant in time, a changing. A guests who had participated in the pots for merits and one for the This exhibition has proved popular new generation with a Such a show is impossible to review relate to a much larger work of the lacking and the drapes sag are these property he called Resonance. It more comprehensive stimulating Wanganui Wood Supreme Award - a generous prize amongst the Waikato public. Some art training briefly and very difficult to evaluate same name which was shown at broad rims less successful. seems to be present in these works. will influence the Symposium six months earlier. But from Western Potters Supplies. of the credit must go to the treatment of comparatively. The venue, while Manawatu. It, and another large Merilyn Wiseman’s innovative The Dancing Cats I and II, red clay ceramics. The folios of them all, it was the vitality in All five pots reflected a growing centrally located Waikato Museum of students doing much to expose the work to work, for which these small ones are modular feet are sculptural plinths, vessels in cat form, with cat now coming through Gael Montgomerie’s two bowls trend in pottery exhibitions today - of Art and History. As well I believe legs Polytechnics the public, did not help. It was a studies, will be displayed at the two for each platter, which give an defined by an opening in the walls, seem to promise a lively which repeatedly drew me back. a move away from domestic ware to that pottery shows are a more future for stroke of initiative to mount the Dowse Gallery in March 1991. added poise to these elegant pieces. popular choice for have washes, pale neutral and white ceramic arts. exhibition in the busy Christchurch The larger was of richly coloured more conceptual pieces. many than are Each is an abstract painting in painting exhibitions. on which a human appears in black. department store of J. Ballantyne Sr elm with a beautifully balanced rim Such pieces evoke stronger feelings. which cloth is paint and lines are The exhibition by Malcolm Harrison This human, fitted to the shape of Co. The problem of falling of bound twigs. The expressive use stitched rather than drawn. The the cat, will be variously seen as a attendance at public gallery craft of twigs was repeated on the smaller and Merilyn Wiseman appeared at stitching provides a paradox, or pun Masterworks Gallery, Parnell, scrawl, symbol or signal, genus shows needed some creative bowl. Its exterior of applied dark, by making a frame within the homo sapiens run out of heroes. thought and this was one logical eddying colours richly contrasted Auckland daring October/November frame. A parallel line Cats and horses fare better. answer. Unfortunately the initiative with the creamy sycamore interior. of double stitching skirts the periphery of “I Love my Horse and my ran a little short when it came to At last, wood speaking with more Horse each picture, taking a jaunty zig or Loves me”, is the ceramic centre- allocating space for the work. The than one voice. At last, sensitive zag on its way around, and then piece of this show. Two invitation sent to exhibitors had use of applied colour! tall stOps short of completion to allow a teraccotta slabs, crossed promised 2,000 square feet of the Despite lack of advertising, and profile piece of fabric to overlap it. cut, with added brush work, form main store for the display, but the insufficient catalogues or any other the horse and attendant, who exhibition appeared to be way of knowing prices on the busy Harrison’s work is about breaking appear on one facet. At only compressed into half that. Mark Saturday morning that I visited it, boundaries. His stitches serve not 690mm height, this work possesses Piercey did his best working with the show attracted many visitors only to attach cloth but to provide monumental quality. The theme this cramped space but it was a lost and sold well. The store’s another dimension. One’s eye is caught by an exquisite morsel of continues in the painting ”To Kiss a cause for some pieces. Steve merchandise manager, Richard Horse”. The attendant is Woodward’s assemblage, ”A Boat Ballantyne, was heard to mention material and is then diverted by a now a rider; a heart appears Left High and Dry Speaks of Life” that he wished he could sell that delicate tracery making an intricate on the flank of the horse. seemed awash from all sides, unable much stock ($13,000 worth) off that jigsaw pattern over the top of it. Beautiful cloud-like objects float lnformality (apparent) to breathe, let along speak. Bob much floor space every week. It is against contrasting backgrounds. reigns in the large platter, Jahnke’s “Ata Toru”, too large for to be hoped that he gives it another I liked less the hearts which "Dreaming of Fish”. the hopelessly inadequate screen on try. With a little more space and Aligned to the curve of the which it was mounted, similarly lost publicity he might be even more appeared too literal in these platter are a row of fish impressed. ephemeral creations. More with a cat waving its paws, topped by a human likewise engaged - all broad strokes of soft colours with a defining HISTORY dark line, a happy scene. AND A white ware dinner set for

ART six completes the domestic

OF part of the show. It is well made and practical, with a fine generous teapot,

MUSEUM though perhaps not generous enough to do the six very generous breakfast

WAIKATO cups in one go. The decoration of the set and of MASTERWORKS

the porcelain vases PARK

COWAN

COOK, ”Starship Pride of SADD-

Westport” I, II and III ROY LLOYD

DAVID

John Crawford: "I Love My SARA Janet Faulkners award winning piece "Bondage" Horse and my David Haig; Horse Loves Me" Ash Rocking Chair Merilyn Wiseman Platter

22 Spring 1990 NZ Crafts 23 IMAIZUMI IMAEMON XIII AND "THE EDGE OF CLAY" NEW ZEALAND CRAFT ‘90 AT THE NZ ACADEMY. THE END Reviewed by Doreen Blumhardt mural. If the work is articulate, it OF AN ERA? What a memorable and historically will, in time, create a niche for Reviewed by Jenny Pattrick. important time for New Zealand itself, and stand on its own”. The NZ. Academy Gallery in potters! Here in Wellington we have As I went around the Crafts Council Wellington is a very large space. At had simultaneous exhibitions of the exhibition, I had to ask myself the opening of their 1990 Craft work of Imaizumi lmaemon XIII, a whether excrescences of various exhibition, MahiaRinga, the rooms Living National Treasure from types sometimes quite unrelated to were full. What’s more the usual Japan, and the Crafts Council’s the form, or very ill-considered Wellington crafties were in the exhibition of the work of 15 New brushwork, or a conglomeration of minority. Most of these people were Zealand potters. A greater contrast shards stuck haphazardly on to a art lovers, art buyers and well- would be impossible to find. form make them “expressive heeled business people. Enough to The 1990 Living Treasure ceramics”. The interesting and well- make any dealer gallery green with programme was conceived by the executed pieces in this show, that envy. New Zealand Government as a really spoke to me, were few. "How do they do it?" I heard the feature of the commemoration Having observed New Zealand owner of one such struggling gallery celebrations marking 150 years since pottery from the early stages of its mutter, "It's certainly not the the signing of the Treaty of development, I believe that there is quality of work." I was inclined to Waitangi, and Mr Imaizumi’s visit is considerable evidence that there are agree. The standard of work was part of this programme. no longer any standards applicable patchy. A few pieces excited me: Mr Imaizumi’s exhibition is the by which to measure the quality of Wendy Masters‘ Hillside Group (no result of the work of 13 generations what is being produced. We are matter that I'd seen similar before), of a family associated with the most going through various periods of and the Hoglunds' glass which exquisite and refined of all Japanese fashion derived from what is seen in received an Academy award (non- porcelain, Nabeshima ware. The magazines from overseas. It would lucrative). There were many pieces, exhibition, of superb seem that potters are design both in encouraged ho hum from BLUMHARDT worthy but rather form and brush work, the video, not to be themselves, but to well—knowns and from new-comers film, and not least the man himself, conform to an international in about equal proportions, and is something from which New pattern, which constantly changes DOREEN there were a few pieces that, frankly,

Zealand potters and crafts people in as time goes on. It is always a HOGLUND I would not expect to see in a general can learn much. One has to Above: Imaizumi lmaemon Xlll, Jar and Cover- Overglaze enamel foregone conclusion that whoever Diameter 20.5cm Height 18cm national exhibition.

