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Ann Robinson: The Thick and Thin of It (2012)

Ann Robinson: The Thick and Thin of It (2012)

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  • Fri 6 Apr ’12, 5:00pm – 7:00pm
  • Sat 7 Apr ’12, 10:00am – 6:00pm
  • Sun 8 Apr ’12, 10:00am – 6:00pm
  • Mon 9 Apr ’12, 10:00am – 6:00pm
  • Tue 10 Apr ’12, 10:00am – 6:00pm
  • Wed 11 Apr ’12, 10:00am – 6:00pm
  • Thu 12 Apr ’12, 10:00am – 6:00pm
  • Fri 13 Apr ’12, 10:00am – 6:00pm
  • Sat 14 Apr ’12, 10:00am – 6:00pm
  • Sun 15 Apr ’12, 10:00am – 6:00pm
  • Mon 16 Apr ’12, 10:00am – 6:00pm
  • Tue 17 Apr ’12, 10:00am – 6:00pm
  • Wed 18 Apr ’12, 10:00am – 6:00pm
  • Thu 19 Apr ’12, 10:00am – 6:00pm
  • Fri 20 Apr ’12, 10:00am – 6:00pm
  • Sat 21 Apr ’12, 10:00am – 6:00pm
  • Sun 22 Apr ’12, 10:00am – 6:00pm
  • Mon 23 Apr ’12, 10:00am – 6:00pm
  • Tue 24 Apr ’12, 10:00am – 6:00pm
  • Wed 25 Apr ’12, 10:00am – 6:00pm
  • Thu 26 Apr ’12, 10:00am – 6:00pm
  • Fri 27 Apr ’12, 10:00am – 6:00pm
  • Sat 28 Apr ’12, 10:00am – 6:00pm
  • Sun 29 Apr ’12, 10:00am – 6:00pm
  • Mon 30 Apr ’12, 10:00am – 6:00pm
  • Tue 1 May ’12, 10:00am – 6:00pm
  • Wed 2 May ’12, 10:00am – 6:00pm
  • View all sessions


Milford Galleries Queenstown, 9a Earl Street, Queenstown


All Ages

Ticket Information:

  • Free Admission

Related Artists:

Ann Robinson

Ann Robinson’s exhibition “The Thick and Thin of It” is dominated by two new forms and features an important new development in her work.

The Geometric Vases sit within Robinson’s well-known, acclaimed, signature trademarks of imperious design and supreme form. What sets these apart from all that has gone before – even when the lineage is obviously sequential in nature – is that the role of glass mass (being dramatically thicker than all other previous works) has been elevated to being one of the primary factors in what we see and how we see it.

The top of these works have been polished, the sides acid etched. Light enters through the top and is then trapped as it moves about and engages the interior space. Colour coalesces and then breaks into the constituent components. Variable modulating tones develop, the internal space of the vase hovers in suspension as if independent of all else. The top seems to recede and come forward at the same time - a powerful sensation of infinity is established. At the edges – where the forms become thin, as they alter direction – light flares as if being squeezed out.

Additional height has been introduced to the Curved Vases and the resulting gain of sculptural stature is real and very significant. The Curved Vases have acquired an aspirational quality with the extra height - the eye journeys up in an energy flow before then emerging out and going back down, thus becoming cyclical in nature as the process commences again. The palettes of the Curved Vases are soft and delicate, the form flares up and (depending on which side is being viewed) then spreads out. The Curved Vases have a decidedly and surprisingly ambiguous nature because of these substantially different shapes and forms being revealed or hidden.

The Landscape Bowl is a well-known form of Ann Robinson’s but engraved on its outer skin for the first time is the skeletal form of a lacebark leaf. This forges a dialogue about decay and renewal, with the image acting like a tattoo inscribed into the (metaphorical) surface of the land.

This important exhibition also includes two magnificent semillion-coloured Twisted Flax Pods and an exquisite, resolute, Red Side-Carved Pod.

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