Ana Iti, Clara Wells, Kerry Ann Lee, Miranda Parkes, and Tim McLaughlin

(Un)con—ditional I

05 Apr — 29 Apr

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(Un)conditional design by Blue Monday Collective

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(Un)conditional I, installation view. Image: Mitchell Bright.

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(Un)conditional I, installation view. Image: Mitchell Bright.

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(Un)conditional I, installation view. Image: Mitchell Bright.

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Clara Wells, Flux, 2017. Image: Mitchell Bright.

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Clara Wells, Flux (still), 2017. Image: Mitchell Bright.

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Clara Wells, Flux (still), 2017. Image: Mitchell Bright.

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Attributed to Yin Tang, Landscape, c. Ming Dynasty 1470-1523, silk and paper scroll with black ink wash, collection of the Aigantighe Art Gallery, Timaru. Image: Mitchell Bright.

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Attributed to Yin Tang, Landscape, c. Ming Dynasty 1470-1523, silk and paper scroll with black ink wash, collection of the Aigantighe Art Gallery, Timaru.  Image: Mitchell Bright.

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From left: Louise Henderson, Composition, 1962; Miranda Parkes, big feels, 2018; Louise Henderson, Little Thoughts, undated. Image: Mitchell Bright.

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Louise Henderson, Composition, 1962, watercolour and airbrush on paper, collection of the Aigantighe Art Gallery. Image: Mitchell Bright.

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Miranda Parkes, big feels, 2018, acrylic, watercolour, and charcoal on paper. Image: Mitchell Bright.

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Louise Henderson, Little Thoughts, undated, etching and aquatint on paper (8/20), collection of the Aigantighe Art Gallery, Timaru. Image: Mitchell Bright.

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Miranda Parkes, big feels (detail), 2018, acrylic, watercolour, and charcoal on paper. Image: Mitchell Bright.

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Left, Helen Sutherland, Complementary Op 2, 1970. Right, Kerry Ann Lee, The difficulties of being Marco Polo, 2017. Image: Mitchell Bright.

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Helen Sutherland, Complementary Op 2, 1970, enamel on board, collection of the Aigantighe Art Gallery, Timaru. Image: Mitchell Bright.

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Helen Sutherland, Complementary Op 2 (detail), 1970, enamel on board, collection of the Aigantighe Art Gallery, Timaru. Image: Mitchell Bright.

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Kerry Ann Lee, The difficulties of being Marco Polo, 2017. Image: Mitchell Bright.

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Kerry Ann Lee, The difficulties of being Marco Polo (detail), 2017. Image: Mitchell Bright.

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Kerry Ann Lee, The difficulties of being Marco Polo (installation view: night), 2017. Image: Mitchell Bright.

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Left, Marilynn Webb, Self Portrait for the Memory of Simon Buis, 1985. Right, Ana Iti, Cast measurement aside, 2018, audio recording, 6 min 12 sec. Image: Mitchell Bright.

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(Un)conditional I, installation view. Warren Parry, Two Backwards, 1970; Pat Foster, Pink Kiss; Tim McLaughlin, Cameron, Michael, and Celine, all 2018. Image: Mitchell Bright.

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Left, Warren Parry, Two Backwards, 1970. Right, Tim McLaughlin, Michael, 2018. Image: Mitchell Bright.

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Tim McLaughlin, Cameron, 2018. Image: Mitchell Bright.

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Pat Foster, Pink Kiss, 1997, Hanmer pink marble with brass bell, collection of the Aigantighe Art Gallery, Timaru. Image: Mitchell Bright.

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Pat Foster, Pink Kiss (detail), 1997, Hanmer pink marble with brass bell, collection of the Aigantighe Art Gallery, Timaru. Image: Mitchell Bright.

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(Un)conditional I, installation view. Image: Mitchell Bright.

