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Vernacular: Solo exhibition: 1st of June till 29th of June 2016
No full textVernacular
The agendas of abstraction have naturally changed over the course of the last 50 years, what makes things complicated is that we still have artists using historical methodologies and making work and sometimes an excellent living from the production of work in a philosophical paradigm which has had it's time as a current and informed practice. e.g. Gretchen Albrecht and Max Gimblett. In the 60s with the advent of pop, conceptual art, photorealism, body art etc it looked like abstraction was down for the count, but it came back again, even though its return was something like a zombie. New abstraction held little of the values of it's parent forms, even though it has some physical family resemblances, contemporary abstraction is full of double codedness, contamination and the absence of pure and unified views. It's got irony and humour and playfulness which contradicts the gratuitous psychological heavyweight agendas of old school abstract expressionism.
This selection of work represents my current methodology within contemporary painting which could be could be described as late Post-Modern Abstraction .The works imagery is derived from the vernacular forms of Hard-edge Abstraction, Minimalism, Neo-geo Abstraction, Op- art and various references to Modernist and New Modernist Design. The distinctions between these Modernist traditions and my work is, that rather than isolating a signature collection of compositional and colourist elements, which implies the concept of authorial invention, innovation and novelty, I explore the appropriation and recycling of historical abstract visual art rhetoric’s decaffeinated of their utopic belief in progress, singularity, hierarchy, linearity and sincerity. Like most Post-Modernist my work critiques the tenets of Modernism and recognizes the ultimate failure of this convention to produce a coherent gramma or rules for interpretation and meaning which could be used in pubic agreement about abstract artefacts in visual arts discourse. This is something I’ve described as “New Language Fallacy” you can hear it being proposed in the ideas of Kandinsky, Mondrian, Rothko and Motherwell. Alternatively in my work rather than proposing a singular teleological direction for art, I explore a pluralistic range of references to earlier “language Games” within the discourse of Hard-edge Abstraction visual arts and design. Combining the ‘Family Resemblance’ attributes of these various dialects throughout my work creates double -coded hybridity’s in single works and at other times metonymic hybridity generally as a result of pluralism across my whole practice .Like a linguistic etymology of dialectical samples, my work reports anthropologically on the prior life of visual languages and their historical semantic meaning. ‘The Form of Linguistic Life’ is there for observation, and something of the phenomena’s previous capacities can be known by inference about historical cultural aspirations, values and use. But in my work they have come back as the living dead, contextually displaced but still resonating anticipatorily, ironically carried over with a grandiosity of scale and exuberance of colour which suggests utopian coherence and cultural life. I limit my citations and stylistic references to the homogenic areas I suggested above, this adds to the appearance of visual cohesiveness and strengthens the ironic subtext. I use a variety of methods for making work, digital printing, CNG cut panels, screen printing, and hard edge vinyl stencil masked painting techniques, and industrial spray painting methods, all which have a mechanical distancing of the artists hand from expressive engagement with media, because I don’t believe in any notion of authenticity outside of the strategic limits of the rules and the stylistic and formal limitations of flat vector abstraction and the limitations of the technical production methods I am currently using.
Vernacular List of Works
1. Pentobarbital.2017.Ink on Synthetic Canvas.
Sky blue and Pentobarbital blue, a gag on sky blue utopia and death, Pentobarbital being a drug used to euthanize animals. A satirical re- working of old arts narrative agendas of representing religious meaning, beauty and death. A secondary play on op art and math textbook cover design in the formal optical features of the work. And hard-edge abstraction and minimalism.
2. Vernacular .2017. Ink on Synthetic Canvas.
Black and Blue .A play on the appropriation and re-working of op and hard edge (decaffeinated of high idealism of course), a metonymic summary of general strategy in my work. Op art and hard edge abstraction references in formal features of the work. Anti-utopic with the promise of utopian value and progress.
3. Red Eight .2017. Ink on Synthetic Canvas.
Red motif on orange ground . As above, a play on the appropriation and re-working of op and hard edge and modernist typography .A metonymic summary of general strategy in my work. Appropriation ,double coding, deconstruction and value hierarchy flattering of prior concepts of Op art, Modernist Typography and Hard edge abstraction references in the formal features of the work.
