LETTERS

CRAFTNew Zealand ARTS COUNCIL POLICY appearance oi the bill and be prepared to ies in respect oicrait and visual arts illustrates make submissions at the Select Committee my point. UsuaIIyitisthe socio-cultural stance Autumn issue oi CONTENTS I was impressed by the . stage.) oi the gallery and its clientele which demar- Craft New Zealand. It contains commentary the nature oi the objects displayed. There has been some rationalisation oi cates, not oi substance and pertinence to the state oi Council's programmes, ior example, in pub- Craits have irequently, particularly in craits in New Zealand and is a necessary 'I LETTERS lications and international travel and ex- western world aesthetics, been ’putdown’ by proiessional voice in the iield. change. Council was oi the view that by the exercise oi specious argument. One such ‘3 EDITORIAL the editorial I take note oi a stance within process oi evolution and history more and is oi iunctional as compared with non-iunc- 4 FLETCHER CHALLENGE and irom Helen Schamroth that perhaps more programmes had been introduced to tional attributes, the ’non»iunctional’ being CERAMICS AWARD, 1993 Queen Elizabeth II Arts Council is somewhat meet needs across all the arts sectors. Dupli- regarded by the visual arts industry as ’aes- and may have distant irom the craits actuality cation oi purposes was evident, resulting in theticaIvsuperior' or as requiring a more' A howling oi irom CaIiiornia took the arts. intentions to merge crait with visual the division oian already inadequate budget developed intellect and apprehension. premier award at the Fletcher show this year, The council is well aware oithe desirability into ineiiective smaller parcels. In some in- that a so»caIIed ’non represeni but New Zealand entrants aiiirmed their The notion but also the diiiiculty oi representing sectors stances reorganisation has given the craits non-iunctional is one oi status on the world ceramics scene. tational’ painting is oi the arts and arts organisations on its panels sector access to programmes not previously the moreabsurd but dangerously acceptable which assess iunding applications. available. by-products oi modernist promotional strat~ Above; A rare show oi work by James Greig held 32 ARCHIE BRENNAN recently at Avid in Wellington, p. I2. Recent controversy over the structure oi the While Council is not planning any merger egies designed to protect that art industry. Collis, Above right; Iorge pots by Auckland potter Peter Kate Batten met world-renowned tapestry literature panel highlighted the desire oi oicraits and visual arts programmes, it is well The notion that my highly ’iunctional' ma— p.24. weaver Archie Brennan during his artistrin- ‘ particular organisations or sectors to be aware that deiinition or diiierentiation oi hogany pulling skiii can be assessed without I residency at Aoraki Polytechnic. represented on the panel, on the one hand, these sectors is increasingly diiiicult. It is my reierence to my personal (and non-iunctional?) and the risk that such a iorm oi representation would be dangerous 20 WAIKANAE SCULPTURE personal view that it biases, predilections, nostalgias and aesthetv may narrow or control the viewpoint oi the to lay down prescriptive GARDEN indeed ior Council ic choices is equally absurd! panel representative. One important char- deiinitions oi who may or may not apply in The problems oi deiinition are real; they BiddyFraser-Daviesis enthusiastic abouta acteristic oi craits in New Zealand is the either sector, or to try to deiine what are the are probably notcapable oisolutionsthatwill civic project on the Kapiti Coast. diversity and variety oi activity, process, ”admissible” craits or visual arts. indeed, I satisiy all or any participants. The Arts Coun- product and inirastructure under the generic suggest that ”distance looks many ways”. 22 FIBRE FUSIONS cil has to struggle with the problem like oi ”crait”. Council’s policy is to appoint small While there is substantial, sometimes heated, everyone else. The most useiul iocus in my Sally Vinson backgrounds two Coroman< panels oi three or tour members chaired by a but always valuable debate over the borders view is upon the nature oi the inirastructures deI weavers. member oi the council. I support that policy. oi crait and visual arts, there is a much less and how they may be moulded and shaped. ltmakes ioreiiicientand economic procedure. pursued debate possible (and close at hand) 24 PETER COLLIS 'What can assist the council and, I am quite However, such small panels cannot possibly over the inclusion in craits at, say, aircrait, sure, the craits industry, is'iniormed commen- He's one at the most dynamic iigures represent in person all the sectors oithe craits, automobile, or boat building, or oi designer tary, open debate, and experienced insight, amongst NZ potters and president oi their and I doubt that such a iorm oi representation gardens or iloral art. and your publication has a vital role in this national body. Jess Tooker talks about him is desirable. During my time as chair oi the ' Many oi these appear to be areas oi ' respect. and his work. well satisiied that craits panel I have been extraordinary inventiveness, remarkable de- B.P.F. Smith, OBE. 26 MARY BARTOS panel members, who have been either skilled sign breakthrough, high technical skill and practitioners, or who have and experienced periormance, and undoubted aesthetic and/ 28 MARK PIERCEY iieId, had substantial involvement in the craits or expressive quality. To betray one oi my able to give balanced and disin- The standard oi woodturning is reaching Above; "The Starcatchers Hot” irom National have been own enthusiasms I would claim that New new heights throughout the country. Adri- Embroidery Exhibition. See review p. 35. terested consideration to the huge variety oi are among ON PAGE 90 ARTSPACE 8 FROM SEWAGE TO Zealand's wooden boat builders enne Rewi interviewed two Christchurch applications received. but their skills are SUNG 35 REVIEWS the iinest in the world, Having oiiered a critique oi an exhibition Above; turners who are spearheading developments It is the council which appoints panel rapidly disappearing (with age!) and are not ior publication my usual sentiment would be Teapot by Greg Pitts, Royal DouIton pottery is not regarded as there. Embroidery, pottery and iibre art - major members and it wecmes suggestions or being renewed because oi major industrial that's that. In USA. Frizewinner in to say my analysis is done and the Fletcher show p.11. part oi the contemporary scene, but we have 30 KATE WELLS shows. recommendations irom the arts sector ior and technological shiit. There is a case to be this case, however, the exaggerated reaction a lot to learn irom this touring exhibition, as 38 ITINERARY panel membership. made in terms oi the Arts Council’s stated oi David Naylor to my criticism oi Page 90 During her shortvisitto NZ recently, Amer- Mark Stacker points out. The make up oi the Council prohibits ap- ‘ goals, ior iunding to sustain this crait. Artspace (I stand corrected!) and by deilected ican iibre artist and writer Margo Mensing In a new section, Crait NZ provides a 12 IN BRIEF pointments to all panels oi chairs with exper- Perhaps therein lies a useiul diiierentia- insult the heinous crime oi ”monocultural Below; made a point oi seeking out this leading comprehensive listing oi events and opportu- I925 Maori Art Ware . tise in the panel iield. The task at the chair- tion. It is not the diiierence in kinds oi objects elitism” in which he implicates me demands a ' commissions, exhibitions and tapestry weaver. nities. irom the Doulton News about person is to ensure that panel members give produced which creates a diiierence between response. exhibition p.8. events. Below; Turned bowl by Mark Piercey p.28. 'iair and proper attention to every application, 'craits' and ’visual arts’. It is the diiierences in I stand by my criticism that Page 90 Art- and to provide the best possible summation oi the structures within which the objects are space - a trendy word ii ever I heard one - is debate over applications. In my own case I made, distributed and consumed. There is a depressingly unaesthetic and barn-like. My have a very real interest in the craits and have well-documented history oiobject—making, in view seems to have been vindicated by the some reputation as a iurniture maker and terms oistatus oi makers, status oidistributors > iact that Porirua's new cultural oiiicer, Darcy boat builder and as an arts educator and or marketers or dealers, status oi owners, Nicholas, has indicated that he wishes to see painter. These interests I may at times have to patrons, or consumers, protection systems ior the space reiurbished and made more subdue in my role as chair oi the arts panel. classes or categories oi makers and distribu- adaptable. He seems interested by my sug- The Arts Council has not debated the tors, and organisations and promotion oi gestions, among others during conversation. merging oi the craits and visual arts panels , industry, a history which makes it quite clear Aiter aII, Porirua owes itseli a decent iaciIity and there is no such consolidation in mind. that it is rarely the species, iorm or intrinsic to serve not only its diverse cultural groups but (The iorthcoming review oi the act governing value (whatever that means!) oi the object the burgeoning populations oi the Kapiti the Council may require some overhaul oithe itseli which gives it market value, or social, Coast as well. One would be hard pressed to Council’s structures, butthe bill has yet to iind cultural or spiritual prestige. iind any architectural indication at Page 90 a place on the parliamentary agenda. The A current debate over the recognition oi Artspace oi that rich cultural diversity in what craits industry should oi course watch ior the and the iunctions oi dealer and public galler- was purpose built as a iactory. EDITORLAL

Who are these ”monocultural elites” by l of applying colour; to be critical of it when Iwould like to think thatthere is going to be whom I seem to have been tainted? Yes, I have ‘Vyeing, colouring, in fact anything to en- ‘ a Yearbook everyyear and that to be selected inally the Arts Council of bustled with the crowds in the Uffizzi, the hance the stitchery has been encouraged, for it is something worth working towards. New Zealand Bill has had Musee D’Orsay, the National Gallery, Lon» seemsto me to be stifling. Yes, a good number Kim Gilby, Hamilton . its introduction to parlia— don, MOMA, the Paul Getty Art Museum at of these works probably were presented but NewCRAFTZealand It is proposed that the Yearbook be a ment. There are no surpris— Malibu, the National Gallery of Australia ' in the final outcome were not selected (only a biennial publication, the second Issue 44, Winter I 993 among others, but then I have also visited few such works being displayed in the exhi~ appearing es in the bill. The introductory note late in 7994. Ed. galleries and museums in places as non-elite bition) thus enforcing Noeline Brokenshire’s explains: "This Bill provides for the ISSN I l70-9995 as Peterborough, Gore and the Beth She’an view that ”More successful were those where dissolution of the Queen Elizabeth the Second Arts Council of New Zea— land, and provides for a new Arts Council of New Zealand. .." The Valley in Israel. the whole effect was gained by total stitchery liust had to write a letter to say how thrilled first of Publisher: David Naylor is perhaps unaware thatl in - doing whatone does best - and not trying to l was to get the Craft NZ Yearbook. I have two main features of the bill seems to provide for equal status for Maori Craft PrintLid, PO Box 1 I I0 Nelson. Ph/lax O3 548 30l 8. fact work in Porirua. lam course Coordinator be too clever.” i been a [Crafts Council] member for years, in and non—Maori by establishing two boards, one called Te Waka Toi, the Editor: Peter Gibbs. for the Museum/Gallery course which he Should we then shut up shop and stop fact ever since the magazine was invented, other simply the Arts Board. Funding will not necessarily be the same, with mentions. I would like to think that it is the diverging in new directions? and realise it has had its ups and downs. So the six member Council allocating the funds for each. Assistant Editor: strength of, with Julie Warren. and pride in my cultural heritage One such work (photograph enclosed) a lot of hard work by all involved, we Secondly, introduction of the bill will see the abolition of the Regional that I am able to contribute to my work here. subscribers have now got a great magazine. Advertising sales: was requested to be sent to America to be and Community Arts Councils. The Arts Council will have responsibility: Joan Hall-Jones, lnvercargill Auckland, Judy Wilson, ph 09 5766 340; Lesleigh Salinger, Wellington. exhibited alongside the Biscayne Chapter's "To ensure that the arts boards allocate funding to community arts." fax 09 5347 526. exhibition. This particular embroidery sat However, community groups will have to be better versed in the art of Wellington, Nelson, Christchurch, Dunedin, alongside 200 American (selected) works MERT came in today, waving Craft NZ applying for money and will need a greater awareness of the Art Council’s Peter Gibbs, ph/fax O3 548 30l 8. and won lst prize as ”People’s Choice”. Yearbook. They want work of five people in ‘ operation than they do at present. To balance this, there will presumably Layout concept: EMBROIDERY ISSUES Lexicon Design Communications. Was this trying to be ”too clever”? - it’s all the book to send overseas. Just shows how the be more money available to them, as Doug Graham has made some mileage | write to correct a misconception that may a matter of opinion! Yearbook is working for craftspeople. of the fact that of the 3 million dollars currently allocated to the Regional Layout and art direction: Peter Gibbs. be perpetuated by an article written in Craft James Bowman, Director, Accolades Councils, 25% is used for administration. This money is in fact only a small Robyn Tubb, Mairangi Bay, Auckland. Printing: New Zealand, issue 4i, Spring I992. The Gallery, The Terrace, Wellington. part of the total budget currently allocated to QEII. Stiles Printing Ltd, Nelson. article I refer to is ”National Embroiderers’ In practice, Community Arts Councils have become a part of the Subscriptions: Conference Exhibitions” reviewed by Noe- lam really enjoying Craft New Zealand - support system for community arts, particularly in provincial areas, and Craft NZ Subscription Service, line Brokenshire. The paragraph I refer to ABOUT CRAFT NZ I like the mix of articles in #43 from the the introduction of the bill may well mean that small groups flounder PO Box lOO 74l, speaks of ”Q imposed w” (to attempt to North Shore Mail Centre, Just a note on the Craft NZ Yearbook. Wearable Art to miniatures to David Tru- ! without the expertise and assistance of friendly community faces. combine painting with embroidery) . I Auckland l0. - personally think itis an excellentbook. I found ibridge’s and other 'heavierdiscussion'. Hence Craftspeople should be assured that very early on in the document, Ph 09 443 0238, fax 09 443 0249. Embroiderers in New Zealand and indeed it very interesting in the range of crafts hap- my renewal! I try my best to encourage "Arts" is defined and "includes creative and interpretative expression Trade Distribution: the embroidery community are an enthusias- pening in New Zealand. subscribers - butthere are a lot of small minds ‘ through theatre, music, visual arts, literature and crafts." We may have Network Distributors Ltd, Private Bag l02-935, North tic group of people and like all communities I have shown the Yearbook to a friend who and apathy about. For me this magazine is cause to refer back to this clause over the next few years. Shore Mail Centre, Auckland. when a new ”development” occurs it rico- has just recently opened a craft shop and she one of my vital lifelines to what is being clone chets around the community. All who see it Closer to home, Craft New Zealand magazine has been grappling with the Contributions of original articles, reviews, news of has taken names from it to see if they would and discussed elsewhere. Sewing in my stu- _.. want to try it. Some will business realities of establishing a very small publication in a very small country. events or commissions, press releases and photo- supply her. dio here in Hawkes Bay feels very isolated inukw ‘ A‘ W‘s {emu-m “a graphs are welcome and will be considered for publi— feel that it is not for them, from the rest of the country. It's now a year since the magazine was purchased from the Crafts Council of A couple of craflspeople in Hamilton I cation. Preferred Format; 3.5" discs in Macintosh or some will take this new Clare Plug, Hawkes New Zealand. In that time, a company has been formed, with a very modest IBM compatible format plus hard copy, but typed or know have Bay ”trend" whatever it may said that the $350 cost [of inclu- shareholding. About thirty craftspeople, companies, and organisations involved clearly handwritten copy acceptable; prints (with sion] is too expensive. For advertising in such negatives if possible) preferred, but transparencies man‘- be and learn all that can in craft have purchased shares to the value of about $13,000. However, we a magazine, I thought it was very cheap. Really enjoy the magazine. Keep up the also acceptable. If in doubt, first contact the editor.

“NHA‘W'VMN be done with it, innovate are still under—capitalised and shares of $100 are still available. Copy deadline for issue 45, July 26, T993. , and extend and then in I would have liked the magazine to have good work. Only criticism is that some print - x: Why do we need mor‘e'capital? In the past year, subscriptions have Copyright T993 Craft Publications. No part of this u corporate into their pal- come out a couple of months earlier. This especially under photos > is very small. | now i

