Cliftons Auckland Art Prize Entries 2011

Cliftons Art Prize 2011 Auckland Entries

Artist: AnahDunseath Title: Heavens Above Medium: Acrylic on Board Size: 940x1200mm Art description The work is made of three parts hinged together. On either side of the middle panel are 'wings,' with a different image painted on the back, either 'wing', or both, can fold over the middle panel, as the viewer wishes, to vary the look of the work. The content of the work references the power and vagaries of nature and the fragility of our environment, all the more poignant in the year 2011. Artist bio I am interested in working in acrylic paint and stainless steel sculpture, also I am an antiquarian bookseller in Auckland.

Artist: AnahDunseath Title: In Context Medium: Acrylic on Board Size: 800x1400mm Art description The work questions popular consumerism, played out in the unlikely but everyday location of the petrol station forecourt, frequently visited, commonplace site with which we are all familiar. These vendors of premium car care to enhance vehicle performance, are on the other hand the ultimate vendors of highly coloured salted & sugared packets & bottles many recognize as genuine sustenance. While human behaviour, and subsequent body language is observed, the unsociable advent of texting is noted. Artist bio I am interested in working in acrylic paint and stainless steel sculpture, also I am an antiquarian bookseller in Auckland.

Artist: Julian McKinnon Title: Material archetype Medium: Graphite on paper Size: 165cm x 125cm Art description Large Graphite drawing on paper. contrasting tones and structural forms. Archway motif. Artist bio Julian Mckinnon is a visual artist from Wellington, New Zealand. He first studied visual art in 2000, and has been developing his art practice, exhibiting, and participating in international events since. He has also travelled extensively in India, the United States, and Europe to learn more about the rich artistic cultures of East and West. His primary field of artistic enquiry is painting based abstraction. "To me the art making process is a dialogue between the myself and the materials. I cannot dictate the work; I have to negotiate with the material, and allow for unexpected occurrences. I improvise rather than preparing sketches, so the work evolves on the painted surface. The final outcome is not foreseeable from the beginning of the process. My paintings involve a delicate balance of pattern, structure, and organic order, against unruliness, rawness, and chaos. These opposing dynamics are what gives the work its visual substance."

Artist: Julian McKinnon Title: Warszawa Medium: Acrylic on linen Size: 150cm x 120cm Art description Large scale abstract painting featuring line based geometric forms in a balanced yet asymmetrical composition Artist bio Julian Mckinnon is a visual artist from Wellington, New Zealand. He first studied visual art in 2000, and has been developing his art practice, exhibiting, and participating in international events since. He has also travelled extensively in India, the United States, and Europe to learn more about the rich artistic cultures of East and West. His primary field of artistic enquiry is painting based abstraction. "To me the art making process is a dialogue between the myself and the materials. I cannot dictate the work; I have to negotiate with the material, and allow for unexpected occurrences. I improvise rather than preparing sketches, so the work evolves on the painted surface. The final outcome is not foreseeable from the beginning of the process. My paintings involve a delicate balance of pattern, structure, and organic order, against unruliness, rawness, and chaos. These opposing dynamics are what gives the work its visual substance."

Artist: Julian McKinnon Title: Cosmogenesis Medium: Acrylic on paper Size: 135cm x 125cm Art description Abstract painting. Strong tonal contrast, asymmetrical structural line-work, "urban" look. mostly black/white/grey with small areas of multiple colours. Artist bio Julian Mckinnon is a visual artist from Wellington, New Zealand. He first studied visual art in 2000, and has been developing his art practice, exhibiting, and participating in international events since. He has also travelled extensively in India, the United States, and Europe to learn more about the rich artistic cultures of East and West. His primary field of artistic enquiry is painting based abstraction. "To me the art making process is a dialogue between the myself and the materials. I cannot dictate the work; I have to negotiate with the material, and allow for unexpected occurrences. I improvise rather than preparing sketches, so the work evolves on the painted surface. The final outcome is not foreseeable from the beginning of the process. My paintings involve a delicate balance of pattern, structure, and organic order, against unruliness, rawness, and chaos. These opposing dynamics are what gives the work its visual substance."

Artist: Denise Batchelor Title: Kingfisher Medium: Photography Size: 930 x 830mm Art description Photograph, Digital Inkjet, 930mm x 830mm. Artist bio I am an Auckland based artist specialising in photography & video. My work examines humanity's inherent relationship with the natural environment and the animalia that live within it. By isolating a single subject or object, a moment is silently observed. Evoking a slowing of pace in which a meditative element is present, the work serves as a link to reconnecting - with environment, with other living things and ultimately, with self.

Artist: Denise Batchelor Title: Grasses Medium: Video Size: depends on screen size Art description Video - Grasses 2010 [HD video, 02:01 looped] Artist bio I am an Auckland based artist specialising in photography & video. My work examines humanity's inherent relationship with the natural environment and the animalia that live within it. By isolating a single subject or object, a moment is silently observed. Evoking a slowing of pace in which a meditative element is present, the work serves as a link to reconnecting - with environment, with other living things and ultimately, with self.

Artist: Isla Osborne Title: Brown Infection Medium: Lampworked glass, stainless steel, acrylic; constructed Size: 500mm x 500mm x 20mm Art description In my current body of work I aim to create a tension between the beauty of the piece and what it represents. I understand that we don't generally think of viruses as beautiful, but viewed objectively they are exquisite and unique. Brown Infection was created to initiate discussion about the global impact of a viral epidemic and how media distortion can affect people on a local level. If we don't want our communities to become a casualty, there are some important questions we need to ask ourselves. From what sources do we trust information about what is dangerous? What checks are placed upon these sources? How do we redefine our own circumstances when hearing of epidemics in media? Do we cease to become part of a community because of perceived threats to our well-being? I think that isolationist ideas have the ability to spread through communities like viruses and can be damaging on a number of levels. Acknowledging that there can be more genetic variation in a family group of chimpanzees than the entire human population; how different are we really? Is the human genome so homogenous that we face real danger from a viral epidemic? Or does the real threat come from our voluntary isolation and lack of empathy? Artist bio Isla has been making things since she was a child and has vivid memories of her seven-year-old self, enameling copper coins with a blowtorch. She now makes contemporary glass jewellery and artworks from her garden studio in Auckland, New Zealand. Glass is both subject and object in Isla's work and its chemical and physical properties fascinate her. It is fluid whilst unyielding, delicate whilst impenetrable. Glass can transform from liquid to solid in an instant, while still retaining the illusion of movement. Isla's process consists of making finely crafted glass beads, melted with a torch according to traditional Italian methods. Although the techniques she uses are ancient, their application is contemporary and she is constantly experimenting with the nature and chemistry of glass. She says "Lampworking is an ancient and magical process, a chemistry that borders on alchemy and as an artist find its lure irresistible." In her current body of work, Isla explores the relationship between the virus and its host community. Creating a tension between the artworks beauty and what it represents, Isla presents a thoughtful view of the world we live in.

Artist: Anna Tokareva Title: Swifter Medium: Watercolour Size: 65 x 37 cm Art description The work I am submitting derives from a trip to Russia, the land of my origin, with stops in Italy and Japan. While navigating vastly different landscapes and cultures, I found the landscapes in-between to be very similar, almost generic. Watercolour, of course, with its historic connections to the landscape and new lands discovered, was a useful companion. Migration, disembodiment and the selective construction of personal connection and memory are issues I will continually explore.The notion of home is as attractive to me, as much as travelling and "getting away from it all." I feel that I have found a home in each place I visited, they have become homogenised. I found myself frantically trying to capture images flying by in the window on my journeys in the car, bus and train. These were, in many ways, the most telling of the life of each country and I earned to hold on to them and experience them properly. The transience and fluidity of time and travel through space can be reflected in the most banal objects. Artist bio I completed a Bachelor of Fine Arts (Honours) at the Elam School of Arts, University of Auckland last year.

Artist: Kathy Ready Title: Cavern Medium: Oil on Canvas Size: 90 x 62cm Art description This painting depicts the softness, warmth and rejuvenation of a hidden sanctuary - real or imagined. Artist bio My physical and emotional environment provides the initial catalyst for my paintings, but colour is the underlying foundation, the link, and the ultimate driving force behind all my work. My current practice is about exploring more deeply, the nature of paint and the process of painting. Building the surface up in layers, creating new colours, tones and dimensions and allowing the painting to unfold. Essentially I like to produce vibrant and accessible works of art that have the ability to invoke an array of responses from viewer to viewer.

Artist: Kathy Ready Title: Celebration Medium: Oil on Canvas Size: 120 x 102cm Art description This painting signifies a celebration of life, which is represented through harmonious colours and the recurrent use of the circular image - a universal symbol of such things as unity, everything, cycles and completion, and in the case of the semi-circle, good luck. Artist bio My physical and emotional environment provides the initial catalyst for my paintings, but colour is the underlying foundation, the link, and the ultimate driving force behind all my work. My current practice is about exploring more deeply, the nature of paint and the process of painting. Building the surface up in layers, creating new colours, tones and dimensions and allowing the painting to unfold. Essentially I like to produce vibrant and accessible works of art that have the ability to invoke an array of responses from viewer to viewer.

Artist: Meredith Collins Title: Untitled 2011 Medium: Oil on Canvas Size: 1015 x 1520mm Art description Self- Portrait. Artist bio Meredith Collins' paintings and drawings explore questions of heritage and identity. At times there is a tension in her works that reference her Pakeha and Maori heritage, ta moko or floral designs delicately adorn faces of her subjects. Heritage as well as the continuity of one's lineage are depicted in Meredith's works which often feature her with her daughters. Crystal Ardern, curator Waikato Museum, describes Meredith's work as "Striking, captivating, and beautiful paintings - yet hinting at something more, something uneasy even. She has explored intimate, sometimes painful issues through paint and canvas, but she has been able to veil her work enough so that she is not completely exposed." Meredith has exhibited extensively throughout New Zealand and has work exhibited in Australia and New York. Her work is included in the Wallace Collection and Trust Waikato Collection and she has been a finalist in the National Contemporary Art Award, Wallace Art Awards, Molly Morpeth Canaday Art Award, The Adam Portraiture Award, and Australia's Agendo Art Award and she was a winner of a Merit Award in the National Painting and Printmaking Award in 2008.