4. High Score2.017 Ink on Synthetic Canvas.
See below
Pink and blue. As above regarding general methodology but with a specific double coded reference to a serial killers High Score of 95 for the most homicides, stats derived from a true crime publication on murder cases. References to Op, Modernist Typography and Hard edge abstraction in the physical features of the work.
4 Digital Paintings
1. Pentobarbital.2017.Ink on Synthetic Canvas.1400 mm x 1700 mm
2. Vernacular .2017. Ink on Synthetic Canvas. 1400 mm x 1700 mm
3. Red Eight .2017. Ink on Synthetic Canvas. 1400 mm x 1700 mm
4. High Score2.017 Ink on Synthetic Canvas. 1400 mm x 1700 m
LOLO (Lift-on, lift-off) Exhibition: Signal 2016: Cuboid 2016: Stack 2016: Wave 2016 [4x Synthetic ink on Canvas]
No full textLO-LO (Lift-on, lift-off) is a vernacular term used in the cargo /shipping industry to describe the method by which quay cranes are used to load and unload freight ships.
This exhibition of contemporary art produced by Wintec Media Arts staff explores the relationship between New Zealand's primary industries and their international trade relationships and export methods used to distribute commodities to China. The works focus on various aspects of commodity production and distribution networks. These themes are responded to by the various artists using a diversity of media and conventions which range through abstract and figurative painting, kinetic sculptural, video and sound composition to documentary and allegorical photography
Ecologies and comparative degrees of narration: Longest rivers: Long Stretch (of gravel) with bathers: Long stretch (of gravel) passing: Changjiang drawing: Gulf #1: Changjiang river cut: Open cut shipping: Descriptive depletion of reserve [8x Acrylic on paper]
Get PDFCollaborative Exhibition including Chinese and New Zealand Artists. Artists statement: the works of mine included in this exhibition are part of a series of work based in experiences of travelling in China and NZ and considering the slow decline of many natural and built environments as needs for energy and resources produce changes to the landscape. Rather than depicting a sense of regret, the paintings attempt to show the paradox of our desire for the pristine and for the progressive and modern and useful
Ecologies and comparative degrees of narration: Bloom: Pressure drop [2x Synthetic ink on canvas ]
No full textThis exhibition is a development of a cultural and artistic exchange project that was started at the Blue Roof Museum in Chengdu last year. The work from the Wintec artists explores the broad idea of ecology – with a particular focus on water. It is a mixed media exhibition with painting, sculpture, photography, video, sound, and installation. The Xi’an artists' work has been curated by Ding Fenqi (who also curated the Chengdu artists' work at Blue Roof) and he has given the overall show the title of 'Comparative Degrees of Narration' – which focussed on exploring the cultural dialogue between work created in New Zealand and work created in China
Sales and marketing
Get PDFWaikato Commerce Club was founded in the heart of Hamilton in 1937. And it was a popular place for people to go and relax at that moment. At present, Waikato Commerce Club is facing the problems of member losing, financial difficulty and attracting people. For these reasons, the project is aimed at identifying the reasons why members leave club, and how the club marketing itself, and strategies to retaining current club members.
Primary and secondary research methods are used for this study. Questionnaire is used as primary research in this project, and the questionnaire is structured as it gives quantitative information. The survey is conducted to identify if people knows the existing of Waikato Commerce Club, and whether or not they are interested in the Club. For secondary research, the researcher collected data from a range of sources including online document, websites articles, and the previous survey on club members which is conducted by Waikato Commerce Club. This research is conducted to gain more marketing skills, and find out the more information about running a successful club, the reasons why members leave club.
The data from the survey had not been calculated and analysed yet as the data had just been collected. But the answered questionnaire had been viewed roughly, there are not many people (participants) have heard about the Waikato Commerce Club, and only a few people are interested in the Club. From literature review, Enrmann (2008) states that many clubs are in the situation that has a turnover rate of 15 – 20% per year. And at a typical club or association, 5% of members run the club and show up for almost every event; another 15% of members regularly participate, another 20% occasionally participate; and the remaining 60% never show up for anything. But literature also reviewed that some examples of successful club. Waikato Commerce Club is one of the typical clubs. As these reasons, it is necessary to understand why the club experience this situation, and what marketing strategies are feasible for the club
International Council for Physical Activity and Fitness Research (ICPAFR) Board Membership
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The aim of the Council is to make an effort to promote that quality of life most conducive to the realization of one's highest creative potential through the promotion of physical activity and fitness.
