Previous Exhibitions

For the summer months December 2017 and January 2018, ZIMMERMAN is exhibiting a selection of small works by a number of different artists represented by the gallery.   

All things small and wonderful

A few months ago, ZIMMERMAN asked each of its artists to consider creating work for a “small things” summer exhibition.

The question “how small is small?” was left to each artist to determine, and a number of ZIMMERMAN artists approached the challenge with enthusiasm and vigour.

A few artists discovered they had “just the thing” already in their studio, while others were spurred to begin completely new projects for this exhibition.

The result is an eclectic collection of stunning works in a variety of different media, including works created using porcelain, bronze, steel, glass, wood, canvas, paper and silk.

Titled All things small and wonderful, the exhibited works will change over the course of the exhibition: as some of these works are taken away, new small works (including works by other artists) will be added in their place.

The changing face of this exhibition, and the number of small works featured, makes it tricky to show you all the works that form part of this evolving exhibition - so featured here are just a few images of some of the works included in this exhibition.

Selected images:

o   Light bulb, Cam Munroe, hand painted porcelain

o   A beautiful destruction # 8, Fran Dibble, cast patinated bronze

o   tinysmearandcatch, Rebecca Wallis, acrylic + acrylic medium + GAC 100 on unprimed cotton

o   Misosgi-harai #1, #2 and #3, Naga Tsutsumi, acrylic on canvas

o   Cosmic Landscape: Nebulae and Pulsar, Sebastien Jaunas, steel and mixed media

o   Pomp and Circumstance, Tony Rumball, drawing on watercolour paper

Exhibition runs from 1 December 2017 until 31 January 2018.


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For the month of November 2017, ZIMMERMAN is featuring new paintings by Taranaki artist Tony Rumball.   

Tony Rumball: selected new works

This month’s exhibition is large scale and full of colour. 


Tony Rumball spontaneously approaches each canvas, first broadly sketching in charcoal or ink, then applying undiluted oil paint with a palette knife. The result is a multi-layered impasto texture, where rich warm tones jostle against cool blues, and big gentle figures emerge from a blizzard of paint. 


Rumball’s works focus on the incidents and accidents of everyday life: from the stiff-bodied determinedness of the stout figure in Blue in the Face, to the look of surprise a farmer exchanges with his dog in A Misunderstanding.   


Snapshots of human mood and expression, the paintings typically appear off-beat and humorous, yet hints of something deeper and darker also swirl within the psychological mix. 


The exhibition of Tony Rumball’s new works runs from 1 to 30 November 2017. 


Tony Rumball – brief artist bio 

Born in 1943, for more than 30 years Tony Rumball has painted with an art group founded in Stratford by the late Tom Kriesler. 


Many of Rumball’s works are begun at these weekly Stratford painting sessions, then completed at the artist’s home studio in New Plymouth.


A regular exhibitor in Taranaki, Rumball’s work is frequently exhibited at Stratford’s Percy Thomson Gallery, as well as featuring in selected group shows in New Zealand and Paris. 


Rumball has exhibited with ZIMMERMAN in Palmerston North since 2010.

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For the month of October 2017, ZIMMERMAN is featuring From her perspective - new works by Whanganui-based artist Katherine Claypole.   

By way of artist's statement for this exhibition, the artist has supplied the following excerpt from Margaret Atwood's novel, The Handmaid's Tale:


"What I need is perspective. The illusion of depth, created by a frame, the arrangement of shapes on a flat surface. Perspective is necessary. Otherwise there are only two dimensions. Otherwise you live with your face squashed up against a wall, everything a huge foreground, of details, close-ups, hairs, the weave of the bed sheet, the molecules of the face. Your own skin like a map, a diagram of futility, crisscrossed with tiny roads that lead nowhere. Otherwise you live in the moment. Which is not where I want to be.”


The works in this exhibition play with spatial relationships, cleverly juxtaposing collage with hand stitched forms.


Vaguely nostalgic imagery is combined with futuristic forms, associating memory and the familiar with the uncertainty of the new and unknown.


Drawing foremost on the artist’s skills in drawing and design, Claypole’s work also requires considerable technical dexterity, time and determination to complete.


