27 June - 21 July 2007
Opening preview: Tuesday 26 June 2007, 5.30pm
Recollecting what might appear as disparate or quite different works, realised as they were in a variety of locations such as Santiago, New York, Sydney, Auckland and Christchurch, Earth Works seeks to document, agitate, revive and propel. Known for surreptitiously creative gestures that effect potent critiques of conceptual practice and political realities alike, Daniel Malone here offers an evidential account of some of his recent practices since his initial exhibitions at The Physics Room in 1997’sWork For The Asian Community and 1999’sCalifornia Über Alles.
Following the success of Black Market Next To My Name, Gambia Castle, Auckland, Earth Works’ installation will draw out resonances around a variety of materials as well as the formal qualities of the horizontal and vertical in relation to hierarchies of value and power, cultural flow, and base elements of being human.
Utilising a variety of approaches including sculpture, sound, ceramics, performance and photography, Malone’s interest in the cultural processes at large within a variety of contexts sees him mobilise often surprising and humorous tactics to confront cross cultural ties and politicised expectations.
Daniel Malone graduated from Elam School of Fine Arts, University of Auckland in 1996 and has recently taken leave from lecturing at Elam to travel and exhibit in Europe. Recent projects and exhibitions include The Long March Project - No Chinatown, Turbulence: 3rd Auckland Triennial 2007; Trans Versa, Santiago; SCAPE 2006 don’t misbehave!, Christchurch; Local Transit: An exhibition in two parts, Artspace, Auckland and Artists Space, New York; Weapons Of Mass Creation, Special, Auckland; World Famous In New Zealand Canberra Contemporary Art Space; Telecom Prospect 2004, City Gallery, Wellington; On Reason and Emotion, 2004 Biennale of Sydney.
Earth Works will also occasion a forthcoming publication surveying works exploring the above themes and processes of ceramics.
Installation images: Mark Gore