ZIMMERMAN ART GALLERY

Artists

 

Born in 1997, Paige Williams is a surreal animal painter fascinated by “the weird and interesting.”

Introduced to art as a child by her grandfather, it wasn’t until Paige’s later high school years that her enjoyment of painting deepened.

Having commenced studies toward a career in gaming, in 2016 Paige withdrew from University to pursue a professional career in painting and illustration.

Working from a home studio in Auckland, Paige paints “all sorts of animals in strange or unusual situations.”

Paige exhibited works at the 2016 Royal Easter Show in Auckland, and was subsequently profiled in the Youth Page of The New Zealand Artist Magazine (May/June 2016).

Paige’s first solo exhibition was held at ZIMMERMAN in October 2016.

 

Born in Wellington in 1961, Lorraine Rastorfer holds a Master of Fine Arts (First Class Honours) from Auckland University, Elam School of Fine Arts (1992). 

Lorraine is a regular exhibitor, with recent solo exhibitions at Pataka Art + Museum (2015 and 2016), and five solo exhibitions at Milford Galleries (Dunedin) between 2006 and 2015.

A runner up in the Wallace Art Awards 1993, and a finalist in each year from 1999-2002, 2004 and 2011-2012, Rastorfer has received a number of other awards and grants. These include the 2005 CoCA/Anthony Harper Contemporary Art Award, 1993 Ida Eise Painting Award and 2002 WSA NZ Painting and Printmaking Award.

More recently, the artist’s work was selected as a finalist for the NZ Painting and Printmaking Award in 2008, 2011 and 2017.

Work by Lorraine has also been selected for the Parkin Drawing Prize each year from 2014 to 2016, and in 2014 and 2015 for the Art Waikato National Contemporary Art Award. 

The artist's work is represented in notable private and corporate collections, including the collections of Chapman Tripp Sheffield Young, ANZ National Bank, Auckland Institute of Architects and the James Wallace Arts Trust.

Lorraine describes her painting process as follows: “I work with the fluidity, viscosity, opacity and transparency of paint, a variety of mark-making tools that I have designed myself and the effects of chance, control and an overall conceptual intent. I keep going until I find a spatial balance; a sense of ordered freedom, a unified variety of rhythms and streams.”    

 

Born in 1972, James Robinson holds a Bachelor of Fine Arts (Otago) and a Diploma from Hungry Creek School of Art and Craft.

A finalist in the prestigious Wallace Art Awards in 2000, 2002 and 2003-2004, James was the Paramount Winner of the awards in 2007. Since that time, he has held numerous shows throughout New Zealand, as well as having exhibited in Berlin, London, Sydney, Melborne and New York. James has also completed many noted national and international artist residencies, including the McCahon Art residency in Auckland (2007), Sarjeant Gallery residency in Wanganui (2008), and William Hodges Fellowship at Southland Museum and Art Gallery (2013).

James’ works range from massive, highly textural abstract paintings to intricately drawn graffiti-like forms. The drawings offer a glimpse into the tensions and conflicts of the artist’s mind – snatches of taunts, symbolic doodlings and alien-like forms all providing cryptic clues as to the how the artist responds to the troubles and stresses of the world.

 

Tony Rumball’s paintings feature a quirky cast of characters, and unlikely assemblage of objects.

Born in 1943, for almost 30 years Tony has met to paint with friends in Stratford, Taranaki. A number of Tony’s paintings arise from a spontaneous response to assorted props brought each week by fellow artists. One day a collection of assorted hats, another day an iris and a Versace scarf, another day a bike or fish heads  – all seemingly mundane and unexceptional objects, transformed by the artist into unique works of art. 

Other paintings celebrate snapshots in time, small incidents drawn from daily life. We are given a window into the imagined lives of a curious assortment of characters, people and animal captured as they go about their usual activities. This celebration of the everyday gives the works wide appeal; we can all relate to the incidentals of daily life, and the emotions Tony’s strongly drawn characters portray.


 

 

Born in France in 1975, Sebastien Jaunas has lived in New Zealand for more than a decade. Strongly influenced by found organic objects, and by the New Zealand landscape, Sebastien also draws on his time living in Paris and travels through Asia and California.