Artist: Sian Huygens Title: Light Switch Medium: Oil on Canvas Size: 20 x 25cm Art description This painting is one of a series of work using various different media, but all paintings of small household objects. My artist statement for the body of work is as follows: "My idea was to choose an object that wouldn't attract me either by its beauty or by its ugliness. To find a point of indifference in my looking at it. Of course you might say that I found any number of those, but at the same time not so much because its rather difficult after a while when you look at something it becomes very interesting, you can even like it. And the minute I liked it, I would discard it" (Duchamp as cited in Banchum, 2008). When Duchamp turned the ordinary object into art, the possibilities for what could be deemed art became endless. In the present, everything has the potential to be art and it is seemingly impossible to find an object or idea that couldn't be. I now find it very difficult to find an object that doesn't interest me in some way, and I find that all of the objects in this body of work have interesting qualities. I have chosen a collection of rather mundane, household objects which showcase this contemporary subject matter and I am representing them in a two dimensional realm that was practiced in pre-Duchampian times. My investigation of the readymade is an exploration of analogue media that is now perhaps considered rather conservative. I am exploring traditional media and approaches to art while using subject matter that is more associated with contemporary art practice. Rather than displaying the objects themselves, or using digital and contemporary media to portray them I find the materiality of paint, ink and pencil to be a more interesting display for these subjects. I enjoy the flaws that painting and sketching hold. The scale, proportion, shape and colour altered by my hand bring an interesting portrayal of otherwise slightly dull subjects. Artist bio I am a fourth year Bachelor of Fine Art Student of Whitecliffe College of Art and Design. I explore a varied range of media and ideas in my work and am particularly interested in the boundaries of art and the everyday. You may view more of my work at www.sianhuygens.blogspot.com I sell my work at http://www.felt.co.nz/shop/sian-huygens

Artist: Phil James Title: Exposition and the First Problem Medium: Ink on Paper Size: 640mm x 970mm Art description Second preparation drawing as part of a set of preliminary drawings for online comic - "The Threshing Nest" . Artist bio Phil James is an Freelance Creative Director and Concept Artist. He started experimenting with 3D animation and Drawing whilst at Architecture school, and after graduating began working in the local Animation industry. Together with other graduates as part of a collective, 'ShineStrength!' he has won animation awards for their music video "Kuzai Heart you Girl", and working as part of Cirkus Animation, he has worked in creating and directing award winning advertisements for high profile organisations. He has always been interested in the construction of worlds and characters in film and gaming media, and seeks to further his visual craft in traditional and digital mediums.

Artist: Phil James Title: A Drawing of a Perfect Rectangle Medium: Ink on Paper Size: 640mm x 970mm Art description Automatic Ink Drawing as part of a set of foundation drawings for an online comic - "The Threshing Nest" . Artist bio Phil James is an Freelance Creative Director and Concept Artist. He started experimenting with 3D animation and Drawing whilst at Architecture school, and after graduating began working in the local Animation industry. Together with other graduates as part of a collective, 'ShineStrength!' he has won animation awards for their music video "Kuzai Heart you Girl", and working as part of Cirkus Animation, he has worked in creating and directing award winning advertisements for high profile organisations. He has always been interested in the construction of worlds and characters in film and gaming media, and seeks to further his visual craft in traditional and digital mediums.

Artist: Dianne Hogan Title: Tidal Patterns Medium: Oil on canvas Size: 76 x 76cm Art description Shapes and patterns inspired by water on sand. Artist bio I am married with two children and live on the west coast of Auckland. I have completed two and a half years of art classes in drawing, watercolour and oils.

Artist: Melinda Butt Title: Strange attractor Medium: Acrylic, Oil on canvas Size: 70 x 70cm Art description This painting is an illustration of energy, that incorporates the virtues of abstract expression. The Title 'Strange Attractor' alludes to chaos theory, and the notion of certain uncertainty. It's also a reference to my new style of expression and my overall passion to be a painter. To be drawn in a new direction is strange, inspiration itself is a type of strange attractor. The desire to be an artist regardless of the craft is unexplainable to many. The aim of my art is to create an awareness of uncertainty, patterns, fluidity, simplicity and the notion of embracing change, A challenge with charm. My aim has always been to provide joy though visually pleasing works and simplicity is a great vehicle for delivering that motive. Artist bio Born in 1976, I grew up on a small farm in the rural community of Waimauku in the western outskirts of Auckland. I expressed a strong passion for art from an early age and was a prolific painter throughout my education. After finishing my Bachelor of Arts degree, I worked in the film and television industry for ten years both in the UK and New Zealand. Strong connections were still maintained to other art mediums throughout this time. After extensive travel through Europe, the Middle East and Asia I returned to New Zealand. My experiences abroad created a renewed focus towards my art. Over the following years I have redirected my energy towards painting. Awards Honorable Mention - Art Interview online Magazine Finalist for the Waikato Society of Arts award 2011 and 2008 Finalist for an ASA scholarship Galleries and Exhibitions WSA finalists exhibition 2011 Beatty Gallery - Sydney Nov 2010 Astras Gallery - Sydney on going dealer Auckland Art Fair - July 2010 Lane Gallery - Auckland December 2009 Artworks at the Hilton - Auckland August 2008 Solo exhibition at the Satellite Gallery - Auckland July 2008 Sebrof international - New York 2007 http://www.sebrofinternational.com/ Mobile Art - Auckland On going

Artist: Steve Biggins Title: 'Duality' Medium: Hot formed glass and wood Size: 530 *340*155mm Art description "Duality' *was a test of my own skills vs my ideas. An exploration of using blowen glass technics in a purely sculptural way. How i could find my balance in an art form that tends to be one that creates mainly functional objects/items. *In mathematics, a duality, generally speaking, translates concepts, theorems or mathematical structures into other concepts, theorems or structures, in a one-to-one fashion, often (but not always) by means of an involution operation: if the dual of A is B, then the dual of B is A. As involutions sometimes have fixed points, the dual of A is sometimes A itself Artist bio Steve Biggins I studied at Northec and completed a bachelor of Applied Arts Visual in 2006. In my studies i was doing some work expeirence at the Mahy Glass Studio were i learnt to glassblow were this instantly became my passion. I have contiued to work there as the assistant and learn more glassblowing skills. "the answer lies in whether one is allowed to design free from the constraints of mass production" Elephant design 2003 Creating art work to me is about capturing the moment of creativity to determine the outcome of an object. Pushing the material and my abilities to there limits. Overall the individuality and the enjoyment of creating the finished object are of most importance to me. I attempt to create beauty out of the obscure as I find the more unusual creations hold more interest and beauty. "Always keep your mind as bright & clear as the vast sky, the highest peak, & the deepest ocean, empty of all limiting thoughts" MoriheiUeshiba 1883 -1969 Exhibitions Boarding Pass - Solo show Geoff Wilson Gallery 2010 Create a Saint - Group show, Tuatara Gallery 2010 Boil up- emerging artist show Geoff Wilson Gallery 2009 Mkondo - North Tec Tutor show Geoff Wilson Gallery 2008 Hand Lines -North Tec Tutor show Geoff Wilson Gallery 2008 In the making of chalk-North Tec Tutor show E-north 2008 Cocktail - emerging artist group Show Arts Promotion Trust 2007-08 18* - 3rd year graduation exhibition Geoff Wilson Gallery 2006 Untitled - solo show3rd year Rathbone St Alleyway 2006 Inhabited space - 2005 2nd year exhibition Geoff Wilson Gallery Transformations - 2004 1st year exhibition Tuatara Gallery Crash Start - 2004 group show Geoff Wilson Gallery .

Artist: Laken George TewhiwhiWhitecliffe Title: Semi Permanent Maori Medium: Oil on canvas Size: 101cm x 76cm Art description Self portrait of myself preformingkapa haka at the annual polynesian festival in Auckland with fiery passionate colors to incapsulate the moment of this performance. However a clear indication that the moko painted on is only a semi permanent marking as to incapsulate the idea that I as a Modern day maori, in my own personal experience, only show my Maoridom when i have taken on these drawn on moko and don't fully commit to the moko, but as seen in the passionate expression the maoridom is in more then the ink on my skin weather its permanent or not Artist bio I am a 19 year old art student in my second year of my BFA.

