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    Bulletin
    New Zealand's leading 
    gallery magazine

    Notes Commentary Artist Profile Article Director's Foreword My Favourite Interview

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    HomeCollectionUntitled
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    Zina Swanson

    Aotearoa New Zealand, b.1981

    Untitled

    • 2007
    • Tea, ink, watercolour and plant material on paper
    • Purchased with the support of Coffey Projects, 2007
    • 236 x 155mm
    • 2007/064.a-g

    Tags: anthropomorphism, blood (animal material), crutches (equipment), plants (living organisms), skeleton and skeleton components, trees

    Save to My Gallery

    Exhibition History

    Edith Amituanai Tup$ hits the human flag 2016. Digital photograph mounted on dibond. Collection of Christchurch Art Gallery Te Puna o Waiwhetū, purchased 2022
    Perilous: Unheard Stories from the Collection
    Leo Bensemann Rita Angus 1938. Pencil on paper. Collection of Christchurch Art Gallery Te Puna o Waiwhetū 2014
    A Room of One's Own
    Image: uploads/2010_06/AnotherDestination.jpg
    Another Destination
    Richard KilleenBook of the Hook1996. Acrylic on aluminium.Collection of Christchurch Art Gallery Te Puna o Waiwhetū, purchased 2000
    Wunderbox
    Image: uploads/2023_06/2007_0645Ea-g.jpg

    Related reading: A Room of One’s Own

    Notes
    The ghost of studios past

    The ghost of studios past

    In preparation for the next issue of Bulletin, Gallery photographer John and I have been out photographing some of the local artists who will be taking part in Rolling Maul when we reopen.

    Notes
    Rita Angus by Leo Bensemann

    Rita Angus by Leo Bensemann

    This article first appeared in The Press as 'Viewing Rita Angus with Leo's eyes' on 26 May 2015

    Notes
    Irises by Rita Angus

    Irises by Rita Angus

    This article first appeared as 'The meticulous small world of Rita Angus' in The Press on 9 December 2014.

    Notes
    Raise your glass (house)

    Raise your glass (house)

    Huge congratulations to Zina Swanson who has just been announced as the Francis Hodgkins Fellow for 2013.

    Notes
    People in glasshouses

    People in glasshouses

    A few days ago, there were lots of little bits of glass and metal strewn (in a highly systematic way) across the floor of our NG gallery space.

    Notes
    Zipp by Frances Hodgkins

    Zipp by Frances Hodgkins

    ‘I can't tell you the horror of the Blackout and the effects on your nerves - the want of ventilation at night is very tiring - perhaps the nastiest part of it all.' - Frances Hodgkins in a letter to her brother, William.

    Collection
    Untitled

    Zina Swanson Untitled

    Zina Swanson’s precise, yet poetic painted drawings call attention to the delicacy and vulnerability of nature. Plant matter, insects and other tiny objects she collected over several years take fresh life in brushstrokes that range from feathery to forensically precise. Zina’s interest in her personal – and our human – relationship with the natural world led her to imagine a strange form of cross-species rehabilitation, where wilting forms are supported, a cutting grows the feet of a bird and processed timber receives new prosthetic roots. Her latest painting recounts an early foray into collecting, when she salvaged a discarded stick so large it had to be cut into three and reassembled in her studio. In an associated poem, she wrote: Making them part of my life, by making them part of my paintings Making a special shelf for them in my studio The collection keeps growing.

    (Perilous: Unheard Stories from the Collection, 6 August 2022- )

    Collection
    Untitled

    Zina Swanson Untitled

    Collection
    Untitled

    Zina Swanson Untitled

    Collection
    Untitled

    Zina Swanson Untitled

    Zina Swanson’s precise, yet poetic painted drawings call attention to the delicacy and vulnerability of nature. Plant matter, insects and other tiny objects she collected over several years take fresh life in brushstrokes that range from feathery to forensically precise. Zina’s interest in her personal – and our human – relationship with the natural world led her to imagine a strange form of cross-species rehabilitation, where wilting forms are supported, a cutting grows the feet of a bird and processed timber receives new prosthetic roots. Her latest painting recounts an early foray into collecting, when she salvaged a discarded stick so large it had to be cut into three and reassembled in her studio. In an associated poem, she wrote: Making them part of my life, by making them part of my paintings Making a special shelf for them in my studio The collection keeps growing.

    (Perilous: Unheard Stories from the Collection, 6 August 2022- 21 July 2024)

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