Courtesy of the artist and the Dowse Art Museum collection.

“Jesus is my design motivation. Being bold for god is what I am growing to in glass. My glass forms and faith are linked through what is revealed beyond surface … dynamic, layered, fresh, uniquely designed, seamlessly connected, with purpose and direction. That’s me in Jesus, BOLD.” – Dominic Burrell, 2004

"Dominic Burrell uses height, repetition, scale variance. He builds wheels and tunnels. The works allude to circles and pipes but Burrell has allowed the shapes to be deformed and irregular. His works explore elements of form and balance, using colour bands and tonal variance as the key transition." – NZ Glassworks 2022

Courtesy of the artist, the Dowse Art Museum, and the Blumhardt Foundation.

Growing up around glass pioneers in Tāmaki Makaurau it is no wonder that Luke Jacomb ‘caught the bug’. Son of one of the founders of Giovanni glass, John Croucher, Luke went off to learn from the best glass blowers around the globe. His training and encyclopedic knowledge of glass blowing enables him to manipulate various techniques for his own sculptural ends. Much of his exploration has been into the universality of pattern between the two hemispheres and can range from pared back forms to the highly ornate. For this latest series he looks back at the heritage of his father with a modernist twist of bold blocks of colours and strong form. These ‘goblets’ flare at both ends with great dynamism and play between function and sculpture. – The Dowse Art Museum

Courtesy of the artist and the Dowse Art Museum.

Courtesy of the artist and the Dowse Art Museum.

Courtesy of the artist and the Dowse Art Museum.

Courtesy of the artist and the Dowse Art Museum collection.

Courtesy of the artist and the Dowse Art Museum Collection.

A functional handbag made from vintage beige undergarments, it is decorated with an exquisitely appliqued uterus and pearl-encrusted ovaries, drawing upon craft techniques like quilting, embroidery and applique which were traditionally viewed as feminine handicrafts. Opening the bag reveals a set of vintage knitting needles— a poignant commentary on both the history of women's art and reproductive rights, but also reminiscent of a toolbox in reference to her father's workshop.

Made in honour of those who fought for and continue to guard abortion rights in Aotearoa New Zealand, McIntosh was inspired to make this work after visiting the Police Museum in Porirua and seeing homemade apparatuses once used in back street abortions. – The Dowse Art Museum

Courtesy of the artist and the Dowse Art Museum Collection.

Courtesy of the artist and the Dowse Art Museum Collection.

Courtesy of the artist and the Dowse Art Museum collection.

Vita Cochran is an artist from Te Whanganui-a-Tara, Aotearoa – now living and making on Gadigal land, Sydney. Vita has made art and objects combining traditional textile techniques with contemporary forms. She has an interest in the history of domestic crafts, the traffic between decorative art and painted abstraction, and thoughtful re-use of materials.

"In her essay ‘The carrier bag theory of fiction’, Ursula K Le Guin offers a theory of the bag as an overlooked cultural object, arguing that the first tools invented by prehistoric humans were bags, small receptacles in which to gather and transport other things, rather than the weapons and tools of the hunt which are better preserved by history.The people, often women, who made these bags would fill them with things “useful, edible or beautiful” and then carry them back to their communities for eating, sharing and looking at. Surely the bags themselves – Le Guin’s “things to put things in” – were objects of beauty and interest. It excites me to think of these carriers participating playfully in that very old and ever-new story."

– Vita Cochran

Courtesy of the artist, the Dowse Art Museum collection, and the Blumhardt Foundation.

Courtesy of the artist and the Dowse Art Museum collection.

From his solo show at the Dowse Art Museum, Faerie Land, Aug–Dec 2023

"In Faerie Land, UK-based artist Jakob Rowlinson takes you on a queer journey through the dark forests of fantasy literature and pop culture. Here, lusty Disney characters dwell in the forests of medieval tapestries, kinky boots are transformed into Green Man masks, and swordplay takes on a whole new meaning.