be deeply impressed with the appoints the curator for an MARIE Academy has worked hard on immense self-discipline of the man, exhibition has already selected the The his humility, and his exceedingly show. its sponsorship. Lucrative prizes and Ola and Marie Hoglund; bottles lavish corporate-funded openings high standards. His recognition that It was of course known very well in have poured out in a steady stream Footnote: In a press release received he would wish to be identified only advance that Mr Imaizumi would be exhibiting society like the NZ. exciting exhibitions. But a large, year after year. There's no doubt by NZ Crafts on November 9, the with the very best he can produce, taken to see “The Edge of Clay” Academy of Fine Arts. airy national (Wellington) gallery is about it. It is fashionable (and New Zealand Academy of Fine Arts and is therefore willing to break up exhibition, and it was mandatory The crowds still come, but for how not the place for introductory Below: Brian Gartside, ”Mountain Lake, Moraine". Diameter 26cm, delicious) to attend an Academy announced: ”It is with great regret half of what he makes, even after so Height 36cm on Crafts Council to show him a long, I wonder? This exhibition was shows. They need to happen on the opening. And let's face it, not many that the position of academy many years of experience and much wider aspect of the good work unsponsored. The catalogue was a home patch and probably in artists turn down the offer of a director will cease from 1991. As a world—wide acclaim, speaks for itself. of all kinds that is being produced single photocopied sheet. A few smaller, humbler surroundings. Also thousand or two dollars from IBM non-profit organisation the By contrast the Craft Council’s in New Zealand. As he looked at the biscuits and cheese had replaced the there would be financial problems. or 81’ or BNZ. academy finds itself affected by the exhibition, entitled ”The Edge of items in the exhibition I would usual delicatessen stuff. And, of The Academy runs largely on severity of the current economic Clay” — an exhibition of expressive have loved to know his innermost Nor should we denigrate the effort course most important, the best of subscriptions from members and recession and can no longer support ceramics, has to be regarded as an thoughts! Somehow I believe that the Academy has put into the New Zealand's craft was not in the corporations. If this structure of it the cost of professional staff. The attempt by Crafts Council to select we in New Zealand must learn to sponsorship area. Not only has show. Corporate sponsors are no established support crumbles it is given crafts their the operation of the academy will 15 potters whom it believes are discern between the work of merit, enthusiastically fools. They want to be associated difficult to imagine how forms of continue on a voluntary basis. creating “expressive ceramics”. I’m and the meritricious, the ephemeral rightful place among other only with the best. Academy could survive financially. it has given crafts a Programmes for 1991 are currently always puzzled by this type of and the permanent. visual arts; Perhaps there is a new role for the All over New Zealand there are the eyes of a new corporate being prepared." terminology, but on thinking about status in Academy. I hope so, but cannot support structure for the arts, Lesleigh it, I assume the term has arisen from audience. quite imagine the answer. I feel that designed for the needs of a past The present director, for the same idea as Expressionist However, I believe that time is at the real need, in the way of gallery society and now no longer Salinger has held the position painting in Europe, which sought to best waning, perhaps even over. space, is a place for the new untried appropriate. No need to cry. They 31/2 years. express emotions, rather than to Many artists and crafts people, talent. Emerging artists find it very have done good, often great things. represent external reality, particularly the best, are committed difficult these days to break into the Basically these structures have two characterised by the use of to, and loyal to, dealer galleries. And dealer network, to exhibit at the choices: to take on a new role if symbolism and of exaggeration and there are many of these dealer Academy is open to all. An such a path is clear, or to disband. distortion. I have to ask - is the galleries. There is now not the same Academy service to emerging artists Both choices are honourable. Crafts Council using this need or the call for a national sounds great. It could also provide terminology in the hope that it will extract from potters a more ”artistic” expression? Does Crafts Council believe that it is important for craftsmen to get more into the field of art, believing that CRAFT PHOTOGRAPHY craftsmanship is of lesser value? One of the problems we are facing is that of classification and identification Julia Brooke-\White in the minds of others as well as of Wellington our own. One must also ask whether PO Box 27-190 Crafts Council should be a body Ph (04) 854—606 separate from Arts Council. Here let me quote from Matthias Ostermann, who recently exhibited some of his very powerful statements in clay in London, when

he says, referring to the pot-or-art MASTERS question: “What is most interesting to me is not how work is classified, BLUMHARDT BOne Neck Piece L. 140mm Carving by Hamish Campbell but how it occurs - that is the WENDY impetus for the creation of that work, whether pot, sculpture or wall DOREEN Wendy Masters- Boxes

