Whale Prints Portfolio

This month we have some special new stock – A portfolio of prints made for and donated to the National Whale Centre project by Dick Frizzell, Greg O’Brien, John Walsh, John Pule and Michel Tuffery. They are available to purchase separately under their respective artist's listings or as a whole portfolio for $5000. 

The notion of a whale print series in support of the National Whale Centre, Picton, started in July 2012 after a discussion with a number of the artists who participated in the Kermadec — Nine Artists Explore the South Pacific exhibition in 2011 (Pew Environment Group). All five artists, including two associated with the Kermadec project, wholeheartedly endorsed the idea and over the succeeding months produced their prints with their favourite print workshops. Greg O’Brien and John Walsh worked with Michael Kempson, director of the Cicada Press at the UNSW College Of Fine Arts, Sydney. John Pule made his work with the assistance of Marian Maguire Of PaperGraphica in Christchurch and Dick Frizzell and Michel Tuffery worked with Donald James Tee and Glenn Richard Taylor at Artrite in Auckland.

In order:

Dick Frizzell – One for the Whales (2012)

John Pule – None but ourselves (2014)

John Walsh – He Whanaunga (2013)

Michel Tuffery – Tangaroa Sanctuary, Mana Island (2013)

Greg O’Brien – Raoul Island Whale Survey (2013)

May News

Special offer on Matthew Couper work

Paper-Works artist Matthew Couper is having a huge year. This month he's off to Puebla City, Mexico as an Artist in Residence at Arquetopia, an international award-winning, not-for-profit residency that supports the development of artists through artistic, cultural, and educational programs.

To help fund his time in Puebla, Matt's work is being offered with a 20% discount for the next few weeks. Check out his page on our website and come in and see his work in the gallery. Now is a great time to purchase a piece from this renowned artist who is doing great things internationally.


Sara McIntyre at Anna Miles Gallery

We're so pleased for photographer and Paper-Works artist Sara McIntyre who has a new show Observations of a Rural Nurse on at Anna Miles Gallery in Auckland from May 12 to June 10. Be sure to check it out if you're up there. If not, you can always visit us for some of Sara's gorgeous photographic work.


Piera McArthur: Love is in the air, says Aphrodite

On now at Auckland's Jonathan Grant Gallery, this new exhibition is up until May 21. Of course you can visit us for further examples of Piera's lively, timeless work.

Christmas Exhibition

Our Christmas Show is the perfect opportunity to get all your Christmas shopping done in one fell swoop! Choose from masses of artwork with prices ranging from $100 to $400.

Join us upstairs at 27 Tennyson Street in our gallery space for the preview on Friday the 27th of November at 5pm or if you can't be with us in person the exhibition will also kick off online at 5.00pm. The show closes at 3pm on 24 December.

Baxter As the Eternal Reader: Nigel Brown

Words by Nigel Brown

It is difficult to paint from a grounded meaning, and for me the search has been intuitive. Both my father and I were deeply influenced by James K Baxter (1926-1972).The experience of being read poetry ‘that handled ideas like bombs’ was a kind of conversion. For over forty years Baxter has appeared in my work as the immortal hairy man dispensing a poetic that might cure the world. While that sounds religious, it is also just the spiritual urge lurking in archetypes, in our organic indigenous cultures, and in the abandoned Romanticism before our Modernist immersion and climate changing technocracy.

I use text in my work and always value associations with poets. Of course, Baxter was much more than a poet; in his work social injustice and ‘love not much valued’ push you creatively away from mere aesthetics. However, whatever the more clumsy aspects of his personal ‘search,’ his crafting held it all together remarkably. Just as Baxter disembodies into the ‘poetic eternal’ – separating from the earthly specifics of a life – so too may a painter embrace the freedom to evolve symbols with expanding boundaries.

Even in times of confusing disconnectedness I believe simplicities can be found. This approach is not a matter of ‘finding’ priests and dogmas, but one of more involvement with the timeless human ‘situation’. So when people gather for a Baxter reading, the words spoken lead a basic tribal urge – they are the words of someone who has travelled mentally, a master of chant. They form an alarm that calls for less indifference and more sensitivity.

Seeing the Forest & the Trees: Konstantin Dimopolous

Words by Dr. Christina Lanzl

When conceptual and environmental artist Konstantin Dimopoulos moved to Melbourne, Australia, from New Zealand, he was struck by the abundance of trees in his new surroundings. With a population of 4.25 million, Melbourne boasts 70,000 trees, which cover 20 percent of the city—and city planners hope to increase that ratio to 40 percent. Besides being a beautiful sight, trees have an increasingly important role in this age of global warming; they trade carbon dioxide for oxygen, provide welcome shade, and bring nature into the city. Yet primordial forests globally have been reduced to just 30 percent of their original area, robbing the earth of these positive environmental impacts.

