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Auckland Central
Auckland | New Zealand

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Window Gallery

Blue Black - Fallout

07 November 2015 - 19 December 2015

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Sharon Painter-Arps: Unwearable Art

11 September 2015 - 04 November 2015

Contemporary carving 

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Darren Keith: Social Fabrications

06 June 2015 - 25 July 2015

An exhibition of ceramic works by Darren Keith 

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Robin Bold: Meta Vessel

07 March 2015 - 11 April 2015

Silversmith Robin Bold explores the idea of “the family silver” through mixed-media objects.   

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The Bricks

06 January 2015 - 07 March 2015

The bricks is an exhibition by designer Guy Hohmann.

 

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The Effects of Crack

31 October 2014 - 05 January 2015

As part of Clay O'Clock: An Auckland Festival of Ceramics, Virginia Leonard will be taking part in the Clay-a-thon programme, and will talk about her practice at Objectspace on 8 November from 2 -2.30 pm. If you would like to join the tour visiting eight other galleries, please contact the Gus Fisher Gallery.

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Am I liminal yet

21 August 2014 - 30 October 2014

Miranda Smitheram is fascinated by textile surfaces and the myriad ways that exist to clothe a body through design and form. Initially from the fashion industry, she became aware of the characteristics of a sector typified by mass-manufacture, mass-consumption and mass-disposal and was prompted to consider alternative possibilities.

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The Stillness of Movement

21 June 2014 - 19 August 2014

The Stillness of Movement by Kate Fitzharris can be interpreted as a physical representation of a coastal walk she took from her seaside home in Dunedin to the top of a hill and back down again. It also explores what she describes as “the connections between our very earthly nature and our heavenly or spiritual aspirations”.

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Wondering about Nature

03 May 2014 - 14 June 2014

A whimsical installation by Yasmin Dubrau that blends a love of paper folding and painting.

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Stretched. An installation by Rebecca Asquith

25 March 2014 - 26 April 2014

In this new body of work, Rebecca Asquith explores craft techniques not traditionally associated with furniture making and applies them to a collection of furniture pieces. She's particularly interested in the properties and processes associated with leather, which is traditionally used in furniture as a soft cushioning material. Once boiled in water, however, leather can harden into an incredibly rigid material. Rebecca experiments with this boiling process to manipulate the shapes leather can form, embracing its unpredictable and organic nature.

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Liminals

01 February 2014 - 22 March 2014

In this body of work, Jess Paraone (Ngāti Kawau, Kaitangata) has formally engaged with risk-taking as part of her practice. By creating ceramic objects that comprise both raku and porcelain clay – she breaks the rules of ceramic studio production. Delighting in pushing her chosen materials to their limit – she explores their qualities of strength and fragility. The element of unpredictability is celebrated as part of her making process and establishes the basis for further investigation.

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Clare Smith: Bitter Harvest

21 November 2013 - 17 December 2013

There has long been concern about exploitation and conditions of those working in the textile industry, but increasingly there is growing unease about its impact on the environment too. Clare Smith is interested in the effects of dye pollution; particularly the relationship between the contamination and commercial imperatives shaped by the Western consumers in the manufacture of cheap goods. 

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Victoria Bell: Resisting Africa

19 October 2013 - 18 November 2013

Bell’s practice is founded upon a textile sensibility, which draws upon both fine art and craft histories. Resisting Africa is an installation that references elements of the exotic and wilderness of Africa. Animals, relocated indoors and transformed into furnishings within a domestic setting, are simultaneously recognisable and unsettling

 

 

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Biostructure

23 September 2013 - 16 October 2013

Frances Rood has created two large site-specific works that will be displayed in the tall Objectspace windows.

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Hollow Adaption

31 July 2013 - 21 September 2013

“This animated body of work responds to how nature adapts to changes in the environment. The result is my own version of nature, imagined and stitched together – inspired by the rural landscape in which I live, and the ocean shores and rock pools I explored as a child. “

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Te Mana Motuhake

15 June 2013 - 31 July 2013

Aimee Ratana (Ngāi Tūhoe) has used blankets, over recent years, as a medium to explore the legacy of historical injustices inflicted on Ngāi Tūhoe by the Crown through legislation.

