ANZ and GrindlaysAnewforce in International Banking hasbeen created.

With the recent acquisition of the UK based Grindlays Bank, ANZ has established a formidable presence on the international banking scene. A presence that spans the globe with over 1,660 branches and offices in 45 different countries. A new force that brings together two major banking institutions, each with over 140 years experience in international finance and related services. As a result, ANZ Banking Group (New Zealand) Limited as part of the Australia and New Zealand Banking Group, is uniquely placed to assist customers with their international financial requirements. This new force is staffed with experienced professionals who can handle all your banking needs. Whether it be ca ital markets activities, foreign exchange dea ing, trade finance, foreign currency loans or any other of your international financial needs. So if you’re looking for a global bank which is highly respected in international banking circles for its strength, flexibility and professionalism, ANZ is your logical choice.

INTERNATIONALAS I BANKDIVISION and North — Barry Brown Ph. 492-189 Auckland. Auckland Central — Ivan Tuite Ph. 0 Auckland. Auckland South — Darrell Comber Ph. 276—1890 Auckland. Hamilton — Beryl n Ph. 80-089 Hamilton. Bay of Plenty — Gary Richardson Ph. 82—169 Rotorua. East Coast — Mitchell Ph. 52—099 Napier. Manawatu/Taranaki — Colin Ross Ph. 84-169 Palmerston Wellington — Robin Spicer Ph. 739—669 Wellington. Christchurch — Bryan South 7—505 Christchurch. Otago/Southland — Mike Wemyss Ph. 773—144 Dunedin. J\‘

CRAFTY COUNCIL ()1’ NEWZIJALAAU) (INC) 22 The Terrace Welling/on Phone: 727018 Craft Council Magazine No. 15 Spring 1985.

[985/86 EXECUTIVE COMMITTEE Soapbox — PRESIDENT; Editorial Colin Slade Barn/s Bay Ietters To The Editor R.D. Duvauchelle 22 The Terrace Vivian While reports on the scoop of the decade BANKS PENINSULA Duvaucnelle 748 Theo. Schoon Gerhard Rosenberg and Helen Alrlason uxrite about com-boom V]CE*PRFS[[)EA7} this important Craft Pioneer

Carole Shepheard Ties That Bind Louise Guerin talles to ilIarlise Staehelin, judge 1 [\3 359 Richmond Road and selector for this major craft exhibition Grey Lynn AUCKLAND 2 Winstone Ties That Bind Bob Bassant rei'ieu's the exhibition 13 097687568 A Toy That Shows A Curious Motion Bob Bassant 16 15XEGL’T/ VE COJIWII Tl‘Iz‘: interviews Dr Norman Barber one of the award Eileen Braddock winners in the “\l"instone Ties that Bind" exhibition Galley 242 242 Heretaunga St East New Zealand Ceramics 1985 A rei'ieu‘ by Peter Gibbs 18 HASTINGS Work: 07065—802 Healthy New Zealand Identity? A critical look at the New 20 Home: 070786-700 Zealand Academy of Fine Arts selection process and rei'ieu' of the ANZ Fibre Art Award e.\'hibiiion by Bob Kate Coolahan Bassant. 57 Setton St Wadestown Living With Wood iIrIichael Pence comments on the second 24 WELLINGTON Australian Wood Conference 04735—627 The Use Of Stencils Elizabeth Fraser~Daries coniinues her 25 Anne Field series on enamel/ing techniques 37 Rhodes St CHRISTCHURCH Profile Humphrey I/ein — Furniture Maker 28 08799-553 First National Jewellery Exhibition Neu' Zealand/eu'e/lers. 30 Campbell Hegan Silversmith, Bone and Stone Carvers unite to show 37 Roslyn Terrace their u'orle. Devonport —]eu'el/er 32 AUCKLAND POtOIiO Stephen Jill/queen 09-450-271 Craft Shop Craft Habitat Nelson. Peter Gib/is reports 33 Gavin Hitchings “Fire Marked Pottery” Roy Cou'an rei'ieuzs an erhihilion al the 34 320 Trafalgar Square Crafts Council Gallery NELSON 05483-389 Recent Work 36 Para Matcnitt Aims Of The Crafts Council 37 Powdrell Road NAPIER Resource Centre 38 Work: 07065802 Craft Loan Scheme 39 Home: 070—786700 Lani Morris PO Box 19-055 Front Cor‘er: Square WELLINGTON 2 Edge Plate Brian Gar/side ,llixed .llt‘diri {It} .\' Vii/l .\‘ 8/) l’rrnn i/ie “ll"insione 04726-370 Ties that Bind” Photograpli- lot/(i Cmuj/‘oril Mel Simpson 8 Horopito St Mt Eden AUCKLAND 09775-377

Advertising rates Design and Layout: Ifxecuiiz re Director :John Schiff Full colour page : $640 Bob Bzissant Information Officer sRacwyn Smith Full page black & white : $550 Typesetting and composition: Gallery Director :l’cnny Harrison Halt‘page black & White : 51—8 Computer Setters [ltd Secretary/Typist ;\'i\'icnnc White Quarter page black & white : 588 Printer: Roberts Print Ltd Eighth page black & white : $44 Eiu/uirefbrfour l'_\'_\‘I(€*l'()/Iilll€ reduction Subscription, advertising and editorial Jenny Pattrick, Editorial team and classified rates, enquiries Rzicwyn Smith. Crafts Council of NZ Bob Bassant Deadline for copy for next issue PO Box 498 15 Dec. 1983 Wellington EDITORIAL

New Crafts Advisory Officer

The QEH Arts Council has recently appointed Edith Ryan as Advisory Officer for Crafts, replacing Catherine Lomas who has left for a position at the Auckland Museum , Edith Ryan is already known to many craftspeople as co—director of the Widely respected Villas Gallery in Wellington. Formerly a Senior Lecturer in Education at Hamilton Teachers’ College, Edith has established a reputation over the years as an art connoisseur, and a friend of craftspeople. Ifyou Wish to apply for funding in the craft area, consult the Funding Guide first. (Community Arts Councils and Regional Arts Councils, and the Crafts Council have them, also most Arts Institutions.) If you have any problems or queries contact Edith Ryan at the QEH Arts Council in Wellington. She Will provide the answers!

oapbox

As the covowner of an exhibition standards of worle. exhibitors" work and should have a gallery, 1 have given much thought to However, as one achieves great sleill, finger on the mar/eetpulse to obtain the notion of dealer galleries. resulting in beauty of design, and a commissions and contractsfor those 1 would guess that in N)w Zealand unique and clearly identifiable style represented. there are more top notch craft artists and approach one needs to give up The artists would be committed to than there arefine art artists Yet, in amateur behaviour andjoin the ran/es the gallery. All their work wouldpass Wellington for example, there arefive of the professionals through their gallery. There would be dealer galleries handling the wor/es of For those who have reached this level no more grapplingfor sales, spending the best ofNew Zealandpainters, and ofperformance it would be time promoting oneselfand ones wor/e, not one dealer galleryfor craft. (Is appropriate to approach a craft dealer having wor/e badly displayed or there one in the country anywhere?) gallery, crammed up against mediocre items, I don ”t believe the craft wor/eers will What would this entail? [suppose a This partnership could only be ever ‘come ofage ', be completely contract between the gallery and the rewardingfor both — the artist professional, until their business is artist. A contract that committed both relieved of the sales andpromotion handled in a professional way by the gallery and the artist to each other. side could concentrate solely on dealer galleries. The gallery would have the creating works, while the gallery would When one is an embrionic art responsibility ofpromoting artists and expend energy on the support and wor/eer, one needs to engage in their war/e, of arranging exhibitions, promotion ofa select group of excellent swapping, house doorsales, putting exposing their wor/e to the public and artisans. one ’s wor/e upfor sale in a craft shop explaining the processes involved, The All in all — a good idea? to be displayed alongside all dealer would hold stoc/es of its EDITORIAL ”algal-498% In our last magazine we featured Ida Lough as a pioneer in the development of weaving and crafts in New Zealand. She died just days before the magazine was published. The article outlines her tremendous contribution to the New Zealand craft scene. Here, we would like to add a final note of love and respect from Crafts Council members and in particular the members of the Christchurch branch of the CCNZ. Ida Lough was a founder member of the New Zealand Chapter of the World Crafts Council (forerunner of the CCNZ) and an Honorary Life Member of the Crafts Council of New Zealand. We will sorely miss her.

Published below are exerpts from a letter to Frederika Ernsten by Ida Lough, in which she outlines events in the early days of the New Zealand chapter of the World Crafts Council.

The Beginnings of the World Crafts Council The WCC was founded in New York in 1964, at a embroidery. Each of us received, direct meetingin Columbia University. It was the concept of from Stuttgart, an acknowledgment, an illustrated Mrs Vanderbilt Webb, a woman of great vision, who catalogue and, at close of exhibition one of two things had worked for 50 years for the recognition of the ~ a letter stating how one’s work was being returned handcrafter as a national asset, especially in the poorer and by which company insured, or a cheque for work countries of South America, Africa and Asia. The sold. handcrafter must be adequately rewarded for his best My entry, a small tapestry, was sold. Words cannot work, and not be forced to debase his standards express my delight. Here was I, exhibiting for the very through tourism’s demands or economic conditions, first time overseas, and someone in that great world said Mrs Vanderbilt Webb. Representatives of 46 had pounced on my piece and bought it! I was told the nations present joined at that inaugural meeting. name of the buyer — Frau Doktor Erna ..... ? (How Also present at that meeting was a New Zealander, could I have forgotten her name, even after nearly 20 Mrs Nan Berkeley of Wellington, then President of the years?). I just loved this unknown person who had NZ. Potters’ Society. She returned to New Zealand, unwittingly launched me on the road to international called a meeting of craftsmen, explained the noble fame as a tapestry weaver — or so I thought. Alas for aims of the new world body, and immediately formed unrealised hopes! At the time I would have done The NZ. Chapter of World Crafts Council. The anything at all for my first overseas buyer. following officers were elected: President, Mrs Nan (Liebe Frau Doktor Something, I thought, you need Berkeley; Secty., Miss E. Archdall; Committee, Lady not have bought that pale tapestry of mine. I would Turner, Mrs Jenny Pain, Mrs Mae Hodge, Mr G.W. have given it to you. The fact that you, in that beautiful Tarrant and Mr Peter Janssen. city of Stuttgart, with 2000 years of art and culture in This was in 1965. Hundreds of handcrafters from up your genes, would even stop and look at my and down the country joined the newly—born WCC, “Wintermorgen”, 51cm x 51cm, of trees in Hagley Park, and we were away. All our subs went in toto to New fog—bound and bleak with no bird singing, woven in York HQ. but later on Nan was permitted to hold back Romney wool, handspun but not too well scoured something for postages. Members received illustrated because I had run out of that neutral detergent we buy bulletins direct from New York. from PGG — this thought fills me with delight, Shall I Immediately we were launched into the international do you another tapestry, bigger and better than that scene. We had scarcely joined up when we found one, with more trees and less fog — ourselves involved in an exhibition in Germany. Nan “Fruhlingsmorgen” perhaps — made of wool properly collected the work of 18 handcrafters and sent it off to washed with the real thing, mounted on a mahogany the “lnternationales Kunsthandwerk 1966” exhibition stick with a silken hanging cord, delivered to you by in Stuttgart. There we were in the catalogue, among 50 special courier who will hang it for you and depart other countries —— 18 New Zealanders with 22 entires with a smile, taking all wrappings and mess with him?) — pottery (stoneware and ceramics), weaving That was how I felt. No cloud was rosy enough, swift (including Taniko) in wool, raw silk, cotton, linen and enough or bright enough to carry my affection to Frau flax; also jewellery; iron work; enamels and Docktor Something . . . D

