2*T!1Bt 'viit/ftiftM The Journal of the

Canterbury Society of Arts

66 Gloucester Street

Christchurch, New Zealand

P.O. Box 772, Christchurch

Phone 67-261, 67-167.

Gallery Hours

Monday-Friday 10am-4.30pm

Saturday-Sunday 2pm-4.30pm

Society Officers New Members Mixed Media

Patron: Sara and Philip Ashcroft response to new design His Excellency The Governor General Frances Ashton Thanks to Anne-May Bendien, The Most Reverend Paul Reeves Mr Louis Boulanger Mollie Aikins and Margaret Joblin for GCMG, DCL (Oxon) Pat Condon their letters on the new format of the Andrew and Janice Cowdy President: C.S.A. newsletter. Their constructive S. A. Crawford and C R. Ward Mrs Doris Holland criticism was helpful in resolving the Paulina Currie change from NEWS to PREVIEW. We Vice-Presidents: J. L. W. and A. E. Edgar John Coley, Dip. F.A., Dip. Tchg. Mr Garth Frew obviously made a splash. Michael Eaton, Dip. F.A., Dip. Tchg. Mr and Mrs J. G. Gilbert F.R.S.A. Susan Gordon TRUSTBANK grant Bill Cumming N. P. and M. A. Hansby Whilst we are thanking people. Jacqueline Henderson Thank you TRUSTBANK Canterbury David Sheppard, A.N.Z.I.A., J. M. Holden for your generous community grant of M.N.Z.P.I. Pam and Trevor Ibbetson $500.00. This was collected by the Council: S. J. Jackson Director at a special function. Once Jewel Oliver Mr and Mrs G. H. Jenkinson again, thanks TRUSTBANK, Alison Ryde, T.T.C. Mrs Josie Laing Canterbury. Josie Jay, Dip. Hort. Sheena Helen Lassen W. J. Parson, B.Com., A.C.A. Robert James McKenzie John Mackintosh, L.L.B. Shona L. M. Martin SUBSCRIPTION RATES David Page, B.Sc.(Hons.) Kent A. Martin This years' subscription ends on the Iain Harvey, M.S.I.A.D. Kate Packwood 30th September. The 1987/88 Grant Banbury, Dip. F.A.(Hons." Mrs Fiona Pearse subscription charges were increased at Simon Ogden, M.A.R.C.A. Randal and Kay Scott the 1986 Annual General Meeting. Mrs Denis Simpson Director: They are: Catherine Sparrow Chris Taylor, Dip. F.A.(Hons.), Patricia Storey Individual $27.50 Dip. Tchg. Dr John Raine Joint $37.00 Hon. Secretary: E. and M. Rennie Student $14.00 Bruce Finnerty Lewis Walley Life $412.00 Hon. Treasurer: David Woods Joint $550.00 John Wilson, A.C.A. Corporate $206.50 Auditor: All charges are GST inclusive. John Midgley, B.Com., A.C.A. ENTRANCE CHARGE TO NON- Consultant: MEMBERS Rona Rose Exhibitions Officer: This will increase to $1.00 as from Grant Banbury, Dip. FA.(Hons.) 1st October 1987. Admission for children remains free. Gallery Assistant: Natham Crossan COMMISSION AVAILABLE Louise Johns The C.S.A. has a request for an Accounts: artist to paint what is described as a Grania McKenzie, B.A. 'very interesting painting'. Interested? Office: Phone the Director. Jane Macleod

Editor: COVER ART NEW ZEALAND Josie Jay Tony Geddes photographed by Is on sale at the C.S.A., don't Design: Bruce Foster forget. Next issue is due out about now. Mike Herron David Spooner Down to the Fall Oil on Canvas, 19»J-

RECENT WORKS PURCHASED BY THE C.S.A.

Michael Reed: Interior Motives Seven Celestial Games 7/15 John Drawbridge: Red Wave Martin Whitworth: Figure Ground Rob Gardiner: Untitled : Mount Eden Landscape 4/40 Don Binney: Swoop of the Kotare Wainamu 16/55

GOODMAN SUTER BIENNALE

Entry forms available at C.S.A. reception.

