NewCRAFTZealand

ISSUE 36 WINTER 1991

IN THIS ISSUE:

STUDIO GLASS IN I99I

STUDENTS EXHIBIT

THE WOOD OF KAZU NAKAGAWA

KOHIA KO TAIKAKA ANAKE Our Stories FROM THE EDITOR I”

This issue introduces the Final stage in our Helen Schamroth surveyed glassworkers re-design. The new masthead on the Front throughoutthe country. She asked them how cover replaces one which has been there tor they were surviving and what the Future a decade. The internal layout has undergone holds; where their inspiration comes From many changes in that lime, and this one will and what contribution overseas tutors could certainly not be the last. Even the name has make. Her conclusions are on page 4. changed, from New Zealand Cratts to Cratt NZ. The CraFt Design Courses have an in- How permanent will that be? On one creasing inFIuence on the course at cratt. hand we gasp and are astounded by the Edith Ryan, Manager at Cral‘ts Programs For creativity 0t our leading crattspeople. The the QEII Arts Council has been centrally push from the Polytech CraFt Design Courses involved in the development of these courses. and the OE“ Arts Council seems to be Firmly In our editorial, (next page) Edith Ryan puts towards using the craft media as vehicles For her views. MAU MAHARA art. On that basis, perhaps "Cralt" is not the best title For this magazine. Words like The courses are still in their intancy. What ”Design" and "Art" may capture the mood can we tell at their success by looking at better. student work so soon, betore recent gradu- Work by l990 Carrington graduate Frances Jackson. ates have had a taste 0t independence? See page 9 tor a review a recent graduate'5 work and A fascinating look at the lives and memories ofour On the other hand, cratt in the traditional Earlier this year, I 990 graduates exhibited page 2i tor a prolile oi Frances Jackson. sense is still alive and well in New Zealand. their work at the CraFt Council Gallery. Lou- people through 150 years oftheir crafts. Using time-honoured materials and tech- ise Guerin discusses the show on page 9. niques, crattspeople produce beautt ob- A unique and extraordinary craft event that will capture jects whch equal the best the world can otter. Furniture making in New Zealand is dom- Given such diverse interpretations, is there inated by European/American tradition, al- the hearts and imagination ofevery New Zealander a name which captures what we all believe though shows like Artiture present other ap- craFt to be? Probably not, who can agree on proaches. On Waiheke Island, NewZeaIand what craFt really is? To cover the intinite woodworker Kazu Nakagawa brings a Jap— aspects of cratt, we aim to spread the net anese aesthetic. Christine Thacker writes wide. CraFt is craFt is craFt, isn't it? about Kazu Nakagawa on page 24. 1?\ \ FA . Feedback about the changes to Cratt NZ has been Filtering through. We've had some Kazu Nakagawa brings a Japanese aesthetic to New Zealand woodwork. Story by Christine Thacker, page 24. positive letters and some negative rumours. I visited "Kohia Ko Taikaka Anoke" at the There were glitches lasttime, probably there'II National Art Gallery earlier this year and be somethistime. Letusknowwhatyouthink. Found it riveting. As a wide reaching survey From a rural hideaway in Nelson, it's not oi Maori art, it brought together work oF always easy to keep abreast oi everything in many types and many regions. Bob Jahnke the cratt world. It you know about a craFt gives his impressions of this important event happening which you think is important, on page 32. please tell us. Our cover teatures the work of Malcolm Who buys cratt, why do they do it and "He mokopuna na "When they work they're "You couldn't get boy dolls. Harrison - a consummate craFtsperson - an where do they put it? In a new series, we Taharakau", you might hear lovely. I probably had about So Grandma turned Stephen accomplished artist. Ann Packer caught up examine New Zealand collectors otcratt. Pat said to someone of that place halt a dozen things work last into a boy tor me by making with his show at the Dowse Art Museum in Baskett visited Wally and Adele Hirsh. See "Kohia Ko Taikaka Anoke” - "Strip away the sap kitted out tor bad weather on year - but then I also had all him boy clothes. Those Lower Hutt. Her review is on page 15. what she tound on page 36. wood, leave only the heart wood" Bob Jahnke surveys a line day, "Ah, you must those lovely failures." clothes mean Grandma.“ this important exhibition Maori art on page32. descend from Taharakau." Did you know thatwhen Edward, Prince oi Ann Robinson bowl Doll Stephen'5 clothes Wales, wore a Fair Isle jumper on a golt This issue also covers the usual potpourri Flax pakee (rain cape} course in I922, he started a tashion trend at news about events, people and places, which still endures? That the padding in the reviews oi exhibitions, and opinion. calves 0F mid-nineteenth century men's long- Touring Nationally: johns was not to keep them warm butto make In issue 37 we'II cover the conterences 0t them look sexy? Haveyou seen the undershirt Wellington National Art Gallery's Shed 1 1 17 November quiltmakers, cratt dyers and potters. The 1990 - 27 January 1991 \9 in which King Charles I was beheaded? Fletcher Challenge Ceramics Award, Art in Researcher Heather Nicholoson Found so orgflg‘gscefai’t: Auckiand Auckland Institute 82 Museum 23 February 1991 — 7 April 1991 y) Wool and the national exhibitions 0t potters / A: Council of much to tascinate her in a study trip to Britain and craft dyers will be reviewed. The Globe New Zealand Christchurch Robert McDougall Art Gallery 4 May 1991. - 23 June .1991 "'"Z'°'°"‘ last year that her report ran to titty pages. Theatre Hangings and the touring exhibition She discusses historical knitting on page 28 Dunedin Otago Museum 20 July 1991 - 1 September 1991 at Sub-Antarctic Art will also be covered, as of this issue. well as all our regular Features. More than any other craFt medium, glass Happy reading. The Globe Theatre Hangings - next issue. has been hit hard bythe economic downturn. Peter Gibbs, Editor. Presented by The Ford Motor Company of New Zealand Limited EDITORLAL LETTERS CONTENTS EDITH RYAN

CRAFTNew Zealand I'm sure there are craftspeople throughout many skills. One holds one's breath for one PLAGIARISM REVISITED New Zealand wondering about the efficacy knows the small New Zealand market will FEATURES Publisher: of the Craft Design Courses. It will be the never sustain the I 20 odd student artists who I was horrified to see a letter in your last Crafts Council of New Zealand (Inc), 22 The Terrace, Wellington. Ph'IOA) 7270i 8, Fax (04)727003. people who proved themselves to be craft graduate each year. issue accusing Libby ShaIIard andJudy Hewin of plagiarism. Editor: artists, without the benefits of tertiary craft The polytechnics Glass of '91 are greatly concerned Peter Gibbs. education, who are most assiduously assess~ about this, and are devising courses, or The quilt in question was made as a Glass artists face high operating costs. With harder Assistant Editor: ing the courses which have now been in place negotiating to have some of their graduates commission fora private board room. What economic times only the most Julie Warren. for five years in eleven polytechnics through- enter a college of education to train as art happened to itand the use that itwas then put dedicated and crea- Editorial Address: out the country. teachers. Others will to later had nothing to do with the makers. tive can survive. How are they’coping? Helen train as curators, art RDI , Brightwater, Nelson. We do know quite categorically that New administrators, gallery personnel - directors, I quote from Pacific Quilts March I990 Schamroth surveyed the industry to see. Ph(054) 20716, Fax (054) 46020. Zealand produced some international fig- exhibition and education officers, conserva- page I I . ’Thequilt”Nova” by Katie Pasquini, Messages From the Spirit Advertising sales: ures in every craft media, before these cours- tors, consultants, critics, artists in industry appealed to Peter and Rinny Gordon of Edith Gibbs [Northern region), PhIO9) 640206. es began. We have always said they made and so on. We know for certain these Enzed Sewing Ltd, and Libby and Judy Louise Guerin visited a recent exhibition of the work Jan Cranston (Central and Southern regions), felt Ph(04) 686624. their names in a seIftaught way, and we have graduates will enrich our nation, for one way that part of this design used as a central of I 990 craft graduates. Here's what she thought. all been hugely proud of them. However, or another they will ensure the cultural influ- theme, would form the basis of a stunning Layout concept: recent research has revealed that the major- ences exerted on our people are expressed quilt.” 24 Kazu Nakagawa Lexicon Design Communications. ity of these senior 'greats' have had tertiary and encapsulated in art works which sustain layout and art direction: This is hardly the statement that would be Simplicity and elegance - a Japanese aesthetic on art education abroad or in our fine art our culture. Peter Gibbs and Julie Warren. made by people intenton passing off someone schools. Waiheke Island. Christine Thacker talks about this As the polytechnic courses have gathered eIse’s work as their own! Printing: woodworker. Anchor Press, Nelson. The visionaries who negotiated these momentum over these five years, the assidu- What Helen Bissland has stolen is not Subscriptions: courses with Russell Marshall's Education ous observers must surely be standing in 28 Historical Knitting someone’s design - it is two people's pro- Crafts Council of New Zealand. Department know full well that there were awe, and perhaps be feeling a titch threat~ fessional reputations. Researcher Heather thousands of craftspeople, as technically ened. Nicholson uncovers some se- Distribution: Propaganda. skilled as any in the world, who were self Helen Webber, Auckland crets from the past while looking through British I believe these Craft Design courses have taught, butwhowould never make a national already had a positive psychological effect Museums or international forum because they weren't on art in New Zealand. Those graduating Crafts Council of New Zealand. intuitively design conscious. The market was 32 Kohia Ko Taikaka Anake Executive: see themselves as artists. They are uncon~ It has come to our attention that your sinking under a plethora of beautifully made Bob Jahnke looks President: John Scott, IOI Putiki Drive, sciously breaking down the craft/art fence. magazine has published a letter from Helen at a comprehensive survey of Wanganui, Phone(0634)50997(W), works, many of which were unpleasing to the They are confidently asserting, by the works Bissland of Stewart island (Issue 35, Autumn contemporaryMaoriartatthe NationaIArtGaIIery. (0634)5692I(H). VicePresidents: Dave aesthetic sense because they lacked visual Russell, I74 BaImoraI Dr, InvercargiII. they create, that there is in fact no validity in I99I ) which accuses us of plagiarism. harmony - or good design. (O2I)89685. David McLeod, Harrington that curious phenomena - perpetuated by We would like to point out the following Point Rd, 2R.D., Dunedin (03)4780635. There was a national brief conceived by certain galleries and academic rhetoric - that facts: COLUMNS Executive Committee: Jenny Barraud, IO Richardson the Craft Design Advisory Committee to be three dimensional work is not art. From the St, Nelson, (054)846I9. Malcolm Harrison, 2/57 interpreted as befitted the needs of each I. The quilt in question was made as a editor Norwood These courses are indeed changing the Rd, Bayswater, Auckland, (O9)4457-243. region. The priority goal for all, inherent in privatecommission in I 986 forEnzed Sewing Wally Hirsh, 9 MacPherson St, Meadowbank, Auck- shape of art in New Zealand. The fine art Editorial the course name, was the teaching of design. Limited. ltwas made for the purpose of being land 5, (09)547—é95. Rena Jarosewitsch, P.O.Box schools had better look back over their 1874, Christchurch. a decorative piece-of work to hang in their As Manager of Crafts Programmes at QEII Arts (O3)6é2~085. Owen Mapp, I I8 I have visited each craft design team in the shoulders, for they face quite critical chal- Ruapehu St,Paraparoumu. (058)88392.Mark Piercey, board room. Council, Edith Ryan has eleven polytechnics many times since the Ienges. been closely involved with 20I Bridle Path Rd, Heathcote, Christchurch. inception to discuss the course content, ob- 2. The owners of the quilt have never Craft Design Courses at Polytechs. She talks about (03)849567. Judy WiIson, 32 ButIey Dr, Pakuranga, There is a dreaded dark side to be moni- Auckland. (09)5766~340. serve the students atwork, and to be party to been under any illusions as to the original tored. Itwould be appalling ifcourses still in the courses in this editorial. Corporate members: future plans. I can think of no course intro- design source, and no attempt has ever been their infancy, but so startlingly successful, Icam Ltd; Caltex OiI (NZ) Limited; Cain &Co; Martin, duced by the Education Department that has made by us personally to conceal this source. Letters were compromised because of education Jarvie, Underwood & HaII,’ Mobil OH New Zealand been so successful in achieving the visionar- 3. An article was published in "Pacific In Brief Limited; New Zealand Tourist and Publicity Depart- cuts. It remains to be seen which polytechnics ment; New Zealand Trade Development Board; Minis— ies' objectives. Every phase of each course Quilts" (March I 990) in which are really committed to these high costcourses. creditis clearly ter of Arts and Culture; Ministry has been tweaked, modified and finelytuned. News and information about craft events. of Commerce; Wel- This is the first year of autonomous funding, given to Katie Pasquini forthe original design. lington City Council. The tutor teams have worked tirelessly and and already it is clear some of the policies What others have chosen to write in reviews 15 Reviews Crafts Council Staff inventively evaluating and making changes which were conceptually unique and ensured and without reference to us personally is Executive DirectorzFrank Stark. Intormation& Liaison: as student needs are revealed. It has become I9 Book Reviews Jenny Rowland. Gallery Director: James Bowman. strong developmental individual performance beyond our control. absolutely clear that the talented young with- 20 Assistant Gallery Director: Caryl McKirdy. Gallery are now at risk. Our reputation as quilt makers rests upon People Assistant: Jan Macdonald. Office Manager: Lynda in these courses, need four, if not five years of the quality of the work we produce, O'Connor. Office Assistant: Julianne Latterty. study. I have attended the graduate exhibi- Much of the Arts Council craft budget is but the 36 Collectors question of personal integrity is a much more Contributions of original articles, reviews, news of tions, and been clean bowled by the fresh- used to support these courses and it is with fragile issue. We deeply regret that such an In this new column, Pat Baskett looks at the collection events or commissions, press releases and photo- ness and originality ofapproaches and style, great pride we associate ourselves in part- graphs are welcome and will be considered for pub— accusation should be given publicity without of Wally and Adele Hirsh. the confidence and sophistication displayed, nership with the II polytechnics who are lication. If in doubt, first contact the editor or publisher. us first having had the opportunity to answer and the risk taking experimental nature of a working so creatively to ensure our talented 38 Events Copy deadline for issue 36, April 22, I99I. that accusation. great deal of the work. One doesn't see the students are well grounded and inspired. Copyright I99l Crafts Council of NZ (Inc). No partof We ask that you also publish in your next 39 Comment this publication may be reproduced, stored in a well crafted functional vessel, one sees won- retrieval system or transmitted in any form without derful body adornment, wonderful installa- issue that we ourselves have always been permission of the publishers. ' Cover; "Nightswimmers" by Malcolm Harrison from his exhibition tions, wonderful waII pieces and sculptures. quite open about the source of the quilt "Echoes and Reflections" at the Dowse Art Museum. Ann Packer The Crafts Council acknowledges the generous assist- Most are mixed or multi-media, which have design. ance of the Queen Elizabeth II Arts Council in the reviews the show on page I5 of this issue. Photo; Tony KeIIaway, demanded careful design and mastery of E. ShaIIard, J. D. Hewin, Auckland production of New Zealand Crafts. courtesy Dowse Art Museum. GLASS(H?©1 BY HELEN SC HAMROTH

he history of glass as a creative medium has It is well to remember that retail outlets would reflect been a short one in New Zealand. It is a medi— what sells in hot glass, and in the developing area of um dependent on a technology that has been warm glass. Cold glass remains the preserve of commis— lost at least twice in the five millenia or so of sioned work, which is experiencing very lean times. glass production. Developing good quality work of the exceptionally Here in New Zealand we have in the past decade high standards that seem necessary for survival, has be— been enchanted by this wonderfully seductive medium come essential. John Leggott comments that “glass in which exploits the play of light more than any other. So New Zealand has deteriorated to funk and fuming”. 0n o who are the seducers? What levels have they reached the other hand Garry Nash feels that standards have

since Reg Kempton started the first art glass studio in been improving, and that those who are working in glass .: Havelock North? are serious about it, and gaining the recognition. There certainly aren’t many glass artists and they There are further varying opinions concerning the are spread around the country from lnvercargill to standard that work here really reaches. Colin Reid, Northland, the main concentration being in Auckland. English glass artist—in—residence at Carrington Polytech—

