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Laurie Steerjj

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Laurie Steer is a fulltime potter specialising in wood-fired ceramics, based in Mount Maunganui. He trained under the late Barry Brickell, the creator of the Driving Creek Railway and Potteries in Coromandel and one of New Zealand’s most celebrated ceramic artists. Steer worked with Brickell over a period of 15 years and was likely one of the last apprentices Brickell took on before his death in 2016.

Steer’s work questions and experiments with the received tenets of ceramics production, while maintaining strong links to the ancient traditions of pottery. His vessels often sprout strange protuberances or spikes, assuming fantastical forms that operate in the area between fine art and ceramics. Like Brickell, he places emphasis on the importance of place in ceramics production, sourcing his own local clays. Steer’s works have been exhibited in Auckland and Wellington, and he has also produced domestic wares for sale.

Steer studied at the Waikato Institute of Technology and received scholarships to the Sydney College of Fine Arts, Melbourne Institute of Technology and Auckland University of Technology, where he completed a Masters of Art and Design. Steer has previously been a finalist in Wallace Art Awards several years in a row, and is on the council of Ceramics NZ as well as being a trustee of the Driving Creek Railway, Arts and Conservation Trust.

Jennifer Frenchjj

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New Zealand photographer Jennifer French has succeeded, perhaps unusually, in practising her medium on both sides of the art and commercial divide. Graduating with a BFA from the University of Auckland’s Elam School of Fine Arts in 1987, French has carved a niche for herself as New Zealand’s leading specialist photographer of art, undertaken alongside her art practice of sporadic production of discrete bodies of work. For the past decade French has worked closely with Creative New Zealand in photographically documenting New Zealand’s projects at the Venice Biennale, and she remains Gallery Photographer at Auckland Art Gallery Toi o Tāmaki, a position she has held both part- and full-time since 1987, with occasional sabbaticals to accommodate undistracted art practice.

French philosopher Henri Bergson (1859 – 1941) has informed her approach to image-making: fluid ideas of time, duration, intuition, and the nature of perception informed by such thinking. So not so much Cartier- Bresson’s ‘decisive moment’ – a crisp excerpt from time’s flow, but more the circularity of time, the emotional resonances that can be intuited from a location or situation. French states ‘Photography, in the creation of the image, is an effect performed upon the object, by a photographer. It is a caress. It is a personal testament, a set of subjective mysteries. A use of image as metaphor for the act of looking.’

At the same time, French considers the photographic image as technologically arbitrary – a framing, a set of tonalities and colour, created by an optical system. In seeking to escape the frame, or utilise its fiction, French’s quiet meditations catch ‘things that could escape back into the ether with no one the wiser, if someone wasn’t there to arrest them.’

French has exhibited widely throughout New Zealand. She was awarded the Möet & Chandon Fellowship and Residency in France in 1995, and graduated with an MFA in 2000 from RMIT, Melbourne, Australia.

Peter Panyoczkijj

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Peter Panyoczki is a highly regarded mixed media artist, working in a hybrid of forms and mediums including painting, sculpture, installation, photography and digital technology.

A common feature in Panyoczki’s works is the presence of texture, be it actual surface texture or the representation thereof in photographic media. The textured surfaces are evocative, forming notions of one’s past and inner self, or that which has been buried and forgotten.

Today Panyoczki lives between New Zealand and Switzerland – he is permanently on the move and this is reflected in his work. In October 2018 Panyoczki completed a three month residency in Vladivostok, Russia.

Panyoczki joined ARTIS in December 2017. He exhibited in a joint show with John Blackburn in February 2018 and exhibited with ARTIS at the Auckland Art Fair 2018. His first solo exhibition with ARTIS opens on Tuesday 5 November 2019.

Nigel Brownjj

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Nigel Brown has been represented by ARTIS Gallery since February 2014. His next solo exhibition at ARTIS opens on Tuesday 15 October 2019.

Brown directly and selectively employs history, literature, politics and more recently the subject of climate change, in his artworks. While at Elam in the 1970s, Colin McCahon suggested that Brown contain his text in a border or boundary – a technique he still employs today.

Brown has a systematic and workmanlike approach to painting. He works from an initial concept, which is the result of reading and extensive research. Sketches, photographs and other sources are used as a visual back up to develop specifics, leading to works on paper and trial paintings. The main ideas and words of each work are then sketched in by brush, followed by the initial lines and tones, and the first of several layers of paint.

In 2005 Brown took up an artist residency at the New Zealand Embassy in Moscow, hosted by New Zealand’s Russian ambassador Stuart Prior. In 2009, The Brown Years,an exhibition at the Tauranga Art Gallery, celebrated the formative years of the artist’s career. In 2011 Brown was chosen to participate in The Depot’s Cultural Iconsproject. The project celebrated individuals who had contributed significantly to New Zealand’s creative landscape.

In addition to his painting, Brown is a printmaker and has undertaken two significant stained glass window designs – St Mary’s Catholic Church, Auckland (1991) and the Holy Trinity Cathedral, Parnell, Auckland (1998).

Brown has received numerous awards throughout his career including; the QEII Arts Council Grant (1981), Inaugural Artists to Antarctica Award (1998) and in 2004 was awarded the ONZM for services to painting and printmaking.