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Adventures in Vintage Needlecraft

03 May 2013 - 08 June 2013

Adventures in Vintage Needlecraft is presented in Objectspace’s Window Gallery and Vault to coincide with Rosemary McLeod’s appearance at the 2013 Auckland Writers and Readers Festival and the launch of With Bold Needle and Thread: Adventures in Vintage Needlecraft.

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Under the Rose

01 March 2013 - 27 April 2013

Inspired by T.S.Eliot’s poem Burnt Norton, the installation Under the Rose can be understood as a meditation on the practice of rituals, spirituality, and making art. The hanging bulbs in the garden are cast from resin. Each hand-made form contains roses – both real and artificial.

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Bliss

25 January 2013 - 27 February 2013

Bliss alludes to the "three wise monkeys" in the well-known maxim, "See no evil, hear no evil, speak no evil". Despite the title, it doesn't take long to note that the mood is anything but ecstatic; a degree of unease exists beyond the obvious playfulness apparent in the first glance. The monkeys' aping gestures and blank smiles signal the artist's interest in the psychological state of the human condition - its propensity to opt for superficiality and disinterest.

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Kirsten Haydon: Ice Mosaic

16 November 2012 - 19 December 2012

A visit to Antarctica was the inspiration behind this elegant body of work. In Ice Mosaic, jeweller Kirsten Haydon explores the history of the vast and frozen continent, as well as the experiences of various visitors to the area through the notion of the souvenir.

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Roseanne Bartley: Seeding the Cloud

12 November 2012 - 28 September 2012

Roseanne Bartley's installation "Seeding the Cloud" arises from her ongoing jewellery project "Seeding the Cloud: A walking work in progress" that reconfigures the purpose jewellery plays in our lives. New Zealand born and now Melbourne based artist Bartley poses an alternate vision for engaging with and thinking through sustainability and craft, through the language of jewellery.

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Reading Room: Tessa Laird & Peter Lange

03 August 2012 - 26 September 2012

"Reading Room" is an installation of new work by Tessa Laird and Peter Lange. Laird's considerable library of clay books scattered atop and around Lange's brick furniture forms the basis of this site specific installation created for the Objectspace Window Gallery.

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Meliors Simms: Extraction

08 June 2012 - 01 August 2012

Embroidery was traditionally considered to be an essential accomplishment for all ladies: an occupation of model domesticity to while away the interior hours, perhaps working on a trousseau or household linen. Meliors Simms' installation "Extraction" presents a selection of hand stitched works - made reusing old domestic textiles - that do not consider household affairs, but instead are preoccupied with pollution and environmental harm. Simms examines the consequences of our consumption on a global level, working to an interior rather than landscape scale and repurposing familiar domestic materials salvaged from domestic discards or secondhand shops.

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Jill Studd: Unembedded

20 April 2012 - 06 June 2012

Jill Studd's evocation of some of the most challenging contemporary global issues presented through the domestic medium of knitting wool is charged by a particular appreciation for the prosaic. This installation of evocatively titled "knittings" - Unembedded, Green Cuisine and the Proletarian Plates - eschews any of the domestic vestiges that might be associated with knitting or wool, rather occupying the realm of political or protest art.

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Talente: One Year On

09 March 2012 - 18 April 2012

Objectspace is delighted to present "Talente: One Year On" - an exciting installation to be held in the Objectspace Window Gallery. It will showcase the new work of 2011 Talente exhibitors Rachel Bell, Corrina Hoseason, Sam Kelly, Flora Sekanova and Anzac Tasker. These five makers and designers were selected to represent New Zealand at Talente in Germany in 2011.

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Caroline Earley: Domestic Disturbance

27 January 2012 - 07 March 2012

Domestic Disturbance is a ceramics installation by former Nelson, and now United States, based artist Caroline Earley. It is a response, in part, to Earley's return to the United States after sixteen years in New Zealand.

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Sherril Jennings: Ladies a Plate

05 November 2011 - 24 January 2012

Sherril Jennings' "Ladies a Plate" installation combines seemingly incongruent fragments from the past and integrates them into the present. Through the repurposing of remnants which provide the primary material for "Ladies a Plate", disparate parts have been unified, creating an assemblage of women reflecting past generations.

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Karl Fritsch: Rings Without End

04 November 2011 - 23 November 2011

"There is always a reason to make a ring.
But I can also make a ring without a reason."

