Miranda Parkes Jay Hutchinson Veronika Maser Lonnie Hutchinson

The Realms Between 29 May – 30 June 2009

The most apparent characteristic of this exhibition is the pluralism and diversity of contemporary art practices. The art works within The Realms Between are not related by external appearance or content but by a convergence of constructed or spatial approaches and concerns. All works in the exhibition are wall hung, yet encounter certain aspects of physicality. An ongoing debate stemming from experimentation with multi disciplinary mediums in the 1960s and 70s has caused a blurring of divisions and boundaries between so called traditional mediums. The subsequent break down has allowed exciting possibilities to emerge. The works in The Realms Between take us on a unique journey intersecting on many levels across these diverse practices.

For further artist information, images & price enquiries please contact Lydia Baxendell: lydia@gallery33.co.nz

Jay Hutchinson

The subversive embroidery of Dunedin artist Jay Hutchinson intrigues the eye. With remarkable detail, the artist transforms the language of the street into highly sophisticated hand embroidered pieces. The raw drips, scrawls, spatters and gestural sweeps of aerosol paint completed on the street in an instant, are recorded with meticulous authenticity stitch by stitch onto canvas. The laborious nature and permanency of Hutchinson’s practice provides an extraordinary opposition to the transitory graffiti he references. Hutchinson’s paintings intrude on, invigorate and question concepts of ownership and gender roles. He successfully expands on and challenges established idioms pulling together domestic textile craft and rebellious street culture to produce substantial and enduring works of art.

Hutchinson’s paintings beg closer inspection. So closely emulated from the source graffiti, his painterly stitches and raised surface are barely visible from a distance. The artist hand dyes or prints his canvas, adding drama and contrast to the composition. The black drips and anamorphic delineations of Depart From Me are set against piercing fluorescent yellow. In My Embroideries Drip, each minute paint spatter and dribble captured in lime green thread is stitched upon shrieking hot pink. The black background of Russell Street allows the text to seemingly float in space. The eye accordingly roams an impressive densely worked and layered detail which took the artist a staggering 242 hours to complete. All I Wanted, Shopping List and Thumper display the artists’ provocative wit; juvenile drawings and reactionary text seemingly scrawled on refill paper torn from a school book are elevated to high art status. In actuality these are refined pieces of embroidery, the ruled lines and margins printed upon linen cleverly imitate the genuine article.

Jay Hutchinson graduated with a Masters in Fine Arts, majoring in textiles from the Otago School of Art in 2008. He has been exhibiting his work both nationally and internationally since 2004, including including 'Op-Shop' curated by Justin Paton at the Dunedin Public Art Gallery in 2006 and his solo exhibition Fantastic Damage at the Dunedin Public Art Gallery in 2008. Click on the link to listen to Lynn Freeman's recent interview on National Radio.

For further images and information on the artist click on the link to his artist page: Jay Hutchinson

Depart From Me (2007) Hand embroidered - polyester thread on cotton drill canvas Four panels: 600x200mm ea	Russel Street (2006) Hand embroidered - polyester thread on cotton drill canvas 610x500mm	My Embroideries Drip (2006) Hand embroidered - polyester thread on cotton drill canvas Two panels: 610x805mm ea

And All I Wanted (2009) Hand embroidered - thread on digitally printed cotton drill Two panels:255x195mm ea	Thumper (2009) Hand embroidered - thread on digitally printed cotton drill 210x60mm	Shopping List (2009) Hand embroidered - thread on digitally printed cotton drill 195x255mm

Lonnie Hutchinson

Lonnie Hutchinson’s signature ‘cut-out’ works constructed from black builders’ paper or vintage wall paper consist of intricate patterned forms often referencing woman and their role in traditional Pacific arts practice (siapo, tivaevae, weaving and the missionary introduction of domestic needlework skills into the Pacific). Hutchinson has developed her own visual language, re-appropriating and fusing contemporary and traditional motifs. Her works narrate stories, bringing to the foreground issues of gender and cultural identity. These labour-intensive works gather imagery from contemporary culture such as hip-hop or pop music as well as drawing upon traditional Māori kowhaiwhai, koru and Polynesian frangipani patterns.

There is an element of visual trickery to Hutchinson’s ‘cut-outs’. The eye must navigate complex lace like configurations in a spatial game of shadow play, positive and negative space and silhouette. Drawing lies at the centre of Hutchinson’s practice, Stand Up presents a visually powerful column the uncompromising black monument ceremoniously constructed from intricate and repetitious folds and incised cuts is at once addressing ritual, memory and trophy. Hutchinson’s use of vintage wallpaper introduces additional layers of colour, pattern and meaning to an established repertoire. The ornate paisley pattern of Pinky (the kind our grandmothers’ may have used to decorate the dining room), unfurls from a delicate train of pleated kowhaiwhai, interweaving multiple histories with the here and now.

