Dec 9, 2009

Oct 15, 2009

Figure Drawing.


































Cripes, this is way old... back when art courses had figure drawing classes! From 1987 when I was studying at Christchurch Polytechnic, the tutor was Dee Copland. I have good memories of an enthusiastic Dee.

Oct 12, 2009

favourite 3




































From Top to bottom: Maurice Askew / 'Four Circles' (1968) Ross Ritchie / Bud (1968); John Panting / Untitled 3 (1968).
Three of my favourite artworks from the collection of Auckland Art Gallery, paper works that were produced before 1970. The collection has many such paper works & screen-prints from this period by New Zealand artists.


All artwork copyright of the artist(s)

Sep 15, 2009

Kaleidoscope


I was at the survey exhibition of Olafur Eliasson at SFMOMA. At entry point of the exhibition you had to walk through a kaleidoscopic tunnel. I wasn't sure if photography was allowed, & I do know better..... but I took this quick snapshot.

Sep 6, 2009

MEAT


Oil on canvas, 2009. Painting by Garth Steeper.


artwork copyright of the artist.

Aug 29, 2009

Conservative NZ


From 2004. Screen-print on paua shell laminate. Shown at Compact Space.


Work copyright of the artist.

Aug 25, 2009

Toilet Art


Above - 'I Think My Work is Kind of Crappy'. And below, 'I Want to be Famous & Exhibit at Gow Langsford.' Screen-print on toilet paper. Both of these were 'rejects' & never exhibited, they are from a body of work titled 'Learner Artist' an exhibition of 2004. ( to view this show go to http://aclinicalpractice.com/Site/Archiv_1./Pages/Learner_Artist.html )

A while back, I remember going to an art opening at the Gow Gallery in Kitchner Street, and needing to use their toilet; in which on the wall was a small framed piece. It presented the in-house joke line 'I want to Be Famous & Exhibit...' Regardless of its origin & context I thought this self parodying was certainly not self-effacing, but quite pretentious. I can imagine Gary Langsford sitting on the toilet & chuckling to himself about this line. 

In some ways the Dealer gallery /artist relationship is akin to Pimp/prostitute, meaning Gow Langsford is really just brothel. In line with this thought;

HOOKER / tired on peddling his wares on the street
seeks MEANING LONG TERM RELATIONSHIP WITH DEALER.
( & promises not to sleep around )
 


Work copyright of the artist.

Aug 15, 2009

Extra Virgin


These shown examples are from a body of work produced from 2002-03. Exhibited in two incarnations -'Your Place or Mine?'  And the latter 'Your Palace of Mine? (Ma'am). I felt much of the artwork too derivative from the sources they were appropriated from - brothel ads & vintage N.Z postage stamps. For me, the works presented in this blog were more successful (despite the kitschiness) because of their simplicity  - perhaps the inherent nature of paper cutouts.

All artwork copyright of the artist

Aug 9, 2009

Heavy Metal



'Heavy Metal' was both the title & framework for a group show. This exhibition was held in 1998 at a Christchurch venue. Using a light sensitive photographic emulsion product to coat the metal block, an image of a metal gate was then printed upon its surface. 

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All artwork copyright of the artist.

Jul 28, 2009

Performance: Mata Mata - Phusion.






To celebrate the end of his installation Mata Mata at Auckland Art Gallery, the performance choreography was led by artist Michael Tuffery and accompanied by students from St Paul's College. The event was held at the Main Gallery's forecourt & fountain.
Photography by Paul Chapman 2003.

Jul 27, 2009

Maouli Prints




Moauli Prints was formed in 1994 by Christchurch Young PACIFICA & was driven by the energy of sister’s Amber Young & Loretta Young. 
The foundation of Maouli Prints was in screen-printed textile designs with artist Loretta Young as the pivotal figure. Its aim was to develop & nurture the artistic talents of young Polynesian people & to promote Pacific art through a youth perspective. In its inaugural year the Workshop’s student’s (‘Oka Le Printers’) culminated their work with an exhibition of textiles at the Salamander Gallery.
In subsequent years the focus were live performance shows as part of the Christchurch Arts Festival. ‘The Moauli-Moasina Show’ in 1995 was immensely successful & followed by the ‘Return to Paradise’ show of 1997. Performing on many various occasions is a vibrant part of Polynesian family life, integrating the creation & wearing of costumes. Maouli extended this concept by encompassing modern & non-traditional materials, new ideas with interpretations; & importantly involving many talented young people who were able to express themselves as performers, musicians, artist, & designers in their own right.

Jul 22, 2009

Preserve, Renew, Invent [Light Bytes]



These installation images were photographed by myself in 2008. The work is by artist Lesley Kraiser. The exhibited work ‘POST ART suitcase is a beautifully crafted portable exhibition archive that packs down to a suitcase. It was shown at MIC Toi Rerehiko [Media and Interdisciplinary Arts Centre]. It formed part of Lesley’s submission for her Masters degree titled “Preserve, Renew, Invent. [Light Bytes]. An exploration into disseminating aphorisms”

APHORISM
Def.: n. 1 a short pithy  maxim. 2 a brief statement of a principle.
[The Concise Oxford Dictionary, ninth edition, 1995]


MAXIM
Def.: n. a general truth or rule of conduct expressed in a sentence.
[The Concise Oxford Dictionary, ninth edition, 1995]

Lesley's website: http://www.lesleykaiser.com
all work is copy-write by Lesley Kaiser

Jul 20, 2009

A Clinical Practice




The title for this blog site is also for an art exhibition of mine. ‘A Clinical Practice’ was exhibited recently; it added new work to my original submission towards my Masters degree at AUT. I’ve included graphic posters  - both for the initial (2006) & subsequent (2009) exhibition.
A Clinical Practice investigated a contemporary representation for suicide. The following is from my exegesis & sums up the project.
Anyone who has taken their own life becomes the ‘author’ of their own death, and the researcher is the ‘reader’ left to interpret, relive, and reconsider this final irrevocable action. In a sense the author is still omniscient while we take the role of voyeur, extrapolating backwards from the event, looking for insights as to why. 
As Mathew Piantalto writes in his thesis on suicide, ‘the problem a suicide leaves is a “whydunnit” on one level is glaringly obvious, because for one reason or another, this person chooses to die.
This final ending is seldom witnessed; leaving a dead body that invites comparisons to a CSI scenario, complete with clues that need deciphering in the best traditions of Sherlock Holmes, inviting narration and fictionalization.
A Clinical Practice was my response to the suicide of my friend J.
all work is copy-write by Paul Chapman