Karl Fritsch has been primarily making rings since 1992, apart from an occasional other piece of jewellery in between. He works on dozens of rings simultaneously, moving between them, starting a new ring whenever a fresh idea appears. Fritsch likes the format, the ability to try a ring on and see it immediately as he is working on it. "It's made with your hands and worn on your hands," he says. "It's so close to how it's produced."

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Kennedy Brown: Pacific Allsorts

23 September 2011 - 02 November 2011

The three pieces of furniture in Kennedy Brown's Pacific Allsorts installation continue his exploration of the relationship between the traditional and modern in New Zealand furniture design. This most recent investigation, created for Objectspace, focuses on the blending of traditional Pacific construction methods with contemporary furniture design.

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Jasmine Watson: Subsequence

22 August 2011 - 21 September 2011

The enamel brooches and objects by Jasmine Watson in the exhibition Subsequence relate to her ongoing interest in pattern and symmetry. Watson states, "My work is inspired by ornamental patterns and complex detail based on mathematical principles. I am interested in geometry and tessellations; interlocking shapes that can assemble into elaborate ornamental sequences, repeating to infinity."

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Hannah Bremner: Wunderkammer

09 July 2011 - 06 August 2011

The Wunderkammer, or cabinet of curiosities popularised in Renaissance Europe, was a place for extraordinary natural and manmade objects whose categorical boundaries were yet to be defined. As a precursor to the modern museum, which gave form to accepted taxonomies of natural and manmade things, the Wunderkammer was viewed as a microcosm or theatre of the world.

Utilising Objectspace's Window Gallery to create a present-day Wunderkammer, Hannah Bremner presents her curiosities in this public setting. Rather than being displayed in a private cabinet for the viewing pleasure of a privileged few, Bremner stages her work in full view of a busy pedestrian thoroughfare.

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Lynn Kelly: Souvenirs

11 June 2011 - 07 July 2011

A memento or token of remembrance, perhaps of a person, place or event; souvenirs are originally a fragment of context, but over time become emblemic of this context. Lynn Kelly gathers and combines objects from past and present, acknowledging a diversity of influences within her jewellery practice. 

Inspired by New Zealand plants and historical botanical drawings, with the assistance of Creative New Zealand Lynn Kelly travelled to London's Natural History Museum in 2008 to view and examine plant specimens collected by Joseph Banks and Daniel Solander in 1769, during the first scientific investigation of New Zealand's natural history. While there, Lynn Kelly also researched British nineteenth century metal objects and jewellery at the Victoria and Albert Museum. This time in London was significant in influencing the recent direction of her practice. "My new body of work views historical New Zealand - in particular colonial influences - through a contemporary lens," Lynn Kelly states.

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Colonial Goose

06 May 2011 - 08 June 2011

The idea of making do with what's available is a fitting analogy for Pauline Bern's jewellery practice. Bern has always utilised locally sourced materials that are connected to her in some way and worked to transform them into something new. In this instance, a selection of plants from her Devonport garden provided the primary material. 'I want the works to elicit curiosity, intrigue, surprise, humour and perhaps nostalgia,' Bern says. 'I am not attempting to emulate botanical forms, rather to appropriate the extraordinary, unexpected, and often un-noticed details in nature, into a contemporary jewellery context.'

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Talk

01 April 2011 - 04 May 2011

Deborah Crowe has long been fascinated with textiles and embroidery. Once a practice that involved embroiderers spending untold hours hunched over doing 'fancywork', embroidery has of course entered the twenty first century. As an artist, Crowe has something interesting to say about these two fields and over the last few years has created hundreds of witty, observational works that showcase her obsession with textile samplers in combination with machine embroidery.

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Structure: Life

01 March 2011 - 30 March 2011

In this installation, Wellington based object maker and contemporary jeweller, Vaune Mason, elevates the remnants of non-human lives. She says that a tendency to focus on minute things has led her to imagine "a whole world of memories untold in the lost lives of common insects, birds and animals." The viewer is encouraged to see these constructions as Mason does; not as macabre constructions, but as testament to the innumerable, yet precious, untold lives of small animals everywhere.

