gallery36Vol5No22013

2 / Gallery36 Vol 5. No. 2. 2013 / 3
8 MAY - 26 MAY 2013
Opens 5-7pm Tuesday 7 May
ARTSTATION
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4 / Gallery36 Vol 5. No. 2. 2013 / 5
MicheleGardner
ArtSwappers
You create 12 signatures
then receive 10+ back
to assemble into a wonderfully
unique art journal of 80+ pages
www.artswappers.com

6 / Gallery36 Vol 5. No. 2. 2013 / 7
Take time, look & listen
Do you know what it takes to really understand
someone else’s’ artwork? Of course there is a sliding
scale of complexity. And those most complex is what
I am talking about. And yet this is only my point
of view. Someone could come along and say ‘that
painting is all about jumping off a bridge and the
green means she is going to do it’. And this could
be true. So I might only be safe arguing that I take
the more complex road towards things. My head
doesn’t work out the easy path, or think the best
and most effective way. Instead, I seem to approach
everything as if I am looking at an artwork. As if I
am attempting to understand the artwork as well as
the artist. I don’t know why this is. But there are alot
of positive things that come out of a more complex
journey. Such as asking questions. The more you
ask, the more you understand, the more information
you are.
And asking questions is what needs to be done
when we look at an artwork. When we are trying to
understand it; read it. You can’t assume everything,
and all assumptions should come from informed
contextualisation: from what you have learnt, tried
and tested. If you can, talk with the artist. Make
them a coffee and sit down and talk about their
work, their practice and what drives them. It is only
then that you may get a more clearer insight to
someone’s artwork.
This issue of Gallery36 is pleased to bring you
another jeweller/designer who is expanding the
boundaries of jewellery. A exciting pleasing sight in
New Zealand indeed.
And we also have winter coming. It seems to have
set in here in the hills. And then there is the wind....
Sigh. Don’t get me started!
Editorial included in this publication
contributing authors and does not
necessarily represent the views of
Gallery36. Copyright for submissions
belong to the contributors unless
Gallery36
©
Auckland, New Zealand
ISSN 1179-8319
www.gallery36.co.nz
Editor: Selene Simcox
Ph: 021 169 9084
E: editor@gallery36.co.nz
Executive Director: Selene Simcox
Editorial Assistant: Margaux Wong
Contributors: Hana Aoake and Katie
Osborne-Tueton
Cover image: Tineke Jansen Untitled
(Rubber Ring) 2012 Rubber, thread
380 x 280mm approximate

8 / Gallery36 Vol 5. No. 2. 2013 / 9
Contents
Artists & Photographers
10 Tineke Jansen
16 Jessie Allen
20 Natalie Tozer
24 Andrew Peterson
28 Angie Ogilvy
32 Vincent Ward’s Exhibition Inhale
34 Research = Inspiration
40 smARTips
44 Underwater Apocalypse Adventure
Vacation - Nymphets 2013 Collection
Articles
12 32
10
20
28
44

10 / Gallery36 Vol 5. No. 2. 2013 / 11
Emerging Auckland designer Tineke
Jansen is looking to make her mark on the
contemporary jewellery scene, with a simple
but striking series contrasting masculine
materials with the feminine form.
Jansen is currently exhibiting her latest
work at Lopdell House Gallery in New Lynn,
her third show since graduating last year
from Hungry Creek Jewellery School with an
advanced diploma.
Her current pieces are largely fabricated
from rubber, and Jansen is keen to explore
the masculine/feminine contrast.
“My work mainly focuses on form and
placement on the body, and I enjoy
playing on contrasts. Using industrial,
masculine materials like rubber to create
curiosity and gives my jewellery a touch of
playfulness,” she says,
“The tactility and movement of rubber lets
Jansen’s work with rubber was recently
on display in Ponsonby at the Objectspace
E: tmaree.jansen@gmail.com
W: www.facebook.com/TMJewellery
Designer
Tineke Jansen
Tineke Jansen Untitled
(Chain Reaction) 2012
Rubber, thread 850 x
400mm approximate
Tineke Jansen Untitled (Merged) 2012 Rubber,
sterling silver 280 x 280mm

12 / Gallery36 Vol 5. No. 2. 2013 / 13
Tineke Jansen Untitled (wood chip) 2012 Rubber,
latex, paint 350 x 200mm approximate
Gallery, although her latest pieces, which she
describes as having something of a tribal feel,
have gone back to basics.
“I’ve tried making really intense, elaborate
pieces but I found that they were almost
most effective, but they can also be the most
worth the effort.
most striking work.”
Contemporary jewellery was an unexpected
choice for Jansen, who stumbled upon it in
a newspaper article and shortly after found
herself enrolled at Hungry Creek.
the perfect outlet for her to explore previously
undiscovered creative talents.
“Contemporary jewellery is a topic that
arouses many and confuses most. I often get
Tineke Jansen Untitled (Clustered) 2012 Rubber,
thread, resin, media gel, polystyrene, beads 300
x 250mm approximate
Tineke Jansen Untitled (Spiked) 2012 Rubber, polymer clay,
resin 420 x 250mm approximate
asked why I became a contemporary jeweller of all things,
but for me it was logical,” she says.
“Jewellery is something most people adorn themselves
with, without thought. I like the idea of challenging people
the art we buy, so why not do the same with the jewellery
we wear?”

