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Window Gallery/2009

Leonor Hipolito: Apparatus

16 December 2009 - 21 January 2010

An Objectspace summer window installation by Portugese jeweller Leonor Hipolito, Apparatus comprises a range of works reproduced after medical tools and fashioned out of tree trunks and branches. Delicately hand made, allowing the wood grain and shape to subtly influence the final form, these 'tools' serve as reminders of our relationship to the natural world.

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Latticework Vases

05 November 2009 - 15 December 2009

Deborah Dell is intrigued by the history of ceramics. The relationship that familiar forms have within the discourse of ceramics has long held her attention, in particular the vase. She observes that "vases have always existed as functional objects, as well as existed in the decorative and the contemplative realm. My interest in the vase is how all of these subjects converge."

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Gilded Blessing

17 September 2009 - 04 November 2009

Employing differing art forms, Gilded Blessing (the cello is a Chinese 'Blessing' brand) is a collaborative audiovisual installation between gilder Sarah Guppy and composer Eve de Castro-Robinson. Both were attracted to the idea of exploring the musical instrument as a metaphor and a conduit for traditional artisan skill and contemporary sound practice. Gilded Blessing has been configured so that while near the cello, the viewer taking in the sensuous gold gilded form simultaneously informs a proximity monitoring camera. In some sense the viewer is able to 'play' the cello in the act of moving around but not actually touching it.

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I Came Back As Someone Else

23 July 2009 - 16 September 2009

As endless streams of fashion advertisements, globalized brands and chain stores attest, the enormous variety of social functions involving garments are easy to overlook. Through dress and fashion we perform many roles but among the most important are to project confidence whilst protecting insecurities, physical or otherwise. Kirsty Lillico's textile-based sculptures address this duality and also act on a deeper level, as prompters, reminding the viewer of garments additional abilities to either bottle-up or externalize our perceived individuality.

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Aerial Antics

04 June 2009 - 22 July 2009

Aerial Antics is a pattern designed in response to the ongoing, predominantly static portrayal of the pied fantail (piwakawaka) in souvenirs and products, directed at both New Zealanders and foreigners. It is also a response to a personal experience that contradicts this common portrayal, and sets out to create a souvenir that acts as a substitute for the experience. The fantail, depicted perched on a branch at a 45 degree angle with tail splayed, has featured on postage stamps, the now obsolete NZ$1 note, local album covers, artists' works and an abundance of souvenirs. It even adorns all of Upper Hutt City's street signs.

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Sugar Mountain

23 April 2009 - 03 June 2009

Although these are new pieces of jewellery in Anna Wallis's catalogue of works they seem familiar, not in a seen-this-before kind of way, but in a same-but-different kind of way; a bit like climbing a mountain I guess. You're moving along, one step after another, watching where you're going, paying attention to what is immediately in front of you and then you pause, look up and out and things are not quite as they were, you have arrived somewhere you weren't before. You are still on the mountain and still with some distance to climb, but you are definitely somewhere new, somewhere you weren't before.

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19 March 2009 - 22 April 2009

Applying the transdisciplinary study of systems theory to her art practice, Caroline Earley has recently been exploring the idea of "a closed, dysfunctional system using vessels reminiscent of scientific glass forms and their appendages." Earley describes these works as "reminiscent, but not quite like, common pottery forms."

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12 February 2009 - 18 March 2009

This window installation embodies a form of duality, in both a literal and a critical sense. Kate Barton studied first as a contemporary jeweller before following this up shortly after with studies in animation. Barton manages to extrapolate one into the other, despite the sometimes restrictive specificity and material concerns of these different practices.

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