Katherine Claypole – brief artist bio

Born in Hawkes Bay, Claypole holds a Master of Fine Arts from Canterbury University School of Fine Arts (Christchurch) and a Bachelor of Design from Unitec Institute of Technology School of Architecture and Design (Auckland).


After seven years of lecturing in drawing at Whanganui UCOL, Claypole recently left teaching to pursue a full time career as an artist.


In addition to solo exhibitions in Christchurch, Auckland and Whanganui, Claypole has also participated in a number of group exhibitions and award shows.


In 2011, Claypole was the winner of the Carey Smith & Co Whanganui Art Award at Sarjeant Gallery. Earlier this year, one of Claypole’s hand stitched thread drawing and collage works was selected as a finalist in the Parkin Drawing Prize, New Zealand’s premier drawing award.


Claypole’s works are held in art collections across the country, including four works owned by the James Wallace Arts Trust.

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For the month of September 2017, ZIMMERMAN is featuring Shape Shift - new paintings by Wellington-based artist Cam Munroe.   

Cam Munroe: Shape Shift

Cam Munroe’s “shape shift” works take the form of 10 paintings on 200 mm round panels. 

The works play with space, form and dimension; an assemblage of carefully crafted geometric shapes, meticulously mapped and marked out in finely painted white rows, contained within dark circular bases.  

“This most recent work reflects my continuing interest in the workings of the mind. For example the power of thought to alter one's mood or outlook of a moment in time. These paintings offer a type of 'flip book animation' of sorts; a snap shot of forms from one form to another.”  

Picking up and extending the aesthetic of these small “shape shift” works are five large paintings on canvas. 

The large works, while employing similar tones and techniques to the circular panels, introduce the idea of palisades: fence-like structures, suggestive of containment, fortification and enclosure.  

“Previously I have dealt with large black paintings that used a more grid like approach. I am hoping these works that allow more open space around the canvas to take this into further maturation. Painting with white ink on a textured substrate has been integral to the work, in doing this forcing my mind and hand to slow down and benefiting each finished composition.”  

The exhibition of Cam Munroe’s new paintings at ZIMMERMAN runs from 1 to 30 September 2017.  

Cam Munroe – brief artist bio

Born in Melbourne in 1972, Cam Munroe is a graduate of the Meadowbank School of Art and Design in Sydney. In 1994, Munroe moved to New Zealand, and established her home and studio in Wellington.  

Munroe has a solid exhibition history, extending over more than two decades. The artist has been represented by ZIMMERMAN since her first solo exhibition at the gallery in 2010.  

Munroe’s art practice initially focused on painting, with wood, canvas, cardboard and aluminium all employed as bases on which the artist marked out her unique pictorial language.  

Characteristically comprising a collection of curious objects and cryptic symbols, the artist’s paintings frequently assume a grid-like arrangement, in which strange and mysterious forms are captured, collated and contained. Munroe’s current series of paintings expands upon this former body of work, featuring new forms that transcend the faintly marked and disintegrating gridlines that lie beneath. 

In recent years, the artist has extended her media of choice to include ceramics. This new media has provided Munroe with a means of translating her pictorial language into three-dimensional form. 

In 2015, a ceramic composition by Munroe was slected as a finalist in the Parkin Drawing Prize, New Zealand’s most prestigious drawing award. In 2016, Munroe took out the Premier Award at Ceramicus in Wellington, confirming the artist’s successful adoption of this new media.



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For the month of August 2017, ZIMMERMAN is featuring 10 new paintings by 20 year old Paige Williams.  


Paige Williams is fascinated by “the weird and interesting”. 

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

In this month’s show, the featured creatures are an eclectic collection of the furry, feathered, six-legged and amphibian. 

A bunny shyly peeks out from behind a stylised Japanese mask; the innocent young rabbit who really wants to be a fox. 

In a counterpoised work, a keen-eyed fox has donned the face of a rabbit. Does the fox really wish to be a bunny … or is this a clever confidence trick, to charm an unsuspecting prey? 

While the rabbit and fox wear masks, in another painting it is the mask that wears the creatures. An ancient Balinese mask, lost or abandoned by its human actors, provides a gathering place for a congregation of praying mantises.  