GALLERY CONSULTANT OVERSEAS

Rona Rose has taken leave from the C.S.A. to travel to Europe for 2 months. We wish her bon voyage. K*Arts in 1983. Whilst Rona is away Grant Banbury will be acting Consultant

OTAGO ART SOCIETY EXHIBITION

The C.S.A was very pleased that the President of the Otago Art Society Mr John Francis and his wife Mrs Kath Francis attended the preview. Thank you to the Otago Art Society for a fine exhibition and especially to your representatives who travelled so far. ADVERTISING

We still have some space left, but it C.S.A. GUTHREY AWARD won't last long. The rates are very reasonable. Contact the Director. Entries have now closed. The Deadline is October 26th. recipient of the award will be announced on 14th September in the LABOUR DAY Public Notices of The Press, and on the 16th September on the arts pages of The The C.S.A. Gallery is open Labour Press. Day October 26th from 2-4.30pm. VIEWS REVIEWS

The Problem Of Carmen concerns — as always, a major problem heavens. An unexpected difficulty arose in staging opera in New Zealand — here when he found some discomfort By Kathleen De Goldi tend to circumscribe the possibility of a with the extension of his set into the Carmen, an opera in four acts, by fully realised realism. Furthermore there theatre's structure, a collision of Georges Bizet was recently staged at the is a paradox inherent in the realistic realisms, as it were, with the prosaic James Hay Theatre by the Canterbury staging of a work within an essentially intransigence of the theatre threateninng Opera Trust in association with the stylised art-form. to erode the elusive realism of the stage CSO and the Court Theatre. Tony In the planning and execution of set. Nor was the resolution of that Geddes, resident at the Court Theatre, the stage design, Geddes was faced, too, problem offered by the libretto; designed and built the sets for the with the perennial conflict between designing for non-operatic drama, opera. In a recent interview he dramatic, musical and staging concerns. Geddes has found staging riddles are discussed some of the difficulties The set in the first act was a case in generally solved by clues extractable inherent in the conception and point. To some degree the demands of from the text. execution of a stage design for this, the text — the need to accomodate a Construction of the sets and Bizet's most famous work and one of chorus of men answered by one of materials used were determined by the most popular operas of all time. cigarette girls, and divided by soldiers financial constraints. The steel rostra on It is precisely Carmen's popularity, and children — made for a set that which the sets were erected were small, Geddes suggests, that dogs the designer Geddes found overly symmetrical in its and since life-size buildings with both a and director in their decision as to how final form. An inability to place any textural and sculptural depth were to stage it yet again. Fortunately Geddes action more than four metres back from desired, the question became how to and Director Elric Hooper shared the the proscenium arch, because of achieve this cheaply. Waste polystyrene same prejudices with regard to this resulting acoustic deficiencies, sheet with cheap wood to hold it in opera. Carmen has become a living compounded matters further; the lack of place was the answer. The wood was cut cliche; Geddes remembers Spike Jones depth in the set and the balancing of a up like tomato stakes and used to create and his City Slickers lampooning the large chorus in a reduced space three-dimensional lattice walls — gypsy with the rose between her teeth, a produced a certain visual flatness. Geddes compares it to a slice of vision available even to those with only Again, a tight budget meant that some jungle-gym. of the concerns of the first act were a rudimentary knowledge of opera. Carmen enjoyed a very successful sacrificed to those of the second. Since How to transcend the cliche and season with capacity houses. Tony the same fixed scaffolding had to be recreate the shock experienced by the Geddes, well blooded after completing used in both acts, Escamillo's entrance original audience on viewing this most sets for two operas (the other was the in the tavern scene — above the chorus, realistic of operas, resided, ultimately, in Trust's production of The Magic Flute) and well forward to ensure visual and a choice between stylization and wouldn't mind another crack at the vocal clarity — dictated an realism. Both Geddes and Hooper seeming irreconcilables of Carmen; but unsatisfactorily shallow entrance for the inclined towards a realistic approach. he's already well exercised by a new set soldiers in the earlier act. Realism, however, can spell large of riddles, the design for the next Trust material and labour expenses, while the Geddes used a realism of scale for production, Donizetti's The Elixir of reductiveness of stylization generally the sets of all four acts; buildings were Love. means a cheaper execution. Budgetry life-size, the tops disappearing into the

TONY GEDDES. photograph Bruce Foster/Icon. OPENING SHOTS

OPENING NIGHT AUGUST 11

Mrs Francis, John Francis (President of the Otago Society of Arts) and Elizabeth Howie from Dunedin at the opening of the Otago Society Exhibition.

. She?* 1 Owf»

Kirsteen Price, David Turner, John Britten.

