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DCM group exhibition - 'Together we can end homelessness in Wellington' - Fri. 13th Sept to Sat. 28th Sept. 2019

31/8/2019

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Invitation to DCM group exhibition, photos responding to homelessness in Wellington new Zealand, Photospace Gallery contemporary new Zealand photography, 37 Courtenay Place Wellington
Invitation to DCM group exhibition
We thank Toi Rauwharangi - the Massey University College of Creative Arts for its support  of this exhibition at Photospace Gallery, Wellington
We thank Toi Rauwharangi - the Massey University College of Creative Arts - for its support.
‘The true measure of any society can be found in how it treats its most vulnerable members’
-
Mahatma Gandhi

The Downtown Community Ministry (DCM) has been working in the city of Wellington since 1969 to “focus on the needs of, and to help empower, those marginalised in the city” (quotation from DCM official constitution). In 2019 DCM will celebrate 50 years of working with the most marginalised people in Wellington. DCM has also adopted the by-line “Together we can end homelessness in Wellington” and to mark their 50 year milestone, the exhibition together we can end homelessness in Wellington will be a curated selection of 50 images by different photographers of what “together we can end homelessness in Wellington” looks like. The exhibition is designed to shine a light on the issue of homelessness and the responses of DCM and its numerous supporters and stakeholders. Too often mainstream media coverage around the issue of homelessness concentrates on those who are sleeping in the streets and begging in doorways. While this highlights some people’s experience of homelessness, it doesn’t identify or offer solutions or support to resolve the needs of some of the most vulnerable members of our society, neither does it offer suggestions to concerned New Zealanders as to how they might respond to homelessness.

The exhibition will be positive and aspirational in nature and will include but is not limited to documenting the contributions including the annual DCM Book fair, community and professional groups who contribute food, expertise and volunteer their time to DCM as well as of people who have experienced homelessness and now have an opportunity to support others. 50 photographers with wide-ranging backgrounds and expertise will each contribute one photograph to mark each year of DCM’s community contribution. The photographers include academics, professional and artists.  The exhibition selection will be curated by Senior Lecturer and Photographer Helen Mitchell from Massey University,  Photographer and Educator John Williams, Photographer and Curator James Gilberd, and Michelle Scott from DCM.

The photographers who contributed to this exhibition are:
Helen Mitchell, James Gilberd, John Williams, Chris Coad, Mary Hutchinson, Craig Thomson, Catherine Cattanach, Gabrielle McKone, Dean Zillwood, Daniel Mooney, Jessica O’Brien, Emma Robinson, Mark Beehre, Antony Kitchener, Chris Bing, Pat Shepherd, Tam Webster.

'Together we can end homelessness in Wellington' runs from Friday 13th to Saturday 28th September, 2019, at Photospace Gallery.
Hours are 10am-4pm Monday-Friday, 11am-4pm Saturdays. Closed Sundays and public holidays.

For further information, please contact James Gilberd at Photospace Gallery, 37 Courtenay Place, Wellington - (04) 382 9502 after 10am, 027 444 3899, j.gilberd@xtra.co.nz
Exhibition info on the DCM site.

Article in Dominion Post 'Capital Day' 16th Sept 2019

Photo from DCM exhibition 'Together we can end homelessness in Wellington' Photo: John Williams, Photospace Gallery Wellington
Photo from DCM exhibition 'Together we can end homelessness in Wellington' Photo: John Williams
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'Ripple Effect' - Susie Baker - 8 Nov. 2019-1 Feb. 2020

26/8/2019

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'Adelphi' by Susie Baker Kaikoura artist, Photospace Gallery contemporary New Zealand photography
'Adelphi' - Susie Baker
Susie Baker Artist Talk - Friday 6th December, 4.30pm
- free admission
Kaikoura artist Susie Baker's exhibition 'Ripple Effect' will show in room 1 of Photospace Gallery from Friday 8th November 2019 to Saturday 1st February, 2020.
Susie Baker, originally from Scotland, has been based in Kaikoura for 13 years.  She is a graduate of Glasgow School of Art, Fine Art Photography department, where she adopted a selection of alternative and experimental printing techniques. Working in the darkroom, Susie manipulates large black and white images by brushing on chemicals to achieve unique processing effects. 

Recent work for the exhibition 'Ripple Effect' at Photospace Gallery in Wellington has been made using medium-format roll-film, fibre based black and white paper or watercolour paper, and often a drop of sunshine (for Cyanotypes). These exhibition images have been made during a time of change for Kaikoura, reulting from the 2016 Kaikoura Earthquake, manifesting in images that speak emotionally as well as physically. Often the work features structures during stages of destruction or renovation. Hand-printed black & white images show shadows of the past or tell a story of the future.

The art deco Mayfair Cinema designed by Wilford Melville Lawry was badly damaged in the 2016 earthquake and must be rebuilt. Great care has been taken to save the facade as the rest of the building is demolished in preparation to extend the building to a new plan. The part-demolition has been playfully recorded in the aptly named artwork 'Coming Soon', with the 'Coming Soon' text printed using old film trailer reels. 