24 Spring 1990 NZ Crafts 25 this country in the weaving section of to do so beyond her whanau and her shown that day was awe inspiring. the South Pacific Festival of Arts in tribe. Other skilled weavers adhering Every article was special, but the 13 TOI TE RITO MAIHI Papua-New Guinea. A C.B.E. was to traditional practices ensured their korowai had me enthralled. They conferred upon her in 1984. Not only knowledge was passed on to others, were stunningly beautiful, no one like has she earned an international but in most cases the teaching did not any other. Each was faultless in reputation for the excellence of her go beyond the whanau members. execution and design. The superb skill designs and artistry, but she has also In later years, the 1980’s in particular, in the preparation and handling of the enhanced this by earning a others skilled in whatu, taniko and fibre was evident in the uniform nationwide respect for her unfailing raranga, have followed her in sharing dimension, ply-twist, texture and RangimarieTaheka colour of each whenu, of each much Hetet encouragement and assistance to to learn their skills with others eager other weavers.” both within and beyond tribal finer aho. The regular precision of the Referred to by Ata Putaranui, one of boundaries. They include her placement of each individual whatu her 23 grandchildren, as that daughter Digger Te Kanawa, her niece and of each row of whatu was ”awesome lady”, Rangimarie Puti Rare (whose own mother Tira immaculate, and the masterful sense illustrates through her work, values Tumohe, elder sister of Rangimarie of design was clearly expressed in n the early 1970’s I was at a hui at skill and artistry. I’d always been too was considerable Maori opposition to she has patterned her life upon. Her was an artist-weaver in her own right), every cloak; that combination of I Porirua. Those present were either awed ever to approach either. I knew the railway going through Te Kuiti, earlier years were a preparation for the Te Aue Davis of Maniapoto and Ngati technique and a superb appreciation practitioners or supporters of Maori there was no comparison between but was released after a few days. The responsibility towards the well-being Maru, and Emily Schuster of Te Arawa. of texture, of line, of colour, meant art and craft. A number of workshops their work and mine - but I followed outcome of this incident provided his of an evergrowing family. She raised All share their skills, travelling that each korowai was an exquisite were offered. I chose to go to Rongo Digger. daughter’s name - Rangimarie - peace. three children, but widowhood at the throughout New Zealand taking work of art in its own right. Alone, Brown who was tutoring basic kit- each would have provided a "feast for Rangimarie smiled and held out her The citation of the Degree of age of 49 brought forth an ability to workshops, usually in marae. making skills. It wasn’t until much the eyes”. Together, they were hand. She examined the kit inside Honorary Doctor of the University of be independently strong. Now, she is Hundreds have benefitted from their later that I noticed the others were breathtaking. It was difficult to and out; the base, the corners, the Waikato says; ”From the time she was many things; head of a huge family, tutoring, adding another dimension to struggling with their base plait, had comprehend that a woman who led side, the edge, the finishing plait a little girl, Rangimarie Hetet was she expects to be kept well informed the extensive multi-layered social discovered a variety of ways of such a full life, could yet make time to inside. interested in the art of weaving, of all whanau matters and events and network of Maori life. This layer is an producing off-balance corners, and accomplish so much and of such ”And this learning the traditional skills from her to be included in them, and she is an exceptional one in that there is a very were proceeding in ungainly fashion is your first kit?” quality. Every korowai was a visual mother and other kuia of the district. expert household manager and real harmony in these workshops. to weave the sides. The harakeke and "My father made all our kits, but he composition of harmony, of As she grew older, she took up provider. When her nanna was 65, The weaving of the fibre is an analogy, I had found an affinity. The would never teach me.” overlapping and complementary weaving herself, making korowai, another grand—daughter, Muri Turner, a tangible expression of the weaving fragrance, the patterning, the rhythm ”I will teach you. patterning, of finely balanced contrast Could you come for piupiu, kete and whariki, undertaking remembers coming upon her up her together and the strengthening of had me entranced. My base was three months?” in texture both obvious and every step from the cutting of the apple tree pruning. people—skills that is happening at the straight and strong, the strips flax wondrously subtle. Never was evenly I was dumbfounded - totally bereft of to the finished same time. Much meaningful placed. The article. Younger members of the whanau all corners were true and just speech. discussion takes place verbally, while everything revealed at once, there was ”Although Rangimarie Hetet’s work know by heart the phrase, “How can where I wanted them to be, the sides more is expressed in the variety of always another delight to discover. "Think about it,” she said softly. was known and appreciated in the you sit there with idle hands?” were even and flat. Although I had to ways in which results may be A kakahu of kiwi feathers was finished years before the 19505, wider Although going to nanna’s house was admire a certain whimsical charm I went outside, alone into the night. I achieved, demonstrating a deep belief at the hem with a band of fine taniko thought recognition of her mastery came when a treat, they all knew that if she about the work of the rest of the how I longed to say, "Yes!” I in the strength of the supportive of the design elements which the Maori Women’s Welfare League considered them well and able, they’d group, I was well pleased with my thought too of my husband and our group, of diversity, of flexibility and Rangimarie was taught. Both above was expressing its concern at the loss be expected to knit, crochet, make effort. I decided, with two thirds of five dependent children, all still at the joyous acceptance of new ways and below the taniko are three rows of of traditional craft skills, and the fear home-made soap, help with jam my sides done, to split each strip and school - our full-time jobs, our new that do not compromise the values, coloured thread running parallel, house that they would die out. The League making, polish silver, garden - there attempt a tighter, finer weave. I and its mortgage. And then I both intangible and practical, that firmly held by the aho, forming a looked for people who could save was always a host of things to do, or wasn’t satisfied with the simple plaited cried. although firmly rooted in the past are delicate accent and transition area these skills - and called on Rangimarie. make, or fix, or change. The finish Rongo was teaching the others. Some time later, I returned to the still valid in today’s world. from the massed feathers to the She, with her unique abilities as a youngsters were always relieved when I visualised a toothed edge, worked warmth and light of the house. I gave intricate taniko, and from the taniko weaver of muka items, was to be the the "something to do” happened to be Rangimarie Taheka Hetet pioneered out how to produce it in my mind, my answer and the reasons for it, and to the simple fringe, where the teacher of, and the demonstrator to, playing cards, for Rangimarie taught this provision of opportunities to and proceeded, weaving back inside returned to my bedding, knowing that whenu, released from the restraint of many other them to play patience, gin rummy and master skills which were by the 1950’s my kit. Now it was full of loose ends, one of the greatest women, both Maori and opportunities of euchre. known only to an alarmingly small the aho, shows still, some of the and plaiting them neatly was a slow my life pakeha, throughout New Zealand for had slipped away. number of individuals. it is for this flexibility of the living parent leaf - a job. So it was that I was the only one the next three decades. Her Muri describes her grandmother as Rangimarie Taheka Hetet is so reason that she is so greatly admired - gentle echo of the liveliness expressed still weaving in the wharenui during willingness to share her skills, and her being highly organised, scrupulously extraordinarily accomplished in so in addition to appreciation of her in the feathers above, caught only by the talk that followed the evening ability to teach others, has resulted in clean and tidy, health conscious and many areas of life that it is difficult to the quill. meal. the revival and spread of the korowai creative - one who is humble and weaving mastery. find sufficient demonstrated the superlatives, or crafts. home-loving, intelligent and witty, Now her work. Another korowai Opposite my sleeping place was the comprehend how one person could consummate artistry and skill of ”Rangimarie Hetet’s contribution to firm but fair, gracious yet practical, In 1976, I arranged to Visit Digger Te legendary Rangimarie Hetet, and her achieve so much in a lifetime, even Rangimarie in combining both blatant education and culture modest and modern, many talented; of daughter Digger Te Kanawa who was one of such in Aotearoa has Kanawa, for I wanted her opinion with others of utmost length. and to her extended family, dedicated, contrast areas almost as well known for her whatu, been recognised in many ways. Her the taniko research I’d been doing at She was born at Oparure in 1892. She subtlety. taniko and raranga skills. korowai have been seen on the devoted and loving. every opportunity for many years. is of the Ngati of the korowai of Kinohaku hapu of Ngati shoulders of visiting dignitaries, her What does all this have to do with The requested two hours became two The body My attention was totally focussed on Maniapoto, immaculate whatu aho rua, was with pakeha ancestry weaving has been recorded in books Rangimarie the artist? Everything! days, when only the arrival of her my kit, so I was startled to find Digger through her remarkable adorned with two-ply black dyed mother. Mere and documentaries, exhibited at the For her ability to learn from all the husband drew our attention to the had quietly crossed the house to me. Te Rongopamamao tassels. The rows of tassels were placed was educated by Waikato Art Museum, and purchased opportunities recognised throughout fact that evening was upon us, and we "How many missionaries intermittently so they appeared to be kits have you made?” she and was a courageous by the New Zealand Government, by her long life, she has unstintingly were nowhere near exhausting the asked. woman of her in diagonal rows. Each was held by times, carrying a gun in national and foreign embassies, art shared with others willing to learn. knowledge we wished to share. I the Waikato the aho horizontally rather than ”This is my first.” Campaigns, fighting at museums and galleries. She received This attitude she has extended to accepted the bed offered me. That and escaping from Orakau in 1864. vertically, which induced a graceful “Mum wants you to show her.” an M.B.E. in recognition of her include her weaving skills in addition second day, Digger said, "Come on Rangimarie Hetet’s father was Charles and lively fall. In addition each was Suddenly teaching in 1973 and in the following to her life skills. Rangimarie was the we’ll go and see Mum.” my effort didn’t look so Hursthouse, the surveyor. In 1883 he knotted at both ends to add weight year, a Queen Elizabeth II Arts Council first not only to teach extensively, but The taonga I was privileged to be great. For years I’d been awed by their was and thus partly control the fall. The imprisoned at Te Kumi as there Fellowship, and in 1980 represented

26 Spring 1990 NZ Crafts 27 central portion was surrounded by a And where do all the ideas come Glossary _ broad border of feathers. The neck from? harakeke border was entirely of mid-brown kaka fax SUE CURNOW ”They just come into my mind”, she feathers delicately tinged with red. whatu smiles. in twinedwork, a . The other three borders were of ingle stitch I sat with Rangimarie, as elegantly alternate blocks of brown kiwi and the taniko beautiful as each of her twining, carrying same kaka feathers - an exquisitely korowai. I thought back through the years to her fibres that allow subtle contrast between each type, invitation and my tears when I patterning both in colour and texture. Further couldn’t accept, and the regret held raranga plaiting skilful touches could be seen in two (Es infii over the years dropped away. The , 2mg mat other areas; immediately above the making) Artiture privilege of sitting there with her and hem border a single brown thread korowai cloak with tassels the visual-songs she had created from caught in a series of small diagonal attached to the harakeke fibre, traditional Maori strokes, both defined the border area body techniques of preparation and of and concealed the quill ends - the dyeing, of whatu and taniko and [flupiu a waist garment neck edge was formed by a plait, a THE FOURTH ANNUAL ARTITURE of painted steel, patinated copper, and feathers, gave me a sense of such detail of elegant strength separated kete kit SHOW AT THE AUCKLAND brown veneer - opens from either side joyous harmony - for each reflected from the upper feather border by two whariki floor INSTITUTE AND MUSEUM, to reveal a spacious and light interior, the multi-layered patterning of her mat brown threads caught horizontally SEPTEMBER 22 - OCTOBER 7, 1990. with mirrors and frosted glass - a own life, of the harmonies she had muka parallel forming a transition area . flex fibre metaphor for the hard man with a soft created in the rich diversity of which OK, we get the message - furniture is between massed feathers and plain whanau extended family heart. This piece is like a small she had been a part through almost a Art, sometimes. Isn't it time someone fibre. It is only when the korowai is building; like Bossley’s, it’s hardly century. ‘Tena koe Rangimarie, taonga treasure came up with a less clumsy reversed that the detail of a double nau i likely to be moved once installed. taurima te harakeke mo nga uri kakahu combination of the two words? And thread of brown and natural fibre is cloak whakatipu'. when are we going to get a decent, Each of the above—mentioned, plus apparent, rolled and caught the whole whatu aho rua fl doufipaired i V informative catalogue? It’s in interior designers Ron Cox and John length of both side edges, a further twining everyone‘s interest to encourage public Hughes, and former engineer touch of discreet elegance and awareness and knowledge; photo- Stephane Rondel, was commissioned strength combined. copied lists are not good enough for by Quality Woods, to design furniture an event which (rightly) takes itself so in which to showcase a new range of seriously. Italian veneers; this is the reason for This year’s show was characterised by their abundance in the show, and one three main features: the number of reason why colour played a larger role designers from other disciplines, the than is usually expected. Lilac, pale collaboration (in many instances) green, light and dark greys, cream, between conceptualiser and maker, golden-brown in “bird's eye" and

and a clear commercial bias. It was WILSON “briar”, add visual complexity to the also an exciting and interesting simple forms, and assist in creating