Mr Justice M. Hardie Boys, Rosemary Perry, C.S.A. President Doris Holland.

of his exhibition

P Johns, rtf"** 0?screenPnnts.

PHOTOS GAIL WRIGHT Miss Carol Miles, Larcnce Shustak.

jurisprudence the court reporters bent popular appeal and the at over their pads dull eyed, putting new put together here, remind names to perennial enterprises. visits to the Portal Gallery. vhere I tentatively picked up my board and began a sketch of the accused. My TRISKA BLUMENFELD pen had hardly disturbed the still white Represents New Zealand in surface when I sensed the entire row Encyclopaedia of Naive Art', behind me lean forward and a voice in exhibited in International anc my ear which said, "Ken, ain't gotta shows in Europe and the Unit nose like that. Bend it a bit . . . that's it Next year a solo show at the H Gallery of Naive Art. During the morning adjournment I ANNIE BAIRD - Numerous \ slipped in beside the Press bench where group exhibitions around New 1 The Young the company is a little less critical. including a travelling exhibition just completed a nationwide tour. Contemporaries n Merven Glue took a seat in front of me MAURICE ASKEW - Exhibite and immediately submerged his Introductory Comments the first 'Young Contemporaries' it consciousness in a script. Ah London and various provincial gal. John Hurrell providence! I drew my pencil sharpener in England. At present working on from its sheath and was about to trim New liaisons between Elam and English Heritage Landscapes for a \ my Staedler charcoal for action when a Ham Art Schools, as exemplified by this exhibition later this year at the C.S.\ policeman removed me from the court. exhibition, present exciting possibilities Gallery. for speculation — not only the chance It was his opinion that while a Buck IVAN HILL — Numerous exhibitio. to purchase works cheaply from survival knife might be the perfect solo and group throughout New students whose reputations are now technology for sharpening pencils, a Zealand including last year's Otago unformed, but perhaps more more conservative point of view might Early Settlers Museum Exhibition of importantly, the opportunity to guess construe it to be an offensive weapon. New Zealand naive art. about the produce of these tertiary After a 70 cent purchase at MARIE-GABRIELLE HUDSON - institutions, the salient features of Vhitcoulls, I returned to the court only has exhibited at the Manawa Gallery 'house styles' if you like, possible > find that my subject had left. I and the Gallery Art Naive in amalgams that are the results of rned my attention once more to the environs collectively generated by ck but the river of justice flows swift individual tutors. :ourt No. 1 and my sketch becay~ Bruce Foster It will be a curious challenge to unalgam of noses, ev<*- Photographs endeavour to separate these objects into inal parts Bruce Foster was born in Wanganui two Schools, without perusing the in 1948. catalogue. Is it credible that one could Since graduating from the be earnestly angst-ridden, or with Auckland University's School of Fine bombast instead of pathos, and the Arts in 1979 he has worked as a photo- other flippant, cheeky, after belly- We all know Christchurch has a journalist, contributing to most New laughs? Will choice of colour map out long history of exporting important Zealand periodicals and several overseas two terrains, one born out of the very artists to the North Island, and in publications including National Geographic substance of the land itself, the other recent years, some Aucklanders, tiring and the London Sunday Times. funky, synthetic, artificial? of the myth that Auckland art equals His books include Stockman Country, New Zealand art, have started to look What about climatic and Coast to Coast and most recently, Faces of south with renewed interest. geographical conditions? If such the River. Christchurch art may have long been variables effect a regional style, is the marginalized, but there is an energy The current exhibition presents work a 'natural' by-product, or is it the and proud determination here that recent colour photographs and result of a type of self-willed surpasses other more populated centres demonstrates the development of indoctrination, a calculated eagerness- like Wellington, and which is all the Foster's interest in photographic to-please by providing unquestioningly more surprising when one considers the montage. This collection of photographs the goods deemed necessary to pass. neglect, if not the hostility, of our local has been realized with the assistance of When these artists leave the City Council representatives. the newly formed Hanafins professional protective wing of the university, they colour lab. may realize they were offered that This exhibition hopefully, is the shelter for a price. They may be forced first of many. It seems very likely that to assess the values that they have future shows will involve the Technical Institutes, as well as other universities absorbed there, or brought with them, Heather Day particularly if they move around and from other cities, and that they will talk to artists of other districts, other contain works selected from a wider paintings range of art practices. These exhibitions age groups, other backgrounds. Out in In my paintings I try to capture a will be entirely administered, curatored the bigger community they will have to fleeting moment from everyday events, and hung by the students themselves. scrutinize the support structures that to show as much as might be seen at a Such networks will' be invaluable to are loudly proclaimed as available, and glance. Subject matter is secondary to providing confidence and much-needed search for critical discourse from their creating atmosphere by colour and dialogue for new arrivals in New peers for conceptual nourishment and movement. Excess detail is something I Zealand art. emotional support. try to leave out of my work; I wish to What of those who organized this Thanks to VISION HIRE for the create a harmony between painting and show, as well as those who provided the generous loan of equipment for the viewer, so together they create a kind of actual works — their curatorial Young Contemporaries Exhibition. whole; a sort of audience participation. decisions shaped this exhibition? Does I have been painting since I was twelve. an underlying structure declare itself, so I attended Hornsey College of Art in that aspired values can be deduced, or England and have been a working is there some tangible quality that is Future Primitive member of the C.S.A. since moving to New Zealand in 1973. This is my first self-evident and immediately apparent Future Primitive is an exhibition of solo exhibition. to the viewer? computer video art. EXHIBITIONS 11 SEPT - 27 SEF PREVIEWS 10 SEPT 8.00pm