Sebastien uses mixed media – bronze, forged steel, ceramic and wood – to create poetic architectural forms, exploring equilibrium, space and movement.

“I think in 3D, so the objects I invent or create are living in space. They give me a different perception of the space around.” - Sebastian Jaunas

 

 

Born in 1964, Auckland based artist Rebecca Wallis holds a Masters in Visual Arts from Goldsmiths College of Art in London.

Rebecca’s recent paintings explore the idea of suspense - “I’m interested in finding sense from my work that pushes and pulls me, as the viewer, work that provokes continuous curiousity.”

A former winner of the Walker & Hall Art Award (2008), Rebecca’s work has also been selected for a number of other significant national art awards, including the Wallace Art Awards (2015, 2014, 2009 and 2008), the Painting and Printmaking Art Awards (2012 and 2009) and the National Contemporary Art Awards (2011).

Rebecca’s paintings are held in a number of important national art collections, including the James Wallace Arts Trust and the Walker & Hall collection.

 

 

Born in New Zealand in 1968, Prakash’s shimmering paintings are subconsciously imbued with a sense of the artist’s Gujarati background (Prakash’s parents emigrated from India before he was born). “I didn’t go out of my way to paint things that relate to being Indian, but I think it just happens that way naturally anyway.”

The Whanganui artist’s love of experimentation with paint is expressed in both large paintings on canvas and the small panel series he began in 1995. Both formats celebrate and explore the effects of paint - paint splattered, as single expressive strokes, dotted and dropped, and in circular vortex spins.

Prakash tends to use fluorescent and shimmering paint colours on black, creating the strong visual of bright iridescent items that float as if from the void. They could be pieces of sky with stars and comets, telescope sightings of giant supernovas or craters on distant planets, fireflies or exploding firecrackers in the dark. They could be underwater sightings of strange luminescent creatures like swarms of plankton that may be moving in warm currents towards food sources, or microscope scans of a Petri dish studying a colony of bacteria. We are taken on a journey, following the flick of a brush or Prakash’s curious dots like a marked trail, or charting the winds that have scattered a bloom of colourful dust.

 

Dr Paul Dibble is a well known sculptor, both nationally and further abroad.

Born in 1943, Paul studied at Elam School of Fine Arts in Auckland, graduating with a BFA (Hons) in Sculpture.

In the 1970s Paul taught art in various secondary schools, before taking up a teaching position at Massey University in Palmerston North. By the year 2000, Paul left teaching to begin working fulltime in his own studio.

Paul is involved in all aspects of his studio practice, working with a small team, in a time where many other sculptors contract out the manufacture of their work to other businesses.

Paul has maintained a consistent exhibition schedule in New Zealand, with work also appearing in several overseas Art Fairs and exhibitions. He is now represented by leading galleries in New Zealand and Australia, and has produced a number of significant commissions. Paul has received high acclaim for his significant work for the New Zealand Memorial in London’s Hyde Park Corner.

Paul was awarded a New Zealand Order of Merit in 2004, an Honorary Doctorate in Visual Arts from Massey University in 2007, and was made an Honorary Fellow of the Universal College of Learning (Palmerston North) in 2012.

Paul lives and work in Palmerston North with his wife, artist Fran Dibble.

 

Naga Tsutsumi, born in Japan in 1967, has lived in Palmerston North for more than a decade. Working from a small studio beside his home, Naga’s meticulously rendered figurative works meld influences from his Japanese ancestry with imagery from Western culture and history.

From a Samurai family, the artist is the last descendant of the main branch of the Tsutsumi family. “But I don’t have any inheritance or family treasures like swords, amour or written manuals about swordsmanship; my only legacy from the glory era is a family tree book, made about a hundred years ago, and my name.”

Naga has had over 30 exhibitions in New Zealand, USA and Japan. He was selected Overall Winner for the Manawatu Arts Review in 2011, and was a finalist in the New Zealand Portrait Gallery’s Adam Award in 2012, and the Parkin Drawing Award in 2013.

Naga holds a Master of Fine Arts from the University of Iowa, USA.

 

Born on a naval base in Norfolk, United Kingdom, Mia’s family emigrated to New Zealand when she was a child. 

A full time artist since 2008, Mia has had more than 10 solo exhibitions and been included in over 50 group shows.  Her practice centres around two major recurring themes: domestic scale textile and ceramic works, and endearingly oversized artistic installations.