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The Art of Engagement

29 January 2011 - 27 February 2011

'Touch, Pause, Engage' was originally intended to offer the Australian community a glimpse into the Contemporary Jewellery scene in Aotearoa, New Zealand, and to reset the trans-Tasman rivalry between our rugby-loving brothers and sisters. Known primarily as the call the referee shouts before two rugby teams lock into a scrum, 'Touch, Pause, Engage', re-presented at Objectspace as 'The Art of Engagement', has now become an invitation for artists to converse through jewellery, as well as a call to audiences to interact with the work in both its physical and conceptual manifestations.

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Night Cities

17 December 2010 - 26 January 2011

In comparison with the daytime, the city at night entails dramatic changes in visibility, movement, rhythm, activity, inhabitation and light. Yet our 'night cities' are rarely considered as a topic of architectural investigation. The Night City studio project, run in the first year of the Master of Architecture (Professional) degree this year at Unitec, offered twelve students an opportunity to approach architectural design through research into lighting conditions found on their chosen site. Students focused on Karangahape Road, as its environs support a unique, active nightlife and contain a variety of urban morphologies and lighting conditions.

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Lisa Walker

06 November 2010 - 15 December 2010

This installation presents a selection of recent neck pieces by Lisa Walker, each of which utilises a range of materials from New Zealand collected by Walker when she returned home from Munich last December after 14 years abroad. The construction of the neck pieces resembles that of contemporary Polynesian lei, where the designs frequently draw upon found materials, both natural and manufactured, in bright colours and textures. Walker's works also refer to developments in contemporary international jewellery as well as to the 'Bone Stone Shell' jewellery movement that emerged in New Zealand in the 1980's.

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Shore Party

01 October 2010 - 03 November 2010

Philippa Durkin's ceramic works featured in 'Shore Party' pay homage to the early Antarctic explorers. She writes, "there is an ever growing interest and canonization of anything and anybody connected to Antarctica. The continent looms large in the New Zealand psyche. After spending seven months conserving the heroic huts of Shackleton and Scott, I have an intimate connection with the objects."

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Drapes for Real Men

03 September 2010 - 29 September 2010

Drapes for Real Men references the traditions of textile and its functional and domestic associations, utilising printing to embellish the textile surface. The resulting textiles celebrate the handmade product but with an agenda, the content undermining the traditional expectations of what is pattern and the adornment of a domestic retreat. In this case every real man's home is his bunker.

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Okoshi-ezu: Unfolding the New Japanese Architecture

06 August 2010 - 01 September 2010

This exhibition employs the ancient okoshi-ezu technique to represent certain streams of development in contemporary Japanese architecture. A number of contemporary architects are producing projects in which the realised buildings resemble okoshi-ezu models. As these architects have sought to reintegrate the elements of structure, spatial division, and envelope that modernist dogma separated, they have created architecture that is highly conducive to being modelled - and understood - using the thin, surface-oriented okoshi-ezu technique.

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Mathew McConnell: Chapter Three: Sleights of Hand

09 July 2010 - 04 August 2010

Encountering Mathew McConnell's installation Chapter Three: Sleights of Hand, it is hard not to feel that there's a whole lot of winking and nudging going down and not all of it is in the best of taste. Concepts explored by McConnell include displacement and transformation. These ideas, filtered through McConnell's peculiar meditations on 'thingness' and 'objecthood' remind one that his type of approach hasn't had a lot of airtime in the context of local craft practice.

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Simon Gamble: Piix

10 June 2010 - 07 July 2010

Piix is a new series of conceptual furniture objects by Simon Gamble, who considers digitally controlled cutting machinery as holding "dormant potential for crafting unique objects." He observes that digitally controlled cutting is becoming more and more commonplace in manufacture and that its use "allows for outputs from the virtual to the physical world." Employing an innovative creative approach that differs radically from the mundane tasks these machines are typically used for, Piix unlocks the latent potential for crafting bespoke objects using CNC (computer numerically controlled) milling.

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Humming on a windless slope

06 May 2010 - 09 June 2010

Lauren Winstone regards her recent work as deliberately akin to drawings or preliminary tests. In keeping with what minimal artists of the 1960s referred to as 'Literal' objects, bringing this concept to craft practice and treating the pot as a primary form to be explored for its "object-ness", Winstone describes her process in this series of work as an attempt "to present an object as a perceptual problem in the viewing encounter."