Artist: Wendy Grace Allen Title: Woven 10 Medium: Digital Paintings - Giclee print on canvas Size: 864×648×40 mm Limited Edition Size: 15 Art description In Woven, this process is explored further and the viewer is drawn into the complexity of the images and the multifaceted processes that created them. The artworks are clearly influenced by Abstract Expressionism and the use of all-over composition. The artist's hand is evident through the painterly quality of the brush strokes, drips, swirls and expressive movements in the images. This quality is then confounded by the obvious digital manipulation that is used to conflate the artworks, and while the artworks appear gestural, the digital manipulation renders the artist's hand as part of the process of creating the work rather than the singular means of creation. The use of images of the artist's three-dimensional paintings which are then flattened onto a two-dimensional surface further complicates the artworks. The complex digital paintings are then printed on to canvas using the superior quality giclée print process. Artist bio Wendy Grace Allen (nee Dawson) - MVA, DFA, Grad Dip. Tchg (Sec) I grew up in the beautiful, dramatic, wild, confronting landscape of New Zealand. In my art practice I like to explore ideas that intrigue me, comment on the world around me, find creative solutions to problems, and respond to the physicality of using a variety of art materials by combining materials in new and dynamic ways. I enjoy working collaboratively and cross culturally. I have lived and worked in several locations around New Zealand and in Australia, Malaysia, Singapore and Thailand. Woven was exhibited at A Fine Gallery in 2011. In 2008-10, I curated The Border Crossing Art Project, exhibited in The International Art Expo Malaysia, Kuala Lumpur, participated in The International Drawing Marathon and exhibited Reborn, at A2 Gallery in Penang, Malaysia. I was the selected artist for the 30 Day Artist Project for November 2009, and successfully completed a three and a half month Artist-in-Residence programme at the Ban Pao Rural Art Centre, North-East Thailand earlier in that year. I was artist in residence at Art Glass Solutions in Singapore. In February-March 2010, I presented Rural Go Go, a solo exhibition at Jamjuree Art Gallery, Chulalongkorn University, Bangkok, Thailand. Also in February-March 2010, The Border Crossing Art Project - collaborative touring exhibition, workshop and forums was presented at The Art Center, Chulalongkorn University, Bangkok, Thailand then toured to The Light Square Gallery, Adelaide South Australia in September 2010.

Artist: Wendy Grace Allen Title: Woven 6 Medium: Digital Paintings - Giclee print on canvas Size: 864×648×40 mm Limited Edition Size: 15 Art description Woven stems from artworks created for The Border Crossing Art Project that was exhibited in Bangkok and then South Australia in 2010 (the project will be touring to New Zealand at a later date). For one work, two paintings were cut and then hand woven together to create a dynamic new artwork reminiscent of a hanging textile. As a further extension of the process, two artworks were digitally 'woven' together, each square acting as a pixel to makeup the final artwork. In Woven, this process is explored further and the viewer is drawn into the complexity of the images and the multifaceted processes that created them. The artworks are clearly influenced by Abstract Expressionism and the use of all-over composition. The artist's hand is evident through the painterly quality of the brush strokes, drips, swirls and expressive movements in the images. This quality is then confounded by the obvious digital manipulation that is used to conflate the artworks, and while the artworks appear gestural, the digital manipulation renders the artist's hand as part of the process of creating the work rather than the singular means of creation. The use of images of the artist's three-dimensional paintings which are then flattened onto a two-dimensional surface further complicates the artworks. The complex digital paintings are then printed on to canvas using the superior quality giclée print process. Artist bio Wendy Grace Allen (nee Dawson) - MVA, DFA, Grad Dip. Tchg (Sec) I grew up in the beautiful, dramatic, wild, confronting landscape of New Zealand. In my art practice I like to explore ideas that intrigue me, comment on the world around me, find creative solutions to problems, and respond to the physicality of using a variety of art materials by combining materials in new and dynamic ways. I enjoy working collaboratively and cross culturally. I have lived and worked in several locations around New Zealand and in Australia, Malaysia, Singapore and Thailand. Woven was exhibited at A Fine Gallery in 2011. In 2008-10, I curated The Border Crossing Art Project, exhibited in The International Art Expo Malaysia, Kuala Lumpur, participated in The International Drawing Marathon and exhibited Reborn, at A2 Gallery in Penang, Malaysia. I was the selected artist for the 30 Day Artist Project for November 2009, and successfully completed a three and a half month Artist-in-Residence programme at the Ban Pao Rural Art Centre, North-East Thailand earlier in that year. I was artist in residence at Art Glass Solutions in Singapore. In February-March 2010, I presented Rural Go Go, a solo exhibition at Jamjuree Art Gallery, Chulalongkorn University, Bangkok, Thailand. Also in February-March 2010, The Border Crossing Art Project - collaborative touring exhibition, workshop and forums was presented at The Art Center, Chulalongkorn University, Bangkok, Thailand then toured to The Light Square Gallery, Adelaide South Australia in September 2010.

Artist: Wendy Grace Allen Title: Woven 5 Medium: Digital Paintings - Giclee print on canvas Size: 864×648×40 mm Limited Edition Size: 15 Art description In Woven, this process is explored further and the viewer is drawn into the complexity of the images and the multifaceted processes that created them. The artworks are clearly influenced by Abstract Expressionism and the use of all-over composition. The artist's hand is evident through the painterly quality of the brush strokes, drips, swirls and expressive movements in the images. This quality is then confounded by the obvious digital manipulation that is used to conflate the artworks, and while the artworks appear gestural, the digital manipulation renders the artist's hand as part of the process of creating the work rather than the singular means of creation. The use of images of the artist's three-dimensional paintings which are then flattened onto a two-dimensional surface further complicates the artworks. The complex digital paintings are then printed on to canvas using the superior quality giclée print process. Artist bio Wendy Grace Allen (nee Dawson) - MVA, DFA, Grad Dip. Tchg (Sec) I grew up in the beautiful, dramatic, wild, confronting landscape of New Zealand. In my art practice I like to explore ideas that intrigue me, comment on the world around me, find creative solutions to problems, and respond to the physicality of using a variety of art materials by combining materials in new and dynamic ways. I enjoy working collaboratively and cross culturally. I have lived and worked in several locations around New Zealand and in Australia, Malaysia, Singapore and Thailand. Woven was exhibited at A Fine Gallery in 2011. In 2008-10, I curated The Border Crossing Art Project, exhibited in The International Art Expo Malaysia, Kuala Lumpur, participated in The International Drawing Marathon and exhibited Reborn, at A2 Gallery in Penang, Malaysia. I was the selected artist for the 30 Day Artist Project for November 2009, and successfully completed a three and a half month Artist-in-Residence programme at the Ban Pao Rural Art Centre, North-East Thailand earlier in that year. I was artist in residence at Art Glass Solutions in Singapore. In February-March 2010, I presented Rural Go Go, a solo exhibition at Jamjuree Art Gallery, Chulalongkorn University, Bangkok, Thailand. Also in February-March 2010, The Border Crossing Art Project - collaborative touring exhibition, workshop and forums was presented at The Art Center, Chulalongkorn University, Bangkok, Thailand then toured to The Light Square Gallery, Adelaide South Australia in September 2010.

Artist: Brendan McGorry Title: "The heart is a lonely hunter" Medium: oil and charcoal on canvas Size: 1500x1200mm Art description Drawing on Eric Fischl's bedroom scenes and Cranach's Adam and Eve this work tells a story of emotional dramas in a domestic scene. Artist bio Brendan McGorry's art is a fascinating combination of fine figurative drawing, abstract colorfields and rich narrative. Since returning from Italy where he studied fresco's with the prestigious New York Studio School Brendan has been a finalist in numerous national art awards winning last years Estuary Artworks Award brendanmcgorry.com

Artist: Bonnie Monique Fraser Title: Realisation Medium: Oil on board Size: 380x480mm Art description Realisation is a self portrait. The cigarette has burnt down leaving a balanced fragile finger of ash, similar to a feeling of when time stands still - during realisation of the bigger picture. This is a part of my own personal series of self exploration work. Artist bio I am a realist artist with idea driven work. I sold my first painting at age 11, and have continued painting and practising art since. My self portrait was on the front page of the NZ herald in 2000, and in 2005 I completed my bachelor degree in painting. Since then i have had 2 solo shows, been in a number of small group shows, and also have lived off my art. To see some of my work go to www.BonnieFraser-Artist.blogspot.com Or I have a current show on till the 29th of May - see invitation on blog

Artist: Serene Thain Title: Invisible city Medium: map/paper cut out , acrylic sheets Size: 750mmx1000mm Art description This artwork is inspired by a 1995 movie 'Waterworld' where centuries of global warming have caused the polar ice caps to melt, flooding the earth as civilization is left adrift. This work is a cutout of the map of Auckland where all areas of land is being cut out, as a result land is no longer and and the fragility of the map highlights the fragility of mankind. Artist bio Artist: Serene ThainTel.no : 09 522 5453 or 021 460860 Address: 33 Maungakiekie Avenue, Greenlane, Auckland Email: serene@arcad.co.nz Education Bachelor of Visual Art (BVA) , Auckland University of Technology, Auckland, 2002 - 2005 Selected Group Exhibitions 2005 Pilot Project at Gallery 2, Auckland University of Technology, Auckland, New Zealdnd. 2006 Spatial (Group exhibition), Pakuranga Art Gallery, New Zealand. 2006 Finalist in the 15th Wallace Trust Award. Work was also selected for the traveling exhibition to Pataka Gallery, Wellington. Work was also purchased by the Wallace Trust. 2008 Misty Frequencies, (curated by Karl Chistholm), WhakataneMusuem and Gallery, Bay of Plenty, New Zealand. 2008 Finalist in the 17th Wallace Trust Award. 2008 Headland, Sculpture on the Gulf in Waiheke. 2009 Dust Dispersion Collective at Artstation, Ponsonby, Auckland 2009 Dust 1.2 Collective at St Paul Street Gallery Three, Symond Street, Auckland. 2010 Finalist in the 19th Wallace Trust Award. 2010 Solo show in the Arthouse Installation Project. Arthouse Architecture, Nelson.