The New Zealand Society of Artists in Glass lnc, com- nic is in a position to observe local work, and he main— \ monly known as SAG has a small mailing list in compari— tains that while there are some people doing work of a (MI/mm son with other crafts, and encompasses hot (blown), high standard, there is a lot around that is mediocre. He warm (slumped, fused, east) and cold (flat) glass. In re— also comments that for the small population of this coun— ply to a questionnaire I sent to glass artists around the try, the market is very good. This puts another perspec— country from this list I have had communication with 18 tive on the difficulties experienced by some artists in sell— practising glass artists, a very high percentage of those ing their work, but supports l’eter Viesnik's view. Above: Goblets by John Leggott, assisted by John Croucher. Photo; John Leggott. questioned. Colin maintains that major sculptural work needs an Right: Screen; Lynlcy Adams. The numbers may be small, but they are a commits international market, which is what he personally relies ted, tenacious lot. Everyone who replied has been work on, rather than just the British market. Garry Nash Some artists have succeeded without formal art ing in glass earning a part or full living from it in I990. also has a toe in the international market with his large training, so are sceptical of what the polytechnics are Each plans to continue, although some may be changing sculptural pieces which make art statements in glass. As doing (there is very little other student activity in glass direction and developing studio facilities at home in or— well, he produces vessels for more general local con— although there are hot glass facilities at Elam School of der to survive. sumption. The sculptural works are only a small part of Fine Arts, Auckland). what he does, but nonetheless feature in his annual out— Glass has an exceptionally high profile in the craft put. At one extreme John Leggott celebrates the fact that galleries — for example Pieter Vicsnik observes that it he had no art school training and learnt by doing. For constitutes perhaps a quarter of the stock on display at Apart from maintaining supplies to retailers and sur— him, as for others who have been self—taught, a good deal contin— the Crafts Council Gallery. This means that those who viving financially there is a very good reason for of inspiration and encouragement has come through are working in glass have to be prolific because, com— uous production of hot glass — the expensive equipment overseas travel and workshops by international glass shut down. It needs ments Peter, it does sell. necessary reacts unkindly to being artists, both here in New Zealand and abroad. Many of to be used every day, if not (lay and night, to be econom— the self—taught believe that the apprenticeship method is And if we listen to those who sell glass the standards ical (just consider those gas and power bills), and stay in the most valuable. have to be high as humdrum work doesn’t move off the good working order. shelves in these difficult economic times. There are hot glass facilities at Northland Polytech— That means that existing facilities cannot afford to be nic and Wanganui Regional Community Polytechnic, as Regular outlets cited by artists include Gow Langs— under—utilised, and emphasises why the facilities estab— well as facilities for warm glass at other polytechnics. ford, Masterworks, Design Design, Compendium Gal— lished for the Craft Design Courses at the polytechnics Given the amount of money spent there should be a re— lery, Textures Gallery and Heart and Soul in Auckland; are such valuable resources. They should be the key to turn to the community in the form of well—educated tal— Unique in Hamilton; the Crafts Council Gallery and An— the development of the high standards demanded by the ent emerging. There are those outside the institutions tipodes in Wellington; the Suter Gallery and Landmark retailers and the public, as well as being fully used to who are scornful of the pampered students who have no in Nelson; Cave Rock Gallery and Courtyard Gallery in justify their high cost. But are they? idea of the reality of surviving, who think the world owes Christchurch; and Rumours in Dunedin, as well as stu— Opinion really differs here. Many of the established them a living. dio door sales. glass artists are self—taught, although some, like Ann At the other end of the spectrum those involved with Small work — good quality vessels, goblets and vases — Robinson (Elam), Peter Raos (Elam) and Holly Sanford the education system express pleasure at the fact that is the mainstay of glass sales at Compendium Gallery in (University of California), do have art school back— students have this opportunity to learn and explore Devonport, reports director Pamela Elliott. This is grounds. ideas without having to worry about how to pay their gas probably the case in many galleries. Sara Sadd at Mas— Formal training in glass has been the privilege of bills. Despite some students” laziness and lack of terworks in Parnell makes the interesting observation those who studied outside New Zealand, like Tony tenacity, often not experiencing any real struggle while that not just inexpensive work sells. Outstanding pieces Kuepfer (Portland State University), Ola and Marie studying, there is room for those with energy, motivation at high prices by, for instance, Ann Robinson and Garry Hoglund (Orrefors Glass School), Rena Jarosewitsch and creativity to do exceptionally well. Nash sell well too. It is quality that attracts the buyers, (Glasfachschule Rheinbach, West Germany), Kharen Ann Robinson comments that “the creative hard who are becoming more sophisticated in their tastes as Hope (Dudley College of Technology, West Midlands) workers will fly” because they are getting design skills as they become more familiar with the medium. and Michel Androu (Chelsea Art School). well as technical training, and education is always use— judgement. lt belies the fact that she is making progress Arts. are developing collaborative work which draws on in the area of warm glass and exhibiting professionally. Venetian traditions and post—Modern aesthetics. while Expecting to compress what used to take ten years of adding their own personal stamp. Peter liaos is working hard slog into a four year course may be unrealistic. on a MFA at Elam as well as working from his workshop Apprenticeship after the course could well combine the at home. The research by these people will be of benefit best of both worlds. and according to Carry Nash that is to themselves. and hopefully the wider glass community. actually happening. A graduate, of Wanganui RCP has Those who are self employed and teaching in glass just started working at Sunbeam Class with him and l’c— will need a lot of confidence to meet the demands. ter Viesnik. so he believes the system must be working. Everyone has been affected by the crash of 787 and the All the same. Alana°s sentiment coincides with ()la economic downturn that followed. Their vision for the and Marie [logliiiiiPs comment that “it will be a waste of future of glass may well influence what actually happens. money until they (the polytechnics) get educated teacli— The pessimists. believe the situation will not improve ers from overseas". and Peter RaosV view that he would unless the economy rights itself and overseas teachers like to have seen more money spent on recruiting the are brought in. A recurring concern is that glass objects Classworkers will need to be resourceful and run Above: Lyndsey llandy. best people and less into buildings and equipment. appear to be expensive to the buying public. and that workshops economically. John (iroueher sums it up by Bird Series. fused glass As an observer at Carrington Polytechnic with no high prices are necessary because of the cost of produc— saying that “imagination is the bottom line. followed l"“Pl’ml 1mm“ and tion. Linlcy Adams comments that her work appears very closely by technical proficiency”. “m""ols' ”0‘5”“ 400mm axe to grind. Colin Reid agrees the students need more Photo; Ray Forster. input. He feels they are not sufficiently aware of the cheap in the USA and France, even after freight and Those working in flat glass dream of another boom possibilities of the materials and of what is going on over— insurance have been added — here the public thinks it is period so that commission work will again be sought. seas. expensive. Some. like Michel Androu. acknowledge that flat glass But why don’t they know what is going on overseas? Without sonic solidarity between glass artists and the still has a long way to go before it reaches the full Apart from international literature. several of these art— raising of public awareness. this attitude could become potential of s H expression rather than being derivative ists claim to have travelled overseas in recent years and all pervasive. Phil Newbury reminds us that most glass of other traditions. worked with people they admire. and the glass artists objects sold by major retail stores are imported. and Rena Jarosewitschis vision is one of the more. who have visited New Zealand have been exciting and that is what most of the public is familiar with. To realistic. yet positive and creative: “...perhaps fewer stimulating. change that empha s is worth striving for. craftspeoplc/artists working in the field due to the lnternationally acclaimed glass artists like liino Ta- Fortunately for the survival of glass as an art form economic situation. The established glass artists will gliapietra. Dante Marioni. Richard Marquis. Billy Mor- the pcssiniists are few in number. lt may pay to listen to continue to work. perhaps be more confident with the ris. Klaus Moje. Tony Hanning. Rob Levin. Mark lick— those who believe glass has great potential international- type of work being produced (stronger identity) and strand. Johannes Schreiter and Joachim Klos have re— ly. so long as New Zealanders meet current standards. artists from (traditionally) other fields will start using cently visited and shared technology. traditions, exper- These optimists believe that increased design awareness glass in different innovative ways which might open up tise. artists7 visions and passion for the medium. Their by practititioners. and development of one—off pieces to collaborative efforts.77 lt7s a vision from which glass art input. although bri‘cf. has been invaluable. express artistic ideas. will give strength to glass art. could grow and thrive. It comes back to what is possible financially. and to value what is available. always improving this. It remains for glass artists to develop their uniqueness. and become appealing locally and internationally. Not be— Above: Peter Raos. ful. even if students don7t become practitioners. They cause they do “international" work. and emulate the group of hot cast will certainly be educated consumers. glass forms. German glass artists. the Venetians or the Memphis Height. 250111111. Tony Kuepfer. who established the glass studio at school. but because they are saying something about Photo; Peter Raos. Wanganui Regional Community Polytechnic. is clear themselves. and what it is to live in New Zealand. that students are “coming out with greater design ability Ann Robinson seems to be leading the way here. Of and imagination than those who had to battle on in an everyone who enthused about influential visiting artists. independent secular fashion”. she remained the most silent. Her work has developed Several people comment that what is coming out of steadily over ten years. and she draws on a paté de verre Right: the polytechnic courses is a lot of multi media work. in technology that she has painstakingly developed through Peter Viesnik. itself an exciting development. Holly Sanford is of the trial and error. reflecting her environment in the ab— hooped stein goblets. opinion that the future of glass will come from the Craft stracted relief images on her cast vessels. If financial se— Height 230111111. Design Courses. curity is uncertain she nonetheless works on. and is at Photo; Peter Nonetheless. there are those within the system who present building her new workshop at home and prepar— Viesnik have doubts. Criticism comes from those who have had ing work for Expo in Spain. where work reflecting New experience of the courses. Alana Tacken—McCallum. Zealand’s uniqueness would definitely be a criterion. who received a Diploma of Craft Design from Carrington John Croucher is completing a MPhil at Elam. writ— Polytechnic a year ago. comments that coming out of the ing a book about glass technology. He has teamed up polytechnics is “a surplus of half—trained people who with John Leggott. recently returned from overseas. for haven’t reached their full potential because of lack of which he had a QEII Arts Council grant and a Fulbright professionalism within the polytechnic courses” — a harsh scholarship. The pair. working at Elam School of Fine MESSAGES FROM THE SPIRIT LOUISE GUERIN

here’s something about a craftsperson’s love Marea herself says simply of her work: affair with his or her material that creates its “This is my culture, this is my life, this is my learning. own magnetism. Not to deny the hours and “It is where I have come from, where I am now, what I hours of hard graft involved in production. hope for and continue to strive for. They come into it too. But it is that extra reverence or wit that transforms. It’s the hum of a determined finish “This is my work7s future.” and the message from the spirit of its creator that a truly 0f the waka she says “it all stems from Waitang‘t successful piece will contain. Hard to specify, but easy 1990. I was there every day. I’ve always wanted to com— to spot. bine glass and clay and the crystal came from when the I had my own ideas of what a 1990 Craft Design waka were at Waitangi. Everybody was looking at the graduates7 exhibition might contain and so was in for waka on the water and their stands were left up on the certain surprises. The celebratory fine arts edge of self bank. I thought the stands were just as important.” exploration seemed obvious after I had met it face to The patterns on the boats are Lapita inspired. “It all face: Mereana Taukiri Hall’s lively paintings, for exam— goes back to the great migration,” she says. ple, whose colour waves hit me as I opened the door. Elizabeth Miria Sparkls harakeke (flax) work has And Louise I’urvis’s Flying Fox, having its own private that same powerful combination of delicacy and sureness laughs as it raced on into its secret journey. of touch. Her statement: “My work is a blend of tradi— Marea Timoko”s Waka - clay and crystal boats on tional Maori techniques and contemporary design.” Her stands of chunky crystal — I came back to again and inspiration is the wharenui and the importance of har— again, as their aspects changed on different days in (lif- akeke within. “1 have been experimenting with dyed ferent lights. Something about the tiny scale of each ves— flax and muka in keta and wall hangings. The colours sel with its enormous ramifications enchanted me. These becoming foremost rather than me concentrating on a are truly soul ships. Crystal boats in world mythology woven sequence to create a ‘set’ pattern.” can signify a transfer from one plane to another or a Susan Jowsey has been exploring the world in minia— change of state to the inner plane. That’s what looking ture, obliquely facing enormous issues. There’s still a at this fleet helped me to do, and where I related from. slant that keeps the viewer at bay - limited accessibility The almost clumsy solidity of the crystal supports made and coded information in the meantime as the inner the boats seem like herrings, with the same simple ease work goes on. As she puts it: for their water voyaging. “Within my work I am hoping to convey a sense of accumulated experience — or rather, echoes of those experiences: vulnerability, isolation , a lack of understanding. as Frances Jackson’s complete mastery over her mate— Opposite page: "Kia Ora rials was a pleasure to behold. Impeccable finishing as Digger and Kalm", by well as fine, sweeping ideas for shapes. Her ideas en— Elizabeth MM“ Sparks- compass “surreal displacement. The head is the alterna— Plum" Sandy Cmmon. tive to the bird in the cage. The bird has travelled the I. f:"Fl ' VF " spiral and assumed the hat shape.” (See people, page byc Louisel ymg‘Purvis.0x 9 21) Photo; Sandy Connon Wendy Criffin’s Inquisitum Arcanum Intribus Ma— teriis Magnificus is as imposing as its name, containing as it does an enigmatic encyclopedia of names and refer— ences. It reeks of hours of dedicated application and is based on the elusive signs, promises and directions of al— chemy. The pleasure is in letting the lines unfold. Alison Bramwell’s The Power ofNaming, using an— other symbolic language, that of runes, continues to haunt, with its twisted spine of nails. Her explanation: “There is a pulse from the land running strong through the imagery that our distant ancestors (both European and Maori) created as a communication from the spirit. b IN BRIEF

