In this issue head curator Lara Strongman recalls her trip to visit artist Ron Mueck in his Isle of Wight studio as he worked on chicken / man. Lara found the work approaching completion and talked with Mueck about his processes and the inspiration behind his art. We also hear from curator Peter Vangioni, who looks at an aspect of respected Lyttelton artist Bill Hammond’s career that may be less familiar to readers—his drumming. Since his early student days Hammond has been involved in music, and the influences can be seen throughout his work, which often references lyrics and song titles as well as providing visual cues to the beat he’s following.
Also in this issue, curator Felicity Milburn writes about our recently opened exhibition of light-based works from the collection and beyond, Wheriko— Brilliant! Lara Strongman examines the pressures of time in our digital age with a piece looking at our new show, Now, Then, Next. And independent curator and art historian Penelope Jackson shines a light on the life and work of Daisy Osborn.
Our Pagework comes from Joanna Langford, who presents us with what she calls “an engineered landscape” which shifts between micro and macro in a disorientating manner. And our My Favourite is a transcription of a conversation Felicity Milburn held with Barbara Foreman, who worked as a land girl alongside artist Juliet Peter on Rydal Downs sheep farm during World War II. Foreman talks about Peter’s Harvesting, Rydal Downs and it’s lovely to be able to record the story behind a work from our collection.
Dimensions: 265 x 215mm
Imprint: Christchurch Art Gallery Te Puna o Waiwhetū
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