Grae Burton: Residency Retrospective Exhibition

28 November 2011 – 15 January 2012, Photography Gallery

In March 2011, artist, actor, director and writer Grae Burton was invited by Sir James Wallace to become Artist in Residence as an art photographer at Rannoch. By Easter Burton had created the two triptychs called Easter Island Waiheke. During the past six months Burton has flourished in art photography creating six series of work containing over 50 images, most of which you will see in this Residency Retrospective exhibition.

Recently, the Wallace Arts Trust has assisted Burton in recovering the only existing copy of the body of work from his last residency installation performance/exhibition at the Suter Gallery in Nelson in 2006 called “Transformative”. Transformative is now part of the Wallace Arts Trust Collection.

Prior to the residency Burton had returned to Auckland after eight years in Nelson as Artistic Director of Nelson’s Independent Theatre and Arts Centre and Nelson’s Summer Shakespeare.  Upon returning Burton reconnected to his previous love for photography, working predominantly as a live show video and photographic archiver while developing his stage and screen acting career.

Recently Burton won the Pain Awareness Month Art competition with his work See The Planes and Learn How They Fly, which is included in this exhibition with two other works.  Next year Burton will go into production on his feature film project The Book of Bees and an international theatre project Griffen and Sabine while continuing in all his artistic endeavors.

All Burton’s work in this Residency Retrospective is from 2011 (except the Appropriate Appropriatedseries), is single edition and is part of the Wallace Arts Trust Collection.

A Playful Movement; Czech and Polish Veteran and Mid-Careerist Animators

25 October 2011 – 4 December 2011, Master Bedroom and AV Room

Curated by Miriam Harris and co-ordinated by Deborah Lawler-Dormer.

The Czech Republic and Poland enjoy a particularly rich animation tradition, characterised by features such as absurdity, playful irreverence, black humour, and profound reflections on the human condition. Aided and abetted by the strong tradition of artistic disciplines in these countries such as puppetry and illustration, the animation scene post World War II was also ironically supported by governmental funding under Communism.

In the first part of this exhibition, the work of ten significant Czech and Polish animators are foregrounded. These animators included both veterans and mid-careerists, ranging in age from fifty years to eighty-eight, who had all experienced the trials and ironic support of creative production under Communism, and whose work, to varying degrees, demonstrated themes of subversive irreverence towards the oppressive powers of authority. Playfulness, absurdity, black humour, and a profound reflection upon the human condition are also common traits observed in their work.

The veteran and mid-career animators represented in this exhibition all experienced this era (dubbed by some as “the golden c/age”), where creative innovation in the field of animation flourished, at the cost of Soviet censorship, and having to bury political protest beneath metaphors and allegory. It can be said that this situation, in contrast to the more frothy frolics represented in Disney films, gave rise to animated films with an added depth and subversive playfulness. Many of the Czech and Polish animators from this era created animated films that are now regarded as classics, and which garnered numerous awards. With the collapse of Communism, these animators have mostly turned to teaching in order to make a living (and have fostered a vibrant new generation of animators in the process), while continuing to produce artistically innovative work.

The first part of this exhibition aims to present these animators as living, breathing people rather than iconic figures on the other side of the world, by presenting their films, tangible sketches and storyboards, as well as an account from curator Dr Miriam Harris about meeting with them in January this year.

For information on Part Two of this exhibition Click Here

Dark Arts

21 October 2011 – 15 January 2012, Long Gallery

From the shadows of the Wallace Arts Trust Collection, Dark Arts shows works that are linked thematically by their reference to the darker subjects of death, fear and violence.

Please note that some images may disturb younger viewers and discretion is advised.

Many of the works in Dark Arts use their subjects’ faces to communicate feelings of vulnerability and express dark emotions.

John Lethbridge’s Masked Face (Water colour and paper collage) shows a mask on a pole, like a sort of signpost in a McCahon-esque landscape. The lower part of the mask seems to be made of another material, perhaps iron, and riveted to a more realistic model. With the mouth covered by this addition, it gives the impression of the subject being silenced or smothered.

Brit Bunkley’s Body Snatcher Portraits #5 and #6 (2003), covered with a seemingly benign pattern of coloured flowers, give an uneasy sense that the subject has been taken over by some outside force in (as the title suggests) a deliberate and malicious act.

In both Link Choi’s Christ at the Pillar (2009), and Trevor Fry’s My Magritte Lovers Indecision (Withdrawal) (1988), the subjects are naked with their heads covered. Both in interior spaces, they give a sense of vulnerability which may prompt the viewer to ponder their fate. Whilst Fry’s subject is incriminated in a sexual context by the title of the work, we cannot place his role in the narrative, is he an aggressor or victim? Are his hands tied behind his back or is this position one of nonchalance? The reference to surrealist Rene Magritte leads to further doubt about the reality of the scene.