3 LETTERS TO THE EDITORS

‘ ‘Winstone example found in the Rongopai Alan Brown sounds, the man of Europe, happening in, Meeting House. Gisborne. himself has Maori ancestry. extending over. Ties That Bind” where ancestors are illustrated Although in Owen and Pakeha, according to HW. There is a multitude of on wall panels wearing Doug‘s case the comment is Williams” Dictionary ofthe situations in life that are, one European clothes etc. and we definitely racial in its message, Maori Language, is a person of way or another: unpleasant, are all familiar with the How can the Crafts Council predominantly Etrropcan fe ' are entered into voluntarily, influence of ethnic design and City Art Gallery hope to descent and the meaning of the Judging and being judged as in found in the contemporary present a balanced exhibition word Maori, though of recent exhibitions, is one situation work we see today. when the judge is influenced origins (1850, Williams) is where we are able to exercise This ignorance of Marlise by the ethnic extraction of each worth looking tip, especially free will. to take part or not. Staehelin is evident in the participant? Is a judge not considering the physical A decision [0 be involved comment on the rejection slip employed to judge a piece on mixing of blood in New carries a commitment to accept returned to Alan Brown. “I do its own merits rather than be Zealand (again. Williams the outcome hopefully not understand this piece”. concerned about the racial Dictionary of Maori Language). learning from the experience Although not covered in spirals origins of its maker. 1 am a New Zealandcr, born and coming through with a and curls it nevertheless has Were any pieces rejected in this country. My ancestors positive change. Both for the ethnic content. Alan‘s because they were European have lived here for 140 years. judge and judged. An idealistic sensitivity and quality of influenced Maori art? Not only 'as l born here, I concept perhaps. workmanship are of a high \V'orth noting at this point are grew up with the influences of A judge should be able to standard and need not be inconsistencies in the judging both Maori and Pakeha cultures impartially evaluate the works questioned. Comments here pattern. If works were rejected around me, as well as the presented and make intelligent. come back that it is an because the maker is not of the physical aspects of land, bush, critical. complementary excellent sculpture So race that the design source architecture and elements, By remarks concerning each piece. presumably the ethnic flavour originates from. what of Steven chance, I don’t have any Maori both accepted and rejected. was the major factor in its Myhre's shell bracelet? It is an blood. though I do have Also learning from the exclusion. Or maybe it was the exceptional example of the relatives who, by chance, have exposure to a variety of English sounding name in Pacific Island practice of Maori blood. individual works. the connection with a Maori binding small. shell, money The conclusion l'm forced to influences crossing over from influenced concept. discs into bracelet form. When accept is that I must be an one to the other. Owen Mapp and Doug Marlise accepted this for the Ethnic Pakeha of New Zealand. However. the recent judging Alarsden. two bone and ivory exhibition was she aware of I certainly wasn‘t born in of “\V'instone Ties That Bind" carvers. had their work where this type of work comes Europe and have felt a total by Marlise Staehelin has rejected. These two are from or is it another example of foreigner when there. aroused considerable negative extremely capable with their her ignorance about this part of My work involvement is feeling through the NZ craft chosen medium. and ironically the world? carving and design and I draw community, with many both received the same obtuse Another rejected work of from my background for questions being asked. comment, “Though I‘m Swiss I high standard was returned inspiration. So, people The wisdom of the Crafts don't yodel". Not a with the comment “I cannot recognize something in it as Council is also under suspicion particularly constructive see the tie' '. On this piece the being of this place. This agrees because of their decision to criticism, especially when tie was an abstract id ‘21 with my own belief, as I know import a European intellect translated it reads “If you are between the design elements of my influences are of this into NZ to judge a culture that not Maori. don‘t carve Maori“. two separate pieces which country and cultures. Elements is as far from her understanding Brian Flintoff’s piece, which together made up the whole. 1 use are drawn from my as our respective countries are was accepted, is an ingenious Perhaps the slightly Maori surroundings 7 koru, miha, geographically apart. example of workmanship. a ox ertones made yet another manaia and taniwha. These are Did the Crafts Council carved walnut which when work unacceptable. developed to suit new possess any knowledge opened reveals two small Strangely, one of the winning concepts. beforehand of this person‘s carvings contained inside, one works was made up of two At different times my work attitudes to the bi-cultural being a Teko. separate, interlocking parts has been exhibited, on request influences of our society. or are Because of this ethnic with no physical connection, from Maori Artist groups and they as surprised as everyone influence this piece was All judged shows are associations, presumably else? displayed closed, The Maori themselves judged by those because we have something in During a radio interview on shut off and hidden away! Thus who view them and the quality common. At other times my Wellington's National station, depriving the viewer full of such an exhibition is only a work has been represented in Marlise talked about the appreciation of this work. reflection of the person acting New Zealand touring centuries-old influences on The comments from Marlise in authority as judge. exhibitions overseas and again I artists in Switzerland then during an interview on The “Winstone Ties That conclude that this represents finished with the following Kaleidoscope concerning this Bind" exhibition was some ethnic image for New comment, Quote . . . “There piece admirably illustrates her advertised as a challenge to NZ Zealand. are probably more artists in attitude. After talking at some artists, unfortunately this show Ethnic Art by definition, Basel than all of length about the walnut and its displays very little that could must be that which pertains to NZ" . . . unquote. Ofinterest. significance the interviewer be determined as NZ. those people born in their own Basel is a city in Switzerland asked: land at any time past or with a population of Donn Salt present. I’m quite sure that Q. "Had approximately 300.000. this piece been carved Auckland contemporary carving being roughly half that of Auckland. by a Maori would it have been done in New Zealand now is of displayed open?" This opinion being formed New Zealand Bi-Cultural Art ethnic quality, no matter after entering NZ only a few A, "Maybe." whether the carver has Maori versus Ethnic Art days beforehand. Q. “Would it have won had a or non-Maori blood or a Her strong aversion to work Maori carved it?“ According to the Concise mixture. A. “Perhaps," of Maori origin executed by Oxford Dictionary, etbm‘c is Recently I was rejected from Europeans obviously stems These are pretty ambiguous that pertaining to race: ethnikos the art show “Winstone Ties from an ignorance of our answers, and suggest she had — ethnos (Greek): nation, That Bind” on racial grounds, society. The interchange of knowledge prior to judging of characteristic spirit of by a foreign judge, Marlise cultural influences goes back each person‘s racial origins. Or community, people or system. Staehelin, who was unfamiliar over one and a half centuries, at least an indication of such European, also according to with New Zealand's ethnic This is demonstrated by an because as English as the name the CO. Dictionary, is a native background and bi-cultural 4 LETTERS growth. She made the 1985 New Zealand Now I could travel the length back and wait for some kind of statement that anything of New Zealand and visit artistic messiah to appear and Craft Show “looking Maori" and made by a numerous fellow craftsmen and lead us to the light? non-Maori was not selected. As a member of the Crafts women. Mr Moje’s line of thinking On my rejection slip is the Council of New Zealand, I’m Through the formation of the and what happened in comment, “Though I’m Swiss 1 not happy about the way Fiona Association of New Zealand architecture in the last 50 to 60 don’t yodel". The selection Dunkley of “The 1985 New Leatherworkers and the driving years makes for an interesting was by this one person, yet Zealand Craft Show” high force ofjames Bowman, parallel. Three very “strong how could she know my racial handedly refunds your deposit leather has at long last arrived. personalities” in the form of background and that of others, on a stall after doing a Show. Sincere thanks. Walter Gropius, Le Corbusier, without the help of the She said that my workmanship Marie Potter Mies van der Rohe, began Wellington City Art Gallery. and stall wasn’t up to “their” Takapuna designing factories and multi- What right did any member of standard. That’s fine, but they storey housing blocks for the W.C.A.G. have, to inform should back it up with workers in Europe around the judge, of details of the constructive recommendations The Vernacular 1910-1920. These buildings submitting exhibitor’s race or on what was wrong and how to of Style were quite successful — they colour? I strongly question the improve! I have written to her were innovative, functional and responsibility of the director stating this, but received no “No poet, no artists of any art, different. Anne Philbin, in allowing this reply. What are their has his complete meaning Unfortunately this style was to happen. qualifications in the craft alone. His significance, his “pushed through” all the way, is the appreciation so much so that hardly At the opening of “Winstone world? appreciation of his relation to the dead poets anything else has appeared in Ties That Bind” one of the I’ve worked seven years in and artists . . . What happens architecture until the last highly commended prizes went flat glass using only lead for my when a new work of art is decade. It is only now that to a European who uses Maori lampshades, windows etc, not is something that people have begun to realize weaving techniques in flax. using any copperfoil. I’ve created Obviously before a person can exhibited at the Auckland happens simultaneously to all what can happen if a few really works of art which preceed it. “big egocentrics” get together. judge what is ethnic, that Museum twice, with the NZSAG The existing monuments form The horrors of the Modern person has to be able to of which I‘m a member. I‘ve an ideal order among style, a style based on factory recognise the physical ethnic also exhibited at many other themselves, which is modified design, is really beginning to be images of that land first. In fact shows. by the introduction of the new felt in the large cities of Europe an ethnic bi-culture. I wonder if there were other reasons —— because I wouldn’t (the really new) work of art and America. There, whole Ironically, if Staehelin had fill in their form on how much I among them . . . whoever has sections of cities have become judged the carved box I sold in dollars and also the approved this idea of like war-zones. People don’t submitted, in Europe, she may same in dollar terms for orders? order . . . will not find it like living their whole lives in have found it to be of European Raewyn Osborn preposterous that the past “factories" — they have taken Art Nouveau influence. Both to vandalizing, smashing, Auckland should be altered by the Maori and Art Nouveau use present as much as the present graffiti painting, etc: revolting similar design elements. against a style of architecture New Zealand is directed by the past. And the At a time when New Zealand poet who is aware of this will developed by architects who Crafts Magazine is moving closer to a more be aware of great difficulties “worked just for themselves, balanced bi»cultural situation I would like to say how much I and responsibilities.” TS. Eliot, never for other people." are we, Maori and Pakeha, am enjoying New Zealand Tradition and the Individual Hopefully we are not going to tolerate this type of Crafts in its present form. It Talent. doomed to repeat the mistakes behaviour from judges, seems to improve each time. There is good cause for a of others. Is egocentric art art selectors and art gallery staff? It is interesting to read about moments pondering over some at all? Are artists not permitted to other craftspeople, telling the of Klaus Moje’s ideas, A style isn’t just born, it’s a explore all aspects of their own story of their work, their ideas especially views like: “An artist combination of many things 7 country? Are we to look over and thoughts on their subject. if he works true, is working just the times, the needs, the our shoulders to check The photographs too, are for himself, he never works for opportunities, as well as the whether our influences are good and clean which is most other people. He is the biggest artists themselves. It‘s like a “permissible” before we put important. egocentric in the whole world. conversation that's continually paint to canvas or tool to Congratulations. If he has reached a point where going on 7 a buzzing and wood? Now that Maoris are Ruth Coyle he can satisfy his egocentricity, humming — each one adds on working in the field of ceramics Auckland he is happy. 50 that reflects also a bit more and builds on from are we to make the statement RS. Please don’t ever start using my feeling about the style born the last thing said. “Sorry you are not accepted heavy black lines as in the in a country. I think there are a Klaus Moje's thoughts seen using clay, it’s not of your English “Crafts” magazine! very low number of innovative in this light begin to make ethnic background’ ’? Are artists, a very low number of sense. Pakeha potters going to be told Leather artists who form the style, and “Each man’s lifework is also “Sorry you can’t use any worker possibly you must wait for this a work in a series extending Japanese ethnic content"? And artist in this country who forms beyond him in either or both when will New Zealand Having just received my copy the style, who does get it directions depending upon his Museums start recognising that of the latest Crafts Council through and then it possibly position in the track he what is happening in the magazine I feel I must write will continue. Coming back to occupies . . . By this view, the contemporary carving, of and congratulate you and the this egocentric, what the artist great differences between wood, jade, bone and ivory is Crafts Council of New Zealand is — ifhe 'does live that way artists are not so much those of not a separate movement but a on including the long awaited and keeps true, then talent as of entrance and natural, blended, continuation article on leather. automatically there is a position in sequence . . . talent from pre-European New I have worked with leather in uniqueness in his work that itself is only a relatively Zealand, to our present period both functional and art forms can’t be destroyed through common predisposition for by the mixed blood, bi- for eleven years, always feeling international modernism or visual order, without a wide cultural, state of the New an enigma, but carrying on, whatever — it is there. So it is a range of differentiation. Times Zealand population. due to a great love of leather. question of a strong and opportunities differ more Four years ago I didn’t know personality.” NZ Crafts Winter than the degree of talent." Owen Mapp one leather worker in New 198511723. George Kubler, The Shape of Daraparaumu Zealand. Surely we are not going to sit Time THE CRAFIS COUNCIL

THETerrace New Premises for the Crafts Council

1880’s St Andrews Church with m lbeforeground 22 The Terrace.

1.....-JL. 1—! ; »~" Vivienne White reports on the scoop of the decade Photo courtesy Alexander Tumbull Library.

The Crafts Council’s new home is to be found at the corner the back of the site in return for the assurance that the of Bolton Street and The Terrace. It is settled right in the historic house would be used as a public amenity. Not only, heart of Wellington’s business community. Apart from the therefore, did the owners have to be convinced that the high rise commercial buildings which line each side of The Crafts Council would be the most suitable tenant, so did the Terrace, Parliament Buildings, Treasury, The Reserve Bank City Council. Competition to rent the house, with its and the Ministry of Foreign Affairs all lie at the Crafts considerable value as a historical landmark and its high Council’s doorstep. Rising up directly behind the house is public profile due to efforts to save it from demolition, was the office block of New Zealand Line, Together with its close fierce. Early in 1985 the Wellington City Council turned neighbour, St Andrews on the Terrace, 22 The Terrace forms a down two other applications for the house on the grounds pleasant oasis of calm amid big city hustle. It is the perfect that they would not provide public amenities. One place from which to introduce craft to the business application was for a restaurant and the other was for the community and to the many hundreds of people who walk Royal New Zealand College of General Pracitioners’ Offices along the Terrace every day. and Medical Museum. The Crafts Council had found itself forced to seek new Throughout this time the Crafts Council continued, accommodation when it was advised in December 1984 that undaunted, to lobby for use of the house. Letters were sent to the rent on its James Cook Arcade premises had increased by the Mayor, Mr I W Lawrence, The City Planner, The Chairman 50%. This level of rent was deemed unsupportable. of the Town Planning Committee, The Chairman of the particularly as the James Cook Arcade site, being off ground Cultural Affairs Committee and a number of other city level and tucked away from the main flow of passerseby and councillors, The Shipping Corporation (now New Zealand lunchtime shoppers, was far from the best possible position Line) and Shell Pensions Fund 7 owners of the building, the for a Gallery. So, the task of finding new premises began. Property and Development Consultant for 22 The Terrace Many different options were explored but it became and many others. When no firm response to the Craft increasingly obvious that the perfect solution to the Craft Council‘s proposal to lease the building was forthcoming the Council’s accommodation problems lay at 22 The Terrace. round of letter writing and discussions began again. Obtaining the lease of the house was not to be a simple Gradually people sat up and took notice, the Crafts Council’s task, however. The Wellington City Council had granted a application was accepted by the owners and, on July 10, plot ratio bonus for the Office tower which had been built at 1985, the Wellington City Council confirmed that the Craft 6 Council’s proposed use of the historic house at 22 The during the days when a committee, headed by the Rev. John Terrace fulfilled the obligation to use the building as a public Murray of St Andrews on The Terrace and amenity. Wellington architect, Mr Alastair Scott-Mitchell, was set up to And why 22 The Terrace? To begin with, its history is fight against its demolition and this publicity has been fascinating, It was built in 1866 as the surgery and residence revived as applications have benn made to lease the building. of Dr Leonard George Boor. While other houses which This has resulted in increased news coverage for the Crafts remain from this era are simple cottages, built on a small scale Council. Moving to 22 The Terrace has already assisted the and “designed” by their owners, it is likely that an architect, Crafts Council in placing its name before a far wider C] Toxwood, was involved in the formal, classical design of audience. 22 The Terrace. it was obviously designed to reflect the The house lends itself graciously to use as a Gallery. A success and relative wealth of its owner. The house is gallery designer was employed to custom design the interior Wellington’s last remaining example of a townhouse designed and to ensure that maximum benefit was derived from the to fulfil the needs of a professional colonial gentleman. classical exterior of the building. The large windows form a The house is important, architecturally, for two technical perfect setting for the display of crafts. Viewed from The innovations. The first is the use of the wide, 12” rusticated Terrace, these windows beckon to all who pass by. tempting weatherboards which enhance the classical design. This type them to pause a moment, to enter and see what is within. of weatherboard is said to have been invented by C] Within doors the visitor will find a spacious ground floor. Toxwood and it is possible that they were first used at 22 The divided into a foyer, in which are displayed large, visually Terrace. The second innovation is the use of large windows arresting craft works, and two galleries. Major exhibitions with sashes divided into two instead of six panes. will continue to be held in the main Gallery. The opening Dr Boor was the first of four doctors to live in the house. exhibition is Showcase 11 in which the finest of New Zealand Having been used as a doctor’s residence for 64 years the crafts are brought together to enable the Ministry of Foreign building was sold in 1950, to be turned into a private hotel. Affairs to select craft works for overseas embassies and Due to the effects of the depression this never eventuated. ambassadorial residences. The smaller Gallery will be used to 1977 saw the threatened destruction of the house when the highlight the works of one craftsperson per month. Both Christian Science Church, which had purchased the building Galleries are open during the week and at weekends to in 1941, sought to demolish it or have it moved, A committee ensure that everyone, locals and visitors, has the opportunity was set up to save the house and soon the strength of public to visit the Gallery. Public access is also available at all times opinion, combined with the efforts of the Historic Places to the Resource Centre, situated upstairs with the Crafts Trust, caused the Church Board of Trustees to review the Council offices. situation. It is hoped that at 22 The Terrace the Crafts Council has In December 1980 Fletcher Development and found a permanent home. Certainly it seems hard to imagine Construction Ltd purchased the property, so finally saving a finer setting for the Crafts Council offices and galleries than the house from destruction. It was then that the \Xr’ellington this house which combines historical importance, an City Council allowed an office block to be built provided the appealing exterior and a high public profile with the loveliest house was retained for use as a public amenity. of interiors. custom designed for the display of crafts. Throughout its varied history the essential character of the An article detailing the Crafts Council’s use of 22 The house has remained intact. Minor changes have not detracted Terrace will be featured in the next magazine. El from the original design. The house has become, over the years, an important and well known part of Wellington‘s townscape. It was the subject of considerable publicity Lambton Quay 1868 Belozt' arrow: 22 The Terrace. Photo courtesy: Alexander Tm‘nbu/l Library

a»; _ ._, w.~u"u-u' CRAFT PIONEERS We continue our series on those who made significant contributions to the development of New Zealand crafts. Theo Schoon had a seminal influence in many fields: Maori design and rock drawings, jade carving, growing and carving gourds and ceramics.