": I, i. i» n n n in» I) I» I) U I) I, ..U W “ I' U I” CARIN . p (104i ”(I0 IH’ II IHIIHI IH’ (’0 II I‘” I} ‘ reflection of national and illusion: that appears to be a patterned . II(XIIII-T"L(L(\t‘1.‘i(‘1)"(’l'()l")'1)‘»{)"”‘\‘ Marilyn Sainty; "Shangri la and Westwater" cloth, draped over a narrow table, is in n,» j) 0 It 1) I; II [HI I) I) II II II (I II ll II I) II I) I) It international trends in furniture fact part of the structure, made of ' - I) (m or» I) r/ t- I: or» II Ir I» It I) IW" 1' 0 1"“! design, and of the new ideas of some z {'2 j) (LIN) ”I; It 1“) [I0 I“) UNI”) II” I’ II 1) ~ intarsio veneer - that is, simulated '. p pinup“ (HI I) p (I. [I 'I I» I) I) I) I)» (In, I) r; of the best New Zealanders in the connect with high class clothing. w, 0 0 (I I» up.“ [I p 1“ II II I) It I) I) II I? I‘ II (I II I? field. (Brian Heighton and DeDeCe made inlay. (Ron Cox /lnwood Design). “m IIUIHIIrIH’iHl‘II’ (20.1) II INN) (‘00 (IN {my I) pp (I (j 1) (I v.) (j (x I) (MILO I) I) I) I) I) I) {Ht With one or two notable exceptions, the pieces). Glass and steel have a wonderful w I} I) It I} I) II I» I: j) I) p I‘ I) It I; I) I) I) 1) It (I I) I‘ I’ propensity for mutual enhancement; vi) I» II I». I) I) (I i; II tr,-I> I- II II It I) I) II It 0 I) I) I) “W the notion of furniture—as—art being Le Corbusier had no time for "‘0 I) I) (XI) 0:1") I‘ 1) II Ir I‘ i) Iv II III} 0 I? (I I) II “5 the current international revival of "a (>1) Writ IHI'II Olly)“ It 00 IHHHI I) III) the ”lovingly crafted” work of one furniture; to him, it was ”equipment”, A 1.0.0. illvll III N) IHIH I I IHH I‘ person doesn’t apply here. A return (as wherever possible to be built in, interest in using these materials is in the other visual arts) to a finished subservient to the architectural whole. steadily infiltrating popular taste, article which results from an artist/ An architect’s concept of the objects supplanting the preference for heavier, designer’s idea and a craftsperson’s with which we share our interior solid wood pieces of a few years ago. skill adds a piquant note to the art/ spaces is unlikely to be the same as Steel has the advantage of structural craft debate; while introducing fresh that of, say, a jeweller, since his strength without bulk; as well, it can ideas, designers from other fields are preoccupation is with the entire space. be used to create fluid form, or to inclined to use the modes of their own Perhaps this helps explain the nature produce clean lines and textured genres. Sometimes the reference is of the work of the contributing surfaces. Painted, coppered, or overt, as in Paula Ryan’s ”Gentleman’s architects. Pete Bossley’s “Brancusi patinated, it can introduce coloured as Armoire” (maker: Brian Heighton) - a Cabinet”, (made by Nye Cannell and well as linear elements. Combined fashion editor has designed a cabinet Gary Hunt), while having the with glass, it can make a large which looks just like - guess what - a elongated grace characteristic of its structure appear light; for instance, man’s jacket. Marilyn Sainty’s fashion namesake’s sculpture, is not self- Richard Priest’s “S and 5 Table” is huge roots are more covertly indicated in supporting - it must be attached to a and substantial, but its arched frame her broad-shouldered, slim-hipped wall. Constructed chiefly of steel, it and bevelled, waisted, heavy glass top chests of drawers; their ”feminine” has two curved doors of coloured combine formal grace with physical curves and richly-patterned surfaces veneers, inside which tiny amounts of substance; more subtly, the green accentuate the anthropomorphic fine polished wood seem relatively colour occuring naturally at the edges reference, while being beautifully precious. Noel Lane’s “Self Made Man" of the glass introduces colour effects, planned and executed. Details - (Inwood design) is a wardrobe by interaction with the coppered-steel works best when Korowai- Diggeress Te Kanawa drawer pulls, joins, edges - also extraordinaire; its formidable exterior - arches. The marriage

28 Spring 1.990 NZ Crafts 29

¥ each element is handled and finished — appropriately and in harmony: the BOOKS flowing, looping lines of Paul Heywood’s bed encircle the round glass side-tables ”as if they were made for each other”, but Stephane Rondel’s “MAY” - MAY DAVIS, HER STORY religious community in Patagonia. chronicled from the male point of bistro table is an uneasy alliance of Reviewed by Julie Warren After several somewhat harrowing View, it is important that women years in South America, May and should tell their stories. I found it unfinished coppered-steel tubing “May”, the newly published and Harry Davis established their family an added bonus when reading this frosted glass; the points where they autobiography of May Davis, gives a very personal insight into the life of at Crowan Pottery in Cornwall, enjoyable book to be able to meet seem unintentionally rough. this multi-talented woman. May is before deciding to escape the identify many of the people uncertainties of liurope and re- involved in it, and to be reminded Toby best known as a potter, but she has Twiss alone has handled the establish themselves in New also published books on music for of how much input has gone into material in unexpected ways, treating Zealand. Then at the ages of 60 and children and in more recent years establishing Nelson as a strong craft thick, heavy steel as if it 64 they took on their most trying were a soft, on papermaking. community. venture of all, in remote Peru. malleable substance; it has been cut, After starting life in England in a We have many talented, interesting May’s story is told with great curled, and piled in an unruly mass, family with all the trappings of craftspeople 0f May’s generation; frankness and candour. As a behind plush velvet seating, comfort and prestige, May struggled hopefully this book will encourage for which travelogue it is fascinating; as a to choose between a career in music more of them to document their it provides a comfortable, springy personal account of family life and or pottery. Both were to remain lives. back. The work, (”Slice”), has relationships it is absorbing. May a funky, major influences in her life, but it - ”May” is published by May and her had always to be identified as the seedy look, a bit like a certain type of was to pottery she turned as a daughter Gwenny Davis. It is wife of Harry - her own talents were hotel foyer seating, but it’s also new, means of earning a living. available fi‘om rnostgood bookshops