OBJECTIVES
- To encourage basic research in physical activity and physical fitness.
- To foster research in areas of physical activity, fitness, and nutrition.
- To standardize tests in physical fitness and the assessment and the measurement of physical activity.
- To encourage research based upon the standardized tests and measurements.
- To encourage research to enhance participation in physical activity and the improvement of physical fitness
Articulating a Māori educator's pedagogical constructs: A co-constructed account
Get PDFWe agreed, as a non-Māori manager and a Māori educator, to use personal construct theory (PCT) methods to articulate and reflect on the second author’s (SA’s) pedagogical meaning-making which she had intentionally aligned with a tikanga Māori approach to teaching a mixed group of non-Māori and Māori learners on a new – and by all accounts successful - foundation-level programme, Te Tuapapa Hauora (translated: firm foundation in health). We elicited SA’s pedagogical constructs, using four role titles she was positively disposed to, and four she viewed as opposites. We included SA’s choice of 10 constructs in a repertory grid. Her ratings allowed us to generate grid-based probes for reflecting on her pedagogy. We analysed post-grid interview data, identifying several key themes in her meaning-making which were consistent with key factors perceived as enabling Māori learners’ success (Chauvel & Rean, 2012). We arrived at a dual outcome: a co-constructed account of SA’s tikanga Māori pedagogy and an exemplar of how educators could use repertory grid analysis for reflective purposes
Off-the-shelf Non-Intrusive Load Monitoring Devices Utilised in a Low Activity Detection Service
Get PDFThere is a growing awareness for the need to provide low cost solutions for the care of the elderly and in particular to allow them to keep living independent lives. In parallel to this there has also been significant advances in a number of technical areas including 1) monitoring electricity consumption for the purpose of reducing power costs, 2) non-intrusive load monitoring (NILM), 3) using sensors to determine activities of daily living and 4) cloud computing. The purpose of this work was to demonstrate that it is possible to use a readily available consumer off the shelf electricity monitor to provide a low intrusive activity monitor for older persons. This work uses the Design Science Research Methodology and builds on the results of our previous work that used raw electricity usage data. In this work we are trailing the use of a meter that uses NILM to identify individual appliances in the home. The information on appliance use was analysed by a cloud base program and alerts were sent to the carer when lower than expected activity was detected. Participants both in this work and those reported in the literature have mentioned the annoyance of having multiple sensors in a home, especially if they emit either constant or flashing light. In contrast NILM allows the use of multiple electrical appliances to be monitored without the need for a large number of sensors to be deployed – just one sensor at the meter or fuse board. The confluence of a number of technologies has enabled the creation of a low intrusive and low cost monitoring system to have become a reality. The initial trial of the system has been shown to be a mostly reliable alternative to a system built on multiple sensors. Based on previous work that involved the deployment of multiple sensors, the new system is expected to be more acceptable as it has the desired attribute of becoming invisible to the user
Providing Pastoral Care for academic success in a tertiary environment.
Get PDFLearners will not attend to their academic goals if their fundamental pastoral care needs are not sufficiently supported. The Centre for Languages at Wintec therefore established in 2011 an academic counsellor role to support the pastoral care needs of students, and currently caters for over 500 international and domestic students from more than 30 countries, aged between 16 and 65.
In this presentation, the Centre’s two current and previous academic counsellors discuss how the academic counsellor role functions at Wintec, its frames of reference, how it was established, key policies and procedures, and the collaborative network of support services within the institution and wider community that provide support to students. In promoting wider adoption of this model, a number of key considerations are highlighted and recommendations are provided for how to ensure that pastoral care resources and processes remain focused on successful outcomes for students
Chairing graduate panel at 2016 Spark Festival of Media Arts and Design
No full textChairing graduate panel at 2016 Spark Festival of Media Arts and Desig