I. publication may be reproduced, stored in a retrieval would have been before the Christmas mar- have slightly impaired sight and this drives doubled. However, there has been no appreciable improvement in retail M‘ ate or discard as the case system or transmitted in any form without permission of sales, except for the Yearbook, which sold exceptionally well. We have may be. However, in the ket. This is the only negative comment I can me mad - even with magnifying glass the print the publishers. privileged role of adiudi- think of. blurs! It may be that this only affects me - if so produced four issues with a steadily decreasing loss per issue as subscrip— The publishers acknowledge the support of the Queen cator of an - so be it! tion sales slowly improved. However, we have only survived through the Elizabeth II Arts Council. Saarinen-1mm: exhibition, to The retail cost of the book | feel is worth it. .t‘ '3. v‘. ‘14 ' \ ,nlwflns.‘ ‘ Arm-anmnr label this as ”an imposed Please thankall thatwere involved with putting Mina Thomas support of the QEII Arts Council by means of one grant to establish a base NZ embroidery in American exhibition - too clever? trend”, a particular style the Yearbook together. What do other readers think? Ed. for critical writing in craft and another for audience development, specifi— cally for the Yearbook.We need capital to put in place the strategies which LOPDELL GALLERY will bring us into profit. The period immediately ahead is critical for the magazine's survival. We need to continue to increase subscriptions, but more importantly, we FISHER GALLERY CRAFTNew Zealand need to increase retail sales. Two strategies should help. exhibitions of contemporary art & craft art Firstly, the magazine must focus on the prime concern for craft — the SUBSCRIPTIONS objects which are made. A wider public audience is not as interested in Save $2 on the cover price and have CONTINUALLY CHANGING craft events which have taken place, so we will cut back retrospective Craft NZ delivered free. reporting and reviewing to concentrate on showing fine craft, profiling the EXHIBITIONS Annual subscriptions cost $32 Lopdell House Craftshop OF FINE people who make it and the venues where it is available. The new Itinerary Send cheque or credit card details to: NEW ZEALAND CRAFT AND ART. section will allow readers to see at a glance what‘s on in the forthcoming period. fine new zealand craft Secondly, Network Distributors will take over retail distribution (and Craft NZ Subscription Service, will also henceforth handle our subscriptions). Propaganda will continue P O Box 100 741, to service galleries and other specialist craft outlets. PDELL HOUSE, CNR TITIRANGI & 5TH TITIRANGI RDS, North Shore Mail Centre, 13 REEVES RD, PO BOX 51222, PAKURANGA, PH 09 576 9999 The immediate future will bring some financial tightrope—walking for PO BOX 60-109 TITIRANGI. PH 09 817 8087 Auckland 10. the magazine, but with your support we'll grow from here. Peter Gibbs, Editor. FLETCHER CHALLENGE CERAMICS AWARD, 1993 BY PETER GIBBS

letcher Challenge Ceramics Award clay as its starting point. The equally shows invariably take on the imprint of relaxed brushwork was the perfect foil to the sole selector — in this case Norway’s lllt‘ basic form. Kari Christensen. This year the exhibi— A [UR/1N0 (earth _ water _ sun), by tioii seemed to be, more sculptural. Fewer pieces Scungrl 10 Yang leaned heavily (and had their roots in the normal potter’s grab bag of successfully) on the benevolence of the references. As a result, 1 found the show took day’s nature and of the fire itself. The longer to get to grips with. An understanding of ”01.10158 skill here was in providing the individual pieces often required a long hard look. canvas for the materials and techniques to in the process of such deep analysis, it was easy to - ; be able to ([0 their work. ,‘ km rm" l5 (rkc. . 0V” 100 0 ( “ml, ( w ) 8 As always, there were plenty of other The selection 0f the winning piece Was in pieces which could equally have taken the keeping with the judge’s wide—ranging selection. awards. llanne Matthiesen’s “OLUl With Lobo California, by Susannah Israel of the United Green Men was a humorous spherical States won the filSl0,()()() Premier Award. While not form. Box by Johannes Peters (really a exactly controversial, it did upset some, who found l’idded jar) was ever so casually decorated. such a radical departure from the conventional to Lara Scobie’s Vessel/or the Sea was he more than a little unsettling. ‘ tighter, more precise than her winning 798 pieces were entered this year (157 from piece from last year. Arthur Vermciren’s NZ) and Kari Christensen narrowed this down to Decorated Pot ‘ Raku stuck l” good basic 151 (23 from N7.) for the show. New Zealanders form, hht With quirky brushwork. Kevin did well in the prize list, taking two of the five Whih‘h“ Jug and Two CUPS (I could have $2000 merit awards and three of the eleven - SW01“ they were from Japan, "0t Austral— commendations (80‘. page 6 for list). ia, until i saw the catalogue) combined lightness and delicacy with cobalt brush— Ross Mitchelenvon and Bronwvnnc Cornish , ' ' work. Lana Wilson’s Artt/uct Teapot was took the two NZ merit awards, and in doing so . . aggresswe and tight, loosened by a encapsulated the two consistent threads identifed variegated glaze. Brendan Adam’s Boxed by organiser Moyra Elliott in her address at the Obsession would only have revealed a opening. The ceremonial object and the vessel were . . . ' ' : ' m of itse - h 2 viewer. lt wasn7 singled out by Elliott as themes which ran through untillm‘ t“you pulledH outto t all( the pieces that thet the show. Mitchell—Anyon’s teapot and jug were a . , , mutitudc of little messages were revealed. direct and honest expression of the domestic-ware tradition, but with infinite individuality. These A5 usual, the Fletcher show was common objects bore the iinmistakeablc imprint of thought provoking and stimulating. The the maker — to some eyes, tooi‘asual, not enough serious StlldCht 0f pottery W‘Hd‘l have attention to finishing details; but to quibble about needed several days to get l" grips With the such things is to completely miss the point. These whole show in depth. pieces were also talking about the nature of clay and Above; Lobo the fire and of one person’s interpretation of those California, by things. This undoubtedly makes them potters7 pieces. . Susannah Israel. Bronwynne Cornils piece has the same appeal. 8 l 3 x 71 l x 508mm and surface take it beyond The treatment of the clay Below; the rather gauche sculptural statement which many A R IRANC by found it to be. For me, decisions like this by the judge i Spuughno Yang. were a confirmation that the system used to judge the 220 x 560 x é' Fletcher show is the right one. . 5 l 0min. were The. rest of the merits and commendations_ . ‘ Facing page, a mixed bag. As always, I particularly hked those top; Teapot nd , which drew on my own preoccupations. in this Jug by Ross ' ’ ~ ._ category fell Richard Dewar’s Saltglazed Teapot Nliteln-ll- ' .. ' and Platter with its rich salted surface although Allyt’ll'l30" the application of slips was a bit heavy handed. I50 xl2(liiiiii. fl ‘ l' Torbjorn Kvasbo's Chest — Houseform had a rich gullolml Sphinx surface — the result of the firing. Greg Pitts9 teapot “filimlinnc ~ ' ‘ .. . x * 1 _ leaned on the peculiarities of the teapot form. Cornish. 520 X l ’, ,r Although very individualisti tally interpreted, the 310 x i60mm ‘ basic structure and the appendages of handle and . c . 1 ) 4 , ‘ spout received sound traditional treatment. rl he I 110105 h) Hdlll bold brushwork further emphasised the maker‘s Saniesliima. courtesy personality.' ' Fletcher The very painterly bowl entitled Orchestra, by Challenge .litka Palmer, took the loose proficient handling of Cci‘aniics Award Real Craft '93

FLETCHER CHALLENGE Otago Museum Gallery, Dunedin CERAMICS AWARD September 25 — October 10. PRIZE LIST, I993.

Wilmer, $10,000 premier award Lobo California, by Susannah Israel, USA, 813x71lx518mm, $52250. {for Excellence Merit Awards, $2000 4 Sphinx Box, by Bronwynne Cornish, NZ, 520x310x160mm, $1500. The Dunedin Crafts Council seeks entries for this Water is..., by Kyoko Hori, Japan, year's exhibition which offers for the first time two 510x550xl40mm, $1800. $1000 awards. Teapot and Jug, by Ross Mitchell— Anyon, NZ, 130x150x120mm, $350. A further 10 prizes of Craft New Zealand subscriptions will Covered Container, by Gary also be awarded at the judge's discretion. The Candy Craft/ Shop Schlappal, USA, 550x240x230mm, Information and entry forms from: $900. Specialising in Garden Pottery Pottery ARIRANC (earthrwater—sun), by Mary Miller, 15 McMillan St, Maori Hill, Dunedin. Screen Printing Basketry Seung—Ho Yang, Switzerland, Ph 03 464 0601 Ocean Beach 220x560x510mm, $5630. Road Paintings Tairua, N Z Leathercraft Judge's Commendation David & Pat Boyes Weaving Closed Vessel, by Stephen Brad— This advertisement sponsored by Craft New Zealand. P O Box 52. Phone 07 864 8526 Jewellery bourne, NZ, 620x4n30mm, $650. Upholding Hidden Truths, by Helene Czernay, Australia, 580x200x200mn1, $390. Saltglazed Teapot and Platter, by Richard Dewar, Franco, 290x450x4-50mm , Elli l 290. CAVE ROCK GALLERY Jyo Kei (Streaks Scene), by l’lideo Kobayashi, 240x660x220mm, $2810. Chest—Houseform, by Torbjorn Kvasbo, Norway, 500x350x200mm, For Fine $1690 New Zealand Out ofBounds, by Matt McLean, Crafts NZ, 1000x1000x320mm, $4000. Color Striped Bowl, by Ryo Mikami, Japan, 100X4I4u0x85mm, $2860. SOLE DISTRIBUTOR Cats Cradle, by Susan Milne, JENNIFER BENNELL'S Australia, 500x4700x750mm, $4500. Orchestra, by Jitka Palmer, PRODUCTS: England, 450x400mm, $720. Original Prints Teapot, by Greg Pitts, USA, v Lithographs JAPAN PAINTS, SCUMBLE (GLAZECOAT), CRACKLE 178x229x127mm, $560. Etchings MEDIUM, GILDING SIZE AND GOLD, SILVER, DUTCH Ceremonial Elbow, by Ann Verd— METAL, BRONZE LEAF MOULDINGS, BRUSHES AND court, NZ, 500x200x350mm, $800. OTHER SPECIALIST TOOLS. CARRAGEEN FOR MARBLING ON FABRIC SALAMANDER GALLERY 'MASTER STROKES' - THE MOST COMPREHENSIVE Above; OPEN 7 DAYS D.I.Y. DECORATIVE FINISH BOOK Water is... by Kyoko Hori. 510 x 550 x 140111111. SOUTH OUADRANGLE, MACLEISTER PAINTED FINISHES Left; THEARTS CENTRE Covered Container, by Gary Schlappal. P.O.BOX 1669 CHRISTCHURCH 550 x 240 x 230111111. CHRISTCHURCH Photos by Haru Samcshima, courtesy TELEPHONE (03) 365 6167 Fletcher Challenge Ceramics Award FROM SEWAGE TO SUNG THE ROYAL DOULTON CERAMICS EXHIBITION 99 containing handpainted Burslem vases was the highlight. BY MARK STOCKER don’t like Doulton. is the standard excuse for avoiding the Courier Post Royal Doulton It does not matter whether Rubaiyat of Omar Khyyam or Ceramics Exhibition currently on tour. nee—Rococo fete galante scenes, portraits of Emma Anyone saying this should turn rouge flambé Hamilton or Edwardian orchids and roses are to every— with shame. Since “Te Maori”, few exhibitions have one's taste. Technically the vases are masterpieces and made such an impact on me. In turn, Doulton movingly collectively, their emotional impact is awesome. affirms “Taha Pakeha”, the European, more specifically Praise must go to Jennifer Quérée of the Canter— the very English, cultural heritage of many New Zealand« bury Museum who has spent three years curating the ers. We have grown up with Bunnykins, washed our exhibition. Her contribution will endure in two publica— hands in ceramic basins and have grimaced at Toby tions7 the souvenir guide and her handsomely illustrated Jugs. Doulton is part of our bloodstream. We are, book, Royal Doulton: Illustrated with Treasures from moreover, Doulton collectors bar none; hence the W (Canterbury Museum, remarkable quality and quantity of the items, mostly $39.95). The latter,”a major addition to Doulton litera— drawn from private collections. ture, admirably combines a history of the firm, a

"I don’t like Doulton!” — Anyone saying this should turn rouge flambé with shame.

The accessibility and affordability of Doulton discussion of the many different wares and an account of arouses the art mafia°s contempt. Initially I approached Doulton exhibitions and marketing in New Zealand. a major art periodical to commission this article - Here I can only offer a sip of Doulton; may it persuade without success. Arguments explaining the crucial role of readers to visit the exhibition during the remainder of its Doulton’s women artists cut no ice. Nor did the View that tour (Hawkes Bay Exhibition Centre, 3 J lily-15 August; art history should embrace the so—called “decorative Auckland Museum, 4 September-31 October). arts”. Clearly opinions have changed little since the time Accounts often relate how the great self—made when Henry Doulton noted: “There is a great deal of Victorian, Sir Henry Doulton, made a fortune out of dogmatism on what is or is not fine art. In art there are drainpipes and spent it on art. His Art Studios, founded many mansions.” Then there is an image problem. in 1866, were never financially profitable. Yet they soon Doulton is lmsexy and unintellectual. It is dogged with became his passion and from the early Lambeth items the twee, bourgeois image of certain collectors. It is alone we see why. Being thrown on the potter’s wheel thought hideously over—ornate. Tastes which digest lends them a robustness which The Times contrasted contemporary New Zealand art choke over china. with “the somewhat namby—pamby prettiness” of I myself dislike some Doulton items. Toby Jugs, ornamental porcelain. Robustness was, however, often Character Jugs and many figurines leave me cold. But complemented by charm and ingenuity of design. These are apparent in works by the Lambeth Art Studio’s first Aboye; Robert Allen, Charles Noke and Above: Left; Edward Raby, bone china vase, handpaintcd, 1902-5, 795nm]. Canterbm'y Museum, Christchm'eh. the sheer diversity, indeed, the manic cclccticism of Leslie Jolmsou, The Dante Vase, Right; Edward Raby, bone china vase, haudpainted, 1902-5, 660mm. Private collection]. Doulton demands admiration of some exhibits. With 780 employee, George Tinworth, admired as “aRembrandt 1902-5. Bone china, 710mm. Museum Below: Left; Charles Nokc and Harry Dixon, Chang vase, c. I925-30s, 320mm, earthenware, transmutation items, the curatorial philosophy is “Big is beautiful” — in terra—cotta”. Tinworth is enjoyed today for his of Applied Arts and Sciences, Sydney glazes. Museum of New Zealand, Te Papa Tongarewa. and it works. This applied especially to the Museum of mischievous stoneware mice but in his lifetime his Right; A collection of Chang wares, signed by Noke and Dixon, e. 1925-305. Private collection. New aland Te Papa Tongarewa where, the room religious panel reliefs drew greater admiration. Their powerfully intense modelling shows how Tinworth, a Left; George Tinworth, ; . I The Les! Supper. l x L e. 1882. Terra Cotta panel. l85x365mm. Hawkes Bay “usciun, Napier. devout l‘ivangelical, was a upsurge in Suffragette activity, c. NUS—8. Another conviction artist. Central inkwell of a baby is sometimes found similarly inscribed Hyperion, Luscian. Lustre, llolbein, Rembrandt, Rouge to his impact is the Word, and symbolises women’s proper responsibilities or else l‘ilambé, Crystalline, Titanian, Sung, Chinese Jade and inscribed with semi—literate their perceived political maturity! The hinged heads Chang. All are in the current exhibition and their only erudity on the panels. “So surely boosted the lord and masterls sense of patriarchal common trait is their sheer diversity. Two very different that’s where McCahon got hegemony as he opened them to dip his pen. warcs introduced by Noke impressed me most. The marl clay body of Rembrandt \Varc has a rustic economy yet his inspi ‘ationl" a col— Doulton cannot, of course, be equated with these the multiple glazes lend it richness. Designs influenced by league humorously male chauvinist values. The major role of women artists 17th—century painting, hence the name, are combined exclaimed: While Colin in the Doulton story is given feminist analysis in Cheryl with Art Nouvcau lettering and the fusion works. The McCahon’s ignorance of Buckley’s book, l’otters and Paintrcsscs (I990). By 19th bogusly named Chang ‘Vares (sec [18) are loved or Victorian ceramics makes century standards, llenry Doultonls employment policies loathed; the public dislike them but connoisseurs prize this improbable, the were progressive, if qualified by Victorian chivalry: “I them. Chang is unmistakable for what Jennifer Queree primitivism and spirituale still feel that women"s work should be as far as possible V" r , . , calls “the characteristic layers of glutinous, iridescent ’ 0 if“ ty ol both artists means the restricted to occupations not involving severe labour, and brightly coloured glazes”, often deliberately crack— link is less far—fetchct'l than and as much as p ‘acticable to the Arts that beautify and t} led, which run in tongues down the sides. Not for nothing R- “ ' it first appears. adorn life."7 Employment at the Lambeth studios was a is one such effect called “mutton fat”. In 1877 the business lifeline for women from the middle and artisan classes. expanded with the acquisi— This was recognised in an illuminated address presented New Zealand ‘Vares are less artistically remarka— , tion of the firm that to Doulton in 188] by his “Lady Artists and Assistants". blc but are of obvious fascination. John Bates, the m .1 ..,....mm.’ I“ ”‘" became Doulton 81 Co, At the time, 229 of the 2/19 designers, artists and assist— Christchurch china shop, mounted a spectacular Bu rslem, in the heart of ants werc. female. Among the best—known were Hannah Doulton display at the 1906 I‘ixhibition. Introduced for the English ceramics Barlow and her sister Florence who applied suraffito the occasion was the salt—glazed Maori stonewarc, later region. After initial (incised) depictions of animals and birds to stoneware. known as Kia Ora “(are after its scroll inscriptions. resistance — Henry Doulton Eliza Simmance was a more stylistically adventurous Motifs of tiki, tattooed faces and scrolls were derived smashed some Limoges artist whose works responded to Japan and Art Nou— from illustrations to Augustus Hamilton’s Maori Art. A ware with his umbrella — veau. Important nursery rhyme tile patterns of 1912 by Doulton catalogue description claimed “the peculiar style the emphasis at Burslem Margaret Thompson in Wellington Children’s Hospital of decoration, severely conventional as it is, that may be was soon on bone-china. and Christchurch Public Hospital are undergoing rcst— seen on the utens s, weapons and dwellings of the Maori, At the 1893 Chicago oration and reinstatement. Phoebe Stabler, a prolific can so easily be applied to Pottery forms now in use that World’s Columbian exhibitor at the Royal Academy (19] I—46) and, more one wonders it has not been attempted to any extent.” Exposition, the display of recently, Peggy Davies, designed many Burslem figurines. More commonly encountered is Maori Art Ware, over l500 items was seen Unlike most Doulton designers, Davies attempted whose introduction in 1907 coincided with New Zea— by Sir Philip Cunliffe— to address Modernism in her work. Her sculpture, m land’s new dominion status. The tableware is decorated Owen, Director of the Marriage of Art and lndustrv, won the Grand Prix at the with kowhaiwhai patterns which look as fresh today as Victoria and Albert Muse— they did when introduced. Especially attractive is the 1958 Brussels International Exhibition. Dubbed “Young From top; um, as “Henry Doulton’s love in Brussels” by the then youthful Duke of Edin— earthenware teapot (1928), with its yellow ground; the effectively matches the greatest triumph.” burgh, its elegantly attenuated forms are reminiscent of Art Deco brashness of the colour Maori \Vare, c. 1906- A major Chicago sculpture by Elie Nadelman. Davies also admired thc Art pattern. While it would break all the rules to reissue 205. Salt-glazed exhibit was the Dante vase Deco of Paul Manship and claimed “the early work of Maori Art Ware (the very thought would appal collee- stoneware. Auckland (see 118). A later version, Barbara Hepworth made a deep impression on me." torsl), from the feedback at the current exhibition, its Museum. goldmiedal winner at the Regrettably her hopes that Doulton would launch success would be certain. Its reissue is unlikely to offend cultural sensitivity: “We want a bigger piece of the Maori Art \Vare, c New Zealand International “completely abstract pieces suitable for modern interi- 1925. Bone China. action. 77 claimed a Maori colleague, who admired the Exhibition, Christchurch ors, using coloured bodies and relying on texture for Otago Museum (cup (1906), is in the current decoration” remained unfulfilled when she died in 1989. pattern. Far less acceptable, however, is the Maori & saucer, plate). Character J11", which only survives as a 1939 prototype; show. An entire article Doulton today seems unashamedly conservative. Auckland Museum war prevented its production. Jennifer Queree likens the (teapot). could focus on this with the Royal Family looming large, together with remarkable creation, its Maori to a weather—beaten English yokel with a moko. It recently released figures based on paintings by James The Maori Character vellum glaze mounts, m is so politically incorrect today as to arouse much Tissot and Thomas Lawrence. Doulton Character Jugs Jug, 1939. 140111111. Top; Leslie bicultural mirth. Also comical is the earthenware teapot sur pate gilding and hand—painted decorations. It portray Croucho Marx but not Karl, and Lennon and Private collection. Harradiue, Virago commissioned by John Bates in I924. It has a crazed epitomises the Victorian exhibition philosophy of McCartney but not the more “jugular” Jaggerl The best— inkwell, c. l905-8. ground and a frieze of quaint, strawberry—like kiwis. technical perfection, eclecticism and sheer ornateness. known early 20th—century British artists and designers Salt glazed stone- New Zealand landscapes, a Maori mother and child, a Multiple styles are fused: a Neo—classical Jupiter at the associated with Doulton — Frank Brangwyn, Gilbert ware, 901nm. Sir sheep farmer and flock are depicted on rack plates; there Henry Doulton top, Art Nouveau reliefs on the stem, Rococo fete "alante Bayes, Richard Carbe, Reco Capey — are not noted for are items of transfer—printed thematic ware and a World Gallery, Royal scenes hand—painted by Leslie Johnson below, and the commitment to modern art. Yet to damn Doulton’s War One figure, The Dimrer. As Louise Irvine stated in Doulton (U.K.) Ltd. medieval Dante and Beatrice at the base. conservatism is futile. In the Post—Modern era of the The Mavazine of the Royal Doulton International Easier for current tastes to enjoy are vases with I980s and 1990s critics no longer regard Modernism as Lower; Peggy Collectors Club, these pieces “could form a fascinating hand—painted sprays of roses by Edward Raby (sec, '18), the yardstick of all significant 20th—century art. Alterna— Davies, The Marriage theme collection encompassing local history, geography, also shown at Christchurch in I906. Raby’s prowess was tive styles and individuals find new rcspcct. While studio ofArl and Industry, art and ethnography.” I958. Slip-cast, admired by W. Turner in The Connoisseur: “The brush potters like Bernard Leach and William Staite Murray hand-painted. Sir with the finest point was the only one used for finish. In are still admired, there is a place in any history of Should we prefer the piety of Tinworth, the Henry Doulton this style, however, the richness, the breadth, the pottery for Charles Nokc as well. Nokc, longtime Art technique of Raby, the elegance of Davies, the creativity Gallery, Royal atmosphere and the colour are all obtained with the Director at Burslcm. spcarheat‘lcd all that is interesting. of Chang or the local fascination of New Zealand Wares? Doulton (U.K.) Ltd. broad, flat wash. The colours ar 3 all transparent and important and innovative in Doulton between 1890 and To adapt a quotation of Samuel Johnson, the subject of can only be obtained by continued refiring of one thin I940. His work varies from series—ware plates to Cllal‘aC- the series—ware plate, Dr. ohnson at the Cheshire glaze over the other.” tcr Jugs, the figures on the Dante vase to the experimcw Cheese, “when a man is tired of Doulton, he is tired of life.” The Royal Doulton Ceramics Exhibition proves From Raby roses to rabid misogyny: a vital tal wares mentioned below. just that. inclusion in any 1993 exhibition is Leslie IIarradinc"s “It is surely better to bear with singularity than to The Virago, a salt—glazed inkwell of a grumpy woman crush originality" claimed Henry Doulton. and the 2] inscribed “Votes for Women". She dates from the superb array of wares from Nol(e"'s reign shows this: IN BRIEF

