Artists in alphabetical order include:
Akemi Nakamura | Alissa Gilbert | Alistair Elliott | ArtSpark | Audrey Boyle | Bree Fraser | Charlotte Graham | Chris Van Doren | Cora-Allan Wickliffe | Dane Taylor | Daniel Twiss | David Prentice | David Swenke | Deborah Thacker | Denrick Lester Hernandez Areliano | Desmond Burdon | Dorothy de Lautour | Eddie Monotone | Evelyn White | Faatauala Pulelua | Frances Atkins | Freya Kulasegram | Gabrial Aviga | Gavin Hipkins | Gretchen Menezes | Helen Dean | Helen Feu’u | HyunJin Yun and Robin de Haan | Iafeta Matagi | Irina Velman | Janet Lilo | Jasmin Coul | Jean Stewart | Jermaine Reihana | Jody Yawa McMillan | Joelle Bunt | John Johnston | John Unasa | Josh A Andrell | Katie Smith | Kealoha J Hodge Wallace | Kinstry Smythe | Kitiona Maava | Kris Burrows | Laura Jer | Lea Schlatter | Leah Wilson | Leela Bhai | Levon Parker | Lisa Baudry | Louise Stevenson | Mac | Mairi Gunn | Mandy Patmore | Maria Podskrebko | Max White | May Trubuhovich | Melvyetta Sunema | Mere Clifford | Mia Straka | Mike Stock | Monique Endt | Nandini Singh | Naomi Azoulay | Niki Hastings-McFall | Numangatini MacKenzie | Oxsanah Fifita | Pauline McCoy | Pusi Urale | Rachel Eveleigh | Rachel Mooney | Robin Mansfield | Ros Lowrey | Ruth Cleland | Sara Hughes | Sidra Zaqroon | Stefanie Kroeger | The Creative Souls Project | The Village | Valma Enger | Vera Limmer | Warwick Limmer
I was born 1964 in Hokkaido, Japan. However I did not take any formal academic art training, last five years she has taken some Zarahn Southon’s workshops and attended life and portrait class twice a week. Figurative is my main motif, but recently try to paint still life, mainly flowers with Acrylic.
I have lived in West Auckland for twenty years and met many interesting and artistic people. They are so supportive and friendly. I am so lucky to live here in West Auckland.
I make plant-based soap for the face & body.
All soaps are made using the highest quality botanicals sourced from all over the world for their unique properties and combined in small batches by hand, honouring the ingredients and those who laboured over them. Made using a traditional cold pressed method and cured for 6 weeks to ensure a rich and nourishing lather. Suitable for all skin types.
I live in Avondale and have a small studio in my house were I make my work. Avondale is a diverse and friendly community and I hope to be living here for many more years.The work | The Strata Series of soaps is Inspired by geological formations & primordial mythology incorporating ingredients from plants such as bamboo charcoal, mushrooms and seaweed and combining them with scents from tree bark and resins.
The three main elements in my life are gardening, photography and painting in oils, so
while living and working in Titirangi, with easy access to the wonderful West Coast
beaches I am constantly surrounded by the nature I love to paint.
Born in Scotland, Alistair attended Wellington Polytechnic taking Graphic Design after which he completed a Post Graduate Course in Photography with led to a career in graphic art. In the early 1980’s Alistair began working on his carving, furniture making, etching and photography and oil painting became his focus, since then Alistair has completed numerous portrait commissions and produced a series of large floral compositions.
Since moving to his Titirangi treetop studio 25 years ago, Alistair has been fascinated with the native birds in their natural environment as he became aware of their individual personalities and flight and set out to capture their essence and spirit in his paintings.
After visiting Italy four years ago Alistair saw the connection between the angels depicted in the renaissance paintings and the birds he was painting, in their flight, antiquity and their association with heaven. Titirangi means “Fringe of Heaven” so he began the Fringe of Heaven paintings, putting together the birds, renaissance angels and gold leaf.
Audrey Boyle was born in Rotorua, and pursued various self-directed creative projects before undertaking extensive travel throughout Europe, and has exhibited in Europe, Australia and New Zealand. She returned to New Zealand to complete an Honours degree in Sculpture in 2001, and most recently completed Masters of Design by Project in Sculpture. She currently practices in the Waitakere Ranges working intuitively with various materials, installation / sculpture and printmaking.
I live in the middle of the Waitakere Ranges surrounded by bush, birds, weta, frogs, big
spiders, possums, stoats and rats and two cats who catch the rats and not the birds.
Beautiful hand crafted vintage embroidery sourced from op-shops. The title “apron-
slingers”- a play on who wears the apron strings, using unidentified crafters laborious
hand sewing (presumably done by woman) while gunslingers (presumably men used
their hands to participate in gunfights and shootouts – each ‘apron-slinger” a shot
for peace and love in Aotearoa.
At a young age I discovered my love of painting and have spent many years working on my craft, 2018 I have turned over a new art leaf and I’ve embarked on my love of painting our native birds and putting my artwork out into the world, selling several paintings and prints. I am an artist and painting is what gives me success and space to be.
I live in the Waitakere Ranges and have a great love of our beautiful forest and birds, I have spent many, many hours walking the beautiful tracks before the Rahui and adore living amongst it.
Ngaati Mahuta, Tamaoho and Ngaati Paoa
Charlotte Graham is a prolific Maaori artist who has drawn upon her tribal heritage to explore critical issues that affect indigenous New Zealand society. Through a consistent concern for the social and political, her work has become a part of a wider conversation about the impact that environmental issues have had on indigenous people.
As well as being a staunch advocate for environmental issues, Graham is an ambassador for art collectives such as Colours and Kauri Project.
Graham recently undertook a month long residency at Bosque Peheun in Southern Chile, to further explore indigenous ecosystems working alongside the local community, artists, scientists, educators and curators. Thus, adding to a strong body of work that proves the importantance of art to our society.
Copper and steel sculptures are navigational studies for Chris Van Doren, that investigate the idea of movement.
Cora-Allan Wickliffe is a multidisciplinary artist of Māori and Niue descent, originally from Waitakere. She has recently returned to Aotearoa after working at the Walter Phillips Art Gallery in Banff, Canada. Her work often explores and examines constructed representations of Indigenous people and is always developing new ways of creating preferred representations. Cora-Allan has worked in the creative industry as a Curator, Preparator, Photographer, Artist and Educator. She is the Curator and Exhibitions Manager at the Corban Estate Arts Centre, is a founding member of BC Collective and is a maker of Hiapo (Niuean Barkcloth).
I work at the Corban Estate Arts Centre and I love working out West, the people are fun and don’t take themselves too seriously. I like that we have people from different walks of life visiting the art gallery and sharing their stories. We are a creative and exciting part of Auckland and we should always take time to enjoy the beauty that we live in.The work | Winter storage is reflective of the environment I grew up in, with a large family canned foods was a cheap and easy way to sustain the household. The idea of growing your own food was far from our reality, however this work is inspired by the kumara garden crops growing at the Hamilton gardens.