first start ~you have heroes and you’re DANCING CATS TO MUNICH Multi-tired ceramic hell, finding your way. But later. that“5 ‘5‘“ by Moyra Elliott to stop. You find yourself. It’s Wu Westport potter John Crawtord is exhibiting then. But it takes time. After all. 01W at the Neue Keramik Gallery 61 5 in Munich. doesn’t expect a person to emerge The invitation came alter the owner oi the from law school able to he a judge in 1‘ gallery, Renate Wunderle, saw Crawtord‘s court.” work in New Zealand and viewed slides at his show "No Looking Back" (Suter Gallery, Harrison is interested in promot— Nelson, T989). ing the personal development of stu— dents. “We can push the product far John and Anne Crawtord went to Germany too much, instead of pushing the per— to help set up the 39 works, which include a son. You need to help them get their l .2 x 2 metre piece entitled "Pacitic Mirror". feet on the ground; to help them real— The New Zealand ambassador to Germany ize that they have responsibilities and travelled to Bonn to open the show on June 9. to help them see themselves as a crea— Assisted by a short term study grant trom the tive vehicle. It’s reaffirming that QEII Arts Council, the Crawiord's will visit their ideas are just as valid as anyone places 0t ceramic interest in Italy and the else7s and that the skills in the craft of south at France. the manufacturing of the article will come to them. “They have put a lot into learning CERAMICS TO POLAND SMALL TAPESTRY those skills, but that’s not the most important thing. The key thing is get— The international gaze will again focus on A tapestry woven by Marilyn Rea-Menzies ting to know themselves and coming to New Zealand when Moyra Elliott represents has been accepted torthe "Small Expressions feel secure with themselves. Too this country atthe prestigious 5th Internation- '9I " exhibition being held in conjunction with the Northwest Weavers' Conterence in many of them are too woolly woofter. al Triennial oi Ceramics in Poland this year. The exhibition, entitled "Ceramic Material in Eugene, Oregon. It will be exhibited at the They have brilliant ideas and then Modern Art" runs tram June 7 until August Lane Community College Art gallery. Out at they’ll back off. 0r they’re not as— I5, I 99I . The brief provided by the organ- 93 entries, 54 pieces were selected trom 9 sured that the idea is really good. isers who, among others, include the Polish countries, including the USA, by the juror Pat “It still falls back to getting their Artists' Union, the City of Sopot Art Gallery Spark. Final judging tor the tour best pieces feet planted firmly on the ground. (venue tor the exhibition), the Polish Ministry will be held at the gallery in June. The “They have four years with every— ot FineArtsand the International Academy at exhibition runs From June To to July 5. thing pouring into them — it’s going to Ceramics at Geneva, states that the primary The tapestry by Marilyn Rea-Menzies meas- “This piece is about remnants, memories. It is a col- aim at the exhibition is "the controntation ot Above: take a while afterwards to sort it through. It’s going to ures 22cmx28cm, cotton warp with a wool lection of symbol and media with talismatic intent. the newest artistic investigations and "Inquisitum be up to the individual. Quite honestly, some will make linen and cotton wett. The piece is a portrait achievements in the tield of modern ceramics Arcanum “It is about ways of passing on a feeling. It is about it, some won’t. It’ll just be like anything else. Some will ota triend and is entitled "I Am". "I Am", Tapestry, in ditterent countries". It is a comprehensive by Marilyn Rea-Menzies Intribus the power of naming.” go into other fields and some will struggle through and Materiis prescription with a clear emphasis on inno- However, after all this initial excitement and after make a living. Some will be brilliant — who knows? It Magnificus", vation; Exhibitors are invited to torward one by Wendy visiting the exhibition several times. a sense of the highly will be up to them. ..and luck.” large or tive small works in the category of Griffin. derivative feel of some of the work would not go away. For himself Harrison found working with students industrial ceramics. The exhibited works will Photo; The usual shortcomings of a group exhibition made this “incredibly stimulating. Being students they weren’t so "Dancing Cats", terracotta with slips and enamel crayons. be For sale and there are a total at I6 prizes Sandy Connon worse — not enough of anyone’s work to develop a full affected by their alter egos. They had nothing to lose. spread among three levels of merit. perspective on each individual. Cathy Kenkel’s work— Later on people lose that spontaneity. It was a really The Triennial exhibition has been running For books, for example, made me want to see her actual easy, flowing situation. It loosened me up as well.” l5 years which corresponds with the time work. Perhaps in the end it comes down to this: span of our own Fletcher Challenge inter- If I haven’t commented on something it’s because it national show. Participation in the Sopot “From the age ofsix, I had a maniafor drawing the and I have failed to form a relationship. Perhaps I’ll show is by invitation, which in turn is byway forms of things. By the time I was 50, I had published meet the fully explored idea or its next phase some other of recommendation by an exhibitor in the an infinity ofdesigns; but all that I produced before the time when the inspiration and skills have truly come to— previous exhibition. The exhibitor is selected age of 70 is not worth taking into account. At 73, I gether. Better not to pass judgement in the meantime. rather than the work. learned a little about the real structure of trees, birds, As a I 99l participant Moyra will be able to Malcolm Harrison, who was artist in residence at fishes and insects. In consequence, when I am 80, I invitea Further two individuals to contribute to Nelson Polytechnic for three months in 1989 and who shall have made still more progress; at 90, I shall pene— the event in I994. Her exhibition entry this has since revisited that course on a number of occasions trate the mystery of things; at 100, I shall certainly have year is a very big, multiiirecl, ceramic bell was kind enough to come up with a second opinion. reached a marvellous stage; and when I am 110, every— which should have appeal For all who look “I think one must realize that this a students’ work. thing I do, be it a dot or a line, will be alive.” (and listen). I personally cannot see anything wrong with a slightly From The Hokusai Sketchbooks, editor James derivative feel to such work. It’s like anyone: when you Michener,Charles E. Tuttle Co, Vermont & Tokyo 1958. ARTEX The hanging represents six hundred hours Reflecting Auckland's marine history, Ellis ot work and was completed between August has chosen a John Dory, a Fish with long The traditional Kiwi cratt shop continues to and December 1990. It was worked in six established spiritual connotations, to symbol- be challenged by a variety ot alternative sections, hand-stitched together with over- ise the abundance and diversity ot marine retailing operations. Artex - Art and Interior lapping design sections applied last. Some lite. It is poised over an open hand ot Expo appears this year in Auckland, tabrics were bonded to the background; 'triendship and good tortune. Astronomical Christchurch and Wellington. Among the there is a little machine embroidery but most and botanical characters signitying riches exhibitors is Tom Capey, a woodturner trom ot the design is meticulously hand-stitched. and prosperity, embellish the hand. Whangarei. Capey gained enough conti- In the lower lett area, a tountain 0t pure dence trom a twelve week course at North- land Polytech in 1987 to launch himselt into water acts as a sustaining lite torce, and as a cor- a new career in wood. He was Northland's cleansing agent removing tapu. In the woodturner ot the year tor l988. AOTEA TAPESTRY ners, the ancient signs 0t Alpha and Omega relate to the beginning and ending ot all The Aotea Tapestry, which now hangs in He describes himselt as "a dreamer and things, and the perpetual lite cycle. an experimenter, specialising in one-ottpieces the entry Foyer 0t Auckland's Aotea Centre, crattwriter Helen that can be classitied as tunctional, decora- was unveiled by the Prime Minister Jim {Editor's note: Auckland tive or sculptural". Bolger on April 24. The t t .4x6.5 metre Schamroth comments on the Aotea Tapestry on page 39 of this issue.) He is pictured with "Tribal Urn", 1.4 me- tapestry, estimated to have cost $650,000, tres tall. This piece, constructed trom 80 rings was sponsored by Fletcher Development and at custom wood and tinished in acrylic lac- Construction, who completed construction ot quer, won a $500 consolation prize at the the complex in 1989. l989 Putaruru National Exhibition, adding Associate-Protessor Robert Ellis, otthe Elam Below, "Tribal Urn", to his 1988 award at the some show tor School ot Fine Arts, designed the tapestry, by Tom Capey "Most Innovative Turner". which was produced by a team ot six hand weavers at the Victorian Tapestry Workshop in Melbourne, Australia. Elizabeth Currey, chairman ot the Aotea A DUNEDIN COMMISSION Arts Centre Arts Committee, said the tapestry is the centre's principal art work, and joins a By Linda Howey growing art collection 0t international stand- This tive metre hanging is above the door ing which will attractvisitors trom around the ot the Mornington Methodist Church, visible world. She said her organisation had ap- to all as they return trom celebrating the proached tapestry workshops around New Eucharist and as they go out From the sanc- Zealand to tind that local studios did not have tuary atter worship. the substantial resources needed. Designed by hymn writer Colin Gibson, it "The Victorian Tapestry Workshop is re- was commissioned by the late Alex Mabon garded as one ot the world's tinest and we and given to the church in his memory by his decided to go with the bestto create the best," tamily. A central teature ot the design is the Mrs Currey said. text "Creation sings a new song to the Lord", The rich tapestry embodies signs and which is taken trom a hymn by the twentieth- symbols which most viewers will quickly rec- century writer James Phillip McAuley. The ognise, however, the designer welcomes images displayed retlect this hymn and an- visitors to supply their own interpretations. other written tor the Centenary celebrations ot the Mornington Church. The hanging was Robert Ellis said he designed the work with worked by Jeanette Gibson and Robin Auckland, its people, history and land in mind. At the top, a variety ot star chart Aitken.The lettering is ot padded gold and Above: The Aotea Tapestry, l M metres high and 6.5 silver kid shadowed by bonded letters of silk symbols, based on the southern skies, estab- metres wide, hangs in the toyer ot the Aotea Centre. organza and stitchery. Q' lishes geographic location and navigation reterence points. The constellation Pleides/ Reading trom top to bottom, a sunburst 0t Te Huihui o Matariki relates to the annual Creation made at padded and decorated replenishment ot earthly resources. tabrics is attended with beaded and iewelled stars. Asoaring albatross, symbol inAotearoa Beneath this is a landscape tormed by tor the Holy Spirit, is also made 0t padded kid elemental torces, its surtace conditioned by decorated with black kid and grey stitching continuous volcanic activity. There is evi- on its wings. Dolphins ot layered chitton leap dence ot human occupation stretching over a From a shimmering sea.At the base ot the millenium. hanging, people silhouettes Fashioned ot Cartographic symbols, surveyors marks padded leathers complete the sweep 0t and weather chart signs suggest recent at- Creation as they are drawn towards the tempts to detine the nature ot the physical church. ‘ landscape. Right: designer Robert Ellis stands beside the tapestry. REVIEWS