The face of Sam Harrison’s Crawling Man (2010) is not visible when the viewer is observing from above the sculpture. The position of the figure is one of desperation; his white wax-cast body may remind the viewer of the fossilized remains of residents of the Italian city of Pompeii, suspended in their escape tracks when Mount Vesuvius erupted. Opposite this work Lois White’s Hiroshima(1964) echoes the same theme of tragedy. The faces of the subjects here are clearly visible, filled with expressions of pain and anguish.

The human skull is a motif present in several works. Wax to Wax on Wax. For James My Champion xxxx (2007) is a screen print on silver foil by Max Gimblett. Gimblett’s typical quatrefoil design fades into a luminous background of silver foil as a grinning skull extends towards the viewer. The same skull is seen, central again in Tony Fomison’s Memento Mori (1979). Memento Mori is Latin for “remember death”, a phrase meant to remind us of our mortality. Lee Brogan’sBombora (2008) reminds us also of the fragility of life, through the medium of pate de verre glass. The skull in this work is delicate, fading from crystalline white to an inaudible grey and disintegrating at the edges. It may question where the line between life and death is located and reminds us of the ephemeral nature of our bodies.

Pelago Returns

18 October 2011 – 23 October 2011, AV Room

Denise Batchelor and Tanya Ruka present moving image works that relate to pelago – the sea.

Denise Batchelor

Simply stated, Pelago translates as sea, a vast expanse of water with a boundless horizon. The works presented reference the sublime through both distance and proximity, repelling and engaging the viewer caught between two propositions of fear and seduction.

Batchelor’s seductive close ups reveal a strangeness and ineffability, imagery that is familiar yet strange, fragments of a landscape that offer a glimpse of the perceived infinite. These are quiet, contemplative images that have translated the division of the historical sublime into a connection between nature and humanity. In Blue and Kelpa foreground and background are removed, and the expanse of the sublime has been turned inward to reveal an inexplicability caught within the smallest detail.

Alissa West, 2011

From as far back as I can remember I have always been drawn to the sea. Much like a moth drawn to a flame, I am mesmerised by its ever-changing appearance and unpredictable moods.

As I glance a changing reflection in the micro world of Blue, I am reminded not only of the temporality of being but of the interconnectedness that exists between all living things.

Denise Batchelor, 2011

Denise completed a Masters in Fine Arts at Whitecliffe College of Arts & Design in 2011


Tanya Ruka

Primarily I am interested in Time & I am currently exploring the concepts of connection & duration. My work focuses on minor events in the natural world and their connection with major effects over extended duration.

In this work ‘Storm’ the camera observes the gestural lines and swirls as they are painted across the frame by the wind. The energy created is uncontainable within the frame; as we experience the wind & rain our view is unbalanced and grainy.

The natural world in full command; though silent the storm is amplified through the convergence of line and extended duration.

Tanya Ruka, 2011

Tanya recently graduated from Auckland University with a Bachelor of Visual Arts degree & is currently studying a Master of Art & Design at AUT.

Philip Trusttum Survey

17 October 2011 – 12 February 2012, Drawing Room, Ballroom, Morning Room, Upper Lobby & Boardroom

Philip Trusttum is without doubt one of New Zealand’s most important living artists. The Arts Trust has the most substantial holdings of Philip Trusttum’s works, numbering 222 works covering a span of over 50 years; resulting in an artist’s diary without comparison.

The Wallace Arts Trust is proud to host the first complete survey of his oeuvre and launch a book dedicated to his practice at The Pah Homestead, TSB Bank Wallace Arts Centre. The opening event that was on Monday 17 October  featured a Q & A session with Philip Trusttum, hosted by Robin Woodward, an art historian from Auckland University, and the principal author of the book.

Chris Corson-Scott: Photographs

4 October 2011 – 27 November 2011, Foyer & Photography Gallery

In his debut exhibition, artist Chris Corson-Scott presents a series of large-scale photographic works. Completed over a two year period, the images depict the Auckland suburb of Mt Eden where the artist has lived since birth.

Puketepapa Heritage Exhibition

12 September 2011 – 2 October 2011, Photography Room

The images on display here provide a flavour of the rich and often quirky history of Puketapapa/Mt Roskill.The area had significant clusters of Maori settlement, particularly around Puketapapa (Mt Roskill) and Te Tatua-o-Riukiuta (Three Kings). European settlement commenced in the mid Nineteenth Century with large parts of Puketapapa passing into crown ownership from 1841. Later, a number of very large parcels of land passed into the hands of various wealthy individuals and institutions.

A number of significant buildings constructed on the “estates” of these landowners feature in this exhibition. Also look out for images of the heritage listed Ranfurly War Veteran’s Home. Constructed for veterans of the Crimean War it still stands proudly today.

The Puketapapa Local Board has organised and funded this exhibition with the kind assistance of the Sir George Grey Special Collection, and the TSB Bank Wallace Arts Centre in order to help generate interest in the heritage of our community. After the exhibition the images will be displayed at civic buildings around Puketapapa.