Rowlinson is an exciting emerging figure in the London art scene, who uses textiles, embroidery, and sculpture to weave alternative histories steeped in queer culture and nature. This exhibition features a mix of new and existing works which reimagine the art of the Middle Ages, exploring how modern sources like Disney movies, Germanic fairy tales or J.R.R. Tolkien novels have shaped our vision of this period.

Medieval historians argue that there was a far more fluid and hybrid understanding of sexuality and gender in the art and literature of this era—something rarely reflected in our modern retellings. Entwined with lush forms that speak to notions of natural/unnatural, Rowlinson revisits the construction of masculinity within these narratives, teasing out the queer undertones that have always existed in stories of big swords, male companionship, and magical forest liaisons." - Dr Chelsea Nichols

Courtesy of the artist and the Dowse Art Museum collection.

Courtesy of the artist and the Dowse Art Museum collection.

In the 1980s textile artist Beatrice Cross (1917–2007) “redefined the art of the rag rug, taking it out of its homely, crafty origins and repositioning it firmly in the field of contemporary art.” Cross’s family owned a fashion boutique on Auckland’s Queen Street until the early1960s, and her mother would use the fabric off-cuts to make rag rugs. Inspired by both her mother’s rugs and the rhythmic textile designs of Russian avant-garde artist Sonia Delaunay, Cross hunted through op shops searching for a rainbow of woollen fabrics that she could turn into bold, modernist rug designs. Seeing her work as paintings for the floor, Cross aimed to elevate the domestic craft of rag-rugs into an art form. –The Dowse Art Musem

Courtesy of the artist and the Dowse Art Museum collection.

Courtesy of the artist and the Dowse Art Museum collection.

Beatrice Cross (1916—2007) helped run her family’s fashion boutique on Queen Street in Auckland. There, she developed a keen eye for colour and pattern, and began using the fabric off-cuts and material found in op shops to make rag rugs in bold, modern patterns. This example was inspired by an assortment of leaves that a child might collect on an autumn walk, delighting in their different shapes and colours. – The Dowse Art Museum

Courtesy of the artist and the Dowse Art Museum collection.

The title "New Times Call for New Visions" is a phrase selected from a book I love 'Women of the Avant-Garde 1920-1940' (a catalogue to the exhibition of the same name produced by Louisiana Museum of Modern Art, Denmark). I liked the phrase because it connects the works to the modern period that I'm interested in, but it also alludes to visionary ways of seeing (the framed piece has a feeling that it could be a coded message from a mysterious source) and to early twentieth century fashion (the phrase could be a slogan in a fashion magazine). I wanted the work to encompass both these things.

The design is a combination of my favourite elements of geometry, that is curves, vertical/horizonal forms, and triangles.

The works are a pair of embroideries that at one point in time were identical, until one was made into an object for use, and one framed for posterity. I'm interested in the interaction between how they end up: one is tactile, can be held and moved and used, and can receive other objects within it. The other is behind glass, sealed off from the world, and will be preserved into the future. Its 2-dimensional state allows the full embroidered pattern to be viewed, whereas the bag wraps the pattern around itself. Traditional hierarchies put the framed version above the object for use, but I like to think of the women modernists (Sonia Delaunay for example) who worked across fine and applied arts, and saw their costume designs as equivalent to their paintings, their embroidered bags as artworks. The two are closer together than we think, and also owe a lot to each other. – Vita Cochran

Courtesy of the artist and the Dowse Art Museum collection.

Courtesy of the artist, the Dowse Art Museum and the Blumhardt Foundation.

Terri Te Tau embroiders this whakatauki (Māori proverb) under the DNA sequence of the extinct whēkau or laughing owl—a native species that died out following the arrival of European settlers in Aotearoa.