Lelt,’ Edward Lucie-Smith. Photo, Peter Gibbs.

JAMES GREIG critic is to communicate accurately and quick- Iy with as many people as possible. He Avid Gallery in Wellington recently hosted believes that criticism is improved by having a small exhibition of the works 0t James some guiding basis in theory, and that judge- Greig,now rarelyavailable. TheWairarapa ments can’t be absolute, as people will be potter died in I986 just prior to the opening changed, even a little, by every new work at at his third major exhibition in Japan at the art they see. Tachikichi Gallery, Kyoto. The six works on number at galleries on his show were trom the collection ot Rhondda He had visited a trip down the country, and had seen the Greig. Women’s Suttrage exhibition, No Man ’5 Land Writing in the NZ Potter in I967 Helen at the Dowse. He commented on the number Mason asked, ”What particular blend 0t 3 at cralt shops, and the quality oi the work in mysticism and practicality is it that makes a . them. person spend his days tashioning things 0t ”The healthiestcral‘ts here otten seem to be clay and then putting them to the test at tire? the ones which are linked through to some Suttice to know that there are people like this aspect at New Zealand lite. This is actually completely dedicated to the potter's way 0t true For jewellery. The jewellery appears to lite. Jim Greig is such a one.” tIourish because people have an actual kind Introduced to pottery while studying archi- oi teel For New Zealand adornment. Women tecture at Auckland University he learned his wear slightly ditterent things. They treat jew- cratt lrom Len Castle and set up as a tull>time ellery slightly ditterently, they dress slightly domestic potter in I 962. a... .4 1 ditterently, and quite a lot 0t women, I've AvisittoJapan in I 978 led to the discovery noticed, do wear cratt jewellery and it's clear at an art term that extended beyond the EDWARD LUCIE-SMITH VISITS NZ nics. The most successtul sessions in the Poly- had any art in them at all. I think it there is a trom the quantity otcratt shops thatthere must naturalism and vitality ottheWestern concept. technics were those where there was plenty ot problem over the whole area oi usetuI cratts be a demand (or it.” By Julie Warren Attracted to thework 0t Kanjiro Kawai (master time tor intormal discussion atterwards. His then that would be a good thematic basis tor Edward Lucie~Smith's tive weeks in New potter and co-tounder with Shoji Hamada Above; Work by James Greig, on Show at Avid Edward Lucie~Smith, British author and art lectures were very polished, but students were an exploratory touring show to Hush the Zealand gave him a grounding in the diver— and Soetsu Yanagi ot the Mingei cratt move- Gallery. Photo; courtesy tondda Greig. critic, visited New Zealand during March and keen to seek claritication at his ideas, or to problem out. And similarly I think thatanoth- sity ot the arts and cralts here. He was a mentwhich revitalised Japanese pottery ear» April, supported by the OE” Arts Council and er good thematic would be to talk about using Below; Hamilton Library commission by Lynda Harris; challenge them. valuable visitor in many ways and is keen to Iy this century) he returned in I982-83 as 0 central column with native bird and loliage images The British Council. His itinerary was tull. He believes crattspeople today have devel- native New Zealand materials tor a show tollow up leads established this visit and take Japan Foundation Fellow to research his lite. Around 3,500 people attended his 30 lec- oped an obsession with process, and can end where everything in the exhibition was abso- up the invitations to return. During this time Greig visited the Fujiwara tures in Polytechnics, Universities and Art up making hideous objects in order to break Iute trom New Zealand, and as tar as Pottery in Bizen. Work he produced there Galleries trom Whangarei to Dunedin. the boundaries. Objects designed ergonom- possible be absolutely made trom the beginv with was selected tor exhibition in the ”Tachibana- Acatalogue produced by the Atrium Book- ically are more likely to stand the test 0t time, ning to encourage people to work even quite primitive techniques. I think that would LOUISE PURVIS AT Ten: I 00 Best Potters," (the only Foreign potter shop Ltd ot books by Edward Lucie-Smith on even it they are initially unappealing to the MASTER WORKS to be included) which toured Tokyo, Osaka the occasion at his 60th birthday (I 993), lists untrained eye. He sees many handcratted probably arouse a great deal of interest into the ecological and Kyoto. Invitations to hold two exhibitions a total ot 85, an astonishing 58 titles written objects which have become parodies at de- because it would lock you By Carol Bucknell thing in New Zealand society which is very at the Osaka Green gallery, one oi Tokyo’s alone, and a turther 27 produced in collab' based design, and believes cratt needs to A menagerie ot metal creatures will soon strong here. most prestigious ceramic dealer galleries oration. Since then his Art and Civilisation have more contact with designers, because descend on the Master Works gallery in tollowed, again a tirst tor a Western potter. has been published, he’s just tinished a book the weakness at so much cratt (not only here) ”Since you are a bicuIturaI society, and Parnell, Auckland. Working out ot a garage James Greig’s work is held in collections on Twentieth Century Latin American Art and is that it’s well made but badly designed. since this is such a hot issue at the moment, in a triend's garden, multi-media artist Louise worldwide. The list is long and ranges trom Further titles are planned, including a history He was struck by the links with our relative- dialogue exhibitions between Maori and Purvis is preparing tor the show (July 20 - the United Nations Headquarters (New York), of Twentieth Century Art. He has chosen to ly recent pioneer past: pakeha would be another good thing. BicuI- August 7), constructing a range at bizarre write broadly, rather than specialise, and sense in that New to the Victoria and Albert Museum London, to ”This is a very hands-on society, rather turality is a myth in a and beautitul tigures trom welded metal piec- encapsulates vast amounts ot intormation in Zealand is a multicultural ratherthan a purely many other important Royal Collections and unlike Britain and quite like America, espe- es — stalking birds, 0 copper tongued lizard, his books, wanting to presentan easily under- bicuIturaI society. It has a strong Pacitic ele- numerous influential private collectors. cially parts ot the west coast, in that sublimi- a toothsome crocodile, a crabwith outstretched For the general reader. It as people trom all standable guide naIIy people retain this pioneer thing. It you ment coming in, as well tans and a larger than lite weta. they are interested beyond that, he recom- over the world coming in here, and an exhi- want a particular thing in New Zealand as The only cost piece in this metallic Noah’s mends they seek out specialist titles. explored what they broughtwith likely as not you go out and do it yourselt. I bition which Ark is a delighttul bronze horse with very Edward Lucie-Smith travels trequently, think that’s a rather attractive aspect ot the them in the way ot cratt ideas would also be mule-like proportions sitting with his legs a good thing to do. I think all these things help believing thatas an art critic he needs both an society here and it gives a duality to the way splayed out beneath him. Most ot the animals to raise awareness.” CERAMICS PANELS FOR NEW overview at modern art and lite and an in which people live. are armed with a tormidable set ot jaws, HAMILTQN PUBLLC LIBRARY understanding otthe history otart and society ”Also, a lot 0t people class making things Edward Lucie-Smith believes contempo- teeth, spine ortans - demonstrating the idea in order to see how art work and art itseIt rary art and cralt is regionalising itseIt all ot seIt-protection says Purvis. Two large tish An old department store in the centre at as a satistying way ot lite and there are many interact with society. In his view people are around the world and it's not possible any bristle with spines and teeth in a composition Hamilton has been totally transtormed into a who are on the cusp ot being simple recrea- obsessed with the idea that art needs to be more to talk about one contemporary art. In entitled ”Fishing tor a Compliment.” contemporary city library with the art of tionalcrattspeople and thosewho make cratts explained and that the critic's job is as New Zealand he noted the teeding in at Hamilton people incorporated into the de- to sell, that is they hope to sell some ot what Protection is one of the overall themes ot spokesman tor the artist, making up tor the Maori ideasto Pakeha culture, whilethe more sign. Hamilton ceramic artist Lynda Harris they make, but they make it primarily tor the show, she explains. The idea began to tirst inetticiency at modern art in communicating innovative Maori artists were taking on board was commissioned to design and make ce- personal satistaction. emerge in several smaller pieces teaturing its own meanings. notions that were basically European. ramic tile panels to be installed onto tive ”I think one otthe thingsthatwould helpthe guardian angels, whimsical tigures with cop- pillars at the entrance to the library. A total ot Lectures were targeted at two specitic au- cratt world is intelligent exhibition planning. In Auckland, 0 number at cratt writers had per hair designed to hang on the wall like I4 panels, each I.65m high, Feature land- diences. ”Race, Sex and Gender in Contem— This is a country which clearly likes didactic the opportunity to take part in a short work crucitixes. This developed into the concept ot marks ot the Waikato, as well as its Hora and porary Art” was delivered mainly in Art exhibitions, as practically every exhibition shop with Edward Lucie-Smith. A vocilerous sell-protection and ultimately, anguish - viv» tauna, using strong colours which retlect the Galleries and Universities, and the other, ”ls I’ve seen here has been didactic. Some oi critic 0t ”Artspeak”, (pretentious gobblede- idly realised in a large copper Figure ot a intensityotthe blues and greens otthe region. Design the Enemy ot Cratt", in the Polytech- them have been so didactic they’ve hardly gook), Lucie-Smith believes the duty ot the howling dog. Experience therPassion of

hard work and coming up with ideas can take - PT V six‘ manths.” Purvis is exacting in her standards. The copper bird in the Master Works show has : Elkfii taken three attempts, each around 40 hours I work plus design time. It a piece has 1’an ‘ essence” she will persevere. “ltitdoesn’tgrab New Zealand's largest me, it’s not right so I throw it.” Art & Interior Expo She usually begins by sketching the tigure, sometimes using a photo or an actual object as a triggering device. She tries not to pay too WELLINGTON , much attention to the physical reality of the ‘ 23 — 26 September 1993 I tigure, preferring instead to ”capture its es- sence”. Construction is a Huid process, decid- (Overseas terminal) l ed in advance or as she works. ”Sometimes Above; CHRISTCHURCH ‘ things change. They start out as something Vase by Ann Verdcourt from ”Active lives ” at the 1 1—14 November 1993 and end up being quite ditterent. I’m quite Dowse Art Museum. ACTIVE LIVES (Show Week) open as I work.” Purvis has experimented with a variety oi Ann Verdcourt ditterent mediums - clay, bronze, marble - in Enquiries to organisers: 31 July — 26 September her short career. ”I have a tetish tor learning I in painting and sculpture has continued to Warwick Henderson ‘ new mediums,” she admits. But metal is her manifest itselt in her chosen medium ol ce- ramics. Favourite and the medium in which she Ieels Three dimensional, modelled ’still Jillian Bashford-Evers lives’ MUSEUM AND CAFE HOURS I she has been able to establish her own style. re-invented otter the paintings at Mo- P O Box 37~602 randi, Iigurative pieces based on theworks 0t Monday — Friday lOam - 4pm llI love the process of working with metal. Parnell, Auckland Magritte and New Zealand's ‘ It’s sharp and cold, and you have to work it . Colin McCahon Weekends and Public Holidays i lam - 5pm . will be exhibited side by side giving insight Ph/fax 09 524 0543 or 09 309 7513 : with Fire, to heat it to getwhatyou want Irom LAINGS ROAD LOWER HUTT PH (04) 5706 500 . into the tremendous vision (and wit) ot Ann I it. I really like that. Verdcourt. ”Butyou have to treat itwith respect. I wear ' ‘ a lot of satety equipment. There's a stigma Over sixty works by this artist will be ‘ attached to welding, that it’s dangerous. But displayed in the most comprehensive exhi- I tind using a kitchen whizz more dangerous, bition of her work ever held in this country. particularly it you leave the top oft. The exhibition closes on September 26.

