LOUD 66

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LOUD ISSUE 66 - ‘Boundaries Without Barriers’ 6 February to 27 April 2016 3 4 8 11 16 17 18 19 20 22 24 27 28 30 31 32 33 35 36 38 39 40

Vernacularist Publication Launch Linda Blincko - Boundaries Without Borders Studio Visit - Janet Mazenier Upcoming Exhibitions Proposals and Volunteers Info Pocket Gallery Uber Uno Gallery Remembering Penny Evans Depot Exhibition and Events Calendar Artist Interview - Daif King Artist Interview - Beth Dawson / Uniform Chris Cudby Depot Sound Robyn Gibson Devonstock New Staff - Ofir Panhi ArtsLab Lynn Lawton Barry Brickell - One Of Our Greatest Vernacularists?

Depot Artspace info Members info Remembering Barry Brickell

Edited by Chris Cudby / cover image by Beth Dawson. Special thanks to Emma Badeia and Louise Evans for their work in putting together LOUD 66.

Welcome to LOUD #66 - the Depot Artspace quarterly magazine showcasing exhibitions, events, artists, music, musicians and a host of other creative initiatives.

LOUD is a condensed representation of our values; a clear and informative voice as well as a practical guide to what’s happening at Depot Artspace.

LOUD is the voice of Depot Artspace.

LOUD is about respect, support, advocacy and promotion of the arts.

LOUD is about liberation of the arts from current narrow definitions.

LOUD is a forum for discussion and opinion.

All content © Depot Artspace and the respective artists, 2016 For magazine contribution, comment or criticism contact Linda (09) 963 2331 or linda.blincko@depotartspace.co.nz

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The Vernacularist – Issue Five Urban-Rural: The Great Divide?

The latest issue of The Vernacularist was launched at Depot Artspace on Wednesday 16 December 2015. The release party brought together contributors from across the country to celebrate the new edition produced by editor Louise Evans and Depot Press. Pop into the Depot to pick up your copy.

photos by Emma Badeia 3

Boundaries Without Barriers

by Linda Blincko - Depot Artspace Creative Director

‘Truth is a pathless land’. Krishnamurti Happy New Year and welcome to LOUD 66 which begins our 20th year since the Depot opened.

The division of our lives into years with all the celebrations and commemorations that attach to them indicates some of the components of boundaries: they are generally conscious creations; they signify events or distinguish physical properties; they provide a sense of structure and meaning to life; they create distance and difference.

None of these characteristics is immutable, hence boundaries are subject to critique or analysis, or simply time and trends, which may move or even dissolve them. Everything humans create should be open to this potential for change and it often is.

The signs I encounter on my way to the Hokianga that notify me of entry to or departure from a different community – Kia ora from Kaikohe; Welcome to Kaipara and the Kauri Coast; Haere Ra Auckland City – do not indicate geographically discernible territory but are created by local authorities and from time to time subject to relocation or realignment. They are territorial divisions to which certain conditions are attached such as the services householders receive, the rates they pay, and the politicians who serve them. Democracy allows us some voice in these matters, thereby ensuring that boundaries remain contingent. image by Robyn Gibson 4

However, when human beings believe that the boundaries circumscribing their lives are nonnegotiable, and even further, so should all lives be similarly determined, then we’re in serious trouble. Boundaries, those relatively innocuous reference points and guidelines, are transformed into barriers and our lives become subject to imperatives of every form - moral, legal, social – which, while suggesting security and unity, in fact preclude freedom.

Political, economic, social and religious structures are the most definitive and influential parameters. The capitalist paradigm is regarded as a given, and although its benefits to the whole are unquestionably dubious, it is nevertheless regarded as one of the inalienable features of a first world society. When alternatives such as socialism are considered, and rarely are they, they are tarred with the dark brush of oppression and uniformity.

The dissonance in our own system is hardly remarked upon, and public opprobrium is scant; this, despite Oxfam’s recent report that, by 2017, 1% of the world’s population will own more wealth than the other 99%.The charity’s research, published on 18 January, shows that the share of the world’s wealth owned by the best-off 1% has increased from 44% in 2009 to 48% in 2014, while the least well-off 80% currently own just 5.5%.

Despite the scale and visibility of inequity, or any other dissonant characteristic, dominant paradigms are generally taken for granted as unequivocal fact. They thus constitute significant barriers for they preclude the truth of the matter.

Barriers in this and other forms are without much merit. They obscure and obfuscate; prevent growth and development; maintain an often stultifying status quo; can be impenetrable and discriminatory; perpetuate mediocrity.

Berlin Wall (1989)

American novelist and satirist, Kurt Vonnegut, highlights this phenomenon in Welcome to the Monkey House (1968). One story in particular, Harrison Bergeron, describes the effect of ‘equality’ taken to its extreme; people of exceptional intelligence or skill ‘handicapped’ into robotic uniformity.