Te Tau made this pair of works as part of Whakatau Miromiro, a series created in conversation with Māori and Pasifika scientists who shared whakatauki about the particular species they work with. Biological tools and mātauranga Māori perspectives are bound together in the very threads of Te Tau’s work, showing how future conservation efforts in Aotearoa must be guided by both. – The Dowse Art Museum.

Courtesy of the artist, the Dowse Art Museum and the Blumhardt Foundation.

Courtesy of the artist, the Dowse Art Museum and the Blumhardt Foundation.

Terri Te Tau embroiders this whakatauki (Māori proverb) under the DNA sequence of the extinct whēkau or laughing owl—a native species that died out following the arrival of European settlers in Aotearoa.

Courtesy of the artist, the Dowse Art Museum and the Blumhardt Foundation.

Courtesy the artist Karl Fritsch and the Dowse Art Museum collection.

'Steinhaufen' translates from German to English as 'stone heap', referring to cairns that served astrological, wayfinding, ceremonial, hunting and monumental purposes in prehistoric times. Using a mix of fine and base materials, Fritsch's witty and irreverent rings challenge accepted notions of preciousness, beauty and value.

As he once described: "What I find really fascinating, and one of the reasons why it's so interesting to make jewellery, is the moment of recognition when some that comes across as pretty and cute has on second glimpse an almost obscene grotesqueness."

Courtesy of the artist and the Dowse Art Collection.

“The maramataka (Māori lunar calendar), which indicated the best days for fishing. The night of Tangaro-a-mua was considered the best for deep sea fishing. This piece represents the Pā kahawai, a paua trolling lure that would have been used in the waters to attract large ika.

The concept of the paua lure is carried through the entire piece, up into the chain, embodying the unique features and stories that make this type of hook special. This period in the maramataka is also considered a time of medium to high energy, making it ideal for team activities and socializing.”

– Keri-Mei Zagrobelna

Courtesy of the artist,the Dowse Art Museum collection, and the Blumhardt Foundation.

Jennifer Laracy is a Taranaki-based Jeweller whose work has focused on issues surrounding the mis-use and care of the environment and materials that represent a specific Aotearoa identity.

This work is from a series that depicts the endemic tuna (eel) species of Aotearoa. Moved to action by the impact of many farmers who were using weedkillers and other pesticides directly in the waterways, Laracy created these stylised tuna pendants from discarded plastic buoys she found washed up on her local beach to show the wildlife that were being killed through their actions.
Each tuna has an eye cut from pāua (abalone) shell – a material she has a close connection to through her grandfather who retrained as a jeweller after WWII specialising in pāua jewellery.
– The Dowse Art Museum

Courtesy of the artist,the Dowse Art Museum collection, and the Blumhardt Foundation.

Elfi Spiewack is an Ōtautahi Christchurch-based jewellerwho was born in Germany. Her practice is often inspired by her immediate environment and natural materials, shapes and phenomena. This work was created as part of a collaborative project with photographer Doc Ross that reflected on and responded to the Christchurch city scape and the ongoing impact of the major earthquakes in 2011. Selecting from the atmospheric images that combined historical depictions of the event overlayed with contemporary scenes, Spiewack has created an ‘impression’ of a moment using her preferred materials of bone and metal. The strong shapes and forms reflect the architecture and contrasting light and shadow in the photographs.
– The Dowse Art Museum

Courtesy of the artist, the DowseArt Museum Collection, and the Blumhardt Foundation.

“Although the commonly known time marker for whitebait migration is the moon phase Ōrongonui, I have named this piece “Mauri.”

Mauri is the night directly following Ōrongonui, which is still a good time for whitebait fishing during the season. The name also relates to the Te Reo word “mauri,” meaning “life force.” Mauri represents the life force that flows through everything—water, trees, land, and people.

This piece reflects the connection of whitebait migration and their transition between freshwater and seawater, serving as a reminder of our role in ecosystems. Whitebait, a highly desirable delicacy, is becoming a species at risk.

