2021 Schedule (tbc)
Fri 21 May – Sat 19 June 2021: Sharon Singer ‘Tales of the Anthropocene’
Sharon Singer, a Dunedin-based visual artist, holds an a MFA (2008) from the Dunedin School of Art. Her work has attracted wide-spread attention, and has been included in solo exhibitions, group exhibitions and award exhibitions across the country, such as NZ Portrait Award (finalist, 2000), Waikato National Art Award (Merit, 2001), Norsewear Art Awards (winner, 2002), and Wallace Art Award (finalist, 2003). Fairy tales and myth have provided the subjects for her paintings since 2000, marked by concerns with ‘narrative and meta-fictional awareness’ in her words. In more recent years, she reports that her art has addressed themes such as ‘global warming, the Earth’s spiritual meaning and consumer values, either as a vast mystery or a source of consumable resources. Underpinning all is an interest in the human condition in relationship to nature.’ Her paintings have been reproduced in an array of outlets, including Landfall 237 (Autumn 2019): 48-56, and Fairy Tales and the Art of Subversion (Jack Zipes, 2006, second edition, cover image).
Fri 6 August – Sat 28 August: Esther Bosshard ‘Rona on the Moon’
Esther Bosshard: In a world increasingly fragmented, chaotic and noisy, my paintings are a manifestation of my quest for a simpler, quieter meditation on life, and pay homage to the modest overlooked objects and landscapes in our lives.
I have always been interested in the conceptualisation of the everyday in painting, because I love the myriad of detail, colour, pattern, form and light that we live amongst and remain largely oblivious to. My paintings, I hope, encourage introspection, recognition, and at the very best, the opening of the eyes of the viewer to the incidental beauty in his or her own life.
I was born in Wellington in 1994. I spent three years doing Painting at the Dunedin School of Art, completing a Bachelor of Visual Arts in 2015.
I was fortunate to receive the 2015 Feldspar Scholarship and the 2015 Webb Farry Award for drawing. As well as painting and growing flowers, I also teach life drawing at the Dunedin School of Art night classes.
Fri 3 Sept – Sat 25 Sept: Pete Wheeler ‘Longer Than Dirt’
Pete Wheeler: A preface to the catalogue for Pete Wheeler: Painting out of Time, a major exhibition being held by the Wallace Arts Trust at The Pah Homestead between 30 June and 6 September 2020, observes that Wheeler ‘is by no means as well- known in New Zealand as he should be. In fact, he is recognised much more in Berlin and Florence, where he had a major exhibition in 2011’. It is timely, therefore, to acknowledge his status as one of the significant New Zealand artists of his generation.
Peter Wheeler (b. 1978, Timaru, New Zealand) holds a BFA (2000) from the Dunedin School of Art and an MFA (2009) from the U of Canterbury. He has exhibited widely in New Zealand and internationally in galleries such as Buia Gallery, NY, Jonathan Smart Gallery, Christchurch, Poggiali e Forconi, Florence, and Whitespace Gallery, Auckland. He currently resides in Dunedin with his wife and three children, having recently returned from Europe, where he spent over a decade familiarising himself with the international art world, primarily in Berlin. For him, painting is his ‘job’ – he works regular hours and prides himself on his mastery of his craft, developed over twenty years. ‘I am a painter’ is a phrase that he habitually repeats when describing himself.
Fri 1 October– Sat 23 October: Clive Humphreys ‘Open Air’
Clive Humphreys is a printmaker and painter whose work is represented in many private and public collections, including Auckland City Gallery, Te Papa Wellington, Dunedin Public Art Gallery, The Hocken Gallery and Christchurch City Gallery.
Recently he has developed a focus on watercolour and drawing to explore the ancient primeval process of forest and landscape on Waiheke Island where he lives.His fascination with watercolour was the result of a research visit to London in 2012. His technical development of this medium is crucially informed by his stencil-making experience in printmaking.
Clive graduated from Kingston College of Art and Design, London, in 1970. Since then he has worked and exhibited extensively. He taught at the Dunedin School of Art from1987-2019, over the years holding the positions of Lecturer, Senior Lecturer, and Principal Lecturer. In 2015, he was the recipient of a National Tertiary Teaching Excellence Award and awarded an Honorary Master of Fine Arts in 2020.