This theme is addressed by other writers such as Cyril M. Kornbluth, with his sci-fi short story The Marching Morons (1951) and Aldous Huxley whose Brave New World (1931) discussed the ways society was effectively dumbed down to maintain political stability and social order.

Even today, one of Aotearoa New Zealand’s most profound and provocative artists, Colin McCahon, is still derided by ‘the “my five year old could’ve done that” school of art criticism’ (Paul Stanley Ward, Colin McCahon, the Luminary) that continues to prevail in mainstream culture.

The arts continue to engender such reaction because they both document the mechanisms that promulgate this resistance, and present the challenge to perceive life differently. They continually push, cross and transcend the boundaries that we generally operate within.

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But because so many people prefer barriers and perceive boundaries on these terms, the arts remain peripheral, occupying the space behind the solid lines that circumscribe a fairly fixed, inviolable interior. For ‘fixed’ read also ‘secure’ and ‘comfortable’.

Art is the last bastion of freedom and the final means by which freedom can be reclaimed, for freedom arises from our capacity to explore and question the world and the inalienable ‘reality’ which defines it.

Berlin Wall (1989)

While technology also has this capacity its uses are limited by the extent to which ‘truth’ or change is perceived as of value. Most popular searches relate to fulfilling personal needs rather than changing the world or, at least, living in it more harmoniously.

Eric Schumacher, the author of Small is Beautiful (1973), whose theories were founded on the simple assertion that people and the planet mattered, came to the logical conclusion that “ever bigger machines, entailing ever bigger concentrations of economic power and exerting ever greater violence against the environment, do not represent progress: they are a denial of wisdom. Wisdom demands a new orientation towards the organic, the gentle, the non-violent, the elegant and beautiful.”

As well as being overtly challenging this is a service the arts offer in our society, which apropos of Schumacher, has become populated with “thinkers, politicians, academics (who) have all signed up to a deadening pragmatic consensus and our thinking has been boxed into a dead end of technocratic managerialism.” (Small is beautiful – an economic idea that has sadly been forgotten, Madeleine Bunting, The Guardian, November, 2015)

Linda Blincko

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STUDIO VISIT:

Janet MazenIer

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Artist Janet Mazenier has made a bold leap from

corporate lifestyle to creative endeavours. Once immersed in the world of information technology and telecommunications, she is now a Whitecliffe college graduate, committed full time to her painting practice.

Her days are spent in her K Road studio alongside fellow creatives and watched over by the numerous friendly birds that frequent the treetops outside the large bay windows. It is from here that Janet produces her large scale works that explore the relationship between humans and the architecture of their spaces.

With an appreciation for light and perspective, Janet depicts vast corporate environments one could easily find themselves lost within.

Accompanied by brief personal insights into anonymous characters, a captivatingly ambiguous narrative is formed. It is clear that for Janet her paintings serve both as a personal recount and a means for exploration. photos by Emma Badeia 9

During her exhibition at the Depot, Janet will be in residence in the Main Gallery, providing an opportunity for you to pick the brains of this artist and gain an insight into her processes and concepts.

Don’t miss Janet Mazenier’s exhibition at Depot Artspace from 19 March - 6 April: Leveraged, opening Saturday 19 March, 2 - 3.30pm.

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U P C O M I N G E X H I B I T I O N S

Elle Anderson, Riley Claxton, Justine Giles and Alexa Mickell: HUNTER DREAMER STRANGER THIEF Saturday 6 February to Wednesday 24 February Main Gallery Themes of space and time, the ghostly, the dreamlike and the poetic criss-cross throughout Hunter Dreamer Stranger Thief and create parallel lines of investigation.

The works of Anderson, Claxton, Giles and Mickell encompass a range of mediums including photography, installation, and drawing. Each artist follows a different trajectory, yet common elements create a web of interconnectedness between their art practices.

Opening Saturday 6 February, 2pm to 3.30pm.

Bevan Smith: ANIMAL PORTRAITS Saturday 6 February to Wednesday 24 February Verge Gallery An exhibition of animal portraiture by Bevan Smith. “To categorise, even to describe in many words, is to suffocate curiosity. My drawings are an attempt to feel the evolved, created, miraculous beauty of the animal.�

Opening Saturday 6 February, 2pm to 3.30pm.

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UPCOMING EXHIBITIONS Daif King: STILL THO Saturday 6 February to Wednesday 24 February Small Dog Gallery Daif King presents new paintings inspired by the ‘aspirational language’ of commodity fetishism.

King manifests material that caters to our unconscious impulses.

Attractive elements are used to their end game of complete uselessness: perfect commodities embodying an overblown allure, intrinsically critiquing the nature of commodities and our religious relationship to them. King seeks some semblance of spiritual connection to his surroundings through a perhaps-fruitless Search 4 Sincerity.

Still Tho will feature an accompanying essay written by Sophie Thorn.

Opening Saturday 6 February, 2pm to 3.30pm.

