Michael Greaves, 'Indicative physical qualities of the phenomenal world', 2023, airbrush, acrylic and oil on linen.
Photo Credit
Wesley John Fourie, 'the first day of my life as a braided river', 2021-2024, 2100m of knitting, mixed media.
Photo Credit
Join us for the opening of two new exhibitions: Falling if not Flying by Michael Greaves, and and with his kiss i became a braided river by Wesley John Fourie.
Falling if not Flying builds on the last four years of Michael Greaves’ painting practice, from the beginning of the COVID-19 pandemic. It explores the limits of extremes, failing memory and interpretation. Using the parable of Icarus Greaves projects the unsureness of boundaries, complex systems, and faith.
Wesley John Fourie works across multiple media, including ceramics, video, photography and textiles. One element of Fourie’s practice is the production of hand-knitted scale models of rivers. The central work of this exhibition is a total of 2100 metres of finger knitting that mimics at 1/100 scale the branches of Whakatere Ashburton river. Made over three years, and existing in three-dimensions, the work is an accumulation of time – in the labour involved in working the yarn – that reflects the life of a river at human scale.
Join us for the opening of two new exhibitions: Falling if not Flying by Michael Greaves, and and with his kiss i became a braided river by Wesley John Fourie.
Falling if not Flying builds on the last four years of Michael Greaves’ painting practice, from the beginning of the COVID-19 pandemic. It explores the limits of extremes, failing memory and interpretation. Using the parable of Icarus Greaves projects the unsureness of boundaries, complex systems, and faith.
Wesley John Fourie works across multiple media, including ceramics, video, photography and textiles. One element of Fourie’s practice is the production of hand-knitted scale models of rivers. The central work of this exhibition is a total of 2100 metres of finger knitting that mimics at 1/100 scale the branches of Whakatere Ashburton river. Made over three years, and existing in three-dimensions, the work is an accumulation of time – in the labour involved in working the yarn – that reflects the life of a river at human scale.
