Martin Poppelwell

February races by, even a leap year ‘bonus day’ isn’t going to stop us crashing into March with unseemly speed.

Leisa and I went to the [re] opening of Collecting Contemporary at Te Papa, in particular to catch up with Martin Poppelwell whose wonderful ‘Study for Strip’ is still on display.  Have a look at this link, Martin describes how he went about putting the display together...

http://www.youtube.com/user/tepapamuseum/featured

 Martin investigates language, design and the role art plays in such matters as politics. He has created an extraordinary dinner set or table arrangement that uses the ubiquitous nature of such objects as they evoke the sense of rituals- both daily and in turn leading onto more significant types of ritual.

 As humans we are attracted to each other through objects that we utilise to discuss or celebrate various points in our lives.

Here at CVG we have four wonderful ceramic pieces and two wall pieces of Martins- ‘study of Odysseus’ and an artists proof of ‘study for a badpie chart’ .

See you soon    

2012...we're back

We are back up and running and looking forward to a great 2012. On Wednesday 15^th Feb we are having an opening for our first show of the year. So come and have a glass of wine and catch up, plus check out some great new work from Martin Poppelwell, Tao Wells, Nigel Royal and Eion Stevens amongst others.

Nigel Royal - Binary State 00489 negative

Nigel Royal has produced two stunning ‘stills’ from his Binary State series. These are one off lambda prints that have a genesis in the sounds and symbols that represent the elements of human language and communication.

Royal experiments with theories based on the psychology of perception and applies them to the moving image and sound- both analogue and digital. By working across various technologies, remediating and manipulating them within the computer, he in turn creates new sounds and forms new images.

Tao Wells - Ripped White, number 3

Tao Wells probably set out to undermine certain artistic sensibilities. He has made a series of homemade stretcher frames from scrap timber and then stopped and looked around.

 The need to present a surface, to ‘front up’, tell the story, make some [re]mark, is an obligation of our garden variety visual artist. It is also the point that Wells departs the garden path, so to speak, and heads off into the overgrown municipal green belt. From the humblest ‘cap in hand’ beginnings Wells has [possibly] inadvertently created the sublime art object….and the answer has been under our noses the whole time!