Tom Turner: A FREUDIAN SLIP Saturday 27 February to Wednesday 16 March Small Dog Gallery A painterly exploration of erotic Austrian Expressionism through the lens of 21st Century Public Domain.

A series of erotic watercolours by Tom Turner.

These works are a tribute to the early 20th century Austrian artist Egon Schiele and his painterly devices. Turner’s work expands upon Schiele’s Freudian themes whilst also investigating where an enlightened society of the 21st century is located with respect to contemporary sexuality.

Opening Saturday 27 February, 2pm to 3.30pm.

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Morris & James: INDIVIDUALS Saturday 27 February to Wednesday 16 March Main Gallery A selection of new works from Morris & James pottery in Matakana, throwing light on individual designs by some of their diverse and talented artists.

These works have been curated by Amanda Penton, Marketing Manager at Morris & James, and Elizabeth McClure, a glass artist and designer with a private studio located at Morris & James.

Opening Saturday 27 February, 2pm to 3.30pm.

UPCOMING EXHIBITIONS Nicolas Bisley: THE QUIET FORGOTTEN Saturday 27 February to Wednesday 16 March Verge Gallery An intimate visit to the unvisited. In this selection of works from two collections, The Quiet Forgotten (1984) and Dark Avenue (1986), viewers are invited into two different private worlds of contemplation at the end of a life. Beyond their visual intensity, these works hold a candle up to the darkness of human nature: our fears of abandonment, our isolation, our mortality. Nicolas Bisley depicts the trembling moment before the clock hand strikes another second away, another second closer; his images bring the quiet forgotten before us, before they are forgotten.

Opening Saturday 27 February, 2pm to 3.30pm.

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Janet Mazenier: LEVERAGED Saturday 19 March to Wednesday 6 April Main Gallery Janet Mazenier’s art practice explores the relationship between humans and the architecture of their spaces.

As well as the empty spaces and buildings portrayed in her work, she paints glimpses of anonymous people in motion, usually un-posed. Mazenier’s current paintings draw from her experiences of having worked within corporate workplaces for much of her life.

“Painting allows me to look at the world in a very direct and personal way. The process of painting is physical as it reveals the actions and fallibilities of ‘me’ in its results. I deal with the making of the image and things often emerge that weren’t in the original subject”.

Janet Mazenier will be in residence at Depot Artspace from 20 March until her exhibition ends on 6 April. Mazenier will present an artist talk on Saturday 2 April.

Opening Saturday 19 March, 2pm to 3.30pm.

Nina Levesque with Susan Lee: ONE AND THE SAME

Saturday 19 March to Wednesday 6 April, Small Dog Gallery Nina Levesque uses an image of a fantail (‘One and the Same’) as a starting point throughout this body of work. She is intrigued by the concepts behind the game of Chinese Whispers and takes cues from it by emulating elements within her process.

Using the same nominated image, each work becomes informed by its own distinct, unique construction and the methods of formation and assemblage.

Akin to the aforementioned game, there is a sense of uncertainty in the construction process as the original image evolves via many repetitious reconfigurations. The final dialogue then becomes more about the product of a process than a predetermined outcome.

Opening Saturday 19 March, 2pm to 3.30pm.

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Depot Artspace Members Exhibition: UFO SHOW Saturday 9 April to Wednesday 27 April Main Gallery Depot Artspace is thrilled to announce our upcoming Members exhibition!

UFO – Members are invited to boldly go where no others have gone and to interpret, adapt or repurpose this (so far) familiar acronym.

UFO: The Sky is No Longer the Limit!

UFO Show is bound to pique the interest of visitors looking for an out-of-thisworld experience.

Please see the Depot Artspace website for details and conditions of entry (www.depotartspace.co.nz) – all Depot Artspace members are welcome to submit works!

Opening Saturday 9 April, 2pm to 3.30pm.

UPCOMING EXHIBITIONS Cynthia and Chris McKenzie: GALLIPOLI REMEMBERED Saturday 9 April to Wednesday 27 April Small Dog Gallery Cynthia and Chris McKenzie were among the two thousand New Zealanders chosen in the ballot to attend the 100-year commemoration services on 25 April 2015 at Gallipoli, alongside eight thousand Australians. They found the experience very intense and emotional and it has had a lasting impact. Cynthia and Chris wanted to share their response to this historic occasion.

As Cynthia’s medium is pastel she has created works featuring the well-known symbol of ANZAC, the red poppy. The poppy is of course a symbol of remembrance for WW1 and echoes the colour of the blood of the soldiers who died. As a photographer Chris was inspired to record the landscape, statues and trenches. Gallipoli Remembered is a very personal response to a deeply felt experience.

Opening Saturday 9 April, 2pm to 3.30pm.