The piece is created out of glass to capture the flowing movement of the juvenile fish, extending into the cord as a conceptual interpretation of the flowing movement of mauri.”

– Keri-Mei Zagrobelna

Courtesy of the artist and the Dowse Art Museum.

Matchitt has used the global icon of the Nike tick as the shape for these works. By rotating the form and embellishing it, Matchitt takes ownership of the Nike 'swoosh' and converts it into a hei matau (fish hook), a localised shape rather than an international, commercialised image being rapidly absorbed into local New Zealand cultures.

Courtesy of the artist and the Dowse Art Museum collection.

Moniek Schrijer is a Whanganui-a-Tara Wellington-based jeweller whose practise is concerned with the adaptation and alteration of materials using a variety of techniques that cross disciplines and histories. Her work explores the potential of timelessness, beauty and an interrogation of the everyday. The piece plays with notions of perception. It resembles a heavy natural geological sample attached to a stonelike neck piece but is actually made from materials like burnt-out polystyrene, crushed glass and gold leaf combined with steel chain layered with cotton bandages and clay slurry coated in a thin layer of concrete.

Although Schrijer's work has the aura of something ancient and precious, its synthetic composition prompts us to consider what materials are valued and the darker impacts of human innovation.

– The Dowse Art Museum

Courtesy of the artist and the Dowse Art Museum.

Riona Whero Cross is from a series called 'Merchandise' that was exhibited at the Royal Jewellery Studio in November 1999. Within this series Matchitt critiques the consequences of colonisation that continue to cause harm to Maori people today, such as the introduction of alcohol and cigarettes. In Riona Whero Cross Matchitt draws attention to the marketing techniques of alcohol brands that target Maori through their use of imagery and colour. For eaxmple, many alcohol brands use red, a colour that is significant within Maori culture. In this work, the combination of the cross form with an aluminium beer can refernces the colonising influence of Christian missionaries alongside the negative influences of European settlers on Maori ways of life.

Courtesy of the artist and the Dowse Art Museum.

Cook & Co: The Family Jewels. Edition 2/3. Bianca van Someren is the middle sister in the Cook Family.

“Made for Cook’s 2005 exhibition, The Family Jewels, Cook created portraits of herself, her sisters and her parents, the latter mimicking the double portrait style of a royal wedding souvenir. These works would become part of the ‘Cook & Co’ dynasty, in which Cook has absorbed illustrious personages such as James Cook and Queen Elizabeth II into her family tree alongside her biological relatives, depicting their profiles in her signature cameo style. With The Family Jewels, Cook wanted to see if her humble family portraits would be appealing pieces to wear or exhibit. Works from this show have been acquired by institutions across the country, enshrining her family’s image in Aotearoa art history — just as Cook intended.”

— Jane Groufsky, 2023

Courtesy of the artist and the Dowse Art Museum.

Cook & Co: The Family Jewels. Edition 2/3. Bianca van Someren is the middle sister in the Cook Family.

Courtesy of the artist and the Dowse Art Museum collection.

United States born Bribiesca (†2019) was of Mexican descent and along with his wife Lois Ashton created their signature line of modernist rings in the late 1960s. Their ultramodern designs largely constructed from cubes, squares and other rectangular forms were inspired by Bribiesca’s background in architecture. The combination of chrome plated brass and brightly coloured acrylic inserts accentuated the period which was obsessed with ideas of futurism and bold fashion statements. The works in this exhibition were made in the 2000s not long before Bribiesca passed away at the age of 82.

Along with his wife, he launched their designs in 1968 at the Brown's Mill Market, an important platform for creatives at the time. They later began selling their work at Fingers Gallery after it opened in 1974. Although they continued to create jewellery throughout the 1970s and 80s it wasn’t until their rings were featured with the collections of WORLD at London Fashion Week in the late 1990s that they gained a new audience and popularity. In the 2000s Bribiesca began working alongside his daughter to ensure the legacy of their practice would continue in perpetuity. – The Dowse Art Museum

Courtesy of the artist and the Dowse Art Museum collection.