In A Pack of Mice, a mischief of mice have discovered their own curious place in which to play, a lively game of hide and seek taking place in an alpaca’s fur. The soft-eyed alpaca appears unperturbed by the flurry of activity around her head, or by the untamed flora sprouting from her dainty collar. 

Another creature apparently at ease with his unusual circumstances is a bug-eyed green frog. His characteristic camouflage colours are dotted with bright patches of purple, red, orange and blue, topped off with a playful hat. Look more closely and you will see that this patchwork frog appears to already have found an appreciative audience for his quirky appearance - the transparent bubbles floating about his head are host to numerous small fish, perhaps transfixed by this unique character’s queer and colourful look. 

Meanwhile, as if portraying some bizarre magician’s trick, Cat-tea features a cat’s face emerging from a cup and saucer. 

A giant brown-eyed blue gecko makes a dramatic appearance; emerging larger-than-life from an imagined forest, she patiently bears an assortment of smaller lizards on her head. 

In the midst of this cast of the cute, the creeping and the curious, a stoic white stag enters the frame, droplets of morning dew falling from his mossy antlers. 

Droplets also feature in Fungi Frog, in which a plump green frog sits atop a toadstool. Glistening water drops adhere like limpets to his froggy skin, while an escargatoire of snails slide across his slippery surfaces. 

More delicately poised, in Humming Berry, a hummingbird perches on a lush red strawberry, balancing a perfect water bubble on her beak. 

This is the artist’s second solo exhibition at ZIMMERMAN. 

Exhibition runs from 1 to 31 August 2017

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For the month of July 2017, ZIMMERMAN is featuring Bloom - new paintings by Elspeth Shannon. This is the artist's seventh solo exhibition at ZIMMERMAN.

Elspeth Shannon: Bloom

The works in this exhibition spring from the artist’s continued exploration of the process of painting, in which works are begun with no initial idea or subject matter in mind.


“For my last exhibition, in November 2016, I made a conscious decision to forgo my former painting process in search of a new language. Without the familiar focus of an object, I’ve been forced to intuitively feel my way forward. Like a game of chess, every mark making helps dictate the next move.  A sequence that is as enervating as it is challenging.”


From the artist’s first free applications of paint an underlying order starts to emerge, and the works begin to suggest a variety of organic forms. 


Softly emerging shapes, suggestive of petals, leaves and fruit, bunch and spread across the artist’s canvases, a virtual harvest of peach, grape, orange and avocado tones.


In some paintings the forms appear suspended mid-air, frozen moments caught on canvas; in other works, colour spreads fluidly outward from ovoid bases, like untamed living bouquets.


This is the artist’s seventh solo exhibition at ZIMMERMAN.


Elspeth Shannon holds a Bachelor of Fine Arts (Hons) from Massey University, Wellington


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For the month of June 2017, ZIMMERMAN presents The Otherness of Ourselves: paintings by Rebecca Wallis. This is the artist's third solo exhibition at ZIMMERMAN.

Rebecca Wallis: The Otherness of Ourselves

Rebecca Wallis seeks to make associations between the corporeal (the body) and the painterly (paint and the painting).


Paint seeps, leaps and spills across the artist’s canvases, spawning forms at once fleshly, fluid and alive.


The artist, noted for her mastery in working with gouache, has achieved unexpectedly soft and seductive painterly effects in this latest body of work, begun in 2015 and completed this year.


The result is a series of paintings that are simultaneously fascinating and disconcerting, evoking in the viewer a “push and pull” response of both curiosity and unease.


Wallis’ paintings also reference “the abject, through ideas of the Other, seen as displacement (that which is out of place)."


"The Otherness in these works is something that at one time belongs to us, is part of us and our autonomy. When it escapes, or separates itself away, it becomes something Other; foreign alien, unfamiliar, and threatening because of this.” 


The paintings give physical form to internal realms, with emotion and instinct played against logic and the external world.


Brief artist bio


Born in the UK in 1964, Rebecca Wallis has lived and practised between London and Auckland since completing her first Fine Arts qualifications in 1988. In 1995, Wallis attained a Masters in Visual Arts from Goldsmiths College of Art in London.


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


In 2017, Wallis’ work was a finalist in the Aesthetica Art Prize (UK).


