The first component of Sandi Nur's durational installation "The Other Side of the Wall" can be viewed at Mevlana Kebabs on Tay St, Invercargill. The first addition to Sandi's miniature apartment building is perhaps, unsurprisingly for those of us resident in Invercargill, an art gallery - featuring works inspired by her ancestral lineage. Sandi is exploring concerns associated with immigration, what it means to be a 'local' and notions of what makes a home. The installation will grow and evolve over the coming months. This is a free exhibition proudly supported by the Community Trust of Southland, the ILT Foundation, Mevlana Kebab's, SIT and the DIY Museum. For updates see http://www.kathrynmccully.com/the-other-side-of-the-wall/
I grew up in West Auckland and studied philosophy at the University of Auckland, graduating with a Master of Arts, and now live on Stewart Island. I have studied printmaking with Lynn Taylor and Vincent Drane. I draw on influences as diverse as John Pule, Jasper Johns, Anna Atkins, Robert Rauschenberg, Jo Ogier and Richard Killeen. Ever since I was a child I have been fascinated by the unrelenting slide towards entropy inherent in the human condition. What starts out as triumph soon becomes debased into a cacophony of distress, leaving only a sense of chaos and the unlikelihood of a new reality. My work explores the relationship Southlanders have with the ocean and their place in a multicultural 'new' New Zealand. I have used nautical charts and printmaking, embossing and wax encaustic techniques to create these works. Being a Southlander is a battle for order in the chaos at the edge of the 'known world'. Rudyard Kipling wrote of Auckland "Last, loneliest, loveliest, exquisite, apart" (Song of the Cities) but these words also fit Stewart Island very well. To ‘stand upright’ in this place requires a balance between land and sea, and an acceptance that entropy will always win.
Southland has a rich racing culture, whether it be Harness or Gallops. The industry is home to many strong and hard-working Southland people. My love for racing began when I moved to Southland and I have been hooked ever since. There is something about the power and beauty of the horses that I work with every day that reflects upon Southland itself. The horse is honest, hard working and maybe a little rough around the edges. They race fiercely on the track and give their all to everything that they do. There is something about the strength and vanity of horses that draws me in. An incredibly powerful yet honestly trusting animal that will give you their heart and be a companion for life, much like the people of Southland.
The painting itself holds a lot of energy within its brush strokes, layers and layers of paint and pastel built up to create a vast variety of hills and valleys on the canvas. I wanted to celebrate this beautiful animal and the industry it stands for in a visual way that not only represents the beauty and ruggedness of the horse, but that of Southland too.
For a long time, I have been entranced by Marcia Baldwin’s paintings. The way that she captures the true nature and beauty of the animals she paints is truly incredible to me. She paints with such fluidity, with every stroke forging its own path through the layers of paint on the canvas. She also paints with such conviction, not afraid to add a stroke in fear of it being out of place. This is what inspires me to paint the way that I do, every line tells a story of the painting's creation.
Watch "The River" here: https://vimeo.com/246033648
Originally from South Africa, I moved to New Zealand 8 years ago. I have had a long interest in translating the Biblical narratives for screen and this has motivated my move to Invercargill from Taupo to study film.
Invercargill based musician Joanna Buchanan’s song “The River” speaks of forgiveness and a second chance when all seems lost. As a film maker with interests in these themes, I felt it was an opportunity to explore the concept of forgiveness in a broken relationship using an experience which is all too familiar to many New Zealanders.
My approach to creating a narrative for the song was to explore the two sides of the forgiveness: One from the person who committed a wrong against another, and from the perspective of one who was wronged. The scenario involves a young man, Brian who is imprisoned after killing a friend in a reckless driving incident. Having ruined his own life, and the lives of his friend’s family, Brian seeks forgiveness from Frank, his friend’s father. Frank is painfully bitter over his son’s death, and time has not healed his wounds. So, when Brian unexpectedly enters his world again being released from prison, Frank’s bitterness boils over into rage.
Rejected, Brian has no place in the world and is forced to wander. Enraged, Frank stalks Brian and seeks to mete out the justice that he so richly deserves. This scenario or reckless driving deaths referenced in the film is common to New Zealand, but is an experience shared by many across the world, so my goal was to create a classic styling familiar to film audiences which I felt would have a broad audience appeal. In terms of production design, Joanna referenced the film the Shawshank redemption as a visual style she connected with. This period film, along with Southland’s love for motorsports and classic cars informed the setting and the creative choices made in the film and fitly complements Joanna’s mature musical style and thought-provoking song.
Queens Park is one of my little dog's favourite places to go. I doubt I'd go as often as I do without her. I am grateful to her for as she goes from smell to smell, I get to enjoy the passing seasons in all their glory. From the exuberant bursts of colour in spring to leafy summer to the mellow golds and russets of autumn and the bareness of winter there's always something to feast the eyes on. The brilliant, pure southern light filtering through the trees on this autumn day was the inspiration for this painting. It is done in oils with a palette knife, a technique I re-discovered recently. I really enjoy the textural effects and brightness and life it gives.