Artist: Serene Thain Title: Transcendental City Medium: Ink, Acrylic Ink Size: 45cmx60cm Art description This painting is inspired by Italo Calvino's Invisible Cities written in 1970. The book relates the tales that Marco Polo the Venetian traveler shared with the aged Kublai Khan the oriental emperor. Polo painted verbal pictures of the cities he saw in his travels: cities and memory, cities and desires, hidden cities and mystique. This painting offers an approach to thinking about cities, how they are formed and how they function. There is no intention of creating a utopian city or a hint of one. Rather the intent is to invoke a memory or longing of places in our imagination, places of desire, and places of fantasy. Artist bio Artist: Serene ThainTel.no : 09 522 5453 or 021 460860 Address: 33 Maungakiekie Avenue, Greenlane, Auckland Email: serene@arcad.co.nz Education Bachelor of Visual Art (BVA) , Auckland University of Technology, Auckland, 2002 - 2005 Selected Group Exhibitions 2005 Pilot Project at Gallery 2, Auckland University of Technology, Auckland, New Zealdnd. 2006 Spatial (Group exhibition), Pakuranga Art Gallery, New Zealand. 2006 Finalist in the 15th Wallace Trust Award. Work was also selected for the traveling exhibition to Pataka Gallery, Wellington. Work was also purchased by the Wallace Trust. 2008 Misty Frequencies, (curated by Karl Chistholm), WhakataneMusuem and Gallery, Bay of Plenty, New Zealand. 2008 Finalist in the 17th Wallace Trust Award. 2008 Headland, Sculpture on the Gulf in Waiheke. 2009 Dust Dispersion Collective at Artstation, Ponsonby, Auckland 2009 Dust 1.2 Collective at St Paul Street Gallery Three, Symond Street, Auckland. 2010 Finalist in the 19th Wallace Trust Award. 2010 Solo show in the Arthouse Installation Project. Arthouse Architecture, Nelson.

Artist: Kathryn Stevens Title: Pulse Medium: oil on canvas Size: 1200mm x 1000mm Art description Informed by a combination of painting theory architecture and engineering, Kathryn Stevens' work explores the twin painterly ideals of depth and palette. Stevens' work investigates the representation of depth through an implied three-dimensional structure on a two-dimensional plane. The paintings also explore the effect of variation in the tonal range of a colour on the structure present on the canvas. The result is work that emits a rhythmic, quasi-electric energy, underpinned by a sense of mathematical precision. Inspired in part by the immediacy of architectural and urban spaces in the modern environment and the interaction between surface and structure in modern glass-and-steel construction, Stevens' earlier works explored the limits of three-dimensional space with rectilinear division. With the introduction of curved line and the use of tonal blocks of colour to suggest depth and to further energise the composition, Stevens' later works warp this limited space and lend fluidity to her expression of three-dimensional structure. Artist bio Artist: Kathryn Stevens was born in the King Country town of Te Kuiti in 1965 and lived there until 1983 when she moved to Auckland to study civil engineering. In 1996, having worked in the film and television industry as a makeup artist for ten years, Stevens again enrolled at University and graduated from the elam school of fine arts in 1999 with a BFA in painting. Since then Stevens has exhibited regularly in Auckland and Christchurch and has been a finalist in the Wallace art awards, the BMW art awards and the Waikato art awards. In her painting Stevens is interested in the way that space and depth can be suggested, and are perceived. Stevens painting, though abstract, suggests construction grids, walls, windows, or paved floors. In each of the paintings Stevens sets up a different possibility of space and depth using the linear grid and the colour that it lies in

Artist: Kathryn Stevens Title: Elevation #1 Medium: Oil on canvas Size: 600mm x 500mm Art description Informed by a combination of painting theory architecture and engineering, Kathryn Stevens' work explores the twin painterly ideals of depth and palette. Stevens' work investigates the representation of depth through an implied three-dimensional structure on a two-dimensional plane. The paintings also explore the effect of variation in the tonal range of a colour on the structure present on the canvas. The result is work that emits a rhythmic, quasi-electric energy, underpinned by a sense of mathematical precision. Inspired in part by the immediacy of architectural and urban spaces in the modern environment and the interaction between surface and structure in modern glass-and-steel construction, Stevens' earlier works explored the limits of three-dimensional space with rectilinear division. With the introduction of curved line and the use of tonal blocks of colour to suggest depth and to further energise the composition, Stevens' later works warp this limited space and lend fluidity to her expression of three-dimensional structure. Artist bio Artist: Kathryn Stevens was born in the King Country town of Te Kuiti in 1965 and lived there until 1983 when she moved to Auckland to study civil engineering. In 1996, having worked in the film and television industry as a makeup artist for ten years, Stevens again enrolled at University and graduated from the elam school of fine arts in 1999 with a BFA in painting. Since then Stevens has exhibited regularly in Auckland and Christchurch and has been a finalist in the Wallace art awards, the BMW art awards and the Waikato art awards. In her painting Stevens is interested in the way that space and depth can be suggested, and are perceived. Stevens painting, though abstract, suggests construction grids, walls, windows, or paved floors. In each of the paintings Stevens sets up a different possibility of space and depth using the linear grid and the colour that it lies in

Artist: Kathryn Stevens Title: Vault Medium: Oil on canvas Size: 1800mm x 1500mm Art description Informed by a combination of painting theory architecture and engineering, Kathryn Stevens' work explores the twin painterly ideals of depth and palette. Stevens' work investigates the representation of depth through an implied three-dimensional structure on a two-dimensional plane. The paintings also explore the effect of variation in the tonal range of a colour on the structure present on the canvas. The result is work that emits a rhythmic, quasi-electric energy, underpinned by a sense of mathematical precision. Inspired in part by the immediacy of architectural and urban spaces in the modern environment and the interaction between surface and structure in modern glass-and-steel construction, Stevens' earlier works explored the limits of three-dimensional space with rectilinear division. With the introduction of curved line and the use of tonal blocks of colour to suggest depth and to further energise the composition, Stevens' later works warp this limited space and lend fluidity to her expression of three-dimensional structure. Artist bio Artist: Kathryn Stevens was born in the King Country town of Te Kuiti in 1965 and lived there until 1983 when she moved to Auckland to study civil engineering. In 1996, having worked in the film and television industry as a makeup artist for ten years, Stevens again enrolled at University and graduated from the elam school of fine arts in 1999 with a BFA in painting. Since then Stevens has exhibited regularly in Auckland and Christchurch and has been a finalist in the Wallace art awards, the BMW art awards and the Waikato art awards. In her painting Stevens is interested in the way that space and depth can be suggested, and are perceived. Stevens painting, though abstract, suggests construction grids, walls, windows, or paved floors. In each of the paintings Stevens sets up a different possibility of space and depth using the linear grid and the colour that it lies in

Artist: Scott Gardiner Title: Endless Summer 1 Medium: Gesso, Gouache, Acrylic and Pencil on Canvas Size: 152cm x 101cm Art description At what point did a motorway overpass go from being a celebrated symbol of an advanced and modern society, to become symbolic of a culture of excess and consumption? When did a hydro-electric dam switch from representing the pinnacle of engineering and technology to highlighting a society of expansion responsible for the depletion of natural resources and destruction of fragile ecosystems in order to harness the electricity required to fuel continuous growth? A similar question could be asked of art and the erosion of belief in the modernist enterprise. At what point did the grand narrative of modern art history - with its 'rules' and 'laws', manifestos and utopian agendas - give way to pluralism, cynicism and a removal of the hierarchical barriers between 'high art' and popular culture so integral to modernism? .While the demise of modernity and issues surrounding climate change may appear anything but connected I am intrigued by an underlying parallel. The development of twentieth century modernism was viewed very much as a linear progression, one 'school' or 'ism' replacing the next as Art is advanced onwards toward some kind of aesthetic nirvana. With the dissolution of belief in modernisms absolutes this sense of linear progression disappears. All styles, agendas and philosophies co-exist on an even plane, rendering a collective path 'forward' impossible. Now we as a civilisation begin to face similar issues. Before terms such as global warming and climate change became familiar, the relentless expansion of our fuel and electricity dependent modern lifestyle was viewed as a positive consequence of social and technological development. Now that we are faced with the environmental realities of this relentless expansion, the way forward is not clear. The very technologies that propelled civilisation forward now threaten our society as a whole, dissolving - like modernism - a clear-cut sense of linear progression. Appropriating an aesthetic of minimalist abstraction, these motorways and dams so loaded with symbolic content, are reduced to their formal qualities and composed within fields of colour - incorporating the dominant visual language of late modernism, heralded by proponents such as Clement Greenburg as representing the high point of a century of artistic experimentation. By juxtaposing these seemingly incongruous elements I am drawing parallels between the demise of artistic utopias and our collective awakening to the consequences of unchecked faith in the abilities of industry and technology to 'advance' the world toward a better future. As the title 'Endless Summer' suggests, these works evoke nostalgia for a time of collective certainty while highlighting our individual march toward the unknown. . Artist bio Scott Gardiner Born 1975 Tertiary Education: 2002 -2003 Master of Visual Arts - Painting [Hons] Auckland University of Technology, New Zealand 1993 -1997 Bachelor of Visual Arts - Painting Auckland University of Technology, New Zealand Relevant Experience: 2010 Educator/Guide, Melbourne Art Fair 2009/10 Visual Arts Tutor Bramly Art and Creative School, Auckland 2009 Educator/ Guide, Auckland Art Fair 2007 Art History/Theory Tutor Art and Design Institute of New Zealand, Auckland 2003 Interdisciplinary Studio Tutor Auckland University of Technology Solo Exhibitions: 2010 Traces, Whitespace, Auckland 2009 Future Memories, Whitespace, Auckland 2008 Beyond the Pillars of Hercules, Whitespace, Auckland 2007 Shadowlands, Whitespace, Auckland New Zealand 2003 Solo exhibition for final year Master of Visual Arts X-Space Gallery Auckland University of Technology, New Zealand Group Exhibitions: 2011 Landscapes Part 2, from the Wallace Trust Collection, TSB Bank Wallace Arts Centre 2010 Landscapes Part 1, from the Wallace Trust Collection, TSB Bank Wallace Arts Centre BMW Art Awards, Finalist Wallace Art Awards, Finalist Contemporary Landscape, Fisher Brown Gallery, Tauranga Artists in Eden TSB Bank Wallace Arts Centre opening exhibition, The Pah Homestead, Auckland 2009 Wallace Art Awards, Finalist Chorus, Group exhibition, Whitespace, Auckland Auckland Art Fair, Whitespace, Auckland Artists in Eden 2008 Wallace Art Awards, Finalist, Auckland/Wellington Los Angeles Art Show, Whitespace 2003 Mazda Emerging Artists Exhibition Group Exhibition 2002 Preamble MA Art and Design Y1 Exhibition Group Exhibition X-Space Gallery Auckland University of Technology, New Zealand Collections: Represented in private and corporate collections in New Zealand and Australia.Wallace Arts Trust.