Wallis is also a regular finalist in the prestigious Wallace Art Awards (2015, 2014, 2009 and 2008).


In 2015, Wallis enjoyed a sell-out show at Art Taipei (Taiwan). As a result, she was invited to exhibit at Asia Contemporary 2016 (Hong Kong).


Wallis’ paintings are held in a number of important national art collections, including the James Wallace Arts Trust and the Walker & Hall collection. Local institutions holding art works by Wallis include Te Manawa (Museum of Art, Science & History) and Massey University.  


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For the month of May 2017, ZIMMERMAN is exhibiting the works of Palmerston North’s powerhouse creative couple, Fran and Paul Dibble. With a longstanding foothold in the Manawatu, this month’s exhibition is the latest of several exhibitions the husband and wife team have held at ZIMMERMAN since 2011.

Fran Dibble – Strange Fruit

Fran Dibble’s paintings occupy the walls in a new series the artist calls “Strange Fruit”.

The paintings are an unusual cross of realistic still life works with abstracted elements, each of similar importance, so we are unsure whether the fruit is nestled into an abstract back drop or whether the abstract elements are puncturing a more traditional scene.

This conveys the oddity of the world of illusions we live amongst where solid ordinary things are made up of empty space – particles within, moving with their own odd physics of behaviour, or gravity pulling objects to ground.

They are intentional play-offs of static objects with volume against the light airy movements of the unseen.

Paul Dibble – Once There Were Huia

Paul Dibble’s sculptures occupy the three dimensions, with a menagerie of celebratory animals promenading the gallery.

A collection of his rabbits gather in one grouping, turning-the-tails on their human exterminators, either wielding shotguns themselves or just smugly strolling the grounds.

The sculptor’s trademark creations of huia (Palmerston North’s natural icon, with its last siting in the Tararuas) either perch against golden kowhai or tower outside the gallery on a leafed Corten stand, surveying passers-by.

The central work The Last Huia (1907) is more solemn, immortalising the bird in flames, burning like the Phoenix, in recognition of its demise.

Brief artist biographies

Fran Dibble 

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. 

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.

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


Paul Dibble 

Paul Dibble is a well-known sculptor, both nationally and abroad, with his significant work for the New Zealand Memorial at Hyde Park Corner in London receiving high acclaim.

Born in 1943, Paul studied at Elam School of Fine Arts in Auckland, and graduated with a BFA Honours in Sculpture.

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 national and international Art Fairs. He is represented by leading galleries in New Zealand and Australia, and has produced a number of significant commissions – most recently, a large sculptural work unveiled at University of Otago in November 2016.

Paul was awarded a New Zealand Order of Merit in 2004, an Honorary Doctorate in Visual Arts from Massey University in 2007, and an Honorary Fellowship from Universal College of Learning in 2012.

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For the month of April 2017, ZIMMERMAN is featuring Between Shadows, new works by Kate Elder.

Artist’s Statement 

“My work generally deals with the notion of landscapes, the preoccupation we have for controlling our environments, and what happens when our natural and constructed worlds collide.

Each work is a combination of positive forms, negative cut-outs, painted surface and shadows. 

Through lighting positive and negative spaces, the presence of the forms and objects extend much further than their physical boundaries.

Some shadows are painted – the imprint of a different time or place – others are current and are subject to change, or can disappear completely.”

Artist info

Born in Wellington in 1980, Kate Elder has a Bachelor of Fine Arts (Sculpture) from Dunedin School of Art.

After two years studying cabinet making in Madrid, Elder returned to New Zealand, and now lives and works on the Kapiti Coast.

“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.”

Winner of the top award at the 2015 Mahara Gallery Arts Review, more recently Elder’s work was selected as a finalist in the Wellington Regional Arts Review (2016) and the Waiheke Community Art Gallery Small Sculpture Prize (2017).

“Working in 3D, I’m conscious of the role that the viewer can play in ‘animating’ an artwork. A viewer moving around a work can experience the dynamic quality of a sculpture, appreciating the changes that can occur from different viewpoints, and gradually making sense of the work through this movement.”

Elder’s works are held in private collections in New Zealand, Australia and Spain.