Rachel Mann was the recipient of the Southland Art Society "Best Relationship to Theme" Award for her digital print "Oreti". All three works featured in the exhibition are from Mann's television series Tale Enders. Tale Enders is the culmination of Mann’s Master of Design research completed through Massey University in 2015. Mann’s research “Southern Youth: Evoking Southern Teenage Identity Through Character Design for Animation” was driven by Mann’s desire to see more local, social and cultural issues pertinent to young people living in regional New Zealand reflected in the animated content in mainstream media. In addition to acknowledging that currently 99.5% of children’s animation shown on New Zealand television is made offshore, Mann points out that the characters depicted are overwhelmingly white, heterosexual and male. Tale Enders, in contrast, is a web series conceived to reflect the diversity of youth in respect to, for example, ethnicity, religion, gender and sexual orientation and raise challenges associated with being a teenager in Southland – the “tale end” of the country.
Rachel Mann is a tutor at the School of Visual and Screen Arts at the Southern Institute of Technology. Mann moved to Invercargill in 2007, she says:
“I had never even been to the South Island. My knowledge of Invercargill and Southland was limited to scenic posters in the London underground and beer advertising. If I was asked what the culture and community of Southland looked like, I would have simply repeated the stereotypical view of the community as masculine, rugged, tough and silent Caucasian ‘Southern Men’, profoundly heterosexual and where women did not seem to exist. What I found was a community half torn between madly holding on to its stereotypical toughness and chucking this to the wind in the hope for a more open and multicultural future. These experiences inspired me to develop a project integrating community knowledge with my skills as an animator/educator to create stories and characters that could function as vehicles for the community to engage meaningfully in telling their own local stories.”
Episodes follow 6 teenagers Hamish, Lucy, Isabella, Samuel, Amelia and Daneesh as they struggle with and celebrate what it means to be young Southlander. Mann is seeking funding for the pilot which focuses on Hamish – a 16 year old often referred to as Ham-dog or Hamster by his friend Sam. Hamish lives on the family farm in Dacre and suspects he might be gay as he has strong feelings towards his friend Daneesh. Hamish is sensitive, interested in cycling and badminton, and plans to one day turn the family farm organic. In Episode One Hamish is grounded and must decide whether to defy his father by sneaking out of the house to attend Diwali celebrations with Daneesh. To find out more and stay informed on this exciting local initiative check out www.taleenders.com.
"All Eventualities is an animation made in conjunction with German musician Gillicuddy and Invercargill filmmaker James Wilkinson. James was the recipient of the Southland Art Supplies "Most Interesting Use of medium" Award.
The story follows a man on a metaphorical life journey. In life we are born, we live our life and then pass, the man’s journey symbolically follows life’s journey through the seasons. Often we only stop and take the time to process everything around us. The irony is when we do finally stop it’s often too late to enjoy. Through all life’s infinite possibilities there is ultimately one eventuality.
The process is meant to give a 2D card board cut out, almost stop motion aesthetic, however the look is achieved rather laboriously in After Effects with stacked 2D layers in 3D space."
"This work is an interpretation of the place I currently call home, in Southland. I am however, not from here, being born in Dunedin and since having lived various fragmented lives in many places all over the country. To me, ‘home’ has had many different shapes and forms over the past two decades, as my family and I have moved between many different regions of New Zealand – never lingering long enough to truly establish a single place of great significance.
The idea of the work was to express how fragile ‘place’ can be in the context of ‘home’, which is why I decided to paint in a manner that left every feature to appear either unfinished, or fading away. This reflects my experience of what home has been to me thus far, but I think the painting also contains the longing to finally call something, or someplace my home. I think it also possesses the understanding that ‘home’ is actually quite loose in its definition. It can be a place, yes, but it can also be who you’re with, it can be what you do, and it can simply be a feeling that you have, that you don’t want to part with. I am not entirely sure which it is to me at the moment, or what I am searching for, but I will keep looking nonetheless."
Andrea Sexton is the McIntryre Dick Art Awards Overall Winner with her work "From Mullan's Road" which also received the Environment Southland "Our Environment" award. Come in and check out Andrea's award winning work this week. She has two other works in the show: "Looking out to Gemstone" and "Bluff Cod". Andrea says "The Western Southland Coastline is still my most favourite in all of new Zealand. The rawness and overwhelming sense of history is inspiring. The abandoned buildings in town with weathered signage, the protective Longwood Range and locals sluicing for gold at Gemstone Beach remind us of earlier times. Goldminers came from near and far to try their luck in such an unforgiving environment. The trees still remain. Austere, bent, and resilient. These remain to be focal points of the landscape and continue to be represented in my work. I have many favourites that I hope continue to remain, long after I'm gone.