Lonnie Hutchinson has exhibited regularly nationally and internationally in both public and dealer galleries. Her work is held in major private and public collections including the Auckland Art Gallery Toi o Tamaki and Christchurch Art Gallery Te Puna o Waiwhetu.

Pinky (2008) Vintage Wallpaper Height 1250mm	Stand Up (2009) Builders paper 1290x 230mm	Out the back of Rangi's (2007) Vintage Wallpaper 700mm square

Veronika Maser

Swiss born sculptor Veronika Maser draws optical illusions in space. Constructed from wire, her intricate wall hung works are at once two and three dimensional objects. Maser creates an intricate choreography of woven architectural forms which explore the spatial tensions of containment, solid and void, interior and exterior.

Maser’s Perception and Transient series are gentle elusive drawings that belie the strength of material. The artist oxidises segments of the wire to bring about an illusory depth, furthering this effect by utilising the shadow cast on the wall as an additional facet. Repetitive and complex patterns inspired by lace doilies, Islamic art, microscopic plant cells and medical journals are woven and enlarged to dramatic scale. What is additionally extraordinary is Maser’s ability to achieve visual success as either vertical or horizontal works, turn the piece on its side and more spatial possibilities become apparent.

‘Exploring these textures and shapes and extending its forms I intend to create a landscape that evokes feeling of cosmic exploration. By enlarging this imagery I articulate a language addressing issues of culture, contemplation, identity, the question of our existence and remembering links to the past and the moment.’

Maser was born in 1968 in Switzerland and emigrated to New Zealand in the early 1990s. She attended art school in Switzerland and was then involved in building miniature models and working as a display artist. Maser has been exhibiting both nationally and internationally since 1999 and currently lives and works full time in Hokitika on the West Coast.

For further images and information on the artist click on the link to her artist page: Veronika Maser

Perception II (2009) wire 1100x950mm	Transient I (2009) wire 740x1200mm	Transient II (2009) wire 820x1150mm

Miranda Parkes

The invigorating transmutations from early modernist abstraction are clearly evident in the contemporary abstract paintings of Miranda Parkes. The very three dimensionality of Parkes’ work negotiates spatiality as she contorts and expands her canvases to produce volumous folds of juicy colour. Parkes utilises mass and volume to create dynamic relationships between the painted forms which fold and curve in upon themselves. In an alternate deconstructive gesture, Parkes' most recent work cuts and reconfigures the canvas to produce a flat surface that retains the energy and movement of her previous 'scrunched' and sculptural works. The tipping playfull lines of Pitcher are broken by circular sections, cut and pasted at opposing angles, causing a sense of insecurity. Her saturated colour and contorted canvas akin to a crumpled lolly wrapper or deflated child’s toy, confront today’s consumerist culture where objects are made to be discarded. The counterpoised contour, line and colour of these delectable works generate a sense of playful tension and uncertainty.

Buoyant titles such as Pitcher, Shaker, Buster and Splasher further animate the compositions. Threatening exhilarating transformations or actions the titles provide each painting with an individual personage or attribute complimenting the joyful confection of the canvas.

Miranda Parkes has exhibited regularly throughout New Zealand in both public and dealer galleries. She completed a Masters in Fine Art from the University of Canterbury in 2005. Parkes is the recipient of numerous scholarships and residencies including the Ethel Rose Overton Scholarship, University of Canterbury, 2003 and 2004, Ethel Susan Jones Travelling Scholarship, University of Canterbury, 2005 and the William Hodges Fellowship, Southland, 2006. She participated in Telecom Prospect 2007 (City Gallery, Wellington), and her work is held in private and public collections including the Christchurch Art Gallery Te Puna O Waiwhetu.

For further images and information on the artist click on the link to her artist page: Miranda Parkes

Buster (2007) acrylic on PVC 650x1050x100mm	Shaker (2009) acrylic on canvas 1100x1100x100mm	Splasher (2007) acrylic on canvas 340x340x205mm

Baby Bloomer (2007) acrylic on canvas 255x230x175mm	Wriggler (2009) acrylic on canvas 400x360mm	Pitcher (2009) acrylic on canvas Image size: 645x455mm

Catalogue essay by Lydia Baxendell 2009