MALCOLM HARRISON AT THE reilection irom the Floor which augmented its WEARABLE ART DOWSE sombre impact - and the sonnet and trauma INTERNATIONAL Reviewed by Sue Curnow WEAVING cloaks, all introspective works. The electriiy» SCHOOL Reviewed by Ann Packer ing, provocative triptych ”Creator/Destroy- This was the ninth consecutive annual ”There is a Chinese tale oi one hundred er: Kissing Death: Lies" is here displayed as Wearable Art exhibition hosted by Compen- blind men brought beiore an elephant. ”What Harrison originally intended, closely linked, dium Gallery - testament to owner Pam EIIi- is beiore you?” they were asked. Each ieItthe the clashing colours intensiiying the encoun- ‘ott’s commendable iaith in the value oi the animal and went away bearing one hundred ters between the male couples quited into genre. Aware oi the importance oi move- diiierent stories oi what they had been led each piece. ment and threedimensionality to the proper IO 1/ Eight brightly-coloured smaller quilts are viewing oi clothing, she ensures that an Malcolm Harrison’s statement to accom- like greetings cards, happy aiiirmations oi opening parade is staged, at a separate pany his exhibition at the Dowse Art Museum small events: Happy New Year, A Quiet venue, beiore the garments are put on static is preceded by this tale, cautioning viewers Meal at the Chez, The Blue Lantern (Colette display. that the message or meaning in these pieces and ME. and talk oi w.t.), Letter irom Ches- With the Benson and Hedges extravagan- is ultimately up to us. A generous giit: ter. AII ieaturea trendy Max Headroom type za still iresh in our minds, this year’s show Harrison’s new work particularly, and the silhouette, and oi'ten include those cliched was, more than ever, a reminder oi iust how quilts which were shown at the Manawatu expressions iound in cards. close the categories oi ”iashion” and ”wear- ArtGaIIeryIastyear(mostoiwhich are here), The real excitement in this exhibition, able art” have become. It's a good time to is loaded with symbols and literary, histori- though, is generated by the largest new reilect upon the origins oi and reasons ior cal, geographical and other reierences. And pieces, which bring togetherthe manythemes such a concept as 1’wearable art"; on what all this is iiItered through an intensely intimate Harrison has been exploring, both universal does its continuation as a separate genre lens, resulting in works loaded with personal and personal: myth, symbol, religious rite depend? In the beginning, it served as a signiiicance. and pop culture, cartoon heroes, as well as showcase ior the work oi people skilled in This exhibition is wide ranging, encom- the small but equally precious rituals oi daily textile craits — the cloth was the thing, and simple, basic styles the most appropriate ior passing thedevelopmentoitheartist'sthemes living. These new works emerge in brilliant its articulation. The concerns oi high iashion over recent years. It includes the dark works colours breaking out oi the more muted - Iine, iorm - were not those oi wearable art; irom the Manawatu exhibition, itseIi a stunv earlier images, integrating previous ideas. USA INSPIRED FURNITURE A scenic seaside town slap in the centre oi Zealand and overseas to run residential ning assembly - the striking ”Mortal Angels", In ”Russian Caviar” which greets the visi~ its concerns with iabric, embellishment, ex- Above: periment, oiten led to criticism regarding a The Malooi inspired the country. That's the location iorthe INTER- courses aimed at the more experienced all I7 panels oi it, is better lit and without the tor in the Dowse's ioyer, an ostensibly iormal A love oi wood, jazz music and the out- rocker in walnut NATIONAL SCHOOL OF WEAVING. Aus- weaver as well as classes catering ior local encounter takes place against lack oi attention to style, and irequently, to and sycamore by doors was the motivation ior a seven month .u—tu‘l nix tralian resident Birgite Armstrong will be needs. They also hope to employ one or two wmuMima‘fit‘ a panorama oi city and har- iinish. Jim Grimmett. trip to the USA by Nelson woodworker Jim commuting irom the NSW iarm she owns graduate weaving students on an appren- bour, the breeze lightly Iiiting Today, we have - at least in the Compen- Grimmett. Following a trip to Northern with her husband Neale to spend six months ticeship arrangement. a curtain. Yet religious imag- dium collection - garments which are stylish CaIiiornia to visit wood gurus James Krenov oi each year at the school which opened in The picturesque old building at 22 Broad- es hint at heIIiire and damna- and wellsmade, oi unique iabrics made by a and Art Carpenter, Grimmett iound himseli Picton on February 3. Her partner in the way, Picton will also house the mail order tion: vignettes oi cherub and variety oi methods. And we observe - in the doing a series oi workshops at Anderson venture is Marilyn Rea-Menzies. The two weaving supply business Glenora Craits, disrobing male suggest inner Benson and Hedges collection ~ garments ranch in Colorado. plan to bring in tutors irom throughout New iormerly oi Tauranga. coniIict. ”Three nights in which iitexactlythe some description. Indeed, There he met Sam Malooi, an influential Stockholm” similarly evokes one might even go so iar as to say that the woodworker irom Just outside Los Angeles. a curious mix oi T.S. Eliot’s latter had more ”challenging" ideas than the He was invited to spend time assisting §~1 Quilt Connection Ltd 5 Pruirock and John Le Carre, iormer. So, what’s it all about? Are the Malooi in a commission to equip an entire (V /A\ though this piece is more creators oiwearable arttrying too hard to be oiiice building with hand-made iurniture. In Specialising in Patchwork and Embroidery iragmented. iashionable - and thereiore saleable - thus all, Grimmett spent six weeks with Malooi. As always, Malcolm Harri- endangering its continued existence? The rocking chair (pictured) is a design \ ; Patchwork fabrics son demonstrates superb True to its roots, the parade was divided which Malooi has worked on periecting ior \v; Patchwork and Embroidery books control oi his medium, con- into categories oi iibre (rather than daywear, 40 years. Grimmett estimates that since his structing hisquilts irom iabrics sportswear etc); outstanding in the silk class return to New Zealand he has spent 75 hours \ I Linens and DMC Threads oi a breathtaking variety oi wastheworkoiguestexhibitorSaIIyGovorko. working on the chair. colour and texture, controlling Painting with Procion dyes, using resist K.) Classes disparate weights to produce techniques, she achieves extraordinary de- \V, Mail Order send $5 for samples a periectly integrated whole. grees oi depth, separation, and saturation oi His stated intention to take up hues; the patterning is considered and con~ painting, and his recent ex- trolled, the overall ei‘iect one oi richness and 214 Knights Road Hours ploration oi etching suggests diversity. Several types oi silk, each giving its Lower Hutt Mon—Fri 9am—5pm that these may well be his last own quality oi drape or texture to the colours, Pb 693 427 Saturday 9.30—4pm quilted works. Don’t miss are used. A thorough understanding oi the them. principles oi clothing design and construc- oi 20 years in the boutique Leit: "The Letter" tion - a result by Malcolm Harrison. business - makes it possible to integrate these Photo; Peter Gibbs. lovely iabrics with good design. See also cover photo, INTERNATIONAL weaumna SCClthtluLIOFN-Z- Kristin Leek, who has had garments in "Nightswimmer" courtesy Dowse Art Museum. each show since its inception, has developed PO. Box 313, 22 Broadway Picton, New Zealand Telephone: (057) 369 66 and refined her skills wondertully, producing tor this one a long, loose~titting silk coat, ( RICHARD PARKER varied trom the reasonably small through to screen-printed and overpainted, lined with Reviewed by Malcolm Harrison three impressively large pieces whose strength silk satin and tinished with tiny covered dominated the studio gallery. but— ‘ In January 1988 at the Ceramics Sympo- tons. sium held in Dunedin, Richard Parker began Familiar touches were present. The yellow Another Familiar exhibitor, Yanny Split, a turther change in direction 0t his work by and green glazes, askew symmetry, dancing had a surprise in store tor those who associ- cutting vessels trom solid blocks otclay. In the bulbous shapes and the everpresent sponta- ate her with tormal, titted clothing which technique-oriented ceramics world this shitt neity and unwillingness to disguise the nature uneasily straddles the tashion/art Fence. was much commented on and opinions po» at clay. Creative use at knitting machines, well-ac- larised. Collectors, the buying public, or New touches were in the shape of almost cepted - and with great results - in many other interested viewers could tind no neutral heart shaped vases, a glowing pohutukawa places, has yet to be explored here; Yanny’s ground when looking at these pieces. A red glaze, decorations at small glazed crosses, dashing ensembles in heavy cotton, wood, conllict at opinion arose over the new. An and two impressive planting boxes with lush and mohair, combined with stitchery and established potter was introducing us to a diagonal stripes. embellishment, show a strong lead in this ditterent visual language. One ot the marks of an artist is an ability direction. The ”Why not?” approach at this Yet the techniques were not new. The pale to develop and allow their work to evolve. designer is seen also in breathtaking hand- slips and heavy glazes stopping short ot the Richard Parker has allowed these things to knitted garments by Suzie Crookes. Playtul bases reter back to ceramics created during happen and in doing so has raised questions switching of stitch patterns, type and weight China's Tang Dynasty. Their vigorous and and has challenged our accepted aesthetic otyarn, and colour, results in slightly bizarre, strong shapes juxtaposed with an elegance mores. delighttully imaginative, jackets and dresses; and indolence in decoration reattirms 0 Chi- their apparent spontaneity belies the great nese origin at thought But despite these skill involved in their making. reterences Parker’s work remains entirely Of the cotton garments, Wendy Bennett's personal. The voice he speaks with is his own screen-printed, reversible, hooded jackets and doesn’t rely upon the ancients or current NORSEWEAR PO'ITERY examplitied her customary mix at pragma- AWARD modishness. Kelly '5 narrow porcelain battle which showed Above: "Lake Mountaine tism and creativity - a winning combination. By stepping back centuries trom the Leach Reviewed by Gaeleen Morley her crystalline glaze to pertection, and Tui Morruine”, by Brian Gartside. A disappointing lack ot quilted, pieced, Photo, Gaeleen Morley. or and Hamada school ot thought Parker has Morse's diminutive teapot with brush work embroidered garments, or at menswear, in— 213 entries were received tor the pottery introduced a new spirit and kindled a grace- decoration. dicates perhaps the current economic non- section ot the Norsewear Art Award. Only Ful energetic strain into New Zealand’s ce- viability ot these types at work. Leather, too, 63 were selected tor the linal show by Rick Ot the larger pieces, the surtace at Peter ramics. was conspicuously absent. Otherwise, there Rudd at Wanganui, President at the NZ. Gibbs' salt glazed bottle was totally seduc- was much to admire and appreciate - philo- From the time ot the Dunedin symposium Society at Potters. tive. The precision ofGeorge Newton Broad's his work has become more assured, the decoration is awesome. sophical questions notwithstanding - in the Brian Gartside (Auckland) won the $2,000 repertoire ot shapes expanded, and work- high quality entries at the 16 exhibitors, to all award For his ”Lake Mountaine Morraine”. Other impressive pieces were Raewyn manship Freer and increasingly mastertul. at whom it is impossible to do justice here. Gone are the vibrant colours and large scale Atkinson's ”Nikau” and the sculptural We can anticipate with interest and pleasure His total ease and control over the clay is at his earlier work. This piece was small by "Candleholder" by Gail Sammons. apparent. the celebration at the first decade, in 1992. comparison - a wonderful build-up 0t texture Overall the exhibition created a good deal In those intervening years I have viewed upon texture resulting in a visual impact at of comment. The display, using screens to cut several Parker exhibitions, always Finding quiet strength. the gallery space into sections, was not suc- myselt on Familiar yet alien territory. The Below: Earthenware bowl by The three merit award winners were cesstul, and some work wasn’t shown to its Peter Henderson. yellow and green glazes have, For me, be- Raewyne Johnson (Wanganui), Peter Hend- best advantage because ol: poor lighting. Photo Gaeleen Morley come identitied with the colours ot the kow- erson (Dunedin), and Paul Laird (Nelson). hai; the pale whitish slip with the dazzling /’ brightness at many Northern beaches. De- Raewyne Johnson's thought provoking Above: Hand knitted "Teacup" coat tails on the pieces are like tingerprints ot the entry, ”Maketu Series III” consisted at three by Suzie Crooks. artist. They have been inherent in Parker’s terracotta bowls containing tound objects work tor years. trom the sea and its environs - kina and paua shells, bird skeletons and teathers, seaweed Yet coupled with this enthusiasm For his and sponges. ceramics I have contlicting thoughts about their rawness and the uncompromising pres- The interior 0F Peter Henderson's slipped ence they create. There are tew practitioners bowl showed a wondertully Free decoration, in the visual arts whose work can shake one simple and protessional. into healthy questioning and the pieces cre- "Atlantis Submerged" by Paul Laird was ated by this ceramic artist otten achieve this. an intricate large construction, a busy work His recent exhibition at the Fisher Gallery with additions at gold lustred cats. lacked none at this conflict, and can only be Some ot the smaller pieces in the show described as superb. Carefully selected into held great appeal. Rosemary Perry's divine Ri ht: Vase forms by Richard Parish groups at twos or threes, the 18 works were celadon glazed discoid bottle was quite Photo, Anne Nicholas elevated so the lowest was viewed at waist breathtaking. I also liked Margaret Hunt‘s height, the highest at eye level. The vases tiny copper reduced carved bowl, Evelyn T L E T15 T lvllruporlrl i‘nri. —._.___ Basket BOOK REVIEWS Making - (Hun him lhllltilt

