ART AND THE MEANING OF LIFE
MAY TO JULY 2015 LOUD ISSUE #63 IMAGE: HELEN POLLOCK: AS ABOVE, SO BELOW 1
The Depot Artspace quarterly magazine Loud showcases exhibitions, events, artists, music and musicians and a host of other creative initiatives. It 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. Loud is loud because it needs to be – art is an incredibly undervalued aspect of our culture, significant to our history and our society. ISSN 2382-0187 (Print) ISSN 2382-0195 (Online) LOUD ISSUE 63 • • • • • • • • • • • • • •
About the Depot Artspace Art and the Meaning of Life – Linda Blincko Depot Artspace Exhibitions and Openings Depot Sound News – Dave Rhodes As Above, So Below | Helen Pollock – Margaux Wong Guest Judge for the Depot Artspace Members Show: Evan Woodruffe Art and Meaning: Why I Collect Tribal Art – Peter Paul Barker Our Valued Volunteers / Thank You and Farewell to Saskia – Helen Winskill Devonport Chocolates and the Art of Summer: Call Out to Emerging Artists Art, ArtsLab & the Meaning of Life – Margaux Wong A Journey into Expanded Meaning – Lynn Lawton Social photos of Depot Exhibition Openings WW1 Remembrance Exhibitions at the Depot Artspace Join Depot Artspace
All content © Depot Artspace and the respective artists, 2014 For magazine contribution, comment or criticism contact Linda (09) 963 2331 or linda.blincko@depotartspace.co.nz
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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 two galleries in the Depot that provide diverse exhibiting opportunities for artists – the Main Gallery exhibits large bodies of work and group shows and Small Dog is a light-filled, street facing gallery hosting solo or small group shows. Depot Press is an ongoing series of publications created by the Depot Artspace with an emphasis on exploring Aotearoa/New Zealand’s unique cultural identity. www.nzculturalgenealogymapping.wordpress.com 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 Morph Magazine is an online arts and culture magazine featuring articles, overseas columnists, reviews and artist profiles. www.morphmagazine.co.nz Urban Arts Village Devonport celebrates everything that makes Devonport the rich and distinct community it is; its history, heritage, landscape, landmarks, arts and people. www.urbanartsvillage.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 3
Snowplough and the Angel by Sandra M. Waine 2010
ART AND THE MEANING OF LIFE “The force that through the green fuse drives the flower drives my green age…” Dylan Thomas Would it be true to say that for most of us life is simply and unequivocally to be lived – that the meaning of life is implicit in the living of it? The search for meaning is therefore both superfluous and futile as searching assumes there is something either missing or lost, without which we are incomplete or bereft. This obscure koan from Zen Buddhism, ‘if you meet the Buddha on the road, kill him!’ suggests the same sentiment; that meaning is not external or to be found in something beyond oneself. And existentialist Jean-Paul Sartre contends that there is no meaning to be found in existence/existing things, anyway. Sartre views absurdity as a quality of the world. Yet, most explicitly in the face of human or natural catastrophe, the need arises to somehow make sense of the previously taken-for-granted; to find in life some meaning to the awful or the inexplicable. The WW1 commemorations have been a testimony to this imperative, and the arts have most significantly demonstrated the depth of meaning attached to the phenomenon of war. Elam Art School’s Dr. Peter Shand says that the strength of art is in reflecting moments in history – sometimes bloody and disturbing – in ways that make people emotionally connect to them in the present. “Art can access these really complicated, sometimes ambivalent feelings, in really effective ways.” (‘Making Art Not War,’ 19 April, 2015 Sunday Star Times) And the arts most clearly signify that each of us finds our own meaning in events and in objects. While meaning is not naturally invested in phenomena, there is an inherent human need to make sense of the world in and through them, and this is what makes us human and unique. Nigel Brown’s exhibition at Artis Gallery in Parnell, titled ‘Albatross Neck’ and built around Samuel Coleridge’s ‘The Rime of the Ancient Mariner’, is a profound example of how meaning is derived and then layered, through interpretation, experience and reflection, with further meaning; this in turn becomes a source of eliciting further meaning. As Denys Trussell comments, “Albatross Neck is not a series of illustrations of a famous literary work. It is a re-enactment of that work in new terms….Brown uses material directly from it, but includes events, people and technologies that…..reference the destruction of the natural world.” 4
