Highlights from the stockroom

17 Aug - 2 Oct 2021
  • Andrew Beck
    Ancillaries, 2021
    silver gelatin prints, acrylic, enamel, and conservation glass in artist's frame
    Edition of 5
    NZD 11,000.00 + frame
    • Andrew Beck, Iris I, 2020
      Andrew Beck, Iris I, 2020
      NZD 13,500.00 + frame
    • Ben Cauchi, Dead time, 2008
      Ben Cauchi, Dead time, 2008
      NZD 11,000.00
    • Ben Cauchi, The Waiting Room, 2013
      Ben Cauchi, The Waiting Room, 2013
      NZD 11,000.00
    • Joyce Campbell, Ryukyu II, 2003–2011
      Joyce Campbell, Ryukyu II, 2003–2011
      NZD 12,000.00
    • Tamara Dean, Messmate Stringybark (Eucalyptus Obliqua) Summer, 2018
      Tamara Dean, Messmate Stringybark (Eucalyptus Obliqua) Summer, 2018
      AUD 7,850 + frame (NZD 500)
    • Jae Hoon Lee, Phenomenon – Waterfall, 2021
      Jae Hoon Lee, Phenomenon – Waterfall, 2021
      NZD 11,000.00 + frame
  • “I become a performer, in multidirectional movements, navigating different cultures by capturing environmental textures from many different living territories. Through...
    Jae Hoon Lee
    Lightning – Cross, 2020
    Chromira print on matt paper
    970 x 1000mm
    Edition of 3 plus 1 artist's proof
    NZD 8,200.00 + frame

    “I become a performer, in multidirectional movements, navigating different cultures by capturing environmental textures from many different living territories. Through representing my real experience simultaneously through a virtual timeline, my sense of identity exists in many different geographical locations at the same time. It operates as a kind of membrane between spaces – a pliable layer that connects rather than separates.” 

     

    - Jae Hoon Lee

    • Star Gossage, Beside the Sea, Our Pakiri, 2017
      Star Gossage, Beside the Sea, Our Pakiri, 2017
      NZD 17,500.00
    • Adam Lee, Tender Mantle, 2019
      Adam Lee, Tender Mantle, 2019
      AUD 18,630
    • Angela Lane, Parhelion , 2016
      Angela Lane, Parhelion , 2016
      NZD 1,800.00
    • Angela Lane, Phenomenon #25 (double binary rainbow), 2019
      Angela Lane, Phenomenon #25 (double binary rainbow), 2019
      NZD 1,800.00
    • Claudia Kogachi, Nanny, 2020. wool, mohair, acrylic yarn
      Claudia Kogachi, Nanny, 2020
      NZD 7,500.00
  • She barbecues galbi/갈비 (Korean short ribs), cleans out her freezer, and prepares musubi (Spam sushi). Elevated viewpoints give the impression...
    Claudia Kogachi
    Obaachan rolling musubi (Spam sushi), 2020
    wool, mohair, acrylic yarn
    1990 x 1720mm
    NZD 7,500.00

    She barbecues galbi/갈비 (Korean short ribs), cleans out her freezer, and prepares musubi (Spam sushi). Elevated viewpoints give the impression of someone keeping an eye on Obaachan. Kogachi is one such person, since she speaks with her grandmother regularly via Skype. Like many of her works, the rugs possess a strong linearity and are limited in detail. The particulars that she chooses to include are highly expressive. Obaachan is depicted with a hunched posture and thinning hair, features that communicate both her frailty and her granddaughter’s tenderness. She is a specific identity but also archetypal—like a character from a cartoon or sitcom.

