Pomegranate

MICHAELA STONEMAN


Cyanotype—$260 each , $500 set


     


Poppy

MICHAELA STONEMAN


Cyanotype—$260 each , $500 set

Humans have a curious and far-reaching relationship with plants, with strands of meaning and connection threaded throughout history.

In the Victorian era, flowers were used to deliver messages, offering a complex language to communicate intimate or malevolent sentiments. They allowed people to express feelings which otherwise could not be spoken.

Our mutually beneficial relationship with the plant kingdom is conscious and endless.


     

The gallery closed for exhibition changeover

We're busily preparing the space for our upcoming exhibitions. Please join us for the openings of 

TOWN AND COUNTRY STITCHED
Manawatu, Whanganui, Taranaki Embroidery Guilds

NEXUS
Maree Burnnand and Jo Dixey


Saturday 16 October 2pm

WHAT'S ON

Pop-up

Cash n' Carry

Exhibition

Thursday 23 September to Sunday 10 October

MAIN GALLERY

The main gallery is hosting a number of local artists who are offering work for sale in our pop-up exhibition.

Everything is for sale and you can take the work when you purchase.The gallery was free due to the cancellation of Sotfly Whispering, because of Level 4 Lockdown, so we are decking the walls and plinths with local art for sale.

Don’t miss this unique opportunity to support local artists.

COMING SOON

Stitching by the regions’ embroiderers comprising new work by members of the Manawatu‑Whanganui‑Taranaki embroidery guilds

Saturday 16 October – Sunday 7 November

MAIN GALLERY

Percy Thomson Gallery is in stitches!

Town and Country Stitched is the biennial exhibition for members of all Embroiderers’ Guilds in the Taranaki, Whanganui and Manawatu region and includes some of the area’s finest needlework. There also pieces by young people who have vied for awards in each of their three sections.

Embroiderers’ Guilds are made up of diverse, creative and inspirational people, all with a common love of stitching.

The exhibition features a variety of embroidery techniques, both contemporary creative embroidery and traditional embroidery such as cross stitch, black-work, surface embroidery, Casalguidi, canvas work, white-work, Jacobean, Hardanger, Italian traditional and many more.

The work has been completed by Guild members in the last two years and covers a range of skill levels from six-year-old beginners to embroiderers with advanced skills.

This regional showcase of embroidery aims to encourage embroidery in all its forms. The pieces demonstrate both innovation in design and excellence in stitching and comprise a variety of objects to view and admire.

Each piece has been judged in individual sections. There is a viewer’s choice section for visitors to pick their favourite piece, not an easy task with more than 110 pieces to choice from.

During the exhibition, members of the Guild are stitching in the gallery and are happy for visitors to view and ask questions. It is always fascinating to see how a piece has been developed. Members are always keen to share their passion, and hopefully, inspire others. They can give information on where to start, times of local guild meetings and workshop opportunities.

Saturday 16 October – Sunday 7 November

GALLERY 2

Opening event Saturday 16 October 2pm

Connections are made all the time, small connections with people we meet in the street, larger webs of connection between family or groups we work with, and virtual connections over social media. All of these are based on how we present ourselves, how others see us and how we view others.

Jo's work for Nexus focuses on personal connections between physical people; patterns of connections formed when large groups work together. These invisible patterns form slowly but become strong and beautiful over time.

Maree's focus is on connections made over social media, often based on lives that are highly curated and viewed through any number of filters. What are people losing in their effort to conform? Are these connections real if based on a slightly less-than-truthful identity?

Both Maree and Jo use traditional embroidery techniques to deliver work that they hope will spark conversations about contemporary culture.

Maree Burnnand is an embroiderer, who through her work, likes to challenge peoples' perception of embroidery.

‘I have always had a love for textiles and fibre and my further education was in fashion and textile design but as I have aged, embroidery has come to the fore.’

Maree’s work tends to be very traditional and simple in its technique but the subject matter is often not what you expect to find in embroidery. 

‘Reflecting whatever I am into at the time, the works can be a little random, but  hints of the music, art and the macabre that I love always seem to come through.’  

Jo Dixey is a freelance hand-embroiderer who trained at the Royal School of Needlework thirty years ago.

‘My life involves teaching embroidery to small groups, working on pieces for exhibitions and doing commissions. These commissions include new work as well as restoration, for private individuals, the fashion industry and costume work for film.’ 

The work Jo stitches for an exhibition gives her opportunity to comment on contemporary culture and, hopefully, start a conversation amongst the viewers.