Theo Schoon 1915-1985

Gerhard Rosenberg and Helen Mason write about this important craft pioneer

Photograph: fill Carly/e

On 14 July 1985, the year of the multi— Now that his life has come to its the Rotorua Post Office, and a set of million dollar New Zealand art auctions, lonely end, we are left to unravel its carved stamps which he developed in Theo Schoon died in Sydney in the Grand Pattern, tangled and warped as it collaboration with the potter Len Castle. Prince of Wales public hospital in may have been In 1985 he had to go and live in a home Randwick, where he was taken from the These are Theo Schoon’s own words for old people, because he was no boardinghouse across the road, in which describe his endeavours, (from longer able to look after the daily chores which he had to share a room with his book on greenstone JADE of living, and he sorely resented the another old man. This was the lonely COL‘NTRY, p96); restrictions common to such places, end of his second attempt, begun in even the best of them. The last straw March 1985, to make a new life in was that the Australian pension which “to meet another culture, on its own Australia. He had come back to New he received was going to be stopped, ground with adequate understan- Zealand in 1982 after a first long spell unless he returned to Australia. ding. a warm heart and synpathetic overseas, an absence of over ten years. Presumably the New Zealand hands, ” At that time Peter Waaka wrote an article superannuation was even less. The in the Listener (51 July 1982) under the escape seemed to have been successful title THE GRAND PATTERN OF LIFE. It Even in his last years in New Zealand to start with. In a letter from Sydney he was the time of an exhibition of some of from 1982 to 1985, and dogged by wrote: Theo Schoon’s work in the Rotorua Art obstacles — often of his own making — Gallery, Peter Waaka said that while and by the ill—health not unconnected "I am living with a French with Theo Schoon’s name may not be his heavy smoking, he still had Canadian writer I have known a many familiar to the general public, his diverse things to contribute: the long time who lives close to the cen- influence, particularly on Maori art, had Kaleidoscope programme directed by tre of the city. It is a set-up where I been considerable, and that his role as Kathy Findley on the Waiotapu thermal can function again.” an instigator and educator had given region, talks to on the YA Maori Radio direction to many artists. He ended his broadcast (of which tapes should still be article with the prediction that Theo available), the germination and For a while he enjoyed the Schoon had a lot more to offer New cultivation of Peruvian gourd seeds, of a cosmopolitan atmosphere of Sydney: Zealand. species known to the Incas, a mural for better books, magazines, delicatessens, 8 information and interesting people — such as the Hamilton Waikato Arts Again, quoting from one of Theo’s but when he fell out with the Canadian, Centre, where Whetu Tirikatene- letters: his last refuge became the Sullivan asked him to apply. They never boardinghouse in Randwick, and death. materialised. “You shift something, suddenly: a Theo’s passion for “meeting another Theo Schoon spent ten years of field design. " culture on its own ground 7 not on work exploring and recording New European ground” was linked to his Zealand Maori rock drawings. He A great joy floods through him, an own life history. His family came to New literally went to ground, camping in understanding of the abstract language Zealand in 1959, when he was 23, from caves or in the open, drawing and of art. Indonesia, after the Dutch rule in java photographing work that had not been The experience of the contemporary had ended. He had been greatly accessible before. The academic European design movement convinced influenced by two schools: the school ethnologists were horrified at his artistic Theo Schoon that in Java and spells oflife in Bali, and the licence in making the original designs “the unprejudiced designer emerges Dutch Academy of Fine Arts in Holland, visible and understandable so that they with a deep respectfor the where his father sent him as a young could be photographed. but the result is achiet'ements of many primitive art man. His father was trained as an that these cave drawings became an forms. and is invariably inspired by architect, but became an official in the inspiration to many New Zealand artists. them " {fromjADE COUNTRY) prison service in the Dutch Colonial it took him: administration There was not much Growing acquainmnce with Maori “three years andfifty paintings, to work and Maori artists bore out his love lost between father and son, but produce zxisible evidence that the both shared a beliefin ‘thorough’ belief that Maori design tradition, far/'rom be— education. In Holland he was not only “(The Maori Ls) sleill was such as to ing obsolete. could be the i‘ery source taught to paint ‘properly’, i.e. in the class him among the world '5 artists. for a rich and contemporary art. " manner of the old masters, but he was These designs seem to me to contain (From a letter by Theo Schoon to the also eXpt>sed to the influence of the a mine of wealihfor the modern stu- .\'. Z. Herald, fune spirited German BAUHALJS movement 1955) dent. " including their dedication to genuine in the study of Balinese and Maori “The more 1 hate learnt/tom Jlaori craftsmanship. folk art he discovered the very abstract art. the more I hate become com'inc- Every artist’s training in the Bauhaus elements of design which were the basis ed of its importance. [viability and included a proper trade apprenticeship. of the Bauhaus tradition in the crafts. potential in New Zealand's contem- Where others might be content with especially in textiles design. typography._ porary art. " becoming skilled in one craft, Theo and industrial design. and. lastly but “The sophisticated .llaori artist of apprenticed himself with equal importantly. in architecture. the future will regard his heritage in singlemindedness to one craft after He found these qualities in his a new light and will see its potential another, for many years. He was a approach to the volcanic phenomena in quite clearly. professional photographer during the the Rotorua area, especially in the mud Roger Duff wrote a report on Theo war years; he was a printemaker _ pools of V’aiotapu. He used the camera Schoon‘s work on the leoru design in working with Kes Hos among others He to serve his artistic eye. In a personal Arts Yearbook Nob/1930. which was a skilled potter. contributing even in letter he wrote: explains the artistic use of his last years to the state of the art. He the positive— “[ demanded that erery shot should negativc design tension between taught himself to carve greenstonc and be equivalent to a work of art. ()n a drawing and ground. the koru wrote a book on it. He learnt how to emerging more prosaic lei'el it can also be as the negative ground between black grow and incise gourds, studied and regarded as a documentation of spirals, all part of figures of magical discovered the system of Maori what heat. steam, mineral chemicals significance. Theo had spent six years decorative patterns, and extended his and the weather hare/"asln'oned. [t exploring such designs. mostly in cave study to the art of facial tattooing; has an uncanny resemblance to rely drawings. ()thers — Denis KnightiTurner moko. He learnt the essence of Balinese good modern abstract paintings As and Gordon \‘J‘alters among the most art; dancing and costume, masks and a painter and designer [ know what prominent — took a great interest in this music, and he believed from his is good or what is really special. 1 work. His friendship with Pine expertise in Balinese art that a mutual Taiapa of found this particularly anntsing Tikitiki, who was one of the last carvers knowledge of Balinese and Maori artists whenerer [ thought of the uneasiness of gourds. was part of Theo Schoon’s and art would be of great value to both and discomfort of.\'ew Zea/antlers initiation into the system of Maori of them. “Meeting another culture on its in the presence of abstract art. Here designs on convex surfaces: own ground” linked the areas where he at least they can't splatter and it'd/1 really felt at home: modern “The moment i realised that they fle’ nature is a modern artist. ” cosmopolitan art, Maori art, Balinese were tattoo patterns. erery scrap, art. He tried to bring this message to the et'ery broken fragment (o/‘gourdsj Le Corbusier, the architect, describes New Zealand scene, which he found became of importance, and from the abstract element in architecture as much less responsive than the Australian these grew the desire to restore pat» setiup, although he had many good “a thought which retreats itself terns offal] splendour on to a peifect friends here. However, it may be that we without word or sound, but solely by gourd.” are less guilty than he made us feel, the means of shapes which stand in The pioneering work on Maori tattoo because he admitted that he “quite liked a certain relationship to one another. designs was done by Major General being a cantankerous old bastard,” with These shapes are such that they are Robl in the 18905, but Robley only all his enthusiasms and rages. clearly rlziealed in light. The rela- recorded the patterns, whereas Schoon He remained poor but free, by tionships between them bat/'6 not discovered the rule underlying the working at badly paid menial jobs, such necessarily anything to do with what patterns both of facial mttoo (or moko), as living in the single men’s camp and is practical or descriptive. They are and of any other convex surface working at Waipa Saw Mill. mathematical creations of the mind. designs, so that he could himself Opportunities for more congenial work They are the language of architec- develop new designs arising from the seemed within reach from time to time, ture. KTowards a New Architecture) Maori tradition. "ll‘rltert Wobble” Indian ink. [004 The eye" Lincou/ 1061. Photographs; Rotorua Art Gallery. He achieved the same independence be expected. he did not stick strictly to physical strength with good care in the of design in greenstone. based on the the schedule laid down for him by the home in Mangere where he had been discovery of the design principles of the Council, and incurred official placed. What he needed was freedom Maori artifacts which he studied, When displeasure, although he certainly and space, in a modest measure, he worked in a greenstone factory in studied the methods of Chinese and additional to the standard provisions for Hokitika he wrote: “I lay designs as a Japanese carvers and the wide variety of old people who are past being able to prize hen lays eggs.” Fora while he was jade which they used, Theo Schoon had look after themselves. We are the jubilant, because he could see a way of always advocated the use of many types poorer, as a nation, for not providing lifting the entire greenstone industry out of nephrite jade which were not strictly this modest additional measure of of the doldrums of repetitively of the accepted greenstone variety. He support to old artists. mediocre design, and the waste of a found a publisher, in Australia, for his It is impossible to do justice to Theo unique resource. notes on greenstone carving and his Schoon’s manyefaceted life, work and Then he was told by the management many excellent photographs made in his character in a short essay. His enormous that “he was paid to produce carvings, time on the West Coast, in Hokitika, but letter—writing work alone deserves to be not to design them", and that. if he this remained his only book. He never recorded, not the least because of his wanted to design them, he should do so published the bulk of his Waiotapu great talent for invective. He was in his own time and at his own expense. studies of volcanic phenomena. certainly a stroppy individual. “T’was a Just at this point when he was He could not accept the reasons for grievous fault, and grievously has Caesar threatened by a future of “dead and the puny payments made by the answered it." The official establishment repetitive craftsmanship" which had Ministry of Works for the use of some of had never forgiven him that he had overwhelmed so many of his Maori his finest photographs, which were ‘interfered‘ with some of the Maori cave friends, Theo Schoon decided to leave blown up into huge transparencies to be drawings which he reproduced or New Zealand after 50 years of intense displayed in the New Zealand pavilion at photographed away back in the forties involvement. He had found much the International Trade Fair in Osaka, and fifties, forgetting that he also saved comfort in his friendship with some Japan. His photos remain mostly some of these same caves from flood Maori people, who understood and unpublished. It is the potential loss of and oblivion, and he did this single appreciated his work and personality. this unique collection of slides # which handed. He may have offended many Some were even able to pay have even at the commercial level great people, but he was consistent in his appropriately for his work. In a letter he significance for New Zealand — that efforts wrote: ought to have been a good reason to retain Theo Schoon by a more generous “To meet another culture on its own attitude of the Arts Council and the ground with adequate understan— “I have made a new friend, a promi— government — down to the Tourist ding, a warm heart and sympathetic nent Maori u'onzan. elderly, who has Department. In fact, it would not have hands, a rare experience where so purchased my work! at a staggering come amiss if he had been named in much alienation and confusion rate. many hundreds of dollars one of the Queen’s Honours Lists and prevails. ” (Jade Country). worth I made her a special mere been given the sort of help that Denis which was good enough to be given Glover and other older and “I have only one certainty, and that is an ancestors name, and I am z'ery impoverished citizens of distinction had whatever I choose to tackle, I do that proud of it.” (From Holeiti/ea). received. Peter Waaka’s opinion that intensely and well. Whether this is Theo Schoon had still much to offer appreciated or not has little meaning. I At that time he also received news of a New Zealand was certainly borne out by know its worth. ” (letter from Bali to grant from the Arts Council for a the work he had done in his last New GR.) journey to Hong Kong, Tokyo and Zealand years, and he might have lived a Taiwan to study jade carvings. As was to lot longer, having regained much of his Gerhard Rosenberg

10 Theo Schoon — artist artistic vision which had seen such thought were safely stored at the patterns. As usual, he was so wrapped Rotorua Art Gallery, but Theo had sent That was Theo ~ art was his life, people up in this quest that he could think and for them). This nearly cracked me, but were mostly held at arm’s length unless talk of nothing else. fortunately some old friends were here they passed his stringent quality test as at the time and they dealt with the an artist, and even then they were only Another ten years later, in July 1982, I was living in the old Harbourmaster’s situation. By this time the room and his allowed the approach to a certain bed were taking on the bird’s nest distance. Yet his friends meant a great house at Tokomaru Bay on the East appearance I remembered from Grey deal to him and he spent much of his Coast, and preparing to go over to the Lynn days. Any wall space not taken up time writing letters in a strong black Rotorua Art Gallery for the opening of with shelves was now covered with spikey hand. the Feathers and Fibre exhibition there. I wanted to see it, it seemed to me to be Balinese dancing masks, shadow I first met him in Auckland many puppets and the like. I will leave years ago when he was living alone in the beginning of the true appreciation someone else to tell the story of those the house at Grey Lynn given him by of indigenous art from the woman’s Balinese years in the 70’s when Theo Martin Pharazyn, who had recognised point of view. Someone called in and had spent all the money inherited from the depth of his talent. [en Castle took told me that the current Exhibition at his parents on reviving the traditional me to see him. It was an incredible the Gallery was a Retrospective of the Balinese ballet, and had amassed environment — almost no furniture, the work of Theo Schoon, so I left earlier and managed to get there in time to thousands of colour slides ofartists and main feature being his bed which was craftsmen (which were all in boxes like a bird’s nest. Every book, pen, spend a day with this before it was taken down. I found it extremely interesting. I round his room and in desperate need paper, object that was necessary for his of sorting and cataloguing). current line of thought was there, had no idea before of the range of his Theo soon settled in and with his together with all his voluminous work. So many germinal ideas that he usual intensity read every pottery book correspondence, plus odd items of food had tossed off in early prints and paintings had been picked up and in the house and embarked on a series within easy reach. His conversation was of glaze experiments as my glazes did penetrating 7 like a rapier, darting from developed by other, now well not suit him. He ordered packets of one acid observation to another. He was established artists. There was pottery nearly every raw material in the pottery earning his living at that time by too, in which he had always been supply catalogues, applied to Len Castle drumming at a night club, an art he had interested, as his father had been manager of a brick and ceramic factory for glaze recipes, and proceeded to mix learnt in Java where he grew up, and he up glazes (all in his bedroom) which he was incredibly good. One night Ien in Java. put into well-labelled preserving jars 7 Castle persuaded him to come to a party I learnt thatJohn Perry. Director of more shelves were squeezed in. of mostly middle aged women who the Gallery, was about to go over to But he was really very frail. and his were in the Pottery Group at the current try to bring him Sydney to see Theo and emphysema was not helped by his Summer School. Theo arrived, looking together with what had survived back insistence on chain smoking unfiltered like an exotic bird — tall, bony, greying of his art. I sent him a note via John to Camel cigarettes. It was hard for him to from hair swept back from an aquiline face. say that if ever he needed a break find the energy to deal with the He got us all drumming old house by the and we had a Rotorua I had a large demands of pottery. I did what I could to wonderful night. sea and would be glad to have him to help. but anything I did was always Another visit I made was when Theo stay. wrong a he needed something he was in the gourd phase. Anything he did Theo duly arrived in Rotorua and could control himself right through. was with intensity and a desire to find stayed with John Perry. designing while I watched while he searched for out all there was to know about the there the mural in the Philatelic Bureau. something he could work at within his chosen subject. Gourds filled his life at I visited him several times and found own limits. He finally found it and then that time and they also filled his front him suffering from emphysema and very began those series of intricately carved yard, the vines growing over strings and frail. The climate in Rotorua did not suit interlocking plaster stamps with which wooden supports and making a ceiling him and in January 85 I got an SOS from he could work out sets of designs for of leaves. We found him sitting in the John Ferry to ask ifI could have him as pressing into moulded clay dishes. He lotus position beside the biggest gourd, they feared for his life. It was a sent for some florist‘s plasticine so that it was evening and a light was hanging somewhat strenuous time for us at he could test them out himself. At last beside it to encourage it to grow. He Waima, as Barry Brickell was due to he had something to exercise that showed us a gourd he was carving for arrive with two boys from \‘auatu who artistic intelligence of his. I would hear a Elvis Presley to use as a musical were going to help Bay Riddell build a crow of delight as yet another pattern instrument. It was magnificent. Theo‘s woodfired kiln at his new pottery by the worked out to his satisfaction. One knowledge of design and clarity of line wharf. However, I went and got Theo. could only admire the spirit of this true which distinguished all his work had who survived the journey quite well. artist which remained determinedly found a vital expression. and Barry was a great help in getting alive despite all the physical onslaughts It was some ten years before I saw him settled in to the large front that beset him. him again. This time I was living in bedroom overlooking the sea. It was By June 1984 he had had enough of Auckland and had a stall selling pottery altogether a stimulating time with much us and our country ways. A friend with at The Mill. Theo had moved to Rotorua good conversation. Two weeks later the a truck was found and once more all the where he was living in a bach behind carrier arrived with some 23 tea chests worldly goods were packed into boxes Emily Schuster’s mother’s house, and full ofall Theos worldly possessions. and taken to Auckland. The house he was deeply immersed in studying the He wanted them stored in his own room seemed very bare when he had gone. amazing patterns produced by thermal where he could keep an eye on them. Difficult and cantankerous as he was he activity. A skilled photographer, he was Fortunately a friend offered him a lot of had talent which one could only building up a detailed record of these. shop shelves which she had bought respect. and he had devoted a lifetime to One crowded Saturday morning at The from Dalgety’s clearing sale in Ruatoria: its development. He remained true to Mill I suddenly saw the puckish figure these saved the day, We had only just the vision. and had never compromised. of Theo coming towards me, got everything stowed away when I hope on his tombstone they put THEO photographs in hand, They were another 8 tea chests arrived full of his SCHOON v ARTIST. superb, I could only marvel at the Balinese exhibition (which I had Helen Mason

11 EXHIBITION

Ties that Bind A Juror’s View Louise Guerin talks to Marlise Staehelin, judge and selector for this major craft exhibition

Marlise Staehelin hesimted when she was “It wasn't enough to be well done. travel. You don't have to wrap it or pack first asked to judge Wizzstone Ties Tina! There were lots of beautifully crafted it, you can leave it closed or you can Bind. “I once swore to myself that I pieces I didn’t include. And it wasn‘t open it up. You can play with it too — l would never be on a jury again in my enough to make a very obvious message. enjoy the sense of humour. life. But being sole selector is a different \V‘hat I wanted was a visual statement “The second first award is about the situation because it’s your own personal that keeps a secret between the viewer same theme. It‘s teeny. I think it’s called judgement. I can give my opinion for and the maker. 1 don"t want to see a “The Lovers” but it shouldn’t really have what it‘s worth and nobody else has to piece that l have ‘seen‘ after I’ve seen it a title. It’s really unobtrusive. It’s two be of the same opinion.” once. I would want to look again and pieces that fit together and they have She feels the result makes for an again. Some of them were just too something like a quality of a backbone interesting exhibition but found the obvious — it was terrible! when they are locked together. There choosing an energy and time consuming “A lot of pieces I really loved but it was also a marvellous basket which has task. “It took a lot of concentration and was sad ~ I had to throw them out. the same qualities. In fact there are lots some pieces are very difficult to select if They were overdone. They were so of pieces I could talk and talk about. they are in a foreign environment. One beautiful and had such marvellous “There was one medium I was thing I am really happy about is the qualities, but then all of a sudden 7 worried about and that was wood. There other first prize. 1 was very apprehensive probably because you had to follow a was marvellous wood work and about having to give only one first prize, theme — the theme became huge and marvellous craftsmanship but somehow I but we got Winstones to award another. the nice piece became very small. There wished those pieces had been Even then I can’t say these two are so were all these things about bondage and functional. The other medium I have a much better than the others, This family ties and very literal statements. hard time with in any place is textiles. hirearchy is not something I feel “Lots of pieces were talking about Everybody wants to make a masterpiece comfortable with." other peoples" miseries and that was and it allows itself to be overdone so Staehelin selected over half of the very difficult. They usually didn’t work easily. You can add a bit here and add a entries submitted and every piece because the makers didnt't dare talk bit there and lose yourself and get discarded was sent away with a sentence about their own miseries. I think if you sidetracked all the time.” explaining why it wasn’t chosen. She have enough food to eat you might have Staehelin was keen for people to see tried hard to see the pieces in isolation. other needs to express than hunger. Even her own work and that of some Swiss “I didn’t look at the people who had in a terrible situation you find people to colleagues so that peole would have an made things, I just looked at the objects. sustain you. Even in the midst of tragedy idea of her background and working I was very embarrassed ifI found a name there is a smile somewhere. context. To this end she brought with I knew. “Quite a few pieces I couldn’t deal her a portable exhibition of the work of “I have been asked whether I would with because they had a Maori influence. 8 Swiss artists — each person was find the same situation in another They were dealing with Maori subjects allowed the space inside a small perspex country and I think I would have done but I could feel that they were not Maori. box, all of which then packed into an old because it was an open entry and so It’s as if when I say I am Swiss, Japanese basket for travelling. A video everybody who heard about it could somebody might ask if I yodel. Yodelling was made of the moment when Staehelin enter a piece. Everybody is allowed to is a very special thing. It is an art that went to each person’s house to collect think that he is an artist because every comes out of a particular way of life: their particular offering, which gave a child is, and there is art in everything. people who live up in the mountains in tiny glimpse into their respective lives, But to make a statement strong enough secluded valleys under the threat of “It was important to me to show that to go in to an exhibition takes a certain avalanche. Yodelling comes out of that we are not great experts when we come attitude, experience. So, if I walk in the city and from Europe. It’s sometimes really “The place where work is done is part yodel , . So much for the broad embarrassing when you are treated as of it, but we’ve all got television and themes, what of the entries themselves? such. Mind you, the same thing often telephones and our world is getting One of the first awards I loved from happens to visitors to Switzerland. smaller. Ifl had been put in the same the beginning because it is very serious “I’m an expert in so far as I have lived situation in Europe there would have and yet it has a circus quality to it. If you my own life. I’ve made my mistakes and been the same pieces. ” stop looking at life like that it’s going to I’m going to make more! But I’ve always So just what was she looking for? The be terribly dull and awful. The had an intense time # bad times, good feeling you get is that elements of interesting thing is that it is made by a times — but I can enjoy the good ones ambivalence, paradox, magic, humour physics professor — it is almost fantasy because I have had the bad. Nobody is and wit were all required in some ~ and also has a very deep philosophy. god.” combination, if not in that order, along It’s very well made and the maker gave a with a definite sense of integrity, lot of thought to the fact that it had to El 12 EXHIBITION REVIEW Bob Bassant looked at the third in a series of Wellington City Art Gallery/ Crafts Council of New Zealand collaborative exhibitions.