ment, with photographs ot tools used and a I BASKET MAKING - BY OLIVIA ELTON BARRETT description in some cases at adequate and cilGalleryduring April, meantditterentthings stem and the gracetul tlaring leaves at the inexpensive substitutes. There is a briet Nikau and translated them successtully into to the various participants. For hot glass- . Reviewed by Willa Rogers section on dyeing and the chapter on tech- workers, silversmiths, and woodturners, it clay. The techniques 0t dealing with clay Basketmaking is undergoing an enthusi- niques gives a comprehensive overview ot was the opportunity to make torms which are have been evolving over time, those to do astic revival in many parts at the world, the subiect. part at their normal repetoire. For leather- with clay have come as a result at her recent especially Europe and North America. As a The main emphasis ot the book is Focused workers, warm glass artists, and basket mak- trip to Canada to study glaze (see NZ Cratts result we are being ottered many attractive on detailed descriptions and photographs ot ers, it was a challenge to take what is essen- 34, Summer l990). made possible with the use publications. Basket Making retlects the charming individual baskets by ditterent wealth ot shapes tially a Functional obiect and interpret it in a Alan Brown is a master ot technique. He current level 0t English basketmaking which these are traditional ot spokes and handles. non-tunctional way. basketmakers. Most ot also has the rare ability to consider deeply still, with a Few notable exceptions, retlects ”practical" containers using rush, cane and The most interesting section ot the book is Interestingly, ot the titteen potters repre- what he is doing with those techniques and to thetraditional, utilitarian concept otthe cratt. willow, e.g. egg basket, tray, letter basket, the ”Gallery" section where the work ot sented, almost all chose the non-tunctional produce works otart as a result. Brown took Althoughthisisaslightvolumel95 pages), rush hot, dog basket, truit basket. Each individual English basketmakers is teatured. route, making statements which were as two detinitions ot the word goblet: "...a tall it is a welcome addition to the selection at basketmaker shows a sensitivive use ot mate- The inclusion at more work by Lois Walpole much about the current phase ottheir normal stemmed drinking vessel (modern); a bowl- books geared to the needs at the beginning rials and high technical skills. One ot the and Sheila Wynter would add to this section; work as they were about the concept ot the like drinking vessel (ancient) ”. He produced basketmaker. The many delighttul and in- most interesting baskets is a diagonally plait- they are making innovative, colourtul con- goblet. turned matai bowls to tultill the ancient deti- tormative coloured photos both inspire the ed rush basket with a lid - a simple basket 0t tainers using a variety ot ”Found”, ”urban" Above: "Celtic Roots - Transition" nition, then tenderly cradled them on bronze THE GLORIOUS GOBLET In comparing the work at the thirty eight novice and provide an easy to tollow analysis readily available tibres and not a ditticult materials in coniunction with more tradition- & "Future Warmth - Translation ", artists, itwas obvious that the ditterent limita- stands. process. It is attractively proiect tor a beginner. al tibres. This chapter could also have ben- by Alan Brown. Reviewed by Peter Gibbs at the basketmaking statements about Photo; James Bowman. tions at the various media made tor striking Technique overwhelmed good ideas on and systematically laid out, and the enthusi- It is disappointing that there is only a briet etitted From the addition at Most practising crattspeople at some time variations ot interpretation. Mastery ot the many at the goblets. While most ot the asm ot the author tor her subiect and her reterence to coiling, which is an easily mas- their work by the teatured basketmakers. have had a love/hate relationship with a appropriate technique was essential to the exhibitors are master crattspeople, not all appreciation of the work at other English tered technique which can be happily com- Although the intormation in this book is theme show. it can be a real pain to turn successtul realisation ot the idea. havetheabilitytotranstorm theirskillsinto art basketmakers add to its value as a very bined with many materials both natural and based on materials readily available in Eng- away From the series otwork you're doing, to Hotglass artist Peter Raos summed this up - and I mean that in the sense at "cratt art" as readable and usetul book. synthetic and gives the basketmaker much land, itdoes have a universal appeal and the something which has been imposed by the I don't believe we should be bowing to the in his catalogue statement: "The main ditti- Atter a general introduction which in- treedom to improvise and experiment. And contemporary New Zealand basketmaker necessity at producing within restrictions concepts ot the "art" world. culty in working with glass is the complicated cludes a briet history ot basketmaking, the the one example at a trame basket was an all could readily substitute local tibres tor the tormulated by someone else. On the other technical nature otthe process. Atteryears at There was art in the gracetul and delicate author covers in detail materials and equip- too briet and superticial introduction to the more traditional willows, rushes and cane. hand, working towards a theme show can be striving to meet the technical demands, the Kauri and Maire goblets 0t Peter Penhall, but a liberating experience, allowing ideas to LettContemporaryCral‘ts, published T990 Below: realisation comes that technique is the plat- many other entrants iust demonstrated that "Something to celebrate l & ll", come torward which would otherwise never by Charles Leh‘ & Co. Ltd, Diary House, torm tor launching ideas. Without the tech- they could handle techniques cleverly, with- Nikau Goblets have seen the light at day. n kn t t s Borough Road, London SEi iDW (hard- by Raewyn Atkinson. nique the ideas remain unrealised. Without out sympathy. V i r a n t H a back). Price £9.95. Pttoto,‘ James Bowman. "The Glorious Goblet", at the Cratts Coun- the ideasthetechniques remain as processes. I thought the concept ot a goblet worked Itartisa passion pursued with discipline, and against leatherworker Marie Potter and bas- science is a discipline pursued with passion, ketmakerWilla Rogers. Although theirtorms then cratt is a ioining at art and science." were clever in concept and well executed, the Woodturner Peter Battensby also talked ot materials were too remote trom those associ- the importance ot technique. "My beliet is ated with the notion ot a goblet. that the design at a turned obiect is its only FURNITURE FOR THE DISCERNING All in all, it was an interesting show, a Contact Sue See our collection permanent teature and that technique should welcome opportunity to see leading cratts- of Designer it necessary be invented to enable the design Phone and people trom all parts at the country and trom Handknits- to be execut ." Fax many cratt disciplines. It showed that many each one of The most successtul pieces in the show have a mastery ot their materials, but only a (04) 881 -749 a kind were those which did just this. Raewyn Few have the spark which truly sets them Atkinson's "Nikau Goblets" took the sturdy apart.

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CAROLE SHEPHEARD going on. Bqt what's happened in some “I don’t ponder the problem at all, I think I MARIA TIPPETI' cases is that it’s seen to be done by people like that because of the involvements I've had in ' Canadian art historian Maria Tippett was us so others seem to think they can just neglect a range at crait activities, I have done a hell Left: "lite and Death at Sela", it. at a lot at looking and reading. I've curated in New Zealand recently, researching articles by Frances Jackson, modelled on this country's cratts. The tirst time she by her daughter Kirsty. Craft NZ: "Do ou setout to make Feminist exhibitions and selected pottery shows and Y visited wasto seewriterE.H.McCormick. She statements in your work?" iudged this and that and I think that the eye , you have is transterable. I would hope that regards him as a mentor since reading his ”I don’tsetoutto coverwomen’s issues but I would apply almost the same sort 0t critical ' "Arts and Letters in New Zealand" (I 940). In my work is very much about who I am and attention to a painting or a piece at sculpture tact it was this book which prompted her to howl live and the things thatare importantto as I would to a pot and to a piece at tibre or write "Making Culture, Institututions and the me and sometimes they'll be about the good wood. Ithinkthatwhere itis ditiicult is in some ‘ Arts in Canada". things and sometimes about the not so good ol the worksthatare very traditional. Itend to ' things. They tended to be a lot more overtly have to work very hard when I come up political in the early 80’s. I think I’m still as against those works and I do ask some , active but I don’tteel the need to lay down the questions at that point and go and do some ' issues as thickly as I did then. I still think homework.” there’s a need to do it, but not by me. I’ve probably got a bit more thick skinned, but . Craft NZ: "What about the Future?" also my situation’s changed quite a lot, I am ”I don’t live day by day but I don’t in tact more contident about what I’m doing and have anything that I’m particularly aiming maybe can help in other ways. Certainly tor. All I hope is that I can carry on working. change can be made From the position at Really my lite is quite layered in a way Elam. because I have a commitment to my teaching ”I guess at the same time when I was and my work, but I still have a tamily and a , involved with women's work I was also house, garden, cats and dogs which I'm not I Carole Shepheard was recently appoint- aware ot the whole art/cratt issue. There at the moment prepared to limit, ed to the Craft Panel ofthe QEII Arts Council. werea Iototareas otwomen's lives thatwere ”I don'twantto be in a University teaching She majored in stage and costume design at involved with the making at cratt obiects situation torever. I’m enjoying it now, I’ve got She draws a comparison between the From a studio under Lopdell House in Atter a move back to Auckland my quilts Above: Collage showing Elam School of Fine Arts. Craft NZ editor using quite traditional processes, but I thought a 5 year tenure and then up For review. I still . cultures oi New Zealand and Canada - Titirangi, Auckland, I run a prolessional mil- came OFF the bed and onto the wall. I influences on "lite at Peter Gibbs talked to her at Wanganui were being negated in some way. believe in shortterm tenure tor University and Sela". "...new cultures, striving tor a sense at iden- Iinery business called Headdress, and otter developed a three dimensional body at work PolytechSummer School in January. tar any situation, Polytech or whatever and I Craft NZ: "Because they weren’t being tity while at the same time realising what's private tuition in the artand crattol millinery. in the torm oi cloaks and wall hangings and hope that I can do that. My personal ambi- ”I never really liked working in the theatre, categorised as art?" going on elsewhere in the world". She A Queen Elizabeth Arts Council grant has soon held my First solo show at Textures tion is to achieve some things that I’ve always I was too young and naive and unable to "Yes, that's not great now but I certainly . describes craI‘t in New Zealand as "...really ' enabled me to equip my studio. Gallery in I979. wanted to do within my work and finally I'm assert myseltenough to work among the likes think that there was quite a severe split impressive, really superior...". getting enough technical intormation togeth- In January oi this year I exhibited seven In I985 I travelled to Hong Kong, Singa- ot theatre type people, so I went to training between the two movements. Because I'd Tippett ranks her visit to Len Castle as the er to do it. A Iotol my work technically is quite headdresses as part oi the Carrington Poly— pore, China and Thailand to research textiles college. done stage and costume work, because highlight 0t her visit. She had admired his complex and I know it's not that it's never technic Cratt Design graduation exhibition at and their use. Out 0t this experience devel- when I was at art school I'd made mario- work during her I974 visit, but now Found "From that point on it was really teaching been done betore, it's iust thatl haven’tgot to Lopdell House. oped an interest in researching more closely nettes, and worked with Iabrics, I always him a more mature and eloquent artist. and marriage and children and all those do it. I still like my involvementwith the cral't In many cultures headdress may show the my own heritage - particularly the women on thought this shouldn’t be..." things that people do. I got back into work world I guess. Iget a Iotot enioymentout oi Following her visitto New Zealand, Maria wearer’s social status, their age group, their both sides oI my tamily tree. Sometimes they again in about I976, atter a summer school Craft NZ: "You’ve been appointed to the meeting other people.” Tippett travelled to England, where she took exploits in love, bottles or daily lite. It may did not have much control over their lives. My in Auckland. I went back into print making Craft Panel how did your first meeting go?" up a new appointment at Cambridge protect the wearer tram the elements or great-grandmother Sela, a Tongan, married which is an area that I hadn't really done at ”I went with all the prejudices that every- University. simply enhance their appearance. By using an Englishman and had three daughters. At art school, butI tigured that I needed some- body does having been outside an institution. leathers, hats hint at camoutlage, both at- an early age they were removed From the thing that was quite restricted, quite disci~ Often I am quite critical ot situations like that tracting and distancing the onlooker at the tamily in Tonga and sent to New Zealand to plined. and always have been but I’ve always l'eIt sametime. When I design and make an item be raised as English ladies. ”I put a lot oi energy into the students I’m that when you're amongst it you sometimes at headdress I Feel I have created something "Lite and Death at Sela", a headdress in working with now. They have to be a bit teeI some at the difficulties that you never special. remembrance at my great-grandmother uses realistic about what ambition is and what knew about betore. I always wondered it I My initial working with Iibre and tabric ' Tapa cloth, a traditional plant Fibre used being successtul is. It's an odd one For me to had the ability to sort and sitt out as I thought began as a textile technician and then out at widely in Tonga, 0 seagull’s skeleton and a be back working in an establishment that I I did - you otten don’t have to put itto the test. necessity. In I973 I lived and worked on a small bird’s nest. A box lined with hand- Iett in I967. To tind that in tact it hasn’t With every slide that I looked at I was aware remote East Coast sheep station an hours made plant tibre paper with two minature j changed greatly on some levels. I work part 3 that this was somebody’s lite, career and drive inland trom ToIaga Bay. Despite wear- cloaks resting in the box represents Sela in time, a halttime lab in print making and I run ' possibly tuture sitting right in Front at me. ing many layers at clothing I couldn’t get lite and death.With each headdress is a a women's theory paper too. The women’s What I was very pleased with was the dis- warm. I began collecting the discarded collage to show my sources at intluence. A theory is in art and available as an internally cussion and dialogue and search tor under- Fleeces tram the shearing sheds and taught photo at Sela, a seagull skeleton photocop- assessed papertor students. It's still ghettoising standing ot what we were looking at From the myselt to spin and then knitted them into ied image, a mummilied tigure, two crossed ita little bit, it’d be greatto think that women people on the panel.” warm ierseys. I also made quilts out at black leathers representing death, some corn- were included in mainstream art history. I CraFt NZ: "What about the concern that . recycled old clothes and Iabrics. Soon I was husksand tlax handmade paperthat includes I always thought that at some point it would no craFt sectorgroups are represented on the 3 sharing my skills with people in the local an image oi my daughter Kirsty wearing the l just become part at everything else that was panel. " community. I tinished headdress. Lit-1 distinctive handmade course at Otago. She is adamant that she is One ot the tew production potters in the a ceramicist - she doesn't like the connota- USA to have achieved widespread recogni- tions of the word "potter". tion, Byron Temple was a recent visitor to urnitureregion for many years now and I have been producing handmade, solid timber furniture in the Wellington In I984 she returned to California and New Zealand underthe New Zealand Society reputation for the high quality of design, timber selection and craftsmanship that goes into spent two years in San Francisco betore of Potters Tours Programme. Temple began I have gained a training at Ball State University in I951. each piece. Further study atthe Brooklyn Museum School I will design and manufacture to my customers' particular requirements andthe ChicagoArtinstitute precededaterm using a wide variety of native or exotic timbers and also have an excellent as the ti rst American apprentice with Bernard display of dining room, lounge and bedroom furniture in my Paraparaumu Leach at St Ives Pottery in England. showroom. Since I962, he has run his own produc- It you have been looking for quality furniture or would like something tion pottery. His Functional work is easily specially made for you then write or call in and ask for me, Kerry Wales, recognisable tor the absence oi anything extraneous to tunction and the sparing use ot glaze. He says ot his work: "1 limit myselt to designs that can be easily repeated. | neither tind this restrictive, nor inhibiting; rather, lam able to explore more intenselythetundamental qualities at farm, craftsmanship and ex- @- pression. "As an independent studio potter, pro- ducing 5000 pieces ot stoneware and por- 577 FUR ITURE celain tableware a year. I am also aware at v 4 2 RUAPEHU STREET, PARAPARAUMU. my contribution to and limitations within an . ’ PHONE (058) 70 471 . FAX (058) 83 530. industrial society." OPEN SATURDAYS: 10 am-5pm. WEEKDAYS: 9am-5pm During his time in New Zealand under the OE” tunded potters' scheme, Byron Temple gave workshops in Wanganui, Greymouth, moving across the Bay to Oakland. Time at Photo: Nelson CHRISTINE BOSWIJK Dunedin and Christchurch. CONTACT FOR YOUR Evening Mail University has been interspersed with mak— WALES & MACKINLAY LTD. REQUIREMENTS OF Opening Christine Boswiik's exhibition ing money through working behind a bar, "Xenoliths '91", GE" Arts Council Manager Fund-raising tor a rape crisis centre, and at Cratls Programmes Edith Ryan described making iewellery. ROBERT COMPTON it as "... a historic occasion. There's never When the opportunity arose to apply to One at the best organised 0t recentvisitors been an exhibition like this in New Zealand". QEII Arts Council tor the Nelson artist-in-' trom overseas was Robert Compton. Here Christine Boswiik recently resettled in Nel- residency, she was quick to seize it. She trom Vermont, USA with his wile Christine, son aFter studying and teaching in Australia. describes the course at Nelson as: "A good Compton had circularised most potterygroups Her workshop on the coast looks out towards learning opportunity. Going to one of these in New Zealand well in advance ottheirvisit, NEWILKARRIVAL FROM CHINA the craggy Mt Arthur area, a view trom courses would have put my work light years and had organised a tull series otworkshops. THE HOTTEST THING SINCE GENGHIS KHANII which she draws constant inspiration. ahead". PURE SILK SCARVES George Koiis, at Wanganui Regional BOILED OFF SPECIALLY PREPARED, READY FOR DYEING/HAND— Future projects include work on the New Community Polytech praised the workshop , PAINTING/TYEDYE/SCREEN PRINTING, THESE SCARVES ARE ALL WITH Zealand ceramics collection which will travel HAND ROLLED EDGES (4 SIDES) HAND SEWN WITH PURE SILK THREAD, as showing the importance ot organisation YOU MUST SEE THE SUPERB FINISH TO BELIEVE ITI to Expo in Seville. She is also planning For a and survival skills in making a good living QUALITY AVAILABLE: SILK PAJ maior exhibition at the Dowse Art Museum . BYRON TEMPLE tram cratts. Students trom Wanganui's SIZES 36" x 36" at $9,20/each + GST Ex Stock Immediate HABOTAI (A review of "Xenoliths '97" by John Business Studies course also sat in on the SIZES 36" x 36" at $13.30/each + GST Ex Stock Immediate Crawford will appear in issue 37 0/: Craft pottery workshop because oi the sections on ‘ ALSO AVAILABLE EARLY OCTOBER NZ.) administration and marketing. SILK PAJ On a practical level, the workshops con- SIZES 9" x 54" at $4.IO/each + G.S.T. $5.70/each + GST centrated mostly on the design and making 0t 12"x 60" at Note: Minimum quantity i doz per size high quality moulds tor slip-casting. 100% NATURAL COTTONS: AVAILABLE EX STOCK GAILWEISSBERG CHINA—MUL I 10/1 I2CM WHITE INDIAN MUL—MUL II2/I14CM WHITE (80's COUNT) Currentartist-in-residence at Nelson Poly- CHINA LAWN IIZ/I MCM WHITE (JUMPING FISH) SOFT FINISH MALAYAN HOMESPUN II2/T IACM WHITE tech Cratt Design Department is American INDIAN VOILE IiZ/I IACM WHITE & BLACK born, New Zealand raised ceramic artist ALL THE ABOVE QUALITYS HAVE BEEN TESTED FOR GARMENT DYEING. Gail Weissberg. WALES & MACKINLAY LTD Weissberg was born in Los Angeles, but TEXTILE AGENTS & DISTRIBUTORS came to this country at the age of tour. She 199-209 Great North Road, Auckland 2, New Zealand PO. Box 5140, Telephone: 763—047, Telex: NZZS95 spent time at Wellington Polytech School at Facsimle No.2 (09) 780—650 Design betore taking the one year ceramic ‘P I Mfl'b‘flfifl'fi‘l'fiW [IIIINA SILK IIIIIIPORA'IIIIN ZHEJINIB Milli Christchurch Agents: H.S. Crookbain & Sons Ltd, Phone (03) 663—55 1. KAZU NAKAGAWA " BY CHRISTINETHACKER