Jo's book ‘Stitch People’ was published in 2017 and later re-released as ‘Creative Thread’.

Saturday 16 October – Sunday 7 November

GALLERY 2

Opening event Saturday 16 October 2pm

Connections are made all the time, small connections with people we meet in the street, larger webs of connection between family or groups we work with, and virtual connections over social media. All of these are based on how we present ourselves, how others see us and how we view others.

Jo's work for Nexus focuses on personal connections between physical people; patterns of connections formed when large groups work together. These invisible patterns form slowly but become strong and beautiful over time.

Maree's focus is on connections made over social media, often based on lives that are highly curated and viewed through any number of filters. What are people losing in their effort to conform? Are these connections real if based on a slightly less-than-truthful identity?

Both Maree and Jo use traditional embroidery techniques to deliver work that they hope will spark conversations about contemporary culture.

Maree Burnnand is an embroiderer, who through her work, likes to challenge peoples' perception of embroidery.

‘I have always had a love for textiles and fibre and my further education was in fashion and textile design but as I have aged, embroidery has come to the fore.’

Maree’s work tends to be very traditional and simple in its technique but the subject matter is often not what you expect to find in embroidery.

‘Reflecting whatever I am into at the time, the works can be a little random, but  hints of the music, art and the macabre that I love always seem to come through.’  

Jo Dixey is a freelance hand-embroiderer who trained at the Royal School of Needlework thirty years ago.

‘My life involves teaching embroidery to small groups, working on pieces for exhibitions and doing commissions. These commissions include new work as well as restoration, for private individuals, the fashion industry and costume work for film.’ 

The work Jo stitches for an exhibition gives her opportunity to comment on contemporary culture and, hopefully, start a conversation amongst the viewers.

Jo's book ‘Stitch People’ was published in 2017 and later re-released as ‘Creative Thread’.

Saturday 16 October – Sunday 7 November

GALLERY 2

Opening event Saturday 16 October 2pm

Connections are made all the time, small connections with people we meet in the street, larger webs of connection between family or groups we work with, and virtual connections over social media. All of these are based on how we present ourselves, how others see us and how we view others.

Jo's work for Nexus focuses on personal connections between physical people; patterns of connections formed when large groups work together. These invisible patterns form slowly but become strong and beautiful over time.

Maree's focus is on connections made over social media, often based on lives that are highly curated and viewed through any number of filters. What are people losing in their effort to conform? Are these connections real if based on a slightly less-than-truthful identity?

Both Maree and Jo use traditional embroidery techniques to deliver work that they hope will spark conversations about contemporary culture.

Maree Burnnand is an embroiderer, who through her work, likes to challenge peoples' perception of embroidery.

‘I have always had a love for textiles and fibre and my further education was in fashion and textile design but as I have aged, embroidery has come to the fore.’

Maree’s work tends to be very traditional and simple in its technique but the subject matter is often not what you expect to find in embroidery.

‘Reflecting whatever I am into at the time, the works can be a little random, but  hints of the music, art and the macabre that I love always seem to come through.’  

Jo Dixey is a freelance hand-embroiderer who trained at the Royal School of Needlework thirty years ago.

‘My life involves teaching embroidery to small groups, working on pieces for exhibitions and doing commissions. These commissions include new work as well as restoration, for private individuals, the fashion industry and costume work for film.’ 

The work Jo stitches for an exhibition gives her opportunity to comment on contemporary culture and, hopefully, start a conversation amongst the viewers.

Jo's book ‘Stitch People’ was published in 2017 and later re-released as ‘Creative Thread’.

WANTED

We're looking for Taranaki textiles with a story for an upcoming exhibition

Felicity Willis and Wendy Johnston are co-curating an exhibition with Percy Thomson Gallery director Rhonda Bunyan focusing on Taranaki textile treasures and family heirlooms such as embroidery, quilting, sewing, crochet, clothing etc. These items will include anything that has been made with textiles; cloth, yarns, quilts, flax; household items such as tea cosies and tablecloths, garments such as christening gowns and wedding dresses, toys, accessories such as handbags and jewellery. We are asking for a history/story to go with each work.

We are asking for submissions now. The item may be made out of Taranaki but link to a family here now. Email for a submission form and other information. All entries require a photograph.

Image: A little jacket made by Jeanette Verster’s grandmother for her mum when she was three years old, 80 years ago.

