ART à la mode ♡
The Art Paper online bulletin
Print archive: Venereal Sacraments
Julia Craig on Owen Connors’ egg tempera paintings.
Print archive: Imperial Vegetables, Lachlan Taylor on Ayesha Green’s I thought I heard you crying in the forest
“It’s a painting about power, and the ways that power is gained, maintained, coveted, stolen, and mourned through systems of representation.”
Print archive: Robyn Maree Pickens on Zina Swanson
In Zina Swanson's All My Sticks Have Auras, ”Meaning quivers between viewer and work, plant and human, and between each decomposing twig and the vibratory aura the artist depicts,” writes Robyn Maree Pickens in Issue 00.
In print: George Watson on Robyn Kahukiwa
“Robyn Kahukiwa’s mahi toi is direct and bold, her paintings simultaneously embrace the warmth and richness of Te Ao Māori, of our values, spirituality, and practices whilst also depicting the fraught social realities for many Māori living in colonised Aotearoa,” writes George Watson in Issue 00.
In print: Priscilla Rose Howe on Susan Te Kahurangi King
“We have entered the realm of the otherworldly—the linear, the logical and the structured, folding inward and expanding outward upon the drawing plane. Her way of working has a strong sense of urgency and intuition, her mark-making has a zest that is distinguishably hers,” writes Priscilla Rose Howe on Susan Te Kahurangi King in Issue 00.
In print: Erin Griffey on Claudia Jowitt
“With Fijian heritage on her paternal side, Jowitt literally embeds her family roots––sea and land––into her works by incorporating shells and coral pieces found on the shoreline as well as traditional Fijian materials vau (Hibiscus fibre) and masi (Fijian white tapa),” writes Erin Griffey in Issue 00.
In print: Landshaping: Seeing differently with Conor Clarke, by Maya Love
“With words as her foundation, Conor Clarke walked around her neighbourhood, allowing intuitive associations to guide her choice of site and subject. She used a pinhole camera with no viewfinder, restricting her control over aesthetic choices and allowing for guesswork. The visual is no longer the only means of interpretation. Here, land is something to be smelt, touched, heard, felt and imagined,” writes Maya Love in Issue 00.
Print archive: The void and its parody: Thinking alongside Robert Jahnke’s Whenua kore, by Carl Mika
“Robert Janhke’s sculpture Whenua kore (2019) discloses significant possibilities for mātauranga Māori thought, raising the question of how Te Kore, or nothingness, impinges on our everyday activities,” writes Carl Mika in Issue 00.