From the exhibition, Pieces in the Form of a Pair, 1991, the Dowse Art Museum.

"Eyewear history tells us that utility and frivolity in eyeglasses has always existed together. I'm no exception... I've a fondness for depicting an enjoyment of myopia and its attendant foibles." – Brian Adam

Courtesy of the artist and the Dowse Art Museum.

Neke Moa is an adornment and object artist who works closely with Pounamu (New Zealand jade or greenstone). Using traditional techniques such as hoanga (hand-held grinding stones) as well as electric machinery and diamond tools, Moa intertwines the customs of her ancestry with modern-day practices. In doing so, she manifests a spiritual continuation of whakapapa that reaches back and reminds us of Te Ao Kohatu (The Age of Stone).

Moa makes an important link between the whakapapa of materials, the making process, and the functions of body adornment and their role in producing feelings of belonging to culture, people and place. Moa unveils narratives of the place objects and taonga (treasures) have in producing and maintaining peoples relationships to deities, communities, whānau and culture.

Courtesy of the artist and the Dowse Art Museum collection.

"Matthew McIntyre Wilson’s series The Price of Change asks us to think about the stories we carry with us, the value(s) we place on them, and what they have cost us. Begun in 2008, the series of brooches has been extended to reflect the stories of Matariki. The brooches are made by harvesting the elements of coins from Aotearoa, Britain, and the Cook Islands and then recombining them to create arresting images. Elements like New Zealand ora and fauna, the symbols of the different nations that make up the United Kingdom, Māori iconography, and imagery of statehood and sovereignty all appear on the coins Matthew has used.”

– Nikki Hessell

Courtesy of the artist and the Dowse Art Museum collection.

"Matthew McIntyre Wilson’s series The Price of Change asks us to think about the stories we carry with us, the value(s) we place on them, and what they have cost us. Begun in 2008, the series of brooches has been extended to reflect the stories of Matariki. The brooches are made by harvesting the elements of coins from Aotearoa, Britain, and the Cook Islands and then recombining them to create arresting images. Elements like New Zealand ora and fauna, the symbols of the different nations that make up the United Kingdom, Māori iconography, and imagery of statehood and sovereignty all appear on the coins Matthew has used.”

– Nikki Hessell

Courtesy of the artist and the Dowse Art Museum

"...Scrubber is inspired by the Pacific Lai form. Scrubber takes the ubiquitous brand name "goldilocks" pot scrubber and trasforms it into a garland of silver (and ultimately gold). The original object, the golidlocks, remains recognisable although reconstructed from a new material. The ordinary is transformed into a dazzling celebration of the ordinary" – Douglas Lloyd Jenkins

To recognise the tedious, often unacknowledged work of running a household, Bern re-imagined the humble goldilocks by painstakingly constructing one in gold. Scrubber is made up of 80 meters of gold thread. Collection of The Dowse Art Museum, and winning commission of the 2000 Thomas Foundation Gold Award

Courtesy of the artist, and in private collection, Te Whanganui-a-Tara

Courtesy of the artist, and in private collection, Wellington

Courtesy of the artist and the Dowse Art Museum

Private Collection, Wellington

Private collection, on long term loan to The Dowse Art Museum.

Courtesy of the Guy Ngan Estate and the Dowse Art Museum

Courtesy of the artist and the Dowse Art Museum collection.

Courtesy of the artist and the Dowse Art Museum collection.

Courtesy of the artist and the Dowse Art Museum collection.

Made from grogged paperclay with a colourful array of stains and slips, the works in Ann Verdcourt's 'Play' are based on five of the artist’s real toys from the 1930s: Steppy dog, Bubsey doll, Monkey, Mrs Rabbit and Teddy. These are not generic toys, but named portraits of beloved friends who loomed large in the artist’s memory. Verdcourt was inspired in part by the birth of her granddaughter, Charlotte, who became the model for the baby that forms the sixth figure in the series. The work draws parallels between artists who play with clay and babies who learn through play. – The Dowse Art Museum

Courtesy of the artist and the Dowse Art Museum collection.