Simon 1

Art In Hospitals Peter Hufgard group of superCpG^^ Bvc Art in Hospitals is relatively new in the hospital environmentT^WI^^ck Photography this country although the Dunedin people. ARBEITEN DER LETZTEN JAHRE Hospital has built up a magnificent Businesses or individuals who wish Peter Hufgard was born in collection of post-war New Zealand art to purchase a work to donate to the Aschaffenburg, West Germany. After over the last 15 or 20 years. This has Hospital Art Pool can do so at the high school graduation he travelled for occurred as a result of sponsored following times. Tuesday 9.30am-7.30pm \Yz years around the world taking exhibitions such as this, whereby those and Wednesday 9am-4.30pm. Works photographs. He is presently studying in the community show their purchased on these days are for Geology at Otago University. His appreciation of the hospital and its staff donation only. The works will be for geological and environmental interests by donating works of art to decorate the sale for private purchase or donation have taken him to many unusual and walls. starting at the preview on 1st October interesting places, including Antarctica. The Canterbury Hospital Board at 8pm. The exhibition continues Peter has had exhibitions in several has had an Arts Advisory Committee through to 4.30pm 11 October. countries overseas including West since 1977. Its purpose is to make the Businesses or individuals who donate Germany, Singapore and of course here hospital environment, a welcoming one paintings to the Hospital Art Pool will in New Zealand. This is his first to the 10% of Christchurch and have a permanent plaque acknowledging exhibition in Christchurch. Canterbury citizens who spend their their donation affixed to the painting I like to make visual statements, or time in a hospital bed during the course before they are hung in the Board's ask visual questions in my photography. of any one year. hospitals. A Certificate of Purchase will At the same time it is intended that To achieve their aim, the be issued by the Canterbury Hospital someone looking at the photographs is committee has had the valued advice of Board to all donors for tax deduction enjoying them, or at least getting a new honorary arts advisors, who are artists purposes. perspective on a topic. For an artist or professional arts administrators. Over The following artists will be photographer, New Zealand is one of recent years there has been the exhibiting in Art in Hospitals. the best places to live, but unfortunately development of a Hospital Board Art Sandy Adsett the worst to make a living for a variety Pool, which circulates art works around Maurice Angelo or reasons. New Zealand is basically a hospitals. Grant Banbury very conservative society, and art is So far, 30 original paintings and Rudolf Boelee widely defined and understood as a prints have been purchased from small Joanna Braithwaite canvas hanging on a wall. For the amounts of trust funds. These art works Dean Buchanan majority of young aspiring now improve the general atmosphere of Gary Collins photographers the financial means to our hospitals, thereby helping the Michael Eaton put a good exhibition together are healing processes. Neil Frazer virtually non existent, and grants for The Art in Hospitals Exhibition is photographers seem to be very hard to a first for Canterbury and the Robert McLeod come by. I don't think photography as Canterbury Hospital Board. Its purpose Simon Mclntyre an art form will establish itself easily in is to give business houses and the Simon Ogden New Zealand. community the opportunity to show Alan Pearson The photgraphs on display were their appreciation of the hospital and its Don Peebles done purely for my own personal joy. staff by donating works of art from this Bianca Van Rangelrooy This is one of the benefits of being an special exhibition. A number of Marilyn Webb independent photographer. prominent businesses in Canterbury Martin Whitworth

