HANDSHAKE 5 consists of 12 artists from the previous HANDSHAKE Projects selected by the CODA team.
This one-year programme focusses primarily on DIALOGUES and RESPONSES.
The first of the two exhibition tasks is to go in dialogue with selected artworks from CODA museum jewellery collection (Apeldoorn, the Netherlands).
The second task is to respond to the selected spaces at the TE URU museum (Auckland, New Zealand).
Both projects inspire differently and require experimentation and focus. Throughout the year each artist is supported by a coaching team: Roseanne Bartley (online coach), Sian van Dyk (studio visit coach), Vernon Bowden with James Anderson (technical support team coach). At the end of each month, the HANDSHAKERS report back on their progress. See below how that process develops over time.
NEWS & BLOG:
Reflections
Estella challenged us through a series of fast exercises to look differently at common objects we had brought to the room. As we pushed through a range of materials, I realised that the choice of those materials had been quite important. Samples from exercises above I...
Thinking and making and thinking
The workshop with Estela Saez was a frustrating, humbling, infuriating and ultimately rewarding experience. Estela is an expert at shining a light on flabby thinking and boy, did I have to shape up and work hard to get my works ready for Galerie Marzee as a result!...
Completion…
The series that I developed for HandShake 7 revolved around concepts that has long interested me.That of "lexical semantics," "the analysis of word meanings and relations between them" (Oxford Dictionary) and the use of typefaces for communicating ideas and evoking...
Masterclasses- further reflections
As I look back on the experience, I further appreciate that there is nothing quite like hearing how others approach their work to inspire and make you question your own approach to your own work. Because of the way the masterclasses were structured, you had access to...
Currently…
Estela Saez is a force of nature. Despite the limitations of Zoom she managed to herd the cats of Handshake 7 and facilitate some really good making [plus a large dollop of indifferent making by me which Estela rightly identified!]. I hugely enjoyed the input of my...
Growth
I landed on the path that I wanted to take for the Handshake Masterclass (HS7) quite early in the process, thanks to the tasks that Estella set. While I had an initial vision of the direction I wanted to go in, having the fresh eyes of Estella and the team of...
A Stitch in Time…..
The Convention Reformed Some time has passed since I became aware of the quiet movement to make the repair of garments a feature and also a contemporary art project. Liz Allen had the 2004 Summer Residency at Enjoy Gallery in Wellington. Called Mendt,...
Repurposing
The magic of taking the everyday and transforming it into something beautiful is perhaps no clearer than with the stunning creations of the Dassanech tribe of southern Ethiopia. From bottle tops, to watches, to sim cards, the ingenuity is stunning. They mix their...
The Inbetweener
How can utilising basic drawing techniques [abstractly] and then taking them through an impromptu rendering process at the bench, via materials and techniques, inform an established contemporary practice in an effort to comprehend and reinterpret drawing from a...
An Expedition – Part 2
Part 2 is an interview that pertains to questions about the two exhibitions put to the three coaches and the Handshake5 artists. The opportunity to create a dialogue with those involved to express perspectives and experiences brings consideration to both Handshake5...
An expedition – Part 1
October 2019 Artist and HS5 participant SARAH WALKER-HOLT travelled to CODA museum in the Netherlands. This is her story: Handshake5 is my third participatory reiteration in the Handshake Project and as a consequence I am engaged in articulating the results of the...
Exhibition at Te Uru: till 16 February 2020
LAST DAYS: HS5 exhibition at Te Uru art gallery, Titirangi, Auckland
Coda: Taking stock
With such different CODA works to start from, I'm running three concurrent projects and am in danger of disappearing up my own bum. Mentor Roseanne Bartley urges me to pause and get my bearings. It's time to reflect, to find the common thread. Use the blog, she...
A reflection on audience & a thank you
Handshake5 at Te Uru. Image: Tatiana Harper I was really pleased with the circular aspect of my 2 sets of work. I spent months translating OB’s work from 2D to 3D and experienced such an immediate pleasure in making, yet I was producing work that would not be handled...
Audience Participation
Images posted at #Whoiswearingwho by visitors to Te Uru And my favourites - the brooch that has become a tiara!!
#Whoiswearingwho at Te Uru
Image: Steel brooch, Lens Te Uru artist statement: Jewellery’s integral relationship to the body is usually well understood, most often from having worn jewellery ourselves. What we rarely consider is jewellery's relationship with the objects and spaces around us, and...