Courtesy of the artist, the Blumhardt Foundation, and the Dowse Art Museum.

Hana Rakena's "Inlet Vase" (2020) exhibits her interest in the gradual transformation of natural materials like rock and shells by wind and water. This particular vase is crafted by hand and has a smooth waving curve permeating its centre.

Coiling and pinching her vases over many days or weeks, Rakena subsequently scours the surface with a metal scraper to mimic the weathered texture of stones and shells developed over many, many years. Finally, she covers her vase with terra sigillata (fine clay slip) before firing. In light of this, she highlights her making process, creating a history of her practice in the physical surface, texture and shape of her works. For this, her approach to ceramic making as an art form is truly idiosyncratic.

Rakena draws her inspiration from Māori weaving and carving practices, and in particular her father, Otene's pounamu carving. Further, she uses the Māori concept of ihi meaning presence, essential force and sacredness, and aspires to this in her practice. – The Dowse Art Museum

Courtesy of the artist, the Dowse Art Museum, and the Blumhardt Foundation.

Courtesy of Te Manawa Museums Trust

Courtesy of the artist and the Dowse Art Museum.

From the exhibition - Breaking the Bronze Ceiling - at the Dowse Art Museum (10 July - 05 December 2021).

Gardner draws inspiration from her childhood in Northern California and holidays in Mexico, where indigenous folk art, terracotta sculpture and pottery was commonplace in the markets and stores of small towns.

Courtesy of the artist and the Dowse Art Museum collection.

“I associate moths with mystery, haunting, the sublime. They’re soft-bodied and subtle—circumspect not flashy. They often fly at night but not always—they’re a diurnal species—out at dawn and dusk. Moths are often connected to dreams and realms of the otherworldly. In Maori spiritual and mental concepts, moths are associated with the passing of the soul to the spirit-world—souls are represented by moths”. – Elizabeth Thomson

Courtesy of the artist and the Dowse Art Museum collection.

Courtesy of the artist and the Dowse Art Museum collection.

Courtesy the artist and STATION, Australia

Courtesy the artist and STATION, Australia

Courtesy the artist, and the Dowse Art Museum collection.

Artist Joe Sheehan was searching through eBay when he stumbled on a box of over 700 defunct TV remotes.

“The way that they were arranged in the photographs really caught my eye. The seller seemed to have put a lot of thought into the way they were grouped, and to me looked very similar to collections of stone adzes I had seen here [in New Zealand] in books and museums.”

Bespoke bookbinding, bookmaking, repairs, and embossing

Bespoke bookbinding, bookmaking, repairs, and embossing

Bespoke bookbinding, bookmaking, repairs, and embossing

Ten Square metres of you.

http://nookhomestudios.co.nz/

Courtesy of Coq Au Vin

Courtesy of Coq Au Vin

Courtesy of Coq Au Vin

Courtesy of Coq Au Vin

Courtesy of Coq Au Vin

Courtesy of Coq Au Vin

Author profile picture

Author profile picture

Tommy’s Magazine Editorial

Tommy’s Magazine Editorial

Tommy’s Magazine Editorial

Tommy’s Magazine Editorial

Artist Profile + Web content images

Tommy’s Magazine Editorial

Tommy’s Magazine Editorial

Tommy’s Magazine Editorial

Tommy’s Magazine Editorial

Team member at Write Limited

Team Member at Write Limited

Team Member at Write Limited

Team Member at Write Limited

Team Member at Write Limited

Team Member at Write Limited

Team Member at Write Limited

Team Member at Write Limited

Team Member at Write Limited

Team Member at Write Limited

Caitlin

Tori + Caitlin

Tori

February – May 2024, New Zealand Portrait Gallery Te Pukenga Whakaata. Courtesy of the artist Richard Lewer, the New Zealand Portrait Gallery Te Pukenga Whakaata, and Suite Gallery.