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Depot Gallery proposals The Depot Artspace’s philosophy, ‘Creating an environment which encourages creating,’ is brought to life by the approach we hold in regard to exhibiting work. We are looking for artists with a strong cohesive body of work who are committed and want to attract and engage their audience. We welcome proposals that relate to notable events on the cultural calendar, eg. Pride Festival, Matariki.

If you’re interested in exhibiting work at Depot Artspace please check out our proposal guidelines at www. depotartspace.co.nz/proposals/

We encourage you to come and be a part of the community.

All are welcome at Depot Artspace exhibition openings and events.

Keen to be involved?

Join our team of volunteers!

For more information and an application form head to: www.depotartspace. co.nz/membership

images by Robyn Gibson 16

Pocket Gallery Curated Retail Gallery

photos by Emma Badeia

Depot Artspace is thrilled to introduce Pocket Gallery, a curated retail gallery that has transformed the front entrance space of the Depot. Pocket Gallery is your local destination for unique gifts and handmade treasures.

Throughout the process of setting up Pocket Gallery we have been inspired by the number of creative people doing some downright amazing things. We feel passionate about supporting them in their endeavours, in line with our philosophy of creating an environment that enciourages We are extremely excited to be currently creating. showcasing the work of some talented artists including Jenny Nicholls, Don We will maintain a constant rotation of Coutts, Greta Gotleib and Margaret fresh stock so be sure to pop into the Depot Sumich. For artist submission info see: soon and check out the latest Pocket Gallery http://depotartspace.co.nz/pocket-gallery- artists. applications-welcome/ 17

Uber Uno Gallery Inspired by a local light artist and sculptor, Uber Uno was established to accommodate works that require an intimate, darkened environment.

Uber Uno is likely the smallest gallery in Aotearoa and the most accessible, with work able to be viewed 24/7 through its street frontage porthole ‘eye’. Uber Uno derives its name from this exclusive viewing experience, allowing one person at a time to observe the exhibition. The ‘eye’, a repurposed brass oil pressure gauge, provides an elegant entry into the world of the exhibiting artist.

Uber Uno’s inaugural exhibition took place over Christmas with an installation of back-lit Maori motifs carved from polystyrene.

Uber Uno now awaits its next inspired artist to bring the space to light and life.

This is currently a free-to-exhibit space and we would love to receive new proposals. Contact Gallery Manager, Chris Cudby: chris.cudby@ depotartspace.co.nz

Botanical Photogram 101 Workshop An introduction to photograms and how early botanists / artists used this process, presented

by Elle Anderson. The processes covered will be cyanotype and photo paper using direct sunlight.

There will be two hour-long workshops available, each workshop can accommodate up to ten people each hour.

Participants will be required to bring along: a small piece of plant, flower or branch (it should fit onto an A5 size piece of paper). Each participant will be able to create a couple of photograms.

Monday 8th February 2016 - the first workshop will begin at 11am and the second at 12pm.

Gold coin donation.

Depot ArtSpace, Devonport.

Booking essential - please contact Elle Anderson: elle@afewbirds.co.nz

image by Elle Anderson 18

Remembering Penny Evans Penny Evans died just after Christmas two years ago. She was a potter for many years and then a print maker.

She was a life member of the Auckland Studio Potters, organiser - with Moyra Elliot - of the Fletcher Challenge International Ceramics Award at the museum and a founder member of the Pots of Ponsonby co-op.

Penny, helped by her son Matt, was the first to prepare the Depot for artistic use: for a jazz band appearing in an early Devonport Arts Festival. (Preparation involved clearing the rubbish and water blasting the walls and floor!)

She lived in Devonport from 1977 and contributed much to the community including being the leader of the Holy Trinity Church op shop for over twenty years.

She moved it from opposite the church down to where Hammer Hardware is now, then next to New World and finally to the present location in the Arcade. Net profit from when she took over leadership has increased markedly and is used to support operation of the church and substantial donations to charities.

Other community service included delivering Meals On Wheels in Devonport for thirty four years, organising Bible in Schools in Devonport and teaching it for many years at Devonport Primary.

An exhibition at the Depot will feature Penny’s pots and etchings but will also reference other aspects of her artistic life and contributions to the Devonport community. It will be set up to facilitate friends of Penny sitting and talking about her and perhaps adding contributions to a ‘memory tree’.

Remembering Penny Evans Saturday 30 April to Wednesday 18 May in the Small Dog Gallery.

The exhibition opening will start at 2pm on Saturday 30 April.