14 / Gallery36 Vol 5. No. 2. 2013 / 15
Tineke Jansen Untitled
(Rubber Strip) 2012
Rubber 420 x 220mm
approximate
Tineke Jansen
Untitled (Faux
pearls) 2012
Rubber, copper,
plastic, fake pearls
350 x 250mm
approximate

16 / Gallery36 Vol 5. No. 2. 2013 / 17
Since I can remember, I’ve aspired to captivate
viewers with the same awe and amazement of
the human form that I see as I study or draw
it.
expressions and silhouettes, with their ability
to take on multiple moods – soft, harsh,
natural, uncomfortable, simply by focusing on
a certain aspect, highlighting one part of the
body, a muscle, a vein, an eye.
I vary from wanting to show authenticity and
rawness with a simply charcoal, ink or pencil
portrait, to wanting to convey movement,
life, trials and triumphs with colours, mixed
mediums and slight contortions of proportion.
Primarily I work with portraits but not solely,
I enjoy experimenting with landscapes and
trying to evoke a feeling of movement, mood
or emotion.
Ultimately I am passionate about art and its
interpretation of everyday life. I want to create
beautiful works that people enjoy viewing, in
which they see something slightly different
each time they look.
I have studied art and graphic design
throughout school, practiced art though
university, and worked on commissions as
extra work. Now I am trying to further my
E: jess.hq1@gmail.com
W:penciltopen.blogspot.co.nz
Artist
Jessie Allen
Jessie Allen Behind the Eyes (An interpretation
of Steve McCurrys Peshawar, Pakistan) 2010
Graphite, pen and ink on canvas 210 x 297mm
Jessie Allen
An Unspoken
Moment 2006
Pencil on paint.
450 x 900mm

18 / Gallery36 Vol 5. No. 2. 2013 / 19
passion through a diploma in interior design, which I study extramurally outside of my day job in
advertising.
Although I like the advertising world with its creative ideas, its passionate individuals, and its
fast pace, I continue to silently practice as an artist in the background of my life. I sell work
in the public sphere where I can, update my website www.penciltopen.blogspot.co.nz, create
commissions for colleagues and friends, and I am working towards being able to practice art
and spatial design full time. I would love nothing more than being able to be creative full time.
amazing artists out there, and I wonder does New Zealand have room for one more?
Jessie Allen The Figure
2005 Pencil and ink on
canvas 297 x 420mm
Jessie Allen View From the Shore 2009
Monochromatic pencil, acrylic, ink and metallic
paint on canvas 1500 x 750mm
Jessie Allen At Dawn 2012 Acrylic on canvas 297
x 420mm

20 / Gallery36 Vol 5. No. 2. 2013 / 21
Following on from her cinema entry in
Auckland’s Art in the Dark Festival 2012
and Waiheke Island’s Headland Sculpture
on the Gulf 2013 (pavilion installation)
Natalie Tozer is pleased to present a new
body of work currently on show at the
Waiheke Community Art Gallery. This
show includes video and sculpture pieces
as well as a series of painted works on
paper.
Tozer is occupied with abstract visual
communication. In a world dominated
increasing subconscious need for us to
abstract. She is interested in seeing
abstract experiences become increasingly
available for the public.
Working with repetitive removal
processes: glazing, washing and staining,
Tozer’s process celebrates what is left
behind; the shadows, stains and half
forms. She is interested in how we tend
to validate the terms of our here and now
on sight, and her work queries this. Tozer
is fascinated by what is not obvious, what
we do not immediately see, what lies
E: info@natalietozer.com
W: www.natalietozerart.tumblr.com
www.natalietozer.com
Artist
Natalie Tozer
Natalie Tozer Film Still 2 2013
Natalie Tozer Film Still 1 2013

22 / Gallery36 Vol 5. No. 2. 2013 / 23
Natalie Tozer The Lost Garden (detail) 2013
Direct to substrate print on 3mm clear acrylic
Dimensions variable
Natalie Tozer Punch + Black 2013 Acrylic on
Paper 1000 x 700mm
Natalie Tozer Liquid + Light 2013 Acrylic on
Paper 1000 x 700mm
between the gaps and fractures, the omissions and lost content.
The works do not feed the viewer with information, but rather, seek to engage and invite the
viewer to participate in new perspectives. Importantly, they do not seek to be located in the
can access.
Graduating from Elam School of Fine Arts in 2002, her distinct style has seen her recognized as
continues to further her practice from her Kingsland studio.