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For the month of March 2017, ZIMMERMAN is featuring the works of Wellington based artist, Lorraine Rastorfer

Comprising a selection of paintings from the artist’s recent solo exhibition at Pataka Art + Museum, this is the artist’s first exhibition at ZIMMERMAN.  


Rastorfer’s large abstract paintings are evocative of golden flax strands and silver ribbons, as if twisting, turning and floating in the breeze.


Iridescent lines of colour curl and intertwine across deep monochromatic surfaces, each painting possessing “its own pace and rhythm, with some containing a frenetic sense of energy and movement and others unfurling slowly and leisurely.”(1)  


Each painterly comb and flourish across the surface contributes to the pattern, depth and balance of the completed work.


“Rastorfer looks for the dynamics within the paint medium, investigating the same process over and over again with small graduated differences exploring the permutations of possibility and chance ... For her each painting is the emergent variation of the one that preceded it. The same tools and techniques are applied to each work. What differs is the colour and the gesture, the way the paint responds, the tonal variations, the texture.”(2)


“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.”  - Lorraine Rastorfer


(1) Review by Laura Elliott - published in Art Seen, Otago Daily Times, November 2015
(2) Essay by Jacquie Clarke - published in connection with Rastorfer’s Meshworks exhibition at The New Dowse, December 2007 to March 2008


Artist's bio


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). 


Rastorfer is a regular exhibitor, with recent solo exhibitions at Pataka Art + Museum (2015 and 2016), and five solo exhibitions at Milford Galleries in 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 Rastorfer 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.

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For the month of February 2017, ZIMMERMAN is exhibiting new paintings by Naga Tsutsumi. 

This month's exhibition comprises two distinct series, both begun by the artist last year.

The works in the first series, Perspective, explore the artist’s reflections on the sensory rituals of a pre-digital world. "Do I miss awe and excitement of placing the needle on the turntable, pushing the play button on the cassette player, opening the book and turning pages?”

The works in the second series, Possession, are the product of the artist seeking to set aside adult rationality, to paint intuitively and unselfconsciously, “as children do.” 

Naga Tsutsumi: Artist’s Statement 


“It was not long ago that music and books became available as digital data. 

I use iPod and Kindle every day, because they are accessible and convenient. 

But these digital devices don’t have the same excitement as turning the very first page of a printed book, or placing a needle on a record.  

Books, music, photographs … as digitalisation progresses, part of the sensory experience of each book, song and photo is lost. The weight of a book, the smell and texture of its papers, the typeset letters with their specifically selected fonts. The record disc inserted in a paper jacket with its own cover artwork design, the smell of the vinyl, the sound of a needle touching down. Pushing down the play/rec buttons on a cassette player, using the shutter button on a manual camera, dialling an old phone, or tuning into a radio station by turning the knob ... all physical actions that engage our senses to create an “experience". 

Reading books and listening to music used to be such precious moments for me. So I feel relieved to see people still reading printed books, or listening to music with analogue players. 

I like that painting is still a physical activity, one that has not been replaced by a 0/1 (binary) format or automated system. 

Painting is an accumulation of human mistakes toward perfection, showing a history of thinking and decision making, frustrations and joys, all at the same time.” 


“This series is simply about painting what I want to paint. 

It is inspired by my daughter's drawing, and my ongoing suspicion about art making.  

Children, before receiving art education at school, are pure picture makers without theories and knowledge. 

Children draw whatever they like. Lines and colours are so bold and decisive. We can't retrieve this natural creativity after losing it (just like boys' soprano). 

I try to interact with my daughter as much as possible when she draws. 

When we collaborate, I observe how she draws and chooses colours, from which I can learn a lot. 

Nobody compels me to paint, so I am supposed to be free to paint however I wish. 

But what I was told by art school professors has become not just a useful foundation, but is also a spell, which keeps me from being a truly free painter. 

To cast off this spell, in this series of paintings I have reintroduced candy colours and free spontaneous strokes on the canvas, something I haven’t done for 25 years. 

I used to believe the statements of modern masters that "art is a weapon" and "art is not a decoration on the wall".  

But I have to conclude, as far as I paint, my paintings are not a weapon - and I am grateful if one of my works is hung in someone's living room, after all.” 