I graduated with a Bachelor of Fine Arts (Honours) from Auckland University in 2009 and a Bachelor of Arts majoring in Film and Anthropology from Victoria University in 2001. I mainly work with gouache on digital prints. I use the background images in the paintings like found objects, they are often from rare old postcards and books. These are butted up against the hand painted elements in a composition created using digital and real collage. I have also worked in soft-sculptures made from found fabrics, photography, embroidery, zines, and album covers.Originally from the Wairarapa, I have lived in Avondale for the last 6 years, raising my two daughters here. My favourite place in West Auckland is the UFO record store, best stage in town!
Daniel Twiss is an artist
I love to capture long exposure images of west Coast Beaches as the long exposure adds a whole different element to the image. It gives an added dimension which gives a point of difference. There is a real emotional connection with the Auckland West Coast. Presenting images in a different way allows the recipient to see a alternative view which I hope will broaden their experience of the scene and hopefully to think differently about what they are looking at. Long exposure photography extends light and manipulates reflections and I hope this altered perception gives me a point of difference.David’s website
I am a Cook Island artist, and mother of four, who has a bachelor’s degree in Creative Arts,
I am also the business owner of D&Briez Creativez Ltd. I am inspired by anything art, and I am passionate about my craft, I am a visual storyteller and my paintings are themed around my pacific culture. I create because I am proud be able to share my craft with others, and show them that if I can do it anyone can.
For me it’s not about being the best it’s just about doing what I love to do.
I am a true Kelstonian Loyal to the end, I am a lover of everything Kelston and West Auckland, I went from Kelston primary right through to highschool I have worked and lived in Kelston and I also feel like it has contributed to me returning to my roots and being an artist here. Born n raised!
Dorothy graduated with a Bachelor of Design and Visual Arts in contemporary jewellery from Unitec in 2013. Dorothy is co-founder and managing director of Whau Studios in Pt. Chevalier, Auckland. It is from Whau Studios that she teaches jewellery classes and has her workbench.
I’m Eddie Monotone, a cartoonist, illustrator and parent. I’ve been a part of the New Zealand comics community for more than a decade now, putting out stories online and through self-publishing. I’ve always been fascinated with the ways pictures can tell a story, whether in single images or comic form. Having studied art and design at university, I primarily work as an illustrator and graphic designer. Currently I’m balancing my time between art and parenting.I grew up on the edge of Waitakere and now live in New Lynn. I’ve always loved the west coast beaches and the Waitakere Ranges but to me what makes West Auckland so special is the people. My friends, family and community are here, and it’s them that make this place what it is.
website/social media page : edmocentral.com
Tukutuku panel 1) ‘Taonga tree’ is woven with kiekie leaves ( a very strong Fibre) on kiekie vines.. It is a contemporary concept from a native plant that depicts a modern prayer from the Ratana movement : Matua Tama Wairua Tapu me nga Anahera pono Mangai Ae.. Sometimes referred to as the ‘5 stay alive’ or Power in the 5 by Morehu or followers and symbolized by Purapura Whetu or stars from heaven design, 5 dominates the entire piece. It moves in all directions in unity in agreement, radiating hope in a troubled world. On each rod or vine there are dark spots or new shoots of the kiekie plant.
Tukutuku panel 2) kiekie leaves on native toetoe, the stem from the toetoe plant is called kakaho, after its flowers it dies and dries out and displays an array of colours red, brown, yellow and black, both the seeds and flowers droop continuously, legend says it was due to the shame of rata who was reprimanded for felling a tree without reciting appropriate karakia (prayers). This panel pays homage to the ancestral lines or whakapapa of these rare native plants represented in the Tumatakahoki (ancestral lines) pattern and purapurawhetu stars from heaven or blessings, it portrays Tane ascending to the 12th Heaven to attain the 3 baskets of knowledge, things that are good to know, things that are good to do and things that are good to eat.
The kakaho panel I call ‘the homage tree’ although both panels are of the same caliber and deserving of equal reverence as the offspring of Tane, the descendant of Papatuanuku.
Nga mihi Evelyn Ngatiwhatua /Ngapuhi
Freya is the artist behind Tigersegram Art, currently on a mission to build an art practice that engages in intersectional feminist discourse. As a mixed-race global nomad she believes in embracing multiplicities and tries to mix the cute and light-hearted with the complex and darker realities of life. A passion for archival imagery has meant her recent work uses public domain imagery digitised by libraries and museums across the globe to create digital mixed media collages. Her illustrations can be bought online through Doodlewear and Redbubble.
‘Self-comforter’ was created in collaboration with the residents of Riversdale Road & Exler Place in Avondale as part of the Whau Arts Festival 2018.
There’s something about the understated wildness out West that sings to my soul; that quiet unruly energy that flows from the crashing waves and buzzes through the streets and slowly unfurls in the rich greenery… The perfect blend of thriving community, industry, and untamable nature. It’s the only place in Auckland that has ever felt like home.
Gavin Hipkins is an Auckland-based artist who works with photography and moving image. He has been described as a ‘tourist of photography’ reflecting a strategic treatment of eclectic styles and photographic techniques. He has exhibited widely. His work is included in public collections including: the Queensland Art Gallery, the Auckland Art Gallery, Museum of New Zealand Te Papa Tongarewa, San Diego Museum of Photographic Arts, and George Eastman Museum of Photography and Film, New York. He is an Associate Professor of Fine Arts at Elam School of Fine Arts, The University of Auckland.credit: Starkwhite
Painting is a way of expression to me. Since it offers a space with no right or wrong answers on a blank canvas, my work has no preconceived form. I usually spend about 5 hours each morning in my studio and have no idea what I’m going to paint that day. Sometimes, I find it takes form immediately and at other times it needs a twist, or change, or a something what will reveal itself in time. I can almost never see the final product when I begin but am always grateful for the journey that each piece has taken me on by the end.
As you drive through Green Bay towards the west, the Waitakeres in the distance greet you. A welcome sight from the beige populated city behind you. Time stands still on a walk down quiet pathway through these hills ….. feels like you’re the only person on the planet. I find its best experienced with a willing companion (in my case, our 2-year old spaniel)
Helen Dean is an abstract artist based in Titirangi, Auckland. She creates colourful original art ranging from mini paintings on paper to larger works on canvas. She uses acrylic paint and medium. She enjoys experimenting with colour and is drawn to a colour palette that features muted pastels with deeper navys and greens. Her work is created intuitively, adding and obscuring layers to create a finished piece. She is influenced by the organic shapes and forms in the landscape around her.
Originally from England, where she gained her Fine Art degree in the 1990’s she only began painting regularly in 2015. She has since begun to sell her work to collectors in New Zealand and overseas.
After visiting the Waitakeres and west coast beaches for many years, moving west three years ago was the best decision for me as it lead to me starting to create again. There is something very special about living next to this landscape which makes you feel calm and inspired.
