Aiga Maiava

Aiga Maiava is a Samoan printmaker.

She left college in 2007 and began a Bachelor of Applied Arts in 2008.

She is following a passion for art and would like to make a career from it – to this end she would like to teach art in secondary schools with the goal of sharing wider knowledge with the younger generation.

Artist statement

Tatau o Samoa

“I haven’t always been kept the way I’m supposed to be, but if you do keep me ‘measina’ (sacred) I should be”.

 

Wood cut and screen print on paper.

Aiga Maiava <maiava_ingah@hotmail.com>

Rachael Gannaway

The 18^th Century social commentator and historian, Thomas Carlyle, said, “It is through symbols that man consciously or unconsciously lives, works and has his being.”

I have a long standing love of the Self Portrait: Still life paintings of Frances Hodgkins.  She took items imbued with personal meaning and used them to create a portrait of herself – that doesn’t contain her actual visage.  In this series of work, I have combined pictorial elements that express abstract and invisible ideas, with a focus on home, family and domesticity.

Using motif, colour and the common domestic materials, wallpaper and fabric, I have created a portrait.

The Printmaker

Ink on fabric

Surface and Symbol 1

Paint and ink on wallpaper

2400mm h x 1500mm w

Surface and Symbol 2

Paint and Ink on Wallpaper

2400mm h x 1500mm w

rachaelgannaway@paradise.net.nz

Camille Walton

My work never really starts with a clear concept but rather comes from a process of play; I find by starting with a concept often works can feel contrived. I work instinctively with materials that excite me, this is one of the reasons I enjoy using soft wax as I can respond quickly and spontaneously to the piece I am working on. I let my influences, which I have gained over many years, naturally emerge in my work. I am attracted to the organic forms of nature and also derive a lot of inspiration from painters, such as Richard Diebenkorn, Monet, Joan Mitchell, and Robert Rauschenberg, with their use of colour, line, and structure. I come from a painting background, and like the idea of turning paintings and sculptures into wearable work which the owner can bring with them where ever they go.

The idea of finding lost treasure is another idea which has always fascinated me. Through the effects and colours I am achieving on the metal and the combination of other materials my pieces look as though they have been discovered in the ground where flowers, weeds, and gems have started growing onto them. I also like the idea of my work to look like it could be ancient pirate treasure, which could have a romantic or adventure story attached.

1.Untitled, Ring (2012)

Oxidized sterling silver, enamel

2.Untitled, Brooch Pin (2012)

Oxidized bronze, enamel, enamel paint

3.Untitled, Ring (2012)

Oxidized bronze, enamel, enamel paint

4.Untitled, Brooch (2012)

Oxidized bronze, enamel, enamel paint

camillepwalton@gmail.com

Keri-Mei Zagrobelna

‘Ko taku reo taku ohooho, ko taku reo taku mapihi mauria’.

‘My language is my awakening, my language is the window to my soul’

(Maori proverb)

I use jewellery as my language and speak through my hands.

My eyes hear my thoughts and translate

Poutama

bronze, brass, copper, patina and cotton.

height:60mm  width:66mm  depth:25mm

Untitled

bronze, brass, copper and patina.

height:39mm  width:66mm  depth:20mm

kmzagrobelna@gmail.com

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Patricia Nurchandra

Patricia offers a vision of art that is culturally engaged and morally aware.

She dedicates much of her time to using art as a vehicle for advocating animal liberation movement and to celebrate the many and challenging differences between the East and the West by presenting bi/trans cultural perspectives.

Artist Statement

Hang On There

The veterinary profession is uniquely embroiled with moral & ethical dilemmas because animals are legally defined as ‘property’ in the practice – which can be contra to the veterinarians’ personal beliefs. Divided between what ought to be done and what the vet actually does.

This work offers trans-cultural translation of the conflicts they face on the job through the two opposing scrubs. The repeat pattern designs are derived from the traditional Indonesian cloud pattern which interprets freedom, whereas the other is formed from an ancient Javanese script that created a chain-like pattern conveying moral entrapment.

Which one to wear?

Installation of digital surface design

Polycotton, polypropylene, chrome, rubber

Hang On There 1

71cm x 59cm

Polycotton

Hang On There 2

71cm x 59cm

Polycotton

patricianurchandra83@gmail.com

Moses Viliamu

Invisible Tokelauan Tattoo

In 1863 Peruvian slave traders forcibly took away all of the able bodied men on the Tokelauan Islands leaving only the elderly, women and children to survive. With no young men to invest in the rites of the practice, the tattoo became mostly forgotten. My work, pieces together the fragments that remain, in an effort to perpetuate the story of a people and their culture challenged by slavery.

Union was here! 3

Acrylic on board

90cm x 60cm

Union was here! 4

Acrylic on board

90cm x 60cm

Chloe Reweti

A common approach in accepting mortality has been through religion or spirituality. There values provide a comforting philosophy of death as a new beginning or a continuation of the former life.

At its core, my work is not solely about religions role in history. It’s informed by the conditions and concerns of living in the contemporary world. In a world beset with confusion, I am exploring a timeless question of all faiths: What lies beyond this life?

Opium

Hand pulled silk screens on manilla

150cm

01illmatic@gmail.com

Wind It Up