WILSON :_ May Davis - lrlerStory probably never frilly realised or nationwide, or can be obtained by taking a genre and running in a This led to her spending time enough recognition given to her working with Bernard Leach in sending $18.60 to Crewenrra, different direction with it. global contributions to pottery, and Wakapnaka, R.D.1, Nelson. CARIN Cornwall, where she was to meet her practical concern for humanity. Although wood as both structure and Harry Davis, who she later married, As so much of our history has been finish has a relatively low profile, then to her involvement with a those pieces which are included are fresh and delightful. Peter Young’s FABRICATIONS - BY ANNE be described as a coffee table book, the field. There may be some two chests of drawers, ”Octad I and NICHOLAS easy to pick up and skim through. omissions, but as Anne Nicholas Beautiful photographs of works of points out in her introduction, II”, are a perfect Reviewed by Peter Gibbs marriage of form and art in fibre media, minimal text, an some were unable to oblige with function, a classic harmony of parts Forty New Zealand fibre artists are documented in this book from elegant visual survey of some of the work to be photographed because of contributing to a satisfying and Auckland photographer Anne best work being made in New prior commitments. beautiful whole. Their freshness of Nicholas. Zealand. it works well at that level, As a catalogue of the diverse nature but goes much further. form, lightness of structure, perfection Following the introductory section, of fibre arts, the book excels. The listing of materials gives the of proportion and finish, united with the work of the forty artists is traced The introduction, by Amy Brown, discusses briefly the skills which layperson a broad overview of the an appreciative exploitation of the in alphabetical order. Between one and four colour photographs is have led to the emergence of ”the breadth of this field. timbers used, makes them outstanding allocated to each person, but it does fibre art movement” in this country. I particularly appreciated the fine examples of the arts of furniture not seem that there is any value She mentions the extending of presentation of the book. The design and cabinet-making. Different judgement attached to the number abilities, the reaching out for new elegant typeface used for the text, skills and influences and the altogether is Diana Firth’s slightly of photographs. Each is the consistent, yet restrained use of accompanied by a sidebar giving realisation of the expressive desktop publishing tools made it a bizarre dressing table, ”Anastasia”, in title, size and materials used. Some possibilities these ever widening joy to handle and read. Apart from which demolition kauri has been have a quote from the artist, horizons can bring. Brown sets the its many other merits, the book is changed beyond recognition, into an expressing feelings, or explaining scene for the book, allowing the worthwhile owning just as a work of reader to see it in a much wider extravaganza of shells, beads, mirrors, some aspect of the work. The final art in its own right. perspective, as part of an exciting by Random lights, formalised by immaculately cut section, in black and white gives a ”Fabrications” is published snapshot of each artist, along with a journey, with no end yet in sight. Century New Zealand Limited, who and painted geometric parts. short biography. As a historical survey of the state of made the review copy available. It is SON fibre art in 1990, the book prrblislred in hardback and is priced at Some works from the show have been Wll It is unusual to find a book which is documents the leading people in selected for their showroom by Design successful at so many different $59.95 levels. “Fabrications” could easily Design, in Auckland, who are also CARIN considering choosing a piece to take Paul Heywood; Bed and Futon regardless of where they appear. to the New York Furniture Fair in CERAMICS: ART AND PERCEPTION for in her editorial. l’ostulaiing ceramics as a dynamic art form she The layout rejects modern desktop 1991. Reviewed by Peter Gibbs Why did Janet Mansfield leave the says of the magazine; “Through the publishing tricks. The magazine is A total of thirty five exhibits, editorship of “Pottery in Australia” opinions of its writers, it can report laid out simply and cleanly, without representing twenty-eight designers - SOUTHLAND POL YTECHNIC and become the editor of and possibly anticipate shifts in lines, boxes, or clutter. l’ull colour thought, issues in the ceramic arts is used throughout the 104 pages, and several makers, comprised this TE WHARE WANANGA o MURIHIKU “Ceramics: Art and Perception”. There’s probably a good story there, and the concerns of its the resulting publication is lavish though—provoking and very enjoyable but it’s more profitable to look at practitioners.” and beautiful. Printed by the same show. this new venture. Australia is well The contents of the first issue are firm in Tokyo as ”Pottery in W endowed with top quality certainly wide ranging. The articles Australia”, it is not for browsing. for international craft magazines. That cover important potters’ profiles, The magazine is intended is; magazines which are comment, and technical subjects, serious use and requires thoughtful POTTERY SCHO Mansfield hopes it will L international in outlook and carry and are sourced from all over the reading. and a resource. 19-27 January 1991 stories from all over the world, not world. Sections of the magazine become a reference the way it has started (In Association With Otautau Potters Club) merely national magazines which cover much the same ground as the If it continues include out, it certainly will. Residential Pottery School in beautiful, scenic Fiordland. are comparable in standard to those major articles. These > Tutors: Mike & Lyn Spencer, Vic Evans in other countries. exhibitions, commissions, galleries, Ceramics Art and Perception is and commentary. It is available > Fee: $356.50 (includes accommodation and food) “...communication and furtherance events, books published quarterly. the various sections appear St, Paddington, > Enquiries to: Faculty of Art and Industry, of the ceramic arts on an Indeed, from 35 William Southland Pol echnlc basis” is one of the to be unnecessary, as all the articles Sydney, NSW 2021, Australia. Private Bag, I VERCARGILL international Mansfield aims in the magazine are substantial, Annual subscription $40 Azrst. Phone (03) 218-2599, Fax (03) 214-4977 potential goals Janet Freephone (0800) 800—565

30 Spring 1990 NZ Crafts 31 [acauaral Silk Colours LEO KING DOWSE are paint-on dyes for silk, 20 colours, also ART MUSEUM gutta and dispensers.

Body Adornment Series ! ]acauard Textile Colours Craft History and Criticism are liquid paints for brushing, stamping, December 1 - January 27 airbrushing available in 30 colours. Q Lauren Lethal Genuine Synthetics Procion Andrea Daly cold water, fibre reactive dyes The article by Matthew Kangas in the American craft/art by American and legitimise the boundaries which Scarecrows/Scarecrones suitable for wool, silk and cotton, supplied winter issue of New Zealand Crafts commentators. The content of the, have been actively under attack for a Womyn and the Church with easy to use recipes. focuses, as the Editor observes, upon material is appropriate to New Zealand number of decades. The apparent Trade Aid aspects of the art/craft debate as it has but the art work which is the subject existence of these boundaries identify Ideology been presented in New Zealand, but of scrutiny is at a different level of classifications unacceptable to many and development new» which have so far been unexamined. development from that here and in a craftspersons, craft artists or other Two of the topics in this article upon different context. preferred label as they are often Film and Video programme until For a full price list and colour cards which some commentary has been So far the discourse presented here responsible for an implied limitation made, that of Craft History and of artistic status and in consequence a January send S.A.E. to; upon the relationship between art and Criticism are entirely relevant to New craft has been persuasively expressed lower economic return for the work. A TILLIA DYES Zealand and their values so far and concerned with the restatement comparison with the indicated prices Coffee Shop/Museum Laings Road PO. Box 82-194, unplumbed. of the historical origins of the of the contemporary two dimensional Open Mon-Fri IOam-4pm Lower Hutt While “Critics Talk Back’ touches dichotomy, the reasons why it has works in the dealer galleries makes this Highland Park, obvious. Sat, Sun and Phone (04) 695-743 briefly upon these important areas persisted and continues to do so. The Auckland. and upon some others where honest reiteration of these facts which are There is a common relationship Public Holidays I lam-5pm or (04) 660-502 Telephone (09) 534-1368 — Robyn Haycock and unequivocal statements are made, elemental in the construction of an between American and New Zealand it has been written by an American intelligent debate serves to re- crafts which stems from a background critic and includes comment upon emphasise the status of art and craft of European ideologies and

distinctive I In association with the Crafts Council of New Zealand and the New Zealand Spinning, Weaving handmade and Woolcrafts Society, the New Zealand Wool solid timber Board presents the 1991 Art in Wool Award for the rniture excellence in works crafted in wool. l have been producing handmade, solid timber furniture in the Wellington region for many years now and have gained a reputation for the high quality of design, timber selection and craftsmanship that goes into I The winner of the 1991 Art in W001 Award will each piece. receive a prize of $5,000 and recognition as one of I will design and manufacture to my customers' particular requirements New Zealand‘s foremost textile design talents. using a wide variety of native or exotic timbers and also have an excellent display of dining room, lounge and bedroom furniture in my Paraparaumu showroom. I The selectors will be looking for originality of design, creative use of colour, the suitability of If you have been looking for quality furniture or would like something materials, technique, construction, professional specially made for you then write or call in and ask for me, Kerry Wales, finish and the highest degree of excellence in the I'll be pleased to talk to you. use of wool in textile art. Entrants are free to ._-._ _-_ _-_ select the form the art takes.

For further information and entry form write to : I In addition to the Award winner, other Anne Bange outstanding pieces will be selected to comprise the Mae- 1991 Art in Wool Co—ordinater 1991 Art in W001 exhibition to be held at the 363 Cobham Drive Waikato Museum of Art and History from 13 May FUR ITURE Hamilton to 23 June 1991, and then later at the Crafts 2 RUAPEHU STREET, PARAPARAUMU. PHONE (058) 70 471. FAX (058) 83 530. Council Gallery in Wellington. OPEN SATURDAYS: 1o am-5pm. WEEKDAYS: 9am-5pm