Since graduating from Unitec in 2015 with a Bachelor in Art and Design, Helen has set up studio at the Corban Estate Arts Centre and continues to develop her interest in the surrealistic realms and human forms.
She is interested in indigenous and scientific perspectives, her process when making work takes an interest in the natural world, our relationship with our environment, the land, and animal life. Her bodies of works look at the internal and external world shifts, and focuses on the transformation between these realms through large to intimate illustrations that feature partial detailed observations of animal and human forms. Helens use of media is loose and unrestricting as the face of the canvas sits with a floating like manner creating that effective and thoughts of world shifts and transformation.
Light Knitters: HyunJin Yun and Robin de Haan make knitted lamps. These illuminated fabric sculptures are knitted from translucent and metallic thread. Fibre optic strands run through the fabric and are bunched together at the top. Colour changing light is focused into the top of the optical strands to illuminate the fabric. The sculptures appear as curving shapes of shifting light.
We have been living in the West for eight years, and our son is now three. As much as we love the forests and waters, our favourite family place is West Wave pools for relaxing, energising and social fun.
The work | This selection of knitted lights links old and new technologies. Copper wire represents the metallic communications of the wired era, and fiber optics represent the digital veins spanning the globe. HyunJin knits these innovative and established materials into fabric on a knitting machine built in the 1960’s. The light comes from colour changing LED engines that Robin programmes over DMX (like theatre lights). These light sculptures combine the age-old skill of knitting with innovative methods.
website/social media page: knitlab.nz
Irina Velman is New Zealand artist whose paintings found home in many private collections all over the world.
The artist’s inspiration comes from powerful beauty of nature and endless possibilities of creative process itself. Irina’s art is known for its distinctive style,
vibrant colours and clarity of vision. Her favourite colours are red, orange, yellow- hues of sunshine and fire, warm, passionate and expressive.
The artist sees the world in a beautiful, mysterious way and believes in healing power of art.
website/social media page : www.irinavelman.com
Janet Lilo b.1982 (Ngāpuhi, Samoan & Niuean) I work in digital video, photography and Installation. My art practice explores experimental documentary and drawing processes for exhibition, performance and archive. I’m interested in documentation as a conversational and social tool for recording time, people and place – often with reference to popular culture. I was raised in west Auckland. I’m a member of Whau the People community arts collective, staunch supporter of the underdog and proud mother of three.
My name is Jasmin Canuel, a visual & performing artist based in Piha, Aotearoa.
I studied a diploma in Art at the Bay of Plenty Polytechnic, 2010-2011 where I developed an interest in Acrylic Painting. Over the past 10 years my art practice has been predominantly acrylic on canvas and most recently high quality prints of originals on cotton paper.
The Natural world, spiritual deity and Wairau are subjects which have shaped my art form in a distinct abstract style. I create multiple layers which have many hidden narratives and I encourage the viewer to create their own stories.
My connection to West Auckland is the choice to live in Piha. The strong winds and seas invigorates my soul and the Ngahere/forest provides grounding. There is no doubt this influences my art practice and the way I live my life. I feel grateful for this experience.Links: https://www.westcoastgallery.co.nz/artist-page-jasmin-canuel
I have been painting for about 17 years I work from project to project always trying to change things around and challenge myself. My last two significant bodies of work were a kind of documentary style where I took the canvases to the subject first to the community gardens of Auckland and more recently to music gigs in the final months of the Kings Arm’s Tavern. Now I am trying something new a more controlled subtle approach working solely in the studio my aim is to create a quieter more absorbing effect.Favourite place in West Auckland Cornwallis now the longest time I have ever lived anywhere
Reihana is of Ngāti Hine, Ngai Tūpoto and Pākēha ancestry and graduated with a Bachelor MVA (Hons) from Massey University Te Pūtahi ā Toi. Reihana’s work hinges on customary Māori narratives and art conventions to relate with and reconcile the complexities of contemporary society. Re-working traditional Māori narratives Reihana presents a stylistic re-interpretation of kōwhaiwhai, tukutuku and whakairo design conventions. With such adaptations Reihana produces a personalised response to cultural practices, suggesting and investigating issues relating the current social, political and environmental climate from a Māori perspective.
In these works I explore spiritual and environmental boundaries as I perceive them, in the context of the growing discord between humanity and nature in a rapidly changing urban environment.
Jody Yawa McMillan has a Bachelor of Fine Arts, majoring in photography from Otago Polytechnic School of Art. Based in Edinburgh, she worked for a number of creative organisations, including The Red Door Gallery, the Edinburgh Fringe Festival and the Festival and Kings Theatres. Recently her roles have included; Curator and Project Manager for ArtWest; founding member of Whau the People; Mum; Dog owner; various art projects including recently participating in RE;TRACE. photo credit: my wonderful cousin Meg Porteous
I think that my love of art is intrinsic within me. My mother is an artist and my maternal grandmother also studied art and was an art teacher. I sadly never met her as she passed away when my mother was young, but have always felt like she is with us in spirit, encouraging us.. I have learnt to accept that art is a large part of who I am and how I express myself and not to contain or restrict it but instead to make time to explore it in depth. In 2016 I won First Prize in the Waitakere Trust Art Awards. Judge josie McNaught said, ‘Sometimes art does the job of words so much better and this work confidently conveys the landscape with its moody colours and cloudy sky – it calls us to go West!’. I couldn’t have asked for a better response, and am so pleased it evokes these emotions. I was raised free-range out at Bethells on the west coast, where I still reside, and the landscape has engrained itself within me. I’m so inspired every day by the beautiful scenery I see. It’s wonderful that I can remind others what a wonderful place our west coast is.
The shared goal of ecological sustainability is one of the primary concerns of my current art practice. Recent work consists of sculptural objects made from repurposed and post-consumer plastic. The work is concerned with escalating plastic pollution, the transition away from single-use plastic, and it often references various contemporary art tropes.Enough Rope consists of a continually growing, coiled length of handmade plastic rope. The rope is braided from repurposed, single-use plastic. Unless acquired, the rope will continue to be added to over time, reflecting the endless production of plastic. The work also references previous minimalist and conceptual art. Daily Bread consists of 7 strands of interlocking plastic bread tags, and reference previous minimalist and conceptual art.
I love the diversity found in West Auckland: many cultures, many environments.
website/social media page:
I am a New Zealand born Samoan artist based in West Auckland. I have been a freelance artist for the last 20 years. I graduated from Whitecliffe College of Art and Design in 2005 and have since been painting and designing for private commissions, charities and businesses in New Zealand, and around the world.
I often like to explore universal themes, culture and identity through my work. I like to express myself and tell visual narratives through portraiture, pop art, abstract art, graphic design and Polynesian themed art.