February – May 2024, New Zealand Portrait Gallery Te Pukenga Whakaata. Courtesy of the artist Richard Lewer, the New Zealand Portrait Gallery Te Pukenga Whakaata, and Suite Gallery.

February – May 2024, New Zealand Portrait Gallery Te Pukenga Whakaata. Courtesy of the artist Richard Lewer, the New Zealand Portrait Gallery Te Pukenga Whakaata, and Suite Gallery.

February – May 2024, New Zealand Portrait Gallery Te Pukenga Whakaata. Courtesy of the artist Richard Lewer, the New Zealand Portrait Gallery Te Pukenga Whakaata, and Suite Gallery.

February – May 2024, New Zealand Portrait Gallery Te Pukenga Whakaata. Courtesy of the artist Richard Lewer, the New Zealand Portrait Gallery Te Pukenga Whakaata, and Suite Gallery.

February – May 2024, New Zealand Portrait Gallery Te Pukenga Whakaata. Courtesy of the artist Richard Lewer, the New Zealand Portrait Gallery Te Pukenga Whakaata, and Suite Gallery.

Ian Scott, New Zealand Painting, 1987. Courtesy of the Ian Scott Estate, and New Zealand Portrait Gallery Te Pukenga Whakaata

Ian Scott, Nor’ Wester in the Cemetery, 1987. Courtesy of the Ian Scott Estate and New Zealand Portrait Gallery Te Pukenga Whakaata

Ian Scott, Rita Angus in Taradale, 1987. Courtesy of the Ian Scott Estate and New Zealand Portrait Gallery Te Pukenga Whakaata

Product photos for Graphic Solutions Ltd

KOKO -

Wētā FX event branding

KOKO’s events are known for their immersive themed environments, audience activation and curated performances. And they are the people behind Weta’s legendary end of year parties. We were asked to designed their 2017 event branding. The invite consists of a transparent lightning bolt sandwiched between two sheets of bright die-cut Popset card stocks, finished with minimal typography. The result is more object than printed item.

www.graphicsolutions.co.nz/koko-weta.html

Susan Peacock – a retired lawyer, began training as a bookbinder in 2006. Her goal was to restore the book collection left to her by her grandfather. Since then she has trained with master bookbinders both in New Zealand and abroad and has received a Diploma in Conservation Binding from the American Academy of Bookbinding – one of the few institutions in the world to offer qualifications. She is a member of the American Institute for Conservation of Historic & Artistic Works.

Susan takes her role as a conservation bookbinder seriously. She uses high quality materials and best practice techniques to restore books to their former glory. Our task was to make sure the new identity reflected her craftsmanship and skill. The project encompassed core branding, signage, photography and image-making, as well as website design and development.

The beauty of the mark component of the logo is it shouldn't need much explanation — even without the accompanying type. While it is perhaps an obvious decision to focus on the visual similarities between a peacock's plumage and the form of an open book, it helps create the basis for an instantly identifiable and memorable identity.

We created two campaign images – inspired by 17th Century Dutch still-life paintings – to be used to enrich and bring depth to the identity.

These are designed to be used for print, web and social media applications.

www.peacockbindery.co.nz

www.graphicsolutions.co.nz/peacock-bindery.html

4x5 pinhole landscape, found objects

4x5 pinhole landscape, found objects

4x5 pinhole landscape, found objects

4x5 diptych pinhole images on Harman positive gelatin silver paper

4x5 diptych pinhole on film printed with gelatin silver paper

Salt print on Hahnemuhle paper

Salt print on Hahnemuhle paper

Salt print on Hahnemuhle paper

Salt print on Hahnemuhle paper

4x5 pinhole landscape, found objects

4x5 pinhole landscape, found objects

We're celebrating "Southern Hemisphere Spring" in Munich! In our exhibition "The Familiar in the Unfamiliar - Jewelry from the Southern Hemisphere," we present a fascinating selection of jewelry from Australia, New Zealand, and the Pacific Islands that are not only aesthetically impressive, but also deeply rooted in the traditions and cultural contexts of their origins.