Above; Iouise Purvis and work Lizards are the inspiration tor two striking DOWSE SHOWS QUIET COMMISSIONS INTRODUCING tor her forthcoming show at Master Works Gallery. pieces, one a skeletal ”line drawing" in metal, Photos; Peter Gibbs. the other tuIIy fleshed with a deligh‘t‘tully f Crowds Form, by Christine Thacker is cur- By Julie Warren rently on show curved copper tongue. ”I've been doing Iiz- at the Dowse Art Museum in Earlier this year, ceramic artist Christine Lower Hutt. The ards since I was at ’tech,” Purvisexplains. ”It’s exhibition explores the struc» Boswiik received a commission to make state NELSON WHITE a form I keep coming back to.” ture, texture and nature of clay, and at the giIts tor the Prime Minister of Japan, the some time explores She keeps coming back to animals also, hands, legs, figures, Premier at South Korea and the Premier at I groups understandably, since she grew up on a term and gathering crowds. China. The commission came through Celia NELSON WHITE [SAN :EARTHENWARE TO A TRANSLUCEN'I' STONEWAR-E. in Kaitawa, just out at Pahiatua. 50 strong ”Much ofthe work I make in clay is figura- Kennedy, who has established herselt as an was her teeling tor animals that she was tive, but it is seldom about anatomy, I use the independent dealer, specialising in the area IT HAS THE'QUAL'ITIESOF BEING ‘BUTTE‘RY SMOOTH AND PURE WHITE. determined to become a vet. or a iockey. Art figure as an anchor to examine ideas about at diplomatic giIts. was something she enjoyed at school but did j human behaviour, and sometimes just to Christine's work had attracted great atten- Specifications: not envisage as a career. ”I didn’t realise it i examine ideas about form.” tion Irom north Asian visitors at the New Recommended Firing Range; Orton Cone 03 - 10 (1100°C - 1300°C) would get this out at hand,” she says with a The highly textured ceramic works, includ- Zealand paviIIion atExpo in Seville and itwas Bisque to Cone 06 (1000°C) rueIul smile. ing larger than lite size legs, a hand and small to her benetitthat the Prime Minister had also , Recommended best glaze fit: Cone 3-10 In the three years since she graduated Irorn tigure are all pinch built using textured gritty seen, and remembered her work there. Excellent all round plasticity and workability. Hawkes Bay and Waiariki Polytechnics, Pur- ‘ clay. They are then tired several times with Artworks are commonly used for state vis has already held one solo show at the , repeated colour glazes to produce a soft , giIts, but because at transport problems, A VAILABLE FROM DISTRIBUTORS THROUGHOUT NEW ZEALAND Bowen Gallery in Wellington and herwork is ‘ painterly quality and depth oI colour. these have previously been small. This time, IF NOTAVAILABLE FROM YOUR LOCAL DISTRIBUTOR, PLEASE CONTACT sold through a number at galleries. Last year however, the Prime Minister was travelling Crowds Form teatures at the Dowse until she was awarded a Queen Elizabeth II grant with the RNZ'AF and August I. was able to take large tor emergent artists. In November she will be pieces. 42 QUARANTINE RD staging another solo show in Wellington otter Another prominent ceramic artist opens at Christine submitted a brief which depicted STOKE . the Dowse on July which she hopes to travel overseas. 30. Active Lives features her work Irom Seville and other exhibitions, works by Ann Verdcourt made over the past P 0 BOX 2096 Although her career mighthave developed and suggested what she would like to do. twelve years. ditterently than she expected, work has be- Celia Iinalised details at the commission STOKE NELSON come ”an addiction” tor the 24 year old Arriving in New ZeaIand Irom London in through the Prime Minister's department. , PHONE 03 547 3397 3 Purvis. CLAY ”It I don’t work I teel frustrated. It’s 3 the I9605, Verdcourt’s interest and training POITERS Strict protocol is followed in the presenta- FAX 03 547 5704 tional occasion ior two years. The gymnasi- um atCIT is not the easiest place to hang such a collection, nor is it the most accessible, but it turned out to be enormously popular, with thousands at visitors most days. There's no (Nelson) Ltd doubt that quilting continues to be a source oi C'R'A°F'T ‘ great personal satisiaction ior many women. But as an art iorm it has a long way to go in CENTRE 93 Collingwood St, Nelson this country. The work in this exhibition shows Ph 03 548 7288 the continuing iniluence oi the American tradition and the work at particular teachers Fax 03 546 8056 and styles. The standard at some pieces is particularly high, surpassing the craitsman- NELSON'S LARGEST ship oi the originals. Yet there is still very little I Studios and Shops truly original work, nothing much that dit- HANDCRAFT SUPPLIERS ierentiates ourwork irom its American origins. Open to the public There are the beginnings at a deiinition oi ‘ - Patchwork Fabrics - landscape and some pieces which show in- Buy directfrom the Artist ' Leather Work 0 Canework ° dividuality: Heather Harding’s ”Stokes Val- ley School Fire Quilt” is one, and Mary 0 Sewing Accessories 0 McCrossin Metcali’s llSilver Fern" another. In the tutor’s exhibition, uniortunately hung ° Jewellery Findings ° tion oi state giits. The work must be superbly irom the Wairarapa Embroiderer’s Guild’s Above; in a Iow»ceiIinged side room with no oppor- ‘ wrapped and presented. These pieces (pic- national competition, which will tour the Cen- "Silver Fern”, quilt - Ribbons and Laces - tunity ior distance viewing, one New Zea— ‘ tured), were swathed in handpainted silk and tral Region over the next iew months. The byMa’V, 1 HOROPITO STREET Iander's work surpassed even the overseas . . . . . McCrossm Metcali. ' Toy Making Materials I encased in boxes specially made by Trace selection Is small - lust 3i pieces - but it’s (Corner Dominion Road & Horopito Street) ° contributors'. Gwen Wanigasekera is with- Murdoch. good, and it will be accessible to many as it Above leit,‘giitior MT EDEN, AUCKLAND 0 All Craft Books outdoubt a quiltmaker oi international excel- ' travels the region in the coming months. i 2719??” gt "k Ph 09 623 0481 Normal procedure in the exchange oi state lence. Stylishly designed and impeccably There’s a really lavish catalogue which does I ”we 05W” ’ 0 Ashford Spinning Products 0 Embroidery ° giits is ior the work to be delivered with little executed, her quilts combine iabric oidiverse OPEN ianiare to the residence oi the head oi state. texture and weight with apparent ease, to credit to the embroiderers represented, most ° Cottons and Kits ° Handcraft Supplies 0 oiwhom have only one piece in the collection. MONDAY - SATURDAY News at the gitts is embargoed, so it meant stunning visual eiiect. nothing was heard within New Zealand oi There’s also a thought-provoking essay by Natural Raffia - Hat Blocks etc ° The National Woolcraits Festival at the 10am - 4pm this important commission. Shirley Dixon which provides a New Zealand ° Lampshades - and much more 0 Academy was notable ior its diversity. As well ‘ as work irom the NZ Spinning Weaving and context iorthe crait oiembroidery, and oiiers Woolcraits Society’s members, and the work alternative ways oi evaluating what is pre» dominantly women’s work. Her challenge is oiiibre artists Archie Brennan and Beth Beede. NATIONAL FIBRE EVENTS one ior all iibre artists: to be ”expressive oi the In contrast to the homogeneity oi the quilts, colours, iorms, images, events, ideas and By Ann Packer there was almost too much variety ior the emotions oi this country - oi the realities oiour viewer this time. The work oi the ieltmakers This May Wellington has hosted both the land and our people.” The New Zealand Hobby, Clay & Craft Co. Ltd biennial national Quilt Symposium and the was particularly exciting. Some wonderiul annual National Woolcraits Festival. The colour eiiects were evident in work oi consist- 1 - 180 James Fletcher Dr, Otahuhu, Auckland. Ph/fax 09 270 0140 number at supporting exhibitions has oiiered ently high standard. Jeannette Green’s award locals as well as visitors a marvellous chance winning entitled l’Sky Walkers Celebrate Every Gorgeous Moment (Three Pairs oi New Zealand's largest supplier of Hobby Ceramic products. to see some outstanding work, not only irom the overseas tutors and lecturers involved, but Boots ior Astral Family Travel)” were literally also irom New Zealand’s top quilters, spin- iantastic. There were other wonderiul weara- :i‘s‘ 1‘ \.- ~ ‘~ Kiln, Digital Controllers, Glazes, Stains, Clay 3: Slip ners, knitters, weavers-and ieItmakers. bIe artworks; coats, capes and vests, and . s 1...”,t Stir/veil pot/rm qfdiueme talc/2hr praic/ztirzf] t/aai' own l \ Brushes & Tools, Greenware, and much more! work, [nqctliel' woven iabric iit ior Paris or Rome catwalks. It \ V - QEII's Wae Wae Tapu scheme has been 09m ALSO... out/7 a gar/[cry programme [/2 ntbcr ”taint/7w, c/mrzgirzq nmnt/r/1/. And the very best oi iine handspun knitwear, used to bring some talented practitioners in it \Tliiitlii _ High-Fire it3‘1. Stoneware Clay & Glazes maintaining traditions. «\WPOTTERS 5,00,, the iibre iield: Archie Brennan - tapestry ‘ I New Clay Tints & Glazes coming soon! Call and ask for our free INFO PACK .(, 59 weaver, Beth Beede - ieItmaker, and Caryl The tapestry weaving was surprising in its ””d GALLER‘ ; Bryer Fallert - quiltmaker are among those diversity. It’s the iirst national exhibition and who have conducted workshops and given an appropriate gesture on the part oi the 14 WOODWARD STREET lectures and guided tours. woolcratt people to oiier it space. Many at PHONE 04 473-3803 these artists have come irom the embroidery It’s been interesting to see the some iibre tradition. The range oi technique, presenta- artists’ names appearing in diiierent roles in tion and subject matter is too large to cover in JULIA BROOKE-WHITE PHOTOGRAPHY diiierent places: Diana Parkes’ embroidery any detail, but I iound pieces both charming o ieatures in Cook StraitStitches at Merin SaviII and thought-provoking, restiul and challeng- Gallery, in the Romance oi Embroidery ex- (m’3 (A) ing. The medium is exciting in its possibilities hibition at Turnbull House (Central Regional

...... and I look iorward to a more cohesive, better Arts Council’s touring exhibition) and as an Iit exhibition next time.

POTTERY "‘lV V award winner in the Quilt Symposium exhi- WELLINGTON EXHIBITION bition, which she also designed. Jocelyn Archie Brennan’s pieces were a brilliant SUPPLIES Seccombe’s exquisite small ieIted quilts are in example oiwhattapestry weaving is capable Woodturner Alan Neilsen ioins with QUil— ‘ Above;

Kilns, clay, raw materials, glazes, both the CRAC exhibition and the Woolcrait oi. Supremely ironic, these works are iuII oi ter Jas Norton and Tapestry Weaver Eliza- I "CO”IIWUIIO” Cl IFS tools, stains, etc. one at the NZ Academy at Fine Arts. Shirley social comment, but some are also connected beth Arnold ior a ioint exhibition at The Pet i if; ,Tivnr'iggfrot the NZ‘s complete supplier. Dixon, who has written the introduction to the to the pastthrough the use oihistorical subiect ters Shop in central Wellington irom August . Products awrsd at the Advice, service, mail order. Romance oi Embroidery catalogue (and re- matter. Many oi the pieces use tapestry weav- 8-I 8. National . . . . Woodturners PO. Box 32024 viewed it ior CraFt NZ, page 35 this issue - ing to bring together other woven textile 24 Essex Street Neilsen was the Winner oithe Pinex Timber Awards, Christchurch Ed), was one at the selectors tor the Quilt iorms - a table cloth, curtain and iloor rug, ior Christchurch Phone 03 3667 229 Products Award oi $2500 and at the Tekna- New Zealand tax 03 3666 847 Symposium exhibition. example...... R0. Box 27~l90 Wellington 0 Telephone 04—385 4606 ‘I tool Award ior Innovatin at the Nationwide E The quilt exhibition was the iirst such na- The Romance oiEmbroidery is a selection i Woodturning Exhibition in Putaruru Iastyear. 1 year. Judge James ” ATI'EN110N ART HISTORIANS Mack chose the Vibrant Handknits same teapot Form AND PAINTERS which has taken Applications prizes everywhere are currently being invited for two highly qualified individuals it’s appeared. The to teach in the School of Fine and Applied Arts, two merit awards Wanganui Regional Community Polytechnic. went to Raewyn Ari—Aim is required to assume the direction of the Art Designer Or contact Sue Atkinson and Dav- History area and to teach the broad survey as well as 19th and Handknits Phone and Fax id Huttman. 20th Century Art History. The applicant should have attained at (04) 388 1749 James Mack Available at least a Masters degree - area of specialisation open, but an was impressed ORIGINZ interest in Art Theory or non- Western art history would be a with the signiti- Sun Alliance Centre definite asset. Written applications should include a resume cance ot the art Wellington together with list of publications. award, but even (Next to the Cable Car In amoton Quay A Painter with MFA Degree or equivalent is required to teach more impressed all levels of painting in the newly developed Centre for the Arts with the ”huge po- Teaching experience at University level is preferred. Written tential” ot the artist \“'Il...'ti"‘4'lfl.f”\. '91 ‘. LW'NII’V.“J;WI V Y applications should include a slide sheet together with resume. in residence ex- . M I change scheme set Both'positions are full-time with details of conditions negotiable ,\ up between the depending on experience. Salary competitive with an initial Norsewear Art three year appointment. Job descriptions and application forms

§§i§ G L E Award committee A ( are available from the Executive Assistant. and the Fresno Art / The position closes on October 15 with: The Director, Museum. Artist I Wanganui Regional Jenny Dolezel was N W Community Polytechnic, the first New Zea- l .1 :4 1‘, is ’“Hg’. Private Bag 3020, lander to visit the ‘X 1, to S 7 , , , ‘H’ :3; Fresno under the Wanganui. magw ' exchange scheme The WEAVING SUPPLmRS Phone 06 345 0997 and applications Fax 06 345 2263 Ill‘ 22 Broadway, P.0.Box 313, Picion, have now closed Ph (03) 573 6966 s The Polytechnic is an Equal Opportunities Employer For next year’s ex- M Wit"? W’WflW‘T”MiL”EWPlh '1'“ //II}A““?I‘M5M\ L change artist. The I 993 ex- change artist tram Fresno is now installed in Waipukurau. Kathy Quality WNELLM Wosica is a story teller, intertwining story and Above; To celebrate the diversity at his diFterent The Norsewear Art Awards continued as New Zealund ’ ' ‘ tibre art. Her currentwork is mostly in paper. Ceramic clock, recent work approaches to clay over the last three years, one at the leading regional award exhibi- (rafts by Brendan Adams. Brendan Adams subtitled his recentexhibition tions this year. James Mack Iudged the paint- t. CRAF i lflSTI'llIIBIIlltllE BASIINE Above right; at Master Works Gallery in Auckland ”A ing and ceramics sections, and Nola Fournier 9 Over 300 N2. Artisans TGALLERY MOLE MAKING & Ballgown, l9205, One-man Group Show”. The show - main From Nelson selected the wool and tibre DESIGN WORK AVAILABLE bag and headband. 9 Huge range of diverse crafts title: ”Sidetracked” . teatured clocks, radios, section. By Jutta Mark. 0 Suitable New Zealanders & Overseas Tourists Hand dyed silk sculptural arches, busts (tull sized), small A 19205 ballgown and accessories in silk The Auckland Chartered Accountants’ tirm 0 New Exhibitors welcome. (habotai & organza). tigurative pieces, boxes teapots and boat by Jutta Mark ot Hamilton was the winner in Winner at the Forms. at Arthur Andersen recently commissioned 0 Open 7 Days Phone: WI (04) 569 5524 Wool & Fibre section at the the latter section. A variety ot other media Penelope Read to make a series at panels tor Norsewear Art Awards. His slip cast earthenware torms are strong, were used For the three merit award winning Fax: “Ill (04) 562 8112 their ottices on the corner at Queen St and Down the alley behind ANZ Bank geometric, quirky and bright. pieces. Joanna Gibson ot Wanganui used Victoria St. The briet tor the panels - 0t mixed 237 Parnell AHRS: WI (04) 562 7102 paper tor Victims oi: Circumstance. Nelson's Rd, Parnell, Auckland. Since I 989, Adams has worked in his own media, tabric and acrylics - was to bring Willa Rogers mask was made tram natural Telephone (09) 309 8740 ceramic studio Out of the Blue in Kingsland, colour to the space in line with the existing Fibres. Another mask, this one in paper by Auckland. While he still operates trom there decor and to keep the work tailored. with his wile Kathryn, in I992 he also joined Janey Sinclair oi Tauranga, won the third merit award. Penelope Read tried to recreate the Feeling other Auckland Potters to term Clay Feat in NEW ot thermals, birds in tlight and the sky and ZEALAND STUDIO HANDCFIAFTS the Countrywide Centre ol‘t Queen St. The West Coast potter Chris Weaver (see pho- BILL AND PAULINE STEPHEN DIRECTORS ocean around Auckland. Clay Feat partners work cooperatively, tak- to p37.) added the maior ceramics prize at TO LEASE CERAMICS - STUDIO GLASS - JEWELLERY ing turn-aboutto work in the central venue For the Norsewear Art Awards in April to the POTTERY - WOODWARE SILK - WEAVING several days at a time. tisttul 0t other awards he has gained this Below; Detail at commission by Penelope Read Workshop/Studio - retail space WE SPECIALISE IN ONE-OFF N.Z. Now available at Craft Habitat, Richmond STUDIO CRAFTS OUR NEW LOCATION IS Other compatible activities considered. 111 MOLESWORTH ST Reasonable rents in creative setting for WELLINGTON, N.Z. TELEPHONE: (04) 473 1090 AN INTERNATIONAL TERTIARY COLLEGE serious tenants at the established SPECIALISED INDUSTRY COURSES IN: tourist venue. 0 Interior Design 0 Graphic Design 0 Film 0 Photography ' FASHION DESIQN ' Landecape Deeign 0 "Fine flirts ' CRAFT Inquiries in writing to I-4yr courses trom certiticate to graduate level P O Box 3065, Richmond. College & courses registered with NZQA Students quality tor Government Study Right Subsidy & Financial Aid Next two intakes: June & September 1993 INTERNATIONAL wggwmmg §@IIIIII”LI or: N.Z.

P.O. Box 313, 22 Broadway, Plcton, New Zealand Telephone: (03) 573 6966 Far left; Spirit of Gain by WAIKANAE SCULPTURE GARDEN Pamella Annsouth. Left; BY BIDDY FRASER-DAVIES Bronze figure by Maree Lawrence.

erhaps the greatest difference between towns local council to fund (or at least support) such a project,77 and cities in Europe and New Zealand is that said another, somewhat optimistically. The idea gathered there are lots of statues and public sculpture momentum and an organising committee was set up, in the former and a distinct lack of them in headed by a local councillor, Harold Thomas with Jo the latter. The Kapiti Coast District is no exception. Cilkison as secretary to arrange the fundraising. Four Bronze effigies with guano decorated hats come expen— well—known local sculptors gathered together to thrash sive these days and the tendency is for less flamboyant out ideas. It was decided to make the project a joint one gestures to celebrate the memory or egos of civic wor— with the local Tangata Whenua and involve the general thies. Also, in these hard economic times, there is public, as would befit the spirit of a 1990 project. The probably a dearth of affluent public—spirited folk willing artists concerned felt it was important that what was v? to commission such art works rather than a general ultimately produced should be something that the f., disinclination to have them about the place. general public would enjoy and feel involved with, a However we do have the monumental 74.6 foot high project that would provide a place of harmony and .1. concrete statue of Mary, in traditional pose, poised on delight, to which they too would be able to make a the hill above Paraparaumu. It comes complete with meaningful and practical contribution.