The arts serve to remind us that we can never be truly disempowered for as we engage with them they will not allow us to take the world for granted. Mat Schwarzman, Director of the National Performance Network, says that underpinning their programme is the belief that “through art we can challenge many of our society’s deepest-seated assumptions. Art can catalyse critical thinking, inspire individuals to work together, heal.” There is something about art that puts us in touch with what it means to be human and challenges us to engage more deeply in our lives. It encourages us, even demands of us, that we think for ourselves. Without the meaning we give to life we become according to Spanish philosopher José Ortega y Gasset, “mass man” (sic), the phenomenon of mass culture, where society has sunk to its lowest common denominator and is drifting towards Chaos. (‘The Revolt of the Masses’ 1932) – Linda Blincko
Image: Nigel Brown – Albatross Neck 5
EXHIBITIONS & EVENTS
MEMBERS SHOW
Depot Artspace 12 X 12 Members Show 9 – 27 May
c a l l o u t
Our 12 X 12 Members Show features work from our talented Depot Artspace members. The members show is notable event in our exhibition calendar which staff, members and visitors look forward to, and this year we’ve decided to do something a little different! All works exhibited: print, drawing, painting, mixed media, photography, ceramics and sculpture, will be 12 x 12 inches!
2 x 2
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Opening in the Main Gallery Saturday 9 May 2 – 3.30pm
There is a $250 Gordon Harris voucher to be won for the artwork selected by our guest judge and artist Evan Woodruffe, along with a $100 cash prize for the People’s Choice Award.
9 – 27 May
May between 10am and 12pm.
If you would like to exhibit in our members show please bring in your work on Thursday the 7th of May between 10am and 5pm or Friday the 8th of
All two dimensional pieces must be 12” x 12” (inches) including frame. All three dimensional work must be 12” x 12” x 12” (inches) or under.
YouHarris can submit up to 3 works, there will be a charge of $15 per artwork/entry and Gordon Voucher NO COMMISSION on sold work. All work must be priced at $500 and under and judgemembership evan woodruffe is required to enter. For full terms and conditions contact us on 09 963 2331. People’s Choice Award
t, Devonport
Submit up to 3 works:
EXHIBIT IN OUR HALLWAY GALLERY Print, drawing, painting, photography, mixed media, ceramic and sculpture. 2D work must be 12” x 12” incl frame.
dates and entry form: 09 963 2331
tspace.co.nz/call-out-members-show @depotartspace.co.nz
3D work must be 12” x 12” x 12” or under. $15 entry fee per work for members, no commission, all works priced under $500.
We are running a new initiative in our hallway space for Depot Artspace members who are interested in displaying small/medium sized works, with pricing to be around $150 – $300. Works must be of a manageable size and shape, be framed and presented well, and easily transportable. If you are interested please contact our Curator Robyn Gibson at robyn.gibson@depotartspace.co.nz with examples of your proposed works. Please note that membership and administrative fees apply.
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We encourage you to come and be a part of the community. All are welcome at Depot Artspace exhibition openings and events.
Lyndsay Brock: Cirque 9 – 27 May
Opening in the Small Dog Gallery Saturday 9 May 2 – 3.30pm
Cirque evokes the exoticism and mystery of female circus performers in multiple roles. The characters in Lyndsay Brock’s parade wear wonderfully elaborate costumes and each painting has, in turn, brought a hand painted ‘Viennale style’ mask to life. These evocative works marry the precision of pencil drawing with the flow of paint. Sometimes a colour swirls into another or fades into light, faces are pale and luminous, winsome or impertinent, and garments celebrate the excitement of a timeless travelling show. This exhibition of works on paper follows directly from the success of her three-generational Lineage exhibition in 2012. An audience fascination with her mother Heather Masters’ portfolio, which was created during the Arts and Crafts movement, inspired Lyndsay to return to those early skills and to create a folio of strongly illustrative works on paper.