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Dip

26 March 2010 - 05 May 2010

Vessels are not ordinary functional objects in Cheryl Lucas's ceramic practice. For her they are conceptual 'containers' through which she comments on topical subjects such as the depletion of the land by pests and our throw-away consumer culture.

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Transmogrifier

22 January 2010 - 23 March 2010

Katy Wallace observes that "New Zealand is saturated with discarded furniture located in demo yards, house-lot auctions, traders, and on the side of the road. I have always considered this low status material as a significant waste, and as a 'fuel' in waiting to be worked into a new entity." Transmogrifier showcases the beginning of a new body of work in which Wallace treats this 'fuel' to her unique and successful design process.

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Leonor Hipolito: Apparatus

16 December 2009 - 21 January 2010

An Objectspace summer window installation by Portugese jeweller Leonor Hipolito, Apparatus comprises a range of works reproduced after medical tools and fashioned out of tree trunks and branches. Delicately hand made, allowing the wood grain and shape to subtly influence the final form, these 'tools' serve as reminders of our relationship to the natural world.

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Latticework Vases

05 November 2009 - 15 December 2009

Deborah Dell is intrigued by the history of ceramics. The relationship that familiar forms have within the discourse of ceramics has long held her attention, in particular the vase. She observes that "vases have always existed as functional objects, as well as existed in the decorative and the contemplative realm. My interest in the vase is how all of these subjects converge."

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Gilded Blessing

17 September 2009 - 04 November 2009

Employing differing art forms, Gilded Blessing (the cello is a Chinese 'Blessing' brand) is a collaborative audiovisual installation between gilder Sarah Guppy and composer Eve de Castro-Robinson. Both were attracted to the idea of exploring the musical instrument as a metaphor and a conduit for traditional artisan skill and contemporary sound practice. Gilded Blessing has been configured so that while near the cello, the viewer taking in the sensuous gold gilded form simultaneously informs a proximity monitoring camera. In some sense the viewer is able to 'play' the cello in the act of moving around but not actually touching it.

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I Came Back As Someone Else

23 July 2009 - 16 September 2009

As endless streams of fashion advertisements, globalized brands and chain stores attest, the enormous variety of social functions involving garments are easy to overlook. Through dress and fashion we perform many roles but among the most important are to project confidence whilst protecting insecurities, physical or otherwise. Kirsty Lillico's textile-based sculptures address this duality and also act on a deeper level, as prompters, reminding the viewer of garments additional abilities to either bottle-up or externalize our perceived individuality.

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Aerial Antics

04 June 2009 - 22 July 2009

Aerial Antics is a pattern designed in response to the ongoing, predominantly static portrayal of the pied fantail (piwakawaka) in souvenirs and products, directed at both New Zealanders and foreigners. It is also a response to a personal experience that contradicts this common portrayal, and sets out to create a souvenir that acts as a substitute for the experience. The fantail, depicted perched on a branch at a 45 degree angle with tail splayed, has featured on postage stamps, the now obsolete NZ$1 note, local album covers, artists' works and an abundance of souvenirs. It even adorns all of Upper Hutt City's street signs.

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Sugar Mountain

23 April 2009 - 03 June 2009

Although these are new pieces of jewellery in Anna Wallis's catalogue of works they seem familiar, not in a seen-this-before kind of way, but in a same-but-different kind of way; a bit like climbing a mountain I guess. You're moving along, one step after another, watching where you're going, paying attention to what is immediately in front of you and then you pause, look up and out and things are not quite as they were, you have arrived somewhere you weren't before. You are still on the mountain and still with some distance to climb, but you are definitely somewhere new, somewhere you weren't before.

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Autopoios

19 March 2009 - 22 April 2009


Applying the transdisciplinary study of systems theory to her art practice, Caroline Earley has recently been exploring the idea of "a closed, dysfunctional system using vessels reminiscent of scientific glass forms and their appendages." Earley describes these works as "reminiscent, but not quite like, common pottery forms."

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2D/3D

12 February 2009 - 18 March 2009

This window installation embodies a form of duality, in both a literal and a critical sense. Kate Barton studied first as a contemporary jeweller before following this up shortly after with studies in animation. Barton manages to extrapolate one into the other, despite the sometimes restrictive specificity and material concerns of these different practices.