I love west Auckland, and I am especially fond of I Kelston. I know Kelston and West Auckland very well. I grew up in Kelston and I attended Kelston Primary, Kelston Intermediate and Kelston Boys. After 36 years living in Kelston we sold up the family home and Moved to a smaller place in New Lynn. I Still have many fond memories of Kelston and it will always be a very special chapter in my life story.The works | These 4 art works are a tribute to the place where I grew up. These are reflections of my home of 36 Years, Kelston is special to me but I also feel that these pieces reflect moments, places and feelings of the universal condition of remembering where we all came from.
website/social media page : https://www.facebook.com/Johnu.artist/
I have been working with Textiles for more than twenty years. I’ve always had a bit of an obsession for printed fabrics and am a textile hoarder from way back. My training started in Otago completing a Craft Design Course where I majored in Textiles. Soon after this I spent over 10 years living in London. During this time I completed a Diploma and M.A in Textile Art from Goldsmiths University in London. Returning to NZ in 2001 I have carried on screen-printing and now my textile practise is continually growing and evolving.
Fabric language: This is part of an ongoing project, which first started during my MA in Textiles at Goldsmith’s College, at the University of London in 1996. For me, fabric ignites a violent mash-up of warm nostalgia and and brutal commerce. Much of the fabric industry is obscenely wasteful, and the insatiable demand for cheap clothing entrenches clothing workers in low pay and dangerous conditions.
But despite this grim provenance, fabric is at the heart of who we are. Humans use cloth to swaddle newborns, protect and adorn themselves, and shroud the dead. Fabric plays such a prominent role in our lives, it is – ironically – practically invisible.
I sent around 50 participants each a fabric sample to provoke a short written anecdote. As the stories came back, I felt an enormous sense of value these fabrics give us and to remember the life that our clothes have enabled, both for the wearer and the maker.
I then applied these handwritten words to my silk screens, and used them to print new designs. Further entangling my obsession with text and textile while at the same time referencing the commercial world of fabric and fabric design.
I have lived out West for 14 years and now call it home, I think its the longest I have lived anywhere! We are based in Titirangi and it’s such a great community. I really wouldn’t want to live anywhere else. It’s a special feeling to being able to head over the hill from Titirangi to the fabulous Waitakere ranges, the beaches and the walks.
website/social media page : https://smittendesign.co.nz
Artists are, Nandini Singh, Oxsanah Fifita, Gabrial Aviga, Sidra Zaqroon. Throughout the year Level 1 Art students have created work inspired by the theme ‘Ban the Bag’, the 2017 campaign for Greenpeace to ban single use plastic bags.
These chine colle woodblock prints are a part of this body of work.
In 2018 several of NZ’s largest supermarket chains got on board with this plight.
Kinstry Smythe works with photography, moving image and makes an occasional painting. She is interested in interior and exterior spaces, the difference between near and far, and the space in between.In this body of work, I’m making a wandering map of: structures, botanics and land. I’m interested in the word place in this body of work. The word ‘place’ is used not only to refer to spatial locations, but also to locate people inside society and encompass the notions around a territorialisation or colonisation of spaces and places by a governing power (the self or government) in which an exchange and imbalance of power may operate.
My connection to West Auckland, it’s my home!
I am originally English and have always loved being in nature. I have lived in New Zealand for about 20 years, most of those in Titirangi, where I have very much enjoyed getting to know the Waitakere Ranges, tramping or sitting in the bush or beside water with my sketch pad and pastels.
I paint landscapes, en plein air, using chalk pastels; my inspiration is being in the landscape.
Energy flows and cascades through the landscape, creating a dance between the varied forms, affecting their apparent fluidity or solidity. I am interested in the changing textures, colours and patterns that I see.
Pastels give the opportunity to both draw and paint simultaneously and have a vibrancy and rough medium like the earth itself.
I love the lush forests of the Waitakere Ranges, the way all its elements- climbers, epiphytes, trunks and branches are connected together; the colours and patterns which light brings out. I particularly enjoy quiet beaches on the Manukau harbour and sitting beside the mangroves at Armour Bay! I am a member of the West Coast Gallery and the Upstairs Gallery where I exhibit my work and have taken part in the Open Studios.
I graduated from Unitec with a Bachelor of Design and Visual Arts (Contemporary Jewellery major) in 2013 and now work at Whau Studios in Point Chevalier, a fabulous studio space that I share with 4 other jewellers. My practice is largely process-driven; it is through playing with metal that I create my designs. My work is simultaneously contemporary and classic with an emphasis on simple geometric forms and textured surfaces.
Born in Waitakere, Aotearoa, of Scottish, Irish and Ngai Tahu descent, Leah has been painting for nearly two decades. Her style is influenced by some great New Zealand painters – most directly; Stanley Palmer, Graeme Sydney, Tony Lane, Seraphine Pick, Bob Kerr, Lawrence Berry, Mary McIntyre, Garry Currin & Dick Frizzel – and by the New Zealand landscape itself.
Her Naturalist Grandfather introduced her to the Waitakeres as a child. Through his passion for the native flora and fauna he taught her to appreciate and absorb the essence of a place. “I paint what I love to look at and be near – places that have left a deep imprint on me. I also feel a drive to reconnect people with nature – most of us find our lives increasingly removed from the land we live in. So I aim to bring it to people in their homes and workplaces.”Leah has exhibited in several group and solo shows in NZ, is a regular exhibitor in several local galleries and has works in private collections in New Zealand and overseas. She says “I try to paint my response to a place, rather than what I actually see. I can’t imitate or improve on nature – so I salute it.” Her subject is eclectic – big, loose landscapes – realistic and abstract. – or small finely detailed still life/botanical works.
I like colour, pattern, shape & form. I like to dabble in a massive range of mediums, intentions and outcomes. My work is always halfway to somewhere it seams. I love to be inspired by the dabbles of others. To inspire someone else is the dream!
The work | Based on the ideas surrounding the comparison between relationships and landscapes.
The West is the only way to live in Auckland! Closest to the ‘Head Up North’ exit!
website/social media page : INSTA @citymarkings
I am currently exploring block printing and paintings on canvas. Themes in my work include nature, aquatic life and floral designs. Tribal / celtic designs and mandalas also feature.
With block printing I like the “hand crafted” element and the process involved. Starting with an idea, sketching it out onto paper then transferring it onto the block of linoleum. Next comes carving it out (which is the fun part) but you must remember that what you leave behind will be the final image. Once happy with the carving you make a few proofs before refining it then finally printing the edition.
My Favourite place in West Auckland is Te Henga / Bethells Beach great going out there with the family and exploring the beaches and rock pools there. One time we even found a good sized amethyst crystal amongst the rocks which was quite exciting.
website/social media page : https://www.facebook.com/levonparker.art/
From a young age I’ve had dreams of being an artist, but practical concerns caused me to pursue commercial design related work. I started developing my personal work in 2015 within the field of illustration and surface design.
