Graduation Show, Elam School of Fine Arts, Auckland University, Post Graduate Dipoma Fine Arts
My research project stemmed largely from my curiosity of the grid, both in it’s art historical context and also as a colonial construct. In these works the grid is concealed, to a certain extent, by gestural markings indicative of nature. I think of these works as a metaphor for a return to nature, spirituality and indigenous knowledge systems, a kind of “re-wilding”.
Finalist in the New Zealand Contemporary Art Awards, Waikato Museum, 2019
Water Colour works on Hahnemühle fine art paper.
In the Tamaki Estuary there is a lot of heavy metal sediment from years of infrastructure and pollution run-off. This sediment has had a hugely detrimental affect on the wildlife in the river, which used to be a pristine feeding ground for the local whenua residing there. This work is a water colour using the water from the estuary, it is painted in a way that the pigment is left to dry in a puddle of water on the surface of the paper, much like sediment would. There is also a gold pigment pattern over top which is symbolic of the metals present in the sediment of the Tamaki River.
I have an interest in plants that help the planet, and us. These works are a response to a heavily polluted stream (mostly from local farming) at the back of our properties at Port Waikato. The stream is full of Duck Weed for wastewater treatment. Duckweed has several advantages over other aquatic macrophytes. First, duckweed has a high rate of nutrients uptake, and can tolerate high wastewater nutrients levels (Landolt, 1986). Duckweed multiplies vegetatively and accumulates biomass rapidly. These works are made with water and duckweed from the stream, and watercolour paint.
Painting the Grid