To compliment this exhibition, the Auckland City Council publication Not Just Passing Through: The Making of Mt Roskill by Jane Reidy is available by a donation of $15 – $25 from reception at the Pah Homestead/TSB Bank Wallace Arts Centre. This is a 74 page colour publication that includes many more photographs and writing that describes the history of the Mt Roskill area.

20th Wallace Art Awards Finalist Travelling Exhibition

6 September 2011 – 16 October 2011, Drawing Room, Ballroom, Morning Room, AV Room

The 20th Wallace Art Awards 2011, with prizes amounting to over $165,000, were presented on Monday 5 September by Auckland Mayor Len Brown at The Pah Homestead, TSB Bank Wallace Arts Centre. The Awards are the longest surviving and largest of their kind in New Zealand. They differ from other important New Zealand art prizes in that they aim to provide challenging opportunities and broadening experiences to the four major winners by way of residencies at top-class international institutions.

The Wallace Arts Trust received 559 entries from which 117 entries were selected as finalists. Sixty-one finalists were chosen for the Travelling Show and the balance was represented in the Salon des Refusés.  The Awards were judged by three distinguished New Zealand artists – Philip Trusttum, Sara Hughes and Peter Gibson-Smith.




Akiko Diegel
Wallace Arts Trust Paramount Award
Akiko receives a 6 month-residency at the International Studio and Curatorial Program in New York, USA.


Brydee Rood
Fulbright Wallace Trust Award
Brydee receives a 3 month-residency at the Headlands Center for the Arts in San Francisco, USA.

Matt Ellwood
The Kaipara Foundation Wallace Trust Award
Matt receives a 3 month-residency at the Altes Spital in Solothurn, Switzerland

Bronwynne Cornish
Wallace Development Award
Bronwynne receives a 2 month-residency at the Vermont Studio Center in Vermont, USA.

Emil McAvoy
Ist Runner Up Award
Emil is awarded $2,000 cash

Anita Levering
2nd Runner Up Award
Anita is awarded $2,000 cash 

Philip Dadson
Jury Award
This prize is non-monetary


The People’s Choice Award, worth $500, will be decided after the Travelling Exhibition has finished its leg at The Dowse on 4 December.


Emil McAvoy
First Runner Up Award

Emil McAvoy won with his work Helen. Emil receives $2,000.


Emil McAvoy

Archival pigment on Hahnemuehle paper
Original source: photographer and date unknown
National Publicity Studios
Copyright Archives New Zealand Te Rua Mahara o te Kawanatanga
Wellington, [AAQT, 6418, 29]

Anita Levering
Second Runner Up Award



Anita Levering won with her work Sap Green on Paynes Grey. Anita receives $2,000.


Anita Levering
False Flat – Sap Green on Paynes Grey
Acrylic and watercolour on linen

Philip Dadson
Jury Award

The Jury chose Philip Dadson’s Headstamps II: Homage to the Silk Road for special mention.
Philip Dadson
Headstamps II: Homage to the Silk Road
DVD video/sound, 5.00 minutes
20th Annual Wallace Art Awards 2011: Exhibition of Winners and Selected Finalists catalogues including Director’s introduction, judges details, and extended information about the Awards are available from reception or the Gallery Shop for $15. All proceeds are reinvested into the Wallace Arts Trust and aid in the funding of the operation of the TSB Bank Wallace Arts Centre at the Pah Homestead.

20th Wallace Art Awards Salon des Refusés

6 September 2011 – 16 October 2011, Long Gallery

The 20th Wallace Art Awards 2011, with prizes amounting to over $165,000, were presented on Monday 5 September by Auckland Mayor Len Brown at The Pah Homestead, TSB Bank Wallace Arts Centre. The Awards are the longest surviving and largest of their kind in New Zealand. They differ from other important New Zealand art prizes in that they aim to provide challenging opportunities and broadening experiences to the four major winners by way of residencies at top-class international institutions.

The Wallace Arts Trust received 559 entries from which 117 entries have been selected as finalists. Sixty-one finalists were chosen for the Travelling Show and the balance was represented in the Salon des Refusés.  The Awards were judged by three distinguished New Zealand artists – Philip Trusttum, Sara Hughes and Peter Gibson-Smith.

The concept of the Salon des Refusés has a very honourable history: The first was held in 1863 and arose because the official exhibition sponsored by the Académie des Beaux-Arts in Paris had been coming under huge criticism for rejecting new artists. The resulting complaints of bias led the Emperor Napoleon III to allow the rejected works to be displayed in a separate exhibition. In that first exhibition were several important paintings such as Manet’s “The Luncheon on the Grass”, James McNeil-Whistler’s “The White Girl”, and included works by Henri Fantin-Latour, Paul Cézanne, Armand Guillaumin, Johan Jongkind and Camille Pissarro.