My focus is currently on interior products and textile designs. I love the idea of people using what I make in their everyday life to bring them joy and connection. I have some bolt fabrics being released with Cloud9 Fabrics (USA) in November.
I use black ink to create my work and then compose it in Photoshop, combining it with painterly textures to create the feel that I want. This gives me the ability to adjust colours and textures freely. It also it makes my work reproducible on different products.
My connection to West Auckland is developing all the time. Last year I found out more about my great, great, great grandparents who moved from Derbyshire to Hobsonville in 1863 to set up the first pottery works (Carder Bros) making ceramic pipes at Limeburners Bay in Hobsonville.
The family stayed in the area and my grandfather also grew up in Hobsonville and later moved to New Lynn. His dad was a clay worker and did that very tough work of digging clay both in Hobsonville and New Lynn. My grandparents met in New Lynn and my grandmother grew up in Kelston. Her dad was a coal merchant there during the depression.
I didn’t grow up in West Auckland but moved to Avondale in my early 30s and have since found a strong connection with the people and the history here. I enjoy remembering that my family lived around here and also knew these streets and this neighbourhood, although it has changed so much.
website/social media page : www.lisabaudry.com @baudry.lisa
For sometime I’ve been investigating the legacy of colonial modernism, via architecture, as a means to exploring my own background of growing up as an expatriate in the Solomon islands. My father’s practice, including an archive of images, as an architect in Africa and Solomon Islands has been an inspiring resource for my research. The connections between tropical modern architecture, as practiced in other Colonial territories across the World, have yet to be fully explored in the Pacific Islands.The work | These works are from a series of images based on a personal collection of 35mmm colour slides from my father’s experiences as an architect in the Colonial Service in 1950’s Nigeria and 1960’s Solomon Islands. The degradation of the slides and strange colour exposures are embedded in the images, recalling times past and indicating different perspectives on the modernist era in tropical regions.
West Auckland is rich in art-making and an inspiring place to live. There’s much to celebrate in terms of our local artists.
website/social media page : http://www.louisestevenson.net/
Mac- I write Over as for the graffiti side of my Art. I love exploring different techniques and learn.
It is a way for me to desaturate my inner thoughts. It’s a way for me to express and be with my self and be myself. I am my own when I paint; I am with myself when I paint. It’s a venue for me to visualize my reaction on every situation. Lately I’ve been very fascinated with Glitching which I have developed from the technic I’ve been using for the past years by overlaying textures, objects and typography. This obsession helps me learn, grow and evolve as an individual.
I had lived in Avondale for a few years and I always found a home within. Being Avondale as my gateway to the west. I have explored many sights in the West Area. Also, it’s where the Art Park is, It was my venue for my art and created network and friendship that I’ve been treasuring all my life.
website/social media page : https://www.instagram.com/overst082
I am a video installation artist drawing on the ancient concept of the commons and commoning to consider how this might help us overcome centuries of competition and atomisation that has separated us from each other. In 2015, my video installation Common Ground was invited to Resilient Places/Resilient: Elders Voices Summit at Tsawout Reserve in Canada ‘in recognition of [my] work with indigenous-settler relations…” It has since been shown at the Pah Homestead and Number 1 Parnell St, Rawene, as part of the 2017 Hokianga Film Festival. common/place is the first iteration of the Virtual Reality experience common/room, which will form the creative component of a PhD in Fine Arts.
My father George Gunn lived in New Lynn when he first arrived in Aotearoa New Zealand from Scotland in 1939. Then my mother Jennie Gunn worked as a Methods Engineer in a school uniform factory there in the 1970s. I moved to New Lynn in 1992 and set up home and a production office there. I would love to see New Lynn’s brick heritage buildings brought back to life – especially the St Andrews Sunday School Hall on the corner of Margan and Rankin Avenues. New Lynn could be more homely and welcoming, funky and interesting; home to successful artisan businesses such as the Precision Watch Co Ltd.
The work | common/place is a Virtual Reality experience that invites you to sit at the kitchen table with your neighbours. Three residents of the Whau were recorded at home in 360° stereoscopic video, sitting at their kitchen tables and talking about what goes on there and what collective and social lives they enjoyed in their former homelands. When visitors to Art West 2018 sit at a table (in Real Reality), they can put on VR goggles, get teleported to their neighbour’s place and find themselves sitting across from a digital version of other West Auckland locals. This could be a way to overcome natural shyness by setting up “encounters” between real people who share a space at different times in different realities.
website/social media page:
Mandy Patmore is a multi-media environmental artist who lives in Karekare, on
Auckland’s west coast. She has a passionate relationship with her local environment and
her work reflects this; looking at the past, present and future of our land, and human
interactions with it.
Patmore’s current work focuses largely on deforestation and habitat loss and the plight of many endangered native species. From forest to home, rubbish pile to gallery wall, Patmore questions the many forms that each piece of timber has taken throughout its life, creating intricately painted native birds, plants and insects on them, to pay respect to our fallen forests.With her feet firmly planted in the soil of Waitākere, Mandy Patmore is a well known west Auckland artist. With over 20 years experience in the arts industry, Mandy has had a key role in creating a large percentage of the public artwork in Waitākere. In 2009 she
was the lead artist on the Piha domain footbridge, which aimed to create more understanding of our endangered endemic long finned eel, and educate the public about the incredible journey of this creature and highlight the concerns about its decline.
Based at Corban Estate Arts Centre, Mandy is the Creative Director of Kākano Youth Arts Collective; a very special and unique visual arts programme which works to support talented young people who have all struggled in mainstream education. The work of the Collective can be seen all through the Henderson Town Centre in the form of numerous murals. This work has almost entirely eradicated graffiti from the area.
I moved to New Zealand from Russia in 2011. West Auckland has been a home for my family for almost 6 years now, it is a truly special place, since there are plentiful opportunities for people wanting to try out arts or crafts, so I took a chance with one of those, and finally made my long standing dream come true: started learning jewellery making at Bush Studio in Titirangi. That was a life changing experience! Working with stone and metal still never fails to delight and bring happiness! I am hoping that whoever gets to take my pieces home will be enjoying wearing those as much as I enjoyed making them.
My favourite place in West Auckland is my home studio, a place where I find piece and joy working on my jewellery.
Currently I explore reactive metals e.g. titanium and niobium, that can be colored through the process of anodizing and heat treating. All of the parts and components of my jewellery are made by hand at my home studio in West Auckland. Titanium and niobium jewellery is light, durable and hypoallergenic.
website/social media page : @awaroaroad
Max White has lived 35 odd years in Avondale. He studied Art at The University of Auckland and worked in Art and Design education for over thirty years, at both secondary and tertiary levels, the last twenty years at Auckland University of Technology.
My current work involves thread paintings made by hand embroidering on patterned curtain/upholstery fabric. The works I’m showing this year deal with clinical depression, and the challenges of cognitive behaviour therapy. I’m also showing some of my small embroidered brooches/badges, which I’ve been making and selling over the past year as @animaytey. I plan to continue making artworks, art brooches and the odd badge for fun; at the moment I’m having a lot of fun researching Auckland’s volcanic field for some new thread paintings in progress.I love coming home and seeing the beautiful Waitakere ranges appear on the horizon. It gives me a feeling of instant calm after the busyness of the city.