Artist: Scott Gardiner Title: Endless Summer 2 Medium: Gesso, Gouache, Acrylic and Pencil on Canvas Size: 167cm x 101cm Art description At what point did a motorway overpass go from being a celebrated symbol of an advanced and modern society, to become symbolic of a culture of excess and consumption? When did a hydro-electric dam switch from representing the pinnacle of engineering and technology to highlighting a society of expansion responsible for the depletion of natural resources and destruction of fragile ecosystems in order to harness the electricity required to fuel continuous growth? A similar question could be asked of art and the erosion of belief in the modernist enterprise. At what point did the grand narrative of modern art history - with its 'rules' and 'laws', manifestos and utopian agendas - give way to pluralism, cynicism and a removal of the hierarchical barriers between 'high art' and popular culture so integral to modernism? .While the demise of modernity and issues surrounding climate change may appear anything but connected I am intrigued by an underlying parallel. The development of twentieth century modernism was viewed very much as a linear progression, one 'school' or 'ism' replacing the next as Art is advanced onwards toward some kind of aesthetic nirvana. With the dissolution of belief in modernisms absolutes this sense of linear progression disappears. All styles, agendas and philosophies co-exist on an even plane, rendering a collective path 'forward' impossible. Now we as a civilisation begin to face similar issues. Before terms such as global warming and climate change became familiar, the relentless expansion of our fuel and electricity dependent modern lifestyle was viewed as a positive consequence of social and technological development. Now that we are faced with the environmental realities of this relentless expansion, the way forward is not clear. The very technologies that propelled civilisation forward now threaten our society as a whole, dissolving - like modernism - a clear-cut sense of linear progression. Appropriating an aesthetic of minimalist abstraction, these motorways and dams so loaded with symbolic content, are reduced to their formal qualities and composed within fields of colour - incorporating the dominant visual language of late modernism, heralded by proponents such as Clement Greenburg as representing the high point of a century of artistic experimentation. By juxtaposing these seemingly incongruous elements I am drawing parallels between the demise of artistic utopias and our collective awakening to the consequences of unchecked faith in the abilities of industry and technology to 'advance' the world toward a better future. As the title 'Endless Summer' suggests, these works evoke nostalgia for a time of collective certainty while highlighting our individual march toward the unknown. Artist bio Scott Gardiner Born 1975 Tertiary Education: 2002 -2003 Master of Visual Arts - Painting [Hons] Auckland University of Technology, New Zealand 1993 -1997 Bachelor of Visual Arts - Painting Auckland University of Technology, New Zealand Relevant Experience: 2010 Educator/Guide, Melbourne Art Fair 2009/10 Visual Arts Tutor Bramly Art and Creative School, Auckland 2009 Educator/ Guide, Auckland Art Fair 2007 Art History/Theory Tutor Art and Design Institute of New Zealand, Auckland 2003 Interdisciplinary Studio Tutor Auckland University of Technology Solo Exhibitions: 2010 Traces, Whitespace, Auckland 2009 Future Memories, Whitespace, Auckland 2008 Beyond the Pillars of Hercules, Whitespace, Auckland 2007 Shadowlands, Whitespace, Auckland New Zealand 2003 Solo exhibition for final year Master of Visual Arts X-Space Gallery Auckland University of Technology, New Zealand Group Exhibitions: 2011 Landscapes Part 2, from the Wallace Trust Collection, TSB Bank Wallace Arts Centre 2010 Landscapes Part 1, from the Wallace Trust Collection, TSB Bank Wallace Arts Centre BMW Art Awards, Finalist Wallace Art Awards, Finalist Contemporary Landscape, Fisher Brown Gallery, Tauranga Artists in Eden TSB Bank Wallace Arts Centre opening exhibition, The Pah Homestead, Auckland 2009 Wallace Art Awards, Finalist Chorus, Group exhibition, Whitespace, Auckland Auckland Art Fair, Whitespace, Auckland Artists in Eden 2008 Wallace Art Awards, Finalist, Auckland/Wellington Los Angeles Art Show, Whitespace 2003 Mazda Emerging Artists Exhibition Group Exhibition 2002 Preamble MA Art and Design Y1 Exhibition Group Exhibition X-Space Gallery Auckland University of Technology, New Zealand Collections: Represented in private and corporate collections in New Zealand and Australia.Wallace Arts Trust.

Artist: Rosanne Croucher Title: Inflection Medium: Oil Size: 150 x 200cm Art description My practice is based on several interests and influences. These include the relationship between man and nature, expressing psychological 'inscapes' through landscape imagery, exploring the relationship between realism and abstraction with paint, and investigating an Eastern treatment of space through the removal of a fixed ground. Inflection represents the shifting and temporary nature of our own memories and dreams, as well as our perceptions of the world we live in. The drifting quality of the work points out the necessity of both flexibility and conviction in the way we approach life- some things need to be held on to, others need to be let go of. Artist bio Rosanne Croucher was born in 1987 in Hamilton, and has been living in Auckland for the past 5 years. She is currently completing her third and final year of study at Unitec in doing a Bachelor of Design and Visual Arts, majoring in Visual Arts. Group exhibitions she has been involved in include Bungalow 6 at Unitec 2010, Mindscapes at Global Café 2010, and Hard to Reach Places at Mairangi Bay Arts Centre 2011. She is also involved in leading a visual arts team at her local church. This has involved managing, curating and participating in a group art show called Beauty in the Broken in the Mercury Theatre 2010, assisting with stage/prop design and various venue decorations. In addition she has been involved in school makeovers in the Auckland community, and the donation of paintings to Ronald McDonald House, a division of Starship Hospital. Her paintings mainly consist of oil and acrylic, with a dominant focus on elements of both landscape and abstraction.

Artist: Rosanne Croucher Title: Ardor Medium: Oil Size: 150 x 120cm Art description My practice is based on several interests and influences. These include the relationship between man and nature or our surroundings, expressing psychological 'inscapes' through landscape imagery, exploring the relationship between realism and abstraction with paint, and investigating an Eastern treatment of space through the removal of a fixed ground. Ardor in particular represents the tension between nostalgia for how things used to be/a romantic view of nature as a refuge, and the instability of our current reality- environmentally, economically, psychologically. Through combining both the familiar and the unknown in a painting, I find an opportunity arises for reconsidering oneself and possible areas of change and growth. Artist bio Rosanne Croucher was born in 1987 in Hamilton, and has been living in Auckland for the past 5 years. She is currently completing her third and final year of study at Unitec in doing a Bachelor of Design and Visual Arts, majoring in Visual Arts. Group exhibitions she has been involved in include Bungalow 6 at Unitec 2010, Mindscapes at Global Café 2010, and Hard to Reach Places at Mairangi Bay Arts Centre 2011. She is also involved in leading a visual arts team at her local church. This has involved managing, curating and participating in a group art show called Beauty in the Broken in the Mercury Theatre 2010, assisting with stage/prop design and various venue decorations. In addition she has been involved in school makeovers in the Auckland community, and the donation of paintings to Ronald McDonald House, a division of Starship Hospital. Her paintings mainly consist of oil and acrylic, with a dominant focus on elements of both landscape and abstraction.

Artist: Matt Clouston Title: Your Invitation Medium: Spray paint and Enamel on canvas Size: 60x76cm Art description This piece shows how we are all part of a coming movement from the moment we lay eyes on it. This painting is an invitation. Whether you like it or not you are now connected, have witnessed and be it awful or nice have become an accomplice to this work. We are the marks, spots, lines and impurities attached to the call, or the surrounding canvas. Artist bio I like it simple don't want it clean, my works are rough made by a man not a machine. I like it when people see my works and know there made by hand and have to question what they mean. I enjoy using many different things like stencils and rollers and those sorts of things. I experiment with different paints and techniques until I get the image in my head laid down on canvas. I've been doing this forever enough said?

Artist: Barak Yahav Title: Harmony Medium: Oamaru stone Size: 700mm x 300mm x 150mm Art description Harmony The sculptured piece combines the basic classical shapes: spirals, circles, squares and triangles, is representative of diverse nations, cultures and its people, inclusive of their styles, feelings, actions and ideas. It is an attempt by the sculptor, to show how these differing qualities can co-exist in a harmonious way with their own unique integrity always intact, neither one 'overshadowing' the other, always complementing and enhancing each other Artist bio Born and educated in Israel. Leaving a career in the Israeli Army, I have been Travelling internationally: Mediterranean, Asia, Australia, South Africa and the USA. Lived and work in NZ since 2001 Active participant in the Arts since a very young age. Travel has given me an even broader outlook, insight and appreciation of the huge diversity of global cultures, values and knowledge, providing me with a wealth of experience, and a sound spring board for many of my expressions in the visual arts.