B Sam Mahon jurisprudence the court reporters bent popular appeal and the artists, I have Court In The Act over their pads dull eyed, putting new put together here, remind me of my names to perennial enterprises. visits to the Portal Gallery. Dear reader, I hardly know where I tentatively picked up my board to begin . . . and began a sketch of the accused. My TRISKA BLUMENFELD - — Well, let me help you. pen had hardly disturbed the still white Represents New Zealand in the 'World — Who's that? surface when I sensed the entire row Encyclopaedia of Naive Art'. She has — Never mind. Where were you at behind me lean forward and a voice in exhibited in International and solo 8.30am on the morning of July my ear which said, "Keri, ain't gotta shows in Europe and the United States. 22nd? nose like that. Bend it a bit . . . that's it Next year a solo show at the Melbourne — Washed and shaved and sitting in Gallery of Naive Art. front of a bowl of rolled oats. During the morning adjournment I ANNIE BAIRD - Numerous solo and — That's a little unusal isn't it? slipped in beside the Press bench where group exhibitions around New Zealand — Oh no, its quite fashionable. the company is a little less critical. including a travelling exhibition that has just completed a nationwide tour. — I mean its a little unusual to find an Merven Glue took a seat in front of me artist out of bed that early in July. and immediately submerged his MAURICE ASKEW - Exhibited in the first 'Young Contemporaries' in — Well yes, but I had an appointment consciousness in a script. Ah London and various provincial galleries in town that day. providence! I drew my pencil sharpener in England. At present working on — Go on. from its sheath and was about to trim English Heritage Landscapes for a solo — When I got off the bus I headed my Staedler charcoal for action when a exhibition later this year at the C.S.A. straight for the C.S.A. policeman removed me from the court. Gallery. It was 9.30 and the courts sit at It was his opinion that while a Buck 10.00. survival knife might be the perfect IVAN HILL — Numerous exhibitions Chris, our director, sartorial by technology for sharpening pencils, a solo and group throughout New nature as well as by name, offered me more conservative point of view might Zealand including last year's Otago one of his suits. It is the one he reserves construe it to be an offensive weapon. Early Settlers Museum Exhibition of New Zealand naive art. especially for Olivia Spencer-Bower After a 70 cent purchase at MARIE-GABRIELLE HUDSON - retrospective openings. Whitcoulls, I returned to the court only has exhibited at the Manawa Gallery Clasping drawing board and paper to find that my subject had left. I and the Gallery Art Naive in and the better part of a beech tree in turned my attention once more to the Melbourne and will open an exhibition the way of pencils, I sprinted the last dock but the river of justice flows swift at a new gallery called 'Art House' at leg. Outside District Court No. 1, I in court No. 1 and my sketch became 338 Durham Street, in September. paused for a moment and was an amalgam of noses, eyes and various immediately accosted by a young man criminal parts excluding a set of wearing a corduroy jacket and ink lugubrious eyebrows that I think belong stains. to the bailiff. "D'you have a 20 cents for the meter The afternoon was fairly mundane mate?" I told him I hadn't and then except for one anxious moment when a proceeded to demonstrate the method of prisoner who was being escorted from acquiring 20 cents worth of time by the dock accidentally nudged a police jamming two one cent pieces in the slot officer, or vice versa. During the at the same time. He was pleased to ensuing scuffle the court was ordered to learn this technique and with an air of be upstanding and it was then that I bonhommie, we slipped into court No. cracked my head on the bottom of my 1. I sat in an unencumbered row of the desk. Save for a few sketches of the public gallery while he slipped through infirmary, that just about wound up the a door labelled 'Duty Solicitor' and by day. and by the court was upstanding and — Is that all? the session commenced. — Not quite. When I returned home I pause here to pour myself a that evening and reviewed my sketches Triska Blumenfeld. drink, a little fortification against the and my eye passed from one to another, slight tremens that seems to accompany from criminal to lawyer to Judge, I was my waking recollection. And how about struck by the awful realisation that . . . yourself . . . no? Ah well then, I will I couldn't tell one from the other. continue. As I sat there my eyes grew Catherine brough accustomed to the gloom and I began to make out figures either slumped at paintings desks or moving silently about the room Five Artists The starting point for most of these like ushers at a funeral or a wedding or recent oil and mixed media on something equally as poignant. From paintings steinbach, paintings is the anonymous somewhere in the bowels of that ancient an exhibition curated by and more untamed aspects of the building I could here the drone of who bruce finnerty Canterbury landscape. The paintings knows what heinous machine and from During the last three years, I have are about seasonal mood, time of day the otherside of the bolted door to the had the pleasure of spending some and space. waiting rooms I could hear the creaking wonderful times both working and My main concern is wresting some boards as someone paced relentlessly holidaying across Europe. One of my coherence from the chaos and exploring back and forth. The bright and favourite occupations when not sitting in as intuitive a way as possible, the promising day belonged to another in Cafe Central in snow bound possibilities of that substance; paint. My world. The benches in front of me held Innsbruck or soaking in the sun on the search would be for the appropriate a spattering of probation officers, Grecian Island of Corfu, has been to rather than the fluent brush stroke; the councils for the defence and police. wander through the streets of London experimental rather than the over Beneath the Judge's bench was a pool of past the tailors of Saville Row to the rehearsed mark. The statement by blue and white paper, the surface of Portal Gallery in Grafton Street. Francis Bacon that the very substance which was disturbed from time to time The art of the Portal Gallery of paint can make a direct assault on by the court clerk coming up for air. As includes some of the leading Naive work the nervous system is very relevant to the judge dealt his gravel blows of in Europe. All the art has a certain my aim. EXHIBITIONS 14 OCT - 25 OCT PREVIEWS 13 OCT 8.00pm