24 / Gallery36 Vol 5. No. 2. 2013 / 25
I see the automobile as an art form begging
to be explored and showcased. Every car was
sculpted by hand in clay before it ever turned a
wheel on tarmac. By unlocking and discovering
this artistic personality my work centres on
exposing the inherent human emotion and
E: andyf430@gmail.com
W:apphotography.weebly.com
Photographer
Andrew Peterson
mechanical beauty of the automobile through
photography.
My passion for automotive photography all
went to a race meeting at Pukekohe Raceway.
AndrewPetersonSunsetRocket(HSVR8)2012Digital
Photograph3000x1993px
Andrew Peterson
Beach Explorer
(Audi Q7) 2012
Digital Photograph
3000 x 1993px
Andrew Peterson
Dockside Bouncer
(Lexus Ls460) 2012
Digital Photograph
3000 x 1993px

26 / Gallery36 Vol 5. No. 2. 2013 / 27
It was here my appreciation for automotive photography began.
Each photograph begins by taking the subject automobile to a carefully chosen location. It is
then manoeuvred into place relevant to the surrounding environment. After the camera angles
and lighting is setup, I proceed to photograph it at different exposure levels. These are merged
My professional journey started with my completion of a Bachelor of Creative Technologies
Digital Film & Photography at Wellington Institute of Technology. While studying, I explored my
passion for the automobile in a wide range of media. This ranged from various visual arts to
seek work experience with a local automotive dealer. This allowed me access to subjects that I
Tim Wallace a UK based photographer, has been the base inspiration for my work. I am
mesmerised by the way he uses light and shadows playing on the surrounding objects, to create
his work. Hiroshi Sugimoto’s mechanisms also reinforced the importance of lighting certain
elements to create different sensations.
Andrew Peterson Green Wharf Monster (Holden SSV) 2012 Digital Photograph 3000 x 1993px Andrew Peterson Orange Muscle Storm (Chevrolet Camaro SS) 2012 Digital Photograph
3000 x 1983px

28 / Gallery36 Vol 5. No. 2. 2013 / 29
Angie grew up in a creative family in the Bay
of Plenty. After studying Media Arts at Waikato
she moved to Wellington from 1997 – 2006.
There she developed an arts and media
holiday programme for primary aged students.
While achieving a Diploma in Teaching, Angie
also produced several successful painting
exhibitions.
Now living in Auckland, Angie continues
teaching art in primary school. She has
developed an innovative art curriculum,
challenging children’s conceptions of art
and motivating their creativity beyond the
classroom. Angie has helped her students
custom design sneakers, leading to their
subsequent manufacture in China; her
students have also designed and manufactured
large installations occupying Auckland’s
waterfront and displayed by the Wallace Arts
Trust.
Angie’s latest series Her Self, is an exhibition
and expressive in large and small format, the
works are a combination of acrylic and oil with
mixed media.
Her Self explores how the subjects desire to
be seen by others. Each piece explores vanity,
desire and disgust. Each girl strains to present
the perfect angle of herself to the viewer, so
E: anjibeth@hotmail.com
W: www.chrisclark.co.nz/Angie.html
Artist
Angie Ogilvy
she will be found desirable. She would die if anyone knew
what she was thinking. Aching to look casual, every hair and
bone over thought.
faceless, with nothing beyond the desire to be perceived as
beautiful. No candid grins, laugh lines or double chins. The
hidden battles. Their white skin attempts to shield them from
this. Some pieces feature stark white backgrounds, with the
display for the world to see.
Angie’s Her Self series is currently on display at Crave Café
& Gallery until May the 11th. A 15% donation from each
painting sold will be given to A Girl Called Hope
organisation working with young woman facing life controlling
issues such as abuse, addictions and eating disorders.
The Her Self paintings can be viewed and purchased by
contacting Angie directly through www.chrisclark.co.nz/
Angie.html
Right: Angie
Ogilvy
Strong,
& Ready to
Tip 2008 Oil
& acrylic on
canvas 1010
x 1010mm
Right: Angie Ogilvy Harrow 2008 Oil & acrylic on canvas 510 x 1520mm

30 / Gallery36 Vol 5. No. 2. 2013 / 31
Above: Angie Ogilvy If I Looked at Myself From a Distance is this What I’d Look Like? 2009 Oil,
acrylic, PVA & lace on canvas 1020 x 760mm
Top Left: Angie Ogilvy Untitled 2010 Oil, acrylic & lace on canvas 910 x 610mm
Bottom Left: Angie Ogilvy Is This How They See Me? 2012 Oil, acrylic & charcoal on canvas 1530
x 610mm

