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Cast bronze. Edition 5/9
I made these silver keys for my sons when they turned 21. The designs are taken from 17th and 18th Century French and English keys. The stones are their birthstones, a single citrine for one and five little sapphires for the other.
One of a series of 'whale pots' - scraffito and layered.
Ceramic
Moulded slab pot, stoneware, fired to 1280 degrees C, spray glazed.
My work is forged, using gold / silver and also I cut my own stones. I leave the tool marks as part of the surface decoration and also use gold usually 18ct, 22ct or 24ct as I prefer the colour of high carat gold.
My work is forged, using gold / silver and also I cut my own stones. I leave the tool marks as part of the surface decoration and also use gold usually 18ct, 22ct or 24ct as I prefer the colour of high carat gold.
In this design I have used stirling silver and pure silver. The pure silver does not tarnish when heated, the sterling does, I like the contrast. I have been exploring silver on different levels other than polished or satin finishes.
The use of stones in a delicate setting. The stones on the necklace and earrings move, which is something I like. The works are partly about balance as well.
The works are from an exhibition of prints and tapestries held at the Brooker Gallery in 1993. The pieces - such as 'Rock Pool', 'Flute and Shell' and 'Sandbank', were sea subjects. The weaving was done by Trish Armour.
The works are from an exhibition of prints and tapestries held at the Brooker Gallery in 1993. The weaving was done by Trish Armour.
This work is from the Wolfman Series, an exhibition held at the Brooker Gallery in 1993. The weaving was done by Trish Armour.
5 brooches in a slate encasing. The work reflects human responses towards daily challenges in which every individual shows their character.
Brooch from the "Two World, a Continuation" exhibition at Avid, Wellington. The work stands for the value of hope, doctrine, hatred and the mechanism of how to achieve that.
I see my works as mirrors reflecting the values of society. This work represents the value society places on economic affairs.
Large platter/bowl showing the nature of this particular timber.
It was always my intention to keep forms simple. I allow the beauty of the timber to manifest itself.
I have explored methods of producing images and colour by layering media. The printed images are varied in scale, composition and subject matter - sourced from things in my everyday life. The stitched marks are enlargements of my one year old's line drawings.
Pulled and dyed wool.
Clay
Evening shawl. Dyed, spun silk and fine merino washed, in a range of reds. Using a simple weave with twill like progression on a networked draft.
Cottons, batiks, hand dyes, commercial prints, cotton batting, machine pieced, quilted. An array of pieced hexagonal original snowflake patterns in greens, golds, maroons on a colourwashed background of greens, maroons, blues, pinks. The background goes from dark to light and the snowflakes do the opposite. Won Best of Show and Best theme Quilt at the 7th National Patchwork and Quilting Symposium in Hamilton, January 1997.
Cosmic Flowers was designed especially for the Quilts in Bloom exhibition to be held March-May 1999 on the island of Mainau on Lake Constance in Germany. It is a continuation of my exploration of hexagonal patterning and also incorporates a colour washed background. The bright colours are those of flowers in spring and summer.
This netsuke sake cup represents a snow covered mountain stream beginning to thaw. Running water is swirling down a steep rock face, a dropped feather sits on the edge of the melting snow, a symbol of new life.
This netsuke sake cup represents a snow covered mountain stream beginning to thaw. Running water is swirling down a steep rock face, a dropped feather sits on the edge of the melting snow, a symbol of new life.
In this carving I wanted to convey those feelings of 'love, trust, kinship'. As a father of two daughters, I often find my inspiration comes from my most heartfelt feelings.
The sea, dolphins, shells and people I use as subjects, I find over the years, convey some deeper meanings to the beholder.
I have been developing the double spiral for a long time. As in life things are not always equal in opposed forces which define each other.
In my mind, this painting is what Tane represents; creativity.
Woven to be a wall hanging. The technique used is a traditional whatu. The material is twine and neinei
Whale teeth were traditionally highly valued, and the Nguru (nose flute) were developed from the shape of sperm whale teeth.
Whole whale teeth are prized possessions. This particular tooth/nguru is patterned with kowhaiwhai patterns and has a lizard on top whose role is a kaitiaki (guardian).
Urban dog is part of a series released in 1997 at The Lane Gallery, titled 'Cacophony'. The work is based on the Upeti Block (print block) traditionally used in siapo design. I wanted to acknowledge the Upeti block by focussing on the block rather than the prints taken from them.
Motif is a theme repeated and developed into an artistic work. I believe that one must fully explore Polynesian art to its total limit, before moving onto more traditionally recognised Western styles of art. Motif is about exploring in depth something of my Polynesian background. It is an important foundation work that eventually will enable me to build upon other works that complement each other.
The name whale bowl arrived from the side view of the workpiece. The downward shape from the little bowl on the side to one of the three supports, represents the blue whale mouth. The grooves to the top represent the typical grooves on the whales belly, and the little bowl on the side the whales eye.The jade inlays represent barnacles often seen on the whales mouth.
The entire workpiece is carved and finished with reversible acrylic lacquer sealer and museum wax, a finish used by conservators to preserve wood of historic value.
Walsh's work although evolved in style and medium consistantly investigates the less unpredictable and seductive area where our cultural identity is forged.
Tane (God of the Forest) pulling himself from the womb of Papatuanuku (the Earth Mother).
