Gallery Hours: Monday to Thursday 9am to 4pm Friday 9am to 3pm
Weekends: 10am to 3pm
Public Holidays: 10am to 2pm
June 2024
Creative Indulgence by Anna Deacon
Gallery One, Two and Three
Wednesday 05 June 2024 to Sunday 30 June 2024 at 2pm
'Creative Indulgence' is a multi-media exhibition, a curation of visual art pieces produced as artistic escapes by Anna Deacon.
Anna has been a Lead Costume Pattern Drafter for International film & theatre for over 27 years. Last year, she became a Research Associate with the Auckland Museum, where she has been researching heirloom textiles hidden in the museum archives as part of her Master's in Historical Costume through Arts University Bournemouth UK [distant learning]. With such a busy life, taking time out to explore artistic mediums has not only become a creative indulgence but also a much-needed therapeutic escape.
Web ~ www.annadeaconcouture.com
Instagram ~ hidden_in_the_archives
Wednesday 05 June 2024 to Sunday 30 June 2024 at 2pm
'Creative Indulgence' is a multi-media exhibition, a curation of visual art pieces produced as artistic escapes by Anna Deacon.
Anna has been a Lead Costume Pattern Drafter for International film & theatre for over 27 years. Last year, she became a Research Associate with the Auckland Museum, where she has been researching heirloom textiles hidden in the museum archives as part of her Master's in Historical Costume through Arts University Bournemouth UK [distant learning]. With such a busy life, taking time out to explore artistic mediums has not only become a creative indulgence but also a much-needed therapeutic escape.
Web ~ www.annadeaconcouture.com
Instagram ~ hidden_in_the_archives
Birds - Bas and Valerie Cuthbert
Auckland Photo Day exhibition
Gallery Five (upstairs)
Wednesday 05 June 2024 to Sunday 30 June 2024 at 2pm
Auckland Photo Day is a community engagement project initiated in 2004 by the Auckland Festival of Photography as a way to build democratic visual cultural currency and an inclusive and equitable arts and cultural environment.
Auckland Photo Day invites anyone, anywhere in Auckland during a selected 24 hour day to take a photo and share their perspectives of our region. It creates new photos that offer democratic visual conversations about the place in which we live, work and play. This event celebrates the many individual pockets of culture and identity present in New Zealand's biggest city.
The photographs feature fascination in the everyday, what is surprisingly different and what is comfortingly familiar. Whilst celebrated in a spirit of fun this event also fulfils the important role of documenting our life right here and now in the world we live in. A DAY IN THE LIFE of Auckland.
The images in this exhibition are just a small selection of the over 14000 that have been created and entered into Auckland Photo Day since its inception in 2004.
Thanks to the photographers for the images in this exhibition and thank you to everyone who has participated over the years.
Wednesday 05 June 2024 to Sunday 30 June 2024 at 2pm
Auckland Photo Day is a community engagement project initiated in 2004 by the Auckland Festival of Photography as a way to build democratic visual cultural currency and an inclusive and equitable arts and cultural environment.
Auckland Photo Day invites anyone, anywhere in Auckland during a selected 24 hour day to take a photo and share their perspectives of our region. It creates new photos that offer democratic visual conversations about the place in which we live, work and play. This event celebrates the many individual pockets of culture and identity present in New Zealand's biggest city.
The photographs feature fascination in the everyday, what is surprisingly different and what is comfortingly familiar. Whilst celebrated in a spirit of fun this event also fulfils the important role of documenting our life right here and now in the world we live in. A DAY IN THE LIFE of Auckland.
The images in this exhibition are just a small selection of the over 14000 that have been created and entered into Auckland Photo Day since its inception in 2004.
Thanks to the photographers for the images in this exhibition and thank you to everyone who has participated over the years.