Book Launch: The Vernacularist Special Edition Wāhine – Women
Thursday 28 May 6 – 8pm Golden Dawn 134 Ponsonby Road, Auckland
We are excited to launch the latest edition of The Vernacularist, Wāhine – Women, at Golden Dawn this May! The central kaupapa of Wāhine – Women is to celebrate the work, lives and thoughts of women in Aotearoa, New Zealand, specifically those involved in unique cultural, social, scientific and creative processes. Wāhine – Women is a ‘Special Edition’ of The Vernacularist and has taken book form, rather than our previous staple-bound journals, in order to represent the significance of the content within and ensure the duration of the publication over time. Articles about and by wāhine – women featured in this special edition include: Aimee Luna, Ainsley Duyvestyn-Smith, Alison
Quigan, Anne McKay, ARCO (Ana Heremaia, Felicity Brenchley and Ruby Watson), Clara Chon, Cleo Barnett, Danielle Street, Emily Miller-Sharma, Esther Deans, Holli McEntegart, Imogen Taylor, Jacinda Rogers, Jade Tang, Kate Tindall Lum, Kristine Crabb, Laura Marsh, Liz Maw, Mahala Rose Harwood, Margaret Lawlor-Bartlett, Megan Dowie, Melanie Harvey, Olivia Laita, Ophelia King, Rachel Jane Liebert, Riemke Ensing, Sash, Y.E.S Collective (Hayley Caudwell and Jane Park), Xöe Hall, Yasmine Ganley and WILPF – the Women’s International League for Peace and Freedom.
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EXHIBITIONS & EVENTS Emma Badeia: On Saturdays We Play Rugby Official opening in the Small Dog Gallery Saturday 6 June 2 – 3.30pm 30 May – 24 June
as part of the Auckland Festival of Photography
On Saturdays We Play Rugby (OSWPR) is an anthology of small town New Zealand as found on the East Cape of the North Island. As policies to manage population growth move toward urban expansion, photographer Emma Badeia examines the more quaint communities that are vestiges of this drift. The images reflect and celebrate a stoic snubbing of the metropolis (metropolitan opportunities) for an idyllic life of simple living. They also address the implications for New Zealand culture. Since producing OSWPR in 2014, Emma has dedicated her time to refining her craft. In 2015 she took her documentary practice around the country for three months, immersing herself in a lifestyle dedicated to image making. The resulting photographs are planned for exhibition in 2016. A collaborative documentation of this journey with partner and photographer Anton Maurer can be found at www.dust-pinecones.tumblr.com
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We encourage you to come and be a part of the community. All are welcome at Depot Artspace exhibition openings and events. An exhibition from McNamara Murray Lloyd & Peter Evans – Oil & Water: Gallery Photography as part of the Is Clean Water the New Oil? Auckland Festival of Photography 30 May – 24 June
Saturday 6 June Main Gallery Forum with Mark Amery, Peter Evans and Paul McNamara 12.30pm Official opening from 2 – 3.30pm Oil & Water brings together two independent suites of work, Bodies of Water by Wellington artist Murray Lloyd, and Zealandia: Views from the Peak? by Auckland artist Peter Evans. Together these 18 photographs highlight, within a New Zealand context, the vitally important international issue of available natural resources, posing the question: is clean water the new oil? Access to the sources of water yields immense economic and political power as it is essential to survival; there is no substitute. Water is a human right.
Peter Evans Worldwide demand is growing, currently doubling roughly every twenty-one years. Many sources of water are drying up and there is not a clear strategy as to how to manage the supply. There are places all over the world which draw groundwater in a non-sustainable way. Are we getting to the point where clean water is the new oil? This exhibition continues the environmental theme of McNamara Gallery’s Flora Photographica Aotearoa, an exhibition held at the Depot Artspace during the Auckland Festival of Photography 2014, which explored our co-dependence on the plant world.
Murray Lloyd
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EXHIBITIONS & EVENTS Jermaine Reihana: Te Matahi 27 June – 15 July
Opening in the Main Gallery Saturday 27 June 2 – 3.30pm As part of Matariki Festival Te Matahi is the first solo exhibition by Jermaine Reihana, whose work hinges on customary Māori narrative and art conventions to relate to and navigate through the complexities of contemporary society. Reihana paints native flora and fauna rendered in a fine illustrative style, while adhering to the structural and architectural composition of interior and exterior elements of the wharenui (meeting house) kowhaiwhai, tukutuku, and whakairo. Te Matahi, the title of this exhibition, can be understood as the undertaking of a new journey; during Matariki it is the sowing of seedlings, a sign of sustainability and reflection, peering through the lens of the past while focusing on the present to develop a sustainable future.