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Exotic Blend

17 December 2008 - 11 February 2009

A reflection upon cross cultural heritage, Jacqui Chan's Exotic Blend signifies her desire, as a contemporary jeweller, to embody the particular form of chinoiserie endemic to her New Zealand upbringing. With this body of work Chan was drawn to tea tins for the symbolism they engender. The exotic imagery depicted in tea tins is, she observes, equally distant from modern China as it is from England. Cut up, pierced, folded and tricked into wearable brooch forms, the tea tin is reclaimed by the artist.

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Digital Craft

14 November 2008 - 16 December 2008

In this installation Danelle Briscoe has employed digital fabrication to explore the physical construction of unusual architectural forms. It is a process she refers to as "crafting the atypical" in architecture. Briscoe uses stereo-lithography, a method and apparatus for making solid objects by successively "printing" thin layers of ultraviolet resin one on top of the other, to produce an undulating, double-curvature wall-like piece.

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Fold

11 October 2008 - 08 November 2008

In this window installation, Ainsley O'Connell explores the creative potential of paper folding. The sculptural and architectural possibilities in O'Connell's four year investigation into simple folded objects rendered as cast glass are successfully realized. The artist engages with "the transformation of the mundane flat sheet, through the craft-based fold, to emerge as a sculptural art object, seeking to explore how folding can be used to design architectural forms."

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Liquid Life

06 November 2008 - 04 October 2008

Liquid Life is a slightly unusual proposition for Sharon Fitness, whose practice is often aimed towards adornment at the edges of wear-ability. Fitness is driven to create "temporal art experiences for random audiences." In this installation everyday objects are derailed. Liberally drizzling objects in liquid silicone, before removing the colourful film and displaying the resulting hollow forms en masse, Fitness suggests an un-hierarchical world which often features utilitarian and somewhat banal domestic things.

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Save For Best

02 August 2008 - 30 August 2008

Kristy Palleson is inspired by 'crafty' and utilitarian forms. With respect to these influences however, that is where the comparisons usually end. The Otago trained ceramist is inspired by the traditions of media other than ceramics and routinely works in a different medium to that of the objects she draws from in her practice.

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The Tomb Of The Unknown Maker

28 June 2008 - 26 July 2008

In an age where high-tech gadgets and mass produced luxury items proliferate ceaselessly, it is easy to forget the work of millions of unknown craftsmen who skillfully labour to establish the final forms and materiality of commonly used objects. Trudie Kroef's window installation The Tomb of the Unknown Maker is a pean to the skill of these often unappreciated makers. As Lucy Hammonds observes, Kroef's work seeks "to redress this imbalance through translating the manufactured into an obvious craft vernacular".

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Precious

27 May 2008 - 21 June 2008

Precious is a new window installation for Objectspace by Bay Of Plenty-based ceramic artist John Roy. Precious comprises of two opposing figures of similar stance and proportions that appear to be whispering to one another. Perhaps questioning the respective values, condition and age of these similar yet differing works, the viewer is immediately drawn to the most singular difference between these two objects: One figure is finished in the punctured surface treatment and off-white matte glazing that Roy is known for, while the other figure is treated to a new and shiny golden veneer.

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Outside: Inside

12 April 2008 - 17 May 2008

In this installation by Rachelle Pedersen, intricately created works have been created from cotton and wool yarns using a Macrame technique. Referring to the internal structures of the body, finely knotted channels appear to spread across the human form.

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Scentiment

01 March 2008 - 05 April 2008

Originating in a time before the understanding of molecules and microbes, scent was worn for its amuletic, talismanic and medicinal properties, as well as enhancing and beautifying the body - much the same as the purpose of jewellery. Scentiment is a moving image installation by Andrea Simper which incorporates a series of work of the same name, exploring the similarities of these two body-enhancing accessories, scent and jewellery.

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The Loving Cup

23 January 2008 - 24 February 2008

Joanna Auld's installation for the Objectspace window programme explores the phenomenon of the trophy. The Loving Cup recognizes our competitive culture, "where we are defined by our acquisitions, our qualifications, the numerous lines on our C.V... The Loving Cup is for me the ultimate prize, as I have found my life's love."