30 August 2011 – 23 October 2011, Boardroom & Master Bedroom

To celebrate the Rugby World Cup, the TSB Bank Wallace Arts Centre is featuring rugby inspired works from the Wallace Arts Trust Collection including works by artists Philip Trusttum, Mark Braunias, Jacqueline Fahey, Kate Walker, Michael Shannon and Stuart Page.


Highlights include six works by Philip Trusttum: an early piece from 1997 using oil on hardboard, and five of his distinctive large cut-out canvas works created between 2010 – 2011 that can be re-assembled in varying ways to reflect the dynamic action of the players and the game.


Trusttum has always painted subjects from his immediate life. His father was an All Black trialist and played for King Country, while Philip played for North Canterbury in the 1960s. While he gave the game away, the creative possibilities within the constructs of rugby, as well as the culture of the game itself have made the subject as relevant now, as it was then to Trusttum and his concerns.


Contextualising the later works against 1997’s All Blacks vs The Irish acknowledges the refinement and risk-taking realised by Trusttum during this period, as well as the influence of Masters such as Matisse. In 2009 Trusttum flew to London to spend time with an exhibition of Matisse’s work from the Hermitage Collection shown at the Royal Academy, and his nod to the Master is clear in HOM to MAT where the All Blacks cavort in a circle in a similar way as Matisse’s The Dance.


Works such as 1995 and CANT with Trophys reveal the influence of Indian tantric art, which allowed Trusttum to free up his approach and further animate rugby players with multiple heads and arms into demi-god like status. These cannibalistic characters – full of hubris – are in the act of crushing their opponents, re-enacting triumphs such as Jonah Lomu’s dominance over the English at the 1995 World Cup, or the Cantabrian’s thrashing Waikato. Distinctive tattoos of individual players and design elements of each team’s jerseys are included to provide viewers with further visual clues.


Mark Braunias’s Black Order, of the Emblems of Identity series (1988-1993), uses the All Blacks as a generic identity, rendering them either faceless or partially obscured to explore aspects of our national identity. In this work he employs A4 sheets, a device that he has continued to use and that has been described by critic Justin Paton as Braunias’ “natural habitat”.


Braunias won the inaugural James Wallace Art Awards with Roll Call, and won 2010’s Fulbright Wallace Art Award with The Periodic Table. He is currently completing his residency at Headlands Center for the Arts in San Francisco.


Jacqueline Fahey’s work The Football Practice is from the Down in Grey Lynn Park series, which documents the colourful characters she observed while walking her dog Ben every day for three years. Like the other works from the series, the painting includes elements of flight as birds infiltrate the space in which the players tackle one another. The colour and vibrancy of the graffiti and public art in the background further energises the painting.


The exhibition will also include a second edition book of Michael Shannon and Stuart Page’s topical 1981 Springbok Tour silk-screen images, which were famously projected onto the walls of the Beehive in Bowen Street from Bowen Galleries.


Two of Kate Walker’s works Player Black and The Defenders 1 reflect her interest in making art as a record, sourcing everyday events and cultural ephemera for their story telling potential. Both render parts of rubgy players in the act of kicking or being tackled, and in The Defenders 1 Walker paints the figures over floral wallpaper.


The final work is by an unknown photographer of a young Maori rugby player identified as H. Tiopira in the year 1893. The young man is positioned in a traditional reclining pose in rugby garb with a silver fern emblem, and could potentially be lying on a Maori feathered cloak.  Tiopira was part of the 1893 New Zealand tour rugby to Australia, which was the second tour by the New Zealand national rugby union team to Australia (the All Blacks were not formulated till 1903). Ten matches were played against regional and district sides.

First Impressions

19 July 2011 – 4 September 2011, Drawing Rooms, Ballroom & Morning Room

The Wallace Arts Trust holds in its Collection a survey of works spanning the careers of many prominent New Zealand artists. First Impressions is an exhibition designed to show visitors the earliest works purchased by James Wallace from a number of artists he has continued to collect. These works represent both the subjective tastes of a collector and the astute eye gained from years of participation in, and patronage of the visual art scene; they all have in common the fact that they made good ‘first impressions’.


First Impressions contains an interesting personal angle: information about the artwork and the artists’ early careers, provided by the artists, is presented alongside many of the works. The exhibition also contains the first work ever purchased by James Wallace, and a work by Nigel Brown that has never been shown to the public.


As part of the TSB Bank Wallace Arts Centre’s first anniversary celebrations, Richard Killeen and Denys Watkins will give artist talks on Sunday 14 August.