..

electric halo and anti—earthquake stay wires. The statue, The four artists were: Pamella Annsouth of Te Horo, A believed to be one of the largest of its type in the world, Isobel McBeath, Bob Gibbs and Maree Lawrence of (the face alone is as tall as a large man) was built by a Waikanae. Wi Te Tau Pirika Taepa with Tracy Huxford Dutch artist, Martin Roestenburg, in 1958 and was and Eric Ngan represented the Tangata Whenua in -W erected and paid for by devout Catholics. The irreverent consultation with representatives from Whakarongotai in the district have been known to refer to it as the giant Marae. suppository. Planning permission for it was never Initially the project was envisioned as a water garden sought (or granted) but it has become such a landmark sculpture set in some park—like or natural surroundings. over the years that few would be brave enough to The Russell Reserve near the Waikanae River was one complain of the dereliction of civic duty on the part of such site suggested, although it was postulated that firing. A similar section was also used for the Tangata representing the wisdom that comes with enlightenment the Catholic Priest who was instrumental in getting the vandalism might be a problem as it was an isolated and Below; Whenua contribution which was also constructed at the and the beauty found in simplicity... A true art object... project off the ground. A public walkway to the statue accessible spot. In the event, permission to build the White Heron by Smisek—Annsouth workshop. The artists concerned produced by creative efforts... expands the conscious— Doug Marsden at starts next to the Statue Bargain Barn in Tongariro project there was refused. Further difficulties were explain their work: Pamella Annsouth: “As I travel the ness. It brings changes within the soul, enabling greater Nga Mann Bird Street, for those wishing to view the sacred monolith at raised about the wisdom of spending money on the highway north of Waikanae, the heavily wooded hilltops meaning and beauty in life.”7 Sanctuary. close quarters. “luxury” of Art Works when local money was tight... behind Hemi Matenga never fail to enchant me. The A few years Pro Bono Publico and his/her relatives started writing Maree Lawrence: “My theme is based on children; more so whenever they are veiled in curtains of mist ago, the Nga Manu letters to the local press about the state of the footpaths on observing how they react to and near this element which often lie heavily on the top and feather down the Bird Sanctuary at and irresponsible use of public money... “Look at the [water]. I have chosen a 10 year old female and two year slopes. . . I wanted to depict the connectedness of life, and Waikanae commis— mess Wellington City got itself into with Pigeon Park,” old toddler. In the figure of the toddler I want to express thought of representing the spirits of Gaia, three female sioned an excellent said the Philistines of Kapiti bent on fresh mischief. The the pure innocence and complete openness of a young forms embodying the purity of air, land and water in my sandstone sculp— whole project looked as if it was in danger of collapsing human relating to his environment. Everything is new piece... In the actual sculpture, I used glass reinforced ture from Doug until an allocation of $50,000 from the Waikanae and interesting. The most natural way to experiment cement with marble—dust as the aggregate to obtain the Marsden. It depicts Cultural Levy made the project financially feasible and and understand at this age is to touch. Thus I have lustrous smoothness I needed for the Gaia figures. The a white heron and serious work could begin in making it a reality. portrayed the toddler with his hand outstretched “public tile” part of the sculpture was also very impor— towards the source of the water. His other hand is swung stands at the After a lot of discussion, the initial rather splendid g tant for me. I got a real high from the fact that I could be back, seeking reassurance from the older child. The ten entrance of the ideas were scaled down and a site in Mahara Place, the an instrument to help others to creativity. It was a very year old girl is of the age of wakening responses also. She Sanctuary. These hub of the shopping precinct in Waikanae, was suggest— . humbling experience too, and marvellous to see how has left the age of childhood but is not yet a young two pieces were, ed as a venue and later agreed upon. Each artist’s work 9‘ people responded to making the tiles and the pleasure woman. She knows some caution but is still not sure of until recently, the was designed as an entity in itself, unified by water they gained from this." her position. Thus I have portrayed her with her band sum total of Public which trickles through connecting ponds between each Bob Gibbs: “My work shows ‘Mahara Aroha7 —thc also outstretched but towards the toddler. The link Sculpture in a piece. Water was chosen as the universal element and water carrying maiden who has just emerged from the between the two are their hands. The water is what they district well known each artist has portrayed their own response to it, each bush to a private place to contemplate and to collect are both concerned and involved with.” for its impressive within their allotted area. These areas are delineated by water for her family. Myvahua or personal image is that number of artist— six foot high block walls covered in Malibu slate (con— This was a project that would have foundered had it of woman and I. hope it will reveal that special magic, per—capita. structed by local tradesmen, Peter Russell and Dave not been for the drive, initiative and tenacity of the which is part of every woman; that she will retain her “Wouldn’t it be Funnell). The slate is a lovely warm blush beige colour participants. A “trust” was set up by them to raise funds dignity, her allure and her mystery. A woman’s unique nice to commission which harmonizes beautifully with the bronze figures; for the project. Much dedicated work went into fund— sensuality lies in her power to project subtle almost a major art work to the walls ensure that the work of each artist can be raising schemes and the artists themselves provided free indisccrnible nuances. I hope my sculpture will capture commemorate enjoyed separately, even though paradoxically they labour to keep the costs within budget. The result is a that special essence which is the fascination she holds for I990" somebody remain connected. Vertical tiled components were construction that allows several different styles to be men and women alike.” suggested at a contributed by members of the public, who worked on displayed without overwhelming any particular one. meeting to organise clay either in the wet or leather—hard stage. For those Isobel McBeath: “Since childhood I have often Children and amateur artists who participated in the happenings for this intimidated by their own lack of design sense, a variety of dreamt of the joy and freedom of flight. For this reason I public tile construction can enjoy the permanency of event. “What a suitable stamps and other objects were provided. have chosen children in flight to depict the passage of their own individual tiles, inset in the wall for all to enjoy good idea. We Pamella Annsouth supervised this part of the project at the spirit, unencumbered by the physical realities of this and admire. The whole edifice is softened with plants, might even be able the studio she shares with the potter Mirek Smisek. A Earth plane. These children carry the gifts of the pools and softly flowing water which makes it truly a to persuade the small fee was charged to cover the cost of materials and universe... A chalice with a small flame of awareness, a water garden of pleasure for the community by the lotus flower representing joy and the oyster or pearl community. BY SALLY VINSON

oromandel township is very lucky and Lynda Green privileged to have its own independent gallery. I guess it ’s/air to say I ”in rather obsessed by my this is to gain some insight as to how the industry works 'I'hen/bllowed a three year period in Auckland when Housed in an old historic school building work. Knitting (and its extracurricular activities) is as with a view to becoming afl‘cclmice yarn, designer , I worked in an oflicc and weaving had to be reduced to which is also home to art, weaving, drama and much a necessity to my life as breathing and eating. For possibly on an international basis, and extending the a hobby. It was during this time that I decided I wanted youth groups, the spacious l lauraki House Gallery is run years I agreed with people when they suggested that skills I use presently designing yarns/or my own use. to wcavcfine woollen/abrics and I thought that I could by the Coromandel Community Arts Council. There are good as my work was it would never be possible to So, by altering my view oft/1c word “support”, I am market these wholesale. As a natural extension ofthis very few periods in the year when the gallery is not being support myselfby it. About I8 months ago, when I was slowly but surely on my way to making it possible to activity the designing and making ofgarmentsfrom my used by one or other local painter or artisan, either - 34, I had a change ofattitude about the aforementioned create the kind of“knitting works” that I want to make fabric was an obvious next step. Knowing that this is a singly or in groups. Dispersed through these shows are belief. Infact my work had supported me. It was a for the sheer pleasure and love ofmaking/or its own specialist area in itself, I teamed up with Marilyn ,Ioncs touring exhibitions by courtesy of the QEII Arts Coun— matter ofredefining the word “support”. Spiritually, sake , not/inancial reward. (if/i uckland who now designs and makes garments with cil’s regional organisations. The result is a veritable feast InyI/abric. Together we had an out/it acceptedjor the of Visual and tactile experience for residents and tourists I992 Benson & Hedges Fashion Awards and are now Left; from the ho—hum to the positively wow—eeel developing our partnership and our range ofgarments. Jacket and shirt; 011 show this February was an exciting exhibition of I take every opportunity andfollow every lead to fabric by Jackie work by two local fibre artists, Lynda Green and Jackie extend my growing clientele/or both the wholesale Campbell. Campbell. When I say local, they both live and work in fabrics and shawls that I make, and the garments that Jacket made by Colville, the most northerly civilised place on the Marilyn and I together produce. This exhibition at Bromq’n )‘lathicson, shirt made by Peninsula. Both the very famous general store there and I Iauraki House marks a serious attempt at making my Ngaire Evans. Lynda and Jackie’s workshop and showroom “Eclectic work known, and it has increased people’s awareness of Photo; Graeme Collections77 should not be missed if one is in the area. the wide variety that is possible with hand—weaving. One Fraser. ofmy aims infact is to revolutionise the general concept that most people have ofhand—wovenfabric. I want people to see that they can be soft and very beautiful; suitableforfine hats and garments. My ultimate goal is to build a solid sound business by

s. designing and hand—weaving uniquefabrics ofhigh s quality, to continue to live and work in a pleasant .::3‘ u environment here in the country. .~:.

.,,

Quarterly Journal of the N Z Spinning, Weaving and Woo/crafts Society Inc.

Above; We know that Coromandells image is set in the 60s. creatively and emotionally knitting has supported and Lynda Green (left) and Most of the hippies left here are balding and middle— sustained me quitefltith/itlly over the last 20 years. With Jackie Campbell Jackie Campbell (right) aged. But there is nothing hippy, brown or hairy about this in mind, I have set about ways to make itfinancially at Eclectic Collections. My weaving career began six years ago when I the work of these two women. Lynda Green’s detailed supportive as well. I refuse to compromise on a creative Colville. was 19. Maureen Lorimer taught me to weave on a use of the knitting process results in highly sophisticated level, just to make a commercial product. In the last Job Opportunities Scheme here in Coromandel and garments, and Jackie Campbell’s brilliant primary year, I have been doing lots oftest samplesfor Above right; ideas that although until that time I had never had any particu— Garment by Lynda colours in her very fine woven lengths of fabric show that may workfinancially. I have enrolled for a montIrlong lar interest in weaving, I really wanted ajobl I was Green, including a these two have more in mind than the local market. course on how to become your own boss, to give myself “good with my hands” and Maureen gave me a s lection ol' yarns Indeed, it would have been great to pick up this whole information. and skills needed to know ifmy ideas will including chenille, chance! well—presented show and drop it down again in the work business—wise. lurex and mohair. Ifound weaving exciting, challenging and not too l’hoto; Graeme Fraser. middle of one of our main cities, because the work Last year I gained a Certificate in Adult Tutoring deserves a wider audience. which was a neat chance to test myselffl had thought I diflicult. I was inspired by its endless possibilities, in fact bought myfirst loom within three months, and it As Lynda observes, tourists have been known to put was a good teacher 4 and I am) about what I knew in their heads around the door oi “Eclectic Collections" terms ofphysical knitting skills as well as knitting became my hobby as well as my job. and before leaving very quickly remark. “Oh, it’s just philosophy and social history. It was greatl Teaching I spent two and a halfyears with Maureen wool.” Just wool the work may well be, but talking to and passing on. skills is necessary to keep craft alive and Lorimer learning many different dyeing and weaving these two women reveals that they have ambitions and a wayfor seasoned cra/tspcoplc to earn moneyfrom techniques, andfollowing an urge to try something visions for their work beyond our local scene. Their their skills. new I branched out intofloor rugs. By utilizing some determination, together with their skills, will stand them For the next two years or so I am putting timc aside oft new dyeing skills I had acquired these rugs were in good stead to succeed in their chosen lifestyle. to do a Diploma ofManufitcturing Textiles. The aim of unusual and very successful. I even sold some through local group exhibitions. PETER COLLIS - PERFECTING FORM BY JESS TOOKER

orking from home can be isolating, but not for Linking Peter’s studio and house is a small gallery Far left; Peter Collis, one of New Zealaiiills high— where the pieces on display indicate both sides of this These three urns, profile potters. Livin V, as he does, in Auck— development: concentration on flowing form, clean line varying in height from land, this genial potter often has buyers, and well—balanced shape combined with an obvious 1100mm to 1500n1n1, particularly suit an collectors, others potters dropping into the studio readiness to experiment with various styles and textures. outdoor setting. The attached to his house. At times apprentice potters or Peter is sensitive to criticism that his work is too rough surface other professionals share his space. “I like company”7 he . diverse. Recognised as a master thrower, he knows full treatment (terracotta says. “That’s why I built a big studio!” well that his strength lies in creating strong form, multi-fired with classical in style. “My main aim is always to achieve engobe) lends them a softly weathered look. perfection of form, no matter what surface treatment I Photo; Gisela Lange. use,77 he says seriously. Then he breaks into a wry grin.

“But I have lots of ideas, so I enjoy a little diversion now . Left;

and then. There’s got to be room for some fun. And who i The purity of the form knows what could result!” and the use of the Peter’s versatility is revealed in his surface treat— plinth show the influence of Brancusi ments. In the gallery highly sophisticated black and gold Z and Hans Coper. While lustreware gleams sleekly alongside white, decorated serving to isolate the

stoneware, mainly domestic pieces. Both serve as Vivid 700mm high piece, the -i'

contrast to his new lines — rough—surfaced, multi—coloured plinth still remains an ”I bowls, cones and urns that look as though they have been integral part of the

/ whole. /

weathered by time and the elements; and the latest work i

— textured and elegant monochrome black and white fix '\ “ .. \ \ Photo; Howard Williams. forms, set on plinths. “The thing that I like about Brancusi and Coper is has always borrowed elements off other cultures, Like most successful NZ potters Peter relies on that they used the plinth to isolate the work. When you whether it be Japanese, British or whatever. At the domestic and lounge ware to make a living, although he make a piece and it’s put down on a table, it tends to get Fletcher Challenge Show, half the time you can’t identify balks at taking orders. “But you’ve got to accept the swallowed up a little bit — the form changes from your the New Zealand pots because they can fit into any fact,” he maintains, “that our market is just too small to intention. The piece of Brancusi’s I really like is The category. We’re such a culturally diverse country it’s support the artist potter who deals exclusively in one—off Fish where the fish is raised off the plinth by a washer, so very difficult to come up with a “New Zealand” identity. Above; Peter enjoys working with other potters for the pieces.” that he got a lovely shadow underneath. I’ve used that The truth is,” he concludes, “the only tradition in New Peter Collis exchange of ideas. “Even if they’re developing styles and idea in my pieces, and I’ve tried to follow the way Coper Zealand pottery, is that it’s vessel—oriented.” demonstrating the techniques different from mine, it‘s good to examine These new lines, especially the latest, are, however, a craft of making used the plinth, making its proportions an integral part them. I certainly find it stimulating.” conscious personal statement. “They’re not made for But change is taking place. In the New Zealand large vessels. other people, they”re made for me.” Although the of the piece. For maximum impact my pieces need to be fashion of having a go at anything, pottery has always At the moment his fellow potter is wife Julie, a former Below; surface treatment (terracotta, multi—fired with engobe) Viewed at eye level. had a grassroots base, with proportionately more full— art teacher/fabric artist, lured into pottery with her own The Collis studio in may be viewed as “fashionable”, Peter feels that he will “What you make today is a response to what has time potters than any other country; and because the line in plates featuring zany designs from NZ wildlife. Auckland. Peter's still be exploring the artistic possibilities of this line for come before you and how you’ve come through it,” best make good quality pots at an affordable price the Despite instant success with these she is finding an brief to the years to come. muses Peter, reflecting that although he has been reading public has supported them. Most have learned it as a architect employed incipient acting career even more exciting. Inventive in the sources for his ideas, Peter was about Coper for 20 years, the strong influence of Leach craft by attending night class, and/or workshops or to incorporate a Peter, on the other hand, has been fully committed to studio into his inspired to try this surface treatment after giving a lime— and Hamada on NZ potters prevented Coper’s ideas through apprenticeship. Only recently have the craft and pottery for 20 years,with many exhibitions and one—man existing house was wash finish to the block wall round his property. “It gave affecting his work till now. He suspects it may take some visual art departments of polytechnics introduced the shows to his credit. Now, as president of the NZ Society of for a design the wall an old Mediterranean feel, and I felt I wanted to time yet before they are accepted, but he’s used to overseas practice of instructing on pottery. Potters, he has a wide perspective on the craft he believes has "visually exciting as achieve that timeless, weathered patina look in my pots.”7 putting ideas on hold til] the public are ready. The new breed of potters are looking on it as an art well as functional." arrived at a new crossroads; his personal development as a Initially a “weatheret ’7 look suggested the outdoors Meanwhile Peter continues to produce the work form, and so the whole thrust of NZ pottery may change. Photo; Peter Collis. potter has also reached a significant stage. and the architectural scale that that implies, and so which has been well received over the last few years and Peter sees it as an exciting development, but fears that Peter returned to making large vessels, an old love, for is represented in international private collections and because they have little chance of making a living by these heavily textured surfaces. Over 1.5m in height, museums. His lustreware with its perfected brushwork, selling one—offs exclusively, these new potters may opt they lend themselves impressively to atrium, courtyard stylish form and graceful line has a particular appeal. To out. So, in his View, the traditional learning method has or spacious foyer. Size being immaterial in expressing the date his most successful “image” has been the combina— a lot to commend it. “It teaches us the basic skills, while form, however, smaller pieces soon came out of the kiln. tion of stipple with lustre, using four or five layers of allowing us to develop our creative side. Still, I’d love to But Peter was not totally satisfied with the glazing. glaze to give rich visual depth to his vases, bowls and have done the craft design course if it had been available “Because you’re concentrating so heavily on shape platters. These pieces, linking back to the Islamic pottery 20 years ago,” he admits. and form, it (the glazing) becomes a real problem — you of Spain and Italy, also contain Polynesian elements, in Peter himself is an experienced teacher, more than can kill the pots. A heavy texture on a pure form is fine — both form and decoration. willing to share his skills. Since 1979 he has been invited it brings an added dimension, but when you start adding Some purists have demurred. “They seem to think to run frequent workshops for local pottery societies and lots of different colours as well, you actually start taking that if you use the kava bowl form, or basket weave or community colleges throughout New Zealand. But this is it away.M Pacific Island prints for decoration, you must use a means to an end, for he is passionate about ensuring This dissatisfaction is possibly what led to his latest traditional materials, else you’re not staying true to the high standards, and that has become even more of an line. Pure forms in matt black or white are each set 011 a original. That’s nonsense,” says Peter, blunt as ever. obsession since he became president of the NZ Society of plinth which is an integral part of the piece but serves to “Why can’t you use a Polynesian pattern in a European Potters. isolate it at the same time. The ten simple but perfectly context? Why not introduce cross—cultural elements in “Potting is a very skilful craft, but like any craft it balanced forms (a year in the making) were influenced whatever craft you pursue?”7 can be learned. The more people know about what by the works of Brancusi and Hails Coper, as well as As he points out, the bowl, the cone and the cube are they’re doing, the better their pots will be. .. and the John Parker, who studied under Coper in London. the basis of any design. “Anyway, New Zealand pottery better it will be for craft pottery as a whole.’7 Right; Sycamore and walnut bowl. Lower; MARY BARTOS - WOODTURNER \Valnut bowl with sycamore insets. Photos; Adrienne Rewi. BY ADRIENNE REWI

Ideas are still forming and working intuitively, Mary hristehureh woodturncr Mary,Bartos has has yet to find a clear path to her next stage. She is never felt “held back” as a woman in a male enamoured by the experimental process though, and she dominated craft. Her determination and love finds continual interest in exploring the full potential of a of wood have consistently inspired her to piece of wood — doing her utmost to enhance its natural persevere and she has come a long way from “those days beauty while maintaining acceptable form, shape and of I956 when girls didn’t do those things.77 balance. Mary had always “muddled with wood” as a child At the same time she enjoys working on a large scale. and her introduction to wood carving at a London “Little dishes (Ionft somehow gel with me. l seem to work Polytech course in 1956 was just enough to whet her better on big pieces of wood — the “canvas” has much appetite. It was not until 1968 though, back in Christ— more happening on a larger scale. There’s simply more church, NZ, that she rejoined carving classes (with Pat to work with and I enjoy that.’7 Muleahy); and not until 1972 that she met a woodturner, Her large works tend to be more sculptural and more who introduced her to the fascination of a craft that has “free—flowing", rather than precise and structural; and since taken her over. the emphasis is heavily on the natural character of the A lot can change in 20 years and Mary’s approach to wood itself. wood turning is certainly no exception. Her latest works “Some are specific things — heads, tortoise or fish are a result of an evolutionary process that has focussed forms — but overall, this area of my work is about letting on the exploration of wood itself, rather than on leaps the wood speak louder and making its inherent nature and bounds in technical advancement. more visible. “I’m addicted to the excitement of what I can find in “I enjoy wood having its own way. I like the challenge a piece of wood — there’s that wonderful sense of discov— of imposing my own will, or making my ideas work, but ery every time you cut into something,” she says. every so often it’s important for me to let the wood be Far right; The wood comes first for Mary and she has allowed itself. the warm, colourful idiosyncracies of each piece to have Mary Bartos “I feel good about where I’m at; its a nice balance Lower left; their say as much as possible. Learning to read the grain, for me personally. But there is a heap more out there to Large walnut box. the texture and the colours and making them work to her do yet,” she concludes. Lower right; advantage has always been a primary concern. Ash, incorporating blue-painted wood. As a woodturner, she has gone way beyond the Photos; traditional salad bowl of her early (lays and she is quite Adrienne Rewi. prepared to break rules to see her inspirations realised.