Link to your website/social media page : Instagram, Facebook: @animaytey
My work is a response to things relating to ecology, nature, valuing things, political underpinning, family/whanau and communities, making right from wrong. I often tell a story by using media that is representative of an idea. In this case I have used clear plastic polymer with dyes to look like plastic wrappers.
This painting records of the intertidal ecosystems that exist in the Whau River. When studying the ecology of this environment and the various species that exist here, there seems to be a new colourful subspecies within the estuary community ranging from microscopic to huge visible clear membranes. I have broadly classified this species as Whau polyexotikos subsp. PE, (commonly known as plastic bags and food wrappers). It is an invasive foreign species that is difficult to eradicate and does not interact with other organisms within the community. It is able to tolerate evaporation at low tide and it is slowly choking and compromising the fragile ecosystem of this river. The Whau river is my favourite place. It was used as a portage by Maori for trading and I cross this river every day on the way to work. This artwork questions the decreasing purity of the water where bits of plastic seem to float along its many tributaries.
Facebook and/or Instagram: Kahu Arts
I make to express and process my experience of the world around me, linking to a lineage of craft/object making where objects map the individual and collective stories of humankind.
My intersecting practice uses traditional craft methodologies as a basis from which to find my own way of making. Form is used as metaphor to comment on the structures around us, both physical and metaphysical. Jewellery pieces explore the body as site, employing techniques, form and symbolism to express a personal reaction to everyday experiences. Traditional processes and alternative materials are explored to question values and anchor the work in this specific place and time.
These works were all made at different times within the last couple of years thinking about what connects us as people, within our interconnected biosphere.
Interstellar Matter stems from the molecular form of a fullerene or ‘buckyball’, 60 carbon atoms arranged in a spherical form. Buckminsterfullerenes or C60 have been detected in nebula (where stars are forming or the remains of dead/dying stars) in deep space. Scientists have proposed buckminsterfullerenes from outer space may have provided the seeds for life on earth.
Interconnected Planetary Heart Strings is the result of looking at symbols and colours used in various cultures to represent the heart chakra, as well as a little nod to Beastie Boys track ‘Intergalactic’.‘Rocks’ is a series of paper mache fragments made during a 1 month Residency in Berlin this April. They are made from street posters which are peeling off every lamp post in the city. The transitional nature of the urban spaces, as well as the city’s status as creative mecca, has been built up from the rubble of war. I watched footage of women and children breaking the rubble down into little rocks to make new streets post WWII, streets I was walking on. These are my momentos to transformative people power.
I’ve been living in Avondale for about 2 1/2 years now and feel right at home in this multi-cultural landscape with the Waitakere ranges watching over us. I’ve enjoyed connecting into the community using art as my tool and being a part of some amazing community led initiatives like Feed the Streets Avondale….so choice!
website/social media page : http://www.miastraka.com/
Lived in the west – Avondale, New Lynn, Glendene – for more than 25 years; own a house in Avondale. The thing I love most about the west is the view of the Waitakeres and the skyscape which is a constant source of joy and inspiration. I also love the west’s honesty and lack of airs and graces. I regard it as my spiritual home.
I paint to try to express my reactions to the world and to my inner self. I choose at the moment to work mainly in an extreme abstract colour-field format, putting into a painted statement a path that I started upon 40-plus years ago. Work in the field of writing, itself a creative endeavour, used up my energy these past four decades. Now in my semi-retirement, I am trying to put down the visual images and ideas that fuelled my passion in the late 1970s. Regrets I didn’t find the time earlier? Of course, but hopefully, it’s never too late.
As a child I loved drawing and creating. I painted a number of pieces as a teenager. Most of them were surreal or figurative. Later I trained at Whitecliffe Art School in all aspects of art. For years I was a graphic designer working mainly with magazines and advertising in NZ and Australia. When I had a young family I ran a business designing and making children’s costumes. It was later in life when my children became more independent that I again picked up my brush and started painting illustrations of birds and landscapes.After winning a number of prizes including the Kg Frazor award for my paintings, I am driven to paint more and become a full time artist. My interest has been mainly in New Zealand coastal scenes. This led to me painting on large canvases in oil and acrylic. Most of my works have an element of peace and realism but some have something different or surreal or about God which is really important to express. My artistic drive became stronger when I went through a challenging period in my personal life. Painting became my healing and solace. The work was dark but now as I have recovered the color has returned.
I have lived in the west all my life and feel really connected to the bush and natural environment. There is no other place that compares to the wild coastline and the feeling of awe it gives. My favorite place is kare Kare which is wild and fairly isolated and feels untouched. I enjoy walking along the beach in the sunset and through the bush tracks. I take a lot of photos and really drink in the feeling of the moment. Then paint it how I experienced it.
“I have developed a style and body of work I feel comfortable sharing with the world. I like the idea of surreal images so you can see one image at first glance, then on a closer inspection other images appear. Some have spiritual aspects.
My motivation is to stir people’s imagination and thinking.”
My wish is to help others using art and painting as a healing activity. I am delighted to know that my work is throughout NZ and in many other countries. I have been teaching painting classes and weekend workshops for many years and enjoy watching how my students grow in their artistic endeavours.
Born in Israel-Palestine with a hearty mix of Mediterranean blood coursing through my veins (with ancestors from Tunisia, Gibraltar, Italy and Iraq), I now live in the Waitakere Ranges with my three children. I am interested in quoting, incorporating elements from different eras and diverse cultures to create a rich depth of meaning and reference. I feel that this assemblage of references is a reflection of the post-modern times we live in. where all art is relevant, the artistic past and the present co-exist and are able to converse with each other.
Shortly after moving to Auckland I fell in love with the West Side.The ranges, the people the different vibe. I love my west AK community, the beaches, the bush the barefooted people at the shops, the sense of freedom. There is no place that feels so much like home.Naomi’s website, facebook, instagram
Niki Hastings-McFall was born and raised in Titirangi, West Auckland, she was educated at Auckland Girl’s Grammar, Auckland University and Manukau School of Visual Arts and has a Bachelor of Visual arts and a tertiary teaching diploma.
Niki Hastings-McFall has exhibited extensively throughout New Zealand and overseas since 1992 and her work is held in public and private collections nationally and internationally, including the Chartwell Trust, British Museum, GOMA,Museum of Volkekund-Germany,Tjibaou Centre- Noumea,Museum of NZ- Te Papa Tongarewa, University of Auckland, Victoria University, Pacific Notion,Macy Gallery New York & Sydney College Arts 2001- Whitespace (formerly Pacific Artspace); Melbourne Artfair 2000- Whitespace (formerly Pacific Artspace);and many others.