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Memento

21 December 2007 - 21 January 2008

A collaboration between Ilse-Marie Erl and Simon Gamble, Memento is an Objectspace window installation featuring a range of exquisitely worked organic objects which the makers have embedded with USB digital memory chips. An insightful glimpse into the streamlined and often impersonal looking world of high-tech gadgets, Memento asks, "are we designing for ourselves or the machine?"

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For The Whanau

17 November 2007 - 20 December 2007

For The Whanau is a Window installation for Objectspace. These works in whale tooth Kipa has made especially for his family as an heirloom collection. They were not created as exhibition pieces and Objectspace is privileged to exhibit them. Rangi Kipa works in the fields of taa moko, sculpture (wood, stone, bone, corian) and ethnographic taonga. In all of these fields he has established an international reputation for innovation while constantly drawing inspiration from his Maori heritage.

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The Inside Story

13 October 2007 - 10 November 2007

The Inside Story is an exploration into formlessness by Dunedin based artist, Blue Black. Comprising a range of expressionistic and organic ceramic forms suspended from a modified wire bed frame, this installation represents the end product of a highly personal and physical making process.

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Mr Moorhouse's Garden

08 November 2007 - 06 October 2007

A window installation for Objectspace, Ben Pearce's metamorphic sculptural objects are painstakingly handmade and reminiscent of retro children's toys. Pearce suggests that these works are at once 'solemn and lost, yet in search of each other for cues and dialogue'.

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Lei for Walls

28 July 2007 - 25 August 2007

A maker based in Northland, New Zealand, Christine Butler has been practicing creatively in various media for over twenty years. 'Lei for Walls' employs various domestic craft techniques, including crochet and sewing.

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Jo Torr

23 June 2007 - 21 July 2007

A window installation for Objectspace, Jo Torr's Pacific Crossings and Transit of Venus III are based on 1770's dress styles fashionable when James Cook was exploring the Pacific. Constructed predominantly of Tapa cloth, these works defy easy categorization as both sculptural and wearable objects.

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Refresh

19 May 2007 - 16 June 2007

Refresh is the title of Jane Whitten's window installation for Objectspace. A self confessed 'collector and organizer,' Whitten is an established Canberra based artist whose work has attracted considerable attention in both Australia and North America.

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Mind's I

14 April 2007 - 17 May 2007

A window installation for Objectspace, Mind's I is a narrative of exploration and discovery. The three series of work present in Mind's I reflect upon various times in the artists life and act as mementos of hope, knowledge and growth.

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Albino Wood in Blue Ribbon

27 January 2007 - 03 March 2007

In Yasmin Dubraus practice, vines, flowers and springtime buds recall the decorative attempts at reflecting on and possessing wilderness familiar to many cultures.

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Push Play

08 December 2006 - 21 January 2007

This is an engaging window installation of process works by jewelers Renee Bevan & Ross Malcolm. 'Push Play' is an exhibition of objects, rarely viewed outside of Bevan & Malcolm's workshops.

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8+1

28 October 2006 - 18 November 2006

This exhibition is the result of eight participants attending a workshop given by Rian de Jong in January 2006 in Sydney, Australia. The group came together from diverse backgrounds and interests. During the workshop the participants were encouraged to put their usual practices to one side, and to engage with fresh materials and new ideas. The group had a warm exchange and the subsequent workshop pieces revealed how far each participant could go when letting their imaginations free within a new space. The workshop 'Transportation' lends itself to this exhibition 8+1 as it travels to the home countries of each of the participants.

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More Than Meets The Eye

30 September 2006 - 21 October 2006

A spring inspired window installation by glass artist Julie Baverstock.

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Ladies and Gentlemen

06 September 2006 - 30 September 2006

This window work has been created in conjunction with NZ Fashion Week by Beth Ellery resident designer for Scotties.

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Lanois, Goldenpoint and Angelus

07 August 2006 - 02 September 2006

An intricate and vibrant installation of paper-craft objects by Jenny Nielson.

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Save the Snails - Guadalcanal '44

10 July 2006 - 05 August 2006

Glass artist Lee Brogan wants us to consider the impact of governmental and corporate relationships on the natural environment through her installations in cast glass.