Brief artist’s bio  

Born in Japan in 1967, Naga Tsutsumi has lived in Palmerston North for more than a decade. 

From a samurai line, 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, armour 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.” 

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

This month marks the artist’s fourth solo exhibition at ZIMMERMAN.


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From December 2016 to January 2017, ZIMMERMAN is featuring @newnormal - ceramic works by Kirsty Gardiner.  

Kirsty Gardiner: Artist’s Statement

@newnormal is inspired by my fascination with the “@” symbol and a desire to create a new history. 

The “@” symbol originated during medieval times, used by monks who copied manuscripts by hand. 

The preposition “at” in Latin became “@” to make writing faster. This medieval relic is at the heart of our online lives. 

It is a reminder of the past, the present, and the continual desire to create ever expanding markets for tangible and intangible products, labelled “new”. 

Imagine looking into your mind's eye and finding nothing. Waiting for something to return, still nothing … then creating a new normal. A new imagined history, evoking a dialogue between the imagined creatures and the space they inhabit. 

Brief artist’s bio

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

Gardiner’s works have been selected multiple times for The Portage Ceramic Awards, New Zealand’s most prestigious ceramics prize. In 2016 Gardiner’s work received an Honourable Mention at the Portage Awards, and in 2010 Gardiner’s work secured the Premier Award.

Gardiner’s work has also twice been selected for the James Wallace Art Awards, and in 2013 Gardiner was the winner of the Friends of Aratoi Award.

A regular exhibitor since 1997, Gardiner’s exhibition Portmanteau: A Cabinet of Curiosities, was shown in 2012 at Aratoi, and in 2013 at Te Manawa Museum of Art, Science and History.

Installations of Gardiner's ceramic huia skins have featured in a number of public exhibitions, including at Aratoi (Masterton), Expressions (Upper Hutt), Shapeshifter (a biennial sculpture exhibition curated by The Dowse in Lower Hutt), Te Manawa (Palmerston North) and as one of the finalists in the 2016 Molly Morpeth Canaday Awards 3D (Whakatane).


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For the month of November 2016, ZIMMERMAN is exhibiting a new body of work by painter Elspeth Shannon. 

Elspeth Shannon: Artist’s Statement

“This latest body of work deliberately plays with the slippage between representation and figuration. 

Paintings begin 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 it’s around here that the painting may start to suggest forms of plants or animals. 

It’s as though I’m constantly altering and adjusting the visual framework of some invisible reality. 

Painting is very much about the process with the image being secondary to the making.  Eventually the feeling of visual anxiety is gone and the work is done. 

Unlike most of my previous work, each painting is completed with no initial idea or subject matter in mind. I celebrate the varied interpretation this process allows. 

It’s an exciting ‘white knuckle ride’ that is challenging yet ultimately rewarding.” 

* Elspeth Shannon holds a Bachelor of Fine Arts (Hons) from Massey University, Wellington.  

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For the month of October 2016, ZIMMERMAN is exhibiting a series of paintings by 19 year old Auckland artist, Paige Williams.

A surreal animal painter, Paige is fascinated by “the weird and interesting.” 

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

Having commenced studies toward a career in gaming, earlier this year 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.” 

The artist exhibited several works in this year’s Royal Easter Show in Auckland, and was subsequently profiled in the Youth Page of The New Zealand Artist Magazine (May/June 2016). 

This month’s show at ZIMMERMAN is Paige’s first solo exhibition. 

The show sports a cast of quirky characters; from the charming young “Bat”, standing stiffly upright for his portrait, to the matronly “Hen”, primly wrapped in a high-necked tartan shawl. 

Also featured are several paintings in which predator meets prey. The largest of these is the unsettling “Truce”, in which wolf and rabbit meet amongst the charred remains of a still smouldering forest. 

More playful works portray fish, floating in bubbles, unexpectedly coming eye to eye with beady-eyed birds; a delightful dream or a paralysing nightmare, depending whose perspective you choose ... 

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For the month of September 2016, ZIMMERMAN is featuring a new series of oil paintings on vintage ware by Nelson-based artist, Lee-Ann Dixon.

Birds, moths, crockery and animal skulls all feature in Lee-Ann’s works - precious studies that portray moments in time, paying tribute to transience. 