Wellesley Binding Bill Hammond Michael Parekowhai
Don Binney Pat Hanly Alan Pearson Snr.
Mladen Bizumic Jeffrey Harris Seraphine Pick
Andrew De Boer Michael Harrison John Reynolds
Mark Braunias Louise Henderson James Robinson
Nigel Brown Julian Hooper John Roy
Philip Clairmont Ralph Hotere Ian Scott
Chiara Corbelletto Gavin Hurley Angela Singer
Jenny Dolezel Richard Killeen Michael Smither
Robert Ellis Tony De Latour Heather Straka
Simon Esling Andy Leleisi’uao Eion Stevens
Jacqueline Fahey Barry Lett Geoff Thornley
Gary Freemantle Richard Lewer Philip Trusttum
Dick Frizzell Doris Lusk Greer Twiss
Tony Fomison Allen Maddox Ann Verdcourt
Luise Fong Euan MacLeod John Walsh
Peter Gibson Smith Andrew McLeod Denys Watkins
Max Gimblett Richard McWhannell Ben Webb
Rudolf Gopas Sam Mitchell John Weeks
Star Gossage Peter Panyoczki Peter Wichman

Toss Woollaston


Many artists are not represented in this exhibition for various reasons, principally because they have already been shown, or are being put aside for specific shows in the future at The Pah Homestead, TSB Bank Wallace Arts Centre.

The Blue Room

7 July 2011 – 28 August 2011, Master Bedroom and AV Room

Today there is a proliferation of television programmes featuring psychics, ‘Ask a Psychic’ magazine columns, and growing communities of spell sellers and psychic mediums online and performing on stages around the globe.


Does all this suggest an increasing belief in psychic phenomena? Could it be that in a time of global economic crisis and all manner of other potential crises, it is comforting to believe that there is more to this world of ours than the physical and rational?


Curated by artist Pippa Sanderson, The Blue Room features artwork from Andrea du Chatenier, A. L. August and I. A. Clifton, Lonnie Hutchinson, Saskia Leek and Violet Faigan, Louise Menzies, Dane Mitchell, Rebecca Pilcher, Johanna Sanders and Stuart Shepherd.


The Blue Room was a house in Dunedin where Spiritualists Clive Chapman and his niece Pearl Judd conducted séances in the 1920s. Spiritualists believe that the spirit of a person exists beyond their body and that the living can communicate with the dead.


This exhibition presents work of 12 artists who were invited to respond to the idea of the Blue Room and the psychic activity that took place there. Through their individual reflections, the artists also offer a wider view on perceptions of the paranormal in the contemporary world. Some of the artists have approached the topic as believers and some as skeptics.



The Blue Room exhibition, catalogue and tour was made possible with the generous support of the Chartwell Trust, UCOL, Rob Garrett Contemporary Fine Art, Wallace Arts Trust, Hamish McKay Gallery, Jonathon Smart Gallery, Jim and Mary Barr and Pic Pac. A timely contribution from CNZ has brought the show to the Pah Homestead.


The exhibition catalogue, The Blue Room: Thirteen Artists Respond in a Psychic Way (2009) is available for purchase for $15 at The Pah Homestead. It features essays in response to The Blue Room by writers Jon Bywater and Rebecca Rice.


Especially for The Blue Room at The Pah Homestead, Andrea du Chatenier ordered a spell “for the mysitcal truths” of all who enter the exhibition. A performance of this spell can be viewed here.


4 June 2011 – 3 July 2011, Pah Homestead

MIC Toi Rerehiko and the Wallace Arts Trust are proud to present Transformance, an exhibition of digital media by four graduate artists from Auckland University of Technology (AUT), with support from the Asia NZ Foundation, as part of the Auckland Festival of Photography.  Curated by Warren Pringle, artists Jia-Yin (Jane) Loo, Grace Chai, Olivia Garelja, and Nick Konings (with Paul Chambers) will exhibit digital media work from 4 June – 3 July at the TSB Bank Wallace Arts Centre in the Pah Homestead.


Transformance explores themes underpinned by myths and ideas of reflection and appearance, illusion and essence, imitation and emanation. While these ideas are fundamental to the human condition, what catapults them into the present – and in some cases predictive future – is the sensitive and intelligent use of digital media. Working in their respective digital imagery fields, Jane, Grace, Olivia and Nick are recent graduates of AUT, and have all achieved a high degree of excellence in their artwork. Their cross-disciplinary approach from the various platforms of Graphic Design, Interdisciplinary and Photography majors at AUT, highlights the new ways in which artists are working today, and the potential of digital media as a unifying medium.


In a dedicated upstairs gallery of the Pah Homestead, Jia-Yin (Jane) Loo investigates the potential of moving image and type to express a narrative of loss and disappointment as a recent migrant to New Zealand from Malaysia.

Alternatively, Grace Chai, who moved to New Zealand from Taiwan at fifteen years of age, explores the implications of cosmetic surgery on male identity through photographic prints.

New Zealand born Olivia Garelja augments photographic imagery to construct persuasive alternative worlds and imaginary landscapes.

Lastly, in the AV Room, New Zealand born Nick Konings mixes, text, psychology, art and software – with code written by Paul Chambers – to craft an experience that is an active reflection on the process of self-transformation, resulting in the generation of an entity somewhere between an avatar and self-portrait.