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welcome at depot

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Opening 6th Feb Justine Giles, Elle Anderson, Riley Claxton, Alexa Mickell ‘Hunter Dreamer, Stranger, ThiEf’ Main Gallery Daif KING ‘Still Tho’ small dog Gallery

Bevan Smith ‘Animal portraits’ verge Gallery

closing 24th feb Opening 27th Feb mORRIS & jAMES ‘Individuals’ Main Gallery tom turner ‘freudian slip’ small dog Gallery

Nicolas bISLEY ‘tHE qUIET fORGOTTEN’ verge Gallery

closing 16th mar 20

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to 2016 artspace

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Opening 9th APR Depot Artspace Members exhibition ‘UFO Show’ Main Gallery cynthia & Chris mckenzie ‘Gallipoli REMEMBERED’ small dog Gallery

closing 27th apr

Opening 19th mar

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jANET mAZENIER ‘leveraged’ Main Gallery nina levesque w/ Susan Lee ‘one and the same’ small dog Gallery

closing 6th apr

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Daif King interview Exhibiting at Depot Artspace in February 2016, Wellington-based (via Beach Haven) artist / musician Daif King will be showing a selection of his recent airbrush painted works. We caught up with the artist himself who generously lent his time towards answering a few questions for LOUD. Interview conducted by Chris Cudby, all images

by Daif King.

What are you thinking about when you are making your paintings?

How nobody is interested in digital prints. Just joking. These works take an amazing amount of concentration. There isn’t much room to wander into thought. There is a kind of Zen about making them. I’m not sure how that compares to other forms, or other people’s experiences of similar styles, but for me less is more.

How do you make them?

A combination of bristle brush and airbrush. Fun Fact: I’ve recently started using the colour picker on Photoshop as a way to more accurately and efficiently mix paints. Painting informs digital painting - informs painting.

What are they about?

Since when was it up to the artist to tell the viewer what the work was about?

Is airbrushing hard?

There is no UNDO function, which although presenting its own challenges, is something I’m slowly starting to respect.

It seems to build self confidence and trust in one’s abilities.

There is only forwards. It’s pretty cool.

Is being an artist hard?

I wouldn’t know anything about that. I understand that I live in a bubble though. I surround myself with creative and / or critical thinkers, which often means that there is some level of (*chooses words carefully) sensitivity to the surroundings. This manifests in many ways, and means life is seldom dull. I mean, define hard? Professionally? There is no money in it. Or do you mean is it hard being constantly engaged with everything you see or hear? The burden of ideas is a real thing I think. It’s easy to get frustrated when you are bombarded by great ideas and schemes. You can’t realistically act on everything.

Is there any relationship between your visual work and your music?

I have a few wildly different musical projects on the go. One is ‘New Age’ inspired. It features a predominantly clean and bright aesthetic, taking cues from the self-help and relaxation cassette tape craze of the 80’s and 90’s. There is an over-arching theme of a searching for a deeper connection to one’s surroundings and broader thought through sincerity in a post ironic context. My other project at the moment is a Heavy Metal band.

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What do you like about Heavy Metal?

Heavy Metal is actually deeply conservative, with ridged structures and rules. Innovation in Metal (like Classical) is perhaps less highly regarded than mastery. This is an interesting counterpoint to my other solo music output. It could be seen as part of a yin yang scenario, or as part of a healthy balanced diet. I actually have a great deal of difficulty reconciling the two as you could imagine. Perhaps heavy music is something that I’ve always held onto from my formative years in Beach Haven.

What was it like growing up in Beach Haven?

I liken it to the West Auckland of the North Shore. When I was at primary school, everybody was friends with everybody else. There were no real social / economic boundaries that I can remember. Often streets would be million dollar mansions on one side and state housing on the other. Obviously this has all changed, but I believe it’s really informed my work. To grow up on an insular peninsula as a teenager posed its own unique set of challenges. I was surrounded by more bush and waterways than any other Auckland suburb, but still found it dull enough to have to generate my own fun by plunging into Black Sabbath and painting.

Where’s your studio?

I work out of a place called Skyranch in central Wellington. It’s above a panel beaters and is perhaps the last of the cheap warehouse spaces in the Wellington CBD. The space is host to a lot of amazing creatives. Jeweller Chloe Rose Taylor runs NOOK Gallery out of the foyer, where she showcases local jewellers and visual artists. Internationally acclaimed musician Luke Rowell (aka Disasteradio / Eyeliner) has a studio there also. The space is often used to shoot music videos by the talented Simon Ward, who has done almost every New Zealand band’s video you could think of. Sadly however, Skyranch has been slated for demolition for the end of May to make room for luxury apartments.

The airbrush seems like it’s the closest you can get IRL (in real life) to a Photoshop gradient fill, and the Photoshop gradient was probably invented to approximate airbrush effects. Pretty buzzy when you think about it eh?

Yeah, funny how that worked out huh!

Daif King: Still Tho Saturday 6 to Wednesday 24 February Small Dog Gallery, Depot Artspace

studio photo by Chris Cudby 23

LOUD #66 image by Beth Dawson - tribute to Barry Brickell 24

!NO VENUES! / UNIFORM Beth Dawson interview

Local arts collective !No Venues! (also known as Uniform) will be presenting a multimedia sound and visual extravaganza at Kerr St Artspace for the upcoming White Night evening on Saturday 12 March. !No Venues! member, artist / musician Beth Dawson (aka Ducklingmonster), caught up with LOUD to chat about the prolific arts collective and her own distinctive practice. Interview conducted by Chris Cudby.