Artist: Phil Bonham Title: Incoming Tide Medium: Pinhole photographic print Size: 71 cm x 38 cm Art description The rock arch in this image is just one of many that were formed by lava flowing over tree trunks that were lying on the ground. The horizontal format prints are taken with cylindrical tin cameras that have the photographic paper 'film' curved around the inner diameter of the tin. They take a very wide angle of view. This photo is printed on canvas and stretched on a frame. Artist bio Since 2001 I have focused on the amazing phenomena of pinhole photography and the ridiculously impractical and time consuming, but wonderfully magical process of procuring my images with a bunch of tins, a scanner, and a computer. It may seem illogical to use such primitive cameras to capture the light and then scan the negatives into a sophisticated computer, but I find that the unique qualities of pinhole images are not diminished by digital darkroom techniques. The slow evaluation of a scene and the set-up that is necessary before taking a long pinhole exposure is an enjoyable contemplative experience. The results appearing in the developer tray are another form of magic that always bring an element of surprise due to the cameras having no viewfinder other than the educated guess and the imagination of the photographer.

Artist: Phil Bonham Title: The Giant's Chair Medium: Pinhole photographic print Size: image 480 x 390 mm. frame 750 x 680 mm Art description All of these images are pinhole photographs taken at the rocks, which is the name given to the lava reef at the North end of Takapuna beach. This reef contain one of the best examples in the world of a forest that has been fossilised by a lava flow; with cylindrical moulds of hundreds of tree trunks up to 2 metres in diameter. An early resident built his house, 'The Castle', from the local lava rock. He also made many surrounding walls, steps, and this large chair that is situated just above the high tide zone. Artist bio Since 2001 I have focused on the amazing phenomena of pinhole photography and the ridiculously impractical and time consuming, but wonderfully magical process of procuring my images with a bunch of tins, a scanner, and a computer. It may seem illogical to use such primitive cameras to capture the light and then scan the negatives into a sophisticated computer, but I find that the unique qualities of pinhole images are not diminished by digital darkroom techniques. The slow evaluation of a scene and the set-up that is necessary before taking a long pinhole exposure is an enjoyable contemplative experience. The results appearing in the developer tray are another form of magic that always bring an element of surprise due to the cameras having no viewfinder other than the educated guess and the imagination of the photographer.

Artist: Phil Bonham Title: A Stones Throw From The Sea Medium: Pinhole photographic print Size: image 380 mm. frame 65 x 68 mm Art description This image is from a series of pinhole photographs taken at the rocks, which is the name given to the lava reef at the North end of Takapuna beach, Auckland. This reef contain one of the best examples in the world of a forest that has been fossilised by a lava flow; with cylindrical moulds of hundreds of tree trunks up to 2 metres in diameter. The house in the photo is built right on edge of a popular walkway around the reef. It was taken with one of my home-made pinhole cameras using photographic paper as the negative. Artist bio Since 2001 I have focused on the amazing phenomena of pinhole photography and the ridiculously impractical and time consuming, but wonderfully magical process of procuring my images with a bunch of tins, a scanner, and a computer. It may seem illogical to use such primitive cameras to capture the light and then scan the negatives into a sophisticated computer, but I find that the unique qualities of pinhole images are not diminished by digital darkroom techniques. The slow evaluation of a scene and the set-up that is necessary before taking a long pinhole exposure is an enjoyable contemplative experience. The results appearing in the developer tray are another form of magic that always bring an element of surprise due to the cameras having no viewfinder other than the educated guess and the imagination of the photographer.

Artist: Rudi Buchanan Strewe Title: Ballerinas Medium: Steel & Copper Size: 800mm x 500mm Art description Kinetic sculpture made from found objects with cut out copper ballerinas. Artist bio Rudi Buchanan STREWE Born 1984 Auckland I trained as a motorcycle mechanic mostly working on restoring classic motorbikes. Often this entailed fabricating or sometimes casting parts. I think I have always had an affinity for working with metal, which lead me to build a forge for blacksmithing when I was 16. I decided I also wanted to learn the technique of metal casting so I taught myself the lost wax casting process and now can cast jewellery in bronze or silver and sculptures in bronze and aluminum. I also like working with copper as I find it is a good material to fabricate and forge into sculptures. Living in the Waitakere ranges surrounded by the bush gives me all the inspiration I need. One of my cast bronze Ponga sculptures was given by the Waitakere City Council to its Japanese sister city in Kakagawa. I have exhibited in several group shows The West Coast Gallery in Piha, Morgan Street Gallery in Newmarket, Compendium Gallery in Aucklnd CBD, Depot Artspace in Devonport, Satellite Gallery in Newton, Upstairs Gallery in Titirangi and various other shows.

Artist: Elizabeth Cunnane Title: The Choreography of Decision Making Medium: Hot sculpted glass Size: 30cmx20cmx20cm approx Art description Elizabeth Cunnane's work has a strong conceptual focus and aims to use glass in non-traditional ways to allow her ideas to come to the fore. The body of work that uses the arrow form as a central theme explores the process and nature of decision-making. Glass, like decisions, has a certain sort of choreography to its making. The clarity and form of these arrows enables the material's interior space and pliancy to be seen, reflecting and exploring the internal push-and-pull nature of this fundamental human process. Artist bio Elizabeth Cunnane is the former director is Aesthete Gallery Hamilton. In 2003 she spent a year travelling in Europe before returning to New Zealand to complete a Bachelor of Fine Art at the Quay School of the Arts, Wanganui. It was there that she was first exposed to the making of glass, and has since become intrigued by the medium and in pushing the boundaries of what it can offer. In 2009 she was selected for the SeaLink Small Sculpture Prize Exhibition on Waiheke Island, and in 2010 she won the People's Choice Award in the Annual Glass Festival in Wanganui. Past exhibitions include: 2010 Pattillo Scholarship Award, Sarjeant Gallery, Wanganui 2010 NZSAG Conference exhibition, Esscenze Gallery, Parnell, Auckland 2010 Glass Festival, central city exhibitor, Wanagnui 2010 Carey Smith& Co Ltd Wanagnui Arts Review, Sarjeant Gallery, Wanganui 2009 Carey Smith & Co Ltd Wanganui Arts Review, Sarjeant Gallery, Wanganui 2009 SeaLink Small Sculpture Prize, Waiheke Island (nationally selected, judged by Jenny Todd, Two Rooms Gallery, Auckland) 2007 Thunder, La Commune, Hamilton 2007 The Gateway Show, Gateway, Hamilton 2006 Alternatives Photographic Exhibition, Wanganui, exhibition travelled Virginia, California, Vermont, USA 2006 Re:Fraction, outdoor glass sculpture exhibition, Hamilton

Artist: VisesioSiasau Title: Maui (Enlightment) Medium: Bronze & Mixed media Size: 25cm Art description Bronze, Granite and Plastic Artist bio I am an Tongan artist, I examine the social, cultural and political issues pertaining to my Tongan culture. My works delve into the impact of Christianity and colonialism towards our Pacific nation, I also incorporate iconic Tongan deity and forms.

Artist: VisesioSiasau Title: Tu (Devine Being) Medium: Bronze & Mixed media Size: 25cm Art description Bronze and Mixed media Artist bio I am an Tongan artist, I examine the social, cultural and political issues pertaining to my Tongan culture. My works delve into the impact of Christianity and colonialism towards our Pacific nation, I also incorporate iconic Tongan deity and forms.

Artist: VisesioSiasau Title: Hikule'o Medium: Bronze & Plastic Size: 25cm Art description Bronze & Catholic statue installation Artist bio I am an Tongan artist, I examine the social, cultural and political issues pertaining to my Tongan culture. My works delve into the impact of Christianity and colonialism towards our Pacific nation, I also incorporate iconic Tongan deity and forms.

Artist: Chris Dennis Title: Albatorss Hunting Medium: Acrylic and Mixed Media on Panel Size: 61cm x 76cm Art description My paintings are perhaps best described as 'Narrative expressionism' or 'internalized portraiture'. The juxtaposition of a static figure (often possessing the head of either a fish or a bird) in an active setting hints at the internal, through the depiction of the external. The stories behind these 'Therianthropic' pieces are deliberately ambiguous. The incongruity yet immediacy of the imagery fuel the viewer's preconceptions. They invite the witness to create their own narrative and bring to mind facets or emotions that maybe more difficult to confront if not disguised behind a mask. Artist bio Prior to his fine art career, Chris Dennis was admitted to Bournemouth and Poole College of Art and Design to study natural history illustration. This classical training is evident in his current therianthropic work. After completing his BA (Hons) at the University of Wolverhampton he relocated to the United States, and in 2000 earned his MFA from the University of Art in San Francisco. Chris has exhibited in cities across the United States, Europe and New Zealand, including San Francisco, New Orleans, London, Berlin and Auckland. He lives in Auckland.

Artist: Chris Dennis Title: Self-Portrait of Harry White I Medium: Acrylic on Panel Size: 45cm x 61cm Art description My paintings are perhaps best described as 'Narrative expressionism' or 'internalized portraiture'. The juxtaposition of a static figure (often possessing the head of either a fish or a bird) in an active setting hints at the internal, through the depiction of the external. The stories behind these 'Therianthropic' pieces are deliberately ambiguous. The incongruity yet immediacy of the imagery fuel the viewer's preconceptions. They invite the witness to create their own narrative and bring to mind facets or emotions that maybe more difficult to confront if not disguised behind a mask. Artist bio Prior to his fine art career, Chris Dennis was admitted to Bournemouth and Poole College of Art and Design to study natural history illustration. This classical training is evident in his current therianthropic work. After completing his BA (Hons) at the University of Wolverhampton he relocated to the United States, and in 2000 earned his MFA from the University of Art in San Francisco. Chris has exhibited in cities across the United States, Europe and New Zealand, including San Francisco, New Orleans, London, Berlin and Auckland. He lives in Auckland.

