‘A whakapapa, two lines of women’ (an installation drawing)
details, installation drawing, 2016
In 2016, I was invited by Sophie O’Brien, Head of Collections and Exhibitions at the Govett-Brewster Art Gallery, to make a proposal for the exhibition ‘All Lines Converge’. A whakapapa, two lines of women, (an installation drawing), is one of 12 commissions presented in the artist publication accompanying the works in the gallery. My thanks to aunty Te Muri Turner, uncle John Hetet, my father Anthony, and his mother, for passing on their knowledge over the years and recently, their mātauranga of our whakapapa ... and to Bruce Connew, my husband, for journeying with me.
A whakapapa, two lines of women, (an installation drawing), 2016
oil on canvas
640 x 770mm
‘A whakapapa, two lines of women’
Charles Wilson Hursthouse is my great-great-grandfather ... an 1843 oil painting of his mother-in-law has come down one line of eldest daughters, beginning Ellen Hursthouse, and is now in my care. She leans on a wall in the lounge close by a keyhole rug from my ‘Club de Conversation’ series. In August 2016, I found my aunty, Te Muri Jo Turner, eldest great-granddaughter of Charles Wilson Hursthouse and Mere Te Rongopamamao Aubrey, on a journey from Auckland to Wellington via New Plymouth ... Oparure Road, the signpost said ... I knew this as the place where their daughter Rangimarie Hetet, sister of my great-grandmother Margaret Kate Lattey, was born ... I know I am a dot in this landscape of whakapapa, yet it is important to me.
Keyhole #6, 2012
‘Club de Conversation’
1.0 x 2.0m
(made by Dilana Workshop)
... the publication, designed by Sonya Lacey (one of the 38 artists in the show), also presents little seen historical documentation of the Gallery’s exhibition history.
At the Govett-Brewster Art Gallery opening of All Lines Converge with Te Muri Turner (née Te Kanawa), my aunty, and dear friend Gil Hanly, who photographed the Hetet/Te Kanawa whanau years ago ... this is the first they have met since.
photographs / Bruce Connew
03 other in(ter)ventions
an international typography symposium, Wellington, NZ
W in black
drawings in progress, 2017
A whakapapa, two lines of women, an installation drawing
All Lines Converge, Govett-Brewster Art Gallery, 2016, NZ
Installation with mirror and line
transitionalfieldwork, an exhibition, 2016, NZ
only U know ...
collaboration, Lela Jacobs AW17 Auckland, and SS17 Paris collection, NZ + FR
installation, Typojanchi 2015, 4th International Typography Biennale, Seoul, KR
front page takeover of the Sentinel & Enterprise newspaper for 26 days, Fitchburg, USA
The Brexit Series
a word-play poster series in response to Brexit
Raising the Flag
contemplative, suggestive — design unravelled, NZ
The Tuwhare Poster Project
fund-raiser for the Hone Tuwhare Trust Writers Residency, NZ
memento :: motif
Proyecto de Arte Contemporáneo Alzheimer, Valparaíso, Chile
The Phone Book
a maquette, for the Club de Conversation project
Club de Conversation at S/F with Dino Chai, Auckland, NZ
Club de Conversation: Keyhole Series and Dials
rug series, Dilana Workshop, NZ
installation, The Dowse Art Museum, Lower Hutt, NZ
short film, Paris, France
a collaboration with ceramic artist Raewyn Atkinson, NZ
typ gr ph c
A whakapapa, two lines of women (an installation drawing), 2016
Commissioned work for All Lines Converge, Govett-Brewster Art Gallery, 17 Dec 2016 – 20 Mar 2017
All Lines Converge
Curated by Sophie O’Brien and Chloe Cull
An exhibition of work by Aotearoa New Zealand art from the 1970s until today, with key works from the Govett-Brewster Collection
Including work by artists such as Fiona Clark, L. Budd, Christine Hellyar, Lisa Reihana and Maree Horner, this exhibition invites audiences to consider how the Gallery has built its collection over the past four decades.
By considering those artists in the collection, as well as selected artists who are not represented, this exhibition takes a broad and experimental approach to the traditional ‘collection exhibition’. Woven into a context of lesser known works by well-known practitioners are more recent works by a younger generation, charting the potential directions of the collection.
A publication accompanying the exhibition includes archival photographic documentation of artists’ installations, newly commissioned artist pages, and an essay by Wellington art historian Kirsty Baker providing historical context to the exhibition.
Joanna Margaret Paul
Shona Rapira Davies
Susan Te Kahurangi King
All Lines Converge
Expanding a contemporary collection
Club de Conversation Series