Tell us about Uniform!

Uniform is the name my friends and I use when we work on projects collaboratively. Uniform could be two of us working on a sound piece or twenty of us participating in an event. We are mostly Auckland based women working in art, film, sound, writing, print and archiving.

Is it a distinct entity from !No Venues!?

Yeah, for me !No Venues! is an approach. It is an assertive way of working in a live context. Over the past couple of years Uniform’s application of this approach to live performances has led to it having a descriptive meaning. So when our community hears about a !No Venues! event they expect to be involved in something that uses all of a space and incorporates audio and visual elements. I’ve been really getting into that slightly archival educational phrase A.V. Why ‘!No Venues!’?

In 2013 Uniform developed !No Venues! as a way of breaking down the barriers we encountered between our practice and the dominance of institutional and commercial ‘venues’. This approach is a shifting of focus from being told what we can do by place to doing what we want and where we want.

The “No” is a nothing point and when we decide to use a ‘No Venues’ approach and call it that we feel strong about what we are up to. Lots of this is just how we have been doing things for years as punks.

Sometimes saying nah is a positive thing.

Uniform is currently undertaking an artist residency at Artspace (central Auckland), what does this residency involve?

It is a studio residency so Artspace has provided us with space in central Auckland. A room where we can hang n fang and make things. It’s also meant we’ve been able to house and operate our darling risograph printer. The room opens on to a carpark so we have been using that for !No Venues!. The nature of Uniform has meant it has been an open studio with an emphasis on involving our community.

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You’re also a prolific visual artist and musician – how would you describe your attitude / approach to art making?

My main thing is blatantly and happily ignoring the restrictions of media or genre. So I end up working out of bounds in sound, ink, video, broken electronics and whatever else takes my fancy. Politically I believe things have got to change so artistically I push myself to do things differently. Community is very important to me so I also spend a bit of time as an artist organiser.

Can you please describe your live light projection works?

For my light projection and moving image work I use outmoded instructional A.V. material such as slides, overhead projectors and VHS tapes. Mostly because that’s what I can get my hands on and it keeps the practicalities simple. I’m into expanded cinema and using light to break up the stage/ performer dichotomy - live light changing your sense of place. My favorite recent work was putting pink cellophane over the windows and projecting slides of deserts that had faded to unearthly pastel hues on to fabric wall. It made this dreamy room that was just really nice to hang out in.

Flyer for recent Uniform two-day music weekend

What’s inspiring you in art / music right now? Who’s cool?

There are so many cool people! I really like what my friends are up to. For inspo I totally get into crazes!

My current ones are sci-fi interiors, insects, subtropical flora, outmoded instructional A.V., beehives (hairdos), the colour pink, and things that look like planets. The humidity, the thriving gardens and night swims in Tāmaki Makaurau are very inspiring right now.

What’s in the future for Uniform?

We’ve always got several projects on the go that people are dipping in and out of. Currently we are working on our next magazine, Uniform Issue 3. We’re building a digital archive of comics, zines, posters from our community. Doing some more !No Venues! activities at the Artspace carpark. In May Uniform will exist in Dunedin at Blue Oyster Project Space. I’m really looking forward to that.

What can punters expect on White Night? !No Venues! !No Venues! – Kerr St Artspace, Saturday 12 March (White Night), 6pm start 26

comic by Chris Cudby 27

Depot Sound Depot Sound has had some great bands and musicians in the studio over the last few months including Push Push who are working on a new single. Darren Mathiassen drummer for Shapeshifter and Hollie Smith recorded drums for solo artist Nic Hurman. Students from Takapuna Normal Intermediate School, lead by Heath Watson came in and recorded 2 songs. Brendon Thomas and the Vibes recorded some live videos, and Chris Davis brought in ace session player Tom Broome to play drums on his EP. A few bands we’ve recorded in the past have recently released videos that are well worth checking out, including Poison Skies, Rebel Sound Radio, Brendon Thomas and The Vibes and The Free Wind. You can find links on our Facebook page here: www.facebook.com/depotsound

Depot Sound is very excited to announce that we have a new Allen & Heath (official) GSR24m mixing desk! The new mixing desk will help us achieve professional quality recordings at rates affordable to the whole community. A huge thank you to Devonport-Takapuna Local Board and Jansen Professional Audio and Lighting for making this possible. dave@depotsound.co.nz www.depotsound.co.nz www.facebook.com/depotsound

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In the studio from top left: Brendan Thomas and the Vibes, Push Push and student group - photos by Dave Rhodes 29

THE IMAGINED BOUNDARY the boundary between the ordinary and extraordinary between lacklustre and wonderment between crimson and magenta between the big bang and the big one between birth and death the boundary between the ‘here’ and the ‘there’; somewhere and nowhere the endless discretionary and at times restrictive line that creates the delicate boundary in our midst 30

words and image by Robyn Gibson

Devonstock 2015

Thanks to everyone who came along to the annual Devonstock Festival on Sunday 13 December at the Windsor Reserve and made it such a great summer day! Special thanks to artists Brendon Thomas and The Vibes, Dukebox, Quinn The Human, TUGGS, Amelia McNabb and Oak for their magical musical performances - see you next year at Devonstock 2016!