y first encounter with work by Kazu Naka— his sophisticated and finely crafted furniture pieces but gawa was at a group exhibition entitled clearly come from the hands and mind of the same mak— “Island Statements” in a gallery at Waiheke er. They are a creative escape for Kazu. There are no Island. The piece was a small, pale. wooden structural or functional concerns to constrain his enjoy— box with gently concave. uplifting curves which made the ment in assembling these forms out of demolition tim— Kazu Nakagawa object seem to expand beyond its physical dimensions. bers, old corrugated iron, pieces of chicken wire netting. with his award winning seemed to have been cut, cap— and the like. piece from the 1989 Segments of large circles Crafts Cotmcil/ tured and joined to create a form of simple elegance. Kazu and Mika travelled to New Zealand four and a Winstonc Biennale. This expansive spirit combined with an elegant regard half years ago on what was to be the first stage of a world Photo; Ilaru Sameshima. for line and form defines much of Nakagawa’s work. tour, planned to last about two years. Their reasons for leaving Japan included concern for the consumerism and “throw—away" attitudes to modern living found in the larger Japanese cities. their home city being (ihigasa— ki which is 100 kilometres west of Tokyo. where Kazu was born. To experience distance in a way that jet travel dc— Right and above: "A Pair of Chair" ( 1990). nies the pair chose to travel by container ship taking Ash with Urushi finish. two weeks to reach Sydney then on to New Zealand. rl‘o Photo and sketch; Kazu Nakagawa. maintain this self—sought isolation they still communicate with home only by letter. After travelling for six months around the South Island. and working for a time in Auckland. Kazu wanted to establish his own workshop and a chance meeting soon found them visiting and then living at Waiheke Islam]. They say Waihekc provides easy access to Auckland and a wider crossiscction of people than an exclusively rural or city setting. The life Kazu and Mika lead at Waihckc island is a technologically simple one although it is not one of abstr ncnce or the avoidance of modern appliances. Rather. it is in accord with their desire to live and think in an un— cluttered way. “if you live your life more simply you will find more pleasure more often.M they say. in keeping with this they choose simpler solutions to both domestic and work requirements. Along with one year at a technical college. Kazu's working association with wood has been a life-long one. His grandfather7 who lived in the country and with whom Kazu would spend holidays. worked with timber and fibrous papers making freestanding screens and sliding room dividers. Kazu also identifies a furniture— making uncle of Mika’s as being a significant source of Below and left : Bench (1990). inspiration for him. Time at technical college is tradi— Oak with Urushi finish. tionally followed by an apprenticeship of several years Photo and sketch; Kazu Nakagawa. but this was side—stepped in order to avoid the strong stylistic influences of the school and its teachers. Kazu thinks too much inflow of ide' s and informa— tion can cloud and blur the focus on your own truths. Once again he stresses that this is not avoidance. If any information from traditional or contemporary sources is It can take some time to reach the front door of the significant it will be absorbed and will emerge. llis View Waiheke Island home of Kazu and his wife Mika. both is a holistic one: we Jvcrything comes through your hands from Japan and now resident in New Zealand. The into the work you are making even without you notic— house is set well back on the property and the front yard ing.” Everyone, he suggests. is the product of all they is both an orchard, with tempting in-season plums drop— have ever experienced: “When you are born. where you ping from the trees, and a sculpture park sportingr sever- grow up what you eat who you meet 99 Every as— al large and small—scale assemblages, evidence of Kazu’s pect of your work and your existence reflects the unique— E more recent artistic adventures. They are different to ness of your life history and patterns. /_—\ /—_\

His choice of materials is a primary very strong when set, with a laquer—like sheen and be— creative act. Kazu says the sensory as- cause it is a natural wood—derived product it will expand National pects of wood appeal to him. He enjoys and contract with the timber. Kazu tells of timber being the tactile qualities of the surface, the excavated in Japan after 2,000 years underground, well weight and, interestingly, the sounds preserved underneath a high—gloss coating of urushi res— Library Millwood which are made when tools hammer, in — a testament to its qualities of preservation and its tap, cut and plane the timber. time—honoured traditional use in Japanese woodwork. Bookshop Gallery Before going near a bandsaw Kazu With each project, Kazu works intensively and for makes as many as 100 quick sketches. long hours in a relocatable—type garage workshop about Books These are not, he says, pictures of fur- 40 metres away from the house. It is small and compact Print niture but free—form images, ideas with a bandsaw, drill—press and table saw for Kazu, and made graphic. From these, one or two a bench near the window for Mika’s glass leadlight work. 654111“ Antique engravings Books will emerge as ideas of enduring inter— A neatly stacked assortment of planes with flat or gently Prints est and Kazu will start reworking and curving bases adorn the walls. Kazu uses traditional Old maps refining the image into a form with Japanese woodworking tools which are beautifully pro- Paintings three—dimensional structural possibili— portioned and weighted. Most New Zealand woodwork— jewellery 'workshop/gallery Specialists in the ties. The next stage will sometimes be a ers have some Japanese tools because of their aesthetic Tumbull Library Antique engravings cardboard model. This is followed by appeal and because they allow for finer finishing work.

-‘mm 01d maps decisions on suitable and/or available The handsaws and planes are designed to pull towards Blair Smith reproduction prints timbers. If these are not to hand, or the body allowing for accuracy and finer control. The goldsmith/jeweller The Foyer available from local timber merchants, planes and chisels are weighted very (‘lifferently to \Vest— Library Building a journey to an Auckland timber yard ern tools. The chisels have a sharp, hard—metal edge, Anthony M. Williams National 291b Tinakori Road with a wider range of materials is neces— for working the wood, laminated on to a layer of soft goldsmith/jeweller Molesworth St Thomdon sary. metal to weight the chiselling edge and to allow for ease Wellington Wellington Along with native timbers such as of sharpening. They are simple and elegantly designed, New Zealand New Zealand 319 George Street. Dunedin rimu or kauri, which are at times avail— intelligent tools. Telephone: (04) 743-124 Telephone: (04) 735-176 able from demolition sources, Kazu “Too many tools make the hands forget what they PO. Box 5779. Phi (03)477-3783 likes to use hard timbers such as ash know,” says Kazu. With his hands and few tools he in— \___/ and oak. One reason for this prefer— vests the furniture he makes with physical poise and aes— ence is his enjoyment of the sound these thetic balance. Descriptive opposites can be applied to timbers make while being chiselled and each piece: bold and delicate, simple and sophisticated, worked, but they are also readily avail— solid and lightsome. Ornamental detailing will often be able and provide good, strong, tight— an extension or echo of the structural process with dove— POTTERS CLAY (NELSON) LIMITE fitting mortice and tenon or dove—tail tail recesses becoming decorative features. Sometimes joints, which he uses in preference to the colour and grain of the timber provide rich surface STONEWARE LOW FIRING STONEWARE metal jointing. effects and Kazu enjoys the game of chance involved as GB2 LF18 he planes away layers to reveal new textural pictures. RMKS GEF Once the timbers are selected they OTAGO POLY No. 21 are sawn and shaped, the joins are re— Kazu has exhibited his work in several group shows No. 18 fined and fitted and any structural in and around Auckland for which he has received ace WHITE SLAB EARTHENWARE pper: Raw material (NZ modifications are attended to. The components are now claim, commissions and a merit award, and he is very 3050 1100 RED grown Walnut) by the temporarily assembled and assessments, both structural keen for his work to be exhibited beyond Auckland and SC80 E2 workshop. and aesthetic, are made. Kazu examines the work, raug— further afield. HGB RKF Lower: Chair (1991) ing his reactions and feelings and checking the construc— Making a living is helped by a regular stall, especially PCW (Walnut). tion details. When it all looks good and feels right, the ’hotos; Kazu Nakagawa over the summer months, at the Saturday market at 0s— DISTRIBUTORS piece is finally glued and assembled and the finishing tend 011 Waiheke Island. Smaller items made by Kazu C.C.G. industries...... Auckland process begins. along with Mika’s glass lamps, photograph frames and Western Potters Supplies...... Auckland The desired colour and patina are achieved by sever— leadlight boxes sell there. Western potters Supplies...... Hamilton al methods, one of which is oiling the timber with a lin— Kazu says that the wood he uses is nearly always old— Coastal Ceramics...... Paraparaumu seed—based mixture. To enhance the natural colour and er than he is. His regard for his chosen material is evi— Bay Potters...... Hastings grain of the wood on suitable items, such as a recently denced by his practice of rescuing shooting acorns, nur— Wellington Potters Supplies...... Wellington completed, walnut, high—backed chair, Kazu polishes the turing them for about a year, then offering them to Cobcraft Potters Supplies...... Christchurch surfaces with a cloth pouch containing rice bran. The friends and visitors, thus completing the cycle of his H.L.Familton ...... Oamaru timber is rendered silken t0 the eye and touch by this craft. pormzs cow (NELSON) LIMITED Dunedin Pottery Supplies...... Dunedin South St Gallery...... Nelson technique. Different effects result from applying up to Future developments and directions are uncertain P.O. BOX 2096 15 coats of a resin from the urushi tree. The Japan— for Kazu but with whatever he makes he will be channel— Potters Clay (Nelson)...... Nelson based suppliers of the resin add iron pigments so the g ling his life through this work, listening to the sound of 42 QUAlirgfigNE RD Homecorp Mitre 10...... Dannevirke product is available in natural, black or iron—red. It is nature and finding pleasure without even seeking it. NELSON ‘ and most other Placemakers branches TELEPHONE (03)547 3397 HISTORICAL KNITTING BY HEATHER NICHOLSON

