Auckland Artists A - M
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- Starry Night Platter
Free blown glass, engraved and frosted.
- Yellow and Green Jellybean Platter
Diamond wheel intaglio cut, frosted, free blown hot glass.
- Vessel
Cast glass vessel in orange/red inspired by the forms and patterns of the Pacific.
- Celebration - Topsail Form
Topsail form - my loose interpretation of an early sailform used on scows and working sailing ships around the New Zealand coast especially in the 19th Century also used elsewhere in the world. This form enables me to incorporate wood and fibre and other found materials and helps satisfy my preoccupation with images and symbols from my maritime environment, here on the Mahurangi Harbour.
- Gobo Bowl
A gobo is a metal stencil put into a theatre lamp to project textured light. The holes drilled into the leather hard clay allow both sides of the piece to be seen simultaneously.
All my work is traditional hand thrown and finished pottery but I am concerned with pushing the boundaries and challenging the definition of what is a bowl.
- Blueberry Necklace
Repeating necklace, using silver and glass beads.
- Charleston
I see my current work as a personal exploration into the past. Social history holds a great fascination for me particularly the early 20th Century in Auckland
- Breastplate
Stitched and reconstructed Maltese Cross cut from black lip oyster shell with vau cord and silver aglets.
- Breastplate and Four Pointer Brooch
Louise Purvis
- Toy Head
Bronze head on wheels that can be pushed around like a toy. A unique casting.
Louise Purvis
- Horse
Horse with a twist on the sawhorse, a tool we can all identify with.
Mii Quarter
- Embroidered Wall Hanging
My work is designed and cut by myself and also sewn by me.
This is a traditional way of sewn hand embroidery also used in Tivaevae which is Cook Island quilting. Framed work.
Mii Quarter
- Embroidered Wall Hanging
My work is designed and cut by myself and also sewn by me.
This is a traditional way of sewn hand embroidery also used in Tivaevae which is Cook Island quilting.
Small framed work.
Peter Raos
- Large Lily Vase
I wanted to create a 'Lalique' feeling with this piece, using the lily motif I have been working with for some years and scaling it up. I make only a few of this size in a year because of the strain placed on my wrists and hands.
Ann Robinson
- Generation Bowl #15
A heavy (25 kilo) wide bowl cast in rich vital bush green, with a repetitive carved pattern that reverses at the lip to form a border suggestive of a directional arrow head.
Ann Robinson
- Carved Flax Pod
Cast crystal
1998
Liz Sharek
- Nut
The piece is made using the lost wax process. The rugged under surface is created by pouring the wax into sand. I enjoy the tension that is set up between this more gestural surface and the finely finished, polished copper surface.
Yvonne Sloan
- Nikau Series XI
This work is a twill inlaid wall hanging woven in one piece. The motif is based on the native nikau tree which is abstracted to enable the structure and design to reinforce, and enhance. The inspiration for my work comes from the structure of the weave and the interplay of colour created by the criss-crossing of the two sets of threads.
Yvonne Sloan
- Nikau Series XVI
This work is woven in one piece using New Zealand wools with a twill inlay motif. The design is from the native Nikau tree which is part of a series of designs on this theme.
Ian Spalding
- Kelim Runner - Blue Haze
This is the most recent in a series of floor rugs inspired by the ancient kelims of the Middle East. It has been designed specifically for the floor. The construction has been scaled up - it is heavy and hardwearing. The colours change subtly to create a blue haze when it is viewed from different angles.
Ian Spalding
- Kelim Runner
A heavy floor rug using a thick woollen warp and weft.
Graeme Storm
- Mei Ping Vase
Wheel thrown. Copper glazes. Fired in reduction atmosphere to 1300 degrees C in a gas kiln.
Wallace Sutherland
- Anaru Pendant
Named after the home farm of my ancestors at French Pass, this pendant combines sea-worn materials picked up from the local beach. It is a bicultural statement. The argillite shards or Te Pakohe of Maori stone technology are combined with a ceramic shard from early pakeha days: the flower forms are karo and kohuhu, pittosporums of local coastal bush.
Wallace Sutherland
- The Jelly Fish Brooch
This large brooch has ancestral connections for me. It incorporates objects (button, gold fob) from older generations and features argillite from French Pass Beach at the northern tip of the South Island of New Zealand.
Theresa Te'o
- Songs of Songs 2:2
My lilies exist because of my love and fascination for nature. I take hold of something that has been created and create something that is my own. I am intrigued by the way they take on a new character. The whole intention of my work is to express a beauty, a beauty I see and should be shared by the beholder.
Jason Te Whare
- Untitled
The work is a triptych. The painted sky (Ranginui) resembles a burning desire for the Maori culture, while the patterned land is a resemblence of (Papatuanuku) Earth Mother, and her children, including the Rangatahi young people and their re-interest into Maori tanga.
Christine Thacker
- Red Disc
The disc is formed from solid clay, carved when leather hard and pierced on all surfaces to enable drying and firing to add textural interest.
Sue Treanor
- For Marea
These pate de verre vessels embody fragility and resilience, permeability and containment, risk and stability. Through considering these opposites we come to understand ourselves.
Sue Treanor
- Reservoir Series
Pate de verre vessels, clear with chromium oxide. These vessels embody fragility and resilience, permeability and containment, risk and stability. Through considering these opposites we come to understand ourselves.
Peter Viesnik
- Set of Six Assorted Etched Multi Loop Goblets
These are furnace blown glass which are particularly difficult to make and have a high fatality rate. After annealing, they are acid etched.
Kate Wells
- Initial Chart
'Initial Chart' is about a new life. A cloak with a pattern made up of 46 triangles (chromosomes). An eye to the outside world with supporting male and female heads. Designed and woven while the artist was carrying her first child.
Kate Wells
- Breaksea Gallery
Like the island it was named after, Breaksea Gallery stands apart. Set in the lush, bird filled hills of Auckland's Titirangi, Breaksea Gallery offers you a rare experience.
Lisa West
- Silver and Stone-Hinged Necklet
Silver necklet with cuttlefish cast spirals and hand cut jade, jasper and mother-of-pearl cabochons.
Areta Wilkinson
- Label 96.04.11
This piece continues a series of work from 1996 investigating collecting, cataloguing and labeling of museum works. This series to date has twenty five pieces in total, large tags with prominent catalogue numbers sand blasted and etched, on front and back. Numbers represent a catalogue number recording the year of the series conception, lot no. and part no. Once the wearer puts the label over their head they are also catalogued and labeled.
Areta Wilkinson
- Wahine and Tane
Made for the Turangawaewae exhibition at the Dowse Art Museum.
Henry Wilson
- Spirited Soul
This abstract painting represents insight into my inner soul. The dreams that have been dashed, the struggles that I have overcome and the new hopes that I have gained. This has given me the determination to aspire to greater opportunities in life.
Merilyn Wiseman
- Pacific Rim
Hand built slab construction. White earthenware clay. Copper magnesium glaze.
Lisa Woods
- Three Finger Rings
The piece is made using the lost wax process. The rugged under surface is created by pouring the wax into sand. I enjoy the tension that is set up between this more gestural surface and the finely finished, polished copper surface. This allows the eye to travel through the substance of the work to the inside of the glass skin. This is a unique property of glass as a material and makes it a poetic substance to work with. The pate de verre casing and central nut are suspended in the polished surface and appear to float. Spikes on the underside allow for an ambiguous play of positive and negative space. Working with glass is about working with light.
- Toy Head