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“The whole wood scene has changed enormously Current works reflect Mary’s interest in highlighting N.Z.WOODWARE SPECIALISTS from when I began nearly 21 years ago,” she says. contrasts — round bowls have become square—edged; long, Stockists of quality New Zealand Crafts “People are much freer and more willing to challenge thin, linear detail is set against circular form; rough, Woodware: Turned and Carved traditional methods and forms. They are doing things natural bark edges butt against smooth finishes; light that have never been done before and it’s very exciting to woods “play" with dark in the same bowl; lids curl Maori Artifacts: Woodcarvings: Greenstone: be involved in that.” cheekily open at the edges; and plain colours, or metals — Bone and Paua Jewellery. Mary reflects on her first bowl — “round and straight— flat, grainless and simple — are juxtaposed with the Pottery and Artworks. forward” - and says she was “almost too terrified to natural textural beauty of the wood. Enquiries to supply welcome. touch it.” She uses a mixture of European hardwoods that are THE ARTS CENTR Ph 04 472 2292 Today her work is characterised by her freer readily available in Canterbury — walnut, ash, yew, or CHRISTCHURC WE POST OVERSEAS (GST eXempt) attitudes and a continual desire to experiment, to push sycamore, cherry and apricot to name a few; and the - West on Worcester Boulevard 0 Ph 03 366 0989 - out, to challenge and to take herself and her skills frequent inclusion of the bark edge follows her intention RADIO WINDY PLAZA 57/65 MANNERS MALL “somewhere different again and again.” to maximise the full character of the wood. MARK PIERCEY - WOODTURNER BY ADRIENNE REWI

ive generations of Mark Piercey"s English family have worked with wood, although Mark’s discovery of his own woodturning talents has been somewhat circuitous. Mark emigrated to New Zealand in 1977 as a quali— fied laboratory technician and although the link to wood is tenuous, he was first employed here by NZ Forest Products in that role. Sometime in that year he had an urge to build a lathe and he fashioned an effective tool from an old washing machine motor and 6x2 pine. He remembers his first bowl with a wry smile. it was made over a period of two weeks, squatting on the kitchen floor with his improvised lathe. It may not have been an exhibition piece, but it was enough to inspire him a year later, to give up his job as a laboratory technician and become a fulltime woodturner in Lyttelton. As a self—taught craftsman he was often frustrated, but a burgeoning interest in woodwork in Canterbury in the late seventies/early eighties made it a stimulating environment for a beginner. Mark was enthusiastically involved in the Canterbury branch of the Guild of Woodworkers and he gained a lot from shared knowledge. But it was a visit from Tasmanian woodworker Merv The wood has usually been drying for six months to a Grey in 1982 that triggered Mark’s interest in working year and still has enough moisture to enable large pieces with wet wood, defects and natural edges. “1 was doing to turn more easily without cracking. mostly domestic lines and he opened up a whole new area In 1991 Mark further explored the possibilities of wet area of challenge for me,” ways Mark. wood during three months of a Queen Elizabeth H Arts Today Mark’s woodturning is still strongly linked to Council grant. He focused on different technical ap— that earlier challenge. Like Grey, he prefers to work with proaches and on the use of various burrs for texture, Right; and the incorporation of other materials. Mark Picrcey. wet wood, finding that its ability to change shape as it Photo; dries produces interesting distortions that he finds He describes his work as “quite defined and precise’7 and Adrienne Rewi exciting to work with. admits to an inner freedom that he “needs to play with”. “I am very much a craftsperson rather than a raging artist, but I want to break free a little after fourteen years at the lathe,” he says. “l want to challenge traditions more and explore my potential to make people think.” In the production of domestic lines he works in a structured way, following favoured patterns and rhythms. The period of complete freedom that came with his QEll grant was a big change, but a welcome one that he extended to maximise his experimental work. Using locally—grown European woods — plain—grainet‘l sycamore, yew, walnut, oak, ash and smokebush — he burn the surface to balance the design and tie the two Top; Screwed Up and creates forms that are light and floating. llollow vases areas together. This has led to further experimenting Strung Out - Oak, are tall and elegant; bowls are raised on small legs to give that plays upon the textural and colour contrasts of 350x250x 125111111. Lower; a sense of space beneath, and there is a strong reference rough burned exteriors and highly finished, smooth Body & Soul - Elm to the tribal and ceremonial bowls that Mark draws upon interiors. Burr 350x 1 410mm. for ethnic inspiration. He is also interested in the use of other materials, but Photos; Lloyd Park. “I try to make pieces with a nice, simple design, says works in this area are still very nmch in the developmen— flowing lines and crisp details — bowls with a nice lift — tal stage; and he is keen to challenge people’s expectations and I’m moving toward freer pieces.” he says. with titles and works that play on words and materials. He believes the end product has got to be well made Odd Hull ~ Screw Bowl and Screwed Up and Strung and if there is detail, it must be clearly defined — “but Out are typical and are a humourous pun reference to Above; Raised bowl - ash, 320x1651nm. how you get that is immaterial. Technique is only a the school of thought that says there should be no Right; Hollow vase - ngaio, 400mm high. means to an end,” he says. evidence of screw attachments to the base of bowls. Photos; Lloyd I’ark. Mark has recently employed burning to achieve Mark’s lighthearted response is typical of his overall interesting effects. Faced with a bowl that was heavily philosophy that quality of finish is important, but “rules burred on one side and plain on the other, he decided to shoultlmt be a religion.” KATE WELLS - FISH OUT OF WATER BY MARGO MENSING

ate Wells understands the possibilities of the individualism of the human landscape a correspond— tapestry and she pursues its nuances relent— ence to shapes that distinctly evoke the New Zealand lessly. Much contemporary tapestry is boring. landscape. Static images are nailed down in a fixed spatial While The Fish out ofWater series is playful, in the plane. A well—executed tapestry either looks like a pallid recent series exhibited in N0 Man 73 Land at the Dowse painting or a design exercise. It depends on the allure of Art Museum, there is an edge, a definite tension in the the tactile surface and sacrilices the visual. a human relationship to the physical environment. Wells Surefire imagery sparks Kate Wells’s tapestries. incorporates words as components in her sign and Although they are graphically exceptional, her weavings symbol system. Her reading of “No Man’s Land” is not cannot be reduced to designs. She determines key images so much feminist as it is humanistic; she is interested in — geometric shapes and pictorial elements — and repeats how man has used and abused the land. The theme gives them sporadically to establish a narrative thread. Each continuity, but each tapestry is discrete. Each one is a one in the series has a single readable idea. Yet the geographic site with a specific geologic property, Head— sequence of tapestries is arbitrary. Seen together, the land and Volcanic Chill. There is no continuous sto— narrative does not follow a direct course. ryline, except the obvious notation of manis mark on the Often a newspaper article offers an idea for a land. tapestry. The impetus for Fish outfofwater (1989—90) Many of the sites depicted are islands. Islands are came from a story Kate Wells read about a woman in a characterized by assumptions of smallness and isolation, desert in Australia looking for a lost sea. She takes the even inadequacy. Such restrictive labelling is dismantled prosaic and bends it into fantasy. For her, narrative in Ward Makora Island where island is divided, and opens a dialogue with the viewer. It is not a personal sclf~ Ward Makora becomes land, “ward makora is land.” indulgent expression but a free—flowing communication. Her sketch for the tapestry appears in the exhibition Opposite page; It is the conceptual base of her tapestry weaving, why she catalogue with more word play. “Ward” is defined — “to The Witch Fish is too finds real freedom within this very exacting medium. look after, to protect” and the irony is clear in the Thin to be ofEdible Value. 690x460mm. The individual tapestries in the series belong together context of the series. She inserts a linear black and white Tapestry by Kate because of their formal properties. Fish out of Water is gauge, another constant variable in these tapestries, and unified through colour, line, shape and repeating images calls it “measurement of chance: noughts 81 crosses, land — fish, woman, bowl, landscape, architecture. Seizing on ownership/ or guardianship”. “Antarctica free—for—all” is what she calls the “wonderful monotony of sand and heat even more pointed — not only is the free—for—all open to all nations of the desert,’7 she settled on muted colours — salmon, to seize a piece of the prize, but the entire 44"-.IM-Im -m.c‘~,_1m 5 bk) yellow, beige, and granite — to dominate the palette. enterprise is a rape of the land. In her sketch for this one <- We she notes the pot of gold with an arrow and writes \- //

151' Though the overall impression is that of the desert not T'W water, great splashes of blue appear in two tapestries, “surely there must be a pot of gold there like at the end FOR ALL YOLIR of a rainbow...sadly there is and every country wants to Flight out of the Desert and The Fish that got away — a tax/K“ Textures tall story, activating the space of all of the tapestries. plunder the pot. . .to claim its slice of ice. The shadowy DYEING The fish that wanders through the tapestries is always ground where the A and the n, as well as the pot, sit is REQUIREMENTS ‘91 out of water, floating or flying through air. The woman the hole in the ozone layer. also assumes a number of stances, from standing at rigid This information is not present in the text of the PROCION Craft attention to a mermaid floating gleefully through the sky. tapestry, instead sporadic arrangement of the letters of Fibre reactive dyes for all natural fibres — , m1t~u=m The graphic organization of the tapestries centres on Antarctica perambulate the surface. Her politics are not 44 colours — direct from USA. > line and shape. Drawing is important in the planning and didactic, and surely humorous in places - in “Headland” JACQUARD SILK DYES , layout, but the tapestries would not be as imaginative if a head appears. In addition to the splintered text, coded Liquid, easy to use, set by steam or Dyeset " signs appear. One is the gauge laid out somewhere as a concentrate — 20 colours. _ q Gallery they were drawings. The woven surface is essential to sign of impossible measuring. IACQUARD TEXTILE COLOURS

shifting planes, the interaction of flat and perspective. M'mm'tm;

Easy to use paints that are absolutely lm.". She utilizes the curvilinear possibilities of tapestry Most of the tapestries in this series depend on a colourfast — 56 colours including fluorescent, Crafted NZ. V arm weaving II '73" 1 Hand and opposes them to the grid inherent in loom framing structure, a central image with irregular Starbright, Opaque. structured weaving. In The Garden Encroaches while I borders. This device fortifies the idea of a picture within CHEMICALS if} Pottery El Woodware E Wearable Anti Fish, the green arcs suggesting the garden soften the a picture, it isolates the representation of the geographic Complete range including marbling supplies. large lattice grid and the straight figure. On the right two feature, and it heightens the flatness of the tapestry. The T,“ SILK & COTTON FABRICS fl Jewelleryfli Wall Hangingsg'g'. Glassware thin deep red bars are upwards in an opposite swoop to erratic rather than regulated border continues the ‘ i’ k Large selection available by mail order. the foliage and point directly to the free {\‘7 ' swimming fish, disjunctive alignment in the central picture, reinforcing HAND DYED PATCHWORK FABRICS Lg? Individually Designed Furniture rm framing it the upper, almost colourless space. These the context of precarious balance in the formal elements Percentage dyed fabrics — over 150 colours to "212 Ll

simple, integrated elements unify all the elements and of the tapestries. As with the earlier sets, in seeing the 4 choose from. I emphasize the figure. tapestries together it is clear how Wells works and how Complete MAIL ORDER Service The final tapestry in the series, The Witch Fish is too the works fit together and Still remain Spontaneous" I Sendfor catalogue and colour charts ‘* 3| Hurstmere Rd E thin to be ofEdible Value, is dominated by the large A year’s study at the Victorian Tapestry Workshop ' \ " TILLIA DYES & FABRICS witch fish. Another newspaper item was the source for in Melbourne in 1983 equipped her to establish a l l‘ PO. Box 82—194, Highland Park

1 Takapuna Auckland 5 this caption. It is more than strange facts that motivate weaving studio. For now, she prefers to do her own AUCKLAND. Robyn Haycock her narratives. Her weavings gravitate to human weaving. Kate Wells’s gift for design is plain. Recently ‘ '1‘ : Ph (09) 534-1358 Fax (09) 575'2513 ”M‘.’

)I‘ Phone: 09—486-0877 i

interaction with the environment. Living in New Zealand She has branched into other arenas with other projects. . '~/ , I ‘1 30' IS v1tal to her particular awareness of landscape, and the Certalnly tapestry is tedious busmess. It Is also her real \\\_ m4 '3 . mad isolation within landscape. She finds in the ruggedness, love. uni-.mwm ARCHIE BRENNAN - MAKING MARKS

BY KATE BA1TEN

rchie Brennan is perched in front of his Archie would go to drawing lessons at the school. It was weaving loom, his grey bushy eyebrows a stark there that he met tapestry apprentices and at 17 became contrast with his black hair. He has spent 45 an apprentice himself. His parents knew of his interest in of his 61 years in this position, patiently the arts and all his family were creatively minded in some creating the tapestries that have made him famous in way. “I knew I would either be an artist or a cowboy.” weaving circles around the world. Tapestry itself has its origin in the medieval castles Tapestry weaver Archie Brennan is in Timaru on a and manor houses where tapestries were hung as a form two month artist—in—residency at Aoraki Polytechnic. He of very expensive wallpaper. The beauty of that was, is Scottish,but now lives in Maui with his partner and when winter demanded the family move to somewhere fellow weaver, Susan Maffei. with a warmer climate, the tapestries could be rolled up Archie does not understand why he is involved in and taken with them. such a medieval process as tapestry weaving in this Archie still enjoys that transportability of his art modern age of technology when “it takes a pencil a split work. “There is something happily perverse about second to make a mark but to make that same mark in travelling with a roll of tapestries under your arm.” tapestry, it takes 500 times as long.” He questioned In the 16th century. it was quite odd for women to whether it was all worth it in 1969 when he was weaving a weave - most often it was the nuns in convents. Even plain black piece of tapestry. He began the piece as the when Archie began his seven year apprenticeship, there NASA rocket took off. taking the first men to the moon. were more men than women weaving. But now. male Archie carried on weaving through the night,watching weavers are the exception in the tapestry world, with the rocket’s progress on his television. But Neil Arm— approximately one man to ten women. strong took his first lunar steps before Archie had Archie thinks there are a few hundred people in New finished his woven piece. Zealand doing tapestry. They are pretty isolated here “It made me really ask if it was all worthwhile. But I and probably do not know that each other exists. For Below; decided that yes, for me. it was.” Archie wishes there many artists they are just experimenting in the medium Susan Maffei and were many more working hours in his day. “It takes long and for others it is a hobby. Fibre arts became popular Archie Brennan with hours to get anywhere in tapestry.” in the l970s and tapestry was part of that. As with any one of Susan's tapestries. Having an art school half an hour from his home in craze, such as skateboards or BMX bikes, it was short Photo; Kate Batten. Scotland helped Archie get into tapestry. As a young boy, lived and tapestry sank back into being a minor craft in

Above; Antarctic Free For All. 420x460nnn. Tapestry by Kate \Vells. Bight; Splint, Split,- Words, Words. Tapestry by Archie Brennan. Photo; Kate Batten. Below; Dersu Uzala. Tapestry by Archie Brennan.