Craft design Student Exhibition The work in this exhibition covers the first eight months of Christchurch Polytechnics Craft Design Course. toimia morgan Included in it are craft items, design exercises and drawings done during Photographs course time, as well, items made during This is a series of photographs the community craft experience part of taken of the Aboriginal living in the the course. Mission settlement at Mossman, North The purpose of the show is three Queensland. fold. Firstly, it will give the wider public Simple and friendly people they are a chance to view the work of developing striving to adapt to being trapped craftspeople. Secondly, it will provide between two cultures. They are unable the students with the opportunity of Paintings to cope with the Western Society with 'going public', with all its attendant The McKenzie Basin and its arid its sophisticated appliances, junk food rewards and frustrations, and thirdly, it erosions, space, juxtaposed transparency and alcohol, yet they have lost their own will continue the social contact among and density I find a constant trigger for culture and self sufficiency. artists and craftspeople, and students on my works. The sadness in some of these faces our course. I have always worked alone, any reflects the loss of their 'Dreamtime'. Work will be selected for inclusion influence that I am aware of would have My thanks to the Queen Elizabeth by the students and tutors, and come from the great colourists of II Arts Council for their New Artists information about the course will be sixteenth century Venice and twentieth Grant. available at the exhibition. century France.

Tonia Morgan. Paintings Betty Curnow has stong ties to Christchurch and the Canterbury region. Born in Geraldine in 1911, she grew up in Timaru. Living in Christchurch during the 1930s and 40s, she attended the Canterbury School of Art, and was an associate of The Group in its heyday. She moved to Auckland in 1951 where contact with Kes Hos rekindled her enthusiasm for print-making. It was during the 1950s and 60s that the medium came into its own for the first time in New Zealand and Betty was at the forefront of its development. Exhibiting more or less annually in all the main centres during the 60s, she also had solo exhibitions in Melbourne, Sydney and London. In 1978, Betty gave up printing and returned to painting. She has been exhibiting regularly in Auckland for a number of years. Using a variety of media, she moves easily from landscape to abstraction, and from an airy realism to a vivid expressionism. Many of her landscapes are inspired by recollections of, and a love for, the Canterbury region, so she takes a particular pleasure in being able to show her work at the C.S.A again. This is her first show here in nearly 20 years. (Exhibition with assistance from the Queen Elizabeth II Arts Council.)