Jermaine Reihana is an emerging Māori artist. Born in Auckland (8th July 1986) with Ngati Hine, Hokianga and Pakeha whakapapa, he studied at Massey University School of Māori Visual Arts in Palmerston North, graduating with honours in 2012. Reihana’s work featured in the most comprehensive survey of Māori contemporary art, Te Atinga: 25 Years of Contemporary Māori Art which exhibited during 2013. The catalogue for this exhibition was subsequently published in 2014.
Han Nae Kim: Charcoal, Ott and Moments 27 June – 15 July
Opening in the Main Gallery Saturday 27 June 2 – 3.30pm
Han Nae Kim is a visual artist based in Auckland, who recently completed a Master of Fine Arts at the Victorian College of Arts in Melbourne and is currently undertaking doctoral studies at Elam School of Fine Arts. Exploring the ‘in-between’ as a field of encounter, collision, penetration and fission comprises the general understanding of the artist’s practice. The process of repetitive layering, rubbing and sanding, makes the surface of her work rich with potential. It becomes the symbolic skin, which possesses a virtual depth that can be constantly manipulated and regenerated. In her exhibition, Han Nae wants to share the investigation around the process-orientated approach to creative practice, especially through her drawing-based works, which has reassured her of the liberating force and cathartic potential of making art. 10
We encourage you to come and be a part of the community. All are welcome at Depot Artspace exhibition openings and events.
Tiny Travelling Gallery 18 July – 5 August
Opening in the Main Gallery Saturday 18 July 2 – 3.30pm
The Tiny Travelling Gallery is coming to Auckland! After a trip to the USA and Europe the gallery is back home to begin a tour of the motherland, and we are honoured to be kicking off the journey at the Depot Artspace. Created by Scott Savage and Colleen Pugh the Tiny Travelling Gallery is a suitcase-sized exhibition which showcases over 30 artists from the Lowbrow arts community in New Zealand. This country has a large number of talented creatives working in this field but the term ‘Lowbrow art’ is not widely known or at least acknowledged as a legitimate art form. Most people, however, own items that fall within this artistic category: comic books, art toys, and illustration. The Tiny Travelling Gallery features original works from many Lowbrow subcultures including street art, tattooing, skate photography, Pop Surrealism and craft arts.
OUR LAST EXHIBITION SLOT OF THE YEAR AVAILABLE! We are fully booked for 2015 except for one last slot! Exhibit in the Small Dog Gallery from the 27 June – 15 July alongside the talented Jermaine Reihana and Han Nae Kim who are showing in the Main Gallery. If you’d like to exhibit please visit our proposals page www.depotartspace.co.nz/proposals/ or contact our Gallery Manager Helen Winskill on 09 9632331 helen.winskill@depotartspace.co.nz
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EXHIBITIONS & EVENTS Rebecca ter Borg, Meghan Geliza & Malangeo: Misfits 18 July – 5 August
Opening in the Main Gallery Saturday 18 July 2 – 3.30pm
Misfits is a group exhibition featuring three New Zealand artists who identify their practice as being in the Lowbrow/Pop Surreal space. Lowbrow (also known as Pop Surrealism) describes a visual art movement that arose in the Los Angeles, California area in the late 1970s. It is a broad term referring to artistic forms relating to popularist culture. Most art from this genre comprises paintings, but also includes collectible designer toys, digital art, and sculpture. Lowbrow’s main points of identification are its figurative focus, its cultivation of narrative and its strong valuing of technical skill and craft.