July 2024
Spotlight on Sculpture 2024
All Galleries and outdoors
Wednesday 03 July 2024 to Sunday 28 July 2024 at 2pm Featuring a comprehensive 4-week programme focusing on sculpture, consisting of an exhibition of small, medium and large sculpture in the Galleries and the area surrounding the Centre, workshops, artist talks and a school holiday programme. Invited exhibitors who work in a range of sculptural media from ceramics, bronze, wood, mixed media, metal and glass will be displaying their work. |
With support from:
|
Te Atiwei Ririnui - Kairaranga
Gallery Three
Wednesday 03 July 2024 to Sunday 28 July 2024 at 2pm
Tēnā koutou katoa,
ko Te Atiwei Ririnui tāku ingoa. My genealogical lineage descends from Māori, the indigenous peoples of Aotearoa (New Zealand), and also Pākehā (European). I affiliate to Ngāpuhi, Ngātiwai, Ngāi Te Rangi, Ngāti Ranginui, Ngāti Awa, Ngāi Tahu and Ngāti Mutunga iwi.
I am a passionate practitioner in te reo Māori me ōna tikanga (Māori language and protocols) and rāranga (woven language). I have been weaving since the age of eight years old; listening, observing, and learning from family elders and community leaders to develop my unique approach and style. I engage with individuals, communities, and organisations, locally and nationally. I am also a contributing artist to weaving communities internationally.
In 2004, I was 19 years old and showcasing some of my woven works at the Tauranga Moana Tauranga Tangata Festival. This led to me being the youngest individual artist to be awarded the Toi Iho™ trademark for quality and authenticity in Māori arts. Early 2005 marked the beginning of my professional weaving journey. I was a featured artist in the published book, The Eternal Thread Te Aho Mutunga Kore The Art of Māori Weaving, and I demonstrated my weaving skill in support of The Eternal Thread Te Aho Mutunga Kore Exhibition at the Auckland Museum during the HRH Prince Charles, Prince of Wales visit. Auckland Museum acquired my 2005 whāriki (mat) named Karu o Te Whenua – Eye of the Land, the museum uses this whāriki in ceremonies for repatriation and loaning taonga. In late 2005 I was invited to participate in the 10th Annual Basketry and Foods Festival hosted by Tohona O’odham Community Action at the Heard Museum in Phoenix, Arizona USA. The following year, 2006, I was selected by Craft Victoria to be the New Zealand Ambassador in the 2006 Common Goods Exhibition held at the Melbourne Museum in support of the Commonwealth Games. Just prior to this, Craft Victoria assembled artists from the Southern Hemisphere to share our works, known as the South Project, which I was invited to participate in at Te Papa Tongarewa – Museum of New Zealand.
The next eight to ten years saw me focused on refining my craft, building networks and relationships through attendance at weaving hui and national exhibitions, and maintaining employment to ensure self sustainability throughout this evolutionary phase.
My passion as a practitioner in te reo Māori me ōna tikanga and raranga has provided me the privilege of being commissioned to create woven pieces for multiple individuals, private collectors, private businesses and community organisations. My woven works are collected by renowned organisations including Toi Māori o Aotearoa, Te Papa Tongarewa Museum and Auckland Museum, and a series of my works are displayed on the walls of Birthcare Auckland. Private collectors include Brenda Crabtree of Emily Carr University of Art and Design in Vancouver, Kiwa Art, and leaders of our time including, Matekino Lawless of Ngāti Maniapoto and Dame Rangimārie Naida Glavish of Ngāti Whātua.
I am dedicated to inspiring my community and individuals alike through my woven works and hope that my contribution will inspire and support people to develop an interest and understanding of Māori art, language, traditions and customary practices to ensure the esoteric knowledge and skill of raranga will perpetuate for generations to come – ngā taonga tuku iho (valuable inheritance).
Ngā mihi,
Te Atiwei Ririnui
MA. DA hc.