A regular art show participant, in 2016 Lee-Ann’s works were featured in exhibitions in Auckland, Taranaki, Palmerston North, Wellington, Nelson, Christchurch and Queenstown.

 Lee-Ann holds a Visual Arts Diploma (1998), and Bachelor of Visual Arts (2005) from Nelson Marlborough Institute of Technology. 


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For the month of August 2016, ZIMMERMAN is featuring selected works from A Beautiful Destruction - your last opportunity to view the stunning sculptural installation and paintings that first featured in Fran Dibble’s 2016 exhibition at Te Manawa. 


Artist’s commentary … on the inspiration for this exhibition: 

“Two artists from entirely different realms were part of the springboard for this exhibition. The first is WM Turner (1775-1851), a painter who emphasised the destructive power of nature as a way of playing up human vulnerability. His depictions of natural catastrophes emphasised this – the violent power of the sea, shipwrecks and fires. And the spectacular sunset paintings, many produced in 1816, the “year without a summer” when high levels of ash were released into the atmosphere from the eruption of Mount Tambora. In Turner’s highly romanticized world nature triumphed with its beauty and the power it exerted. 

The other influence is a contemporary artist, Adrian Villar Rojas (1980-) from Argentina, whose work I viewed at an exhibition in Stockholm. Rojas intentionally selects media for its temporary qualities, relishing the way the materials break down while being exhibited. 

On this same trip through Scandinavia I visited the Råbjerg Mile, northern Europe’s biggest migratory sand dune that travels about 15 metres a year, several kilometres from the coast, a peculiar phenomenon, like a strange desert in the middle of farmland which it moves around destroying. 

This exhibition, A Beautiful Destruction, seeks to convey a sense of the awe and beauty of nature, nature that may destroy but which creates a moving aesthetic spectacle, one that is dynamic and changing.” 

Artist's commentary … on the central sculptural installation 

“The installation, as the centrepiece of the exhibition and sharing its title, uses plaster structures, poured in roughly constructed boxing and sometimes layered with dye, with bronze shapes to create playful combinations. They are fragmented and eroded, or with vague striations as if the result of geographical sedimentations. 

The bronze features are of an intended disparity; some look as if they could be seaweeds clinging to rocks or washed up, spiky urchins, ferns that grow out of rubble and elliptical plates, reminiscent of red blood cells, our bodies’ great repairers, scattered. 

The installation describes not just the beauty of the barren, but a belief in regeneration and regrowth.” 

Artist's commentary ... on recurrence of water, drops and dots 

“Water has been a recurrent theme in the paintings. The interest is partly how it takes such diverse forms, making up oceans and rivers, clouds in skies. 

Water is often illustrated as a logo, not how water looks when it falls (Edgerton’s famous photographs of milk drops proved this), but a stylised droplet we use as abbreviation. 

In several of the paintings small dots are applied, in sections, or positioned as random forms above the horizon. 

Floating dots have been a personal icon for over a decade. They create an aesthetic surface, and vaguely symbolise giant planets in space or small electrons within particles. 

In some sense, the floating dots imply a world apart from the world we encounter - forms that we sense as solid are still actually full of space and movement.” 

The exhibition of Fran Dibble’s sculptural installation and paintings runs at ZIMMERMAN from 1 to 31 August 2016  

Fran Dibble - brief artist bio 

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. The artist’s interest in these disciplines informs her artistic practice, encompassing both painting and bronze casting. 

Fran 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. 

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

Fran lives and works in Palmerston North with her husband, bronze sculptor Dr Paul Dibble


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For the month of July 2016, ZIMMERMAN is featuring a selection of mixed media sculptures by French-born artist, Sebastien Jaunas. 


Sebastien Jaunas - background 

“At a young age I worked with and dismantled objects, to reshape them into different forms. In Paris, I recycled objects from the street and made furniture. 

After arriving in New Zealand 10 years ago, I was inspired by the landscape, driftwood, bones and shell, to sculpt wood into organic shapes.” 

Following recent studies in “Hot Arts” at The Learning Connexion, School of Creativity and Art, Sebastien now also enjoys working with forged steel, glass casting and bronze.    