Fri 29 October – Sat 20 November: Peter Cleverley
Peter Cleverley was born in Oamaru in 1954 and works from a studio at his home in Kakanui, North Otago, having gained a Diploma in Fine & Applied Arts in 1974. As well as lecturing at the Dunedin School of Art since 1987, he has exhibited in Wellington, Ashburton, Gore, and Dunedin, with recent exhibitions, including ‘Smoke & Mirrors’, curated by the Forrester Gallery, Oamaru, in 2010. His works are held in the permanent collections of many New Zealand public art galleries, including Te Papa, the Dunedin Public Art Gallery; Forrester Public Art Gallery, Oamaru; Suter Gallery, Nelson; Aigantighe Gallery, Timaru; Hocken Library, Dunedin; and the Manawatu Public Gallery, Palmerston North.
Fri 26 November] – Sat 18 December: Rachel Allan
Rachel Hope Allan is an artist and writer from New Zealand currently based in Ōtepoti. She received her Master of Fine Arts with distinction from Dunedin School of Art, where she is currently a senior lecturer and studio coordinator in Photography. Her work deals with restraint, curiosity and mimicry and has been featured in PhotoForum’s 2020 portfolio review and in Stephen Bull’s 2020 edition of A Companion to Photography. Allan’s interdisciplinary practice employs sculpture, performance, first generation darkroom-based processes, digital and hybridised photography.
Her current research investigates the enduring collision between the real and the simulated by re-contextualising the authentic and replicant while simultaneously subverting and confronting their associated values. She exhibits both locally and internationally; most recently at Laurel Project Space, Dunedin,(2019) and at the Jarvis Dooney Galerie, Berlin, (2018 & 2019). In 2017, her solo show CRASH had its international debut with Wallplay in New York, NY. Also, in 2017, two of her photographs that had been previously exhibited at The Dunedin Public Art Gallery were selected to be part of ‘Anything Could Happen’ at The Yu Gallery, Shanghai (2017).
Allan’s artist-books have been collected by the National Gallery of Australia, the Museum of New Zealand, the Auckland City Library, Auckland University, Massey University, Victoria University, University of Canterbury, the Hocken Collection, University of Otago, the National Library of New Zealand, and Reminders Photography Stronghold, Tokyo, Japan.
Marion Wassenaar: Diamond Mine
19 March – 10 April 2021
Opening Reception: Friday 19 March, 5–7
Marion Wassenaar explores the use of carbonised objects as an integral part of her project as an artist. To create the works exhibited in “Diamond Mine” (RDS Gallery, 19 March through 10 April 2021) she carbonised crocheted doilies and then put them through a printing press, by which process they become images on paper that we perceive as two-dimensional. She thereby highlights the visual complexity of these mundane objects, many retrieved from op shops – discarded remnants of past lives that are recycled through these prints, recalling the Arte Povera movement inaugurated in the 1960s. Associated with the Italian city Turin, Arte Povera artists explored the use of discarded materials (“trash”) as a sustainable alternative to the fine arts tradition that privileged rare and costly media, from gold to marble. In so doing, Wassenaar obliges us to consider not only the ecological implications of contemporary art and fashion practices, but also the aesthetic dimensions of these deceptively humble household adornments, all too frequently (and unfairly) relegated to the category of tacky, ironic nostalgia by contemporary high-culture tastemakers.
These prints further, through their complexity, suggest the affinities of knitting and crochet with what have become known as STEM disciplines – science, technology, engineering and math. Mathematician, Ami Radunskaya comments: “These are beautiful images….Knot theory is at the forefront of mathematics now, with applications to understanding DNA, drug targeting, and chemical bonding, in addition to more theoretical applications in computer science and mathematics. These two-dimensional projections of knots are fodder for knot theorists, and they have been an object of study at least since Gauss (1794).”
The poetry of these figures produced by a series of simple knots, now presented as “flat” patterns, invokes the deep and sustained relations between science and art as the product of the creative and imaginative capacity that we all share as human animals.
Marion Wassenaar, who already had a background in commercial printing, gained an MFA with distinction in 2013 from Dunedin School of Art, with which she is now affiliated. She “specialises in print practices with a research interest that focuses on the collision between humans and their environment, either through social justice or ecological concerns”. In her words, “I lecture in the Print Studio (Print Laboratory) at the Dunedin School of Art, and curate the Otago Polytechnic Art Collection.” Associated with a number of art practices – print, installation and photography – she is particularly known for her work with carbonised objects. In 2018, she was awarded the Estuary Art and Ecology Prize for her repurposed and carbonised book work “Unplugged”.
Email from Ami Radunskaya, 7 February 2021