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New Staff

Ofir Panhi – Map Designer & Photographer Hello everyone, my name is Ofir Panhi and I am currently working for Depot Artspace as Map Designer & Photographer, as part of the Depot’s brand new internship programme.

My main duties involve creating an interactive website of significant locations around Devonport to support our community and enable those, such as tourists to learn more about Devonport’s hot spots, galleries, culture and history. I am also responsible for taking photos of buildings and locations that willeventually be loaded to the new website to add a whole new dimension to the main aspect of the map.

Post Office image by Ofir Panhi 32

ArtsLab A common refrain from ArtsLab clients is that being on our programme gives them structure that they wouldn’t otherwise have, and they find they are more productive with both their creative work and their job-seeking in this environment. We motivate through encouragement but also through expectations; from their perspective, having someone to answer to who is also supportive increases confidence and productivity.

Boundaries can help people deal with the everyday issues of life. They can provide responsibilities and obligations and enable you to know where you fit in the world. Once you understand them you are able to focus on what you want to achieve, and use your skills and talents in whatever way you can.

In ArtsLab, the clients who work within the boundaries of our programme and their obligations to Work and Income are able to pursue their creative goals and job seeking with a confidence and contentment unhindered by feelings of guilt or resentment. We acknowledge that there are other factors which can slow down or make goal achievement harder (we call these barriers).

Yet we know that those who work within the programme’s boundaries are in the best position to recognise their barriers. When clients can operate in this way, then together we are able to effectively work towards overcoming their barriers and focus on achievement of their goals.

The ArtsLab team www.depotartspace.co.nz/arts-lab/

The Artslab team have expanded into a new room at the Kerr St Artspace for their weekly group job seeking sessions. This room is also available for hire if you’re looking for a local small classroom space. If interested please contact Margaux on 09 963 2328 or Margaux.Wong@depotartspace.co.nz 33

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Lynn Lawton Boundaries are helpful and at times essential.

They are helpful when travelling, identifying where my property might begin and end and they mark out when the batsman scores a four or a six.

For professional people working with clients, boundaries are essential to define appropriate and inappropriate behaviours. Barriers are essential when providing safety.

Before the installation of barriers on the Auckland Harbour Bridge accidents were a common occurrence. I feel far safer on the Harbour Bridge today than 25 years ago! Then there are barriers which may be of a social, cultural and economic nature when through prejudice and fear people are excluded. A number of years ago I undertook research on the North Shore concerning employment opportunities for migrant job seekers. A common response from potential employers then was a reluctance to employ non-kiwis; not because of their lack of ability to undertake a task but uncertainty and fear concerning how to relate to and manage someone very different. It seems to me boundaries and barriers can be either a positive or negative thing, depending on the rationale and motivation for their existence. Implied in boundaries and barriers is often control and ownership with the need to exercise force to control and separate.

In 2010 Israeli artist Amos Plaut created the states of the world in clay, casting each according to the shape of its geographical border and each country was of equal size. Each constituting a space unto itself, not connected to others and not bordering on one another. His purpose was to observe the meaning of international boundaries across the world throughout history and today. To consider the many conflicts and wars that have broken out over territories and the location of the borders separating neighbouring countries. He asked what the world would be like if countries didn’t border on each other. What would the world be like with fewer borders and physical barriers where instead we strived to achieve and maintain genuine and lasting peace relations among all nations? (Border Tourism Attractions as a Space for Presenting and Symbolising Peace: A Gelbman from Tourism, Progress and Peace edited by Omar Moufakkir 2010) On reflection, his answer begins with me. In recent years the population face of New Zealand has changed. Immigrants from China, India, Philippines, Thailand and Africa to name a few have settled into New Zealand. On ArtsLab, some of our workshops have more attendees from these countries overseas than those who have been born and grown up in New Zealand. This last week I met the family of one artist visiting the Depot and took time to get to know them. What beautiful people, working hard to connect with us and establish themselves in New Zealand. Taking time to cross human boundaries to achieve and maintain lasting peace relationships. Amos posed the right question.

Lynn Lawton - ArtsLab manager Imagine there’s no heaven It’s easy if you try No hell below us Above us only sky Imagine all the people Living for today...

Imagine there’s no countries It isn’t hard to do Nothing to kill or die for And no religion too Imagine all the people Living life in peace...

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You may say I’m a dreamer But I’m not the only one I hope someday you’ll join us And the world will be as one Imagine: John Lennon 1971

Barry Brickell: One Of Our Greatest Vernacularists?