Winstone Ties that Bin

lle/en Pol/odes nu‘ard twinning piece: Lowers .S'Imzeu'are 40 ,v 80 .v 10 The third in a series of \V‘ellington City many of the artists) was revealed in her Art Gallery 7 Craft Council of New choice of award winning pieces 7 the Zealand collaborative exhibitions ("The one, serious both in content and Bowl”, “The Great New Zealand BOX craftsmanship, the other, a wildly Show“), “\X'instone Ties That Bind" amusing presentation of the physical invited artists and craftspeople “to laws which govern symbiosis, create a work of two or more units Following the exhibition, the 52 which are knotte i, bolted, tethered, works will [our 10 New Zealand venues. chained, laced. hinged or bound A video programme, documenting the together". The resulting 156 exhibition, will accompany the show. submissions presented Swiss artist According to the Wellington Evening Marlise Staehelin with an arduous task Post art critic. Ian \X'edde, this was an of adjudication, \V'hile many excellent unereviewable show, and in many ways I submissions were rejected for subjective would have to agree with him, and for reasons, revealed by Marlise to each Marlise Staehelin, the adjudicating must entrant, her catholic taste (and that of have been a particularly daunting task; a

13 task that was only accomplished with to a number of artists and craftspeople. much courage and a willingness to back “A Toy That Shows A Curious her decisions with a determination to Motion" by Wellington‘s Norman face up to the individual entrant. Barber was one of Marlise Staehelin’s \Y'ithout that attitude the cries of first choices — and bound to be anguish from the rejected would have controversial! reverberated within the walls of the The fact that retired physics professor, \V'ellington City Gallery for many a day! Norman Barber. was totally unknown in it brings to mind (as history has it) a the arts and crafts circles and his highly remark made by Franz Lizst to one of his original interpretation of the physical pupils: laws governing symbiosis was also “You have played for me many new totally devoid of an" art or craft and many beautiful pieces — the sophistication. raised many a well problem is: the beautiful pieces are not established eyebrow. new and the new pieces are not His own particular brand of beautiful.” intellectual and visual “primitivism” obviously took many by surprise, Presumably something like that must coupled with the fact of the almost also have been in Marlise's mind when ruthless dismissal of the “obvious” by she made her final decisions. the adjudicator, not only raised No doubt many of the works had eyebrows. but also made some considerable novelty value — but establishment wag tounges in anger ~ novelty for its own sake belongs to the oh dear! toolsiinitrade of the designers in the Aucklander Helen Pollock was to

1.]emryPa/rfck 7 Sill-er and Pam! Heat/piece 2. ‘And wisdom 'Iirmscends Them All" Carin ll"i/.sr)/1/.1li.\'ed Media. ’7’. ”Him/[y Ties” Nora “Tut/Fabric sculpture,

visual communication and fashion share, together with Norman Barber, the industries, to whom the word “new” is Winstone Award for Excellence, with a the supreme creative demand. Indeed smallish snug-fitting two-piece; very much of the work on show in the smooth, very personal and introverted. exhibition could have been firmly Helen Pollock describes her work as placed in another novelty category e.g. starting with her own feelings and then the novelty of being urged on. if not allowing those feelings to be turned into pushed. by the theme of the exhibition an “essence" — a tangible form finally. to extend a usually safe and predictable Her piece in “Winstone Ties That medium or mode of working beyond its Bind“ was already in progress before known aesthetic and practical she read about the show, so it started dimensions, It also makes one question out and remained an authentic preconceived ideas of how certain statement rather than a response (to a materials should be used and how the theme), final results should look — because During the 60’s Helen did a Home technical virtuosity alone can provide a Science course at Otago. Part of the basis for critical evaluation but it is course was a design component which insufficient if it does not occur in mainly concentrated on design relative context of design and intellectual to the home environment. The course, meaning. which also included aspects of history The realisation that a usually mere of art and architecture, has been decorative piece had to be produced important to her and the work she’s within the forementioned context no doing. After evening classes and doubt provided a formidable challenge occasionally some workshop

14 1 2 experience mainly as a recreational treats the theme in a straightforward potter, Helen has with this, her first visual/physical manner with overt entry ever, taken a leap forward to phallic symbolism and racial becoming a professional potter. Her identification. Titled “Forwards on the mostly hand thrown, handbuilt pieces Bones of Our Ancestors" and made up are all non—functional and are to be of metal, bone and bits of ceramic, the perceived as statements about herself result is wholly convincing. This little and her own situation. ancestral chariot is aggressive and finally The rest of the exhibition was an oddly disturbing. incredibly mixed lot, most of the works These are just some of the 52 works however skillfully and intelligently that drew my attention by their resolved within the limitations of a uniqueness and personal strength. medium familiar to the artist. Among them i must also mention the And that was exactly the strength and more subtle and rather lovely entries by the weakness ofmost of the works on Carole Davis and Suzy Pennington, show; the thought that for once — Davis’s triptych “Rebound — Sandy Bay inspired by a given theme — a different Artifacts” deals with aspects of the sea medium could have been tried, may and the land similarly to Pennington‘s have entered a few heads but not many “Threads That Bind”. Both works faces completely anonymous and all had the courage to do so. succeed through a kind of strung up together in a tightly packaged Bodhi Vincent — locally known for contemplative stillness, rather than force little group of humanity. The perfect his superb drawing, made a sincere and exuberance. supermarket family 7 Vulnerable departure into 3 dimensionality with his Make sure to see the show when it consumerists. What sets this piece apart mixed media structure titled “Polarity” ’. comes your way, there’s much there to from what must have been dozens of Symbolism and apparent influences delight the heart and the mind, and yes similar attempts is that “the ties that of Eastern philosophy seemed however do take the children, they’d love it! bind” are almost imperceptible, and strangely astray within this rather that, combined with the loss of complex structure. Basically an individuality of the characters involved, elongated pyramid some 1500mm high gave the completed work a certain 1—25 February, South/and Museum 57 Art and interrupted half—way to be poignancy. Gallery, Inztercargz’ll. connected only by a barred cage 1031 March, Suter Art Gallery, Nelson. Then there were the works about the containing an agonised humanoid form 19 April-4 May, Canterbury Society of land and Maoridom, several strong trying to break free from its bonds, its Arts, Christchurch. works amongst which in particular rather overt intentions remained 26 MayQGJune, Carnegie Centre, Carin Wilson’s carved message stood Dunedin. unresolved sculpturally and merely out. His carving of “Toi te Kupu — Toi 11—25july, Baycourl, Tauranga, decorative from a graphic point of view. te Mana 7 Toi te Whenna” (And 3 Augustfi September Fisher Gallery, Works with the inevitable “domestic” Wisdom Transcends Them All), i.e, Paleuranga. connotations with the theme were Roman lettering on irregularly shaped 13 October—9 November, Rotorua Art several: planks of wood joined together by 3 Gallery, Rotorua. 26 Novemberel4 December Gisborne Susan Naylor’s “untitled porcelain” locking pieces reminds us of our social, Museum G Arts Centre, Gisborne. was totally self evident and could as cultural and emotional obligations. A * 24 December 1980 end/anuary 1987, usual be relied upon to provide us with simple, straightforward message, Haw/ees Bay Gallery 5 Museum, Napier one of her amusing yet rather touching through its choice of lettering (* Exhibition dates to be confirmed) pieces, this one another variation on the emphasising the bi—culturality of our theme of the suburban housewife, society without any further intellectural complete with steam iron, lost in her pretences, skillfully executed. dreams of lost youth and romance. 1, “Threads that bind” I particularly liked Graeme North’s Suzy Pennington/Mixed Media. Nora West’s fabric sculpture entitled little, but delightfully determined 2. Untitled. Sue Naylor/Porcelain. “Family Ties” showed a closely bound sculptured assemblage, or mixed media 3. “Forwards on the bones of our group of people (1 57mm high) their piece according to the catalogue. North Ancestors ’.’ Graeme North/Mixed Media.

15 INTERVIEW Bob Bassant interviews Dr Norman Barber, one of the award winners in the “Winstone Ties That Bind” exhibition (elsewhere reviewed in this issue), and found unexpectedly a fascinating human story.

A toy that shows a curious motion

‘3 Please pus. one of :45 en ' WHI'rv

45 v fir

the causie, * . y ‘ ‘gfllall its , {155f gives j, .. _, x ; The todjté * fin buck? . I *lbe‘lwehgg it 2:» ,t s - ' " ' th'em r;

Norman Frederick Barber, Scientist, Born in 1909 as the only son of a itself to join the Admiralty as aJunior Physicist, lecturer, now retired, lives Yorkshire schoolteacher from a working Research Officer. high above the city of Wellington in the class background — he was brought up That was in 1957 with war clouds hills of Brooklyn After the long steep on, in his words, “A diet of fried cod’s gathering over Europe and defence drive up, there are still steps to be taken liver and lack of affection’ ’. preparations hotting up. to the front door of the boxlike, To the former he attributes his BB “When did unassuming flat, one in a block of ten. continuing good health, to the latter his you come outfrom England and what exactlyprompted The door opens and the fragrance of ongoing search for happiness and you to come out to New Zealand? ” freshly made coffee awaits i as domestic bliss welcoming as the candid Yorkshireman After attending leeds University, NB “My wife and l (we were married in himself. Setting into a conversation with where in 1934 he graduated with a 1954) came out in 1950 — and 1 Norman Barber is a breeze. He has lived science degree, he was fortunate sometimes wonder myself — why — ifI 7 intensively enough and long enough enough, in those difficult pre-war years, went back now — I would remember to have no longer any pretences about to obtain a secondary school teaching What or why it was —” himself and about life in general. post until the opportunity presented Momentarily there is silence — the

16 room is still and with the sun streaming originality in research it was exciting to question was, how to make it move 7 in it is getting very warm and then: get the post of Professor of Theoretical how to dress it up was also a big NB “1 was quite mixed up in a sense — Physics. Being a D.S.C. of course also question. The first thing that came to although successful in my profession by meant I was treated and regarded with my mind was using two dolls. I went then — research and recognition and all due respect, People remember me as an around all the toy and doll shops in the that 7 I had some difficulty relating to amusing lecturer (to large stage one city 7 but found nothing I really liked. certain people and my then domestic classes at least), I had eleven years there. Then I wandered into ‘Crazy Rick’s’ situation also prompted a desire to make It gratified me to be made a Fellow of place in Cuba Street and he had these a new start — to fling myself at the other the Royal Society of New Zealand in delightful Mexican pepper and salt dolls. end of the world, 1964 after being given the Doctor of I really loved them. Then you start off “So at the age of 40 and by then a Science from Ieeds University in 1962,” with trying to make it work, with various ‘tie‘ materials for hanging the welleestablished member of the Royal At that we pause, Norman tells me two creatures and making them move Navy Scientific Pool 7 I moved to New about the death ofhis wife five years Z >aland in 1950,” after moving to New Zealand and the without loss of energy in the transfer of motion, I decided after that to include tragic death of their only adopted son in BB “[ would like to lenow something the whole thing in a double-lidded box Auckland in l9fi2. His second marriage aboutyour worleing life with the and to make it easy for the gallery‘going ended in divorce My eyes keep 0.51 [R here in New Zealand 7 how public to participate I wrote wandering around the walls of his living different was uwrleing with them from instructions for use’ on the outside.“ room/study crammed literally from floor working with the Royal Navy in BB “You did set out to Write audience to ceiling with paintings by the late England as a well established member participation which seems contrary to Leonard Mitchell Noticing my interest, of their scientific pool? " the conventional way of displaying he showed me some more, in the Hesitates obviously reflecting and, things in art galleries. Did the public kitchen, in the bedrooms, Mitchell’s somewhat guardedly: reaction please you in the end? ” paintings everywhere. Norman Barber NB “Well 7 very soon after I started NB “Yes indeed 7 as I said, I like met Leonard Mitchell’s widow. Patricia, with the D.S.I.R. it became apparent that happy things and for anyone to be able in 1980, there was considerable to actively participate in making my toy misunderstanding about the kind of NB “Since my retirement from perform makes me happy. Success in my things I was able to do. They obviously university I had been teaching at the profession has kept me happy, My father had the message from my former Correspondence School in \‘C’ellington told me more than once that in his employer — The Royal Navy 7 that I and when in 1981 it seemed the School opinion it was hard work that kept one was a very good experimental physicist, had decided it did not want me I happy. We were similar persons, rather but what they wanted me to do, having thought Patricia and I could look after introverted. hard working and anxious decided what they wanted to do, was to one another 7 things are like that still 7 well intentioned and academically do a survey of the sea-wall around and I am grateful to Patricia." able. Auckland. But to me that was a There’s a candid gracefulness about “Marlise Staehelin mentioned to me misunderstanding, because they had Norman Barber’s admissions of success that I might become a fashionable done the research deciding what and failure — I steer the conversation Australiasian celebrity but I really can't needed to be measured already, so I towards the main objective of the see how and why." became the dogsbody doing exactly interview, BB “Were you surprised when you that; measuring 7 hardly an appropriate BB “Can we loo/e bade on yourAward were giz‘en an awardforyour entry in occupation for an experimental winning entry in the ‘Wz'nstone Ties the ‘Winstone Ties That/31nd physicist. That Bind' exhibition — why didyou evhibitz'on? ' ' “They finally sent me onto a job decide to enter and how did you know NB "Yes 7 very much so — they kept classified as ‘Top Secret‘ and after a about it? ” ringing me up because ofsome of the couple of years, although I know little NB “Patricia. who’s into fibre and wool sequins I used to decorate had fallen off. about the basic kind of science of and things, pointed it out to me — then so I had to come and glue them back on geology, ‘sound in the ground’ as they I started thinking about how. whenever again, so I used Araldite because I really called it, the suppositions that were I go to a museum or whatever — how like sequins and they are important for made seemed utterly ridiculous to me, nice it would be if things moved. the all-over effect l was after — theyre so I went on strike 7 I then wrote a Looking at all those static stuffed birds is fun really! It was then that I had an report saying there was no future for quite boring. So I set out to think about inkling of something about to happen this kind of research and that I just had motion and to my mind came this 7 but my main worry was, will they a real breakthrough of an idea dealing particular principle which had been accept it — after all it doesn‘t show the with the direction of the seawaves — a pointed out to me when I was a student craftsman’s skill that I think was new way of recording where they came 7 from there it simply took a leap of required. from. Until now we had only been able the imagination to visualise the concept “It was very nice to get the cheque to record the distances they travelled, Then — I like to entertain 7 to amuse though — it helped my wife to buy a “But in the end it became and please is part of my nature, so I set car." embarrassing not to be valued for the out to find components that would fit in BB ‘And is Norman Barber hailing things I used to be valued for during my with the final concept ofan amusing anyfuture plans in this new time with the Admiralty.” and entertaining piece.” direction? ‘ ‘ BB ‘At the age of54 you too/e up a BB “How then didyoufinally decide NB “Indeed 7 look at this,” pointing position at Victoria University as to do whatyou did? Did you malee a to some delightful little creatures made Professor of Theoretical Physics — how worle drawing? ” of sheet lead 7 “amazingly expressive," did you adapt to your newprofessional NB “I decided to call it a toy, because (but that’s another story —). circumstances in an academic that way you can get away with much I think it was Picasso who said “To environment? ” more in a non-craftsmanlike sense. know what I know now and to be a NB “I had had much satisfaction Because of lack of room I have my Black child again”. through successful research work with 8; Decker ‘Workmate’ set up against the I couldn’t get that phrase out of my the D.S.I.R. and the Admiralty in end of my bed. (I) So — when it was a mind as l descended from Brooklyn England, but when I began to lack matter of two things tied together my Heights back into the city. I:]