     

    - Francis McWhannell

    • Emily Karaka, Rāhui; Mana Motuhake, 2021
      Emily Karaka, Rāhui; Mana Motuhake, 2021
      NZD 35,000.00
    • Emily Karaka, Rāhui (triptych), 2021
      Emily Karaka, Rāhui (triptych), 2021
      NZD 30,000.00
  • A triptych composed of paintings on unstretched canvas, shares the title of the show, Rāhui. The central painting depicts a cluster of kauri, all ostensibly in good health, against an ultramarine ground. The flanking pieces embody the concept of rāhui, each focusing on figures that embrace so closely that they seem to meld into one. Golden leaves that have fallen from the kauri around Parehuia and McCahon House form cloaks for the figures. Karaka refers to the leaves as the roimata, the tears, of the trees. There is a sense of sorrow, but the figures have a protective aspect too. One imagines kauri nestled within the body-cocoons, their mauri being safeguarded by the kaitiaki.

     

    Fallen leaves also form cloaks in Rāhui; Mana Motuhake. The painting shows a group of people alongside kauri under rāhui. Although outlined in similar red, the trees appear to be healthier, since they are green and carry leaves. The whānau stand in the land with the kauri and the pou rāhui. They are directly acting as guardians, not entering the zone marked off as tapu, of course, but watching over it. They take care of the kauri just as the kauri have so long taken care of them. There is symbiosis and there is reciprocity. Health comes from working together, with our peers human and otherwise.

     

    - Francis McWhannell, Emily Karaka

    • Georgia Arnold, Plot I, 2021
      Georgia Arnold, Plot I, 2021
      NZD 5,000.00
    • Hannah Valentine, Grip, 2020
      Hannah Valentine, Grip, 2020
      NZD 1,800.00
    • Hannah Valentine, Anytime #3, 2020
      Hannah Valentine, Anytime #3, 2020
      NZD 1,800.00
    • Eddie Clemens, Captive 2, 2021
      Eddie Clemens, Captive 2, 2021
      NZD 18,000.00
  • The work of Eddie Clemens takes place in the interstices between film, performance, and sculpture. The artist combines fabrication, photography,...
    Eddie Clemens
    First Generation Fibre-Optic Broom 3.0 (Ultra-High-Molecular-Weight Polyethylene and Nylon), 2021
    optical fibre, custom-made circuitry and programming, LEDs, stainless steel, aluminium
    1550 x 400 x 150mm
    Edition of 3
    NZD 12,500.00

    The work of Eddie Clemens takes place in the interstices between film, performance, and sculpture. The artist combines fabrication, photography, prototyping, and video editing to unlock unconventional, orthogonal avenues of investigation. His works form an ongoing discussion of the idea that the artefacts of physical culture are carriers of narratives, links in an expansive and cryptic informational matrix that is indistinguishable from the everyday.

    • Luca Nicholas, you gotta ride it, baby, 2019
      Luca Nicholas, you gotta ride it, baby, 2019
      NZD 1,000.00 + frame
    • Luca Nicholas, Tonya Harding, Liza Minnelli Tries to Turn Off a Lamp, and Muscle Bear Combo 03, 2018
      Luca Nicholas, Tonya Harding, Liza Minnelli Tries to Turn Off a Lamp, and Muscle Bear Combo 03, 2018
      NZD 1,800.00 + frame
  • you gotta ride it, baby (2019), shows a bed framed by a pair of hanging lamps, backed by what appears to be a freestanding wall, and attended by quirky vessels. The scene is profuse in credibly distinctive detail but also abstracted. The background slips between interior and exterior, being desert buff at the bottom and sky blue up top. A form in a dark red the colour of dried blood rises up on the left like a craggy rock-form, or even a hand grasping the partition. The bedding is slightly rumpled, suggesting recent use or a hurried tidy. The work calls to my mind earlier representational etchings by Nicholas, so-called Grindr studiesreplicating images of men from the eponymous hookup app. Some of these works focussed on bodies, buttocks in the air, torsos flexed. Others (with a certain David Hockney air) emphasised the subjects’ rooms, carefully tidied or left as they happened to be—different choices suggesting different levels of self-scrutiny or candour.

     

    - Francis McWhannell