Current Exhibition
February 2024 brings together the works of eight artists in response to the theme DEEP:
- Amy Blackburn
- Angela Tier
- Matthew Steedman
- Claudia Aalderink
- Ian Chapman
- Roger Key
- Brett a’Court
- Lee-Ann Dixon
Commentary on each artist’s works is set out under the images below - be sure to stop by ZIMMERMAN this month, to take a closer look at these stunning works!
DEEP - exhibition commentary
Amy Blackburn – Deep Garden 1- 4
Exhibiting for the first time at ZIMMERMAN is Palmerston North artist Amy Blackburn, with four small Deep Garden acrylic paintings, each celebrating the richness and serenity of abundant blooms.
Angela Tier – With Plastic Arrows, we shot the Albatross
With Plastic Arrows, we shot the Albatross, is a deeply reflective stoneware sculpture by Angela Tier. The wall-hung work depicts a Sarcophagus albatross, its lifeless form impressed with an array of plastic motifs.
The work speaks to how floating plastics endanger the life of the Laysan Albatross. The bird often mistakes floating plastic objects for food, consuming these objects and feeding them to its chicks. Ingesting the plastics damages and blocks the bird’s digestive system, leading to starvation and death.
As Tier notes, “Our consumer choices, bad management of plastic waste and the high use of plastics globally is having a dire effect on these vulnerable birds.”
Matthew Steedman – Deep Sleep
Deep Sleep is a pixelated oil painting on board by Matthew Steedman.
It reflects on the sleep cycle, and how the brain engages in intricate activities that play a vital role in maintaining cognitive health and overall well-being.
The artist notes “The brightly coloured pixels represent the brain activity that occurs during a seemingly passive state, including the reactivation of neural circuits, strengthening synaptic connections, and transferring newly acquired knowledge to long-term memory storage.”
Claudia Aalderink – Deep
A striking large work by Claudia Aalderink, Deep, uses recycled beehives as the medium for the artist to explore subtleties of colour, texture, repetition and composition.
Bringing a new identity to the weathered beehive boxes, the artist invites viewers to bring their own meaning to the composition.
“I love the honesty of the material. I don’t hide any of the ‘scars’ created over time. They merely add to the final outcome of a piece”.
Ian Chapman – Anger Management
Plunging us into the ocean depths is a large sea-green painting by Ian Chapman.
At first glance, the work simply depicts a brightly coloured floating buoy with a ball anchor. But, as is often the case with Chapman’s works, the title provides further insight. Discovering this work is called Anger Management spurs a closer look; might there be an angry little man - perhaps cooling off - inside that big bronze ball?
Roger Key – Deep Desire, Sea Rex! and Deep Space Wrestle-o-rama
A sense of humour is also evident in three oil paintings on canvas by Roger Key.
Deep Desire depicts an extraordinary romantic encounter underwater, while Sea Rex! just might make you think twice before deciding to dive for sunken treasure.
But the deep drama is not confined to the oceans, with a vigorous extraterrestrial tussle taking place in Deep Space Wrestle-o-rama.
Brett a’Court – Te Ua Anoints Kimble Bent (“You are a Maori now”)
Brett a’Court’s intriguing contribution to this month’s exhibition is Te Ua Anoints Kimble Bent ("You are a Maori Now").
This oil painting on prepared woollen blanket draws on an historical encounter between Kimble Bent - a soldier who deserted from the British Army in the New Zealand Wars, and lived among the Māori people - and Te Ua Haumēne, a Māori Prophet who welcomed Pākehā deserters, giving them his protection.
Te Ua met Bent, and anointed him by taking a potato from a basket, breaking it into two pieces, and giving one piece to Bent. Te Au told Bent to eat it saying, "You are tapu — your life is safe; no man may harm you now that you have eaten of my sacred food. You are a Māori now.”
Lee-Ann Dixon – Deep seated memory of childhood I & II
Two small paintings on canvas by Lee-Ann Dixon also reflect on the past, inspired by “deep seated memories of childhood”.
The effects of the years are evident in the chipped and broken appearance of the two vintage toys; the playthings of childhood now capable of bringing to mind the deep and suppressed memories of the past.
Angela Tier – Sacrifice, As the Sun Sets for Me (urn), and Caught in a Net (urn)
In addition to Angela Tier’s wall hung Albatross work, the artist is also exhibiting this month three stoneware works displayed in Perspex-covered plinths.
Sacrifice depicts a bird in woven wrappings, delicately balanced within a vessel. The work is a quiet reflection on the historic impact of the fishing industry on the Tāiko (Westland Black Petrel).
Tāiko shadow fishing boats - particularly tuna longlines and trawlers - looking for an easy meal from the waste, and have suffered high mortality rates due to becoming victims of bycatch.
Tier’s lament for Tāiko mortality is also depicted in the 25 cm high urn As the Sun Sets for Me.
On a positive note - in 2020, New Zealand introduced new regulations for tuna longline fishing, and funded a “Hookpod” device for 15 fishing fleets. By the end of the year, the boats using Hookpods celebrated zero bycatch, meaning no Tāiko (or other birds) were caught in their nets.
A second, taller black urn depicts the Little Black Shag (Kawau Tui). These birds are the only known species of shag to forage in flocks, so a net that is set, but left unattended, can potentially ensnare an entire feeding flock.
Tier’s Little Black Shag urn, titled Caught in a net, is a reminder of the risk to birds of setting fishing nets and leaving them unattended.
DEEP is on display until Sunday 25 February – gallery open hours are 11am to 3pm Thursday to Sunday each week