The sculptor cites amongst his artistic influences the work of Barbara Hepworth and Henry Moore (for their organic inspiration), Albert Paley and Peter Mattila (for their steel work) and Giacometti (for the texture of his bronze sculpture. 

Brief artist bio

Born in France in 1975, Sebastien moved to New Zealand 10 years ago. 

A qualified electrician and gas fitter in France, Sebastien describes his current career as “a full time artist and parent”.  

After receiving the Learning Connexion’s Oriel Hoskins Scholarship from 2013-2015, Sebastien graduated in 2015 with a Diploma of Art and Creativity. 

Last month, one of Sebastien’s large sculptural works was selected as a finalist for the Signature Piece Art Award at the New Zealand Art Show 2016. 

Sebastien lives in Paekakariki with his wife and daughter.


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For the month of June 2016, Zimmerman Art Gallery is featuring selected paintings from Rebecca Wallis’ new Scratchings series. Among the works featured is armswipe, a touring finalist in the recent Wallace Art Awards.




Artist’s commentary: Scratchings series

“In constructing these works I’ve considered a formal equality where each and every part of the painting is visually acknowledged, where the unseen becomes seen. 

The works refer to ideas about the accident or incident from which stems their titles - an acknowledgement of the process of the making itself.
They can be seen as a documentation of accidents, those moments that are unaccounted for, those gaps between intention and purposefulness that happen naturally no matter how much control we attempt to maintain within the practice as an artist.

Unlike traditional paintings, the back, sides, stretcher bars, edges and front - as well as every point of the creative act from start to finish - are equally significant and integral to appreciating the work as a whole.

Everything is equal, nothing is prioritised, no moment is ignored.”

Rebecca Wallis – brief artist bio

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

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:

- Wallace Art Awards (2015, 2014, 2009, 2008)
- Painting and Printmaking Art Awards (2012, 2009)
- National Contemporary Art Awards (2011)

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

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Fran Dibble – artist’s statement

“Three strands of art practice are represented at Zimmerman in the month of May 2016.

The book works sprang from not just a love of reading but from a love of the objects themselves – the bindings and typeface, linen covers, the pictures, even the thickness of the paper and their own particular smell – none of which is present in the poor substitute of electronic versions. Using vintage books with small bronze modelling added onto their tops I began to create these small tributes. This way of working had the added interest of being driven in direction by the ‘find’.

Later I began to make my own bronze books, some copies of real ones (eg; “A Short History of the English People Vol IV”), the inspired book deemed too beautiful to relinquish, or else I entirely make them up. This enables more complex narrative to be presented.

In Vanitas the odd collection of books shows how death has been an ongoing preoccupation, with books as different as catalogues on historic and contemporary artwork sharing the pile with one of the most famous of self-help books “On Death and Dying” by Elizabeth Kubler-Ross. Picasso Flowers uses a rough copy of one of Picasso’s vase and flower sculptures from the 1950s haphazardly placed on the artist’s biography. They are casually positioned the way things are stacked and muddled in domestic environments.

The paintings in this show are overspill from the Te Manawa exhibition “A Beautiful Destruction” - part of the same series, some are early examples in the development of the show. They depict moody skies over seas positioned against more abstract panels, enjoying the spectacle of nature in all its fury and splendour.

The last strand are watercolours that represent a more intimate leisurely artistic study, the works often painted in the evenings away from the artist’s studio – coffee table as working bench, the living room floor as viewing space.  Subjects chosen in these watercolour works are often an excuse to lay down brushstrokes and play with colour. Here they are examples that are not landscapes but pieces of gardens; cropped squares in what we imagine might be a never ending jungle, for these aren’t formal arrays but gardens grown in a more disorderly fashion. Likewise the paintwork is not overly particular about accuracy, but intentionally free and exploratory.”

Fran Dibble - brief artist's bio

Fran Dibble holds a BSc in Biochemistry and Botany, a MSc (Hons) in Biochemistry and a BA in Philosophy.

In 2007 Dibble was awarded the Queen’s Service Medal for services to art, and in 2011 was awarded a fellowship at Palmerston North’s UCOL (Universal College of Education).

Fran Dibble lives and works in Palmerston North with her husband, bronze sculptor Dr Paul Dibble.



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