arly in 1990, I visited Britain on a three for the family, turn an honest penny, and improve the month study tour with the very welcome aid new product. of a grant from the Queen Elizabeth II Arts Textile keepers often do not show you all their treas— Council. My main aim was to study historical ures at once. They wait to see if you treat their articles knits to help my research project on the history of knit— with respect. Cood researchers at the Bath Museum of ting in New Zealand. As well, I was invited to tutor and Costume may be given a little treat and be shown the meet other knitters at the remarkable [2 day Textile padded long johns. These are a machine or handframe Arts Festival Bradford 90. made set of men’s long underpants with stirrups, proba— I studied reserve collections of knits in 13 major bly early to mid 19th century. The pants are very well museums, and also viewed display items in several col— detailed and seamed. As the fabric was worked, tufts of lections. The 300 assorted knitted articles I examined fleece wool were worked into the inside of the stockinet included a piece of 900 year old Aral) knitting, a won— fabric, over the thighs and calves, just like warm New— derful lace christening baby dress knitted with miles of foundland mittens. However, the padding was not for sewing cotton for the 1851 Exhibition at the Crystal warmth, but to fill out thin calves and to create a becom— Palace, and various small Tudor garments. Besides ingly curved and muscled look at a time when men’s these were 17th and 18th century silk knits such as litur— clothes were cut very close to the body. The tufts are cut gical gloves, women’s jackets, men’s waistcoats and and sculptured to best effect. undershirts, one of which is said to have been that worn The reward waiting for a co—operativc researcher in by King Charles I when he was beheaded. Footwear The National Museum at Edinburgh is “The Gunnister varied from line silk stockings made to flatter shapely Burial". This consists of the clothing on a man7s body male legs, to patterned Albanian and Indian socks. found buried in peat bogs in Shetland. He may have Knitting became common in England in the l5th and been robbed and buried by footpads about I700. He 16th centuries and consisted mainly of wool caps in a va— wore woven clothes as well as several knitted articles in— riety of fashionable designs, mittens, undershirts, eludingbeautifully made, but well worn thigh length sleeves, and stockings. All were knitted with handspun stockings, roughly made “slippers" sewn onto the stock— wool yarn in the round, that is, with sets of several dou— ings, a round cap, a pair of gloves, and a little knitted ble pointed needles. purse. Everything is stained brown. The purse, 13cm x Most examples were found in soil in London demoli— 9.5cm, is decorated with two scarcely (‘liscernible narrow tion sites. The brown colours suggest that coloured bands of simple pattern knitting, one in red, the other fleeces were used, but the real reason is that the gar— yellow. This is the first record of such knitting in Shet— ments were stained by having been buried in the soil for land, but does not prove it was done there. so long. Unlike the Tudor wool knits of about 150 years or so Knitted Tudor wool stockings are oddly primitive. earlier, the stockings and gloves are skilfully worked, By the 16th century, wealthy people in England were with careful, neat shaping to the leg and ankle, wrist and already wearing very expensive and expertly made fine fingers. The main fabric throughout is stockinet, with a silk stockings imported from Italy or Spain. Why was little knit—purl patterning. Above: Dismembcred jumper, 1920's or the construction of the English stockings so crude com— How did Fair Isle colour knitting begin? There is no earlier. Photo; Heather Nicholson. pared with contemporary European silk gloves and real evidence to show that the Fair Islers learned any— stockings? Unlike cap making, stocking knitting was not thing from the crew of the ship of the Spanish Armada captured by a trade guild. It was quickly taken up by that was wrecked on its shores. This belief appears to ordinary folk, men, women and children, including have arisen through repetition of romantic 19th century farmers, cottagers, labourers, and fisher folk. conjecture. Perhaps the English knitters had to work out what to The first written reference to coloured knits was do for themselves. Did they attempt to copy what they made in 1822, 300 years after the Spanish wreck, when a saw the gentry wearing? Was information exchanged or visitor remarked on local fishermen wearing brightly stolen? There is an account of a London apprentice coloured and patterned stocking caps. The Shetland copying some borrowed Italian stockings in 15644. Museum owns several fisher hats made about 1950 by an Knitting soon became a very important way of sup— elderly lady as replicas of the hats she made for fisher~ plementing other income. By the end of the 16th century men in her youth, about 1880. The small, all—over colour British knitters were exporting wool stockings of all patterns are reminiscent of Faroese patterns. The men qualities to the rest of Europe. The value of the common worked in 30ft open boats, and the crew were dark col— hand knit hosiery trade is rarely mentioned in history ours while the skipper wore a bright, red patterned hat. books. There is a story of a Fair Isle sailor bringing home a .1‘1 a»; -\~t.«\.4~ Ass-Lanna. 5... 5 .54 m ‘A-r ':\‘<-11m\.-»‘ we,"~11.- m'w w 1-way". , I am intrigued by these humble 400 year old knits woven shawl, which knitters copied to entertain them— and have tried to follow the thought processes of the folk selves. It reminds us that traditional craft designs were who saw a useful new way to provide something warm rarely developed in isolation. There was constant inter— Right: Jumper - Virtuoso Competition; 12 J 1935. Photo; Heather Nicholson. Albert Above: Photo; Socks, l Victoria

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Road KOHIA K0 TAIKAKA ANAKE BOB .IAHNKE

e uia taitea, kohia ko taikaka Anake” tionalized metonymical Maori portraiture eneroaches (Strip aa the sapwood, gather only the upon Western naturalistic convention. The convention— heartwood.) alized physiognomy of tradition is transcended; concep— tual r6alization becomes perceptual. However, Such was the aim of the recent exhibition of this di— gression into naturalism remains flirtivc as the rest of contemporary Maori art at the National Art Gallery in .. 11]., u -.v;.y:i.'il-J the anatomy remains grounded in a tradition .1 In!) Wellington hilt some of the heartwood was absent and that is con— some of the sapwood appeared. stantly under review. In the 1880s an innovative The exhibition was the outcome of an offer of space, development spearheaded by the Maori prophet time and expertise by the Gallery to Nga Puna Waihanga Te Kooti Rikirangi, saw Western artistic conventions introduced and Te Waka Toi. The concept behind the show was to into the whare whakairo. The disintegration of Maori artistic concepts provide a “review” of contemporary Maori art and it’s wrought by a society under political and social position in relation to the “modern" Maori art movement siege demanded a drastic reassessment of mnemonic transference. A reas— which may be traced to the l950s. The exhibition was sessment that was forced upon the Maori from the begin- therefore conceived as a three tier show which recog— ning of nised the status of the “senior" artists as the originators colonization as missionaries dictated their moral code with desecrating severity. The of the modern movement, identified some of the “mid— once potent figura— tive images become neuter under the moralising career” artists and revealed the diversity of talent and scalpel '»\i 1“. Ni} 3 or succumbed to the “word” of the righteous. expression that may be found in the “regional” areas of .mi Maoridom. Along the way some of the leading Maori art— Te l’lau ki Turanga, built in 1843, provides an earli— ists declined or were unable to participate because of al— er tcstament to this reappraisal. The ancestral figures ternative commitments. which grace the interior of this whare whakairo are clothed with the masks of Artists at the forefront of “modern” Maori art like. prudity demanded by the can— ons of conversion. Like the true artist, Raharuhi Ruku— Robin Kahukiwa, Cliff Whiting and Ralph l’lotere were po rises above suppression conspicuous by their absences. to confront visitors to the Na— tional Museum forecourt with powerfully sculpted imag— One may be justified in criticising the uneven quality es. The context has changed but the power remains. of the show. llowever, one must consider the exhibition Across the chest of one philosophy which Nga l’una Waihanga has maintained of the poupou the ancestor is identified in classical script; a concession to the abey— since its inception in 1973 as the “Maori Artists and anee of the powers of Writers Society”. It is a philosophy of “whanaungatan— interpretation. Ironically, the ar— rival of “western literacy" prompted a decline in cultur— ga”, one which encourages the emerging artists to stand al literacy. alongside their predecessors, their peers and their “kin”. It is also a philosophy that defines art from a cul— Te. T1)kanga—nui—a—noho, built in 1872 under the di— tural perspective. The western divisions of “craft" and rection of Te Kooti Rikirangi, reveals a more literal con— cession to Western iconography. In this house the masks “fine arts" become superfluous rhetoric in this context. Greece, the provocative lure of this image is haunting. Above: "Waitangi Wai of prudity are replaced by naturalistic references be— Finely woven cloaks of Digger Te Kanawa offer a fit— Much more innovative is the original poumua figure with Wall", mixed media ()1 tween the legs to assist in the. identification of ancestors. ting countcrpoise to the drawn mantles that cloak ,Iohn head inclined on a clenched hand, supported at the el— panels, by Emily Kara Maui, the folk hero, is seen with the sun at Ford”s landscapes. his shoulder bow by a raised knee. This figure is developed to such a Initially exhibited, Fis and between his legs is the canoe from which he landed Gallery, Auckland. P sophisticated level of anatomical realisation that one sus~ Manos Nathan's carved earthenware shares a genea— his great fish. Now, painted names identify courtesy National Art the ances- pects the use of a live model. When compared with logical kinship with the bronze figure of Lionel Grant. tors should thc iconography remain inaccessible. Gallery. The traditional figurative references are categorically Manuel’s figure one finds a regression into “tradition" as In its original state, the front of the house stated by these artists who share a common heritage as contained redefined by the “archaicising orthodoxy” perpetuated Left: Maui, Te Mana ( figurative creators of whare whakairo. Grant has come to carving images ranging from stylized flower and leaf at the turn of the century by people like Augustus Ham— Ngati Porou", by Greg motif on the porch to naive portraits on the door. These Whakataka Brightwcll as a graduate of the Rotorua Carving institute while ilton. painted images presage a flowering of painted imagery Photo courtesy Nation Nathan, as a graduate of the Wellington Polytechnic, Ngata’s programme of artistic revitalization although that would become a legitimate alternative in house dec— Art Gallery . has adopted the mantle of carver through personal founded on edifying principles, ensured a continuation oration until the l920s. lt appears significant that the choice and self discipline. The media may seem alien but of this prefabricated tradition. As a product of the Ho— decline in figurative painting coincided with the conceptual manifestation maintains an indelible link the estab— torua Carving Institute, Manuel maintains this tradition. lishment of the Maori Carving School at llotorua with tradition. in 1926 The stamp of Rukupo prevails but beneath the veil one with its apolitical orientation. The move towards natu— is able to glimpse the artist. Riki Manuel, like Grant, is also a graduate of the In— ralism evident in the paintings and poupou of Te Tokan- stitute. Ilis impeccably carved poutangata maintains the ga—nui—a—noho finds it’s “tour de force" in the pouto— While Rukupo provides a model for the Rotorua tradition of the three dimensional “tiki” image with an— komanawa and poumua figures. Removed from their Carving Institute other influences are seen in the work of cestral connotations paramount. original load bearing context these figures achieve a na— other artists. One recalls the Ngati Kahungunu poutokomanawa ive naturalism that is unrivalled in its assimilation of the A Pacific connection is evident in Greg Whakataka that graced the “Te Maori” exhibition or the poutangata European naturalistic convention. Although the at— Brightwellls relief sculpture “Maui, Tc Mana 0 Ngati Po— that provoked at the encroaching warriors atop the pali— tempted contrapposto of the female poutokomanawa fig— rou”. The echo of Maui reverberates from Hikurangi to sades of old. In Manuel’s work the tradition of conven— ure is as immobile as the “kore” figures of preclassical Hawaiki—nui, Hawaiki—roa and Hawaiki—pamamao. L32 Left:"Te Manawatn 0 Han". installation in wood. stone, works on paper by John Bevan Ford. Photo courtesy National Art Gallery.

monoliths devoid of the extraneous an— l‘llsewhere in the exhibition artists use the word to atomical refenwnces other than the assist the viewer in their interpretation of artworks. head. While the head of the traditional Whether they are chisclled. engraved or charred, the ancestral figures were enlarged in def— word permits an extrascnsory perspective into the con— erence to sancrosanct condition. the sciousness of the artist. artist now uses the head alone to stinue Para Matchitt has sometimes titled his work with the late concepts of connnemoratitin. sweeping rhythm of an angle grinder. In Te Ngakau Thus. llaunui gazes in awe at the MCMXC he uses corrugated iron letters in a sculptiu'al “heart stopping” splendour of the Man— interpretation of a motif from the [lag of Te Kooti. The awatu river. letters sit in the heart like the inscriptions of some for— The economy of Ford comes closest lorn romantic. It is probable that this trivial allusion is to the minimalist tendencies which pre— pure coincidence and the initials merely place. the work vailed in the works of Arnold Wilson in within the context of its date of creation. In the final the 1950s. llis “Moumou” installation). analysis. this symbol of the bleeding heart of Maoridom equally minimalist. continues a fascina— borrowed from its original Christian context has provid— tion with the cylindrical post as a con— ed the artist with a symbol that continues to be provoca— ceptual embodiment of power. Now the tive. poles stand “unbarked” and “im— This appears to be the first time that Matchitt has paled”. We stand at the crossroads. unsure of the road rendered this motif in three dimensional space. llowev— Thus, Whakataka, the canoe builder and Pacific voyag— to conservation. Should we ascend or descend? En— er, like most of the artists in this exhibition. Matchitt’s er acknowledges his roots. trapped like the fallen children ofTane we succumb to work maintains a “frontal” presentation. Below: From left;"Mana Alan Wihongi’s poutangata series stand closer to the erection of a new god; Technology? In it’s wake. Whenua", Robert Apart from Matt Pine and recent “fine arts77 gradu— home. albeit on steel bases. Pattern submits to sculptur— Jahnke."Aotca chips fly from it’s mechanical adze never to be resurrect— ates likc Brett Graham and Peter Robinson. thc domi— Tomokanga", "Ngohi al concentration in deference to Wihongi's tribal carving ed. Alas7 the canoe. of llata is mere myth. nant trend is one of “frontality”. Moana Riunga", & heritage where sculptural priority was paramount. The ln “Apiti llono" Wilson reverts to narrative as he re— Whether this approach is pursued deliberately or in— "Taniwha Konutu", by link remains tangible; conventionality remains intact; visits his sacred mountain in the Urewera. The raw bite Ross Hemera. "Titiro" tuitively it provides a salient feature which helps to bind the artist’s economical transitions remain hesitant and of the chisel is laboured as the bird men (9 panels), by Jacob are assailed by the show together. As traditional Maori sculpture is es— exploratory. Scott. "Apiti "one", by the diamond of Maungapohatu. The manaia of old must sentially one of relief this is hardly surprising. Arnold Wilson. Photo Economy of form is more severe under the chisel of contend with the burden of transplanted symbol of the flvcn Ered Graham’s “Separation of Rangi and courtesy National Art John Ford. His monumental sentinels tower above the diamond and the club which heralded the messianical Even the painters are seduced by the expressive po— Papa” demand a frontal relationship. Since one is una— Above: "Nga Tohu Gallery. spectator generating reminiscences of the Easter Island ministry of Rua Kenana. tential of timber. It is employed as the sentinels of the no Te cn". by ble to achieve this position in the context of the exhibi— Treaty by Karaka while Sandy Adsett capitalizes on the Paratene Matchitt. As the Prophets of the nineteenth century appropri— tion one cannot fully appreciate the formality and the rough sawn surfaces to provide tactile passages of relief Photo courtesy ated the symbols of the European so the artist resurrects transitional conventionality that links Manuel’s “tradi— against pristincly painted surfaces in his “Tuhi Series”. National Art their potency, sometimes elusivcly and at other times tional” and Matchitt’s “modern" figures. Gallery. blatantly. Within the traditional context the Maori artist main— The gateways of Ross llemera and Matchitt also pre— tained a formalist approach in his treatment of wood. None of the arti. s are as forthright in their condem— vail upon the spectator to view these structure from spe— Rarely did the artist exploit the inherent irregularities of nation of colonial injustices as Emily Karaka and Selwyn cific “frontal” reference points. Although these works the timber. Muru. In their hands the paintbrush wields the power by their very nature encourage the viewer to pass of thc gesticulating taiaha of the warricr confronting through the structures in order to assume an optimum In this exhibition we witness several artists exploring transgression. vantage point. the latent aesthetic qualities of surfaces. For some art— ists the marks etched by the elements of nature present Karaka’s “Waitangi Wailing Wall" is laden with In Hemera's case, the invitation to negotiate the an added genealogical dimension that is sustained and word and symbol. The messages attain the status of po— space is prompted by a classical serenity which is some— intensified as the “heart” of the material is revealed. litical graffiti which is unashamedly frank. Cven the what precarious in the “Aotea Tomokanga” gateway. once sacrosanct name of “lo” is subject to the desecrat— This appropriation of a Western aesthetic apprecia— ing bordings of authoritarianism. The spectator is Matchitt’s steel portals on the other hand provided a tion of the intrinsic qualities of materials may be com— forced to “stop” and question the validity of one’s past psychological barrier to passage. The avian guardians pared to the innovative adaptation of word and symbol and future lest we become a society defaced by our ina— rendered from plate steel retain the “barbs” of their witnessed in the late nineteenth century. Here too the bility to validate the covenant that is the Treaty of Wait— acetylene creation. They hover at head height with pro— appropriation is charged with new meaning; one that angi. vocative beaks to taunt the intruder. This emphasis on promotes concepts which are undeniably Maori. One the tactile qualities of materials offers another tantaliz— In the canvasses of Selwyn Muru. the word is raised can only hope that the “classicising” trend of the author— ing link throughout the exhibition. But none are so bru— above graffitti. Like the painted passages found in some ities on Maori art at the turn of the century do not resur— tal in their material manipulation as Matchitt and Muru. of the turn of the century meeting houses the artist eon— face in “modernist” guise to stifle this exhuberant ex— fronts the Viewer with statements that provoke consider— Throughout the show there is a conspicuous inter— pression that is Maori art. No! New Zealand art. ation. In the act of perception one realises; in the act of play of alternative materials with wood playing a major "Sometimes we need to look back to goforward, and verbalisation one acknowledges. In this dual attack on part in these juxtapositions. Wood is seen against metal, there is no end to learning, no matter how old you are. the senses the viewer also becomes the audience. A fact glass and plastics. Elsewhere, weathered surfaces play Kia kaha. Kia manawanui. ” (Digger Te Kanawa7 that did not escape the artists of the turn of the century. against chiselled surfaces as the heartwood is exposed. 1990). E 1‘1'