Wednesday 03 July 2024 to Sunday 28 July 2024 at 2pm
Tēnā koutou katoa,
ko Te Atiwei Ririnui tāku ingoa. My genealogical lineage descends from Māori, the indigenous peoples of Aotearoa (New Zealand), and also Pākehā (European). I affiliate to Ngāpuhi, Ngātiwai, Ngāi Te Rangi, Ngāti Ranginui, Ngāti Awa, Ngāi Tahu and Ngāti Mutunga iwi.
I am a passionate practitioner in te reo Māori me ōna tikanga (Māori language and protocols) and rāranga (woven language). I have been weaving since the age of eight years old; listening, observing, and learning from family elders and community leaders to develop my unique approach and style. I engage with individuals, communities, and organisations, locally and nationally. I am also a contributing artist to weaving communities internationally.
In 2004, I was 19 years old and showcasing some of my woven works at the Tauranga Moana Tauranga Tangata Festival. This led to me being the youngest individual artist to be awarded the Toi Iho™ trademark for quality and authenticity in Māori arts. Early 2005 marked the beginning of my professional weaving journey. I was a featured artist in the published book, The Eternal Thread Te Aho Mutunga Kore The Art of Māori Weaving, and I demonstrated my weaving skill in support of The Eternal Thread Te Aho Mutunga Kore Exhibition at the Auckland Museum during the HRH Prince Charles, Prince of Wales visit. Auckland Museum acquired my 2005 whāriki (mat) named Karu o Te Whenua – Eye of the Land, the museum uses this whāriki in ceremonies for repatriation and loaning taonga. In late 2005 I was invited to participate in the 10th Annual Basketry and Foods Festival hosted by Tohona O’odham Community Action at the Heard Museum in Phoenix, Arizona USA. The following year, 2006, I was selected by Craft Victoria to be the New Zealand Ambassador in the 2006 Common Goods Exhibition held at the Melbourne Museum in support of the Commonwealth Games. Just prior to this, Craft Victoria assembled artists from the Southern Hemisphere to share our works, known as the South Project, which I was invited to participate in at Te Papa Tongarewa – Museum of New Zealand.
The next eight to ten years saw me focused on refining my craft, building networks and relationships through attendance at weaving hui and national exhibitions, and maintaining employment to ensure self sustainability throughout this evolutionary phase.
My passion as a practitioner in te reo Māori me ōna tikanga and raranga has provided me the privilege of being commissioned to create woven pieces for multiple individuals, private collectors, private businesses and community organisations. My woven works are collected by renowned organisations including Toi Māori o Aotearoa, Te Papa Tongarewa Museum and Auckland Museum, and a series of my works are displayed on the walls of Birthcare Auckland. Private collectors include Brenda Crabtree of Emily Carr University of Art and Design in Vancouver, Kiwa Art, and leaders of our time including, Matekino Lawless of Ngāti Maniapoto and Dame Rangimārie Naida Glavish of Ngāti Whātua.
I am dedicated to inspiring my community and individuals alike through my woven works and hope that my contribution will inspire and support people to develop an interest and understanding of Māori art, language, traditions and customary practices to ensure the esoteric knowledge and skill of raranga will perpetuate for generations to come – ngā taonga tuku iho (valuable inheritance).
Ngā mihi,
Te Atiwei Ririnui
MA. DA hc.
August 2024
EAC Annual Members Merit Awards
All Galleries
Important Dates: DEADLINE FOR ENTRY 12 July 2024 DELIVERY OF ARTWORK: Thursday 25 July, Friday 26 July, Saturday 27 July between 10am and 3pm daily NO DELIVERIES ON SUNDAY 28 July OPENING & AWARD CEREMONY: Friday 02 August 6.00pm-7.30pm EXHIBITION CLOSES: Sunday 01 September at 3pm COLLECTION OF UNSOLD ITEMS: Sunday 01 September from 12pm - 3pm or Monday 02 September between 9am - 4pm. |
September 2024
Bronwen Finn, Margaret Graydon and Liz Turley
Gallery One
Tuesday 03 September to Sunday 29 September 2024 at 2pm
BRONWEN FINN
My current work reflects my interest in the beauty of nature and in the process of re-using my own art works from previous years. Charcoal rubbings of wood grains, leaves and branches, underpin much of my work, which is created digitally.