Artist: Chris Dennis Title: Self-Portrait of Harry White II Medium: Acrylic on Panel Size: 45cm x 61cm Art description My paintings are perhaps best described as 'Narrative expressionism' or 'internalized portraiture'. The juxtaposition of a static figure (often possessing the head of either a fish or a bird) in an active setting hints at the internal, through the depiction of the external. The stories behind these 'Therianthropic' pieces are deliberately ambiguous. The incongruity yet immediacy of the imagery fuel the viewer's preconceptions. They invite the witness to create their own narrative and bring to mind facets or emotions that maybe more difficult to confront if not disguised behind a mask. Artist bio Prior to his fine art career, Chris Dennis was admitted to Bournemouth and Poole College of Art and Design to study natural history illustration. This classical training is evident in his current therianthropic work. After completing his BA (Hons) at the University of Wolverhampton he relocated to the United States, and in 2000 earned his MFA from the University of Art in San Francisco. Chris has exhibited in cities across the United States, Europe and New Zealand, including San Francisco, New Orleans, London, Berlin and Auckland. He lives in Auckland.

Artist: Grant Whibley Title: Coot Medium: Acrylic on Board Size: 1360x1050mm Art description The painting depicts the Coot which is a bird that lives in Australia and New Zealand. The image is sourced form the specimen kept at the Auckland Museum. Through the creative process my aim is to bring to life their presence and message of life and survival. The dripped background aludes to the Queensland floods. This water fowl would have been in its element but the metaphor of the image is about the wider implication of environmental change. Artist bio ARTIST CURRICULUM VITAE - GRANT WHIBLEY website-http://www.grantwhibley.com/ QUALIFICATIONS 1997 M.F.A Elam School of Fine Arts Auckland University (First Class Hons) 1995 Auckland College of Education Diploma of Teaching (Secondary) 1994 B.F.A Elam School of Fine Art 1984 Diploma of Figurative Studies Whitecliffe Art School, Auckland SOLO EXHIBITIONS 2009 Manu. A survey exhibition, Papakura Gallery, Auckland Grant Whibley, Whitespace, Auckland 2008 Returning, Whitespace, Auckland 2007 Leitmotif, Rotorua Museum, Rotorua 2006 Dominion, Waiheke Gallery, Waiheke 2005 The Nakahi, Milford Galleries, Auckland 2003 Passing Away, Milford Galleries, Auckland 2002 Poseur, Judith Anderson Gallery, Auckland Shadow View, Milford Galleries, Dunedin 1996 Recent Works, ASA Gallery, Auckland Loss of the Real (Casino as Metaphor) George Fraser, Auckland SELECTED GROUP EXHIBITIONS 2010 Chorus, Franklin Arts and Cultural Centre, Auckland Nga Manu, Whakatane Museum, Whakatane Molly Morpeth Retrospective, Whakatane 2009 Waikato National Art Awards, Hamilton Chorus, Whitespace, Auckland James Wallace Art Awards, Auckland Drawings, Group Show, Northart, Auckland Whitespace Summer Show, Auckland 2008 Whitespace Summer Show, Auckland Team McMillan BMW Art Award, Auckland Steve Moase and friends, Tutukaka, Whangerei P10+14GM, Franklin Arts and Cultural Centre 2007 Hermitage, Northart, Auckland Group Show, White Space, Auckland 2006 Second Five, Northart, Auckland Invested, Waiheke Gallery, Waiheke 2004 Transit of Venus Show, Milford Galleries, Auckland/Queenstown Molly Morpeth Canaday Awards, Whakatane Waikato National Art Awards, Hamilton Waiheke Group Show, Waiheke Gallery, Waiheke The Summer Show, Milford Galleries, Auckland 2003 Under the Influence, Wallace Trust Gallery, Auckland Waikato National Art Awards, Hamilton Into the Night, Waiheke Gallery, Waiheke Milford Galleries Group Show, Auckland Summer Show, Milford Galleries, Queenstown Norsewear Art Awards, Hastings James Wallace Art Awards, Auckland 2002 Second Exposure, Northart Gallery, Auckland James Wallace Art Awards, Auckland Waikato National Art Awards, Hamilton Goldwater Art Awards, Waiheke Gallery, Waiheke 2001 Goldwater Art Awards, Waiheke Art Gallery, Waiheke 2000 Goldwater Art Awards, Waiheke Art Gallery, Waiheke 1999 James Wallace Art Awards, Auckland 1998 Earth Below / Sky Above, Wallace Trust Gallery, Auckland 1997 James Wallace Art Awards, Auckland 1996 James Wallace Art Awards, Auckland Out of Your Tree Awards, Carterton Condenser Installation, Wallace Trust Gallery, Auckland 1995 James Wallace Art Awards, Auckland The Post Show, 23a Gallery, Auckland 1994 Tinsel Time, ASA Gallery, Auckland Installed, Elam Painters, ASA Gallery Ivy Copeland Portrait Awards, ASA Gallery The Post Show, CSA Gallery, Christchurch 1993 Recent Works, Texan Art School, Auckland The Teps Show, Outreach, Auckland Diversities, Elam Painters ASA Gallery, Auckland Dangerous Liaisons, CSA Gallery, Christchurch George Fraser Gallery, Elam painters, Auckland Buddle Finlay Elam Art Awards, Chiaroscuro Gallery, Auckland 1990 Contemporary Art Awards, Wellington Museum PUBLICATIONS 2009 Manu. a survey exhibition ARTICLES 2007 Hermitage 2003 Under the Influence 2003 Painting a Bird Nation, Art News (winter edition) Virginia Were 2002 Second Exposure, John Daly- Peoples AWARDS 2004 Molly Morpeth Canaday Awards, Overall Winner 2003 Norsewear Art Awards, Premier Award 2002 James Wallace Awards, Emerging Artist Award Waikato National Art Awards, Runner Up REFEREES Emma Millynn, Gallery Manager, Papakura Art Gallery, 10 Averill Street, Papakura, Auckland P.09.297.7510 John Daly-Peoples, Art Critic, 63 Esplanade Road, Mount Eden, Auckland P.09.630.2048 M.0272.741.302

Artist: Pauline Gough Title: Garden bounty Medium: Acrylic on cotton canvas board Size: 1110mm x 835mm Art description My inspiration was from the 2010 NZ Gardener calender (with editor, Rachel Oldham's blessing). I loved the strong light and darks in the photo and this is what I wanted to depict, with purples dominating. I added a pumpkin because the canvas was so large and have used a palette knife to create texture and emphasise the bright light at the top. My aim was to make a dull subject exciting with the use of exciting colour and I like to think I have achieved this. Artist bio I have always loved art and have dabbled in drawing and painting all my life, but only seriously within the last year (when I broke my foot!) I have always worked in acrylics, loving the urgency of the medium and the exciting wet on wet effects that I am constantly discovering. Over the last year I have painted mainly animals (predominantly cows) and have sold a number locally, being a farming area in which I live. I have only recently been experimenting with still life as a subject.

Artist: Matthew Molloy Title: Big feet Medium: sculpture: cast concrete,gold paint Size: 100cm x 55cm x 55cm (approx) Art description Big feet alludes the common myth of the big foot whilst also playing on ideas of classical sculpture and beauty within a fine arts context. sculpted the cast and then flipped around this particular work draws attention to it unconventional use of banal utilitarian materials, in turn elevating them to a level of intrigue and fascination. Artist bio Matt Molloy is an Auckland based artist, influenced by the unusual and grotesque, Matt Molloys art work unearths the psychological concerns and aesthetics of Sci-Fi, Horror and folk art. His sculptures stretch the plasticity of the human form and impressions of his body often find their way into individual pieces and installations. Facial casts and clumps of hair join a cocktail of other animalian organs. The context of Molloy's work focuses on the stage of conception, completion and consumption. He avoids prescriptive explanations from the author and allows the works to 'just sit there'. As a result the amalgamated figures stir and coagulate in the imagination, springing to life. Qualifications 2008 Masters of Fine Art (Hons), Elam, University of Auckland 2007 Post Graduate Diploma in Fine Arts, Elam, University of Auckland 2003-2006 Bachelor of Fine Arts, Whitecliffe College of Art and Design, Auckland 2001-2002 Diploma of Computer Graphic Design, Media design school, Auckland Solo Exhibitions 2010 Levitation of the Cryptoid, City Art Rooms, Auckland 2009 A Lower Animal, City Art Rooms, Auckland 2008 Deslabbed, City Art Rooms, Auckland Selected Group Exhibitions 2010 Seven Propositions, The Blue Oyster Gallery, Dunedin Group show, Pearce Gallery, Whitecliffe, Auckland For Drawings Sake, Rm Gallery, Auckland 2009 Sumer Drunk Tank, City Art Rooms, Auckland 2008 Bridge Art Fair, Berlin The Swarm, Gus fisher, Auckland Unlimited, City Art Rooms, Auckland 2007 Young Blood Salon, City Art Rooms, Auckland - Prize Winner Molloy Ahoy, Cross St Studios, Auckland Walker and Hall Waiheke Art Awards - Finalist Art and breaks, Galatos Basement, Auckland Mazda Emerging Artists Awards - Finalist Art in Mechanics / Mechanics in Art, The Pump House, Motat Emergence 9, The Khuja Lounge, Auckland GlaisterEnnor Art Awards, Mcpherson Gallery - Finalist 2006 The Spring Show, Mn8 Gallery, Old Stable Room, Victoria Park Market Mazda Emerging Artists Awards - Finalist 2005 Mt Eden Young Artists Awards - Prize Winner Exquisite Corpse, Randolph St Gallery, Auckland 2002 Mt Eden Young Artists Awards - Finalist Awards 2007 Young Blood Salon, 1st place prize winner, City Art Rooms Artist Alliance Mentorship Prize 2006 Bachelor of Fine Arts Award (Top student in graduate year) Awarded by Whitecliffe College of Art and Design Studio Arts Supplies Artist Alliance Membership Award 2005 Mt Eden Young Artists Awards Pat Hanley Painting Award, awarded by Ron Brownson Studio Arts Supply's Painting Award Awarded for excellence in painting by Evan Woodruff .