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FC (. EVENTS Quality For New Zealand and Scandinavian New Zculund JEWELLERY Crafts with a... difference CRAFT GALLERY 0 Over 300 N.Z. Artisans AUSGLASS CONFERENCE 0 Huge range of diverse crafts r-I-limne 0 Suitable New Zealanders & Overseas Tourists By Rena Jarosewitsch 0 New Exhibitors welcome. Anita/yen Dana Zc'imecnikova, one at Czechoslova- 6 Open 7 Days kia's best known and internationally FOR SILVER AND GOLD acclaimed artists, was recently brought to Down the alley behind ANZ Bank Sydney, Australia by AUSGLASS, to conduct 237 Parnell Rd, Parnell, Auckland. a 3 day workshop ”Illusory Space” and to be, Telephone (09) 398 740 lst Floor, Gresham Plaza along with Susanne Frantz, Corning Muse- 226 Lambton Quay, Wellington 712-814 um, a key speaker at the AUSGLASS Canter- ence ”Contemporary Making - Current Thinking”. CONTEMPORARY ART Dana, who began her career as an archi— tect, then worked as a stage designer, has CRAFT PHOTOGRAPHY & worked as a Freelance artist in Prague since the early T9705, primarily using glass. Her .ltllltl Brooke—\Whitc best known works are ol: pictorial spaces JEWELLERY tilled with spaced sheets at tloatglass layered PO Box 27—190 Wellington trom front to back. They give the illusion ot Ph (04) 854—606 space that stretches to intinity. More recently the 3D aspect has become more prominent. Her pieces, otten lite size, have become more sculptural, colourtul and expressive. GALLERY Tues-Fri 11-5 Sat 10.30—1 Apart From conducting a very successtul or by appointment (04) 846—346 A/H 736-522 three day workshop Dana gave slide and Bone Neck Piece L. 140mm Carving by Hamish Campbell video presentations atthe l99l AUSGLASS 9-41 Martin Sq. [off Taranaki St.) Wellington Conference. Right: ”Old Photography", ”Image and Space" was the title of her lirst “NLW'TI'M. fl. ‘. LW'N'WJ‘LH'H," \' Y 35 x 47 x 33011, talk. She introduced the work ot her hus» by Dane decnikové M l A B band, artist Marian Karel and other Czech WOOLLY VALLEY l\ l) R who primarily work with artist colleagues sacred and not made to please and sell. The 0t truth, selt and spirit. He considers the use 157 THE PARADE that Jaroslava glass. The enormous impact maker has to retuse to let it become a com- of technique to create a recognisable idio- ‘ G L E N O R A Brychtova and Stanislav Libensky (Protessor ISLAND BAY I.\ () () S K F. I

modity.” Susanne points out the mistaking ot syncratic style crucial to the survival process. AM l () S S l“. at the Prague Academy of Applied Arts until decorative obiects tor art and names ideas, WELLINGTON Warren shared with us his studio philoso- l M l) the late l980s) had on the contemporary creativity and integrity as essentials tor art‘ phy that is based an intense research and . The serious knitters' shop. N S S glass movement in their own country was making. obvious. Apart trom teaching proticiencyot diversity and he looks upon his operation as . We stock all leading brands of hand knitting yarn E

A Grace Cochrane, Curator of Australian v technique, they tostered artistic independ- product based with a strong design tocus. and many hundreds of patterns. S Decorative Arts and Design at the Power- ence and exchange amongst students. With this article 1 only tocus on Few high- We also import an extensive variety offine fashion ‘9. house Museum in Sydney, spoke on ”tunc- / The WEAVING SUPPLIERS lights ot the programme. Contributions gen» Small scale to monumental sculptures are tion”. Grace explored why Function is an yarns for weavers and machine knitting T/fl WE ARE SHIFTlNG!! OUR NEW ADDRESS IS... erally were of great relevance to the practic- ‘ /‘ 22 Broadway, P.O. Box 313, Picton. Ph. (057) 36-966 created by working glass in a variety otways. issue by pointing out that it had been deval- ‘3 (O4) 836 122 U‘l’l'f—‘z ing glass artist and the theorist alike. The works, otten large scale, apart trom ued in recent decades because other art 2% Hit"? IWWl/W'WWMEWWE '1'“ Ill/1"“iiWEM\ showing a taste For restraint in term, are practice thought it unimportant. Grace sugr Parallel to the Conterence two maior glass \ emotionally powertul and otten the inner gested that Function is indeed OK and that exhibitions were held. The exhibition at ‘ world at the object itself is emphasized. there are many sorts of tunction to consider. Blaxland Gallery ”Glass: Challenging the Medium” showed innovative glass work by 1 Your One Stop It is not atoll surprising that contemporary Her talk was most inspiring. Australian artists. Kathy Elliott, Warren Lan- Czech glass has such high status worldwide. Stitching Shop Maureen Cahill, Australian artist, tounder gley and Richard Morrell were the winners. ‘ , Susanne Frantz, Curator at 20th Century of and lecturer at the Glass Department, The Glass Artists' Gallery in Glebe, Sydney Limited Glass at the Corning Museum, Corning, Sydney College of the Arts, shared with us staged the exhibtion ”Glass: Appreciating Sunbeam Glassworks EMBROIDERY SHOP NY, USA, was the other key speaker at the ”Challenges in Architectural Glass Commis- the Medium” and Brian Hirst and Meza 70 Mackelvie St. Ponsonby conterence and this was her First visit to sions”. "For some artists, relying upon the Riisdiik shared the prize. & ELNA CENTRE Australia. Apart From sharing slides ol: the Gallery situation might be limiting. The Telephone (09) 762 744 AUSGLASS (The Australian Association vastglass collection the Corning Museum has opportunity to explore large scale, site specif- of Glass Artists) has about 250 members. The best Specialist Embroidery acquired overtheyears, she raised important ic works beyond the plinth belongs to public Handblown glass workshop The AUSGLASS Conterence Co-ordinator, Shop you 've ever seen points worth contemplating. spaces.” and gallery OPEN Vic Keighery and the AUSGLASS committee 13 Market Street (opp. the Criterion) She emphasized the importance tor a Warren Langley, loremostAustralian glass have to be congratulated tor conceiving and Monday to Friday 10am - 5pm P O Box 825, Blenheim. serious artist ol practising selt-examination artist who regularly lectures overseas, spoke co-ordinating such an interesting, varied Phone (057) 82 499 to the extent where the question is asked... about ”Ethics and Survival”; integrity of style, conference, workshop, exhibition and enter- Saturday 103m - 4pm "why do I make my work? Art should be otdealings with galleries/shops, the integrity tainment programme. \ . mlna COMMENT - THE AOTEA TAPESTRY RECENT WORK HELEN SCHAMROTH

The tapestry at the Aotea Centre has been at working on major projects and 0t inter» medium at tapestry, which reached its high j installed and ol‘licially unveiled by the Prime preting other people's designs. In New point in the Middle Ages, will surely gain ' Minister Jim Bolger. The unveiling was wit- Zealand we really don't have that expertise. renewed stature and respectability, much as nessed by a host of civic dignitaries and the The committee commissioning artwork for it did when Henry Moore‘s tapestries were Fine arts cognescenti, but where were the the Aotea Centre (and there are several shown atthe Auckland City Art Gallery some Fibre artists who had been invited? Did they major works, all by local artists) did investi- years ago. It will detinitely rate as a tourist deliberately boycott the event? gate the possibility ot creating the work here. attraction, and those who see it may take time The tapestry was designed by Robert Ellis, Their decision was that it wasn't possible. to discover other work in similar media. The exceptionally high standard otthe work must Associate Professor at Elam School 0t Fine The decision makers could have investi- surely be an inspiration to local weavers and Arts, and executed by the Victoria Tapestry gated other works suitable tor the location, create a new benchmark tor assessing tap- Workshop in Melbourne. Local tibre artists works that could have been created locally. estry weaving. It may also inspire local had been sidelined But they wanted a tapestry, and it would be businesses to consider tapestry weaving as a It was no surprise that the creating of this ditiicult to argue the appropriateness and valid art form to enhance their buildings. tapestry created a storm amongst craitspeo» etlectiveness ot the way the 74 square metre ple, especially weavers and embroiderers. space has been handled. | suggest we celebrate this work rather than appear petty and small minded. The Alter all, we have such a tine weaving tradition Controversy surrounding large public work is otter all a partnership with our Aus- and so many weaving enthusiasts, surely it works is not a new phenomenon, nor is the tralian neighbours, and it must benefit both could have been made here. concept oi translating 0 painting into tapes- parties to develop cooperative ventures. ‘ What's more, even the Victorian Tapestry try. This tapestry is an exceptionally tine Aboveall,letuscelebratethetactthathowever ‘ Workshop had to purchase a loom especial- work, and itis likely to be world renowned tor much this is a work at "tine art", it is just as ly made in the USA, and have it treighted its scale, design, rich symbolism and com- much a magnilicent example ot a cratt with across to Australia. Why couldn't the loom plexity, as well as For the sensitive interpreta- a long tradition, in a public space. May there ‘ be brought here? tion of Ellis's painting, so let's put this into a be many more. Why indeed. The Victorian Tapestry more positive perspective. Workshop has had titteen years experience There will be spin-oits tor weavers. The \ FOR ALL YOUR HANDCRAFT SUPPLIES DOWSE Braids - Fringes 0 Sequins - Beads 0 ART MUSEUM Leatherwork 0 Jewellery Findings 0 Lampshade frames - Canework - Toy Making 0 Embroidery Fabric and BODY ADORNMENT SERIES ! DMC Threads- Ashford Spinning and Weaving Products 0 All Craft Books. June/July Patchwork Fabrics:- Concord 0 Liberty 0 Pauline Bern — Ring A Change VIP 0 Jinny Beyer plus all accessories. Bryan Harold ~ Adornment Fabric catalogue available from our complete mail order service August/September Bone Works Derek March Dave Hegglun Rongopai Broughton (Nelson) Ltd Recently received slides from the Crafts Council Survival — Mururoa Waters”, photo7 Haru Sameshima. Resource Centre. Clockwise from top left: Anthony Anne Powell; Kowhaiwhai design; carved and pierced, Coffee Shop/Museum Laings Road 93 Collingwood Ave Williams; Brooch, 50mm; 18ct gold and platinum, dia— porcelain; copper sulphate slip. Diana Parkes; detail Nelson Open Mon-Fri l0am-4pm Lower Hutt monds, Opals, enamel—plique a jour7 and champleve. “Carnation Galaxy”. Slides are available for hire to Phone (054) 87288 Sat, Sun and Phone (04) 695-743 Elizabeth Mitchell; “Mangoes”, silk painting groups and individuals. A full catalogue of available kFax (054) 68056 Public Holidays Ham-5pm or (04) 660-502 350x500mm. Mark Piercey; tree lucerne slide sets is available from the Crafts Council of NZ, k 295x220x70mm. Helen Schamroth; “Frameworks for P.O.Box 498, Wellington. Collis Studios 1991

Lustred stoneware pottery by Peter Collis, brighter . ART IN WOOL coloured tableware by Julie Collis. Visitors welcome. AWARD 31 Tizard Rd, Birkenhead, Auckland. Ph 480 9856. EXHIBITION CRAFTS COUNCIL GALLERY WELLINGTON JULY 10-27

SOUTH ST GALLERY 10 NILE STREET NELSON

Fine pots from Nelson.

Recent work; Pctcr Gibbs.

Feasting My 8 irit , by Liane Cowell of Whangamata. Winner oft e 991 Art In Wool Award.

Paul Laird Started potting in 1973 at Wairnea Pottery in Nelson. Decorative and domestic work available from the gal- lery in the Craft Habitat complex near Richmond. Merit awards received in 1990 NZ Society of Potters exhibition and 1991 Norsewear Craft Awards.