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Window Gallery/2014

The Effects of Crack

31 October 2014 - 05 January 2015

As part of Clay O'Clock: An Auckland Festival of Ceramics, Virginia Leonard will be taking part in the Clay-a-thon programme, and will talk about her practice at Objectspace on 8 November from 2 -2.30 pm. If you would like to join the tour visiting eight other galleries, please contact the Gus Fisher Gallery.

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Am I liminal yet

21 August 2014 - 30 October 2014

Miranda Smitheram is fascinated by textile surfaces and the myriad ways that exist to clothe a body through design and form. Initially from the fashion industry, she became aware of the characteristics of a sector typified by mass-manufacture, mass-consumption and mass-disposal and was prompted to consider alternative possibilities.

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The Stillness of Movement

21 June 2014 - 19 August 2014

The Stillness of Movement by Kate Fitzharris can be interpreted as a physical representation of a coastal walk she took from her seaside home in Dunedin to the top of a hill and back down again. It also explores what she describes as “the connections between our very earthly nature and our heavenly or spiritual aspirations”.

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Wondering about Nature

03 May 2014 - 14 June 2014

A whimsical installation by Yasmin Dubrau that blends a love of paper folding and painting.

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Stretched. An installation by Rebecca Asquith

25 March 2014 - 26 April 2014

In this new body of work, Rebecca Asquith explores craft techniques not traditionally associated with furniture making and applies them to a collection of furniture pieces. She's particularly interested in the properties and processes associated with leather, which is traditionally used in furniture as a soft cushioning material. Once boiled in water, however, leather can harden into an incredibly rigid material. Rebecca experiments with this boiling process to manipulate the shapes leather can form, embracing its unpredictable and organic nature.

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01 February 2014 - 22 March 2014

In this body of work, Jess Paraone (Ngāti Kawau, Kaitangata) has formally engaged with risk-taking as part of her practice. By creating ceramic objects that comprise both raku and porcelain clay – she breaks the rules of ceramic studio production. Delighting in pushing her chosen materials to their limit – she explores their qualities of strength and fragility. The element of unpredictability is celebrated as part of her making process and establishes the basis for further investigation.

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