Rebecca ter Borg
Rebecca ter Borg is a freelance illustrator based in Auckland. She works on a variety of commissions and illustration projects, exhibits around Auckland and draws on the street as part of the Quick Draw sketch gang. Her illustrations depict a quirky, dreamy and stylish alternative narrative to everyday life. Meghan Geliza paints surreal worlds of swirling explosive colour, driven by the metaphysical and the whimsical. Meghan Geliza Her work references nature and recurring patterns in the universe, as commentary on our inherent connection with everything. Artist and illustrator Malangeo creates wonderfully weird portraits of “creepy-cute” critters, macabre beasties and fragile floral beings. His work is a celebration of traditional oil painting techniques and contemporary Pop Surrealist style.
Malangeo 12
We encourage you to come and be a part of the community. All are welcome at Depot Artspace exhibition openings and events.
Tim Flower: In a Different Light 18 July – 5 August
Opening in the Small Dog Gallery Saturday 18 July 2 – 3.30pm
Tim Flower is a cinematographer based in Auckland who works both in New Zealand and internationally on a wide range of projects, from documentaries to drama, to music videos. In a Different Light is Tim’s first solo exhibition of his photographic work. In this series, Tim has travelled throughout New Zealand documenting the landscape using rare Kodak Aerochrome 35mm Infrared film – turning the green New Zealand landscapes we are all used to, into surreal explosions of pink and blue. Infrared film registers a spectrum of light invisible to the human eye known as near-infrared. It was developed at the beginning of the 20th century for uses such as camouflage detection, vegetation surveys and topographical analysis. Kodak Aerochrome registers infrared light reflected off healthy chlorophyll as pink or red. Kodak Aerochrome 35mm film was the last line of colour infrared film produced and was discontinued in 2007.
Depot Galleries: 28 Clarence Street, Devonport Kerr Street Artspace: Mt Victoria, Devonport www.depotartspace.co.nz 13
DEPOT SOUND NEWS The renovations to the Depot Sound Recording Studio are complete! It has been a wonderful and crazy experience, thank you to everyone involved – the space looks and sounds incredible. Depot Sound now includes two separate recording studios. The new larger studio is ideal for high quality multitrack recording of bands, solo artists and live demos. The upgraded smaller studio is great for voice-over work, editing and music production. Both studios can be combined to create isolation booths for vocalists and amps during live tracking sessions. The first band in the new studio was Static Era who recorded one final track to complete their album which was released on the 17th April. After that we spent ten days recording a new album with Shepherds of Cassini and followed that up with 5 days working on a new album for Ghosts of Electricity. The studio is now well and truly broken in and sounding great, so if you have an album, EP, single or demo you’d like to record, now is the perfect time to get in touch. Other recent clients include: Brendon Thomas and the Vibes, John Rowles, Fire At Will, The Warratahs, The Dead Beat Boys, Static Era, Thin White Lines, Poison Skies, Damn The Trend, Vivid, Delic Exodus, Racing, and The Rubics. – Dave Rhodes
Above: Depot Sound construction underway 14
Above: New studio shots and Static Era recording 15
AS ABOVE, SO BELOW I recently had the privilege of viewing Helen Pollock’s latest sculpture As Above, So Below, an artwork which I think embodies the search for the meaning of life. It is a concept that comes to the fore when contemplating war and commemorative works.
Furthermore, the four corners of the pool are marked with the cardinal directions of a compass and are in fact pointing due north, and so forth. Pollock explains that there are elements associated with each direction that relate to navigation and seafaring: north is associated with fire, representing the sun and stars; west is associated with water which is all around us and in our tears; south represents the earth and homecoming; and the east is the wind, a vital part of a sailor’s voyage.
Situated in the WW100 Commemorative Pavilion at the Torpedo Bay Navy Museum, this sculpture is a sight to behold. Five, large, exquisitely rendered arms arise from a compassed pool with their palms facing skyward. Just out of their grasp is an infinitely long ladder that reaches up and beyond the glass confines of the pavilion, whilst its reflection cast in the pool gives the impression of watery depths. Created in bronze, As Above, So Below engages with themes such as memories, journeys, life and loss, which are prevalent in a number of Pollock’s works. This piece echoes earlier creations, notably Falls the Shadow (2008) now installed at the Passchendaele Memorial Museum in Belgium, where arms are raised in supplication and anguish, and Jacob’s Ladder (2001) in which themes of spirituality and transformation are examined. It is an artwork that ponders what life is about, provoking thought on age old questions which cannot be readily answered. Specially commissioned for this pavilion, what is evident, as is the case with all her works, is the level of consideration and detail Pollock has put into this sculpture. All the elements are interwoven to create a riveting and highly symbolic work. Water is undoubtedly significant, representing the navy and those sacrificed during the First World War (1914-1918). The ladder mutely trickles into the reflective pool, as if it is weeping, filling it with tears. Surrounded by transparent glass walls, the placement of this sculpture highlights how there is water everywhere – out in the bay, in the sky above, and gathering in the pool below.