32 Spring 1990 NZ Crafts 33 h; and techniques, but the environmental the diverse philosophies of (/ \j .. the and cultural differences have had a appropriated concepts and methods development marked effect upon their respective handling materials which were more FOR ALL YOUR HANDCRAFT SUPPLIES relevant to the field of fine arts. Hungry Creek in New growth patterns. As a result the development in New Zealand Appropriation was in no way foreign Zealand over over the Braids 0 Fringes 0 Sequins 0 Beads 0 period from 1850 onwards was slower to fine arts having been employed as Leathervvork 0 Jewellery Findings 0 the period than in America and the time scale extensively in movements such (Art NZ, Lampshade frames ' Canework 0 Toy from 1850 over which significant changes took Cubism and as Basset Number 51) has noted, in the Making 0 Embroidery Fabric and onwards was place both shorter and later in the period. Consequently work in New exploration of Primitivism at the turn DMC Threads- Ashford Spinning and Applications for the 1991 academic year are now open. slower than Zealand which is recognised by the of the century. The students Weaving Products 0 All Craft Books- HCFO1 Art & Craft Foundation 1 yr. - in America... maker and the public to be different themselves were aware that the work in a from and outside of the traditional which they were producing was Open to all from 17 - 60 years. No previous experience or Patchwork Fabricsz- Concord - Liberty 0 boundaries occurs later than in different category from that which academic qualifications necessary, however a demonstrable VIP 0 jinny Beyer plus all accessories. America. This makes direct form, function and material usually interest and potential is required. decreed and in consequence often comparisons difficult, but reference to Fabric catalogue available from our complete mail craft adopted the label of artist. However, D HCCOZ CRAFT CERTIFICATE 2yr. history, poorly recorded as it is, order service helps to place contemporary work in while some sought the prestige and For more advanced students, School C or U.E. art is desirable perspective and illuminate the ways in financial rewards which an artist could but also open to students with demonstrably higher artistic or which it has developed. generally expect, the fine art market craft ability than for the Foundation course. and certain social pressures were less The crafts in America from 1850 generous. [ HCD02 ART & CRAFT DIPLOMA 2 yr. onwards were reasonably healthy due to native inventiveness and overseas Assisted by the establishment of the in 1965 a ...a different Open to Craft Certificate students ( from H.C.. or other tertiary influences, but as a result of the American Craft Museum institute or art school ) , or evidence of equivalent proficiency, or different classification for their work classification (Nelson) Ltd . . . Public Depression became the subject of practicing art and crafts people wishing to extend or enhance increased interest to the government was originated and described as craft/ for their work art. Because of the quantity and its their design & skill base. Works ’ Art of that country. In 1933 Roosevelt set was 93 Collingwood Ave apparent marketability it was Nelson ' Hungry Creek is situated 60 km north of Auckland ( midway Project to up the Public Works’ Art Project to originated alleviate unemployment among supported by dealers and exhibitions Phone (054) 87288 between Orewa and Warkworth ) on a 20 acre bush clad campus, alleviate which helped to establish its status. A and described bordered by a river, close to many beautiful beaches. Students artists, its task being to provide art k Fax (054) 68056 a unemployment works for public institutions by hiring recent exhibition which demonstrates as craft/art. usually find accommodation locally. retrospective among artists who subsequently produced a some of this work is the of Subjects covered by courses are; artists. . . large number of works. The scheme curated by the Philbrook Museum a was extended two years later and came Arts, Tulsa, which has assembled JEWELLERY- including silversmithing, stone & bone carving. under the control of the Works collection of over 200 works made in Tutor; Andrew Venter assisted by Lisa West and Reuben Progress Administrations, the W.P.A. the period between the end of World Bravenboer. Its base was widened and within a War II and the present day. The curators of the show have chosen to L POTTERY- 1) HANDBUILDING, year it was employing 5,500 artists, pit fired Tutor; Robyn Stewart. describe the works which comprise the 2) teachers, craftsmen, photographers, THROWING, glazing ceramic, high fired Tutor; collection as Art in Craft Media, a Merrilyn Wiseman. designers and researchers. iIt Edge gallery Qualifications for assistance were label which has stimulated further ART HISTORY- Tutor; Noah Morris lowered and allowed more criticism. The exhibition is entitled inexperienced and lesser known artists ’The Eloquent Object’. LIFE DRAWING 8: PAINTING- Tutor; Noah Morris to apply. This project was responsible One of Matthew Kangas’ contributors DESIGN- Covered by tutors in all disciplines plus some specific for assisting the artistic development has perceived craft history as an specialists in design projects of Abstract Expressionist painters such apparent vacuum and Lucie-Smith in as Pollock, de Kooning, Gorky etc., his essay which forms part of the book SCULPTURE- Tutor; Andrew Venter and Lucie-Smith (American Craft American Craft Today (1986) NZ PAINTINGS, SCULPTURE ETCHING- TutOr ; Dot Coley Today, 1986) reports that over 3,000 complained of the gaps in the history LIMITED EDITION PRINTS different handicraft projects were of American craft. The coverage which SCREEN PRINTING - Tutor to be appointed registered. does exist there is however extensive ARTISTS' CARDS WEAVING - is not available on campus but classes can be The accent upon form and materials when compared to that which is All Art Supplies arranged with local weaver Janet Barnes. which were fundamental to the available in New Zealand. This makes Framing Bauhaus teaching were diffused it difficult to review the progress of here using as a Art Publications All tutors are well known practising artists and or crafts people. through establishments such as Black craft development Mountain College and although the yardstick that which is recorded in Studio space available for working artists/craftspeople, and other countries. It is also impossible to diploma graduates seeking to become self-supporting. crafts tended to become regionalised during the following decades they also identify particular events or influences gilt. Edge gallery & flri Centre a significant impact, b Hungry Creek is seeking qualification and registration as a private . . . an became included into the curricula of which have made THE VILLAGE MALL with the exception of those which are provider from the New Zealand Qualifications Authority. environment universities, such as the University of known and generally accepted, e.g. (Under the Clocktower) which was California at Berkeley. This resulted, in 5 For further information or application forms contact. the early 1960’s, in a proliferation of Leach and pottery. However, looking Jackson Street Andrew Venter, Hungry Creek Art & Craft School, orientated students whose work was different. at that which is available and PETONE C/O Puhoi Post Office more Based as it was in the traditional confining the study to those crafts which originate characteristically from Telephone: 689. 723 Phone Puhoi 752. towards disciplines it was subject to an Western sources some trends can be design. environment which was orientated MW more towards design. They absorbed observed. The reason for the exclusion

34 Spring 1990 NZ Crafts 35 of the indigenous crafts is that while development in two differing cultures 7 THE warm/are their craft history, probably recorded may be there is an obvious similarity ...there is a orally, is possibly more in the patterns of progress and lag in the comprehensive, it is not immediately I” POLYTECHNIC material which can be used to support ’state of the Te Kuratini o Waikato comparable. the proposition that there is a lag in art’ relative As in the U.S., prior to the beginning the ’state of the art’ relative to that in of the 20th century, New Zealand the United States. The value of such to that in the Certificate in Craft Design ...New crafts developed from a home base an attempt to compare existing craft United States. Zealand and expanded through European historical information is that it crafts influences. The development provides weighting factors which can Diploma in Craft Design occurring outside any educational contribute to a more accurate developed system was undoubtedly recorded assessment of contemporary work and 3 - 12 January 1991 from a home orally and has not been transcribed in in consequence is a very relevant Areas of study are: Design, Drawing, Textiles, Ceramics, base and detail into permanent records and in component of the art/craft debate. PAINTING/PRINTMAKING Jewellery, Business Studies, and Art and Craft History. expanded consequence is lost. This development Kangas has laid the blame for the lack Brian Carmody provided a strong base for continuing Denise Copeland through of historical craft commentary at the . growth and it is a source from which door of the decorative arts’ curators decorat've Margaret Elliot European much of the contemporary work has whom he alleges have concentrated 0'15, Robert Franken influences. sprung. upon dead artists. While the curators Kura Rewiri Thorsen Within the educational system prior establishment of such responsibility whom he Information and brochures available from: CERAMICS to 1940 the craft activity was confined here 15 outsrde the terms of reference John Parker Department of Design to junior school programmes and was of this article, some attempt to fill the alleges have Vincent McGrath (Australia) very limited in scope. historical Waikato Polytechnic It was not until vacuum could be made by concentrated the post war demands for personal undertaking in-depth studies of those WOOD Private upon dead Bag 3036 development and education from the who are making significant artists Alan Brown HAMILTON 2020 population became vocal that the contributions and of their creative ' FIBRE/FABRIC Phone (071) 348 888 Department of Education expanded evocations in the context of the social, Chad Alice Hagen (USA) Fax (071) 380 707 the curriculum for its student art economic and political environments Maxine Lovegrove teachers to include weaving, pottery, which they have experienced. MIXED MEDIA photography, puppetry, stage design The second topic, Criticism, whose Carole Shepheard and subsequently bookbinding and value is also endorsed by Kangas’ wood carving to supplement an contributors and possesses a universal GLASS existing accent on drawing, painting value, would seem to be a tool which Lindsey Handy and printmaking. Certain craft could contribute to work which Tony Kuepfer subjects were developed further under crosses traditional boundaries. The BONE CARVING the guidance of the art departments of kind of criticism which is being Owen Mapp some of the Teachers’ Colleges during referred to is obviously outside the the 1960’s and early 1970’s and were technically orientated commentary JEWELLERY DESIGN the training grounds for many of the which is often applied to craft work Kobi Bosshard students who later chose crafts as a and the disciplines which have been BOOKBINDING vocation. They now make up the developed to deal with works Jocelyn Cuming main body of those who are regarded traditionally designated fine art. These BRONZE ART STUDIES IN A as professionals in their respective are sometimes anachronistic and fields. inadequate to handle the Steve Woodward / Ross Wilson ...teachers or The number of students who chose to diversifications which have resulted WRITING MULTI CULTURAL who adopted be teachers or who adopted the from advanced technology. Lauris Edmond medium of crafts as a vocation was of Criticism which compares and MUSIC the medium course supplemented by those who evaluates work in the context of Helen Collier: Piano ENVIRONMENT of crafts as a developed their own ideas outside the individual development or against Jonathon Harper: Guitar vacation... educational system. However, the that ART FOUNDATION of contemporaries will need total numbers were relatively small tolerant acceptance as Kuspit (NZ MIME/CLOWN Covers most art media and the volume and diversity of the Crafts, Issue 32) has commented and Mark Parisian work which emerged was much less also a mode or a set of conventions CALLIGRAPHY NATIONAL CRAFT than that in the US. DESIGN CERTIFICATE which are more immediately Colleen O'Connor Craft media or Art media Focus is on The results of these creative efforts do applicable. As a component of self your origins. of course exist in private and public evaluation it may be a slightly collections where their value is often contentious issue but as a factor in the Enrolments close 10 December 1990! DIPLOMA CRAFT DESIGN unexplored and insufficient attention education of the buying public it must Brochures and enrolment forms available from: is paid to them. However, these works be very important. Summer School Coordinator, Open to Whitireia graduates. Focus is on Wanganui Regional and those of contemporary workers in As a general comment those who are Community Polytechnic, Private Bag, Wanganui. commissioned work. Course Supervisor: the field which can be seen in not specialists or cognoscenti, the Phone (06) 345 0997: Fax (06) 345 2263. Anne Philbin. exhibitions up and down the country ordinary buying public, differentiate contribute to an indexation of the between craft and art by the overall national progress and Ring the General Studies Secretary for information: identification of materials and Community Ads . achievement. techniques which are most commonly 375—239 wmsaart Council Ext. 771 Simplistic as this comparison of craft associated with an object, by the form