Photo; Kate Batten. l “4“‘8‘0,

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T“ THE FOURTH DAY A nzw START

THE THE FATALFALL our society. Archie thinks that it is “lovely that it is a some hobbies now, knowing his tendency to become minor craft. Gregorian chants are the musical equivalent fixated with the activity. to where tapestry is in the art world.” He says that Archie would prefer to work more physically than REVIEWS tapestry has the strange characteristic of growing weaving requires him to. He gets mentally tired but often linearly, and in that way it mirrors life. “Once yesterday thinks he would prefer to be a. sculptor to get more is done, you have to get on. You can’t wipe out what is physical activity. Tapestry is varied with moments of already done." intense focus and then the relaxed “wool pushing’7 where CHALLENGE combined with other media, and in some Archie uses natural wool and cottonip .his weaving. AFFIRMA'HON AND the weaving does not require much thought. He finds this cases the actual stitchery, while essential to ‘ He gets his materials from all over the world and enjoys part quite boring but considers it to be like sawing wood The 4th National Embroidery Exhibition the work, has become a minor part. Are these playing the differences between the fibres side by side. and just “gets on with it.” Reviewed by Shirley Dixon. embroideries, or do they more appropriately The qualities of wool that appeal for clothing, such as His contribution to the arts community was recog— Embroidery, as Rozsika Parker‘ pointed belong in the wider field of ’fabric and fibre insulation and waterproofing, are not what appeal to a nised in 198] when Archie was awarded an OBE. He is : out, is a subversive medium - and this exhibi~ arts'? It challenges embroiderers to consider tapestry weaver. The way that the wool takes on colour is very modest about it and sees it as a bit of a token tion is wonderfully so - gently but insistently which are the most appropriate modes for of more interest to Archie. . gesture to the arts. Although he is grateful to have the extending the bounds of embroidery. While expressive embroidery - is the framed wall A challenging experience in France helped to get the award, it has no recognition in the United States where the works were selected under five categories: . panel the most suitable, or are the special “hand—done’7 urge out of Archie’s system. He was he now lives. In the United Kingdom, he gets respect innovative, original work in traditional tech- qualities of embellished textiles - which is handed a fleece straight from the sheep to weave into a from the art world as people seem to think he has earned niques, charted work, lace, and junior work, what even the most innovative embroidery is tapestry. He was not allowed to spin or dye it — he had to it, as opposed to the military where it is more an award there are no disrupting divisions in the exhi» about, better served in other forms? spend long hours laboriously blending the wool to match for long service. bition . the categories flow into and comple- The exhibition challenges embroiderers to the colours. other making an integrated state- Archie thinks that artists are very peripheral in ment each consider the directions New Zealand embroi- He has no objections to those who do enjoy spinning ment about the diversity, the versatility and future. It raises questions modern society. “Traditionally, life was unimaginable dery should take in the or dying by hand, but suggests it is the process they the energy of contemporary New Zealand about the development of a specifically New without art. Now society views it like Christmas cake — it enjoy, rather than the final product. He sees no virtue in embroidery. While the degree of innovation Zealand contentand feel in embroidery; even is nice while you have it, but you can do without it,” Above; doing things by hand if it can be done just as well by varies between categories, all pieces show within the life-time of many of the exhibitors, "liaisons" by Kirsten People can be made to feel guilty for being full time technology. That seems to be a contradiction when he the inputofthe maker into the design process, embroidery has moved from a total reliance Haworth, Wellington; artists. When he was in his 30s, his mother suggested he and the emphasis of the exhibition is on the not only on the materials of Europe but also canvas work.Winner in the spends so much time weaving. But perhaps the argument "Original work in traditional should get a haircut because he “looked like an artist or of is whether tapestry could be done as well by technologi— use of stitch to make an original statement. ‘ on the forms, to an exploration of ways technique”category, Naif something.” Susan’s father is still waiting for her to get a - to cal means. Seventy-seven works from the adult cate- expressing our reality as New Zealanders style drawing, bright colours ‘real job.7 looking to our own environment and experi- and a multi-patterned Perhaps one reason for Archie’s commitment is his gories plus sixty-three in the junior section are surface are combined in this ences as the source ofideas for ourwork. And self—confessed obsession with art. He visits galleries Archie gets his inspiration from the world as it is. exhibited. Most of the pieces are designed to happy, expressive and this challenges embroiderers to undertake the episodic narrative. regularly and can not imagine life without art. He is Tapestry has always been a vehicle to make political and be hung on the wall, though it is a pleasure to innovative embroideryalso being applied i art and design training necessary for the and other interests with Susan social statements and Archie uses the tapestry, rather . see left; fortunate to share that development of expressive skills. and they spend all their time together, weaving and than the colours and textures, to make the impact. to hats, covers, clothes and work basket "The Starcotchers Hat", by accessories. The works reflect an exploration The exhibition raises questions of whether lauro Hudson, Palmerston travelling. They do not, however, share the same At the end of his artist—in—residency, Archie and of the wide range of hand and machine embroidery’s prime purpose should be as a North; rayon acetate, hand personalities. A keen tennis player, Archie found himself Susan will be travelling around New Zealand conducting printed and painted, applied embroidery techniques available to today’s . medium of artistic expression, or as a means becoming obsessed with the game, whereas for Susan, it workshops and exhibiting Archie’s tapestries in Welling— duck, linen and Fimo. This is , embroiderers, and the diversity of moods - of producing beautiful functional items forthe one of a wonderful ii of ton, Hamilton and Auckland. is purely exercise. He is careful not to get involved with i the subtlety and blatancy, the softness and home, Or should diversity be the prime concern hats in which the w imsicol, the humorous and the prosaic crispness, the whimsical and the serious so- - to use embroidery for all possible purposes are combined to express the NEW ARRIVAL FROM CHINA cial commentary, that embroidery is so ca- - to both maintain tradition and to push the diverse personalities of their pable of producing. bounds? 'weorers’. THE HOTTEST THING SINCE GENGHIS KHAN As embroidery is a predominantly female If the mark of a successful exhibition is to occupation Women’s Suffrage Year is an provide the viewer with a satisfying visual appropriate time to both celebrate and experience as well as to stimulate thought, have the opportunity to see thirty-two works evaluate embroidery which has been, and then this exhibition is most successful, and I selected from this exhibition, which are being still is, an importantpart ofso many women’s look forward to seeing what the exhibition toured under the title ”The Romance of Em~ lives. The strength of this exhibition is that it organisers and New Zealand's embroiderers broidery”, by the Arts Council, with the span» both affirms and challenges embroidery and come up with for the next exhibition in two sorship ofJanome sewing machines, over the embroiderers. years time. next two years. The exhibition affirms the essential quali- Meanwhile, people living in manytowns in ‘ Parker, Rozsika The Subversive Stitch, ties of embroidery — of stitch on fabric, of the the Arts Council’s Central Region (which Women's Press (London, I983) SIZES NOW AVAILABLE EX-STOCK richness and variety ofeffects thatitis possible ‘ extends overthe lower halfofthe North Island ”Walker, Audrey The Stitched Image in BOILED OFF SPECIALLY PRE- Size Quality to achieve with embroidery more successfully I and the upper part of the South Island) will International Textile magazine T992 PARED READY FOR DYEING/ 30x300m 11102 Paj than with any other medium. HANDPAINTING/ TIEDYE/ 23x137cm 11102 Paj The exhibition affirms the continuing use of SCREEN PRINTING 30x152cm 11102Paj embroidery for the embellishment of items 61x61 cm 11102Paj thatwill be a joy to use in the home as well as TH ESE SCARVES ARE ALL WITH QOxQOcm 11102Paj the contemporary use of embroidery as a l 7 SUTERFART GALLERY HAND ROLLED EDGES (4 SIDES) 90 x 90 cm 11207 Habotai of individual expression. In New 90 x 90 cm 19005 Twill medium HAND SEWN WITH PURE SILK Zealand, as overseas, embroidery is in- ‘ BRIDGE S1,.NEL80N .. _ THREAD 90 x 90 cm 12157 Crepe de Chine 114x1140m 11116Paj creasingly being used and accepted as a YOU MUST SEE THE SUPERB I 25 x 115 cm Fringe 11206 Habotai meansofmaking an artistic statement, though p 3 MajorCraft Exhibitions” FINISH TO BELIEVE IT! Silk Thread as Audrey Walker, 0 leading British em- ‘ Romance of Embroidery, |_ ”Embroidery as a serious art broiderer says, August 18 - September 12. WALES & MACKINLAY LTD form can still be a difficult concept for some peoplea . H TEXTILE AGENTS & DISTRIBUTORS I The Best Things Come in Srha‘ll Packages, The exhibition also challenges, It challeng- NZ-Society of Potters,September 9 - 26. 199—209 Great North Road, Auckland 2, New Zealand. ‘ ' es the very definition of embroidery » are P O Box 5140, Telephone 0 9 376 3047, Telex NZZS95 Works where stitchery has been consigned to l ' NZ Cra'ft Dyers Guild 4th Exhibition. Fax 0 9 378 0650 a minor role still embroidery? The exhibition September 26 - October 17. Christchurch Agents: H S Crookbain & Sons Ltd, Phone 0 3 366 3551 includes several works in which embroidery is PU MANAWA to youth, whilst in turn youth teeds back to delicacy. To many artists this has been part specialist. age, new materials, perceptions and methods ot the lexicon used to down-grade and di‘ Reviewed by Lesleigh Salinger it was interesting to view the ot interpretation. minish women’s work and yet the work on show through the eyes at some- The traditional work ot Maori women It is a compact exhibition comprising a display reasserts the retinement and strength one unFamiliar with New Zea' has otten been second-bested to crattspeople range ot cloaks, kete, tukutuku panels, poi, ot women's traditional medium (weaving) land pottery. A gregarious per in thatuniversal time (dis)honoured thatotmen mats and skirts along side paintings, sculp- and its expressive power. son, his enthusiasm was custom otattributing less value, and theretore ture and installations. The intertace between The catalogue detinition explains Pu Man» intectious. He loved the work. ”It power, to what women produce. Right; works traditional both in expression, material awa as -”a heart, source or inspiration and was so exciting opening up the Arabian lntluence , The ground-breaking Te Maori For exam- and method and works contemporary in reters to a concept central to the practice and boxes. The pieces were very dit- machine knitting ple had no weaving on exhibition. expression and material, but with reterence philosophy at weaving. This concept, based terent, there was a real diversity by Anne Baxter, Care. From [n the process ot reclaiming mana tor to traditional Maori terms or methods, com- on the rito and awhi rito . the three middle at exploration and no one style. Combined Textile weaving, Pu Manawa a celebration otwhatu, pels the viewer to engage in the subtlety ot the shoots ot the tlax plant - is used as a basis tor We decided to go tor diversity Guild Exhibition. raranga and taniko on exhibition at Museum medium and by extension its inFinite possi- the selection, grouping and arrangement at and tor interesting things." Gen- bilities. the exhibition and publication." erous by nature, and Finding it Below, ot New Zegland/Te Papa Tongarewa until Te A0 Tawhiti , )5 August can claim to be a tine vehicle. Its The accompanying catalogue teatures 2T The display ot the exhibition is comple- ditticult to ditterentiate between by Jacqueline premise is that these artists are part ot a crattspeople and artists. They present us with mentary. Alternate surtaces on the gallery such dittering works, he split up Fraser. all the Awards. He was keen to From Pu Manawa. continuum in which thetransmission otclassic a visual teast. The word to describe the range walls and partitions are painted in subtle techniques, skills and Forms passes trom age otwork which springs immediately to mind is, tones 0t green and white which torm an encourage as many people as he harmonious environment tor the work and could and to spread the prize mirrorthe appearance otthe tlax trends. The money as tar as possible, re~ partitions intersect the large back gallery at warding what he thought was the Museum so as to lead the viewer on a important. T30 pieces were ac- circuitous path, ”weaving” through the material. cepted tram l70 entries. The se» lection was much broader than is The presentation otthe exhibition is caretul usual tor a National Exhibition, with good notices, examples tor touching, but tor Rubino and Denhert, the music and historical photos by the noted excitementotthe work wasthat it photographer ot Maori, James McDonald was all unknown - they had no l865-l 935. It merits a visit tram any cratt~ preconceptions to bother them. Technique Editors note. Because ot space require- Above, Teapot by Chris sperson interested in seeing the holistic incor- Weaver. This piece was and tunction otten seemed less important ments, the reviews at Pu Manawa and the poration at techniques, the aesthetic, mean- selected (or the Fletcher than style and ettect. Cleveland Awards have both been short- Challenge Ceramics Award ings and context. These women have earned ened, leaving out discussion at individual A similar piece was the [amt their place in amongst the best ot New Zea- At a cursory glance the show was slightly winner at the Cleveland works. The Full texts are available and will be land art and cratt. disconcerting. There were the expected high Award. See also Norseweor quality pots tram the veteran exhibitors, but dispatched on receipt oF $2 For each review Award coverage, plB this Exhibition closes August 75. to cover copying, post, etc. issue. there was a lot oF untamiliarwork. Fortunate- Photo; courtesy, Fletcher ly a long slow inspection revealed .many Challenge Ceramics Award. unexpected gems and promises at work to COMBINED TEXTILE GUILDS look out tor trom emerging potters. The sur- CLEVELAND CERAMICS AWARD Auckland A&P Easter Show prises all came tram graduates or students in Reviewed by Sue Curnow Reviewed by Julie Warren Polytechnic Cratt Design Courses, where sev- eral ot the award winners had trained. The tirst point to make about this show - This year, in a breakwith tradition, the NZ i Society at Potters decided not hold its annual The proximity ot the exhibition was no and it’s important - is that itwas the tirst ot its kind. The tirst exhibition at work by the exhibition, electing instead to support the doubt the reason tor the proliteration ot Cleveland Ceramics Award. The current pol- students and graduates trom Otago Polytech- combined national textile guilds, and the tirst icy at public art galleries and museums to nic Ceramics Course, but I’m optimistic that comprehensive exhibition at textiles at the exclude sales meant the preterred venue, the it’s a retlection otwhat’s happening in other Easter Show. Dunedin Public Art Gallery, was no longer parts at the country-Many ot these students The organisers ot the 150th A&P Easter suitable. For the last two years the Cleveland have a ditterent commitment to those who Show wanted to recreate the spirit ot the old Ceramic Award has been attracting entries became potters in the 705. They are more A&P shows, where handwork, cratts, domes- trom all around the country, and it suited both likely to be multi-skilled as a result at their tic arts,tookproud and contidentplaceamong the NZSP and the Otago Peninsula Trust, who training, and to see pottery as iustone part at the other attractions. (The Adelaide and run the exhibition, to work together. The their lite, not a litestyle. They may take time Sydney Easter Shows are still live-and-kick- exhibition was held to co-incide with the out to do other things, and return to clay atter ing proot ot the widespread engagement in potters' annual convention, organised by a break, enthused again. There’s no doubt- theseactivities. Both recreational and protessional Neil Grant, head ot the Ceramics Department ing that their intentions are serious though - groups and individuals mount displays otvisual at Otago Polytechnic’s School ot Art. The tees are high and living expensive, and many delight and otten breathtaking virtuosity). venue tor the Cleveland Award has previous- at them graduate with huge student loans. An approach to the Weavers Guild to that ly been at Glentalloch, some distance trom That so many ot them are willing to take suggest the inclusion ottextiles (Following the the centre ot Dunedin, buttor the convenience on is a tribute to their commitment and good highly successtul tirst inclusion at the potters , ot the convention goers itwas this time shitted news tor the continued growth and exciting last year) led to the appointment at Judy into the Carnegie Centre, a large gallery, just diversity at ceramics in New Zealand. Wilson as coordinator, with the aim ottorming ott the Octagon. Cleveland Ceramic Award Prize List. a combined textile guild in order to receive Selector was Tony Rubino, sculptor trom Cleveland Award, $3,000. Shared: Arts Council tunding tor an exhibition and at New York. Brought over by the Polytech as Raewyn Atkinson, Lynda Harris, ChrisWeaver encouraging membership at the various Artist-in-Residence, he had worked with the The Scottwood Award, $1 ,000. Shared: guilds. students to puttogether an installation as part Anthony Bond, Jim Cooper, Mirek Smisek With the exception ot the Patchworkers at the convention. Rubino co-opted Fellow Southern Clays Award, $500 goods. Shared: and Quilters, who are so tar opposed to American Bruce Denhert, colleague in the Steve James, Gaeleen Morley torming a national body, each at the seven Ceramics Department, to help him with the Glentalloch Award, $500. Shared: textile guilds was represented by selected selection. As a sculptor he telt that as many ot Anne Powell, Bruce Martin work trom around the country (The Former, the entries were vessels he was more comtort- Merit Awards: trom Auckland only). One at the benetits ot able working with the assistance at a clay Peter Alger, Gretyl Doo the combination has been increased copper- ITINERARY