Doris Lusk: 'Julian" Oil on canvas 1987. doris lusk Paintings This collection of recent paintings has no cohesive 'theme', each work being quite self contained. There are no new trends, and merely demonstrate my Betty Curnow. continuing pre-occupation with painterly aspects of landscape, figures, portraits. Megan Huffadine I have, in some works, placed these Sculpture three elements in the one picture a sort of old fashioned 'figure compostion', I am a final year sculpture student enjoying the technical problems. The at the School of Fine Arts. The forms landscapes are mainly imagined views, used in my work are based on the improvised perhaps from old sketches organic. These images are drawn from and photographs. my background in the physical sciences, I use oil or watercolour paint with anthropology and archaeology. Rather equal pleasure and the somewhat than use literal transformations of these random nature of this collection has forms I have restructured the elements been a quite welcome change from in an abstract manner. The works are being committed to a 'series'. Although made from bamboo, willow, tissue and a almost entirely 1987 works, there may variety of papers utilising the structural be a few from an earlier period. and textural qualities of these materials. Megan Huffadine. EXHIBITIONS 29 OCT - 8 NOV PREVIEWS 28 OCT 8.00pm

and carve until she reaches the correct depth to begin the third layer. This process is repeated until the total number of layers is reached. The simpler blocks may have only three or four layers, but some have as many as ten. After all layers are carved, Debbie gets her first look at the design. Many times she is unhappy with the results. Sometimes there is too great a difference between layers, other times detail has been lost, and a few times the design just doesn't meet her expectations. After altering the design or changing the carving techniques Debbie tries again. At some point her expectations are met and the design is complete. While designs are reused, each piece of art is an original. The design is transferred, cut and carved by Debbie, and no two are exactly the same.

Steve Ng sculpture 29 OCT - 1 NOV An exhibition of figurative works comprised of welded ready-made objects Debra Rabb: Glass Sculpture. and scrap metal, most of which are left in their impaired condition as a result of rust, wear and negligence. Each component retains its original identity Debra Rabb Before receiving the design, each while contributing to the character of the sculptures. Glass Sculpture glass block is covered with a masking material. The design is transferred to This spring CSA is fortunate to be the mask, and each area to be carved is exhibiting the work of California glass cut. Here is where the real fun begins. artist Debbie Rabb. Debbie has taken a Working from the back, Debbie removes traditional art form, glass carving, and the mask from the areas receiving the applied it in a very non-traditional way. first blast. When the sculpture is She begins with a solid glass block viewed, this portion of the design designed for the construction trade, and appears to be in the front. Now, she creates unique sculptures having must control a 5 cm hose spewing an primarily botanical or wildlife themes. aluminum oxide grit at great velocity This transformation is not easy. It through a 5 mm hole, and carefully starts with the creation of a design. carve the first area. It's somewhat like Working from photographs, sketches, trying to wash your car with a fire hose. and in many cases actual specimens a The first area is carved, and potential design is born. While sketched shaped, but not to its final depth. She on paper, the design must be imagined must stop when the depth reaches the as a three dimensional form having only difference between this blast and the positive and negative light values. As next shallower one. Now, Debbie any artist knows, there are many removes the mask from the second layer revisions before Debbie feels the design arid carves the first and second layers at is ready to be transferred to the glass the same time. She needs to keep the block. differences between the layers correct, Steve Ng: Sculpture.

12 Valerie Heinz Paintings Valerie Heinz: Work from People Exhibition people people people

Roger Simpson Jill Henriod was born in The ever changing pattern of Christchurch, where she studied Paintings human movement and the subtle painting at the University of mysteries of human behaviour. changes in the order Canterbury. Studies in art were These paintings of people around continued in London at the St. Martin's The images of the 'The Natural town are a return to subjects which School of Art while the artist was Order Versus . . .' in my last C.S.A. have always fascinated me. The people employed in the art department of The show 1986, have become 'Changes in we see. The people we pass by. The Economist magazine. Further travel and the Order', to me, a more complete people we do not notice. marriage took her to Lima, Peru, where view of what I feel about New Zealand, Far from the town the silent and she founded "The Studio" and gave after being back in the country for mysterious depths of the bush have drawing instruction and San Silvestre nearly two years. drawn my imagination also. A few such girl's school. Moving to Washington I'm not so concerned with the paintings will be included in this DC she returned to art studies, problems in the city, as they are man exhibition, which is my first since I completing a Master of Fine Arts made, but the wild is not just ours, we returned to full time painting. perhaps rightly, or wrongly caretake the degree in printmaking from The land of the animal, the bird, the insect, American University. The artist's work is currently showing at The Spectrum the plant and tree, and the tag 'man Cyril Whiteoak made' cannot possibly apply to the Gallery, Washington DC and Gallery 2 NOV - 8 NOV whole of this planet. I know the West, Virginia, USA. Cyril's works will be already known Chernobles, but I don't really feel them to many members, as he has been for I am home, but home ... is painting landscape subject matter becoming, or is it to become . . . ? throughout the country over a period of The work explores, through a many years. He is particularly well- mixture of media, my place at this time known for his very realistic approach to on this earth, and what I hope it his subject and his clear understanding becomes. of most of the painting media, Some of the work is in black and particularly watercolour. white, representing decision making, This exhibition will be composed of right or wrong, left or right. The colour some ink and wash works done in works represent hope. various countries overseas, with the emphasis on native life, and historical buildings. jill henriod The other component of the exhibition will be a series of watercolour Etchings landscapes done in the area between "Selected Pasages" is the title of this Auckland and Coromandel. series of collaged etchings. I use the Cyril studied at Bradford College method of scrap paper collage to before the War, and taught art during formulate my ideas. I then make a part of his wartime service with the multiplate colour etching of the image. RAF. After the war he worked on From this point I use the resulting Interior Design for some major Public prints as collage material to develop Buildings in the UK before coming to further. Jill Henriod: Etching. New Zealand.