l7 REVIEW

New Zealand Ceramics 1985

A review by Peter Gibbs A feature of craft shows at Nelson‘s Suter Gallery is the increasing degree of commercial involvement which is now creeping into the organisation of such exhibitions. Although it is not safe to generalise. it see: is that many craftspeople began their craft careers as post—sixties rebels from the ordered society of ninevto—five office jobs which offered so much security and status to their parents. The delights of independence and a less structured lifestyle are now giving way to the financial responsibilities of supporting fast growing families. and the realities of receiving proper rewards for the increasingly sophisticated craft objects from an ever more reluctant 1. y/U/JH (Smurf/owl marketplace. 2, Peter Gib/7 1 The solution is to woo a more affluent clientele The aim of a cheap handmade mug in every kitchen or a similarly bias of pottery exhibitions away from waiting rooms and so on, the next cheap woven rug before every fireplace the domestic ware from which the work logical step is into more ambitious has had to come to terms with the of many porters has sprung. towards purchases and potential sponsorship. reality that not only does your average more creative, one-off pieces. lnevitably, But that is in the future. The immediate householder have a fondness for plastic prices are higher. and many former effect of these purchases, amounting to or synthetic goods. but your average buyers of domestic ware are not so keen 10% of the work on show, was that one craftsperson is getting a little bored with to part with their hard earned dollars hour later when NZSP Presidentlohn producing repetition items at a low when prices begin to climb into the Crawford declared the exhibition open, price. In short, we're all becoming more three figure zone. although they may there was a degree of urgency in the and more sophisticated. have no such inhibitions when it comes normal opening night sales. A mark of this change of attitude away to the purchase of a simlarly priced Enough about filthy money. How did from the mother-earth approach is the piece of two-timensional art. This is a it look? Well to tell the truth, when problem of education, and while it is describing that, it‘s necessary to go back 2 the role of those who organise to the business world. Winstones had exhibitions to encourage this learning been involved in the setting up, through process. a more aggressive marketing the donation of hard plastic sewer pipes. strategy is part of the game. Sliced up into lengths. then bolted With this in mind, the Suter Gallery together in groups of three of differing initiated a corporate preview for NZ heights. these enabled individual pieces Ceramics 1983. The plan was to lure to be seen in isolation without taking up local businesses to the gallery by a great amount of space. In fact one of appealing to their better natures with the problems of setting up 99 such emotiye words like “exclusive” and powerful statements within a small “discerning”. and then ply them with space is the dominating nature of many wine and the promise of their name of the pieces. To bring the display into beside the piece as the discerning three dimensions rather than the two purchaser of the work. for all to see for dimensional layout so often seen in the duration of the exhibition. Having pottery exhibitions. white muslin got them used to the idea of craft curtains divided the room into more purchases for display in public areas, intimate spaces, creating an ethereal

18 of the skills accumulated over years of hard slog. All the best work came from potters who have served their time, sometimes working in a variety of techniques, sometimes narrowing that down to a particular small area. Such fluent work was that of Leo King, Rick Rudd, Jean McKinnon, Neil Grant, Keith Blight. Cecilia Parkinson, in fact such a wealth of talent that to catalogue them would produce a list as long as your arm In any such show. some work just leaps out and plugs you between the eyes. Two such pieces greeted you on entering the room. Nelson's own Steve Fullmer had to steal the show. His piece. “Tabasco Canyon” fairly vibrated at you in an explosion of colour and texture decorated with incised symbols of freedom and movement. Shouting right back was the large round form of Brian Gartside, Joyous with movement and colour, thiis confident exposition left no doubt that this artist is no beginner, Chester Nealie showed a piece of leaner profile. Tall, but well balanced. this work had a luscious green glaze draped across it with the fire markings we have come to expect being visible only near the base. On an altogether smaller scale. the procelain bowl of Tui Morse. while delicate and finely worked. showed none of the fragility of much work of this nature, John Crawford continued his exploration of the human form with a multimedia piece combining sculptural form and bright coloured fibre. Just 4 alongside was the painterly treatment of a humble bowl, confidently handled on filminess and a feeling of calm a large scale by Christine Boswijk. throughout the gallery. All in all, the exhibition contained no The work was impressive. Over 100 of surprises. lt satisfied some of the Nelson the country’s top potters had been region’s geographically induced cultural invited to submit one piece, with no hunger by bringing in some outside further selection taking place. Perhaps if stimulation. As well it gave Nelson it had, some of the exhibitors would potters the first real chance they have have exercised a little more ever had to see their work in a national responsibility in their choice of entry. A context, and reassured them that they handful of pots could only be regarded can still foot it with the best. Probably as mediocre, The rest were a celebration most important, and time alone will tell. it brought a degree of commercial involvement which we have not previously seen. and which we are going to have to embrace with vigour even if we do think it has bad breath

Pbomgmpbx by Bob Heather/7e]! E1

1. R055 Richards 2. Debbie Poz'nfon 3. Roger King 4. Wendy Allaslers 5. jean rl/IcKz'mzon

19 EXHIBITION REVIEW Healthy New Zealand Identity?

A critical look at the New Zealand Academy of Fine Arts’ selection process and review of the ANZ Bank Fabric and Fibre Art Award at the Academy by Bob Bassant

In reviewing an exhibition of one-off apparent absence of a more firmly stated evidence of how well the rules have craftworks such as the recently held clear and comprehensive selection and been observed (the particular set of ANZ Bank Art Award, the reviewer has judging policy. rules the Academy Mandarins the choice of wearing one or more of At the moment decisions seem to be themselves conform to), rules which are several hats. based on the misguided belief that determined by the status—quo state of The “general appraisal” hat can be opinions drawn and resulting from mind; unwilling and unable to venture expediently dealt with and in the group consensus are preferable to the out into the uncharted territory of a absence of plentiful photographic individually formed opinion based on more lateral kind of seeing and thinking. reference it needs to be no more than knowledge, perception, experience and How else could an explanation be put lucidly descriptive; with faint praise constructive critical evaluation. forward to justify the absence of almost here and there for preferred The situation as it exists is any truly innovative and creative fabric choices The “critical appraisal" hat undoubtedly at the root of the problem, and fibre works? requires some of the above, plus the problem being the highly Remember when the ANZ Art Award comparative analysis ~ which in view questionable criteria and downright exhibition was first instituted several of the widely divergent nature of the baffling choices the Academy selection years ago? The excitement of seeing exhibited works, comes down to how panel, an anonymous body, keeps on some really splendid works on display? well informed, perceptive and Objective making in their selection of Where have all the exciting fibre the reviewer may be. The third hat, and “exceptionally promising exhibitors” in constructions, weavings and fabric that’s the one I’ll be wearing mainly this pursuit of a “healthy New Zealand works gone? time, could be called the “enquiring- identity”. investigative” one. It’s not my intention Where’s youthful freshness, vigour to do an expose piece of journalism 50 I When the majority of the awards with and invention — so much in evidence take as a point of departure no more great regularity seem to be going to the then? than a quote from a recent publication established and establishment artists and Before going any further let’s by the organisers of the exhibition, the craftspeople and when the pursuit and consider what really needs to be done New Zealand Academy of Fine Arts: development of this mystical entity, “a to develop and consolidate this mystical “Award winning recipients are healthy New Zealand identity”, remains entity: “the healthy New Zealand selected on a basis which will enable a term shrouded in covertly emotive identity”. exceptionally promising exhibitors to veils (the third Reich had a fairly similar For that you need to believe in work towards further development nationalistic art promotion policy, excellence — creative invention and the within their chosen medium.” remember?) then the accusation that the right of the individual to proclaim Questions: Selected by whom? Who Academy’s selection and judging his/her uniqueness in their chosen craft. decides on the exceptionally promising processes are secretive, non-professional First and foremost, unhampered by the exhibitor? And what are the criteria? and in terms of some of their stated rules of convention or the shackles of Further on in the same publication: objectives un—democratic, can be the status-quo. “Over 90% of work exhibited is from squarely placed at the feet of the Secondly you have to have the New Zealand artists. The Academy Academy Mandarins. courage to proclaim these beliefs loudly encourages them to develop and to Presumably, and judging by the and repeatedly — particularly when consolidate a healthy New Zealand academy’s award winning choices in the you, like the New Zealand Academy, are identity within their chosen medium.” ANZ exhibition, a healthy New Zealand in a position of being heard, if not seen. Question: What constitutes a healthy identity means first and foremost an At the moment neither the artists nor New Zealand identity? identity determined by group the sponsors are getting the deal they Such lofty statements of intent are consensus. deserve — witness the rather dismal inclined to present and foster a whole The criteria for a group consensus display at the exhibition here under series of ambiguous sentiments and seems to be as follows: review. As a result of the Academy’s presumptions, particularly in the Any work of art or craft must give lamentable attitudes many New Zealand

20 fan van de K/zmdert “HARAKEK Flax weaving

— there will be a continuing alienation of creative and skilled human resources, particularly among the young, to the detriment of the whole arts and crafts movement in New Zealand. I am not suggesting the disbandment of such organisations in favour of an all- embracing Arts and Crafts Council Colossus. Regional and local diversifications have a lot to offer in terms of organisational and administrative abilities and structure in support of local talent. But when it comes to inputs such as professional judgement and selection of work the doors should be opened wide to qualified people from outside the local interest sphere in a fair, democratic and impartial manner. Sponsoring bodies, such as the ANZ Bank themselves, need to look more closely at selection procedures for award winners as well. Sponsors are often seen by participating exhibitors as having the final responsibility in appointing judges and/or selectors for their exhibitions — but in practise this is not always so — in fact these decisions are usually left to the organising body. In the pursuit of excellence I believe that a single judge or selector should be appointed. All judgements and selections are to a degree subjective; that’s simply inevitable. But it’s preferable to a choice by group consensus which always results in mediocre, common denominator selections. It’s preferable for any artist therefore to be judge by:7 someone who is competent and able to perceive those works which, by virtue of their artists, and here I mention in particular O’Meara‘s exhibition at enterprising singular creative strength, exert the painters—printmakers and sculptors, Edith Ryan’s Villas Gallery in presence and authority. are no longer willing to exhibit with the Wellington. There was weaving of a That’s no mean task I know, but the Academy—organised exhibitions. It seems sophistication and strength seldom seen crafts movement in general has arrived to me, judging by the gradual decline in in this country weaving with colours at the transitory stage from being excellence in recent fabric and fibre shining and vibrating and with textures dilettante and amateurish to a healthy (i) exhibitions, many craftspeople have of an amazing subtlety 7 the whole was striving for professionalism, and as such now decided to follow suit. a celebration of the art of weaving — it is desperately in need of input by Some rather pertinent remarks related yes art! people of a broad ranging and lateral to the above but in a different context Says Rhonda O’Meara: perception as to the real needs and were made by the Australian weaver “The great advantage is that lam not aesthetic demands, instead of the ever Rhonda O’Meara during a recent Visit to tied to any tradition — which enables watchful eyes of the Guardians of the this country in an interview published me to have quite a different approach ” Golden Rule in their bell bottomed in the NZ. Listener she expressed her Surely it must also be an advantage for trousers! concern about the attitude of the New every practising craftsperson in the Finally the exhibition: Zealand Woolcraft Society. “They (the land, not to be tied to any tradition, The award winning weaving by Woolcraft Society) are a small group of because traditions impose sets of rules Marilyn Rea Menzies is a totally people who started outwith honourable which suit the perpetrators of the status! justifiable and unsurprising choice. It intentions but they are alienating the quo just fine. conforms to all the forementioned rules professionals and frustrating a lot of There’s a lesson to be learned here for 7 thus it is competent, conventional other people — their competitions for all the Mandarins, and all the art and crft and boringly obvious. As a design it is example are designed to keep people societies for that matter — that unless reminiscent of a 1950’s decorative small.” the search for a New Zealand identity, technique originating in basic 2D For Woolcraft Society, read New healthy or otherwise, is pushed and exercise classes so much in evidence in Zealand Academy of Fine Arts! conducted outside the boundaries of the majority of art schools in the I had the privilege of viewing Rhonda conservatism and small group interests Western World. To put that particular

21 weaving in the category “exceptionally promising” would alone evoke disbelief in the credibility of the selectors. Not that Marilyn Rea Menzies is not able to produce much more refined work, refined in a perceptual sense, not technical. Her 1984—85 “Sea and Sky” series are splendidly evocative and convincing works. Perhaps the exhibition as a whole should have been named “The Great New Zealand Quilt Show” because the majority of works on show were quilts and some of them fine works indeed. For instance, the second Award winner, Jo Cornwall, had a bold colourful quilt on display which, within the boundaries of the patchwork quilt making technique, came across as a Vasarely inspired but imaginative and confident work —Jo Cornwall’s obvious skills and experience as a painter are evident in the interaction between shape and colour, resulting in an all over design creating its own radiance — a lovely work and a worthy award winner. Robyn Royd’s braided fabric work based on a leaf shape was easily one of the most powerfully arresting on display. Alone, outside the conventions of the rectangular shape, this carefully crafted creation reflected an authority and exuberance rare amongst the collective works. Both artists display a finely—tuned sense of texture and colour allowing them a great degree of flexibility in their chosen medium. A silkscreen wallhanging by Lynda Robinson, huge in size and owing much of its inspiration to contemporary graphics with a Richard Killeen input to boot, was nevertheless refreshing and showed by virtue of its proximity to the award winner, just how dated and conventional that weaving concept was. My choice would have been instead for Marie Abbott’s rather small weaving titled “Reflections”. Exactly the kind of work likely to be overlooked in the presence of the much larger and much louder neighbouring works, there is nevertheless great strength in this beautifully resolved weaving, owing much to the subtle use and control of only two complementary colour values, blue and burnt orange. The tonal transitions were handled expertly and with sensitivity. Keeping the deep blue background alive and shot through with subtle variations of its complementary orange. But displayed next to some weavings reminiscent of bargain basement floormats, Marie Abbott’s had little chance of exerting itself. This brings me to the hanging of works in relation to each other. There again the Academy’s reputation in displaying works is far from enviable, and has come in for criticism, and justifiably so, more than 22 3 once in the past. For instance Jan van de Klundert’s “Harakeke”, potentially one of the most original and authoritative entries, was hanging inside an archway connecting one exhibition area with another, presumably because it fitted the gap next to a fire extinguisher admirably! Apparently the Academy pays more attention to a healthy balance sheet at the end of the financial year rather than to such trivialities as artistic integrity Hence the clutterings of every available bit of wall space — primarily seen as selling space like a supermarket — rather than space to give works on display their rightful due in relation to each other. The final straw was the inclusion in this exhibition of some of the obvious rejects from the Wellington City Gallery/Crafts Council’s combined exhibition “Winstone Ties That Bind” elsewhere referred to in this issue. With talent being plentiful and commercial sponsorship at a premium 1. Robyn Royd-i Braided Fabric. the ANZ Bank in particular and artists 2. ]o Cornwall * Quilting. and craftspeople in general deserve a 3. Marie Abbott — Weaving. better deal than they have been getting 4. Audrey Cooper — Handpressed Wool. from the New Zealand Academy of Fine 5, Patricia Hewitt # Quilting. Arts, 6. Lynda Robinson — Screenprint,

23 ADELAIDE CONFERENCE

Living with Wood

Michael Penck comments on the second Australian Wood Conference recently held in Adelaide

The message that came across most clearly from the Conference was that if Resource Centre Note: you come up with a good design, well Association of Designers and Furniture executed and well presented, then you Makers NZ will have a change to sell and live. To do :1. .S‘teering ()rmimittee has ’v (rt-ordinate the formation of this this you must have a sound education association. and be design oriented. It became The assoc/allot? is intending to be a pro obvious that very few of the New jessionnl body to which members are elected and throng/J which :1 code of Zealanders could claim to have/be this. practise will be estalhisbed to maintain The “emotional” type of woodworker, good standard ofclesign and construc— still all too present in New Zealand, was tion. In this way it will foster [be in- extremely ill—placed when set against terests of boll.) its members and consumers. the Australian drive to improve and get 'l‘lzose illl'()ll‘Ud would like to encourage things going. The Australians refused to comments and participation from recognise red tape or obstacles to throughout .\'.Z. before things are for mulised (ll achievement, uy/‘oztnclation meeting/”0170.9 edfor early in [be New Year: An extremely interesting element of .1Iembersln'p submissions are int 'it in- the Conference was Professor Akioka, a cluding slides Ofu'orle. CI? and general professor of industrial design, who had information on [be designer/maker and their Ivor/e. come up with an idea to revive old, Comments and submissions to be for traditional Japanese craft. He had sought rem-deal to the Steering Committee. Pt). and won a study grant from Toyota to Box Ill-.258. Christchurch. research the project, had then created a demand for those crafts and had set the people in the North ofJapan to working on really interesting things. The ill Japanese items were beautifully executed, though not typically Japanese # they could also have been Scandinavian. It was the way they were designed, their simplicity and the chosen material that made them Japanese. The exhibition at the design centre was very good. Certain items were very 4 expensive — top pieces were priced between $8,000 and $17,000. Again the most interesting aspect was offered by the Japanese, New Zealand could easily follow the Japanese example for we have the talent to compete with the rest of the world if things are done the right way. At present they are not being done to New Zealand's advantage. It is time to co-ordinate some interesting thoughts 1 . Professor Ale/aka — in a professional way — directed to 2 . Bowls the highest standards. This must be .3 . Chair Detail done in the next few years if we are to 4. GO-Cari avoid mediocrity. E] 75 . Detail Go-Cart 24 ENAMELLING 2 Elizabeth Fraser-Davies continues her series on enamelling techniques