If the Depot were to initiate a national award it would be titled Great Vernacularists of Aotearoa New Zealand and it would celebrate those people, in all walks of life, who had contributed significantly to enriching, conserving, educating about, showcasing or celebrating our unique culture, history and environment. It would not be exclusive to a few, judged by a few self-appointed experts on the matter, but it would be awarded to all of those whose life’s work made a difference on these terms.

Our first award would unequivocally go to Barry Brickell, all-round, life-long Vernacularist; potter, painter, writer, railway enthusiast, conservationist, engineer, entrepreneur and visionary.

In addition to all his notable and well documented achievements, Barry was a keen designer and put this skill to use to create a new New Zealand flag and a waterfront ‘erecture’ (Barry’s wrert, differentiating construction from sculpture) that he believed better represented our culture and history than a state house. His hakari design resembled the one below and the letter following described his rationale. Barry remained committed to this design and tenacious in his attempts to have the design executed. From 2009 to 2014 he pursued a council which remained intransigently blind to his vision.

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Barry would also be delighted to share this award with others he respected; Nigel Brown, Denys Trussell, Geoff Chapple and Tony Watkins, all of whom should be well-known to our citizens. If not, then you should, seriously, acquaint yourself with them as each has contributed enormously to an understanding and enrichment of our Aotearoa New Zealand vernacular, our distinctive identity and sense of place.

Linda Blincko

NZ flag images and letter by Barry Brickell 37

A MULTIDISCIPLINARY CREATIVE COMMUNITY Depot Artspace is an open and inclusive multidisciplinary community that encourages engagement in all art forms. To this end it offers a variety of facilities, services and events that support the creative community and provide opportunities for participation and appreciation. www.depotartspace.co.nz Depot Galleries are three galleries in the Depot that provide diverse exhibiting opportunities for artists – the Main Gallery exhibits large bodies of work and group shows, Small Dog is a light-filled, street facing gallery hosting solo or small group shows and Verge Gallery links the galleries and Depot Sound. It provides a great opportunity for artists to exhibit their work for a minimal gallery rental, ideal for small solo exhibitions.

Depot Press is the publishing arm of the Depot Artspace with an emphasis on exploring Aotearoa/New Zealand’s unique cultural identity. www.depotartspace.co.nz/depotpress Depot Sound is the Depot Artspace recording studio. Depot Sound is dedicated to providing a friendly and productive outlet for artists along with support and advice for musicians. Rehearsal rooms are also available to hire. www.depotsound.co.nz Ph. (09) 963 2328 Kerr Street Artspace is a large space, located at the foot of Takarunga/Mount Victoria, for workshops, performance and theatre as well as an intimate space for self-managed exhibitions and meetings with very reasonable hireage rates.

ArtsLab offers professional development workshops, seminars, and mentoring to creative people seeking career guidance and employment in the creative sector.

Ph. (09) 963 2328 Cultural Icons is a series of interviews with iconic New Zealanders who have shaped the arts and culture landscape of New Zealand. www.culturalicons.co.nz

DEPOT ARTSPACE 28 CLARENCE ST, DEVONPORT, AUCKLAND PH: 09 963 2331 WWW.DEPOTARTSPACE.CO.NZ OPENING HOURS: MON: 12-5PM TUE-SAT: 10AM-5PM SUN & PUBLIC HOLIDAYS: 11AM-3PM

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1935 – 2016

Barry Brickell

A Great Friend To The Depot Here at the Depot we mourn the passing of Barry Brickell, potter, painter, engineer, conservationist, writer, wrerter*, all-round genius, and Aotearoa New Zealand’s greatest Vernacularist; but first and foremost our dearest and most beloved friend.

Barry was a regular visitor to the Depot during his residencies at the Michael King Writers’ Centre.

He came for catch-ups, cups of tea and ongoing instruction on use of his lap top, which, for all his competence in every other field, he had never managed to master. He preferred his manual typewriter claiming that it was more attuned to his modus operandi, of long deliberation as inspiration or epiphany arose.

During this process his work on computer, which he continually forgot to save, would disappear, never to be retrieved, a source of continual frustration.

Despite technological challenges Barry nevertheless produced some wonderful written material and we were honoured to launch two of his books here, Rails Towards the Sky and Plastic Memories.

We also hosted Barry’s sell-out exhibition, My Last Ever Pottery Sale? in July, 2014, whose title sadly turned out to be prophetic.

Farewell dear Barry, you will remain with us at the heart of the Depot, which cherishes your values, your amazing achievements and your unique place in the world. *Barry’s definition of wrerting is word-murdering. ‘Wrerting is an essential escape from writing, which has certain rules whereas wrerting has none. Hence it gives me much pleasure.

The best wrerting is done on a warm summer evening, stark naked with a glass of pinot noir in hand.’

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