Internship with Wellesley Binding

Back in 2013 I remember starting at Ideaschool as a level 5 student in the Batchelor of Visual Arts and Design programme. It was a warm February day and although I knew a few people from my time as a student in the certificate program (2012), I was knee knocking scared, so many questions and doubts about my place at such an amazing place, I was in hyperdrive with equal amounts of excitement and dread! And then came the ‘getting to know you’ exercises, OMG it was horrible! For someone who is basically a bit of a loner, shy and awkward around a lot of people, I was suddenly thrust into a group of peers at the same stage or further along and in the company of an unknown tutor/teacher, I was petrified.

That was the day I met Wellesley Binding, if I had been scared before that then I was in for a shock, this terrifyingly intelligent and sharp man made me realise that worse was to come. Unfortunately for me I tend to talk too much about nothing when I’m feeling stressed and I reckon if I made a scratch on his conscious then I’m sure I would have been referred to as the ‘idiot’! At least for that first year we didn’t have a lot to do with WB (as I started to call him). But for me it made a huge impression and I was sure that if I had to have him as a teacher he would quickly realise what a fraud I was and kick me out of art school with a swift boot… now I realise that it’s good to feel like that, it made me rise to the challenges faced over the last two years and has made me a better artist and even a better person. I can’t deny there have been others that have impacted on me as an artist and person but it’s WB who has over the last six weeks challenged me to consider what kind of artist I really am and where I want to go after I leave Ideaschool.

Six weeks seems like an inappropriately short amount of time to come to such a point but reflecting back I can see that the previous two years have been leading up to this moment, I knew what I want to do and why but articulating that was hard. Becoming an intern for WB has been priceless and I will always be grateful for those who considered me worthy of such an opportunity, thank you from the bottom of my heart.

So here we are six weeks into the first project of the year and in the middle of a term break, besides working at my paying ‘job’ I have plans to catch up on school work and try to continue my own painting practice. From tomorrow I plan to catch up on documenting the internship but for now I have a couple of images to share with you all. Images of a painting I started on over Christmas and New Year 2014/15, prior to returning to school.

This piece is a subconscious rendering of my deepest feelings and thoughts about what kind of artist I am and how I express that to others. If I may, then by returning to the core of my creative practice I began to make marks that express restraint and repetition while emphasising the materiality of paint, and the connectivity between the paint, surface and myself, a sublime moment/s that was both quiet and powerful. My expectation or plan was not to paint a ‘finished’ piece but to place a brush in my hand and let things happen in an instinctive and organic way, hence there appears to be several ‘paintings’ vying for supremacy.

Finally I finished in something of a rush and to date the painting remains in my studio at school, covered by a drop cloth, I had plans to hang it in order to ‘listen’ to it and consider things but for some reason it seems too overwhelming to hang. Like it would swamp the things I’m currently doing in my studio for the internship… I still look at it now and then but only when I’m alone. Anyhow I have started another painting, at home, it seems quieter and has a very different feel but (dare I say it) I think an equally intense being, more on that later, keep posted.






What I’m reading/sketching November 2014

Agnes Martin: Paintings, Writings, Remembrances by Arne Glimcher

The first and only complete career retrospective publication of the visionary painter, Agnes Martin







What I’m drawing,







Colour is important to me and I’ve gone back to basics, mixing and experimenting with different types of paint, the following is an exercise using gouache. Loving the darker tonal qualities, earthly and rich with depth and intensity.





Feeling inspired!




Year 2 Batchelor of Visual Arts + Design pop-up exhibition 2014.

Thanks to everyone who supported us in our end of year exhibition and to all my fellow students who made this year so exciting and successful. And to all those unseen friends and family who support us all year but never get the recognition, Thanks!

I’m sure I’ve mentioened this before but apologies to my friends who follow my worthless blog, I haven’t been a very good poster of interesting Happenings so here is a small recap of the last project.

Exhibition Methodology drew together everything we had done over the past ten months or so, from putting together an artist statement to choosing a piece/s of work to exhibit. As well as launching the exhibition from start to finish our group, level 6, BVAD, had to work together in small teams to complete tasks in an assigned area. So for me that meant being in the student do-management team with input to the catering, hosting, sponsorship and digital recording teams, fun!

The main thing I learned was how well everyone worked together and that was confirmed by how successful the outcome was, it was a fantastic exhibition.

Unfortunately I didn’t take as many photos as I wanted, the opening night was hectic and we were only open for a few days, but the following are just a sampling of the amazingly talented people I get to work alongside.

Gabbie Milne-Rodrigues, Pathological plastic OBJECTS, 2014. Static Performance. Materials retrieved by the artist from the Marine Parade foreshore, Napier, New Zealand.