36 Spring 1990 NZ Crafts 37 in which it usually appears, by their scope of exhibition selection, have been own expectations of it and the emphatic in their denial that “objects RESOURCE CENTRE environment in which it is presented. speak for themselves” and that of Tony Much of this individual capability is Chastain-Smith (American Craft A/ acquired by exposure to and the M.89) seems particularly apposite. His Tire Crafts Report Vol 16, No 170, May absorption of information from many answer to therhetorical question "the _ MEDITATIVE IMAGE: THE ART OF SUMMING UP THE EIGHTIES Articles 1990 pp8-10. LENORE TAWNEY by Matthew Kangas. sources encountered during the course objects are eloquent; should they not be The following articles have appeared by Warren Seelig. Four critics discuss the burgeoning of daily life, together with allowed to speak for themselves?” was in journals recently received by the GETTING OUT OF THE DUST A latter—day alchemist, Tawney market for contemporary ceramics, connotations of taste and value. In “No. When we say that objects have Resourse Centre. These articles can be by Theodore] Fink M.D. transforms silk and linen, paper or the state of criticism, strained relations some cases it includes a recognition something to convey to us visually we Millwood seen in the Resourse Centre or copies Getting rid of dust in a woodshop is exotic feathers into forms symbolic of between functional and sculptural and appreciation of embodied skills. fall back on metaphors from oral can be obtained. Requests for copies like trying to eliminate salt from your her unique experience. artists, and stylistic trends. should be accompanied by payment When presented with objects which communication; ”eloquent”, “speak”. diet, which is impossible because American Craft August/September American Ceramics Vol 8, No 3, pp44— of 25c per page plus SAE. 47. fall outside the boundaries which are This poverty of expression parallels our almost everything you eat or drink 1990 pp34—36. Gallery contains sodium. 30 the goal is not to customarily acknowledged there is culture’s low level of visual literacy. TO YOUR HEALTH totally eliminate dust, but to minimise PLANTING HER FEET, FINDING HER THE PERSISTEN’I‘ SERIF often confusion and a consequent Education and interpretation, historical Beware of Potential Hazards in your exposure. This article explains PLACE, GAZA BOWEN by Robert Borja. Working with Glass by Gail Barazani. how you can accomplish ‘dust- reticence to commit personal and aesthetic are needed. To be sound, by Barbara Hamaker. And then there are the finishing control’. judgment and the purse. they need the backing of scholarship”. Feeding rich old relatives ground glass “These...”says Gaza Bowen, pointing strokes...sometimes...those little Books in their salads used to be, in early Fine WoodworkingJuly/August 1990 to a pair of outrageous high heel shoes appendices we call serifs. If critical commentary can explore Hollywood movies, a way of solving pp73—75. made of shocking pink and lime green Calligraphy Review Summer 1990 pp6- aspects and values which are beyond one’s financial problems, this article References. Prints scrubbies and other cleaning 11 those which are most often applied, informs us of the potential hazards SURFACE DESIGN ON YOUR FELT materials. ”..,are shoes for the little Manhart.M. & Manhart. T. Eds. The glass workers face. examine contextual relationships and Paintings by Jeanette Green. woman.” Poised on a yellow rubber Eloquent Object. Phi/brook Museum ofArt. Tire Crafts Report Vol 16, No 170, May AGREEMENT FOR THE SALE OF create links which improve The attraction of felt making for dish drainer - they seem ready to tap WORK Antique engravings 1990 pp2. their way through the dishes with no intelligibility, its value to the buying Smith.P.]. & Lucie-Smith.E. American craft Jeannette Green has always been the Prepared by the Canadian Crafts problem. “I mean, that’s what women Today. New York, 1986. range of possibilities for surface Council this suggested agreement Bill public, the maker and the dealers who Old maps THE FOUR P’S OF MARKETING do..don't they?” she laughs. A design. Great freedom for of Purchase and Sale is for significant market the work and who have so Magazines. prominent American artist in by P. Ann Pieroway. experimentation with texture and works of craft/art. much influence, cannot be denied. American Crafts. colour and shape is inherent. In this wearable art movement since its “The absence of a marketing plan or The (ICC Bulletin (,‘(JM/l ppl-S. Those who challenge the potential of Art New Zealand. poorly designed one can cause the article she explores different ways of emergence in the late 1970’s, Gaza 291b Tinakori Road Bowen’s work represents a valuable their material must be aware that the New Zealand Crafts. best designed and priced product to creating surface design on felt, along Thomdon fail.” This article looks at the four P’s with her suggestions and hints. and unique contribution to both the intention may not always be obvious. craft and art worlds. Wellington of Marketing - Product, Price, Textile Fibre Forum No 28, I990 ppZB- Commentators such as Grace New Zealand Placement and Promotion. 29. Ornament Summer 1990 pp22-30. Cochrane (NZ Crafts, Issue 30), whose Telephone: (04) 735-176 CALLIGRAPHY (CONT FROM P16) remarks were made in the narrower He trained as a poster writer in year at Compendium. “Exhibitions \___/ England which involved an are important for PR. They are to apprenticeship of five years. He also show people something.” Quality went part time to art school and People are discovering calligraphy FOR YOUR New Zealand learnt illustration, air brush use, world wide and Dave attributes CONTACT WALES & MACKINLAY LTD. screen printing and photographic some of the resurgency of interest to REQUIREMENTS OF Crafts techniques. He is a man of letters Donald Jackson. He was a young CRAFT GALLERY with a strong interest in things visual tutor in London who in 1974 went 9 Over 300 N.Z. Artisans and it is his ability to incorporate to the United States and inspired a lot of people. ”People were still very of diverse crafts illustrative and decorative elements 0 Huge range in his layout that sets him apart from Victorian in their thinking about 9 Suitable New Zealanders & Overseas Tourists other calligraphers. calligraphy, but those he reached 0 New Exhibitors welcome. When Dave emigrated to New there were vital people. They explored a lot very quickly. The 9 Open 7 Days Zealand he worked for three weeks signwriting before the firm told him same thing then happened in NEWILKARRIVAL FROM CHINA he was too good, and sent him to an Germany, Spain, and Italy. Down the alley behind ANZ Bank THE HOTTEST THING SINCE GENGH/S KHAN!! advertising agency. Two years there Calligraphy is now part of this PURE SILK SCARVES 237 Parnell Rd, Parnell, Auckland. gave him enough confidence to go decade, and a man called Herman BOILED OFF SPECIALLY PREPARED. READY FOR DYEING/HAND» freelancing. ”In my first week I made Zapf knew how to handle a pen, PAINTING/TYEDYE/SCREEN PRINTING, THESE SCARVES ARE ALL WITH Telephone (09) 398 740 $8.” became a type designer and has put HAND ROLLED EDGES (4 SIDES) HAND SEWN WITH PURE SILK THREAD, calligraphic letter forms on But business improved. It was the YOU MUST SEE THE SUPERB FINISH TO BELIEVE IT! computer. I’m not against it. The QUALITY AVAILABLE: SILK PAJ beginning of 18 years in visualising computer is a wonderful tool, and it SIZES 36" x 36" of SQQO/eoch + (3.8.1. Ex Stock Immediate in Auckland. Within that time certainly won’t mean the end to HABOTAI \ jeweller Peter Minturn asked Dave to calligraphy. Calligraphy has SIZES 36" X 36" Of Sl3.30/eoch + (3ST. EX Stock Immediate produce the best work he had ever humanity, and right now the world done. Anything less wasn’t good ALSO AVAILABLE EARLY OCTOBER Your One Stop wants humanity.” SILK PAJ enough. He wanted a letterhead and SIZES 9" x 54"otsz1.10/eoch + G.S.T. Stitching Shop logo based on calligraphy. He got it. Dave thinks New Zealand may have 12" x 60" of $5.70/eoch + G.S.T. Dave did the best work he’d ever something to offer to the Note: Minimum quantity i doz per size done, and it was the beginning of his international world of calligraphy. 100% NATURAL COTTONS: AVAILABLE EX STOCK calling to calligraphy, ”This country has some talented CHINAVMUL110/112CM WHITE EMBROIDERY SHOP people. Sydney’s crafts and art are The work won a prize and the INDIAN MUL—MUL 112/1 IACM WHITE (80‘s COUNT) way behind here. There is a lot of woman who ran the shop from CHINA LAWN 112/114CM WHITE (JUMPING FISH) SOFT FINISH & ELNA CENTRE Vital creativity here so calligraphy HOMESPUN 112/114CM WHITE which be bought his supplies (Anne MALAYAN will eventually stand out too.” INDIAN VOILE 112/114CM WHITE & BLACK Castle - The French Art Shop) liked ALL THE ABOVE QUALITYS HAVE BEEN TESTED FOR GARMENT DYEING. The best Specialist Embroidery what he was doing. She asked him to The workshops that Dave runs here Shop you ’ve ever seen teach calligraphy. He got two will help it happen. "In workshops LTD WALES & MACKINLAY students, then six, then twelve. In it’s important to tell people all you TEXTILE AGENTS & DISTRIBUTORS 13 Market Street (opp. the Criterion) 1982 his work culminated in a know because it will take people a 199-209 Great North Road. Auckland 2. New Zealand long time to catch up. Any tradition P O Box 825, Blenheim. calligraphy exhibition at Pacific PO. Box 5 I40. Telephone: 7634047. Telex: NZZS95 is a tradition because it’s been ‘P I nflvb‘fliflffi*4; Facsimle No.: (09) 780-650 Phone (057) 82 499 Gallery in 1982, and he contributed L‘HINA SILK Cfl to a small group exhibition in the passed on. What’s the point in IIPIlRA'I'IIlN ZHEJIANB‘BR‘TDAIIEH Christchurch Agents: French Art Shop in 1989, and this keeping good things secret?” HS. Crookbain & Sons Ltd. Phone (03) 663—551. elna 38 Spring 1990 NZ Crafts 39