The pieces I have created for this show are a snap shot of both pride and wonderment of our Southland. Not enjoyed in isolation but with friends and family from near and far. I studied Craft and Design at art school in Dunedin during the 90s and went on to Teachers College shortly after. I work in both 2D and 3D mediums - painting, mixed media and soft sculpture and have exhibited in many group shows since 1992. I am fortunate to have sold a number of works throughout New Zealand and recently overseas. Currently I am head of Technology at Aurora College and teach Materials/Fabric Technology to Year 7 to Year 13 students. I love working alongside the young people of Southland, encouraging them to develop their ideas and build life-long skills."
Watch this space for developments on the first Invercargill based "People's Show" coming up later this year. Check out the latest on Kevin Downie and his sneaker collection below. The exhibition, being hosted by Bill Richardson Transport World, will not only bring out the sneaker fanatic in you but provide an insight into the sneaker scene, and in particular, trace the personal stories, through street wear and football culture, of a local, self-confessed "Casual".
I don’t carve a figure in stone so much as play in the rubble at its feet. Obviously I don’t need much in the way of materials to make art. I collect and consider objects that have been discarded, abandoned or rendered obsolete. Common place materials from the debris of nature and culture. I work on interior doors and plywood off-cuts and incorporate into the body of the work and the products used to fashion them. Nail plates, polyurethane and steel wool, all employed in the making, become an integral part of the artwork. I don’t have a fixed concept or end product in mind as I work preferring to let the process and materials take over.
Obviously I tend to make things up as I go along, taking the path of least, and of greatest resistance. In spite of intention, things seem to evolve into forms that bear little resemblance to the original state (if any such thing exists). Form, function and meaning become by-products of each other and all are susceptible to change. This manner of working – largely intuitive - means it can be difficult to discern when a work is finished, assuming of course that any work of art, or process can truly ever be said to be complete.
As part of the McIntyre Dick Art Awards exhibition "Taking Flight" judge Ewan McDougall delivered a workshop in which participants worked alongside him over the course of the day.
Ewan McDougall was born in Wellington, New Zealand.
His family later moved to Oamaru where he was educated at Waitaki Boys High School and taught by Colin Wheeler. Ewan attended Otago University while also working in freezing works and drumming in Rock bands. He gained an Honours Degree in Political Studies in 1971. He worked at Otago University as an academic before travelling wildly.
In 1983 he married his partner Sarah in Perth, Western Australia, and returned to New Zealand and after being admitted to Queen Mary Hospital in Hamner Springs in 1988, he began to paint full-time. Ewan has had eighty-five solo exhibitions and has exhibited in New Zealand Public Galleries and internationally.
In 2003, Ewan showed in Southern Heat in the Dunedin Public Art Gallery and in February, 2016, the touring solo show Fun and Fury was hosted by the Tauranga Art Gallery. This exhibition was hosted by Te Manawa in April –August, 2016, and in August –September, 2017, was hosted by the Southland Museum and Art Gallery. In 1994 he exhibited in Penzance and St. Ives in Cornwall. Ten years later he exhibited in the Sydney Art Show with Gallery 2021.
In 2005 Ewan exhibited in London with the prestigious Rebecca Hossack Gallery, as well as showing with RHG in The Chelsea Art Show and The London Art Fair. That year he also exhibited with three other painters at Arte Imagini Gallery in Cremona City, Italy. In 2006 he showed in Color Elefante Gallery in Valencia, Spain. And in May, 2012, Ewan exhibited with other New Zealand artists in Chelsea, New York City. In 2017 he exhibited with selected artists in the Dunedin Sister City exhibition at The Yu Yuan Gardens Gallery in Shanghai, as well as in a solo exhibition in the Brighton Arts Festival, UK.
Ewan has been a multiple finalist or prize-winner in many prominent New Zealand Art Awards. He was a prize winner in the Cleveland and Mainland Art Awards in the 1990s, a finalist in the Wallace awards on ten occasions, a finalist in the Adam NZ Portraiture Awards four times and a Finalist in The Waikato Art Awards. Ewan has works in public collections including: The Sir James Wallace Collection, The University of Otago Auckland Centre Collection, The Dunedin Public Hospital Collection, The Selwyn Hall University of Otago Collection, The Centre of Contemporary Art Collection, The Aigantighe Gallery Collection, The Eastern Southland Gallery Collection and The Forrester Gallery Collection.
In 2011 the hardcover book on Ewan’s life and work Ewan McDougall Paintings [ed. Dr David Marks] was published by Art-N-Stuff Press, London. The book was launched in Gallery de Novo, Dunedin. A documentary film by Declan Wong on McDougall premiered at Toitu Museum in Dunedin in December, 2012, and the film has been shown at Public Gallery exhibitions and the artist’s dealer gallery shows throughout Aotearoa and in Brighton UK.
Ewan and Sarah’s collaboration Pearler: 15 paintings and 15 poems celebrating their 30 year Wedding Anniversay was published in 2013. Ewan is married to playwright Sarah McDougall and has three children: Melissa, Paul, and William. He lives and works in Broad Bay on the Otago Peninsula.