Marti Friedlander, Ralph Hotere, Dunedin, 1978, Image copyright Gerrard and Marti Friedlander Charitable Trust

WHAT'S ON

Friday 13 August – Sunday 5 September

TOURED by the NEW ZEALAND
PORTRAIT GALLERY
TE PŪKENGA WHAKAATA

MAIN GALLERY

Marti Friedlander (1928-2016) is one of our most prominent and highly regarded photographers. Her work has been central to New Zealand’s social and cultural life.

This exhibition is full of novel and compelling images of both well-known and now ‘forgotten’ or little-known artists, writers, craftspeople, actors, who were prominent players in expanding and vitalising cultural fields in New Zealand in the 1960s, 1970s and later.


Friday 13 August – Sunday 5 September

GALLERY 2

Assemblage and collage artist Dale Copeland shares some of her favourites from her collection of ‘goodies’.

As well as a cluster of Dale’s recent assemblages (philosophical ramblings in solid form), the walls of the side gallery will be plastered with international collages. Hundreds of them!

In the late 1990s, Copeland created the International Collage Exhibition and Exchange art show.

This is Dale’s collection from 20 years of organising the International Collage Exchange.

All for sale.  Dale reckons it could be a bit of a stampede, as gallery-goers are welcome to take down the ones they want (before anyone else can choose them) and take their collection to the office to buy.

Artwork: One of the collages from Copeland’s collection that will be offered for sale.

Why do we celebrate Puanga in Taranaki and not Matariki?

A quirk of latitude has led to Puanga being recognised by our local iwi.

Puanga is given prominence mainly because some iwi struggle to see Matariki clearly from their locality and therefore look to the next important star near Matariki.

That star is Puanga.

As we travel ever further southwards Puanga rises earlier and earlier than Matariki. By the time you get to Southland, Puanga rises 45 minutes before Matariki does.

Using Matarik—also known as the Pleiades, the Seven Sisters, and the Kritika—as herald of the new year is an ancient tradition that originated in Asia and Europe thousands of years ago before the migrations into the Pacific began.

WHAT'S ON

Join us in a community celebration for Puanga, the Ma¯ori New Year

Saturday 26 June – Sunday 11 July

GALLERY 2

We have two co-joined exhibitions opening this Saturday that pay homage to the night sky and, in particular, the stars that appear in our heavens at this time of year and hail the beginning of the Maori New Year.

Two local schools and a group of pre-schoolers have provided artwork which represents their interpretation of ‘Puanga’, and Massey University Professor and astronomer Stephen Chadwick shares extraordinary psychedelic photos of the Matariki stars, galaxies, and the colourful remains of exploded stars.

The gallery is closed
for exhibition changeover

You are warmly invited to join us for our exhibition opening

MARTI FRIEDLANDER
Portraits of the Artists 

THINKS
Assemblages by Dale Copeland

Friday 13 August 6pm

COMING SOON

Saturday 26 June – Sunday 8 August

GALLERY 2

Massey University Professor and astronomer Stephen Chadwick shares extraordinary psychedelic photos of the Matariki stars, galaxies, and the colourful remains of exploded stars.

For the past 14 years he has photographed deep-space using the same light-sensitive technology used in the Hubble Space Telescope, now available in consumer-grade digital cameras. Chadwick puts his telescope on a moving mount, and the camera allows the rig to track the movement of the stars as it takes photos.

Kia ora. Welcome to Percy Thomson Gallery

Percy Thomson Gallery is Stratford's public art gallery and was opened in June 2002.

The gallery has developed and grown over the years, now receiving national recognition as a thriving and diverse exhibition space catering for all age groups and interests and involving the community at large.

New exhibitions start every three to four weeks, and vary between national, local and regional artists – established and emerging.

Image: Percy Thomson portrait by Donna Willard-Moore. This portrait was painted for a future bronze-relief work by Donna.

'Where two' by Graeme Hitchcock, cast glass (gaffer lead crystal)
'Where two' by Graeme Hitchcock, cast glass (gaffer lead crystal)

WHAT'S ON

Glass
Art 2021

Various glass artists


26 February – 21 March
Curated by Amy Taunt

Glass Art 2021 celebrates the wonderful world of glass art, its many forms and iterations and using a myriad of techniques. 

More than 30 works from this country’s top glass artists, in a variety of glass techniques, including kiln-forming, casting, blowing, flame-working, and other specialized techniques, will be exhibited.

Exhibition work includes pieces from Justin Culina, Carmen Simmonds, Karin Barr, David Traub, Claire Bell, Richard Landers, Philip Stokes, Graeme Hitchcock, Jenny McLeod and Paul Burgham.