The ladder included in this work is rusted and worn, with slightly buckled rungs indicative of use. There is a strong sense of vertical flow created by this endless ladder; it soars high into the sky whilst water rolls down it. Pollock describes this as a Jacob’s Ladder, a spiritual symbol of the heroic ascent that simultaneously reaches down into the physical world and into the depths of one’s being, connecting the two. It is representative of the courage of New Zealand soldiers, the journey they have embarked on, and the journey beyond. With open palms, these arms do appear to be grasping in entreaty and agony, yet I think there is also a fearlessness and audacity to their gesture. They have given their lives so that others can live and lead theirs freely, and it is the acknowledgement of their altruism that makes this sculpture uplifting and life affirming. No one truly knows the meaning of life, and art will continue to be a vehicle for the exploration of existence. As Above, So Below marries physicality, represented by the arms, with the spirituality of the Jacob’s Ladder theme and the fluidity of water, to create a poignant commemoration to those lost. Pollock’s artwork conveys the courage and strength of the human spirit, and that all life is precious. – Margaux Wong
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HELEN POLLOCK
As Above, So Below | Helen Pollock | Torpedo Bay Navy Museum Image: Margaux Wong 17
GUEST JUDGE FOR THE DEPOT ARTSPACE MEMBERS SHOW:
EVAN WOODRUFFE
Evan Woodruffe was born 1965 in Auckland, where he lives and works. This year he presented the solo exhibition Hypnic Jerks at Paul Nache, and Dodge Project for the Dunedin Public Art Gallery. He’s now working on another solo show for Orexart in October. Woodruffe’s practice is deeply concerned with the materials and processes involved with painting. There is a consistent acknowledgement and inclusion of the physical space the works are made in; and an ongoing attention to the layered surface effects, the transparency and camouflage of the materials and space, and the flexibility of the process. As the layers of gestural markings accumulate in his works, care is taken not to describe too much form, yet even so, this formless image becomes highly suggestive. These assertively decorative paintings act like a series of stickers, reflections, textiles or even tattoos upon the ‘surface’. His work can be considered maplike, showing our own negotiation of physical and cultural spaces, looping between our internal and external realms. There is also a level of disorientation created; where the clarity of colour and line is held in tension with a confused blur of layers, with the trail of his brush marking stages, places and possible events. Woodruffe has a MFA (First Class Honours) from Elam, and received the 2011 Molly Morpeth Canaday Major Award and the 2003 Becroft Foundation Premier Award. His work is held in public and private collections, such as the Wallace Art Trust. 18
ART AND MEANING:
WHY I COLLECT TRIBAL ART I was amazed to learn that African cultures and cultures of the many Pacific Islands have a complex socio-political structure which include many rules, and these rules are to be obeyed. Before this I believed tribal art was created in paradise and life was utopian. As my collection grew and my knowledge increased I began to see that tribal societies used the creative arts as a tool to instruct, educate, and entertain as well as to maintain the status quo. The artefacts I have collected have been made by skilled artisans incorporating a sophisticated style which include many different factors in their work. They used the power of emotion, combined with psychic phenomena to influence and control. The costumes, the dances, the masks, the festivities and the rituals were used not only as an educational tool, to teach history and ritual, but also as a way of bringing their culture to life making it alive and magic. I believe a form of mind control is present in tribal work which was used to influence and control. I believe it is these subtle influences which leave me feeling perturbed when I look at ethnic art. The art using this lost and hidden knowledge is powerful. The art is traditional and has been handed down from generation to generation. I believe the power is inherent in the shape of the art. This was the art I wanted to collect, to study, to be a part of. As such, each piece is a statement which is dramatic and powerful in any environment. My collection represents many different cultures spreading over Africa and Oceania and I see myself as an explorer rediscovering the inner realms of my subconsciousness which have been lost by our Western civilisation for at least two thousand years. – Peter Paul Barker Peter Paul is having an exhibition of his tribal art collection at the Depot Artspace in November 2015. 19