Susie Baker has also given a nod to the past by printing the new Mayfair plans using the Cyanotype process. These ‘Blue Prints’ are beautifully detailed architectural drawings, printed in a traditional way but represent an exciting step forward for the town. Two traditional Kiwi pubs, both recently demolished, each tell a different story whilst the digger attacks.

"We all have an impact on the people and places we encounter, and these effects can be emotional, physical, or spiritual. Likewise, places, objects and events mark us, leaving an impression that can last for generations or just for a fleeting moment."
 
Other works in the exhibition include Cyanotypes of unearthed objects, Cyanotypes immortalised in epoxy resin. These items were uncovered by evacuation work or came to light due to the uplift of the coastline, thrown-away objects of our past becoming items to be treasured.
 
"The artworks in this exhibition are centred around a feeling of change; using inspiration from our past to make positive steps forward. "
- Susie Baker, 2019
'Ripple Effect' is Susie Baker's first exhibition at Photospace Gallery.
Holiday hours: the gallery is closed from Tuesday 24th December to Saturday 4th January. Open shorter hours Mon. 6th to Sat. 11th January. Back to regular hours from Mon. 13th Jan. 2020.

Below: 'Ripple Effect' exhibition catalogue with pricing and technical information about each artwork.
'Blue Print' (cyanotype) - Susie Baker, alternative process, cyanotype, chemigram, Photospace Gallery contemporary New Zealand photography exhibition
'Blue Print' (cyanotype) - Susie Baker
'Bottles' (cyanotype) - Susie Baker, 2016 Kaikoura earthquake,alternative process, cyanotype, chemigram, Photospace Gallery contemporary New Zealand photography exhibition
'Bottles' (cyanotype) - Susie Baker
'Coming Soon' - Susie Baker, 2016 Kaikoura earthquake, alternative process, chemigram, Photospace Gallery contemporary New Zealand photography exhibition Wellington NZ
'Coming Soon' - Susie Baker
'Mayfair' (silver-gelatin print) - Susie Baker, 2016 Kaikoura earthquake,alternative process, Photospace Gallery contemporary New Zealand photography exhibition
'Mayfair' - Susie Baker
'Mayfair Demolition' - Susie Baker, 2016 Kaikoura earthquake,alternative process, chemigram, Photospace Gallery contemporary New Zealand photography exhibition
'Mayfair Demolition' - Susie Baker
'Wharf' (cyanotype) - Susie Baker, 2016 Kaikoura earthquake,alternative process, cyanotype, chemigram, Photospace Gallery contemporary New Zealand photography exhibition
'Wharf' - Susie Baker
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Kevin Miles - 'Photo-encaustics' - 16 Aug to 7 Sept 2019

9/8/2019

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Kevin Miles 'Photo-encaustics' exhibition poster, Photospace Gallery 2019, cameraless photography, chemigrams, encaustic prints, New Zealand contemporary photography
Kevin Miles 'Photo-encaustics' exhibition poster, Photospace Gallery 2019

'Photo-encaustics' - Kevin Miles' artist statement and info.

Graduating with BA (hons) in Film, I later worked in film and television and as a freelance photographer for several years in London and Rome. Then in 2003, I completed Art and Design teacher training (PGCE) at Goldsmiths College, London and I worked as a secondary school art teacher, also in London; developing my own practice at the Prince’s Drawing School in the printmaking studio and painting courses. Then in 2009, I moved to New Zealand and lived in Otautau, a small town in Western Southland. From January 2010, I was the photography tutor on the film and photography/visual arts Bachelor’s Degrees at the Southern Institute of Technology, Invercargill. In February 2016, I completed a Master’s Degree in Fine Art (photography) at Otago Polytechnic. In early 2018, I moved to Wellington to begin a practice-based PhD in Fine Arts, at Massey University in Wellington.
My PhD research aims to explore photography’s materiality as a medium of representation, to extend theories and notions around photographic ‘object-hood’. Its focus is on our current understanding of the photographic image-as-object within contemporary art practice. This research takes a particular interest in the material of photography, not just visually but as a process or principle of practice. My research aims to explore a ‘new materialist turn’ in photography to reflect upon analogue processes, but also go beyond some of its limitations through processes of transmutation.
This year I became interested in the painting technique of encaustic, originating over 2000 years ago in ancient Greece, and used by the Roman-Egyptians of the 1st Century, in funeral portraits. This process combines natural beeswax, resin, pigment and heat to fuse together translucent layers. Encaustic means literally to ‘burn in’. Malaysian dammar resin and beeswax are melted together, to give the wax strength. Traditionally, this painting medium is regarded as a method of ‘suspending light and pigment’, similar to under-painting in oils. The encaustic medium became all but obsolete until the mid-twentieth century saw resurgence with artists such as Jasper Johns who exploited its translucency, texture, and mixed media/collage capabilities to produce Flag (1954). More recently it has been used as a versatile cross-disciplinary medium. In this body of work, chemigram derived images have been re-produced on semi-translucent Japanese rice paper and fused between layers of translucent encaustic and pigment. The resulting mixed-media works have an origin in photographic phenomena but yet are far removed from that original format. The original film chemigrams are also exhibited on the light-boxes and demonstrate the degree of transmutation within this practice.
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