Also featured is the Australia/New Zealand Travelling Tapestry Exhibition. This is a yearly challenge for tapestry weavers in both countries. This year the chosen title is 'Flight'.
For more information visit the Taranaki Arts Trail website.
The Stratford Art Society has more than 150 members from throughout Taranaki and further afield with a vast range of skills and artistic styles. Their exhibitions include paintings, sculptures, photography, crafts, pottery, textiles and more. They have a large collection of work that resonates with a wide audience. The Stratford Art Society upholds a reputation for interesting and diverse work, featuring commendable skill sets. The exhibitions are organic in nature and a testament to the dynamic local art scene.
The 18th International Collage Exchange, is a worldwide project co-ordinated by Taranaki artist Dale Copeland. Every year collage artists from around the world send a package containing thirteen collages to Dale's Puniho home studio, Taranaki. One collage from each artist is offered for sale, both online and in the Gallery, and another one becomes part of a collection which is donated to an art institute somewhere in the world. The other 11 (or 12, if theirs doesn't sell) are sent in mixed packs back to the artists.
18 December – 31 January 2016
Edith's artistic training began while a student at Wanganui Technical College in 1903, where she studied under Denis Seaward. Further encouragement came from local artist Herbert Ivan Babbage, a neighbour of the Collier family, who encouraged the artist to continue her training overseas. In 1912, at the age of 27, Edith Collier joined a number of enthusiastic young New Zealand artists of the time and left for England to become an expatriate.
This situation was possibly due to Edith Collier's modest and retiring nature and dedication to her family. Apart from a productive period in 1927 when Collier spent time at Kawhia she all but put her training aside, with the exception of a few spasmodic efforts.
In her last 25 years, until her death in 1964, she had ceased to paint altogether.
Home lands | Oakland is a collection that was grown out of time Milarky spent in Oakland - in areas not advised to go to - through observation and interaction. While there, Milarky was based in a small studio/garage where he kept his paint and parked his truck. This collection was researched and created while he was living in his truck.
Milarky gathered signs from locations all over Oakland, places he learned as being strategically good for street askers. This collection was inspired by the Homeless of Oakland, and the materials are a collaboration between conversations and trading of what was tradable.
Milarky added his members, which are derived from the signs' previous owners.
Deep in the heart of King Country, at the end of 40 kilometres of winding gravel roads, is Ohura. New Plymouth photographer Tony Carter found himself there one day and became fascinated by the people from this small, isolated rural community. Another World: Portraits from Ohura is the result of 30 visits to Ohura over the following year.
Tony Carter's website
6 February – 1 March 2015A life-size installation of an office cubicle, all carved from wood, even down to the drawing pins in the wall, based on Mr Anderson's cubicle in the iconic movie 'The Matrix'. The installation gives the impression that you have stumbled into someone's personal office space, not sure if you should enter, but drawn in nonetheless. It reveals the stilted 9 – 5 world of the white-collar worker whose daily reality and relationships are through the latent objects of communication.
This work was created during Hayward's artist's residency at the Rita Angus Cottage in 2012.
Developed as part of Te Papa's domestic touring programme the exhibition features screen prints and paintings alongside preparatory studies and illustrations, and gives an insight into Walters' approach not only as a painter and printmaker, but as a graphic designer.
Also included are examples of Walters' graphic design, including covers for Te Ao Hou magazine from the 1960s, and his enduring work on the New Zealand Film Commission logo from 1979, which is still in use today.