I am inspired by Edward Hopper for the construction and colour palette of his paintings; David Hockney, who uses his IPad for creating art and Andre Derain of the Fauvists, for his use of colour.
I continue to explore the balance between abstract and realism and am always looking for new ways of presenting old works, while incorporating patterns from nature to create something fresh and interesting. I do this by adding layers one on top of the other and then drawing into the resulting art work where needed.
JILL TURLEY
My intention is to represent psychological states and social interaction through the collision of planned intention and the variables of materiality. In doing so, I hope to heighten our awareness of both the strength and the delicate but unpredictable balance of the human psyche and the collective unconscious.
MARG GRAYDON
For me the picture plane is a place of discovery. Basic triangular shapes butt up against each other in a hard edged abstract way.
The painting is made up of clean-edged colour which reinforces the flatness of the picture surface. The triangle is the strongest shape and holds it’s shape with a base which has a strong support. The colours I use represent to me the colour field found in our everyday surroundings.
Tuesday 03 September to Sunday 29 September 2024 at 2pm
BRONWEN FINN
My current work reflects my interest in the beauty of nature and in the process of re-using my own art works from previous years. Charcoal rubbings of wood grains, leaves and branches, underpin much of my work, which is created digitally.
I am inspired by Edward Hopper for the construction and colour palette of his paintings; David Hockney, who uses his IPad for creating art and Andre Derain of the Fauvists, for his use of colour.
I continue to explore the balance between abstract and realism and am always looking for new ways of presenting old works, while incorporating patterns from nature to create something fresh and interesting. I do this by adding layers one on top of the other and then drawing into the resulting art work where needed.
JILL TURLEY
My intention is to represent psychological states and social interaction through the collision of planned intention and the variables of materiality. In doing so, I hope to heighten our awareness of both the strength and the delicate but unpredictable balance of the human psyche and the collective unconscious.
MARG GRAYDON
For me the picture plane is a place of discovery. Basic triangular shapes butt up against each other in a hard edged abstract way.
The painting is made up of clean-edged colour which reinforces the flatness of the picture surface. The triangle is the strongest shape and holds it’s shape with a base which has a strong support. The colours I use represent to me the colour field found in our everyday surroundings.
October 2024
YAKISHIME – Earth Metamorphosis
Gallery One, Two and Three
Wednesday 02 October to Monday 28 October 2024 at 2pm
Yakishime, firing unglazed wares at high temperatures, is said to be one of the most basic means to produce ceramics. The tradition embodied in these primordial wares continues unbroken to this day. This exhibition focuses on Yakishime wares, as part of Japan’s traditional culture, and presents their history from the earliest examples to the present through Yakishime tea vessels, food vessels, and works that are transformations of Yakishime into non-utilitarian object's d’art, aiming to provide an excellent opportunity to communicate this distinctively Japanese sensibility and aesthetic to the people abroad.
Brought to us by The Japan Foundation
Wednesday 02 October to Monday 28 October 2024 at 2pm
Yakishime, firing unglazed wares at high temperatures, is said to be one of the most basic means to produce ceramics. The tradition embodied in these primordial wares continues unbroken to this day. This exhibition focuses on Yakishime wares, as part of Japan’s traditional culture, and presents their history from the earliest examples to the present through Yakishime tea vessels, food vessels, and works that are transformations of Yakishime into non-utilitarian object's d’art, aiming to provide an excellent opportunity to communicate this distinctively Japanese sensibility and aesthetic to the people abroad.
Brought to us by The Japan Foundation