Te Uru: Look Among?
Exterior view of Te Uru Waitakere Contemporary Gallery, Auckland Image: Samuel Hartnett The pragmatics of New Zealand’s geographical isolation means that often the internet mediates the information you receive in ways other than algorithmically. As a maker, dealing...
Translation: Te Uru Planning
DIY IUDs, installation made as part of my MFA study As mentioned, HS5 is comprised of two exhibitions in 2019, the first at CODA (The Netherlands) and the final, at Te Uru (Auckland). As a maker you’re often asked to respond to external themes or ideas that can...
CODA wrap up
I had a slow start to this project and in wondering why it was so difficult to begin, I arrived at a combination of factors, the first being that Onno Boekhoudt (OB) is one of my heroes. My introduction to his work and more importantly to his making process, came...
Roseanne Bartley reviews the latest international Handshake project
Handshake 5: In Dialogue - an exhibition in which 12 emerging New Zealand contemporary jewellers respond to artworks from the permanent collection of CODA Museum, the Netherlands The review is by Rosanne Bartley and published by Contemporary HUM. READ MORE
ukaipo
Title: Ukaipo - mother, source of sustenance, origin, real home Explored through beach finds shell and wood, my new home is explored and captured through pieces of daily activity and finding place. Tangaroa and Hinemoana echo and reassure providing treasures...
Standing Room Only, RNZ interview
Lynn Freeman interviews Peter Deckers, Caroline Thomas, Vivien Atkinson and Becky Bliss. Radio New Zealand Standing Room Only, 1:46 pm on 8 December 2019 LISTEN: PLAY
Te Uru – Work in response to a space
On a visit to Auckland I was fortunate to explore the TeUru gallery space. What would the building tell me? Can I hear the voice or the essence? How does it sit in the environment as well as in the community? The very first impression was a tete a tete of old and...
Activate/Te Uru
Te Uru is a space that activates movement and viewing through its design, leading you through spaces, up stairwells and looking out of windows. Working with this space, ‘Activate’ is a series of 9 brooches that are made from the construction plywood that supports...
Ancient materials
There is sand on the floor, Sand in my hair, Under my finger-nails, Sand everywhere. Following the making of my pieces for Te Uru Contemporary Gallery, I'm still cleaning up sand from my studio. I suspect I will be for some time. Made through the erosion of rock...
BELONGING&S E P A R A T E N E S S…
In my final work as part of Handshake 5 at Te Uru Contemporary Gallery (Auckland), it feels appropriate that I refer to: belonging and s e p a r a t e n e s s. Handshake has offered me the opportunity to be part of something *much* bigger than myself. I've been...
HANDSHAKE 5: Critical Writing Workshop
Sunday December 8, 10am-3pm | $70 - bookings essential Join visiting artist-jeweller and writer Roseanne Bartley for an immersive and interactive critical writing workshop at TE URU, Auckland for artists, curators, and writers interested in developing a performative...
HANDSHAKE 5: Artists’ Walk and Talk
Saturday December 7, 3pm at TE URU, Auckland Artists from the HANDSHAKE 5: in site exhibition introduce their work ahead of the 4pm exhibition opening. This is a unique opportunity to hear from contemporary jewellers from across Aotearoa, who have come to Te Uru for...
HANDSHAKE 5: IN SITE – exhibition at TE URU, Auckland
HANDSHAKE 5: IN SITE For the Auckland edition of the fifth HANDSHAKE series, HANDSHAKE 5: in site brings together ten jewellers from across Aotearoa for an exhibition that explores the potential of jewellery in large-scale spaces. While jewellers commonly dress the...
Te Uru
When looking at creating work for the Te Uru space I researched the meaning of "Uru". According to https://maoridictionary.co.nz/ the meaning of "Uru" is as follows: "uru 1. (verb) (-a,-hina) to enter, go in. [...] 2. (verb) (-a,-hina) to enlist, enrol, join, be...
From the colours Toni gave me/Te Uru
Printmaker Toni Mosely has been a fantastic and generous supporter over the last few years, helping me to revisit printmaking techniques and utilize a set of rollers that my husband, just happened to pick up somewhere years ago, and had stashed for that auspicious...
CODA, Handshake 5 exhibition
H A N D S H A K E 5 – in dialogue with CODA collection CODA Museum, Apeldoorn, The Netherlands - 14 October 2019 until 19 January 2020 Selected HS artists & practices are matched with works from the CODA’s object collection. These selected HS5...