—i— Excerpts from Mau Mahara (Illustration back cover) A SCEEN DESIGNED BY SIR KOURA KETE AND GREENSTONE THE CURVESSE CHAIR DESIGNED POT MADE BY OLIVE JONES AFTER RECENT WORKS APIRANA NGATA, CARVED BY WEIGHT. AND MANUFACTURED BY MR 1934. PRIVATE COLLECTION AND JOHN TAIAPA, WITH TUKUTUKU Collection of Guide Rangi, G.C.CHESTER AND MR RUSSELL PHILLIPS, AUCKLAND. MADE BY MRS HINEWAKA Whakarewarewa. A.L.WILLIAMS 1945. Pots made by Elizabeth Matheson, PAENGA AND MRS HENE TE KIRA The koura kit has a wider weave and “You must remember that my Briar Gardner and Olive Jones for AROUND 1948. it’s deeper and it holds a lot more. ' cousin and partner, Garth Chester, display at the 1939—1940 New “My father gave a lecture in This was what we used when Guide he had the original concept. We laid Zealand Centennial Exhibition. Wellington in 1947 and a number Rangi and Mum’s father had a tau. a sheet of 3/16th ply on a table and "The Arts and Crafts Section has of the diplomatic corps were A tau is made when you gather we soaked the outside just to soften drawn entries from all parts of the invited. Amongst them was the about a dozen lengths of bracken it. Then we put on the top of that Dominion, Australia, Canada and American Ambassador, Avra fern » raurihi - and you tie them the cold water glue, then we put Great Britain. Here every type of Warren. He mentioned to my father lightly together. Then you attach another sheet on and spread cold handwork within the sphere of that he would like something Maori them to a long cord and you put water glue on top of that. We then women is displayed in wide variety. to put into his home and eventually them into the lake at about every repeated the process with two or A list of the sections in this he gave my father the dimensions fifteen to twenty feet. You space more sheets. The big deal was the exhibition gives some indication of of his fireplace. He wanted a screen them along this long cord and you closing down of the press. That was the interesting material on view: made for his fireplace, and you can drop these bundled raurihi and the the time consuming thing because decorative needlework, book- judge from the screen just how big cord into the water. That’s when it took eight hours for the glue to binding and leatherwork; metal his fireplace must have been! that greenstone weight was used. set. We had many failures of course. work in copper, brass etc, jewellery "However, before it was completed This bundle settles on the lake bed If there were no loud, cracking and enamels; lacquer and painted he had gone to Turkey, to Ankara. and it becomes a home for the noises we knew that we had woodwork; carving and wood By the time he contacted him my koura or freshwater crayfish. It’s succeeded with one. inlays; illuminating pottery, china father had passed away so the thing usually left for about two weeks. "When the first successful one came painting; designs for fabrics, was just kept here by Dick Wills, the Then you have to lift it out carefully off the press we were not in the textiles, wallpapers, etc; weaving builder who was associated with so they don’t jump off - it’s a slow position to go out and celebrate it and spinning; and toys. The pottery virtually all the meeting houses and process. Once they were emptied but I think we did - I think that exhibit is made additionally dining halls that my father was into the boat our job was to pick the night we were going to the hunt interesting by actual involved with. Dick Wills is a kouras up and put them into this club ball in Auckland so i think we demonstrations of pottery making”. forgotten man in the retelling of the kit. A good one would be six inches did perhaps let out hair down a bit. from the Official Souvenir history of the meeting houses. long and they would nip you, hard. We felt that we really had Catalogue of the New Zealand Anyway, Dick kept it after my father llmily Schuster (Tuhourangi) something then. I can remember Centennial Exhibition

died, then he told me about it and that. We sold about eighty. I think SAMESHIMA BROOKE-WHITE that’s how it finished up here.” our failure rate was like about one in five. It was dispiriting. livery time HARU. Sir l-lenare Ngata (Ngati Porou). IULIA we listened for the blasted crack. We became rather philosophic about it.” Mr A.L. Williams, Auckland.

APOLOGY Because of a breakdown in communication in the final stages of the

‘, MAHONEY production of the last issue of NZ Crafts, David Trubridge’s article The Fire . I!" of Creativity, (pp6—8), suffered two unfortunate fates.

The first was that a drawing was presented upside down on p7, and the CHRIS second was that a number of lines were dropped off the end of his article. The editor of that last issue regrets the appalling event, and apologises to David for the unhappy result. Accordingly, the drawing is here reproduced right side up. The missing text, including the first four lines of the broken paragraph, should have read as follows-

“I remember the powerful impact that the exhibition “Te Maori” had on me. The works shown there were not chosen for their design but for their spiritual content and their mana. These were artifacts that have great significance and importance in the societies to which they belong, and they come accompanied by impressive ritual. No one person created any of them 1 Diana Parkes. (Left) Mid-City Portal. (Right) Pacific - they are products of a society, a concentrated human energy and Portal. Both 300mm x 350mm. creativity. This gave them magic and even power. 2 Brian Adam. Eyewear, "Papagana Blue". Paua shell This is the fire of human creativity whose spark is passed through a deep and Silver. common bond of language of expression and cultural continuity. And we Drawing of canoe prow figure of Frigate bird and Pakohe brooch. can all feel its glow." from Vao Island, Vanuatu 3 Wallace Sutherland. Pounamu Vic Matthews. Lectern for the great hall, Arts Centre, Christchurch. NZ. Walnut. 5 Chris Mahoney. /ourney to my Ancestors Food for the journey. I42mm x 155mm. 6 Humphrey lkin. Bench. Totara, 3 metres.

40 Spring 1990 I;