Gabbie Milne-Rodrigues, Pathological plastic OBJECTS, 2014. Static Performance. Materials retrieved by the artist from the Marine Parade foreshore, Napier, New Zealand.



Vicky Reisima. 'Tales of The Bodhi' Series', 2014. Mixed Media.

Vicky Reisima. ‘Tales of The Bodhi’ Series’, 2014. Mixed Media.


Otago Lambert, Untitled, 2014. Paper, bones, wood, charcoal.

Otago Lambert, Untitled, 2014. Paper, bones, wood, charcoal.


Harley Poultney, 'The Man Who Left His Studio', 2014. Mixed media.

Harley Poultney, ‘The Man Who Left His Studio’, 2014. Mixed media.


Chloe Reid, 'Imprint', 2014. Ink on transparency projection, overhead projector.

Chloe Reid, ‘Imprint’, 2014. Ink on transparency projection, overhead projector.


Mary Sullivan 'WW2', 2014. Acrylic on unstressed canvas, clips.

Mary Sullivan ‘WW2′, 2014. Acrylic on unstressed canvas, clips.


Leanne Morrison 'Quantum', 2014. Acrylic and oil on canvas.

Leanne Morrison ‘Quantum’, 2014. Acrylic and oil on canvas (Margaret Utumapu).


Visual Arts Project

Today we started a new project and I’m incredibly excited by the possibilities… We have been challenged to think outside of our comfort zones and try something new, for a while now I’ve been stuck in a bit of a rut with my paint so I’m taking this opportunity to push my ideas and notions of space off of the canvas and into another dimension, 3D that is.

In the last project I started to look at artists such as Anish Kapoor, Anthony Gormley and Olafur Eliaason, and while I was looking for reference books I happened across Donald Judd, it’s a good starting point for me and if you know what I do then you may see some similarities between his work and mine.

Very excited about developing my studio practice, exploring and experimenting with new materials and techniques.

Donald Judd, Untitled, 1989, aluminum, stove enamel, 150.5 x 750.5 x 165 cm, collection Stedelijk Museum Amsterdam. © Judd Foundation, Licensed by VAGA NY c/o Pictoright Amsterdam 2011.

retrieved from


Untitled (#231-234), 1991-1994
Suite of four woodcuts printed in
cadmium yellow (vertical
26 1/4 x 38 1/2 in. / 67 x 99 cm. each
Edition of 10

Retrieved from






Tapiwa Chipfuga – The Bag on My Back

Hi there,

An amazing woman director and narrator, Tapiwa Chipfuga presented her film ‘the bag on my back’ and I was totally blown away, moving, funny and serious all at once I would recommend everyone to watch this just once.

Although this short film is set mainly in Zimbabwe and there are obvious political undercurrents, for me this film is about the universal themes of lost childhood and how we as adults try to reconnect and weave the threads of our identity to discover the person we are today.

I found this film powerful and emotional, those connections are threads that have shaped me to be the person I am today and continue to change me into I hope a better person.


What do I do or What I do??

Horse cart, cart horse, that is the question, actually just trying to be clever but this intro does have a serious side to it. As a visual artist my medium has been predominantly paint on pretty much traditional surfaces and add to that a passion for abstraction, I wonder how relevant I can be in this digital world we live in.

Does it even matter to me that I might never sell a painting or do I play it safe and cover my bases with more commercial skills, ummm.

So I guess for me it’s about compromise, I need to be flexible and bend when needed but still maintain integrity for the painterly part of myself. I want to have my cake and eat it too…

As I was researching looking for material to help me with my current project the question above was burning away at the back of my brain and I happened to stumble across an article posted in ARTnews by Pepe Karmel (Associate Professor of Art History, New York University) back in April 2013, ‘The Golden Age of Abstraction: Right Now’, follow this link for the whole article,

The article and assumptions made are by no means definitive but it gives me hope that people are talking and engaging with the subject of abstraction in a variety of mediums. I tend to focus on the painters like Sean Scully and Brice Marden but there are others such as, Anish Kapoor (, Anthony Gormley ( and Olafur Eliasson ( making waves for abstract art. It makes me wonder that as I continue on my own journey will I move into other areas such as sculpture and installation or will there be new ways in the future to express abstraction, only time will tell.

The article is an interesting read and I found a lot of material that will be useful to me in the future but the bottom line I think is in Pepe’s very last sentence in the article;

“In 2013, as in 1913, abstraction is how we think about the future.”

Anything is possible.


Anish Kapoor’s Cloud Gate, 2004, in Chicago’s Millennium Park, reflects and distorts the surrounding landscape.