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The Complete Set

15 May 2006 - 10 June 2006

Keely McGlynn's installation "The Complete Set" relates her relationship with the New Zealand isles. In this work McGlynn gives equal status to all three islands relating the significance of her personal experiences of living in each place.

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Vonney Ball

12 June 2006 - 08 June 2006

Vonney Ball's Window Installation features a diverse group of slip-cast earthenware vessels which have their foundations in a classical aesthetic. Her interest in European art, history and architecture has informed the shapes, forms and imagery she has developed in her practice.

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Stuff of Life

17 April 2006 - 13 May 2006

Marlyne Jackson's installation Stuff of Life references the wealth of associations made possible by the process of knitting things together. Jackson is a maker. She has developed a broad skill base which includes, but is not restricted to, an appreciation of the handmade and domestic craft.

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Works from Beaded Loop series, Chroma series and Crimp series

27 March 2006 - 15 April 2006

This installation by UK based jeweller Susan Cross has occurred as part of the Manukau School of Visual Art's International Workshops series.

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Play

01 January 1970 - 25 March 2006

In her installation "Play" Leanne Clayton explores her combined Samoan and European heritage. Clayton's hand-printed, individually crafted 'family' of calico toy bears references her memories of childhood and domestic craft.

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Body of Work

30 January 2006 - 25 February 2006

This collection of jewellery from Jennifer Laracy explores symbolism related to a passage from The Caged Skylark by Gerard Manley Hopkins.

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Ticklish

19 December 2005 - 21 January 2006

Shelley Norton's installation, Ticklish, features rings made from discarded plastic wrappings which transform the discarded and undesired into the desired.

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The History of the Cup (clam cup)

05 December 2005 - 18 December 2005

Clam cup is one piece from a series of works created for an exhibition titled The History of the Cup. Working with the basic shape of the cup, such an everyday item, Janet Green wanted to elevate the status of this familiar form, from the ordinary, to the extraordinary.

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Sweets for my Sweet

21 November 2005 - 04 December 2005

Renee Bevan explores issues of desire and romance through her series of chocolate inspired alternative material brooches.

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Fetish and the Feline Form: A Body Pierced

25 October 2005 - 19 November 2005

This window work by ceramicist Kirsty Gardner explores the fetish through her ceramic feline altars. Gardner combines issues of spirituality with diverse ideas related to body adornment and the domestic pet. Kirsty Gardiner emigra

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Some ... Progress

20 September 2005 - 22 October 2005

In this window installation Melbourne based maker Simon Cottrell brings together a collection of forms; brooch, cup, jug and container - exploring the nature of process.

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Re(ady) Made Installation

23 July 2005 - 17 September 2005

Re(ady) Made: A Sustainability Primer looks at the question of sustainability through the idea of reuse (the readymade), and recycling. This installation uses found objects and a recycled plastic manufactured by Pacific Plastics Limited, Otaki, to explore the ways in which industrial design often relies on unsustainable practices. Re(ady) Made proposes a cycle of resource use as an example of the possibilities if industrial designers think about the larger context of their activities.

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Doing furniture conversations

23 July 2005 - 13 August 2005

This installation by Wellington furniture maker Tim Larkin looks to a dark and visceral space. Through the use of pegboard - "as a type of hysterical pine plantation it represents nature reduced to 'standing reserve' " – and by breaking it, threading it, burning it, planing it and oiling it he reveals its poetic nature and shows that this hyper-refined industrial product can return to its primordial 'nature'.

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Fell in love with stitches

24 May 2005 - 16 July 2005

Sandra Bushby reinterprets historically innovative Louis Comfort Tiffany art jewellery designs by creating felt embroidered objects and placing them in an installation setting.

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Festoon

14 December 2004 - 22 January 2005

A festive display for the Christmas period by jeweller Mary Curtis

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The Ring Project

26 October 2004 - 11 December 2004

The Ring Project was developed by jeweller Pauline Bern based on investigations begun in 2003 during a residency at the Grey Street Workshop in Adelaide.

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Light Vessels

25 January 2005 - 01 January 1970

These hand cast concrete vessels by Rigel Sorzano are part of an ongoing project by the artist relating to the mystery and shifting shape of the spiral form. Here her exploration has been one of process as much as form; the individual characteristics of a piece, as developed during casting, have been exploited through exaggeration, piercing, or wearing away.

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