Warren Pringle, an experienced arts planner, producer and curator, will draw from his extensive experience to weave these various concerns together with an opening event at 2pm on Saturday 4 June at the Pah Homestead. Entitled A Sense of Dislocation and originally inspired by the work of exhibiting artist Jane Loo the event will feature music composed by Jed Town and performers Elise Chan, Jeong Yeun Whang, Kristian Larsen and Warren Pringle.
Artists Talks

Saturday June 11th 1pm; Warren Pringle/Jia-Yin Loo
Saturday June 18th 1pm; Olivia Garelja/Grace Chai
Saturday June 25th 1pm; Nick Konings

Scott Eady

31 May 2011 – 17 July 2011, Drawing Rooms, Ballroom & Morning Room

31 May – 17 July, Drawing Rooms & Ballroom

…Something lost and something found in the work of Scott Eady.  The Pah Homestead, TSB Bank Wallace Arts Centre, is proud to present an exhibition of Scott Eady’s work, both from the Collection and on loan, from 31 May – 17 July 2011.


Eady’s large-scale sculptures predominantly challenge the New Zealand male stereotype, and more recently have focused on his dual role as a father and artist. His sculptures are playful, witty, insightful and often frustrating; with a sometimes ambiguous element of violence about them.


This exhibition brings together a wide range of Eady’s oeuvre, including early works such as the interrelated sculptures ‘Scotties’ (1998) and ‘The Desert Fox’ (1999) – the former a deckhouse and trailer that references the long tradition of men and their sheds in New Zealand, and the latter a fantastical and beautifully pink automobile complete with the chassis, suspension, and mechanics of a Mitsubishi L200.


For this exhibition, ‘The Desert Fox’ is towing ‘Scotties’ and has seemingly parked momentarily under the porte-cochère of The Pah Homestead, as if the owner is packing up for a weekend away.


Once inside the Arts Centre the visitor is greeted with a boy in heels to large for him towing a boat entirely knitted in red wool, leading guests into both the Ballroom and Drawing Rooms featuring works developed over the last decade.


Many of these sculptures including ‘Honeymoon On The Pigroot’ (2003), ‘She’s a Hard Road…’ (2003) and ‘Stupid Daddy’ (2010) demonstrate what fellow sculptor and writer Michele Beevers describes as “the search for an impossible masculine subjectivity”; specifically the conflicting multiple viewpoints that result in the search for the ‘perfect man’.


Intermingled with these works are sculptures inspired from the play and imagination of Scott Eady’s children, who have been the source of much of his work from the past decade, and the moral dilemma that this relationship entails. In other works such as ‘Money Train’ (2010) and ‘HANNAH’ (2010) frustration is employed in visual conundrums, while digs at our nationalism are found in ‘God’s Green Hair’ (2010) and ‘God’s Greener Hair’ (2010).


The exhibition ends in the Morning Room where one of Eady’s most recent works, ‘Booty’ (2011), is finally unearthed and put on display for those disgruntled visitors to the same work at the 2011 Headlands Sculpture on the Gulf. On that occasion they found only the promise of treasure with a bronze crossbone to mark the spot. On this occasion visitors will leave with more questions than answers.  Something lost, something found in the work of Scott Eady…

Major Photographs Exhibition

31 May 2011 – 3 July 2011, Photography Gallery

Curated from the Wallace Arts Trust Collection as part of the Auckland Festival of Photography 2011

Major photographs from the Wallace Arts Trust Collection will be on show in the Photograph Gallery at The Pah Homestead, featuring New Zealand artists Ben Cauchi, Glenn Jowitt, Hamish Palmer, Patrick Reynolds, Roberta Thornley and Christine Webster.

To complement the exhibition Paul McNamara of McNamara Gallery will give an open talk on Looking at Photographs: a search for further understanding of the medium, but allowing the artworks to speak for themselves, at 1pm on Tuesday 7 June.

Visit the 2011 Auckland Festival of Photography website.


Ben Cauchi

Photographic processes are important to Cauchi’s practice drawing correlations between history and photography, and the role of the photographer to create ‘truths’ within the photograph. Vinyettes of everyday objects question levels of truth within photography.

The aesthetic of Black Shroud (2005) calls upon 19th Century photography of discovery and chance through experimentation of processes. Cauchi uses the ambrotype process, exposing the image onto a glass plate negative and placing it on a black velvet backing, to create a positive image. The use of the ambrotype, creates a darkened vinyette around the edges of the image, creating a sense of absence. As the ghost-like sheet seems to hover in mid-air, closer inspection reveals that strings are attached to the sheet. Cauchi exposes the ability to manipulate images. Cauchi uses photographic processes of the past, brings them into the present and re-contextualises their meanings.

After graduating with an Advanced Certificate in Photography from Massey in 2000, Cauchi was awarded the Frances Hodgkins Fellowship. Cauchi has exhibited extensively within New Zealand and Australia. Cauchi’s work is held in public and private collections such as the James Wallace Arts Trust, the Chartwell collection, the Art Gallery of New South Wales and the National Gallery of Australia.