HANDSHAKE 5 – in dialogue with the CODA collection
“HANDSHAKE 5 – in dialogue with CODA collection”, CODA Museum, Apeldoorn, The Netherlands 14 October 2019 until 19 January 2020Selected HS artists & practices are matched with works from the CODA’s object collection. These selected HS5 artists produced a series of...
Destined to Meet by Chance
The inspiration for my work in Melbourne for Radiant Pavilion came from a Chinese proverb: An invisible thread connects those who are destined to meet, regardless of time, place or circumstance. The thread may stretch or tangle, but will never break. I was...
Because you’re worth it
HANDSHAKE 5 – in dialogue with the CODA collection
image: Sarah ReadHANDSHAKE 5 - in dialogue with the CODA collection13 October, 2019 – 12 January, 2020, CODA museum| Vosselmanstraat 299| 7311 CL Apeldoorn, the Netherlandsread moresee Klimt02 for images and description EXHIBITION images
Sand
I've been spending an increasing number of hours with sand and all of the pieces I've made for the work for the Te Uru space reflect this. It's incredible how each beach has a different look and feel in both the landscape and the sand. From sand that's almost white,...
Backwards and forwards
With the CODA work packed up and now (I guess) on the way to Apeldoorn it seems like a good time to look back on this part of the HandShake project. All the 'bracelets' packed in their cotton bags I’ve had a lot of fun investigating ideas that came up in response to...
Like a New Piece of Paper/Te Uru
I’ve always been a maker that is completely comfortable working with a material that has seen better days. I like how I can transform it into something new yet retain something of its original form. One of the biggest challenges can be dissecting the original object...
Cutting a Straight Line/Te Uru
For a change, I am working with the rules of thumb and not against them. Normally, overlooking procedures and finding my own way is my true nature. Sometimes it is good to learn the correct way first before breaking the rules but not knowing them in the first place...
Bringing the outside in
When making work in response to the Te Uru space I thought about the bringing of the outside, in. I looked at the gallery rooms and saw that from one of the spaces there's a window from which you have a view of trees and the sea. It was this that informed my material...
Worth
Value, importance, worthiness, usefulness, meaningfulness, significance, stature, measurement, control. How you are perceived by others and how you perceive yourself. How an object is perceived by its maker, its seller, its buyer and its audience. Emperor’s New...
Stendhal Syndrome
I have a fascination for psychological terminology- this has most recently been seen in my enthusiasm in response to the Placebo and Nocebo Effects, which I've based two bodies of work on. When I heard of the classification of Stendhal Syndrome I was excited. Stendhal...
Autobiographical/CODA
Recently, the book Public and Private Worlds: Women in Contemporary New Zealand[1] crossed my path as I scanned through an op shop in Thames. In chapter 5, Women and Art, Anne Kirker speaks of some significant NZ woman artists that have paved the way for coming...
Coda
Welding in the garage, my studio is normally in my house, so great to change the scenery. It adds an organic feel to my environment- especially all the petrol smells and machinery. Once Ive managed to weld the steel to a shape I’m happy with its time to bling it up. I...
An artistic life on Rack 213
As previously mentioned, CODA houses the full collection of Onno Boekhoudt's artistic legacy; his work, experiments and the many many objects he collected, including the bench pins/pegs pictured below. Onno's work and collections from the CODA archive, page.79 Onno...
Shadow
When I saw the Eva Rothschild exhibition at Wellington City Gallery I was as drawn to the shadows cast by the works as much as I was drawn to the works themselves. Both were remarkable. I'm wanting to play with shadow in my work for the Te Uru show. The title of my...
Sketches for Bangles
Sketching with light. Materials; steel and solder. Dimensions of both bangles as installed above L 16cm X W 18cm X H 2cm.
Taura – stringing up
Turning an object into a pendant, into something wearable comes with 'stringing up' a bit of rope or string or something more interesting. Deciding on what I was going to use to turn these objects into pendants was my last part of the puzzle and challenge. Length,...
The Hole of Life – Jeanette Winterson on Barbara Hepworth
Henry Moore called 1932 ‘The Year of the Hole’. The fact is that Barbara Hepworth made her first pierced form in 1931, the year she gave birth to her first child. Perhaps Hepworth had a more complete sense of the hole than Moore. Perhaps that was because she was...