Interdisciplinary artist Numangatini Mackenzie works in graf, tatau and mixed media
installation. His practice centres on the exploration of urban space and the processes of building connections to his Pacific heritage and people. His research engages with literature on Oceanic art, museum collections as well as collaborations with living
practitioners of art forms ranging from tatau, painting and spoken word to voyaging/navigation and street art. Numa often responds to these experiences and sites of investigation through large public graf installations, performance and printmaking. He is actively involved in cultural heritage projects, performative acti.VA.tions, research and community development in New Zealand, where he is now based, and the Cook Islands.
Numa was born in Canada where his hunger to understand his culture grew, which
prompted him to move the Cook Islands in 2009. His move gave Numa the opportunity to grow family ties and his understanding of cultural arts like tapa, tatau and voyaging.
In 2011 Numa was honoured to participate in the Pacific Voyagers ‘Te Mana O Te
Moana’ Voyage, sailing throughout the Pacific on Marumaru Atua – the Cook Island double hulled vaka/canoe that accompanied six other canoes from across the Pacific.
The mission of the expedition was to use the wisdom of the ancestors, combined with modern science, to propel the Pacific into a more sustainable future. Recognizing the
Pacific Ocean as a living entity in need of protection and to re-awaken the next generation with cultural values through the traditions of voyaging. The voyage took him across the Pacific to the Solomon Islands to participate in the 11th Festival of Pacific Arts. The experience exponentially grew his Polynesian family, cementing his belief of the unmatched connections between Pacific peoples and allowed him to share his artwork throughout the Pacific. He is also a member of the SaVAge K’lub Arts Collective.
This voyage like many since then has given Numa the knowledge to stand in the worlds largest Polynesian city with community, has exhibited work in The Cook Islands, New Zealand, Canada and Australia. He now resides in Auckland, New
Pauline McCoy was born in Dunedin and lived in London 1984- 2004, where she studied BA Hon 3 Dimensional Design in Furniture at Middlesex University and a Masters in Interior Design at the Royal College of Art 1990-92. In 2004, Pauline moved back to New Zealand and continued as a freelance designer whilst raising two sons in Titirangi, Auckland. She began exploring ceramics in 2009, and studied a Diploma in Ceramic Art through the Otago Polytechnic. Along with her own studio practice, she also tutors part-time at Auckland Studio Potters. Her design background resonates through her work with strong clean forms and she likes to incorporate thrown works with applied constructed elements that enhance the 3-dimensional characteristics of the piece.I feel privileged to have been living in South Titirangi for the past 15 years. Love stepping out my front door into a green oasis! The coastline here is also a very special place, and am looking forward to the day we achieve pest free NZ so we have even more bird life!
f: Pauline McCoy Ceramics i: paulinemccoy.ceramics
My artwork is inspired by my memories of growing up in the villages of Samoa, a time before cars, roads, and electricity arrived. Back then, you could smell the flaura and fauna everywhere, the smell of the sea, smell of cooking in the umu, everything was so vibrant and colourful and strongly imprinted in my mind. It’s an experience that I feel is important to share with the younger generation, especially because of the environmental issues that we all face today.Our family moved to Avondale in West Auckland about seven years ago, and since then, we have grown to love and appreciate everything that our area has to offer, from the wonderful range of foods at the Avondale Market, the Pacific foods at the Samoa shop on the main road, to the diverse cafes such as ‘Salvation Kitchen’, ‘Woodworks Café’ and now ‘Browne St’ cafés on Rosebank Road. Best of all is getting to know the community and local artists.
Rachel Eveleigh is an art teacher at Kelston Girls’ College. And when she has the time she is a photographer too!
I specialise in floral, abstract, female nude, NZ native tree and night photography.
I studied the chemistry of photography at Manukau Institute of Technology in Auckland, and my series of work are self taught. My images have appeared in several award winning books and I have also featured in former West Auckland Mayor, Sir Bob Harvey’s ‘Westies’ book, which profiled well known people and artists in New Zealand.
My work has been described as “mysterious, rich and engaging” and is collected and exhibited in galleries locally and internationally, including London, New York, Tokyo, and Helsinki.
“Rachel’s photography seems to have an inner sense of purpose, she looks at an object and photographs it to reveal it’s hidden substance, she knows beyond the lens what she wants to present.”
Sir Bob Harvey QSO, Chair of the Board of Directors for Waterfront Auckland, New Zealand
For me, my work is an interpretation of a universal perspective. I have always been drawn to the enigma of art in nature and the emotive response it fills me with, so it is my passion to reveal the sensual soul, form and beauty of light and symmetry I see in NZ’s rugged and beautiful landscape and it’s lush native bush, through night photography where one image is taken over a period of time, and records the motion of stars, clouds and any moving light. In a mysterious way what is picked up over that period of time, is colour that is in the sky, even though you cannot see it presently while the photograph is being taken in darkness.
I’m also passionate about revealing the sensuality of flowers, female nudes, and abstract impressionism, and exploring natural techniques to do this with.
My native tree images are currently published as a range of calendars and cards, available in selected stores nationwide. I have also developed a design range of my images as cushions, kitchen splashbacks, transparent glass windows and doors, as well as wall decals.
These works I’m exhibiting, ‘Beech Tree Woman’ and ‘Nikau Woman’ are part of my NZ native tree series, and explore the connection of the female form in nature.
I fell in love with the beauty of West Auckland 20 years ago, and spent the most part of that living there… and creating my NZ native tree series of work. There are too many amazing places to have just one favourite, although Karekare Beach has always held a very special place in my heart.
Originally I travelled from England to New Zealand, with my NZ husband, with no intent to settle, but I did with no regrets. My second teaching job was at Kelston Girls College and it’s where I taught Art and Design for 33 years.
My passion for Art and Design led to the expansion of the Art department into a thriving Arts Faculty which encompassed my passions of drawing, painting, design, and photography, and through the years, with the help of some inspiring art teachers and wonderful creative students, the Arts flourished. It was a wonderful experience working with the young women at Kelston Girl’s which I totally embraced and enjoyed.
The time came however when I had to leave and focus on my own art, but my heart is still in West Auckland and the school that I worked in for so many years Years before I met and married a New Zealander in England and the connection brought me to Auckland. From my English roots I learnt water colour skills from my father at an early age. I studied Art in London and then gained a degree in Birmingham (UK) majoring in fabric design and illustration. Later I exhibited water colours and 3D sculptural Victorian mixed media boxes in the South of England.
My background has been solely in the arts, I worked in a pottery, as a pottery decorator, taught pottery, painted and exhibited wild flowers studies in the USA, illustrated and produced card designs in London, UK and also in New Zealand. I also created porcelain night lights and hand painted ceramic jewellery and sold work in many craft shows.
I like all aspects of art and Design and embraced computer technology and the way that made graphic designing so much easier and so much fun.
