& my first show after my Masters exhibition.
The lonely trees have been transplanted from the back blocks of the West Coast of Auckland, my second home. The stamp of the colonial landscape is dominant, and the shifty nature of being descended (so recently) from colonial movers and shakers is brought to the fore.
This work is an example of the unusual demands I put on the high-tech (only one in the SOuthern Hemisphere) digital fabric printing machine at the Textile & Design Lab at AUT University, Auckland, NZ. http://www.tdl.aut.ac.nz/
The flat bed is definitely not the 3.2m x 2m size of the tarp, so it was printed in 3 parts and (almost) immaculately lined up with digital precision, proudly leaving it very hard to spot the joins. The close up image shows the original stamp on the tarpaulin, and names its point of origin, my home town, Dunedin.
Two video works, Never Ending Sunset I (Otago Hinterland) and Never Ending Sunset II (West Coast AK), serve to aid contemplation of where it is that I am and have come from. Because 'if you don't know where you're from, you won't know where you're going', (which might be a hip hop quote?). The videos are edited to first run forward for approximately a quarter of an hour, then are seamlessly joined to the same shot playing backwards, which is then looped for an endless experience of blissful dusk.
Rosemarie's work sat beautifully alongside mine. The map is of Mt Ruapehu and the National Park. The casting 'prints' of rocks are made of rocks from with the park, but of course aren't allowed to be removed.