The use of Stencils

In this articie I want to discuss the use firing order of the same two enamels This will now give you a test piece of Stencils in enamelling. you would get an amazing speckled showing the effect with a given Unfortunately this technique is often effect quite unlike the former test. transparent enamel on bare copper and used to reduce enamelling to the lowest Frequently the unfired enamel bears no over flux. In some enamels, notably the common denominator; nasty dull and relation to its fired colour, so fired transparent red, orange and olive green, tedious examples of repetitive designs samples are necessary to make colour there is a very marked difference in the on small dishes and coasters are often to‘ judgements in a given design. Fired appearance. The transparent red will be be found in gift and craft shops. They colour samples of all the enamels, singly a dark maroon over the bare copper and frequently compound the insult to good and in various combinations need to be a bright luminous colour over the flux; enamelling by being extremely badly made. Kiln temperature is important too. the olive green is pale gold over flux executed as well! I want to show you as there will be great colour variations and dark khaki brown over the bare that it is possible to produce good, according to the temperature used in copper. When the piece is cool, make exciting and innovative work in this firing the piece and its position in the out a sticky label with information technique, and that it can give great kiln. This is particularly so when about the enamel used and firing scope for individual creative effort. opaque enamels are used, for instance, a conditions then fix it firmly on the All Art work, no matter what the low-fired opaque ivory will produce a back. The whole will enable you to medium or technique used, must have a lovely creamy colour and when the either hang it on a board or wire it with solid base of good honest design to be same enamel is high fired it will become other test pieces of similar types. effective. Enamellists often run the risk quite green. Some of the opaque blues Make opaque colour enamel test of having the lucent quality of their become turquoise in overfiring, and the pieces in a similar manner, with the medium mask inadequate design and it opaque yellow, grey. Opaque orange and exception that, in the second firing, is this, more than anything, that has red are easily overfired and turn black, dust the opaque enamel over the entire brought the art of enamelling into so a low kiln temperature is essential for surface and high fire it. When it is cool, disrepute. It is perfectly possible and these enamels. mask half the area and reapply the same reasonable with this technique to select Different enamel manufacturers enamel, only this time low fire it and a simple well designed motif, and by enamels will have different properties as this will give you the different colour thoughtful use of colours and the they are often made to different values of a given opaque colour on high appropriate enamels, produce a chemical formulae. The enamels I am and low fire. As before, make sure you charming and valid piece of work. This referrng to in this and subsequent label it so that you can identify it later. is as capable of being produced by a articles are the enamels made by the schoolchild as by an experienced firm of W.G. Ball Ltd of Stoke—on—Trent, When you have made a satisfactory craftsperson. England. A studio notebook is useful for range of opaque and transparent colour As in any art, it is the quality of the keeping detailed information on the tests, you can make additional tests designwork which marks it out as being various test pieces fired when you have showing what each transparent colour good, pedestrian or downright bad. IfI forgotten how and when you fired them looks like over the other opaque and seem to be labouring this point about months later! transparent colours. In fact, if you had design, it is because I believe To make a test piece, cut a piece of the time and a private income to keep passionately in the possibilities of copper about 11/2 inches x 1 inch, make you, you could easily spend a lifetime enamelling and become distressed a hole in it, clean the reverse side with making colour tests with endless when I see pieces that fail to do justice metal cleaner, as per instructions given permutations of colours one upon to the state of the art! in the previous article (NZ Crafts another . , . Seriously though, do take Before you can reasonably begin to Autumn 1985), gum and dust the the time to make a good selection of think about designs in enamel, you have counter-enamel, place the piece on a sample test pieces. You will find them to have a comprehensive range of fired suitable trivet and fire. When cool, clean enormously helpful in selecting the colour test pieces, showing the different off the firescale and prepare for the next colours to use in your work to make the effects enamel colours have with one firing. For the transparent enamels, most effective use of your designs. another, and the different ways they mask half the area and dust transparent One of the advantages of using react with one another depending on clear flux over the exposed copper with copper as a base for enamel is that it the order in which they are fired. enough enamel to cover the copper oxidizes and changes colour on firing. Suppose you fired a base coat of without making it too thick — if any This can be used to great advantage in transparent flux (colourless enamel) and enamel is too thick it will fire cloudy ~ stencil work, in fact oxidation plus just subsequently added a further coat of remove the paper mask and fire the test one transparent colour can be used to transparent dark green, you would find piece. When cool, clean the exposed good effect in the following manner:— that the test would give you a beautiful copper area, and dust a transparent Prepare a small test piece of copper, translucent green, If you reversed the enamel over the whole surface and fire. clean the reverse side, dust and fire the

25 Add stencil and dust

COPPER

Comzler—ename/

Enamel Powder

I ‘ l . l l ,’ l Stencil I l

\Coum‘eztezzame/

Remove Stencil

Enamel

3 counter-enamel. When cool. using the stencils are not easy to see once they wavy 7 at this point the work can be special metal cleaner (see previous have been covered with a layer of removed from the kiln if it is to receive a article), thoroughly clean the top powdered enamel. If stencils are further firing, but the enamel, at this surface of the copper until it is shiny inadvertently left and fired with the stage, is not perfectly fused to the metal, bright, Rinse with clean water and dry. piece. a nasty black carbon blob will be so it is inadvisable to leave it at this stage Using a variety of found stencils (in this left in the middle of your enamel, which for a final fire — and finally, when it is case I have used leaves from the weed will fall off later, so you can’t pretend completely fused, the enamel surface fumitory, another from the Virginium you did it intentionally “for texture”! will be bright red and utterly smooth tree and a piece from an old rayon hair \V'ith all the stencils removed, place the and glossy. This is when the enamel net which has been dampened to make piece on a trivet and fire, removing from should be removed from the kiln and it easier to shape). arrange the the kiln when the surface is smooth and allowed to cool naturally on a fireproof composition in a satisfactory manner glossy. \X'hen you are using transparent surface near the kiln. As the piece cools (fig. 1), using gum tragacanth to stick enamels on copper the kiln temperature you will see the firescale forming on the the stencils down on the bare copper. can be very hot. about 900-950 degrees bare copper areas (fig. 3). When the Dust the entire surface evenly with a celsius or higher — the higher you fire, piece is cool enough to handle, clean off thin layer of enamel. just sufficient to the brighter and clearer your enamel the loose firescale flakes, and then apply cover the copper. A good enamel to use colour will be. Kiln temperature only the same transparent enamel you used in a test ofsingle colour design like this becomes critical when you are using before, dusting it evenly over the entire is a transparent amber or, alternatively, opaque enamels (which might burn out piece, again making sure not to apply transparent clear flux. Next, carefully and change colour) and silver wire the enamel too thickly, or it will fire remove the stencil using jeweller‘s (which will also burn out with cloudy. Place on a trivet and high fire. tweezers, steadily lifting from one end disastrous results) if you exceed the When the piece is cool you will see the being careful not to let any enamel melting point ofsilver. The sequence of pattern made by the oxidized copper in adhering to the stencil fall onto the the firing and fusing of enamel is that at the stencil impression (fig. 4). if you impression left by the stencil (HO. 2). first it will look powdery. gradually wished to make a rather more delicate Make sure you have removed all the changing its colour till it looks like black tracery of the outline of the stencil, all stencils 7 it is good policy to count all powder This will change and produce a the firescale on the copper made by the the bits of stencil you have used in a shiny—ish lumpy look. a bit like the stencil impression should be cleaned off piece and then make sure you have surface of an orange. These lumps will with metal cleaner before the final firing lifted off the correct number 7 thin smooth out and the surface will look (fig. 5). Both these tests have been 26 FIRE 0R + fz'rescale Brig/n copper

W

Enamelfused T on copper Counter—enamel

4B

Dust with Dust with Transparent enamel Transparent Enamel l l i i i (ll l “ UH fr/IH/r/mw/ lllll/li’l'l'll

SB

FIRE

SB summarized in the diagrams, With a complete collection of colour tests you will be able to see the APPEARANCE possibilities of layering one colour upon another, using a variety of stencils, enamel 1 and enamel 2 enamel 1 and enamel .7 either made or found, and combining enamel 2 (n‘er copper (11gb!) them with either opaque or transparent enamels. Fig. 6 shows a selection of r i stencils using such items as manufactured lace, netting plant leaves and paper cuteoutsi Fig. 7 shows two l enamel test pieces using a cut—out paper stencil. The quality of the work will depend to a large extent on the effectiveness of the design as a whole. The scale of the work can be anything '| from a small item of jewellery to a large mural decorating a public building, with enamel 2 Dar/e edge the added advantage that enamelled oz ‘erfz'resca/e (dark) u ‘beref/resca/e remains metal is completely weather resistant and will probably outlast the building by about 2,000 years! Queries can be direcled through {be Please feel free to write to me if you [n/kn‘maz‘l’on Officer. have any queries about enamelling and I will do my best to help you. Colin and I have decided to combine our surnames since our marriage hence the new name for both of us with the credit of this article! P/Jologmpbs by Colin R, Fraser-Darles

27 PROFILE Humphrey lkin, contemporary furniture designer and craftsman, utilises machinery as an extension of his hand skills to create fine individual furniture.

Humphrey

FURNITURE MAKER

Dining Chair (1985) Mazaz‘ 850 mm high a! [me/e

Ikin’s focus in recent times has been on he feels “a responsibility to make useful the Pacific content of our culture. He objects.“ He goes on to state that “each makes a conscious rejection of an piece should meet an acceptable international style of designer—made cultural notion as to its function, though furniture, which apart from a few it should also challenge and extend exceptions, does not move him greatly. people’s attitudes in terms of what that He views furniture in terms of two piece should deliver.” fundamental contexts, that of function The aesthetic qualities of each piece and the aesthetic. In terms of function rely on the intellectual and formal

28

one’s maquettes, philosophical

identification

strongly also

acknowledged

However, furniture American

furniture

interest few

architecture.

Auckland

Egyptian only Italian

gently acknowledges

of illustrated. wood.

artifacts:

committing the drawing radius tops the presence.

called

says, beauty exposure my

not elements up work

motion.

lkin

The “I

these a

surface idea design.”

contemporary consciously

feels

in also

bank

point

“Over

design

in

seldom

Pacific influence

of design,

curved

An

terms of

for terms

pieces. then influenced

and

Looking

the

maker

keep

curve from

furniture that

ofline,

Victoriana

this

Museum makers,”

The

certain

example ofsources

preferring of

“The him

of a

it

as

Maori lkin

re—drawing

of imagery,

move

with

period

reference

approach

“it’s has

the

to

as

tops uses

Pacific, of

a

influence

the

by well”.

is

James is

I

Visual

watchful

of set

the well

‘weight’

form

its

finalised specifically

wooden speaks

crucial

strongly

plank New

lkin.

very

and

his

1950’s

English

with

of canoe

detailed the

of Another

directly

by

out Pacific

bandsaw.”

“leaves

of

ofinspiration.

as to

the

this however

(Krenov’s)

Krenov but

thickness and

Japanese

his

Scandinavian

Zealandimade

“I

time

easy

to

to .

before its

sketch the

directly

from of

to

.

eye and

given coffee

in

had

would and books.”

the

utilise

carry

due

.

in

and

controlled

commanding

references the

the

he drawings

into work

me

the

fl

area

for

we

at

on

uenced

60’s. ancient

shape

been

is

stone

to

singular

around

success is lkin’s

to

So

cold’

all an over

and tables

the

onto

1983

so— of

be

not of

the

in

build

He

very I

the

by

a

to do

’.

or

a his he

has

everyone”.

attention While commissioned

and

patter’). interesting should firmly must

made’

importance allowing must

concepts, detract

they furniture tree

wood.

every

size configuration

selling requirements 7 wood Moreover of

Tolerance drawers considered lkin to

‘historical

sense and

the

of there

One

Many

lkin

get

wood’

selection

lkin

selection

different

enjoyment

and

felled

is

also

have

be never W14. 4

being

lkin

piece bogged ' ”Kw-«VJ; «

milled

much

thus

believes

means

believes

piece

wood

not

from

Often

woodworkers

Though

and

true

stress

stresses

for

was

was

can

made

it

these

of

content’ 3

in

is

the

be

composing

be

in

few

of

he

is

is

changes

doors)

of

using

working

one‘s

that

standards

to

1900,

buys

to

of

that

something

made

become

the

of

and

relation

obvious

down

made

hung

the

underestimated.”

factors

quality

undertakes.

furniture

that

his

in

in

oneself.

the

wood

must

merchants

—

users

the

that

2

3

4 800

particularly

140/)

1530

Matai

meets

"laws

the

drying

colour.

logs

his

work

(this

sense

‘a

to

Dining

Coffee

cuts

must

Coffee

“in

from

on

difficult

history

in

common

in

not

mm

“though

justify

parts

work”.

to

eye

such

of

complex

in

mm

to

mm

often

that

—

directly

and

technical

that

the

dining

humidity

piece

Every

of

he

the

the

7

is

different

terms

the

of

these

always

the

be

of

long.

‘beautifully

to

“This

Table

Table

long.

long.

wood”

721/7/0

right

geared

end

these

(such

requires.

as has

“acts

adventure

alone.

of

aesthetic

the

use

allowed

the

feel

work

due

last

took

of

myself.“

chair.

maker

it

sales

wood

factors.

of

325

with

the

one

(1985)

([985)

7

35/)

wood,

92/)

process

be

(1984)

the

piece

from

is

a

Kauri

of

‘laws

to

as

levels.

cut,

to

lkin

to

form

with

“the

my

easy

mm

mm

mm

to

is

.llmaz‘.

Tane/ealm

New

u'ftle.

tt'icle,

[ride

Photographs integrity

commissioned challenges extending pieces client’s

meaning

conservative

individuality. or

furniture.”

Eden, Compendium

for take

because furniture

their

the

Zealand

show

designed

However.

indigenous

New

challenge stands challenge.” into influences the

faith”

Ikin‘s this European lkin

inlays

~12!)

Humphrey

lkin

lkin

“New

/

a

_7

“New

'40

a

,_-

public‘s

chair

painting.

and

a

piece

the states,

member

homes

7

Zealand

piece

mm

and

the

he

works

foremost

sees

as

)nm

nun

its

horizons.

of

we

Ktluri.

Zealanders

Kiri/(l.

area of

to

Zealanders

of

he

aims

were

for

ground

subtle

high

the

the

his

Tane/eaba.

to

I counterpart

and

big/J.

big/J

coming the the

his

“It’s

by

lack enjoyed

home.

quality

chair.

recognition

to

puts

about

create

lkin of

from

limited

It

People

work

ofthe

design

brief.

simple

Gallery.

Roy

always

(ll

work

work

accept

restraints

Inlays making. final comfort

is

a!

modern

concerns

a

a

Polynesian

it.

(en/re

not

as

beside

history

Emerson perfect

(en/re.

his

and furniture, together

a

can

seem

In

this

hurdle.

are

public a aiming

to

he

batch

have

7

wooden

strong

of

like

to

a

craftsman

Murray

studio

With

working

is

match

new

aesthetic

enjoys

often

and

when

quick

chair

linen.

of

extend

chairs.

of

a

very

most

of

example

buying

in

to

1985

production.

his

to

meeting

in

to

his

strength.

lines

influences.

to

having

piece

designing

rearrange

in

possibly

be

was

actually

chair

real.

the

you

to

terms

meet

work.

both

create

Kennedy

on Mount the

his

brings

seen

knock

a

do

of

get

of

these

With

pot

that

that

and

the

of 29 [:|

is

an all

at FIRST NATIONAL JEWELLERY EXHIBITION

New Zealand Jewellers, Silversmiths, Bone and Stone Carvers are finally uniting to present a nationwide View of their work

Compendium Gallery held the first National Show by New Zealand Jewellers. The exhibition was juried by Visiting Californian jeweller David La Plantz; NZ-US Educational Foundation Fulbright Scholar whose workshops and itinerary were organised by the Crafts Council and Details Group. Winner of the award was Donn Salt, jade carver. Featured here are works from the Exhibition.

1 Dorm Salt, Pendant in Agillz’te. “Yimdrz'l” 2, Merv Miller: Necklace, Silver wood, copper 67 silk, Width 136m 3. Richard Foote, Pendant. Wood. Width 5071, 4. Elena Gee. Necklace, Sill/87: enamelled timm’um, mixed metals, rubber é} shell. length ofpendant 11cm.

30 1. Brian Adz/m. sg/zlsswi Silver 5. [701111. Wit/II.) ljcm. 2. Hc/II' .lluxz/‘c/l. P())1dan/_/uclc. Length 8(7)]. 3‘ Ray .111'lcbell, Brace/cl. Br)11c.puzzaé w/zrm \Y'idlb OCH].

4, 0mm [limb/figs. Brood] Sf/z'cl: [min/Uzi 1mm! (3 gold leaf Length “cm.

3, lx'm/Jm‘l'uc Mummers. Neck/(Ice .S'i/z'er 7 lmxu'rmcl. Figure “"6121.