From an early age I have loved I love fabric design and pattern, the English countryside, plants and flowers. The lure of travel was great, recent travels through Morocco and India with their wonderful prints and designs have been inspirational and I am presently in Africa.
My artwork explores connected histories in NZ and uses many images that I collect and connect with, on my walks and travels. My work includes drawings, watercolours, oils, and various print techniques including solar plate and etching.
The three works in this exhibition continue to explore the native Tui and its symbolic relationship with the colonial immigrants, reflecting on what happened when the Huia was decimated. The painted blue pottery represents the colonial influence and the Tui’s become more symbolic, and decorative.
Ruth Cleland is originally from the Waikato and currently lives in New Windsor, Auckland. She graduated with a Master of Fine Arts (with distinction) from the Dunedin School of Art in 2002, specialising in printmaking. Cleland is known for her photo-realist paintings and pencil drawings of suburban environments as well as her abstract grid works. She has exhibited nationally and internationally in private galleries as well as public art institutions and has won major awards, including the Team McMillan BMW Art Award (2010), Park Lane Wallace Trust Development Award (2008) and the NZ Painting and Printmaking Award (2003). Cleland is represented by Melanie Roger Gallery in Auckland.
Link to your website/social media page : website: ruthcleland.com Instagram: @ruth.cleland
I approach paintings as schemas for thinking – it is my aim that my work oscillates between visual image and visual information. I often use colour and pattern to articulate social meaning by utilizing aspects of perception and semiology. My practice incorporates a wide range of scales and mediums. I often create large site specific works in public space and I have a deep interest in the ways that art can interact and engage with place and with people. The Colour codes series was a response to the 2008 economic crisis and the ways banks represent themselves through colour online.The work | I have an ongoing concern with the complexity of colour and relationships between colour in art and colour in everyday life. The exhibition Colour codes focuses on ways colour is used on the internet and specifically investigates how financial institutions create an interface of image and information via colour on their websites. In my recent exhibitions I have been investigating the language of diagrams and data graphics in relation to economic and social data and this has led to an examination of the way financial institutions present themselves in ‘colour’ and the ‘colour codes’ they use. To create a high degree of accuracy to this research I have worked with a specialist British web consultant who has customized a program for my project that allows me to accurately analyze the proportion of colour data on web pages.
Contemporary knowledge of colour has become very screen focused and I am interested in the way that colour influences, manipulates and affects our understanding of web browsing. Within this context I have identified the largest commercial bank (by assets) in every country and taken the 10 predominant colours of each of these websites to create a pallet of 1950 paint colours for this exhibition. I have mixed each colour so that its pigmentation matches its hexadecimal value as closely as possible. Each online color exists as a six-digit code created from a combination of letters and numbers that refer to the red, green and blue components of the colour, these codes are interpreted by HTML allowing for more than sixteen million colours to be created for online visualization. This method of colour matching has highlighting to me the contrast between the additive process of mixing light and the subtractive process of mixing paint and emphasised the differences of seeing colour on screen or in a painting.
The exhibition draws on historical aspects of colour and I make use of devices from abstractions historical framework, with particular reference to Josef Albers. Yet it is my aim to position the content of the work in relation to contemporary interactions of colour – presenting a global overview of colour in relation to the financial institutions that influence the world and the current economic situation. I approach the paintings as schemas for thinking – they can be seen as gauges influenced by art, design, taste, advertising, politics and power. The work oscillates between visual image and visual information and is driven by my desire to articulate social meaning by utilizing aspects of perception and semiology.
West coast beaches are both awe inspiring and terrifying – there is now where else I feel that sense of space.
website/social media page : http://www.sarahughes.co.nz
Stefanie Kroeger is a contemporary artist based on Auckland’s West Coast. She is well known for realistic oil paintings of the local coastal scenery. Her paintings are held in local and overseas collections. The inspiration for these artworks is the landscape itself. At ArtWest 2018 Stefanie is showing two realistic oil paintings featuring Piha themes as well as two mixed media artworks inspired by the beaches on the nearby East Coast.
The Village is a film created in collaboration with residents and staff of the Kelston Deaf Education Centre, members of the Auckland Deaf community, filmmaker Hank Snell, writer James Littlewood, and local artist Amy Blinkhorne. It tells the story of a young woman arriving at the residence and experiencing the culture shock of full immersion into sign language environment. It is a story of language alienation and friendship.
The film is based on the experiences of many hearing impaired youth who grow up in verbal environments and only later in their teens discover sign language. It also reflects the challenges and daily experiences of being deaf in Aotearoa and speaks to the participants desire that more people become fluent in New Zealand Sign Language.
The project has involved story development workshops, a weekend filming intensive, and work shopping with the participants during the editing process. It was filmed on location at the Kelston Deaf Education Centre, in Totara Village. The village provides a safe, nurturing environment for up to 23 Deaf and Hard of Hearing residents who attend Kelston Deaf Education Centre provisions at Kelston Intermediate School, Kelston Girls College, Kelston Boys High School or the Tu Kokiri Programme. Students range in age from 11 to 21 years old. It is currently being submitted to film festivals.Credits:
Directed by: Hank Snell | Written by: James Littlewood | Produced by: Melissa Laing, Amy Blinkhorne & Nicki Morrison | Camera and Editing: Hank Snell, Amy Blinkhorn & Lee Bunn | Boom Operator: Kelly Fox| Interpreter: Kelly Hodgins | Sound Mix: Ben Sinclair | Colour Grade: Alastair Tye Samson
Cast | Brandy Watene-Paul, Rikihana Turner-Himiona, Tuhoi Henry, Grace Kake-Moore, Brooklyn Teaurere West, Nicki Morrison, Barbara Peri, Senia Temalo, Nora Hita, Trey Canlas, Chanh Oai Lu, Sophie Keneissl, Tuahuroa Akuhata, Heremia Teepa-Rawiri, The film was made possible through the support of the Kelston Deaf Education Centre, Auckland Deaf Society and Deaf Aotearoa
Val travels throughout New Zealand and overseas, allow her to paint on location, as well as in her Studio. Working in oils, pastels and acrylics she uses bold colours and lively brush strokes.
Val has won several awards. The latest being the premier winner of the Estuary Art Awards.
Her return to painting in the last few years full time was due to her having more time to pursue her interests and she now paints full time. Often her garden is her inspiration, or scenes or people on her travels.
Val participates in ongoing courses and exhibits in local galleries.
Vera Limmer is a West Auckland artist. Painting on board with acrylic paint, her passion is to see how she can use the medium in different ways, exploring line, pattern and use of colour. She also likes to alter paint and wood and this plays an important part in her work.
My connection to West Auckland is to see the Waitakeres , smell / see the ocean and fruit trees that is West Auckland.
website/social media page : @veralimmerartwork
Hello my name is Warrick Limmer for as long as I can remember I have been interested in making art on wood. My art is inspired by the solar planet, the outer world I am also excited about how paint moves and reacts when pushed in different directions.