'Papa Ngahere' by Bernadette Ross, Harakeke and Teri Dyes
'Papa Ngahere' by Bernadette Ross, Harakeke and Teri Dyes

WHAT'S ON

Gallery
2

Raranga
Harakeke

Weaver/designer
Bernie Ross


26 February – 21 March

Bernie connects with the Whenua with her large colourful works. You see the bright blues and greens of the sea and sky, the golds and browns of the earth and the glorious greens of the land.

Bernie was born in South Auckland on a dairy farm, one of nine siblings. Growing up on the farm taught her huge respect for the land, the bush, the rivers and sea. These early experiences led her to a landscape gardening career. She lived living in England working in landscaping before returning to New Zealand in 2002. A physical injury at 50 necessitated a change of direction and  subsequent enrolment into Te Wananga o Aoteroa. 

‘What followed was four wonderful years of  learning the art of raranga (flax weaving).’

MAY
JULY

Taranaki Arts Trail Exhibition

Various Artists


28 June – 20 July

Although the Taranaki Arts Trail is now part of the Taranaki Garden Festival calendar later in the year, the annual exhibition retains its time-slot in the middle of the year.

The exhibition, with one work from each Trail artist, provides an opportunity for people to get a feel for the artist’s work and decide whether they would like to visit the artist’s open studio during the Festival.

WHAT'S ON

Kia ora.
Welcome to Percy Thomson Gallery

Percy Thomson Gallery is Stratford's public art gallery and was opened in June 2002.

The gallery has developed and grown over the years, now receiving national recognition as a thriving and diverse exhibition space catering for all age groups and interests and involving the community at large.

New exhibitions start every three to four weeks, and vary between national, local and regional artists – established and emerging.

UPCOMING EXHIBITIONS


Alby Carter’s extensive and fascinating life in art is revealed in an exhibition at Percy Thomson Gallery in Stratford on Friday 26 March with a special celebration of the artist at 6.30pm. The retrospective exhibition, curated by gallery director Rhonda Bunyan, contains more than 90 works spanning 50 years’ practice by the proli c artist from Okato. ‘The oldest painting we have of Alby’s is a seascape of Palliser Bay, painted in 1968,” says Bunyan. We Longtime Okato artist exhibits at Percy Thomson Gallery have a fair representation of different periods of Alby’s painting life; mixed media, sand and oil paintings, works stretched across and woven on driftwood found on local beaches, the xploring space’ series, and, of course, the incredibly loose free- owing bold and gritty impressionistic landscapes, where colour and the broad sweeping brush strokes de ne the essence of our environment.” Alby Carter was born in Wellington in 1949 and moved to Taranaki in 1982. He has been in Okato since 2000. Alby draws inspiration from his surroundings. He used to head out with his sketch books, paints and canvas. Now, he wanders around with his camera and hunkers down in the cosy familiarity of his converted garage/studio where he can be found painting most days. ‘My paintings are about my feelings’, says Carter, ‘I tune into those emotions when I am painting and translate them to canvas. I want people who view my art and hopefully experience my feelings conveyed through my work.’ Bunyan nds Carter’s dedication to his craft, and his creative independence, inspirational. ‘Alby lives to paint. It is sustenance for his spirit. He has reached iconic status in Taranaki and I think it’s a shame that his work hasn’t been picked up by the big city galleries and that he hasn’t received more national recognition. In my opinion, he is right up there with the likes of Wollaston and others. But, on the other hand, Alby loves the freedom to paint what he wants and wouldn’t appreciate pressure to do anything differently. I admire that.’ Apart from the occasional odd jobs, Carter has been a professional artist for 50 years.