6. Brian l’lI’nIUf/i "7211111711 '3 W’lm/ebmzc €— sou/u/(mc. Width 14cm,

7 Pclcr Whack, Tea Sizzlinw‘ ("- Sland, Sill'w' ("v cop/7w: Width 86m. D

31 PORTFOLIO

Stephen Mulqueen

JEWELLER

1953 Born W lnvercargill 1974 Completed five year jewellery apprenticeship 1975 () months working in Nelson at Jens Hansen workshop 1979 DFA School ofArt Otago Polytechnic 1980 Set up own workshop zit home 1983 Amalgamated workshops with Kobi Bosshard and together formed 'FLUXUS' Gallery/workshop for Corr temporary jewellery in Dunedin.

N . Su‘iz'el Rings

[v . Brooches

LA, . Faun and Si/z'mfl'cdelncc)

>L\ . 51'11'87‘ Arrowhead and Pam: DISC Earrings

u. . Brooches 7 colourdved wood (1 sz'lz‘er u'z're

32 CRAFISHOP Craft Habitat— Nelson One year on Peter Gibbs reports on progress in this unique venture

Habitat means “the natural environment goal, Beth has taken on an assistant on a work was repairs, requiring a high input for an animal or plant”, according to my government subsidised work scheme. In of discipline and ingenuity. Assisted by dictionary, so it’s a fairly appropriate addition she pays another worker his wife Celia, Ricky has spent his first place for a group of young, developing contract rates to beef up the output. Her few weeks building up a stock of smaller craftspeople to be inhabiting. The chosen target area is fabric for fashion items such as rings, earrings and premises have had a chequered career. clothing and furniture. To gain the bracelets. His particular interest is in The initial buildings went up to necessary sales skills to make the making one—off pieces, mainly accommodate an overflow of activity volume of sales, she is currently sculptural, and in using the various from the burgeoning Waimea Pottery. attending a marketing course run at other media from Craft Habitat in Back in the early seventies, the Nelson Polytech by the Export Institute. conjunction with his own work. handcrafted pottery business set up by Woodworkers Maxine Roberts and From the most recent arrivals at Craft Jack and Peggy Laird could not handle Colin Wragg have a much more laid— Habitat, cross the walkway to one of the the demand for flatware, mainly plates, back approach. For the past five years original workshops 7 that of so this expansion aimed to satisfy this they have operated a gift shop in Mt glassworkers Ola and Marie Hoglund. demand in a modest way, and to provide Maunganui. Part of their stock then was Echoing the trend towards more formal some much needed local employment. their own bread bins and other small craft educations, Ola spent a total of Over the years this became too much of wooden pieces. Last summer they seven years training at the Swedish an industry for the Lairds, and holidayed in the South Island, finishing glassworks of Boda and Orrefors before Richmond Ceramics came into being, up in the Nelson area during the peak spending a further three in Swaziland leasing the buildings from Jack and season, and having a great time working on a Swedish aid project Peggy. Like the dinosaurs, this business following the numerous local craft fairs, setting up a small craft cooperative. became too big for the marketplace, and flea markets and wine festivals. A Marie learned her engraving skills at in 1984, soon after being taken over by chance conversation with jack Laird led Orrefors, where she met Ola, and the Teal Ceramics, it folded, leaving the to their occupying their current two now use their complimentary skills Lairds with some large empty buildings workshop. Their production is strictly in a prolific output. As in any mixed and bitter disappointment. limited to coping with door sales, which craft venture, glass is always one of the Unlike the dinosaur, the buildings did are already brisk, They have a number best selling items so the couple are kept not become submerged by the sand and of smaller stock items, generally fairly hard at production to satisfy demand. mud of the nearby Waimea Estuary. original adaptations of objects seen One year on, Craft Habitat has had its Thanks to some speedy lateral thinking elsewhere. A best—seller is the Kubel, a share of growing pains. The and yet another period of expenditure wooden bucket constructed much like a determination ofJack and Peggy Laird to and uncertainty, the present evolution straight sided barrel, and used for people the area with sympathetic and shows little sign of the radical changes anything from sewing gear to food competent craftspeople has meant that of a year ago. storage. In addition, they have growth has come gradually, and there is Briefly, the concept has been to offer increasing demand for Colin’s furniture, still space for a leatherworker, an craftspeople a workshop and sales area roll top desks, chairs, tables and so on. ironworker or blacksmith, someone offering mutual support for mutual Between coping with production, working in skins or hides, a printer, or benefit. It means that they can get building themselves a house in order to anyone else who turns up with the right straight to work in pleasant get out of their caravan before their first skills and attitudes. Sue James is shortly surroundings Without the inevitable child arrives at Christmas, and stock— to open a coffee shop on the premises hassles of town planning, buildings, piling for the January holiday season, to provide on the spot sustenance, or neighbours and so on, that plague most life is not dull. something more transportable in hand— of us when starting out. The layout that In contrast to the Wragg’s visually crafted food. has evolved is ofa clear roofed pathway busy workshop, that of artist Margaret The lessons of evolution have with the various workshops opening off Maloney is a much more open and provided knowledge of how best to to left and right. Inside each workshop, elegant space. Margaret works in two manage the complex, Like any living the front area is generally devoted to dimensions using a variety of media. As organism the needs and aspirations of sales, with the work being carried out well as more conventional paintings, she the participants are fluid, so the right behind. The customer can see is best known for her work with dyes dynamics of coping with growth so far what’s being made, without having to on fabric. Having previously worked have forced everyone to continually get right in the thick ofit — quite a from a small home workshop, she finds evaluate their requirements from the consideration when busy summer the pressures of a more complicated area. Jack and Peggy currently see their crowds start to arrive. environment, as well as a longer role as being part of the scenery, The first workshop is that of weaver working week, stimulating but very available for advice, but not pushing it, Beth Meikle. The impression gained hard work. while the individual craftspeople retain when you step in the door is of Ricky Dasler is quick to point out that their autonomy without being forced incredible industry. Wool and finished he is a jeweller, not a Silversmith. At into cooperative ventures simply work are absolutely everywhere. Few least notjust a Silversmith. His through weight of numbers. The over: weavers in this country are able to background is a rigorous five year riding factor is not the needs of Craft achieve a reasonable income from, their apprenticeship as a jeweller in Habitat, but the needs of the human business. In order to make this a viable Christchurch. During this time, most of beings that work there. 38 REVIEW Roy Cowan reviewed an exhibition of Anagama, Raku, Saggar and pit fired pots at the Crafts Council Gallery, August 7-23 1985.

‘ ‘Fire Marked Pottery’ ’

Clocs’sefrom Centre From‘ Ric/yard Parker — [

In the good/bad old days of the heavy with or without kiln, following the ap- Anagama Kiln, showed a “Dark fire— oil drip~feed kilns fire or carbon marks pearance of the high—tech kiln, suggests scarred vase” aptly describing the efr indicated uneavenly heated, stressed a reaction towards freedom, and a cer~ fect. Colours mid to dark brown. ware or failure to reach temperature, but tain inbuilt randomness as a way of MAUREEN HUNTER exhibited progress eliminated these troubles. looking to the flames for creativity. spheres and open forms in dark colours A handful of New Zealand potters ‘Firemarked Pottery‘ attracted 120 en— with matte surfaces, contrasting with have continued the style of massive ap— tries from twentvone potters who lustred areas and PENNY EVANS had plications of heat work in an enriched showed a fascinating range of results, bottles, cylinders and a bowl in shades and varying atmosphere but the major ranging from process—asdesign, to of sienna brown. trend has been towards electric and gas design—controlled works, This first group represent the basic fired kilns with fewer hassles, fewer GRAEME HASKELL, Anagama Kiln, lower temperature range reduction pro losses and more bland results. The had simple cylindrical forms, with fire cess embodying carbon black, and red, resurrection of ‘primitive firings first in burns and encrustations — fired and purple or black oxides of iron or copper Laku then with other ancient practises bombarded. RICHARD PARKER, for colour.

34 (Xi/(I licrzz'ns C/Jr/lx‘tc/Jl/ rcb “Erosion Forn'zs "

PETER GIBBS‘ forms arise from an of copper carbonate greens and blues. a visual link with ancient Perusian work. expanded sphere in light—coloured or orangeyellows. Like metal sculptures. not and DIANE WOODS. who has small white body. The tonality is lighter than unreasonably. Silicon is a mexal. and the spheres. bottles. and a disc in black the first group. There is a localised dark domains of mexal and ceramic formation body with engraved decoration. or black area providing the base note overlap. These days all major movements have but most of the surface bears cloud like ESTELLE and BRUCE MARTIN. their kit of dissidents. notably politics drifts of colours, reddish, blue, fawn and Anagama. An earlier group shown at and the arts. whose dissidents may grey, the whole burnished or lightly Albany had examples of the accidents. resort to ANTI—ART to debunk the glazed. The effect is painterly, and one variations and adventures are aspects of ' establishment, and attract attention. So can see that controls of form and sur» anagama firings. The present group suggest we have a potters establishment and of face are at work. a greater control of the slowfiring in a glazy course an ANTI-POTTERS, who are apt JO MUNRO had five entries listed as atmosphere of a wood fired kiln. Two small to tear up bowls and do dreadful things organic forms, — spheres with informal flower containers in modified cubes. the to teapots. Perhaps the most radical AN- openings on top, saggar fired. The sides exhibiting “iron-foot" type reddeni TIPOT was advanced by Australian dominant colour is a strong orange to ing, with light glazing on the rims. from Milton Moon. guestexhibitor at an russet shade with a subsidiary black clear to honey colour, provided traditional earlier N.’/..S.P. annual exhibition. He area, as from a local reducing agent, sug excellences, approaching Bizen. sent a box of shards. Doubtless, AN— gesting, as for Gibbs, a byichoice place With the next three exhibitors the place TICRAFT will appear ment of the black area. This comment of flare as a visible factor declines. BRIAN GARTSIDE takes his stance also applies to the entries of CECILIA ADRIANA HENDEL and ANITA upon a plate (well made). ruled with ex PARKINSON and HELEN POLLOCK. THOMPSON employ figured design upon quisite lines contra to the plate shape. Parkinson, working with totally enclos- a black raku base. In differing conventions which has been fired with scattered ed sagger, makes simple forms with they engrave the leather-hard pieces. definv bursts of stains and globules of glaze. In prepared surfaces and local reduction, ing zones which later receive glazes or the middle is the classic spiral crack and Pollock makes small Branwsian lustres. Hendel’s figuration emerges as (plate dried too fast), an accident of mak- forms with drifts of grey and light miniature landscapes, Thompson‘s works ing, the use thereof, no accident. To brown on a fawn to ivory base, with no have strong abstract designs, with shapes show that even the most inspired potter blacks. The effect resembles the surface and tonal steps clearly defined and work- can be caught by the potters demon. of travertine, a variety of marble. ing with the pattern. 80, a process generally RIISIIANBUST? The work is not notably GITA BERZINS, Anagama, had a group used to produce happenings is here used fire marked, it could have come from an of small but monumental sculptures, to produce completely planned art works. electric kiln. Rather, marked by Gartside. breached spheres and laminar structures, A photo album supplied by Adriana Hendel And what happens to all the Anti, suggesting eroded rock forms, in light shows the full process. No magic formulae, Artists, the Dada painters and poets and warm tunes with partial ash glaze. the simplest ofkilns, — it’s all in the design. the Surrealists (in pottery too)? The SALLY CONNOLLY provided slab RICK RUDD, Raku. Precise bottle definition of Art just widens to include works, fluted coralline forms, and bottles, forms in a grainy mart black body, formi them too, they become respectable, part in warm tones. The tallest bottle had an ed with cut facets, with spiralling ledge of the establishment, part ofart history. orangered flashing of great luminosity. like a mountain-side path, defined by “Firemarked Pottery” was an ex; Ceramic surfaces at fusion point and sen- polishing or a pale neutral glaze. No cellent theme which resulted in a firstv sitive to elements in the Kiln plasma; fluxes, trace of flame effect. These are simply rate exhibition with a small but colourants or mobilised glazes, — an area black body works which could have fascinating photo supplement. Sales open to further research. been made by other means, strictly out— were low. No fault of the organisers. STEVE FULLMER, modified pit firing. side the terms ofthis exhibition. \X’inter bit fiercely at the opening, on Two bottles, within ceramic tradition, two The same resenation must be made top of an economic undertow, still in, discoid forms with attachments, styled as with the otherwise attractive works of tensifying. which is affecting craft shops of metal with sharp edges and welded on BARRY WOODS whose spheroidal jars and galleries, along with many other bits, dry surfaced, highly colouristic, wafts are inlaid with bands of coloured beads, enterprises. 1:]

35 RECENT WORK

1. Robin Paul 7 Porcelain Agate , Peter Vz'esm'le 7 Shard Vase . Vz'c Malt/99105 7 Carz’er Cbaz‘r ‘flta’z‘z‘b Horroc/es . Cloris Dumz — Grey Valley Platter

QUIA’WIV . Alan Skates 7 Window

36 Become a member of the The aims of the Crafts Council and you Crafts Council Will benefit from the opportunity to:

* To represent craftspeople on a national * Submit work for sale in the Crafts Council Gallery basis — the showcase for the very best of New Zealand craft — on favourable terms * To lobby for and negotiate on issues * Participate in the Gallery’s exhibition programme * Participate in the Crafts Council’s Corporate affecting craftspeople Membership Scheme * Provide slides and information on your work for in— * To provide a comprehensive informa- clusion in the Resource Centre’s slide library for use by architects, designers, Government Departments and tion service of resource material on all Corporations aspects of the crafts * Submit slides and/or photos of your work for inclu— sion in the Crafts Council’s “Architectural Commissions” Portfolio * To facilitate communication between * Receive information on workshops/lectures organised craftspeople for visiting craftspeople As well you will receive: * To promote the image of New Zealand * Four issues of the “New Zealand Crafts” magazine. craft * “New Zealand Crafts” is the only New Zealand publication which covers all the crafts and keeps people in touch with what is happening in other crafts. It car- * To ensure the availability of appropriate ries feature articles, profiles, reviews of exhibitions, craft training and education Crafts Council news and views. * Bi—monthly “Crafts Council Newsletter” * To arrange discussions, lectures, And you will also benefit from: workshops and other activities to * All the developments which the Crafts Council are pressing for; for example craft education at an advanc- instruct and stimulate craftspeople and ed level the general public * The stimulation, support and inspiration that comes from belonging to a body with a variety of members who share common ideals

Application/Renewal Form Application/Renewal Form

Name Name

Address Address

Telephone Telephone

Craft Interest Craft Interest For groups: Number of members For groups: Number of members

New Member/Renewal (delete one) New Member/Renewal (delete one) Annual subscription 55 50 starts 1]uly($ 3 5 for subscriptions after Annual subscription $30 starts ljuly ($55 for subscriptions after 1 September). Ifa new member is signed up and a cheque and 1 September). If a new member is signed up and a cheque and form enclosed with your own, discount your subscription by S 5 form enclosed with your own, discount your subscription by $ 5 (maximum 4 discounts allowed). Return with cheque to: (maximum 4 discounts allowed). Return with cheque to: Crafts Council of NZ Inc. Crafts Council of NZ Inc. PO BOX 498 PO BOX 498 Wellington 1 Wellington 1 RESOURCE CENTRE

The Resource Centre operates a offered at each institution emeritus at Rhode Island Selected by David La Plantz catalogue, book, periodical and Craft Australia 1985/] [258-88 School of Design after a career slide library. that has shaped contemporary The following catalogues have The catalogues and books are CERAMICS u'oodu'orleing in America. recently been received in the are available for hire for 2 weeks at HAND CRAFT POTTERY Fine Wbodu'orleing No 52 Resource Centre and a cost of 82.00. Whence and Wither, Harry 1766-“ available for hire at the cost of The slide sets are available for 52.00 for up to 2 Weeks. Davis TURNING MOSTLY AIR ~ hire at the cost of $6.00 to Harry Davis gives an overview FINDING THE HIDDEN JEWELLERY members and 58.00 to of craft revivalism. He refers to SHAPES IN ROTTED LOGS INTERNATIONAL: non-members. social issues that have crossed Illustrated article plus diagram CONTEMPORARY TRENDS The periodicals are subscribed movement the art/craft of special scraping tools used to American Craft Museum to or received on exchange. All throughout history and turn spalted u'ood “mostly Museum 1984. Colour and periodicals are indexed and interweaves with this his own air ‘ ‘ shapes. 8 cl. W articles thought to be ofinterest experiences from the days of Fine Woodworking No 52 to members are mentioned in working for Bernard Leach. He JEWELLERY USA p545? this section of the magazine. is critical of the present National Competition A CLASSIC BENCH Periodicals are not available for emphasis on aesthetics over and Sponsored by the Society of A detailedplan ofajoiners loan, however members are above that of skills and other North American Goldsmiths workbench most welcome to peruse them practical concerns; however, he and the American Craft and articles can be photocopied argues that this current Fine Woodworking No 53 Museum 1984. Colour and BéW at the cost of 20c a page. direction in the making and p62-6* Copies of the catalogue, marketing ofpots can be GLASS AMERICANS IN GLASS book, periodical and slide explained by the values and An exhibition organised by the library catalogues are motives inherent in the THE LEGACY OF JOHAN Leigh Yau'leey Woodson Art available on request. formation years of the THORN PRIKKER Museum 1984, [52 pages The following articles have handcraft movement. Homage to the early 20th Colour and B G W appeared in journals recently A lecture gii'en at .llacquarie century German glass artist received by the Resource l.'iti'1'ei‘_sit1', Sydney 1984 who shaped modern directions Centre. These articles can be Pottery in Australia W)! 24 No in the medium. The following books have seen in the Resource Centre or I [118724 American Craft April/Altair recently been received in the copies can be obtained. MARIA KUCZYNSKA 1985132631 Resource Centre and are at the cost of Requests for copies should be CERAMIC SCULPTURE ———_ available for hire accompanied by payment of 20 Illustrated article on 1985 The following slide sets have $2.00 for up to 2 weeks. cents per page. Fletcher Brou'nbuilt Award recently been received in the HAND WOOLCOMBING fudge Pottery in Australia Vol Resource Centre and are ENAMELLING AND AND SPINNING 7 A Guide .24 No 3134-6 available for hire at the cost of METALSMITHING to Worsteds from the ARCHITECTURAL $6.00 members and $8.00 Spinning-Wheel AUSTRALIAN ENAMELLING CERAMICS: EIGHT non—members Peter Teal. Blandford Press Craft Australia 1985/] p 18423 CONCEPTS WINSTONE TIES THAT 1976 HYDRAULIC DIE FORMING A rt about architecture at the BIND 1985 MAORI ARTISTS OF THE FOR THE American Craft Museum SOUTH PACIFIC ARTIST/METALSMITH American Craft/unefluli' FLETCHER BROWNBUILT Katerina .liataii‘a. illetalsmlth Vol 5 No 3p28-55 p46- 51 AWARD 1985 Photography, Kees Sprengers EDUCATION WOOD PHILIPS GLASS AWARD 1985 Nga Puna Waihunga 1984 EDUCATION SUPPLEMENT: TAGE FRID — A TALK WITH JEWELLERY, BONE AND WOODWORKING WITH Illustrated article on 18 THE OLD MASTER STONE CARVING AND NEW ZEALAND TIMBERS Australian institutions; with An illustrated article on Tage METALSMITHING .llihe Jr'cDermott. Reed information on the courses Frid retiring as professor Compendium Gallery 1085, Methuen 1985 i F

Crafts Council N.Z. Inc. Crafts Council N.Z. Inc. PO BOX 498 PO BOX 498 Wellington 1 Wellington 1

38 Craft Loans Scheme

Queen Elizabeth II Arts Council subsidised Craft Loans Scheme in conjunction with the Development Finance Corporation.