OUR VALUED VOLUNTEERS Community organisations often rely on volunteers as a vital part of their day to day running, and the Depot is no exception. Volunteering is a great way to be part of the community and have a positive impact while developing skills and networks. Volunteering is a reciprocal exchange of time, energy and benefits. Our current team volunteer for a variety of reasons; for all it’s a great way to meet people and belong. Many are themselves potters, photographers and artists who enjoy being part of the creative community. At the Depot Artspace there is never a dull moment with artists, musicians, creative characters and friends crossing the doorstep every day. One of the key concerns of the Depot is its open and inclusive nature and this is physically evident in the amazing network of individuals and the relationships that bind them. We currently have opportunities for new volunteers including half and full days and would love to talk to anyone interested. If this sounds like you please contact Helen Winskill on 09 9632331 or helen.winskill@depotartspace.co.nz
A BIG THANK YOU AND FAREWELL TO SASKIA It is with a heavy heart as we head into May that we bid farewell to one of our volunteers, Saskia, as she heads back to her homeland in Germany. Saskia has been dedicating her Tuesdays to us for well over a year now. We have been very lucky to have the time and expertise of such a talented graphic designer helping us with exhibition posters, business cards, brochures and other marketing material. Her graphic design skills, her bright shiny personality and social consciousness will be missed dearly. We eagerly await and hope for the purchase of her return ticket. So farewell friend and safe travels. Tuesdays will always remind me of you. – Helen Winskill, Gallery Manager
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DEVONPORT CHOCOLATES AND THE ART OF SUMMER: CALL OUT TO EMERGING ARTISTS Iconic boutique chocolate makers and retailers, Devonport Chocolates, welcome our New Zealand summer every year with special seasonal chocolates packaged in the art of invited local artists. This year, for the first time, Devonport Chocolates is opening up the opportunity to emerging artists to submit a new original artwork, evocative of our New Zealand summer, for use on their packaging. Over 5000 wrappings and packages will be produced, travelling far and wide as reminders of a great kiwi holiday and as gifts for families and friends. What we are looking for is an original, primarily representational artwork, colourful, cheerful, quirky and distinctly kiwi, that is likely to have a broad public appeal. Along with wide exposure of their artwork and profile, the selected artist will receive $1,000. To enter you will need to send a digital image of your work. Artworks will be short listed from the digital images and the original short listed works will need to be presented for final judging. For the purposes of accurate reproduction of work onto packaging no glitter, cellophane or relief work can be used. Deadline for entries is June 13th and decisions will be made by a panel of judges by June 20th. To send your image or for further information about conditions and specifications, contact Stephanie of Devonport Chocolates severitt@devonportchocolates.co.nz or Linda of Depot Artspace linda.blincko@depotartspace.co.nz or visit www.devonportchocolates.co.nz
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ART, ARTSLAB & THE MEANING OF LIFE When considering the theme for this issue of Loud, I found myself thinking about the ArtsLab programme and the artists we work with. They come from a myriad of backgrounds, and from a diverse range of disciplines such as visual art, music, dance, design, animation, writing, film & TV production, and anything and everything creative. For almost all of these artists, art is their meaning of life. It is their reason for being, they live to create. Art is often a vehicle for exploring and communicating emotions and thoughts, functioning both to answer as well as raise questions about life, society, politics and the world. The ArtsLab team work with a number of passionate individuals, who are striving to find work in their area of skill and interest. Such jobs in the creative industry can be hard to come by, and it can be difficult to find something you love doing that is financially viable. Some people say that they should pursue different fields with larger job markets, but I find the creative drive always manages to win out. Such skills should be valued, and are often of greater significance than people realise. Art is a way to connect and to express one’s creativity, and once that door is opened it can be hard to shut. The trickiest part is finding a balance between being creative and having sustainable employment. The ArtsLab programme acts like the supportive legs of a balancing beam, providing the tools to foster and develop an artist’s creative practice whilst finding employment. Through my own observations, utilising these tools can be truly transformative – sometimes in the creation of a body of work or simply greater confidence, which is exuded in their phone manner or general demeanour. I don’t think anyone holds the answers to the meaning of life, but I believe the creative journey and the search, imbues life with meaning. Or perhaps, the Answer to the Ultimate Question of Life, The Universe, and Everything is 42. 1 – Margaux Wong, ArtsLab Programmes Administrator
1
Douglas Adams, Hitchhiker’s Guide to the Galaxy (UK: Pan Books, 1979).