Mia’s larger than life installation works are inspired by recollections of childhood activities or remembered objects. Her bold outdoor sculptures have been exhibited at Sculpture by the Sea (Bondi and Cottlesloe), Headland Sculpture on the Gulf (Waiheke Island), Sculpture in the Gardens (Auckland), NZ Sculpture OnShore (North Shore), and the Dowse's Shapeshifter exhibition (Lower Hutt).

At the other end of the spectrum are Mia’s domestic-sized works. A number of these pieces are tactile vessels; not necessarily functional, but works that allow the artist to explore structure and texture. Other pieces find their expression in what Mia dubs “jewellery for walls” – unique, quirky pieces modelled on the artist’s fascination with contemporary New Zealand jewellery.

Mia’s works have been selected for a number of national art awards, including the Portage Ceramic Awards, Parkin Drawing Prize, Small Sculpture Awards, No. 8 Wire Art Awards, National Contemporary Art Awards, Estuary Art Awards and Signature Art Awards. In 2011, Mia was Potter in Residence at the Wellington Potters Association.

Mia holds a Diploma of Interior Design (London), a Diploma of Art & Creativity (Wellington) and a Bachelor of Business Studies (Palmerston North).

 

 

Born in 1966, Lee-Ann Dixon holds a Bachelor of Visual Arts from NMIT (Nelson Marlborough Institute of Technology).

Lee-Ann’s paintings are tributes to life’s transience.

“As my life changes, so does my artwork. Mostly it is an ongoing theme of motherhood and domesticity. But as my children grow older, I have more time to reflect and remember my own childhood and identity, and this is reflected in my artworks.”

Birds, moths, crockery and skulls all feature in Lee-Ann’s petite artworks; small studies that preserve, in paint, imagined moments and the passing of time.

Painting with oils on vintage serving ware, the artist draws upon the imagined history of each re-purposed piece; “I think about the memories that might have been attached to each object.”

 

Born in 1963, Wairarapa artist Kirsty Gardiner is a full time ceramic and textile artist.  

Kirsty’s ceramic sculptures are influenced by her childhood, natural history, and the collections with which she came into contact while working as a gallery technician at Aratoi Museum of Art and History in Masterton.

A regular exhibitor since 1997, Kirsty’s show Portmanteau: A Cabinet of Curiosities, was shown in 2012 at Aratoi, and in 2013 at Palmerston North’s Te Manawa Museum of Art, Science and History. In 2016, an installation of Kirsty's porcelain huia skins was exhibited as part of Shapeshifter, a biennial sculpture exhibition curated by The Dowse.

Kirsty won the Premier Award at The Portage Ceramic Awards in 2010, a merit award in 2011, and in 2013 and 2014 was a finalist in both The Portage and James Wallace Art Awards. 

 

Kate Elder has a Bachelor of Fine Arts in sculpture from Dunedin School of Art.

After two years studying furniture making in Madrid, Kate returned to New Zealand, and currently lives in Paraparaumu Beach.

“My return to New Zealand provoked a newfound appreciation for my environment, the formation and idiosyncrasies of the landscape: permanent in a broader sense, yet in a constant state of flux. As much as we desire to control it geographically, politically and socially, our landscape is always changing - particularly dependant on our own physical and emotional perspectives.”

Winner of the top award at the 2015 Mahara Gallery Arts Review, Kate’s works are held in private collections in New Zealand, Australia and Spain.

 

Born in Connecticut (USA) in 1962, Fran immigrated to New Zealand with her family as a teenager.

Fran holds a B.Sc. in Biochemistry and Botany, a M.Sc. (Hons) in Biochemistry and a BA in Philosophy. Her interest in these disciplines informs her artistic practice, encompassing both painting and bronze casting.

Since 2002, Fran’s paintings have come together as multiple panel assemblages, variously painted on paper, aluminium and board. The artist draws inspiration from the natural environment, as well as shapes observed under a microscope, and scientific theories such as principles of gravity and the diffusion of particles.