Artist: Matthew Molloy Title: Swab Medium: sculpture: tea towel and cast latex skin Size: 35cm x50cm x20cm Art description Swab seeks to draw attention to a certain brutality that exist in the banality of the "every day". This is achieved through the direct juxtaposition of a soiled tea towel and a flap of flailed flap of skin. Swab also challenges the conventions of traditional wall hung works, by taking a sculptural based work and rehanging it back on a wall. Here in also lies an uncanny element: tea towels are generally hung up to to dry but not in a gallery situations and not in comparison to a flap of skin. Artist bio Matt Molloy is an Auckland based artist, influenced by the unusual and grotesque, Matt Molloys art work unearths the psychological concerns and aesthetics of Sci-Fi, Horror and folk art. His sculptures stretch the plasticity of the human form and impressions of his body often find their way into individual pieces and installations. Facial casts and clumps of hair join a cocktail of other animalian organs. The context of Molloy's work focuses on the stage of conception, completion and consumption. He avoids prescriptive explanations from the author and allows the works to 'just sit there'. As a result the amalgamated figures stir and coagulate in the imagination, springing to life. Qualifications 2008 Masters of Fine Art (Hons), Elam, University of Auckland 2007 Post Graduate Diploma in Fine Arts, Elam, University of Auckland 2003-2006 Bachelor of Fine Arts, Whitecliffe College of Art and Design, Auckland 2001-2002 Diploma of Computer Graphic Design, Media design school, Auckland Solo Exhibitions 2010 Levitation of the Cryptoid, City Art Rooms, Auckland 2009 A Lower Animal, City Art Rooms, Auckland 2008 Deslabbed, City Art Rooms, Auckland Selected Group Exhibitions 2010 Seven Propositions, The Blue Oyster Gallery, Dunedin Group show, Pearce Gallery, Whitecliffe, Auckland For Drawings Sake, Rm Gallery, Auckland 2009 Sumer Drunk Tank, City Art Rooms, Auckland 2008 Bridge Art Fair, Berlin The Swarm, Gus fisher, Auckland Unlimited, City Art Rooms, Auckland 2007 Young Blood Salon, City Art Rooms, Auckland - Prize Winner Molloy Ahoy, Cross St Studios, Auckland Walker and Hall Waiheke Art Awards - Finalist Art and breaks, Galatos Basement, Auckland Mazda Emerging Artists Awards - Finalist Art in Mechanics / Mechanics in Art, The Pump House, Motat Emergence 9, The Khuja Lounge, Auckland GlaisterEnnor Art Awards, Mcpherson Gallery - Finalist 2006 The Spring Show, Mn8 Gallery, Old Stable Room, Victoria Park Market Mazda Emerging Artists Awards - Finalist 2005 Mt Eden Young Artists Awards - Prize Winner Exquisite Corpse, Randolph St Gallery, Auckland 2002 Mt Eden Young Artists Awards - Finalist Awards 2007 Young Blood Salon, 1st place prize winner, City Art Rooms Artist Alliance Mentorship Prize 2006 Bachelor of Fine Arts Award (Top student in graduate year) Awarded by Whitecliffe College of Art and Design Studio Arts Supplies Artist Alliance Membership Award 2005 Mt Eden Young Artists Awards Pat Hanley Painting Award, awarded by Ron Brownson Studio Arts Supply's Painting Award Awarded for excellence in painting by Evan Woodruff .

Artist: Shannon Novak Title: Semitone Shift In Practice Medium: Acrylic on canvas Size: 1200mm x 1200mm Art description It is the tension between a positive and negative emotional experience created by a pianists slight of hand that is explored in "Semitone Shift In Practice". The work explores how the emotional content of sound changes as a pianist moves from one note to another. When a pianist moves from one note to another in a twelve note scale, they move or shift one semitone upward or downward. When playing a major triad made of three notes, shifting the middle note in the triad downward one semitone changes the major triad into a minor triad. It is a subtle change that has a profound effect on the emotional experience for the listener; the major triad evokes more positive emotions whilst the minor triad elicits largely negative emotions. The use of colour and form build on recent work that explored the musical note as a multi-dimensional entity. The interaction between curves and straight lines represent the more measurable aspect of the musical note; it's pitch, loudness, and duration. Colours represent the more immeasurable content of the musical note - it's emotional content as inherited from the pianist who performs in a positive or negative emotional state. There is a piano solo available, composed and performed by Novak to compliment this work. Artist bio Shannon Novak is an artist who resides in Auckland, New Zealand. His pre-occupation is Geometric Abstraction as set down by the likes of Malevich and Mondrian, both of whom initially made their mark in the second decade of the 20th century. Novak is devoted to using geometric forms to represent his deep and abiding interest in the link between sound, colour, and emotion. Novak's exploration began when the artist became a pianist at an early age taking his cues from both classical and modern schools of music and later composing and performing his own musical works. The years spent as a pianist, mirrors the years spent as a visual artist, but it has only been of recent times that these two paths have crossed resulting in unique and compelling studies into the link between sound, colour, and emotion. Education has played a prominent part in the artist's life. Novak worked as an Instructional Designer for a number of years designing instruction manuals on a range of topics for a variety of organisations. These incorporated graphic elements such as detailed technical drawings and diagrams that translated abstract concepts into easy to understand visuals. Academically, the artist was awarded the Master of Education degree with first class honours from Massey University in 2009. The sum of experiences gained through both his working and academic career has had significant impact on the direction and motivation behind his artistic career. Novak treats exhibitions as opportunities to provide individuals with 'learning experiences' optimised by works that use instantly recognisable shapes and colour.

Artist: Clay Bodvin Title: Remade Memory #1 Medium: Photomedia painting Size: 600 x 600 x 25mm Art description Engineering virtual moments. By retracing the usable-past, threads of new visual narratives can be found. Consider the still life painting. In the late 1800s, the luxurious nature of peoples' everyday things was stylishly depicted through commonplace objects and spaces - but rendered with exotic patterns and dramatic colours. These paintings recorded a fragmenting society by using altered perspectives, de-constructed objects and un-real environments. Fast forward to now - where luxury has become the new, virtual consumer-standard. The indulgence of the self is a global activity and the spaces people occupy morph at will from one style-construct to another. The familiar objects with which we populate our lives cease to be concrete as our personal, self-contained place becomes boundless. Meanwhile, there is a growing dis-connect from the memories that define us. My work seeks to continue the interplay the still life image has, as a token of a type, with these cultural weavings. Dis-assembled spaces, dominated by disintegrating domestic objects, create tangible but non-physical realities to visually explore. These new, cultural-recordings are merged with extracted images - and memory-threads of events and objects - out of my usable-past. Offering the opportunity to re-evaluate and illuminate my lived experience. Artist bio An American living and working in New Zealand. Studies in graphic design and fine art. An exhibition history originating in Seattle and spanning almost 40 years. Including 15 solo efforts and 59 group shows (before, during and after 25+ years in advertising). Now a full time artist (13+ years).

Artist: Clay Bodvin Title: Remade Space #2 Medium: Photomedia painting Size: 600 x 600 x 25mm Art description Engineering virtual moments. By retracing the usable-past, threads of new visual narratives can be found. Consider the still life painting. In the late 1800s, the luxurious nature of peoples' everyday things was stylishly depicted through commonplace objects and spaces - but rendered with exotic patterns and dramatic colours. These paintings recorded a fragmenting society by using altered perspectives, de-constructed objects and un-real environments. Fast forward to now - where luxury has become the new, virtual consumer-standard. The indulgence of the self is a global activity and the spaces people occupy morph at will from one style-construct to another. The familiar objects with which we populate our lives cease to be concrete as our personal, self-contained place becomes boundless. Meanwhile, there is a growing dis-connect from the memories that define us. My work seeks to continue the interplay the still life image has, as a token of a type, with these cultural weavings. Dis-assembled spaces, dominated by disintegrating domestic objects, create tangible but non-physical realities to visually explore. These new, cultural-recordings are merged with extracted images - and memory-threads of events and objects - out of my usable-past. Offering the opportunity to re-evaluate and illuminate my lived experience. Artist bio An American living and working in New Zealand. Studies in graphic design and fine art. An exhibition history originating in Seattle and spanning almost 40 years. Including 15 solo efforts and 59 group shows (before, during and after 25+ years in advertising). Now a full time artist (13+ years).

Artist: Clay Bodvin Title: Remade Memory #3 Medium: Photomedia painting Size: 600 x 600 x 25mm Art description Engineering virtual moments. By retracing the usable-past, threads of new visual narratives can be found. Consider the still life painting. In the late 1800s, the luxurious nature of peoples' everyday things was stylishly depicted through commonplace objects and spaces - but rendered with exotic patterns and dramatic colours. These paintings recorded a fragmenting society by using altered perspectives, de-constructed objects and un-real environments. Fast forward to now - where luxury has become the new, virtual consumer-standard. The indulgence of the self is a global activity and the spaces people occupy morph at will from one style-construct to another. The familiar objects with which we populate our lives cease to be concrete as our personal, self-contained place becomes boundless. Meanwhile, there is a growing dis-connect from the memories that define us. My work seeks to continue the interplay the still life image has, as a token of a type, with these cultural weavings. Dis-assembled spaces, dominated by disintegrating domestic objects, create tangible but non-physical realities to visually explore. These new, cultural-recordings are merged with extracted images - and memory-threads of events and objects - out of my usable-past. Offering the opportunity to re-evaluate and illuminate my lived experience. Artist bio An American living and working in New Zealand. Studies in graphic design and fine art. An exhibition history originating in Seattle and spanning almost 40 years. Including 15 solo efforts and 59 group shows (before, during and after 25+ years in advertising). Now a full time artist (13+ years).

Cliftons Auckland Art Prize Entries 2011

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