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A JOURNEY INTO EXPANDED MEANING Tolstoy (1828 -1910) asks the question, “What is Art?” ‘Art is one of the means of communication between man and man. It is in works of art that nations have deposited the richest ideas they possess, and often art serves as a key of interpretation to the wisdom and understanding of peoples. Philosophy and religion also do this, but art appeals to the senses and is nearer to Nature and to our sensitive and emotional life. Every work of art causes the receiver to enter into a certain kind of relationship, both with the artist and all who receive the same impression. Just as words transmit thoughts, so art transmits feelings. The activity of art is based on the fact that when we witness a man experiencing an emotion, we to some extent share it. To evoke in oneself a feeling that one has once experienced, and to transmit that feeling to others through forms and colours, sounds or movements’. I grew up in a very religious ‘Christian’ environment, studied theology and was ordained by the Baptist church as a minister. Christianity shaped my life extensively; my feeling, emotional and relational worlds. I came to the Depot as a visitor, then became a staff member employed to provide career guidance and employment solutions to artists seeking work. I remember those early years when, as artists told me their stories and I observed their passion and explored the ideas in their work, I would at times be overcome with unexplainable emotions. I was travelling into previously unexplored territories of awareness, feelings and relationships. Art for me means an expanded life, enriched at so many levels. I find my thinking and beliefs challenged, my world of the ‘other’ in every way informed and expanded. I believe the words of Picasso sum it up ‘Art washes away from the soul the dust of everyday life.’ – Lynn Lawton, Depot Manager
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DEPOT EVENTS & OPENINGS Depot Artspace Degustation
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All are welcome at Depot Artspace exhibition openings and exhibitions. Please check www.depotartspace.co.nz for the latest news and events. The Driving Force | White Night
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WW1 REMEMBRANCE EXHIBITIONS AT THE DEPOT ARTSPACE Every exhibition at the Depot Artspace has aspects that set it apart and are memorable. For Lest We Forget the 500 Cook Islands Soldiers and The Lost Men of Devonport, two exhibitions of commemoration, several things stand out: the length of time visitors stay and engage with the exhibitions, their frequent comment as they leave “this has been a very emotional experience�, the experience of and meaning of community and a sense that Devonport has reconnected with a significant part of its history. These exhibitions in many ways embodied the values and philosophy of the Depot Artspace as a creative community.
Lest We Forget the 500 Cook Islands Soldiers | The Lost Men of Devonport 26
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WĀHINE — WOMEN
The Vernacularist — SPECIAL EDITION The latest title from Depot Press AVAILABLE NOW
$40 FEATURING: Aimee Luna, Ainsley Duyvestyn-Smith, Alison Quigan, Anne McKay, ARCO (Ana Heremaia, Felicity Brenchley and Ruby Watson), Clara Chon, Cleo Barnett, Danielle Street, Emily Miller-Sharma, Esther Deans, Holli McEntegart, Imogen Taylor, Jacinda Rogers, Jade Tang, Joanna Ruth Galvin, Kate Tindall Lum, Kristine Crabb, Laura Marsh, Liz Maw, Mahala Rose Harwood, Margaret Lawlor-Bartlett, Megan Dowie, Melanie Harvey, Olivia Laita, Ophelia King, Rachel Jane Liebert, Riemke Ensing, Robyn Gibson, Sash, Y.E.S Collective (Hayley Caudwell and Jane Park), Xöe Hall, Yasmine Ganley and WILPF – the Women’s International League for Peace and Freedom.
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