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 Vimodisplayexhibitionprints("MarkGraver15"); ?>
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.
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
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.displayexhibitionprints("BarryCleavin14"); ?>
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."displayexhibitionprints("KathrynMadill14"); ?>
An exhibition of new paintings & prints by Margaret Elliot.
Born in Wanganui, Margaret gained a BSc in Chemistry followed by a Diploma of Fine Arts in Painting at the University of Canterbury. Margaret has exhibited throughout New Zealand in solo and group shows in both public and dealer galleries and has received several awards and grants. In 1998 she travelled to Antarctica as a recipient of the Artists to Antarctica fellowship. Experiencing the stark and minimal forms of the Antarctic environment has had a profound influence upon her work.
"For over thirty years I have lived on the South coast of Wellington. The drama of the coastal environment continues to fascinate with dramatic weather changes and the force of the sea eroding both land and man made structures alike. After responding to the challenging landscape of Antarctica I am taking another look at my immediate environment. In the late 1980s I produced a series of works exploring the interaction of obsolete manmade structures and natural features in the coastal environment. I revisit Oruaiti reserve with a perspective altered by time and experience. Flanking the entrance to Wellington Harbour, these concrete bunkers built to withstand bombardment crumble and rust, unofficial galleries for graffiti artists and a frame for distant hills and pinnacled rocks."displayexhibitionprints("MargaretElliot14"); ?>
An exhibition of new mezzotint prints by Chris Adams.
Born in 1942, Chris Adams grew up in England and went to universities in London and Oxford. He was introduced to print making in 1987, through some inspiring teaching from Jill Macintosh, Kate Coolahan and Basia Smolnicki. In 1994, under John Drawbridge, Chris was converted to the Mezzotint faith. He is attracted to the velvety darkness of the mezzotint and its essential quality of mystery and stillness.
"These mezzotints celebrate the landscape of Wellington, a meeting-place of a geologically active land with the dramatic seas and skies of Cook Strait. Emigrants to this New World have radically modified the land, revealing its innate muscularity and sensual forms, but also leaving poignant remnants of the forest and their own strange monuments to the past – the spirit of place. The mezzotints are arranged to accompany an imagined emigrant (the Gerontius of one print) through arrival, a new life’s challenges and on departure, repose."displayexhibitionprints("ChrisAdams14"); ?>
These pen and ink line drawings are an attempt to find out what I really think and feel, the stuff that gets ignored when your brain is just trying to help you survive external reality. A character had emerged in earlier drawings that I realised must be me... I used this character as a starting point, and each time I drew I would find out what was going to happen to me that day. Which had already happened, I just didn't know it yet.
I drew the book "Waldoland" the same way. Each day I sat down to draw a page, that page was a reflection of what was right for the story on that day. I wanted to let things happen, rather than plan. The result is hard to categorise, but if I had to, I might call it (with some glee) a "spiritual adventure story".
We are social animals living in communities of strangers, this leads to all types of interactions, some brief and yet memorable others so frequent they become overlooked. It takes all sorts to make up a community, some of them are just people who pass us by in the street, people you only know to nod a greeting at but have enough clues to start to construct a narrative around. These people can trigger memories of past pleasures or pains and spark anticipation and speculation of future ones to come.
They say life is a journey, so that being the case, each day we travel a little further on it, brushing up against people and places that can change our course for better or worse. From these interactions we construct stories our own or others; they can be based on speculation, fact, gossip or manipulated truths. There is truth somewhere in these works.
There are some certainties, in our own way, we are going places. And for better or worse, that’s the fact of the matter.
Ben Reid is a Christchurch-based printmaker whose interest in the fragile relationship that New Zealanders have with the natural environment and its ecosystems is complex. There are no easy solutions.
Since 2005, the subject of Reid’s prints have encompassed hunting trophies, Victorian wallpaper patterns, native flora and fauna, exotic predators, Butcher shop signs, rabbits, Beswick ducks, wild deer, a lighthouse keeper’s cat and birds such as the Brown Teal and the Chatham Island Taiko. Reid brings together a myriad of references that draw attention to the complexity of a relationship with the natural world that has been both exploitative and beneficial to humanity. Yet Reid’s images retain a faith in the redemption of this relationship with nature.displayexhibitionprints("RecentArrivals14"); ?>
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