Harbourview and then Between Tides

 

In busy times it is hard to keep up with both making and presenting/explaining one’s art!

The mangroves made their way along the motorway, on a trailer, to the Te Atatu Peninsula and then down over the tussocky grass to a mown clearing where they posed in a silent dance near their smaller real-life cousins.

Their stay there ended, they now greet me from our neighbour’s front garden every time I leave the house, surprisingly camouflaged under two tall trees.

 

Then we had Between Tides – a huge event in that it was billed as (Probably the Final) Between Tides. This annual community art event has become increasingly popular, and drawn a wide range of exhibitors including a number of performers. Perhaps in fact, we hope, there may be some among them who choose to carry on with BT, but for the Jersey group it is time to step back now. We are no longer all in Auckland or all available. It has been a wonderful event to stimulate more experimental ideas since they only had to be on the beach for about five hours, as well as resolved works having their moment in the sun (wind and rain).

The day – for the first time in fourteen years – was really wet! We had had some anxiety about maybe having to pack up earlier than 2pm because of the time and height of the tide, but in fact steady rain set in just before 1 so by 1.30 everyone had de-camped. Hardy visitors and artists had up to that point managed with umbrellas the occasional heavy shower and ongoing drizzle, but the rain became a real soaker. It was in a way an exhilarating, if abrupt ending.

My main work, ‘The catch with plastic’, is on the left. A theme others also had in mind (see Vonney Ball’s amazing wire fish caught on three rods). In a flurry of enthusiasm I decided, after years of some visitors querulously appealing for some guide as to whose work they might be looking at (we have a policy of no labels, mostly to encourage interaction with the artists who are generally around!) to make a map. And four of my last year’s swimmers (who were hanging from the pohutakawa, as they had the year before hung over a plaza at Victoria Park Market) had obviously been for a dip and found it very chilly as they sat looking blue and wet on the rocks. (Paper mache over a wire armature is quite possible to re-pose – just needed a bit of patching, which turned into their blue skins).

Juliette Laird net

(Thanks to Cate Dine for the photo)

Many thanks to all those who contributed in many ways to Between Tides and in particular to those who provided the images – a selection of which are below.

 

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The tide went out, the art came in

Between Tides 2015 – another stunningly beautiful day with brilliant blue sky and a soft breeze. ‘Hung out to dry’ stood up although it had a very fragile makeshift look to it, and the people-shapes fluttered like prayer flags.

Hung out to dry

Hung out to dry

This year the works seemed more spread out, but walking around on the sand there was a lot to be seen that wasn’t obvious from a distance. Here is a quick overview of who was there on Sunday March 1st:

A dance performance by the Overflow group and the TAPAC Creative Contemporary children’s dance group dramatically illustrated the lethal effect of plastic on the marine environment and brought a whole additional audience to the beach.

Overflowstarts Overflowboysputrubbishin recyclingbin

The importance of playing

The four weeks at Harbourview Sculpture Trail were quite an outing for my branches compared to the brief exposure to the elements in Poland – that is about their limit in the New Zealand sun! And one or two of my home-dyed leaves have “turned” because of the rain! It was exciting to push the possibilities of exhibiting knitted work outdoors. The knowledge that they will not last long outside added some tension (for me at least!) to the interest created by placing something so much of inside out in the weather.
I have continued knitting but do not yet have a set idea for what these leaves will be a part of. I am however looking forward to taking the Polish branches to Wellington over Labour Weekend to be a part of the Celebrating Everything Polish festival at the Museum of City and Sea which will precede events marking the 70th anniversary of the arrival of the Pahiatua children in Wellington on November 1st, 1944.
And it was great to be presenting the experience of Narracje 5 to fellow artists and others at AUT on April 9th.
A presentation with Gregory Bennett and Rob Garrett

It has been a very busy four months – or longer. In the middle of Harbourview I was busy making a semi-performance piece from plaster for the JERSEY community art event at Westmere Beach, ‘Between Tides’ (https://www.facebook.com/juliette.laird/media_set?set=a.620847814652500.100001818601939&type=3).

Juliette Laird The sky has fallen (10)

I poured large sheets of plaster, painted them to look like sky and on the day threw them up and over a beach chair – The sky is falling (https://www.facebook.com/juliette.laird/media_set?set=a.620836294653652.1073741829.100001818601939&type=3)

I have lately found myself diverted into a light exploration of the human figure. Starting with an idea I was thinking to use at school I found that wire and paper quickly evolved into a crowd of small lithe people. I am not sure if they are having fun or like lemmings heading to the edge of the cliff but the making process is productive.

Balancing act

Playing around with ideas without being tied to the need to make work to exhibit is very important. As I loosen up I think this has helped refine my thoughts about my branches and also the the knitted sapling, Enticement, which may go on exhibition at CIRCLE Gallery in Newmarket either next week or in 3 weeks’ time with other members of the DUST artists’ collective (http://dustartcollective.net). Talking about the work helps too – as I was describing my thoughts and understanding of the consequence for migrants of uprooting from one home (family, country and culture) I realised that the way that the tree’s branches sprout from the stake to which they are tied, and the prosthetic support of the umbrella stand keeping it upright, are just like the makeshift, transitional forms of support that immigrants are forced to adopt. And also the attempt to make the structure look as though it is real, putting on a good face, which is sad but so brave – and just as essential as the gardener’s firm bindings around the grafted branch on the rootstock.
Enticement