Kyoko Imazu & Damon Kowarsky: 2 X 2

2 X 2 is a collection of individual works from both Kyoko and Damon.

Kyoko's works reflect her Japanese background and interest in a whimsical approach to our place in the landscape - with bunnies. "As a child, I drew animals like rabbits, rats, cats and birds for my family and friends. My work is a continuation of this obsession with animals and making narratives from my images."

Mark Graver: Umbra Sumus

Born in St. Albans, UK in 1964, Mark Graver is an award winning artist printmaker, tutor and curator now based at Wharepuke in Kerikeri.  He established the Wharepuke Print Studio, New Zealand’s only dedicated Acrylic Resist Etching workshop, in 2006 and, with partner Tania Booth, Art at Wharepuke Gallery in 2009 and is author of Non-Toxic Printmaking (2011, London, A&C Black).

His work is held in many international collections including the V&A Museum, London, The Ashmolean Museum, Oxford, Whangarei Art Museum, Whangarei, NZ, Jinling Museum of Art, China, Guandong Museum of Art, Guangzhou, China, Penang State Art Gallery, Malaysia ,National Museum Of Fine Art, Taiwan, Douro Museum of Printmaking, Portugal, Durban University – Arts for Humanity Collection, Literature and Arts Department, Harbin, China, CONARTE – Non Toxic Printmaking Museum, Monterrey, Mexico, Painting and Sculpture Museums Association, Istanbul Turkey and the James Wallace Trust, NZ.

Exhibition Statement: Taken from a quote by Horace, ‘Pulvis et umbra sumus’ (we are but dust and shadow) Umbra Sumus is an ongoing project containing photopolymer and acrylic resist etchings, video and sound works.

"The work is partly a response to the death, in January 2011, of my father and to the wider human condition. The use of shadows alludes to the movement of light, the passing of time and, ultimately, to mortality. Still images are used for the etchings while the video works allow for an actual temporal experience using the same or similar source material."

The more specific biographical elements contained within the works relate to personal experience of place and memory.  The prints ‘Brackendene’,’Long Melford’ and ‘Brunswick’ use drawings made as a five year old child, a collaboration with a younger self, whereas ‘Last’ and ‘Garston’ relate directly to the last place Mark saw my father alive and to his last resting place. ‘Salix’ and ‘Yen Ben’ are the trees planted to his memory in St. Albans and in Kerikeri.

‘The Suffolk Parricide’, ‘Long Melford’ and the ‘Bull’ works are in reference to old family tree information and stories from Mark's grandmother gathered in Suffolk in 2012. Constable Country and Flatford connect to the same grandmother as she used to take Mark to Deadham Vale and East Bergholt in Suffolk to visit the sites of John Constable’s paintings and Gainsborough.

Other works relate to specific places such as the Wharepuke series, made from photographs of shadows on the Art at Wharepuke gallery building in Kerikeri, the Stone Store in Kerikeri, Ibis, a hotel interior in Auckland, Wall, Hadrian’s Wall in Northern England and St. Albans landmarks Abbey and Ye Olde Fighting Cocks, one of many pubs claiming to be the oldest in England.

Mark Graver has also produces a video installation that accompanies the works on the wall. - Click on this link to   see video on Vimo


Printmaking by artists from Australia and New Zealand

29 October - 26 November 2014

An exhibition of printmaking by artists from Australia and New Zealand jointly curated by Melbourne artist/curator Rona Green and Solander Gallery Co-Director, Paulette Robinson.

New Zealand artists featured are: Jo Ogier, Alexis Neal, Alex Milsom, Catherine Macdonald and John Callaghan.

Australian artists featured are: Rona Green, Deborah Klein, Deborah Williams, John Ryrie and Michael Kempson.

Christmas Show: Summer Salon

Come and celebrate with us the opening of our festive cash and carry group exhibition Summer Salon. Featuring small affordable works by over thirty of Solander's talented artists with prices ranging from $85 to $300.00.

Exhibiting Artists for 2014

Jacqueline Aust,  Nigel Brown, Martin Poppelwell, John Pusateri, Kim Lowe, Kyoko Imazu, Kyla Cresswell, Margaret Elliot, Marci Tackett, Nic Goodwolf, Patricia Bellan-Gillen,
Faith McManus, Chris Ingham, Hyun Ju Kim, Rosemary Mortimer, Lea-Anne Sheather, Inge Doesburg, Duncan Pepe Long, Michele Bryant
Vincent Drane, Basia Smolnicki, Catherine Macdonald, Damon Kowarsky, Milarky...for starters

Barry Cleavin: Portrayals & Betrayals

24 September - 25 October 2014

An exhibition of new etchings by Barry Cleavin.

Barry Cleavin has exhibited in New Zealand since 1969 and has made a significant contribution to the New Zealand printmaking landscape through his role as Senior Lecturer of printmaking at the University of Canterbury School of Fine Arts between 1978 and 1990. As a collection these works suggest that not all reactions or interpretations to things have to be literal. They may be interpretative. They do not have to be large or heroic in order to have resonance. These works are curated for a collective intimacy. They were born in different years but now join each other as ‘Portrayals and Betrayals’.

One series deals with something that is as innocent as music – listening to, and drawing (during a Christchurch winter) from Glenn Gould’s recorded (DVD) archives. These are small responses to the musical events – drawn, etched out, printed in ultramarine blue. They are portrayals of sounds as much of the performer in performance.

A second series of portraits – are responses to photographs of ‘Defendants’ who forfeited their lives during the Moscow Show Trials of 1938. The third series (in two parts – colour and black and white) are ‘responses’ to Leonardo da Vinci’s ‘responses’ to profiles of people of his (real or imaginary) acquaintance.

Kathryn Madill: New Works

Born in Ruatahuna in 1951, Kathryn Madill graduated from the Canterbury University School of Art in 1971 with a major in printmaking. Kathryn's new mezzotints and monoprints evoke a haunting imaginary world of mysterious characters. "I was drawing people hanging around in the landscape in my black and white monoprints and started to introduce blue into the skies. From that blue colour I decided they were waiting for a blue train, and so the images for these monoprints and the series of mezzotints have grown from that idea. The mezzotints are train windows, either looking into the train or out from the train at the scenery going by."