Patrick Reynolds

Born in 1962, Patrick Reynolds photographic practice has brought success within commercial and art sectors within New Zealand. Whether photographing architecture or landscapes, Reynolds practice has always considered the medium of photography to push perspectives of beauty and aesthetics.

In The Secret (1988) Reynolds returns to the West Cost of Waitakere for a source of inspiration. Reynolds plays on photographic conventions to explore dualities of beauty and ugliness, exposing ‘ways of seeing’ but more importantly ‘ways of not seeing’. In The Secret Reynolds employs conventions used in 19th century portrait photography, isolating the single tree form and bringing the tree to the forefront of the image. Ideas of a beautiful pictorial landscape are not seen in the image, rather Reynolds looks at how individual elements of the landscape work to create the beautiful landscape, the object becoming a bearing of cultural identity. Reynolds carefully composes the image, using the strength of the photograph to re-frame, re-present and shift our ideals of beauty.

Patrick Reynolds’ architectural and interior photography is frequently published in Vogue Living and New Zealand Home and Entertainment. Reynolds’ work is held in a number of collections and public institutions including the James Wallace Arts Trust, Te Papa Tongarewa Museum, The Waikato Museum and Auckland Art Gallery.

Roberta Thornley

Finding early success since graduating from Elam School of Fine Arts in 2007, Roberta Thornley is making her own path within the artworld. Thornley’s practice continues to evolve through strong bodies of works that eloquently blur the lines between alluring and intrusive, familiar yet foreign and emptiness while at the same time infused with emotion.

Thornley’s images are carefully composed, taking everyday objects and creating narratives within the darkness of black backgrounds as seen in Nest. (2009) Isolating the objects in black, the object is stripped away from its context within the everyday world creating an intense focus on the object. The juxtaposition between the branch and leaves engulfed into the spider’s web creates a narrative between life and death.

Thornley’s early success has seen her exhibit in national galleries such as the New Dowse Gallery and her work is held in public and private collections such as the James Wallace Arts Trust, the Real Art Roadshow and the Christchurch Art Gallery Te Puna O Waiwhetu.

Christine Webster

Born in 1958, Christine Webster is one of New Zealand’s prominent female artists. In series of works including Black Carnival (1994) and Provocations (2010), Webster uses photography and video to continue to explore issues of representation and gender. She has the ability to capture levels of physical and emotional unease within a single image.

From an early point in Webster’s career, her works have been persistently dark. Setting the human figure against a black background, Webster explores various ambiguities within traditional representations of women in art and society. Webster continues to challenge the role of women in art and society in Hysteria. (1985) In the large-scale image, Webster plays on roles of women within society, depicting herself as a mother. Webster identifies the use of darkness to expose the vulnerabilities of others, equally using natural sources of light to heighten emotional intensity within the image. One is unsettled by the scene of a mother walking her child in the darkness of night. The light seems to startle her rather than aiding her in the darkness. The

Cibachrome printing process creates a high-gloss surface; the life-like scale captivates viewers into the unsettling image, placing them into the role of startling this mother.

Since graduating with a diploma in photography from Massey University in 1981, Christine Webster has gone on to receive her Masters of Fine Arts at the Glasgow School of Art. She has also taken on various teaching positions within art institutions in New Zealand and London. Webster has exhibited widely in New Zealand, Australia, Hong Kong, Spain and France. Webster’s work is held in public and private collections such as the James Wallace Arts Trust, Te Papa Tongarewa Museum and Govett-Brewster Art Gallery, as well as other collections in Germany, Australia, the United States and France.

Ane Tonga, 2011

Mary McIntyre

Mary McIntyre
19 April 2011 – 29 May 2011, Drawing Room & Ballroom

An exhibition curated from the Wallace Arts Trust Collection in conjunction with Mary McIntyre’s exhibition at Whitespace. 

Mary McIntyre’s work has been in the public domain since 1967. She has exhibited prolifically over the past four decades, contributing to more than 50 group shows and mounting over 30 solo exhibitions. James Wallace has been collecting McIntyre’s work since the mid ‘80s. This artist/patron relationship, nurtured for over 25 years, is represented here in an exhibition of paintings and drawings selected from the 54 McIntyre works in the Wallace Arts Trust’s collection.


Mary McIntyre’s earliest paintings date from the years she spent as a farmer’s wife, living and working in the rural Waikato. But, in common with so many New Zealand artists in the mid 20th century, it was an encounter with Colin McCahon that set McIntyre on her professional path. Tutoring McIntyre at an Elam Summer School at the beginning of 1966, McCahon left her with a clear message – he thought she had a future as an artist if she was prepared to make the sacrifices necessary to follow her dream. McIntyre’s work in this exhibition tells the story of those sacrifices. She returned to the farm, saw her six children through school and then she left, moving first to Hamilton and then on to Auckland. Largely self taught, she travelled to London and Italy ’discovering’ the Italian Renaissance masters on her journey. It is their work, and that of the Surrealists, that informs McIntyre’s distinctive style.