The works we showcase are an exciting mix of industrially produced and handcrafted jewelry pieces, crafted from natural materials native to the area. Each piece tells a story and reflects the identity and values ​​of the artists who created it. From First Nations creative approaches to artistic interpretations with Western influences—the diversity of styles and ideas is overwhelming.

This exhibition is not just a presentation of jewelry, but a cultural exchange that explores the connection between different traditions and contemporary social issues. The colorful works we present are the result of intensive discussions and creative processes influenced by visits to exhibitions and international universities.

We thank the Australian Design Centre and the Dowse Museum for their valuable collaboration and the opportunity to present these unique works. Join us as we open the exhibition with New Zealand Ambassador H.E. Craig John Hawke and celebrate the beauty and diversity of jewelry art from the Southern Hemisphere!

Cover image: Stacy Gordine, Small Sculptures (detail), 2001. Collection of The Dowse Art Museum, Photo: Jess O'Brien

@schmuckmuenchen
@dieneuesammlung

#SouthernHemisphereSpring #SchmuckdersüdlichenHemisphere #KiwiSpring #Schmuckmünchen #Jewelleryweek # #Schmuckkunst#GalerieHandwerk #schmuckmuenchen #jewelleryfestival #avantgardejewellery #contemporaryjewellery #münchen#stacygordine #thedowse

Finalist in 2024 Editorial and Books, Best Awards, 2024

This book was produced in tandem with The Dowse’s major collection exhibition "Unhinged: Opening the Door to the Dowse Collection" in 2023. However, it was also intended as a standalone collection book that served this purpose well beyond the life of the exhibition. The idea was that just by picking up this book and casually leafing through it, a person could get a sense of the magic of The Dowse and the breadth, beauty, and eccentricity of the art collection.

Featuring over four hundred different artworks and tens of thousands of words of text, the challenge of the layout was in presenting a huge volume and range of content without feeling cluttered.

Meant to evoke magic and mystery, the book drew on a dark palette with pops of metallic green reminiscent of precious emeralds or witches’ potions. Produced in limited edition, the book was intended as a precious item to be cherished much like the objects in the collection itself.

Pou Auaha / Creative Director Karl Chitham

Pou Rautaki / Strategic Lead Chelsea Nichols

Ringatoi Matua / Design Director Stu Forsyth

Kaituhi Matua / Copywriter Lead Chelsea Nichols

Ngā Kaimahi / Team Members
Sarah Laracy, Jo Wehrly, Gemma Browne, Casimar Larkin, Erika McClintock, Cherie Tidmarsh, Georgia Pope, Sophia Smolenski, Catherine Bennett

Kaitautoko / Contributors Jess O'Brien, Thomasin Sleigh, Blue Star

Client The Dowse Art Museum

The 2023 Te Manawa Museum Trust's Calendar – highlighting a sample of Heritage Collection Manager – Cindy Lilburn's favourite items in the collection.

“One of the highlights of my time thus far as Associate Minister of Health has been launching the Piki pilots of free mental health support for young people ages 18-25. Piki is a pilot programme which helps 18-24 year olds with mild to moderate mental health needs or substance use challenges.”

Julie Anne Genter

http://homegrown.kiwi/

http://homegrown.kiwi/

Guy Ngan, No. 98, Bronze

Marie Le Lievre, Heroic Sentimentals, 2017, watercolour.
Courtesy of Bartley + Company Art.

https://sudbury.co.nz/

https://www.onlinecommunications.co.nz/

https://www.wellingtonyoga.co.nz/

https://www.wellingtonyoga.co.nz/