Artspace Studio Residencies
Welcome Amy Blinkhorne, Juliet Carpenter, Deanna Dowling, Francis Till, Uniform, Tim Wagg and Sarah Smuts-Kennedy the Artspace Studio residents for 2015.
The residency programme was established through an open call Artspace made in December 2014. The successful studio residents were selected by a panel consisting of Misal Adnan Yıldız, Henry Davidson, Anna Gardner from Artspace, Danae Mossman from Hopkinson Mossman and Kelvin Soh from Le Roy magazine.
In addition to the residency programme, artist Sarah Smuts-Kennedy will collaborate with Artspace to apply critical questions and conceptual focus towards developing a new research environment entitled Learning, Unlearning and Relearning, bringing the Reading Room and Education Room together in one critical space.
The Artspace Studio residencies will be intertwined with the research and content development towards the annual New Artist Show in December 2015. Through a robust system of application, investigation and evaluation of the residencies, the show will unfold.
Each artist/group will have use of the studio for 2 - 3 months depending on necessity.
Amy Blinkhorne (b. 1987, Johannesburg) completed her MFA at Unitec in 2014, specialising in painting. Amy’s Masters project Everyday Liminality and current practice is derived from observing the quiet beauty of the everyday; the fine differentiations between a line and a form, a form and a shadow, and a shadow and a reflection. Through studying these liminal spaces, she explores notions of double and multiple meaning in order to produce spatial tension. Due to a recent further deterioration in her hearing, Amy has recently been painting spaces that confront and confuse the viewer. Her deafness can create metaphoric concepts that would not otherwise exist. These concepts, often produced through the process of mishearing, create the titles of her paintings.
Juliet Carpenter (b. 1990, Waipukurau) graduated from Elam School of Fine Art with a BFA (Hons) in 2013. Juliet’s practice foregrounds sexual and emotional experiences, amplyfying and exploring qualities of these narratives that are considered hysterical or disturbed. Her work is interested in the ways that individuals produce themselves as characters through image technology and often utilises video to construct these theaters of personhood. Recent exhibitions include Silent Treatment, Gloria Knight, Auckland, 2014 (solo); Aria, Utopian Slopes, Melbourne, 2014; Everyday Backwash, Michael Lett, Auckland, 2014 and Campaign Furniture, Dunedin Public Art Gallery, Dunedin, 2014 both curated by Henry Davidson, and The Day is a Fume, curated by Elle Loui August, The Physics Room, Christchurch, 2014.
Deanna Dowling (b. 1989, Hamilton) lives and works in Wellington where she completed an MFA at Massey University in 2014. Deanna is interested in exploring different modes of production and experience of sculptural forms. She is interested in developing work around an arrangement of public interventions, gallery based works and responsive small-scale print media. Recent exhibitions include And now, this, Pilot, Hamilton, 2015 and Time to save a little more at Enjoy Public Art Galley, Wellington, 2014 (solo). Deanna’s work Tell Someone if Something Happens was the winner of the 2014 National Contemporary Art Award.
Sarah Smuts-Kennedy (b. 1966, Lower Hutt) graduated with an MFA from Elam School of Fine Art in 2012. Sarah has developed two strategies for art making which include a collaborative practice and a personal practice. The collaborative practice allows her research to emerge in forms that are social and refer more directly to culture. Her personal practice is focused on a research based investigation into fields of energy as they engage with conceptual thinking both within an art based language and other intuition driven modes of enquiry. Sarah’s biodynamic, biological, permaculture teaching garden, 45 minutes north of Auckland, functions as a central axis for her research. Recent projects includeThe Park with Tarrati Taiaroa, across the Waitemata, Auckland, 2014-2015; Field Work, Sophie Gannon Gallery, Melbourne 2014 (solo); From light forms, Breenspace, Sydney, 2013 (solo) and Shape Analysis, Rm, Auckland 2013 (solo).
Francis Till (b. 1989, Christchurch) graduated in 2011 with a BFA (Hons) from Elam School of Fine Art. His work examines the relationships between information technology and contemporary subjectivities. He is interested in the field of user experience, particularly in the affective potential of computer interfaces. Combining sculpture, graphics and moving images, Francis draws on languages of portraiture and user interface design to explore human-computer interactions. Recent exhibitions include: Probstian Aesthetic, curated by Dan Arps, Blue Oyster Art Project Space, Dunedin, 2014; Alone together, Gloria Knight, Auckland, 2014 (solo); Aira, Utopian Slumps, Melbourne, 2014 and Social Study, Window, Auckland, 2013 (solo).
Uniform is sound, art, film, and writing by underground women, for everyone. Uniform is an Auckland-based collective that developed the S.C.U.V (Society for Cutting Up Venues) Manifesto as a means to break down the barriers they encountered between their practices and institutional and commercial venues. Working across multiple media, the collective has thrown a series of !No Venues! events in the streets, parks, bars, car parks, and gardens of Auckland. In March 2015 these and other activities and conversations by the group were documented in a Uniform magazine and video zine. Uniform is about doing something now without asking first.
Tim Wagg (b. 1991, Masterton) graduated with a BFA (Hons) from Elam School of Fine Art in 2013. Working predominantly in moving image, Tim explores notions of displacement, atemporality and contemporary masculinity. Using fragmented handheld footage, influenced by cinema and online image culture, he presents uncertain bodies as they move through and explore unused urban spaces. Recent exhibitions include: One does not pet a rattlesnake until it has been defanged; only then does one take it on the road so that one and all can marvel at its natural beauty, The Physics Room, Christchurch, 2015 (solo); Probstian Aesthetic, curated by Dan Arps, Blue Oyster Art Project Space, Dunedin, 2014; Wasteland (curator), Gus Fisher Gallery, Auckland, 2014 and I Am Too Spiteful To Let Things Go Cold with Dan Nash, Window, Auckland, 2014.
The Artspace Studio is kindly supported by Jan Warburton.