(Un)conditional I
Ana Iti, Clara Wells, Kerry Ann Lee, Miranda Parkes, and Tim McLaughlin
with work from the collection of The Aigantighe Art Gallery, Timaru

Exhibition Preview: Wednesday 4 April at 5.30pm
Exhibition Runs: Thursday 5 – Sunday 29 April 2018

Exhibition floor talk: Saturday 7 April at 2pm

Associated text:
(Un)conditional I, 2017, Hope Wilson
Text is available for download below.

(Un)conditional I is a continuation of The Physics Room's itinerant 2018 programme where we are partnering with a number of public galleries across Te Waipounamu, the South Island to create collaborative exhibitions.

This exhibition takes place at The Physics Room in Ōtautahi and combines borrowed collection items from The Aigantighe Art Gallery in Timaru chosen by the artists showing in those spaces later this year, as well as new and existing work by those artists.


(Un)conditional V opens at The Aigantighe Art Gallery, Timaru in September and includes work by Ana Iti, Clara Wells, Kerry Ann Lee, Miranda Parkes, and Tim McLaughlin.

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Ana Iti (Te Rarawa) is an artist based in Te-Whanganui-a-Tara. Often employing sculpture, video and text, the artist’s recent work explores the practice of history making through shared and personal narratives, attempting to open up space for more subjective experiences and feeling. Iti graduated from Ilam School of Fine Arts with a BFA in 2012 and is currently studying towards a MFA at Massey University Wellington. Recent exhibitions include The Old and The New, (2017) SCAPE Public Art Season, Christchurch (group), All the way to Te Rerenga Wairua, Mason’s Screen, Wellington (solo), Is the past a foreign country? (2016) North Projects, Christchurch (solo) and Heavy to Hold, Blue Oyster Art Project Space, Dunedin (solo).

Clara Wells is a Christchurch-based artist working primarily with motion-based mediums. Since graduating from the University of Canterbury with an MFA she has continued with her experimental, method-heavy practice in the form of hand drawn animation and installation art. The work combines traditional animation techniques with the contemporary dif culties of digital media and human nature. In recent years, Clara has had two works selected for the National Contemporary Art Award (Monochronic, 2016, Flux, 2017) and two more have received merit awards at the Parkin Drawing Prize (Swarm Frequency, 2015, Parramatta Automatic, 2017).

Kerry Ann Lee is a visual artist, designer and educator from Wellington, New Zealand. With a background in graphic art, Lee uses both traditional and digital media to create installation, print, and image-based works that are expressive and socially engaged. Her art meditates on themes of home, difference, and hybridity through a range of media and locations. Kerry Ann Lee works as a senior lecturer in Design and researcher at Massey University College of Creative Arts in Wellington, New Zealand. Her artwork can be found in print, online, in galleries, public spaces and private collections throughout New Zealand, Australia, Europe, USA, Mexico, China and Taiwan. Recent exhibitions include Fruits in the Backwater at Pātaka Art +Museum, Porirua (2017), In Praise of Weird Wonders, Bartley + Company Art, Wellington (2017), and Foreign Correspondence, Whitespace Contemporary (2017).

Miranda Parkes has been practicing as a professional artist since graduating with a MFA (Distinction) in painting from the University of Canterbury in 2005. Her diverse practice includes painting, large-scale installation, video and work in public space. Recent exhibitions include the merrier, Hocken Collections, Dunedin (2017), Pocket Star at State of Princes, Dunedin (2015), Stargazer at Yuill/Crowley, Sydney (2015). Parkes’ work is held in public collections throughout New Zealand and in private collections in New Zealand, Australia, the U.K and U.S.A. Parkes was the Frances Hodgkins Fellow (2016), Olivia Spencer Bower Foundation Art Awardee (2013), Tylee Cottage Fellow, Whanganui (2009) and the William Hodges Fellow, Southland (2007).

Tim McLaughlin is a Christchurch-based artist who completed a BFA in sculpture from the University of Canterbury in 2016. Through his practice, he experiments with objects and and materials which mimic the feelings of bodily sensations and play off the desire to touch. His works utilise movements between textures – soft and hard, glossy and matte – to draw on the colours and textures of natural and physical source material.

Downloads:
(Un)conditional I, catalogue & essay (pdf)
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