13 EXHIBITIONS 11 NOV - 22 NOV PREVIEWS 10 NOV 8.00pm

WOODWORKERS GUILD 12 NOV - 22 NOV. PREVIEW 11 NOV 7.00pm fji Gwenda Turner Painting The Oil Paintings that I will be exhibiting have been painted over the past 18 months. Previously, I worked full-time as an Author and Artist, having had ten books published in ten years. This decade has been a most fulfilling and creative growth period for me. My first book, titled, Akaroa, consisted of pen and wash drawings. Since then I have worked mainly in Egg Tempera and Watercolour. The works I will be exhibiting in November comprise Landscapes, Portraits and Still Lifes executed in oils on pure linen canvasses. Maurice Askew: "Cotehere, Cornwall".

Maurice Askew Woodworkers Guild Caprice Watercolours The Guild is committed to english heritage 1987 maintaining the high public profile that The Powell Group Today's protection of much of has been developed over the years of Painting our exhibitions. This high profile England's past is due to the National identifies in the viewing public's mind, Trust, the Heritage Society, central and The Powell Group comprises of directly with the C.S.A. Gallery. local government trust departments and eight women from mid-twenties to early many private house owners. seventies in age group. They are Due to the nature of entries for the accomplished in many areas of life and exhibition we are unable to preview Most of my watercolours in are essentially amateur painters, who items, however the Exhibition 'English Heritage 1987' have been have brought into this field femininity, Management Committee of the Guild expressed as caprices (as distinct from rather than 'Femininism' as a message. has been given a clear mandate by strict factural records) of a few of these members to maintain the highest protected buildings as well as a number They have been working together selection standards for items in the of genera] landscapes. for about eight years and have enjoyed exhibition. The works have been developed the adventures and discoveries in their from sketches, notes and photographs painting and have kept intact a thread made in England during the spring and of originality. We hope you will enjoy early summer of 1986. this exhibition. Ann Wilson Pastel Landscapes Waking alone in a tent at dawn to light a campfire in heavy autumn frost is cold. But it is worthwhile to catch deep purple shadows and vivid gold light outlining Lindis Pass hills. Then pastelling amongst the peaks of Arthur's Pass deep in winter snow is even colder, forcing retreat to thaw frozen fingers over a pot-bellied stove. But a week amongst swirling mountain mists, in a hut perched on a huge rock above the Waimak Falls, proves coldest of all — and most dramatic. In several of the works done in these areas I have to some degree achieved the effects I am striving for — the simplifying and stylishing of natural shapes, emphasising the flowing sensuality of land as yet unmarked by human hand. Ann Wilson.

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22 23 ARTS CALENDAR SEPT/OCT/NOV

FUTURE PRIMITIVE COMPUTER/VIDEO 11 27 SEPT. PRESIDENTS SHOW - YOUNG CONTEMPORARIES GROUP SHOW 11 -27 SEPT. HEATHER DAY PAINTING 11 •27 SEPT. BRUCE FOSTER PHOTOGRAPHY 11- -27 SEPT.

ART IN HOSPITALS GROUP SHOW 2-11 OCT. FIVE ARTISTS GROUP SHOW 2-11 OCT. SAM MAHON PAINTING 2-11 OCT. CATHERINE BROUGH PAINTING 2-11 OCT. PETER HUFGARD PHOTOGRAPHY 2-11 OCT.

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