Although McIntyre’s style might be international in its points of reference, her subject matter is distinctly her own, and clearly contemporary. Her work is essentially autobiographical, with its source in her personal experience and supported by her commitment to the practice of life drawing; since 1981 she has attended weekly life drawing sessions. Principally figurative, her paintings are McIntyre’s perception of the world and of herself, re-presented in a combination of symbolism and photorealism. Her application of paint is exceptionally smooth, eliminating evidence of brushstrokes and texture; her technique neither overshadows nor interferes with her content. Overall the works present a personal perspective, the artist’s unremitting commentary on her life, her attitudes, and relationships. Through her virtuosity with her brush, her experiences are exorcised and aired. So too are her public outings, her family and her friends. The works might be uncomfortable for some and difficult to decipher for others, but they are endlessly imaginative. Hers is a distinctly individual voice in the art history of New Zealand.


Robin Woodward
March 2011


Wednesday 4 May 1:30pm

Artist Mary McIntyre will talk about her practice and exhibition UNease on show at The Pah Homestead from 19 April – 29 May. Mary will take a guided walk around UNease, answering any questions that you may have.


>>Click here to see shots from the opening night, kindly provided by Sait Akkirman of


‘Mary McIntyre: UNease’ booklet $4

Featuring an introduction from Art Historian Robin Woodward, and excerpts from the book ‘Mary McIntyre: Painter’ by Robin Woodward, published by Whitespace 2010.

Works in Metal

16 April 2011 – 12 June 2011, Boardroom

William Galpin curates an exhibition of highly crafted art works in metal featuring artists Will Clijsen, Neil Dawson, Richard Lewer, Jim Wheeler, Toby Twiss, Christopher Braddock and Elizabeth Thomson.

All Fired Up

Len Castle All Fired Up
1 April 2011 – 5 June 2011, Long Gallery

Take a virtual tour of All Fired Up kindly provided by Sait Akkirman of

All Fired Up, a show curated by Simon Manchester, is drawn from the James Wallace Arts Trust Collection showing that ceramic work is integral to the Collection. A passion for art has brought about a diverse and comprehensive selection of works within which the ceramics sit well. This exhibition talks about, and sits within, an era when the best ceramics are part, or aspire to be a part, of the fine art conversation.  These are special works – less obsessed with process or ethos and more concerned with description, content and message.  And yet All Fired Up celebrates that which makes expression in clay so special and unique.  It tries to illustrate what clay brings to the wider practice of art. While being part of the art dialogue in terms of concerns and delivery, the works are made from clay, which is integral to their impact. The work does reflect the medium.

Historically, ceramics have been somewhat in a world of their own – the American ceramics specialist Garth Clark’s ‘Fortress Ceramica’.  This exhibition tries to illustrate how this is changing by extended the conversation between fine and applied arts or craft – showing fine artists working in clay, and clay artists making sculpture and fine art, and that both are achieving a new level of recognition with the public and collectors. It shows that ceramics can sit comfortably within a fine arts context. These ceramics are simply part of a wider collection and yet have been selected with an eye that knows clay – most of the works reflect the medium but have been chosen because they fit in with the wider collecting agenda and not because it’s time to buy another pot.

All Fired Up asks the question whether there really is a dividing line between craft and art, by showing a powerful group of clay works that are integrated into a fine art collection – the works speak of clay but reflect wider art world concerns.

Simon Manchester

Max Gimblett

8 February 2011 – 17 April 2011, Boardroom

Ten works by Max Gimblett from the Wallace Arts Trust Collection

To coincide with his exhibition The Daring Young Man on the Flying Trapeze at the Gow Langsford and John Leech Galleries, the TSB Bank Wallace Arts Centre is hosting an exhibition of Max Gimblett’s work from the Wallace Arts Trust Collection.  This collection features work from 1984 through till 2007, augmenting his current exhibition with an historical component.

Highlights include a limited edition print, a delicate work on paper entitled Homage to Kagaku, a series of works on quatrofoil shaped frames, and the 2007 screenprint with silver foil entitled Wax to Wax on Wax. For James My Champion xxxx.

Max Gimblett Sumi Ink Workshop at Auckland Art Gallery

Sait Akkirman of was present at Max Gimblett’s Sumi Ink Workshop at Auckland Art Gallery on Monday 21 February. >>Click here to catch glimpses of the event as it unfolded.

Recent Acquisitions: Part II

18 January 2011 – 29 March 2011, Long Gallery

The Wallace Arts Trust is proud to display our most recent acquisitions including a new work by Chloe Marsters, former winner of the Park Lane Wallace Trust Development Award (Wallace Art Awards 2009); Steve Carr’s catching mitts carved from wood; ceramic popcorn candy by Madeline Child; Brit Bunkley’s gnomes encased in resin; a recent large painting by Graham Fletcher; Rohan Wealleans’s giant-sized dreamcatcher; and a watercolour of Karekare by A. Lois White.