. Daughters of the Land. A look at the lives oi The CraFtArt Company, 284 Lambton Quay the immediate Bay at Plenty (Sun Alliance Centre), Wellington. . and to improve public awareness and under- EXHIBITIONS rural women in area Irom I 890 to I 990. July 30 - November . On-going exhibition, including pottery, (ew— standing. Such a phenomenal wealth ot ma- I Reyburn House, Whangarei ellery, tapestry weaving, glass, wood, silk, terials. techniques and their products, com» I994. Creative Clay, open potters exhibition. Oc- Needleworkers - "Women of the Land”. An paintings and mixed media. ing together in one place could create an tober 5»27. exhibition by the Waikato/Bay of Plenty The Vault Gallery, 6 Willis St, Wellington. atmosphere at delight tor a” and inspiration Warkworth Craft Gallery, cnr Baxter & Embroiderers Guild. September 3 - October 2 The Annual Hot Exhibition, June I - July 20. tor many. In tuture, more attention should be Neville Sts, Warkworth Hawkes Bay Museum, Napier Fumiture andSculpture by Ian Key, From July 2I . given to good labelling; it’s not enough to Invited local women celebrate IOO years. Outside oIFunction, Contemporary si Iverwork Accolades Gallery, 22 The Terrace, Wellington. state name and price. Materials and tech- September I7-October I. by Tanya Zoe Robinson, June I9 - July I8. Diversity- 9 Weavers' Work, September 9 - 30. nique, perhaps a little background Gallery-on-One, Waiwera (I km north at Luk Luk Gen! Look Again! Contemporary art Bronze Bowls byJohn TuIIettand Hot Glass by intormation,and certainly the guild repre- Wenderholm Regional Park). From New Guinea. July I4 - September I9 Mandy Angus, October 4 - 22. sented, are essential. Was Ever Woman, new works in mixed Chipao Chanson, Chinese Robes, August 2. "A Garden at Unearth/y Delights," by Mayra Elliott. Suter Gallery, Nelson There's an unfortunate tendency tor the media/machine embroidery, by Freda Brier- Hawkes Bay Review, annual exhibition at From "No Man's Land”, an exhibition at the Dowse Art Young Contemporaries Exhibition, June 23 - Museum, until January I994. textile genre to attract adherents to the l(wild Iey and Maggie Gresson. September 2-30. painting, sculpture, photography and print- JuIy I8. and wacky" school; characteristically there is Compendium Gallery, 49 Victoria Rd, Dev- making, October 2 - November 7. commentaries in the exhibition catalogue. Women’s Art From the North of the South unbridled enthusiasm tor strong bright col- onport, Auckland. Hawkes Bay Exhibition Centre, Hastings. Until January I994. Island, July 2I - August I5. ours and harsh or obvious contrasts. The Annual Contemporary Craft Competition, The Courier Post Royal DouIton Ceramics Active Life. A maior survey at the past ten Romance of Embroidery, August I8 - Sep- problem is exacerbated by scale; there is I993. Contemporary Furniture, judged and Exhibition. July 3 > August 5. years at work by Ann Verdcourt. July 3I - tember I2. ditticulty, especially with Fabric, in achieving selected by Wayne Hudson, Tasmania. MyriadArts Centre, Manaia, South Taranaki September 26. NZ Society of Potters, September 9 - 26. tinesse and appropriateness at scale to im» Lopdell Gallery, Titirangi, Auckland Pottery, PameIIa Annsouth. Wearable teIt head hats and head dresses by Croft Dyers 4th Exhibition. September 26 - age. At the other extreme, there are those - Calico Company, July 9 - 23. New works, Maria Lee, Fabric Art; Alastair Hilary Eode. JuIy IO - September 5. October I7. particularly spinners ancI weavers - who use Generation ’93, Waitakere City High School SorIey, LeadIight; Marilyn Dreaver, Pottery; NZ Academy of Fine Arts, Wellington Cave Rock Gallery, Arts Centre, Christchurch. natural dyes or sott colours and produce Students. July 9 - August 8. October. Winter Show, art and craft works. June 26 - Gloss from Punokoiki, Greg Smith, Caroline sometimes wondertuIIy subtle and sometimes Eileen Bambury, July 29 - August 9. Work From workshops, (see workshop en- July I8. Hewlett & Robert Reedy. July 5 - I8. excessively understated work. Somewhere in Primary and local Intermediates, August I 2 > tries), November. New Views of Wellington. August 7 - Sep- Wood & Wool, Charles Boyle and Margaret between is the quiet, well-integrated or excit- September I2. Art Attack, exhibition and art auction, NO' tember 5. Stove. August 2 - I5. ine integrated work which waits to reward Aotea Centre, Auckland. vember 27 - December 3. Academy Women -A Century ofInspiration. Bosketry, WiIIa Rogers and Ruth Castle. Au- Above; otion and sharing of tutors and intormation; the patient viewer. A silk and wool tringed Artiture. Opens September 20. Sarieant Gallery, Wanganui. Historical and contemporary artworks and gust 30 - September I9. "A Shelter tor the Journey", since, as an exhibition like this indicates very bark and Iibre, by Jeanette woven scart by Ian Baker; 0 small modest Auckland Maritime Museum, Auckland Women Artists from the Sor/eant Collection. cratt. September 25 - October 25. Thread by Thread, Jenny Bain, Pippa Davies Green, Auckland clearly, their activities overlap to a large tapestry by Monika Vance; embroideries by Exhibition by Peter Oxborough, Four months June - October. The Potters Shop, WoodWord St, Wellington. and Janet Swanson. September 20 - October 3. degree. This is a clear bonus which can only Jenny Bain and Clare Plug; tiny tragile invert- From August 20. Issues in Common. July - September. Paintings, by Jan Chattey, Greenstone Jew- Fabric Artists, 5 Options Group, Dunedin. lead to greater vitality. ed cones 0t netted wire and silk by Helen Fingers, 2 Kitchener St, Auckland. Robertson Art Award, I993. School art & ellery by Clem MeIIish, Bonecarving by Brian October 4 - I7 Interest in the various demonstrations was Schamroth, tor example; and a (acket by Ann Culy. JuIy I2 - August 7. cratt. August - September. FIintoI'I, JuIy. Sailing South, Ceramics by Peter Oxborough. at times overwhelming, proving that there are weaver Jean Erikson in which skill and imag- Kobi Bosshard. August 2 - 2I Dowse Art Museum, Lower Hutt. Patchwork byJas Norton, Woodwork byAIan November 8 -2I . many people in IImiddle New Zealand" who ination combinetoembodythedelightsother Georg Beer. August 23 - September I I . Crowds Form, ceramics by ChristineThacker. Neilson, Tapestry and Weaving by Elizabeth Mixed Feelings. Exhibition at the Professional might not have previously had an opportunity cratt. - Brian Adam. September I3 - October 2. May 29 - August I. Arnold, August. Weavers Network. November 29 - Decem- to observe craft in action. Quilts were lively but restrained and pleas- Master Works Gallery, York St, Parnell, No Man’s Land- extending the boundaries oi The Coromandel Potters, Barry BrickeII, Tom ber I9. ing; Juliet Taylor's unattected quilts have Auckland. women and art in Aotearoa. Marking the and WaiIin EIIiot, Deidre Airey and Mike C$A Gallery, Christchurch Membership oI some guilds has increased grace, charm, and integrity oI concept, ma- Sidetracked - A One Man Group Show. New centennial oIWomen’s Suttrage in New Zea- O'Donnell, September. Textiles, Lesley Sales and Annette Rose, July as a result, and by exhibiting in a venue other terials, and execution. In many ways they ceramics by Brendan Adams, June 22 - July 4. land. 45 contemporary women artists are Silk by Mary Fyte, Jewelleryby Megan Young, 6-I 8. than a gallery or cratt tair, textile cratt/artists epitomise the successful continuation 0t old Early Endeavours, the First six months in New 1 participating with works in the exhibition and Paintings by Beth Sutherland, October. Open exhibition, Associate Members show, are able to reach a wider viewing public. The skills through new times. Zealand, by Christine HaiermaIz-Wheeler, July 6-25. exhibition's location alongside that oI the NZ July 6 - I7. Fluxus, Dunedin Itwould be churlish in this context to argue Society oi Potters both validated it and high~ Cu, new works by Louise Purvis, July 20- Jewellery, Georg Beer, July 3 - 24. lighted the relative contidence and cohesion the merits or otherwise at the award winners; August 7. Jewellery, Susan Cohn, Australia, August 7-28. of the latter - a well-established and consist- award-giving always attracts dissension. Ceramics From John Green, August IO-28.. ' Handwoven Textiles, Patricia Bosshard- ently well-represented genre. However, it does provide a benchmark, both Fisher Gallery, Reeves Rd, Pakuranga, Browne, September 4-24. a means at setting a standard and a measure Auckland. Eastern South/and Gallery, Gore. My response to this tirst show was one ot at the quality at a collection at work. In my The Studio Ceramics Dinner Service Show. Mystic Motion, by NZ Society at Potters mem» anticipation and hope tor tuture years. It was view, Catrina Sutter’s ”Freedom” weaving An exhibition supported by the Interior De- bers throughout NZ. August 7 - 29. hard to shake ott a small teeIing oI disap~ (winner at the Supreme Award) exemplifies pointment, a sense that the energy and com- sign Guild and QEII Arts Council. September one dilemma which laces most cratt/artists, I7 - October I7. mitmentotthe organisers was not matched by especially in the textile tield. That is; how to that at the participants. It was as it the exhib- Installation by Carole Shepheard. October COMPETITIONS/AWARDS/ straddle those two stools oi art and cratt 22 - November 2I. itors were wary - unsure about the purpose ot without tailing between. Maybe it emphasis- EXHIBITIONS such a show. and thus about the type ot work The Vault Gallery, I3 High St, Auckland. es the general mediocrity ot a tirst, tentative Academy Women. A century 0t inspiration. to submit. A maior exception was the contri- The Annual Hat Exhibition, June 29 - August I 0 toray into uncharted territory; maybe it re- Open only to women members at the Acad- bution by the NZ Machine Knitters Society, Fire & Form Gallery, ChartweII Square, tlects personal preterence. Certainly it over- emy. Receiving days, August 23,24. Enquir- whose prolitic and zesttul display dominated Hamilton. looks the precious tew works at quality and ies; NZ Academy at Fine Arts, P O Box 4647, the hall. Whiletheirtastein colour mighthave Women’s Images, NZ Society 0t Potters ex- integrity which in the end stood out like Wellington. Ph 04 385 92647. been questionable, their energy hibition, September 6 - October 3. seemed beacons at hope. A Century of Inspiration. Essay competition. boundless. Most. however. were sate choic- Fingerprints Gallery, Eleventh Ave, Tauranga. Subiect oi essay to be a living woman artist es. tried and true pieces which have been This is an exciting new opportunity tor Breadpots, recipes and home-made bread, working in any medium. Open to school around a while, or Iess-than-best work. textile guilds and individuals (recreational through July. and protessional) to work together For mutual The Bath-House, Rotorua. pupils . regional winners and runners up as Future years are sure to see greater energy benetit; they can lose nothing and gain No Distractions. The work at Five women Above; "Immigration” by Christine HaIermaIz-Wheeler. Beet bone (the World), Ireshwater pearls (North & South Islands), well as overall winners. Craft New Zealand ”Early Endeavours” Masterworks Gallery, Auckland. and certainty - alter all. This is one at tew strength, cohesion, and contidence through artists, curated by Helen Cooper. July 2 - coloured diamonds (the Iamily), silver and gold. From may publish successtul entries. Entries due, opportunities to reach that elusive market, wider recognition. September 20 August 6. Enquiries; NZ Academy of Fine lence will be awarded - two awards oi$1000 guest lecturers, August 7-October 10. Featur- Arts, P O Box 4647, Wellington. Ph 04 385 ' :each. Also 10 subscriptions to CRAFT New ing Marian Biilenga (Holland), Michael Bren- 92647. Zealand to‘ selected entrants. Organised by nand Wood (Great Britain), Catherine De The Art of Tattoo. The Dowse Art Museum the Dunedin Crafts Council. More interma- Launoit (Belgium), Maggie Henton (Great plans an exhibition looking attheartottattoo. tion and entry torms trom: Mary Miller, 15 Britain), Nancy O’Banion (USA). Informa- It is the aim at the exhibition to present McMillan St, Maori Hill, Dunedin. Ph 03 464 tion: Alden Biesen C/- Mr Ludo Thiis, Kasteel- tattooing as a serious art torm and present it 0601 . straat 6, 8-3740 Bilzen (Belgium). Ph 32 89 in a positive light. The organisers would like 17th National Gold Coast Ceramics Award. 41 39 14. to make contact with men and women who Acquisition award, $3000, exhibition starts Akaroa Spring School. Courses in cralt, have tattoos. Contact Dowse, P O Box 30396, October ,1 5, judge Greg Daly. Entry torms, painting and leisure activities. Enquiries; Lower Hutt, O4 570 6500. ' Gold Coast City Art Gallery, P O Box 6615, Akaroa Community Arts Council, P O Box Commonwealth Foundation Arts and Crafts Gold Coast Mail Centre, Queensland 4217, 46, Akaroa. Scholarships. I or phone 00 6175 816154. Women and Art Workshops. Myriad Arts Ten promising artists and craltspeople will Visions I994 ”Quilts: Layers oFExcellence”. Centre, Manaia. have the chance to learn from the best artists An international iuried quilt exhibition, July 2 1 . Clay. Tutor Jan CockeII, October 9 - 10. in another Commonwealth country. Open to - Sept 4, 1994. Entry deadline, October 18,’ 2. Weaving (tlax). Tutor Pare Bennett, Oct- Got the winter blues? anyone aged 22-35. £6000 fellowships cov- 1993. Entry Form, send SAE to Quilt San ober 16,17. . er travel, accommodation, subsistence and Diego, 9747 Business Park Ave. #228, San 3. Fabric Art. Tutor Maria Lee, October 23-24. Plan ahead for Summer School! Costs of mounting an exhibition in the host Diego, CA, USA country. Deadline tor applications, October Art Attack. Exhibition open to all artists & January 1994 is the 10th anniversary year of Summer School in 1 1993. Enquiries; Gloria'Maddy, Fellowship crattspeople, Manaia Town Hall, Taranaki. Wanganui and we plan to celebrate in style! Co-ordinator, Commonwealth Institute, Ken- Enquiries; M Dreaver, 78 Karaka St, Man- ORGANISATIONS sington High St, London W8 6NQ. Ph (UK) aia, Taranaki. Calligraphy Society of New Zealand, P O Over the years the Wanganui Summer School has earned itself the reputation as the leading 071 603 4535. Box 3799, Christchurch. Summer School in New Zealand - a reputation established by our determination to carry on through Inlernah'onalArt& CraftCompetition - 1993. Craft Dyers’ Guild of NZ, P O Box 1 3 856, US$25,000 in awards. Top 60 ”Winners CONFERENCES/EVENTS Onehunga, Auckland 6. ‘lean’ years and by our commitment to provide top quality international and local tutors, great Exhibition”, Art 54 Gallery, Soho, NewYork, NewZealandLace Society. Secretary Pauline company and a varied programme of extra curricular activities. The atmosphere reflects what the December 8-26, 1993. Deadline to request Stitches & Craft Show. NZ Expo Centre, June 16 - 20. Pease, 10 Lingard St, Christchurch 5. arts are all about — ideas, creativity, stimulation, energy and fun! entry torms, July 31 ,-1 993: ARTFOLIO, Dept New Zealand Society of Artists in Glass. Celebrating the Maker. 7th National Ce- C, 500 Summer St, Suite 206, Stamford, Subscriptions - $15. ramics Conterence, Adelaide, South Austral- The programme for January 1994 includes four overseas tutors: Connecticut, USA. Ph (203) 359 4422, tax Secretary; Sheryl King, 48 Cromwell St, Mt ia, July 1 1 -17. Registration forms: P O Box (203) 975 0266 . Eden, Auckland. Patricia Black (Australia), fabric artist and recent winner in the Suter Wearable Art Awards 234, Stepney, South Australia 5069, ph 61 NZ Society of Potters. Three national, se- New Zealand Society of Potters. Secretary 8 410 1822 . Elizabeth McLure (Britain via Australia), glass artist lected exhibitions open to members: Robin Paul, 145 Eskdale Rd, Birkenhead, ARTEX. Art & Interior Expo. Wellington Women’s Images. Exhibits should retlect or Auckland, Ph 09 480 6369. Marion Marshall (Australia), jeweller/designer specialising in repousse techniques (Overseas Terminal) September 23-26. image women's lives. Entries due August 16. The Professional Weavers Networkis a group Jack Thompson (USA), ceramicist and expert in light sensitive decoration techniques Enquiries to Lynda .Harris, 8A Wymer Tce, Christchurch, November 1 1-14. International Ceramics Symposium/Work- who hope to give help to each other in various Hamilton, ph 07 854 7248. tields - marketing, advertising, etc. Seminaris And we have a great line up of top New Zealand artists/tutors. shop. New Delhi, late 1993 or early Mystic Motion. August 7-29, Gore. Enquiries, planned tor late Feb, 1993. Yvonne Sloan, 1994.Hosted by Indian Studio Potters Asso- PAINTING FIBRE/FABRIC MUSIC NZSP, 31 Tizard Rd, Birkenhead, Auckland. ph 09 524 7937 is happy to collect names ot ciation and The International Symposiums John Crump Patricia Black Helen Collier ' The Best Things Come in Small Packages. En- anyone interested in ioining. Association.Workshop activities will be in Jaqueline Fahey Willa Rogers Mike Harding quiries, Box 3065, Richmond, Nelson Southern Hemisphere Feltmakers. Contact: red clay, participants will bewelcometo work Gerda Leenards Sue Sp/gel Jazz worlrsh ops Creative Clay. Northland Society at Arts, Marion Valentine, 78 Long Meltord Rd, and contribute in raku and other tiring tech Robert McLeod open to all potters, $500 award. Entries due Palmerston North. 1 niques. The approach could also be rural Jane Zusters September21-24.Enquiriesto Reyburn House Craft Promotions NZ Llcl, P O Box 30 359, development and use at red clay in shelter. Gallery, Whangarei. . Lower Hutt. COMPUTER GRAPHIC DESIGN Enquiries; Primula Pandit, Indian Studio Pot- LIFE DRAWING GLASS Real Craft ’93. Otago Museum Gallery, Fairs of NZ, P O Box 68 011, Newton, Brian Boyce ters Association, Silver Oaks Estate, 45A Lorraine Webb Kharen Hope Dunedin. Exhibition: Sept25-Oct 10. Forthe Auckland. Bhulabhai Desai Rd, Bombay 400 026. Elizabeth McLure Larry Matthews First time, the Cleveland Awards tor Excel- NZ Craft Shows, P O Box 2199, Christchurch. CASTING Stitches and Craft Show, C/— XPO, P O Box CERAMICS STORYTELLING BRONZE Meg Latham Mona Williams Elizabeth Thomson WORKSHOPS/COURSES 9682, Newmarket, Auckland The Studio Potter Network. A growing in- Jack Thompson Ross Wilson Learn to Pot with protessional potters. ternational membership organisation at pot- WRITING BOOK ARTS JEWELLERY Auckland Studio Potters otter regular ters’ groups in the US, Canada, Europe and David Hill Jocelyn Cum/ng Marion Marshall c5: classes and shortspecialistworkshops. the Far East. Services include a semi-annual Phone ASP Centre, 09 634 3622. Studio Potters Network Newsletter, exhibition PLUS Plants, Gardens and Food. Other features of Summer School include hangi, BBQs, International Weaving SchoolCours- opportunities, interaction on a personal level entertainment and excursions. es. Variety ot topics and tutors - be- through an established bed and breaktast COPPER ENAMELLING tween 2 and 6 days duration. For tuII network, other philanthropic goals. Enquiries; For further information write now to: brochure/programme contact: Inter- Studio Potters Network, 69 High St, Exeter, W LEAD FREE national Weaving School, P O Box NH 03833, USA. Ph 603 774 3582. Summer School Coordinator O 313, Picton, ph 03 573 6966, tax 03 Entries/notices for ITINERARY are wel- WANGANUI NZ's complete supplier. Wanganui Regional Community Polytechnic aeeiowaa Advice, service, mail order 573 7735 come (and free). Copy For issue 45 (which comawmiw PO. Box 32024 lnternationalSeminaron TextileArts. may include good quality prints of work) Private Bag 3020 24 Essex Street POLYTECHNIC Christchurch 5 workshops conducted by interna- should cover the period October - December WANGANUI Christchurch Phone 03 3667 229 KARETI A 1W] New Zealand fax 03 3666 847 tionaIIy renowned textile artists, Au- and should be received at Craft NZ, Box Telephone 06 345 0997 Fax 06 345 2263 gust 7-1 5. Also a maior exhibition by 1110, Nelson, by July 31. 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Photo; "Seahorse" by Robert Reedy