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.
These works are a response to a heavily polluted stream at the back of our properties at Port Waikato. The stream is full of Azolla weed, a recently introduced species, which forms dense mats and outcompetes native plant species. These infestations reduce light levels below the mats and cause die off of water plants and algae and reduce water oxygenation levels with serious impacts on fish and other fauna. Not only can very little survive under such conditions, but the quality of drinking water is reduced, caused by bad odours, colour and turbidity. A. filiculoides can block canals, drains and overflows and may lead to an increased risk of flooding. This weed is becoming widespread in our waterways.
Painting the Grid