Fran’s interest in bronze casting developed as part of her work with her husband, acclaimed bronze sculptor Paul Dibble. A recent series of bronze works (some under the moniker “Dibble Studio”) pay tribute to Fran’s fascination with books, “collections of knowledge that we fear might be lost, never satisfactorily replaced with electronic files read on screens”. Some of the book works incorporate real vintage books, while others are fashioned entirely in bronze.

In 2007, Fran was awarded a Queen’s Service Medal for services to art, and in 2012 Fran was made an Honorary Fellow of the Universal College of Learning, Palmerston North.

 

Born in 1954, Paekakariki based artist Elspeth Shannon holds a Bachelor of Fine Arts (Hons) from Massey University.

The artist's most recent works have focussed on the process of painting, with the image being secondary to the making. Paintings are begun as a chance process, with loose bold applications of paint and inks. Gradually, through building, destroying and painting over with more deliberate mark making, an underlying order begins to emerge, and the paintings start to suggest forms of plants or animals. 

In earlier works, a recurring theme is the connections between humans and other animals. “I’m intrigued by how their eyes and body language tell us so much, and am convinced they know more than we credit them with.” A variety of relationships and emotions are skillfully conveyed in Elspeth’s works; love, loyalty, vulnerability and dependency all part of the delicate web of interconnectedness between humans and the animals we keep.

Other earlier paintings have the appearance of old fashioned photographs, not formally composed portraits but instants caught as if in a quick photographic snap. Still others play with the effects of freeze frame photography; what happens when the action is slowed down. “I’ve viewed hundreds of snap shots of footage and am interested in the tension that develops from the juxtaposition of the recognizable and the abstract."

 

Born in Melbourne in 1972, Cam Munroe is a graduate of Sydney’s Meadowbank School of Art and Design. After collecting a number of art awards in Australia, Cam moved to New Zealand in 1994.

The Kapiti Coast artist’s unique pictorial language is comprised of juxtaposed shapes, symbols and markings. Simultaneously strange yet familiar, recurring motifs in Cam’s work derive from legend, history and belief systems.

Cam’s restricted tonal palette serves to accentuate the significance of these cryptic markings: why are they there, and what – if anything - do they mean?

Reminiscent of prehistoric petroglyphs (rock engravings), perhaps the markings have obscure cultural or religious significance: recording and conveying information for beings – human or extraterrestrial – able to interpret what they mean. Or perhaps they are simply aesthetic objects, symbolizing nothing and intended purely for visual enjoyment.

 

Brett Rangitaawa (Te Atiawa, Ngati Raukawa) has a lifelong fascination with molten metal.
 
Born in Lower Hutt in 1970, Brett began working with metal at age 15 as part of a metal casting apprenticeship. From these early beginnings, today Brett owns and operates The Heavy Metal Company, a commercial foundry based in Wellington.

In his capacity as an expert foundryman, Brett has assisted some of New Zealand’s most prominent sculptors with the casting of their large scale metal works.

Among the sculptures with which Brett has assisted are Paul Dibble’s monumental Southern Stand (in London’s Hyde Park corner),  Roddy McMillan’s larger than life sculpture of The World’s Fastest Indian (in Queens Park, Invercargill), and Kingsley Baird’s The Tomb of the Unknown Warrior (in Wellington).

With many years expertise in metal work, Brett has now turned his talents to the creation of his own sculptures. Incorporating his study of whakairo (Maori traditional art) with his extensive metal casting experience, Brett’s bronze and aluminium works are both expertly crafted and culturally evocative.

 

Born in 1968, Andrew Moon is a self-taught artist based on the Kapiti Coast.

Painting mainly in oil and acrylic, Andrew is inspired by the realist styles and techniques of a range of Old Masters. He enjoys working with an emphasis on the harsh lighting contrasts of chiaroscuro (exaggerated contrasts of light and dark). Finding inspiration in the works of 17th Century masters such as Caravaggio, Velazquez and Rembrandt, Andrew’s intensely illuminated figures are picked out from their shadowy backgrounds by bold, directional sources of light.

The influence of Caravaggio, in particular, is visible in a number of Andrew’s works. In similar fashion to the Old Master, Andrew takes as his models the people close or familiar to him, transforming family members and friends into models for compositions ranging from Biblical to contemporary.

While Andrew enjoys exploring a range of subjects and settings for his paintings, he often returns to portraits and people, drawn back by the challenge and intensity of the human form.