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GUS FISHER GALLERY STAFF PICKS

The staff at Gus Fisher Gallery have shared what caught their attention at the Virtual Art Fair.

See more from these galleries by logging in to the Virtual Art Fair and clicking on the links below.

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Lisa Beauchamp, Curator of Contemporary Art selected Peng Jiheng’s Blessing Machine

Peng Jiheng, Blessing Machine (paper print out), 2020. Paper and ink, 15 x 10cm. Courtesy of the artist, commissioned by Creative New Zealand.

As a Curator, something that I always fast-track to at the Auckland Art Fair is the Projects section. This year it is curated by Micheal Do, whose provocation to the seven artists commissioned to make new work was “why do our experiences look so different?” Needless to say, its impossible to overlook this provocation through the lens of our current circumstances, which arguably intensifies the interpretation of some of the artist’s concerns. READ MORE

SEE MORE OF PROJECTS 2020


Julia Craig, Public Programmes and Engagement Officer selected Nicola Farquhar’s W. W.

Nicola Farquhar, W. W., 2020. Oil and acrylic on linen, 500 x 500mm. Courtesy of the artist and Mossman.

While perusing the Virtual Art Fair, I like to take off my gallery employee hat for a moment and imagine what I would buy to put in my house if I had income to spare. This means I get to do away with any sort of analysis of an artwork’s formal qualities or its contribution to culture at large, and just get to consider how it makes me feel, how it would live in a domestic space, and whether my partner and flatmates could tolerate living with it too. READ MORE

SEE MORE FROM MOSSMAN


Hannah Burgoyne, Gallery Coordinator selected Areez Katki’s Good at Savouring Coffee

Areez Katki, Good at Savouring Coffee, 2019. Cotton and silk thread hand embroidery on repurposed Ottoman handkerchief (c.1920), 200mm H x 200mm W, 350mm H x 350mm W (frame). Courtesy of the artist and Tim Melville.

This year a lot of great artworks caught my eye, from Sriwhana Spong’s vibrant silk wall hangings to Chauncey Flay’s rich coralscapes. But the work that has stayed with me is Areez Katki’s Good at Savouring Coffee (2019), embroidered onto a found 1920’s Ottoman handkerchief.

The intimacy of an embroidered textile work feels apt after this past month of quiet, secluded living, but it also opens into a much wider world beyond the confines of the handkerchief’s neat border. READ MORE

SEE MORE FROM TIM MELVILLE