Sydney Contemporary Art Fair 2017
Sydney Contemporary Art Fair 2017
Solander Gallery is excited to be representing our talented stable of artists at this years Sydney Contemporary Art Fair from 7 - 10 September. Invited to attend the Contemporary Paper section of the Art Fair, we will be featuring five Solander artists who we feel bring an accomplished, diverse and distinctly New Zealand flavour to our presence at the largest contemporary art fair in Australasia.
Solander Gallery acknowledges supported from Creative New Zealand Aotearoa to attend this art fair.
Simon Kaan is of Chinese, Ngai Tahu (Maori) and Pakeha (European) ancestry. He graduated with a Diploma of Fine Art majoring in Printmaking at Otago Polytechnic (Dunedin) in 1993 and has exhibited widely in New Zealand in both public and dealer galleries.
Simon’s work reflect the dual influence of Maori and Chinese identities, His focus on the landscape, horizons, headlands and rising mountain forms, represent key environmental markers that are so important to Maori concepts of identity and belonging. The austere and atmospheric style of his work is influenced by Chinese aesthetics and philosophical concepts such as Qi.
Simon’s woodcuts are referred to as intaglio woodcuts, describing his unique approach of incising motifs into the woodblock surface then filling the grain and incised lines with ink and finally polishing the ink off the surface in a method usually associated with Intaglio printmaking (etching). This technique reflects traditional Maori tattoo technique and subtly accentuates the grain of the woodblock surface and the fine incisions of imagery.
Born in Pittsburgh, Pennsylvania, John Pusateri moved to New Zealand in 2004 to undertake a Master of Fine Arts degree at the Elam School of Fine Arts, University of Auckland.
John Pusateri's recent suite of works refers to museum specimens of owls and other bird species while bringing awareness to issues around biodiversity and conservation. His drawings and lithographs also tap into the artistic tradition of ‘memento mori’, a practice dating back to antiquity wherein artists include imagery designed to remind the viewer of their mortality and of the transience and fragility of human life.
John Pusateri founded Auckland Print Studio which specializes in stone lithography, producing limited edition, fine art and architectural prints.
John has exhibited in the USA, Ireland, Italy, Canada, Costa Rica, England, Japan, Taiwan and New Zealand. His work has won awards and is represented in numerous private and public collections.
Born in 1963 in Christchurch, New Zealand, Locust Jones currently lives and works in the Blue Mountains, Australia. In 2010 Locust completed a Master of Visual Arts at Sydney College of the Arts (Sydney University) where earlier in 1993 he had completed an undergraduate degree in Print Media. Since graduating Locust has held over 25 solo exhibitions both within Australia and internationally.
There is a captivating frenzy to Locust’s practice. Fragments of daily news insert themselves into Locust's work, sourced from TV, newspapers and social media and are clearly intended to trigger political and moral emotions. They are ciphers reflecting the narratives of death and destruction we have grown used to encountering every day in the news; the meta-narratives of middle eastern conflict, global financial crisis, corruption and climate change.
Locust’s process of autonomous writing/drawing heightens the emotional content as the artist serves as the conduit through which world politics is interpreted in a continuous stream, as a result the works of Locust have a raw unfinished edge. It is this rawness that gives a sense of authority and urgency to his work.
Alexis Neal’s practice spans the mediums of print and traditional Māori weaving (Raranga Whakairo). The juxtaposition of media expands into an exploration of three dimensional printmaking comprised of multiple layering of colour, texture and pattern. The triptych of Nga Whāriki (woven mats) Ngakau (Heart or sentiment), Whiti (To Cross Over) and Ngutuawa (River Mouth) have been made as a family exploring the similarities of their weaves, with a strong reference to pounamu (greenstone).
Alexis’s contemporary interpretation of traditional weaving builds on the genealogical and narrative aspects of traditional Māori weaving with contemporary cross-cultural issues in art and society.
Alexis graduated from Auckland University Elam School of Fine Arts with a bachelor of fine arts and postgraduate diploma in 1997, and went on to complete a masters degree in fine art media at the Slade School of Fine Arts in London.
Aiko Robinson is a Christchurch based artist of Japanese and New Zealand heritage. She graduated from Elam School of Fine Arts, University of Auckland in 2014.
Aiko’s practice is driven by an awareness of a culturally and historically different understanding of sexually explicit material and is a contemporary response to Shunga (spring pictures), a form of pornography that flourished in Japan during the Edo period between the 17th and 19th centuries.
The headless figures engaging in erotic acts in Aiko’s work deny the usual emotive content of the face and instead communicate completely through the expressive power of body language. The caress of hands, the curled toes, swathes of drapery and the delicate palette all reflect the sensuality of the moment.