Applications are now being considered for equipment and workshop development.

Application forms available from: Edith Ryan Raewyn Smith Craft Advisory Officer Information Officer QEII Arts Council Crafts Council of NZ Private Bag PO. Box 498 Wellington Wellington

THE POTTERS’ SHOP ' °324 TINAKORI ROAD° ALL the top Wairarapa To Crafts, 6‘3 *9. Plus a lively selection of THE WELLINGTON POTTERY ‘*‘ SADDLERS what’s good in CO—OPERATIVE DISPLAYING A WIDE New Zealand SELECTION OF SPLENDID POTS At the old Saddlers Shop TELEPHONE 7387803 133N HIGH SI CABTEHTON Open weekdays & Saturdays or on request. MONDAY-SATURDAY 10—6. SUNDAY 10—4 Ph. Cl 7999/8807

WORK IN THREE DIMENSIONS tbtylstbstpmer Artist/Craftsperson- in-Residence Scheme PO. BOX 12, DEVENISH, VIC., AUST. TELEPHONE: (057) 64 4333 (Under the aegis of the QEII Arts Council) Applicants interested in becoming the Resident Artist/Crafts- person-in-Residence at Waitemata City Arts Centre, Lopdell For Spinners & Weavers House, Titirangi, Auckland are invited to submit full details of their discipline(s), skill and experience plus a brief summary of a desired project they would like to achieve. The selected Excellent on WOOL, FUR, artist/craftsperson would be expected to work in with NYLON & CASHMERE. appropriate programmes envisaged for this exciting new Colour Fast, complete easy to use dyes, with development, and support the establishment of the 18 vibrant colours to mix and match. Residency scheme both in the Centre and in the community. Buy Direct from the Australia Manufacturer A one bedroom, self contained flat plus studio space is minimum order is a pack of 18, each bottle available in Lopdell House. An allowance of $1,500 per sufficient for 1 kilo of wool. month is payable for a minimum of two months and a For free Colour maximum of 1 year to the selected artist Residency would Samples & information commence early in 1986. Write to: Application in writing should be addressed to: The Director Lopdell House Titirangi \Q/(q L:%( CW”OZZy WZCkg/l Prop. AUCKLAND 7 Applications close 15 December 7985 Manufacturers of Dyes for Spinners & Weavers

Our selection of fine, contemporary New Zealand A fine selection of craft/s the best in the country. . . wool, leather, wood, jewellery, glass, pottery, silk. Only 7 5 minutes New Zealand Crafts from the city by car or ferry. TURN LEFT 500 METRES OFF STATE HIGHWAY 1 49 VICTORIA ROAD, DEVONPORT, AUCKLAND 9, 15 km NORTH OF WARKWORTH NEW ZEALAND. PHONE 451-577 OPEN 7 DAYS 9,00 - 5.30 pm PHONE (08463) 7125 RD 6 WELLSFORD

When in Lower Hutt visit Penny-Farthing Gallery

We stock only New Zealand-made Arts and Crafts nson vm CGee $011216 O’Meamv wfagcoe e £57 02361 PENNY-FARTHING Baxter-5t. OpenIO'5, 7 days. PhoneW8790. DUDLEY STREET LOWER HUTI‘ PHONE 6998267/11ll\.\\“~’

4O Fibre Arts Company TREASURES FROM THE LAND: CRAFTS FROM NEW ZEALAND Books . . . Yarns . . . Tools AN EXHIBITION FOR THE UNITED STATES OF AMERICA Swedish Cottons 0 Linens 0 Cottolins FEATURING THE WORK OF BARRY BRICKELL, JOHN Silk Yarns 0 Dye Stuffs EDGAR, GEOFF FAIRBURN, RANGIMARIE HETET, Exclusive garments & hangings OWEN MAPP, PAUL MASON, PARATENE MATCHITT STEPHEN MYHRE, DENIS OCONNOR, DONN SALT, Fibre Arts Gallery 8: Shop DIGGERESS TE KANAWA AND JUDY WILSON 155 Willis St (upstairs) Mail Order A limited number of catalogues from the exhibition, which Mon—Fri 10 — 4 Box 11—000 opened 15 November 1985 at the Renwick Gallery, Sat 10 — 1 Wellington Smithsonian Institution, Washington DC. and thereafter touring the United States, are available for general sale. The catalogue contains an introductory essay on the history of New Zealand crafts and individual essays on each craftperson. It has 12 colour and 22 black and white plates with photography by Tony Kellaway. There Is also a full catalogue of the 73 exhibition items. ITa Send orders to: Treasures Catalogues, 5 Durham St West, Auckland 1, New Zealand. PO. Box 9120, PO. Box 47-184, Telephone 794-976. WELLINGTON, NEW ZEALAND Specialists in textile art materials. enclosing $9.00 for each unit (postage and handling 0 ELBESOI — for silk and wool included). Overseas orders should add a further $2.00 0 TRANSCOLOURS — for polyester per unit for surface postage and handling. Make cheques 0 ELBETEX — fabric paint out to Treasures Catalogues. - VOGART — liquid embroidery - PROCION — Batik dye 0 PANHUE — acid dyes for wool MANUTEX

merrins croft shop Drop! eior Men It Come «error MO‘I 23C Koren Qood 3‘] 'ie 76,8 '09 tote night inursdov w—— GOLDING Soturda‘v v 41 v New ZeoIond mode domestic wore ond srnOI treasures

Widest selection of Suppiiers or the unusuol welcome Lot/bis and Credit cords accepted ‘ir HANDCRAFT MATERIALS ~k TOOLS iv BOOKS gym? addgwr/

Mail orders welcome New Zealand Handcrafts — Catalogue available Pottery, Porcelain, Bone, Leather, Jewellery — also Paintings by talented GOLDING HANDCRAFT New Zealand artists CENTRE Shop 42 BNZ Centre 1 Willis Street 158 Cuba Street, Wellington Wellington Telephone 736-650 PO Box 9022 Phone (04) 849-347

41 53 King Street Invercargill Phone 77-535 vemu 30 MARINE PARADE, NAPIER TEL. BUS. 53-971; A/H 58—348 Featuring the work of top New Zealand NZ Craft and Art of the very artists and craftspeople highest standard

Small exhibitions held during the year * Open Seven Days *

Manythousands ofNew Zealanders Wgtn Trade Centre, and overseas visitors have said of New Zealand Craftworks . . Sturdee Street "It feels good here". or "This has got PO Box 27-068 to be the nicest craft shop Upper Willis Street anywhere", or "You have the best Phone 856-3355 select/on of Pottery and Glass In N.Z." We specialise in WE WOULD LIKE YOU TO COME AND SEE FOR exhibitions offinest YOURSELF e FIND US ABOUT 16km NORTH OF PARAPARAUMU AND 3km SOUTH OF OTAKI. NZ arts and crafts.

We are open . . . Hours: 10.00 am. - 5.00 pm. Tuesday to Sunday Weekdays 930ml to 4.30pm (also open on Mondays in School Holidays) Fridays 9.502111 to 7pm DRIVE OFF S.H.|. ABOUT lOO METRES

Egmont VILLAGE CRAFTS Open daily 10.00am to 5.00pm

A FULL RANGE OF BEAUTIFUL continuing exhibitions featuring New ARTS & CRAFTS AT THE Zealands top Crafspeople Kauri House 89 Upland Road, Kelburn, Wellington NZ. 757-943 on the corner EGMONT VILLAGE Monday-Friday 10:30-4z30. Saturday 10:00-12:30 Also COUNTRY STYLE TEAROOMS

Coastal Ceramlos Potters Supplies 124 Rimu Road Paraparaumu Tel: 84-377 ~1___ For: Potter Supplies, China Painting, Screen Printing. Hobby Ceramics. HOURS: FINE NEW ZEALAND CRAFT Monday to Friday 8am to 4.30pm Saturday 8am to 12 noon 242 Heretaunga St. East, Telephones: Bus. 65-802 Hastings, N.Z. A/H 786-557

42 WANGANUI REGIONAL COMMUNITY COLLEGE SUMMER SCHOOL Friday 3rd January-Sunday 12th January 1986

DESIGN STUDIES Carole Shepheard $33.00 3rd/4th/5th Brian Gartside Kate Coolahan Phillip Trusttum PRINTMAKING Brian Gartside $66.00 3rd-8th Rodney Fumpston $44.00 4th-12th $33.00 9th—l lth PAINTING John Crump $66.50 6th—10th Phillip Trusttum $77.00 3rd—9th Jens Hansen $33.00 lOth-l2th FIBRE ART Advanced Paper Making Kate Coolahan $87.00 3rd—10th Stuffed Stuff — Wellington Fabric Co $54.00 6th—10th Mixed Media Carole Shepheard $87.00 3rd—10th Maori Flax Weaving Aromea Te Maipi $54.00 6th—10th Fabric Dying & Experimental Batik Carole Davis $87.00 6th—l2th CRAFTS Kite Making Peter Lynn $44.00 9th~12th Leather Craft David Russell $54.00 6th—10th Stained Glass David Clegg ' $62.50 6th—10th Wood Carving Howard Tuffrey $54.00 6th-10th Hot Glass Tony Kuepfer $66.50 8th—12th Jewellery Gavin Hitchings $58.00 6th-10th SCULPTURE Modelling Paul Dibble $43.00 6th—8th Bronze Casting David Mune $94.00 9th-12th Sculpture Andrew Drummond $62.50 6th—10th PHOTOGRAPHY Lawrence Aberhart $134.00 6th—10th CERAMICS Wheelwork John Crawford $75.00 6th-10th Handbuilding Rick Rudd $54.00 6th—10th Slip Casting and Creative Firing Robert Shay (US) $44.00 9th—12th

MUSICAL Strings Clace Shwabe $33.00 4th—6th INSTRUMENTS Woodwind Alton Rogers $27.00 8th-10th Piano Helen Collier $27.00 6th—8th Organ Bryce Mason $18.00 9th-10th Choral Vincent James $33.00 7th/8th/9th

MUSIC AND Dance, Acting Speech Christina Asher $54.00 6th—10th DRAMA Helen Moulder & one other Music Education Helen Willberg $21.00 1 0th— 1 1th Writing Prose for Pleasure David Hill $21.00 6th—7th Modern Jazz Dance Christina Asher $9.00 6th—10th

If you are interested in a Registration Form Plus FEES: (Include course materials) Brochure on this Summer School Please Contact: — Plus $8.00 Registration Fee Payable only once. Mr Paul Johnson, Course Supervisor Dates all inclusive Department of Arts & Community Studies Registration closes 13th December WANGANUI REGIONAL COMMUNITY COLLEGE PO. Box 7040, Wanganui, Telephone 50-997, ext 817

43 ART 8. CRAFr CAREERS FOR 1986 ;

ONE-YEARFULLAVIEII=I.CAVIILI' OF COURSE TWO-YEAR FULL TIME DIPLOMA OF ART & DESIGN DIPLOMA OF ART COURSE — ONE YEAR February 1986 will be the 2nd year for intake to the DIPLOMA OF ART, one-year full-time course. This course is registered with the Department of Education under section '186A of the Education Act 1964, The course includes 18 compulsory term classes in DRAWING, PAINTING, DESIGN, LANDSCAPE, PORTRAITURE, LIFE STUDY, WATER COLOUR, PRINTMAKING, PHOTOGRAPHY, SCULPTURE, GRAPHICS, ART BUSINESS, GLASS, TEXTILES (FIBRE ART), EXPRESSIONIST PAINTING AND ART HISTORY (3) as well as elective classes (3) in a specific discipline. Duration of 21.5 hours per week over the three terms including compulsory workshops assignments and group projects. No academic prerequisite is required, an entrance folio (or secondary school folder) is necessary. Applications only on the forms provided, closing in February Inquiries must be directed to the secretary, The course has limited places for 1986. DIPLOMA OF ART & DESIGN - TWO YEARS February 1986 will be the first intake for a two-year, full-time Diploma of Art Design. This course is registered with the Department of Education under section 186A of the Education Act 1964. This course is limited to fifteen students only. The first year is a common course of study with 21 term classes and workshop and assignment projects, including: DRAWING, PAINTING, GRAPHIC ARTS, PRINTMAKING, CALLIGRAPHY, 3D and 2D PROJECT MATERIAL, FIBRE ART, ART MANAGEMENT, MODEL MAKING, TECHNICAL DRAWING, and 6 DESIGN Sections The Second year will include: ERGONOMICS, PHOTOGRAPHY, FABRIC DESIGN, FILM MAKING, MANUFACTURING and INDUSTRIAL ART DESIGN, EXHIBITION & INTERIOR ART DESIGN and other PROJECT and ART DESIGN sections, No academnic prerequisite is required, an entrance folio of a prescribed content is necessary. Applications and conditions only on the forms provided. PART TIME SPECIALIZED CRAFT DIPLOMA COURSES DIPLOMA OF GLASS ARTS (Dip G.A.) — 6 term classes in hot or flat glass. The course includes drawing and design classes, as well as Art Business, Sculpture and Printmaking options, Hot glass includes BLOWN GLASS and KILNWORK: Flat glass includes leadlighting, cop- perfoiling, kilnwork and design classes. The diplomas are awarded after an assessed submission folio is judged satisfactory and attendance is fulfilled in all classes. DIPLOMA 0F TEXTILE ARTS (Dip. T.A.) — 6 term classes in Batik or Textiles (FIBRE ART). The course includes drawing and design classes, as well as‘Art Business, Sculpture and Graphic options. Fibre Art and Batik classes are in stage progressions and some classes have beginner prereqUISItes. The diplomas are awarded after an assessed submission folio is judged satisfactory and attendance is fulfilled in all classes. Both part time Craft Diploma courses are registered with the Department of Education under Section 186A of the Education Act 1964. ALE-R'ENEFgBtTION AND APPLICATION FORMS ARE PUBLISHED IN THE 1986 PROSPECTUS. CALL OR WRITE FOR

i , THE NEW ZEALAND SUGAR COMPANY If ART SCHOLARSHIP 1986 I" One Scholarship to cover the full course fee for the DIPLOMA OF ART ~\ course will be given by the NZ Sugar Co. All applicants accepted for the . A course will be eligible; assessments for the award made from the entrance hf“ folios. The scholarship will be presented after the commencement of the ‘ Term on February 17, 1986.

PO. BOX 37-036 PARNELL, AUCKLAND, N.Z. PH. (09) 770-231 or 778-6647 44

s-

--<232~§~23=-\‘1-NVV1V‘

5:53.533?

5.33.3533“

.341..w.....¢.~

5.433....

4

3.2.

Q

«14311133053.

.

3.41.3..13.‘

.

4

2.¢w.vw1.~w«c¢¢¢(««1wa+«((1

.

x‘aww

.

.

u<

11v

0.? (I

.

«1.

(I 444<1Ic1.\{(l.\(41(

(1

.

:15}.

I. .

t‘...

.

.

t

.

.

at .411 7'; I14.

. .

(11“ .

,

. n

1:»...

4

(

(I‘d .

. «(45‘

(111‘?

.

In

.l {wuvvav

‘(QltlQYiil3I.

C.

.I‘

(“it

,

iiiéii iii

.

:

‘ 1.51

1.1 \....

i

You can be sure of Shell