Tira Walshjj

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Recoding images and stray residues through the framework of the canvas, painter Tira Walsh courts experiential incoherence as one of her primary materials. Drawing on the affective space of film, special effects and her everyday experiences of the urban environment, Walsh treats each canvas as a ‘repository of negotiation’. 

One of the most exciting painters to emerge from Auckland’s art schools in recent years, Tira Walsh has begun to accrue and impressive exhibition history. Walsh graduated with a Master of Creative Practice from Unitec in 2018. Her recent exhibition include; Urbanize, Never An Answer, 12 Abstract Painters, The Vivian, Matakana. Curated by Linda Tyler and Lucinda Bennett (2018); Drawcard, State Gallery, Mt Eden, Auckland (2018);  My Hands are Visibly Soiled, Snowwhite Gallery, Unitec, Auckland (2018)andRoundhouse, TSB Bank Wallace Arts Centre, Auckland (2017-2018).

David Shrigleyjj

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David Shrigley is best known for his distinctive drawing style and satirical treatment of commonplace human conundrums. Acerbic, weirdly profound, while at the same time universal, his quick-witted drawings and hand rendered texts are typically deadpan in delivery, yet stirring in their effect. Posing eccentric moral dilemmas with all the levity of a slapstick mood-swing, Shrigley manages to capture human qualities that are as slippery as they are particular, reflecting the mercurial nature of thought.

A limited-edition colour print produced specially for Two Rooms will be available for the duration of Auckland Art Fair 2019 David Shrigley was born in Macclesfield, UK in 1968. He lives and works in Brighton, England. Recent solo exhibitions include: ‘Laughterhouse’, Deste Foundation Project Space, Greece (2018); Life Model II’, Fabrica, Brighton, UK (2018); ‘Exhibition of Inflatable Swan Things’, Spritmuseum, Stockholm, Sweden (2018); Rose Art Museum, Brandeis University, Massachusetts, USA (2016); Selected recent group exhibitions include ‘Summer Exhibition’, Royal Academy of Arts, London, UK (2018); ‘BRIT ART’, Lawrence Alkin Gallery, London, UK 92018); ‘Sweats & Tears’, Saasfee Pavilion, Berlin, Germany (2018); Shrigley’s works are included in prominent collections internationally, including the Museum ofModern Art, New York; National Gallery of Victoria, Melbourne, Australia; Pinakothek derModerne, Munich, Germany; Art Institute of Chicago, Illinois; Statens Museum for Kunst,Copenhagen; Museum Ludwig, Cologne, Germany; Thyssen-Bornemisza Contemporary Art Foundation, Vienna;  Scottish National Gallery of Modern Art, Edinburgh; Tate, London; and TheBritish Council, London. In September 2016, David Shrigley’s ‘Really Good’ was unveiled in Trafalgar Square, for the Fourth Plinth Commission.

Darryn Georgejj

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Anh Trầnjj

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Born in Vietnam in 1989, lives and works in Auckland, New Zealand. She graduated with a Master of Fine Arts from the University of Auckland in 2016 and is currently doing her Doctor of Fine Arts at Elam. Recent exhibitions include The Canals of Mars, Window Gallery, Auckland, 2019; 136m3, Demo gallery, Auckland, 2019; I Understand if You’re Busy, RM gallery, Auckland, 2018; Here and Now, Malcolm Smith gallery, Auckland, 2017; A trip to the beach, play_station, Wellington, 2017; Painting: A Transitive Space, St Paul gallery, Auckland, 2016.

Whether conscious or unconscious, Tran links unsuspecting materials together to question the value of a painting. Observing the art world from both outside and inside, Tran exposes their art as a source of detachment and belonging from dominant systems and identities, and the values we place on either.

Deborah Rundlejj

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Deborah Rundle is an artist living and working in Tāmaki Makaurau. Principally utilising text, she investigates the ways in which power plays out in the social and political domain in order to muse on possibilities for change. Artworks frequently call up the past, engaging in both a critique of the present, and a lament for the failure of a future once promised. Recent exhibitions include: Are We Not Ready? Te Tuhi, 2018/19, Auckland; Hybrid Spring, Enjoy Public Art Gallery, Wellington, 2018; March Mostra, BSR Gallery, Rome, Italy, 2018; The Tomorrow People, Adam Art Gallery Te Pātaka Toi, Wellington, 2017; DOWN TIME, Play_station Gallery, Wellington, 2017.

In 2018 Deborah travelled to Rome as the inaugural holder of the British School at Rome / Wallace Arts Trust Residency. Also in 2018, she won the Molly Morpeth Canaday 3D award with Employee of the Month. 

Deborah is also a member of the art collective Public Share.


Nicholas Poundjj

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Nicholas Pound graduated from Elam in 2015 with a first class honours degree. Nicholas is interested in contemporary American poetry, often using modern poets strategies to create. The result are paintings full of rules and interpretation. Idiosyncrasy and Malapropistic malaise. Recent exhibitions include Tiny Biceps, Satchiandsatchiandsatchi, Auckland 2018; Eden Arts – The First Karekare Residency, Pah Homestead, Auckland, 2018 & A trip to the Beach, play_station, Wellington, 2017.