Longtime Okato artist exhibits at Percy Thomson Gallery


have a fair representation of different periods of Alby’s painting life; mixed media, sand and oil paintings, works stretched across and woven on driftwood found on local beaches, the xploring space’ series, and, of course, the incredibly loose free- flowing bold and gritty impressionistic landscapes, where colour and the broad sweeping brush strokes define the essence of our environment.” Alby Carter was born in Wellington in 1949 and moved to Taranaki in 1982. Alby Carter’s extensive and fascinating life in art is revealed in an exhibition at Percy Thomson Gallery in Stratford on Friday 26 March with a special celebration of the artist at 6.30pm. The retrospective exhibition, curated by gallery director Rhonda Bunyan, contains more than 90 works spanning 50 years’ practice by the proli c artist from Okato. ‘The oldest painting we have of Alby’s is a seascape of Palliser Bay, painted in 1968,” says Bunyan. We He has been in Okato since 2000. Alby draws inspiration from his surroundings. He used to head out with his sketch books, paints and canvas. Now, he wanders around with his camera and hunkers down in the cosy familiarity of his converted garage/studio where he can be found painting most days. ‘My paintings are about my feelings’, says Carter, ‘I tune into those emotions when I am painting and translate them to canvas. I want people who view my art and hopefully experience my feelings conveyed through my work.’ Bunyan nds Carter’s dedication to his craft, and his creative independence, inspirational. ‘Alby lives to paint. It is sustenance for his spirit. He has reached iconic status in Taranaki and I think it’s a shame that his work hasn’t been picked up by the big city galleries and that he hasn’t received more national recognition. In my opinion, he is right up there with the likes of Wollaston and others. But, on the other hand, Alby loves the freedom to paint what he wants and wouldn’t appreciate pressure to do anything differently. I admire that.’ Apart from the occasional odd jobs, Carter has been a professional artist for 50 years.
JUNE

The gallery is closed for exhibition changeover. We're busily preparing the space for our next exhibition. You are warmly invited to join us for the opening of Glass Art 2021, Raranga Harakeke, and Take a Second Look, on Friday 26 February at 6.30pm. See you there!

WHAT'S ON

1 – 23 May

OPENING EVENT
SATURDAY 1 MAY at 1PM
All welcome

What's
on

UPCOMING EXHIBITIONS

Coming
soon

Glass Art 2021
Various glass artists
Curated by Amy Taunt

26 February – 21 March
     

Raranga Harakeke
Weaver/designer Bernadette Ross

26 February – 21 March

Take a Second Look
Textile artist Jennifer Patterson

26 February – 21 March

Covid-19
Alert
Level 2

⚠ Important Update

Kia ora tātou

As with all regions outside of Auckland, Stratford is once again back to Alert Level 2.

We have been planning for operations under Alert Level 2 and are ready to continue safely welcoming you to the gallery during this time.

He is what we ask of you and what we will do for you:

1. If you are sick, please stay home and visit another time.

2. Please observe the physical distancing and hygiene behaviour you have become familiar with earlier the year.

3. You should keep track of where you have been and who you were with. For your records, please either check in using our Ministry of Health COVID Tracing QR code, otherwise we have a manual register for those not wishing to use the QR codes.

4. The Gallery will continue to maintain a rigorous cleaning regime, with frequent sanitisation of all high contact surfaces.

5. We will update you if there are any changes or if the Gallery has to close.

As last time, the Gallery in general remains OPEN for business but we will be limiting entry to a maximum of 20 people to ensure safe 2m distancing. If this number is reached we will operate a one-out-one-in door policy. 

We are very sad to once again implement this policy, however it is the right thing to do as we redouble our efforts to prevent any possible spread of COVID-19 in our community.

Gallery 2

Journey of Discovery
Vicky Taylor

September 18 – 11 October 2020
Gallery 2

Vicky Taylor spends hours burning wood to create striking artworks filled with depth, detail and emotion.

Pyrography means ‘writing with fire. It is the art of decorating wood or other materials with burn marks resulting from the controlled application of a heated object such as a poker. It is also known as pokerwork or wood burning.

Vicky’s love of pyrography and the resulting creativity has allowed her to come to terms with crippling bouts of depression.

‘I lose myself in my art and the process becomes mindful meditation that brings me into the present moment. It has got me through some pretty rough patches and I am thankful for that.’


WHAT'S ON

Saturday 29 May – Sunday 20 June
Opening event Saturday 29 May 1pm

Although the Taranaki Arts Trail is now part of the Taranaki Garden Festival calendar later in the year, the annual exhibition retains its time-slot in the middle of the year.

The exhibition, with one work from each Trail artist, provides an opportunity for people to get a feel for the artist’s work and decide whether they would like to visit the artist’s open studio during the Festival.

Artwork: Dave putting on his make-up by Suraya Sidhu Singh, Acrylic and oil on paper parasol.

Holiday Hours

Christmas Day CLOSED

Boxing Day  CLOSED

Sunday 27 December
10.30am – 3pm

Monday 28 December – 30 December
10.30am – 4pm

31 December New Year’s Eve
10.30am – 3pm
New Year’s Day 2021 CLOSED

Saturday January 2
10.30am – 3pm

Sunday January 3
10.30am – 3pm

Monday January 4
10.30am – 3pm



 

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