After setting up his Melbourne studio in 2003, Dimopoulos immersed himself in the subject of trees in the environment. His research led him to the insight that “we are creatures who like certainty. We become disconcerted at our local environment chang- ing. Yet it’s we as a species that have altered and destroyed much of the global environment.” Dimopoulos realized that public art would be the perfect means to connect with those who felt the way he did and to reach out to others in order to make an impact. Two years later, the artist launched Sacred Grove—The Blue Forest, Afforestation Art Action in his hometown. For this tempo- rary installation, Dimopoulos applied an environmentally safe, water-soluble pigment to the trunks and main branches of trees, preferring species with a smooth bark.

The artist chose the ultramarine blue colour because it does not naturally appear on trees: “Color is a powerful stimulant, a means of altering perception and defining space and time,” Dimopoulos says. “The fact that blue is a color that is not naturally identified with trees suggests to the viewer that something unusual, something out of the ordinary has happened. It becomes a magical transformation.” Since his initial project, Dimopoulos has re-created The Blue Trees on three continents in 10 cities, including Houston, London, Sacramento, and Vancouver. In each case, the project aims to intro- duce new audiences and stakeholders to the issue of deforestation around the world.

Dimopoulos’s “magical transformation” was particularly evident in Houston, where two large stands of 600 trees—the largest number so far—became a measure of success for community engagement. More than 200 volunteers, including the mayor, participated in painting them. Many thousands enjoyed The Blue Trees of Houston, where millions of city trees had been lost to the 2011 drought and the aftermath of Hurricane Ike. Houstonians took to the project even more than anticipated, according to Jonathon Glus, president and CEO of the Houston Arts Alliance. Many residents appropriated the project for their own purposes, including yoga classes, picnics, and photo shoots. “The Blue Trees gave us numerous opportunities to engage the com- munity in a meaningful social art action and the memory of The Blue Trees will stay with us for years to come,” Glus writes.

With one of the world’s largest urban forests, Sacramento, where The Blue Trees was staged in 2012, has made a name for itself as the “City of Trees.” The local urban forestry department presently manages 115,000 trees on public land; one of the city’s electric utilities and a nonprofit partner annually add 13,000 newly planted. The Blue Trees stands in the tradition of Joseph Beuys and his 7000 Oaks project as well as Christo and Jeanne-Claude, who real- ized a tree project for the Fondation Beyeler in Switzerland in 1998. By now, Dimopoulos considers the work his “legacy project,” both from an artistic standpoint and as a catalyst for his goal to protect forests and grow more trees. More broadly, The Blue Trees stands as a potent example of how public art projects can serve as a powerful tool in support of a cause. 

Colour and Conviction: Konstantin Dimopoulos

Words by Fiona Gruber & Michael Cathcart

Konstantin Dimopoulos is an artist who is passionate about global issues. His previous works have brought attention to various problems, from homelessness to deforestation, and he is currently planning to take on the British Government over its refusal to hand back the Parthenon marbles. Dimopoulos is a firm believer that art can change the world.

"I have long been fascinated with colour and light. These are part of my Greek Orthodox psyche, the enriched, vivid icons that line the inside of Greek churches counterbalanced with the humility of the home in which I was raised." - Konstantin Dimopoulos, 2015

With Mind At The End Of Its Tether, now showing at Fehily Contemporary, he continues his exploration of the social issues presented in his public art installation, The Purple Rain. The works juxtapose images and words relating to extreme poverty and social disadvantage with commercialism, represented by the saturated colour palette and painterly, fluid lines of electric neon tubes. Click here to listen to the artist's full interview on ABC Radio National Books & Arts.

More of Konstantin's work (pictured below) will also showing at the upcoming exhibition, Remix: Objects & Sculptures. The exhibition is being held at the Conny Dietzschold Gallery in Sydney from the 16th July - 4th of August. Other artists showing at this exhibition include Robert Barnstone, Victor Bonato, Franz Ermann, Dieter Kraenzlein, Katie Lee, Peter Nowotny, Joerg Plickat & Reiner Seliger. The private viewing for this exhibition is being held on the 15th of July from 6-8pm, if you are interested in attending send an email through to info@connydietzscholdgallery.com before the 13th of July.