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Small Works (2012)

Small Works (2012)

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When:

  • Sat 2 Jun ’12, 10:00am – 6:00pm
  • Sun 3 Jun ’12, 10:00am – 6:00pm
  • Mon 4 Jun ’12, 10:00am – 6:00pm
  • Tue 5 Jun ’12, 10:00am – 6:00pm
  • Wed 6 Jun ’12, 10:00am – 6:00pm
  • Thu 7 Jun ’12, 10:00am – 6:00pm
  • Fri 8 Jun ’12, 10:00am – 6:00pm
  • Sat 9 Jun ’12, 10:00am – 6:00pm
  • Sun 10 Jun ’12, 10:00am – 6:00pm
  • Mon 11 Jun ’12, 10:00am – 6:00pm
  • Tue 12 Jun ’12, 10:00am – 6:00pm
  • Wed 13 Jun ’12, 10:00am – 6:00pm
  • Thu 14 Jun ’12, 10:00am – 6:00pm
  • Fri 15 Jun ’12, 10:00am – 6:00pm
  • Sat 16 Jun ’12, 10:00am – 6:00pm
  • Sun 17 Jun ’12, 10:00am – 6:00pm
  • Mon 18 Jun ’12, 10:00am – 6:00pm
  • Tue 19 Jun ’12, 10:00am – 6:00pm
  • Wed 20 Jun ’12, 10:00am – 6:00pm
  • Thu 21 Jun ’12, 10:00am – 6:00pm
  • Fri 22 Jun ’12, 10:00am – 6:00pm
  • Sat 23 Jun ’12, 10:00am – 6:00pm
  • Sun 24 Jun ’12, 10:00am – 6:00pm
  • Mon 25 Jun ’12, 10:00am – 6:00pm
  • Tue 26 Jun ’12, 10:00am – 6:00pm
  • Wed 27 Jun ’12, 10:00am – 6:00pm
  • View all sessions

Where:

Milford Galleries Queenstown, 9a Earl Street, Queenstown

Restrictions:

All Ages

Ticket Information:

  • Free Admission

The Small Works exhibition features painting, sculpture, photography, glass and ceramics. Neil Dawson’s abstract colour-field new Pulse Disc’s explicitly reference the swarming radiating earthquakes which have so transformed Christchurch and all who live there. Sally Smith’s bronzes marvellously capture sensations of flight, movement and pattern. Darryn George’s abstract works likewise use repetition, locating visual rhythms and pattern inside formalist structures, painterly texture and cultural dynamics.

Exhibited for the first time is a powerful suite of stump paintings by Mike Petre. Observations about how we treat our land and the environmental concerns encapsulated are also to be seen in Simon Edward’s fire-infused paintings or (more slowly) revealed in the fluxing, dreamscapes of Garry Currin and the deceptive innocence of Tony Bishop’s dialogues of rural unease.

Alice Rose’s monochromatic vases exhibit a remarkable visual literacy and a rare ability to play tricks of the eye with volume, proportion and spatial depth. Katherine Smyth introduces to the vase form the naturalistic language of the squash. Sue Hawker deconstructs the traditional vase form with the pate de verre method and a visual language that allows negative space – the holes – to contribute and function.

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