32 / Gallery36 Vol 5. No. 2. 2013 / 33
A surreal, sensational exploration of the
senses, New Zealand director Vincent Ward’s
exhibition Inhale, is a seamless, cinematic
experience not to be missed at Auckland’s
Gus Fisher Gallery. Ward, an acclaimed and
celebrated artist, well-known for his dramatic
Rain Of The Children (2008)
makes a huge contribution to New Zealand art.
Surrealism, but his work based on the human
psyche has a surreal quality that creates
a submerged, transformative world for
viewers to enter and explore the concepts of
vulnerability and fragility within the human
in Auckland’s aquarium, Kelly Tarltons. The
helpless nude, female body submerged under
strange yet hypnotizing; a surreal play on
the transitional space between reality and
fantasy. Realistically the woman is drowning,
desperately struggling for a breath and
survival; it is physically draining – even to
body, moving sensuously, is questionably
beautiful to watch. Ward ironically titles the
exhibition Inhale, when the body is incapable
of breath.
The haunting music composed by John Gibson,
sense of anxiety. The spiritual element relates
to concepts of Kaitiaki and also Wehi – ‘fear
and awe colliding’. Ward has successfully
created a strong sense of place within
Vincent Ward’s Exhibition Inhale
ArtReview
Aotearoa, and as a New Zealander, I found a
subconscious connection to the tranquil sound
of whales and waves.
In terms of portraiture, this exhibition would
be a great self portrayal of who Vincent Ward
is as an artist. He creatively combines the
in an intriguing, moving image, with intense
colours, effective materials, textures and
sound. Not only does this exhibition highlight
identity as a New Zealander and his connection
to living in Kaitiaki, Tuhoe.
The woman, who is a portrait herself, appears
to be in a transitional stage and state of
change, an abstract referral and representation
towards Ward’s own experiences and
as though a foetus is trapped within a womb
or a placenta ready to be reborn, and a slight
by Maori story telling.
Entering the dark exhibition, you are enclosed
and surrounded by large screens and serene
sound. Similar to an installation, the exhibition
is a project that involves the viewer and will
take you on a journey. The positioning of the
screens contributes to achieving a real sense
of an underground experience and successfully
forms a relationship with the gallery space, the
artwork and essentially the viewer. Together it
seems Ward not only captures the essence of
the physical body, but also the metaphorical
‘body’ of work that he has progressively
By Kate Molineaux
ArtReview
composed and
experienced
throughout his life.
Inhale is a thought
provoking exhibition
that creates a
distorted, world
capturing the intensity
of life. It connects
with the inner,
visceral being of the
viewer and explores
the body in a state
of transformation,
submersion and
change. The fusion
of different artistic
elements and media
ambiguity.
Vincent Ward Born in a
Caul 2011 Photograph,
pigment inks on
archival paper

34 / Gallery36 Vol 5. No. 2. 2013 / 35
Research = Inspiration
Research plays a vital key in all art practices. Here are some artists I
have come across recently. Editor.
Carne Griffiths
Research=Inspiration
Working primarily with calligraphy inks, graphite,
and liquids such as tea, brandy and vodka,
the creation and manipulation of the drawn
line. Images explore human, geometric and
abstract translation, and in response to images
and situations encountered in daily life. Images
are recorded in a dreamlike sense onto the page
where physical boundaries are unimportant. His
work creates a journey of escapism which focuses
on scenes of awe and wonder, projecting a sense
of abandonment and inviting the viewer to share
and explore this inner realm.
Since establishing his own studio in 2010, Carne
has exhibited in the UK at the London Original
Print Fair at the Royal Academy, the London Art
Fair in both 2011 and 2012, and overseas at
Urban in Ibiza in 2011 and Arts After Dark, New
Orleans in 2010. Carne also collaborated with the
British photographer Rankin for a feature in the
2nd edition of Hunger Magazine early in 2012.
www.gabrielmoreno.com
www.gabrielmorenogallery.com
Gabriel Moreno
Gabriel Moreno is an illustrator, engraver and painter based in Madrid. After working in a variety of
design studios and ad agencies, Moreno started showing his portfolio in 2007, where he was selected
as one of the 20 new talents of illustration by the London based magazine Computer Arts, which
kicks off his successful career as an illustrator. To date, Moreno has worked with virtually every major
national design agency, including working with numerous national and international publications.
Moreno also does commissions now.

36 / Gallery36 Vol 5. No. 2. 2013 / 37
www.roslynoxley9.com.au/artists/18/Bill_Henson/
www.tolarnogalleries.com/bill-henson/
Bill Henson
Bill Henson is a photographer
who scratches at the twilight
zone; at ambiguous spaces
between day and night, nature
and civilization, youth and
adulthood, male and female.
Henson’s subjects walk the line
between no man’s land, where
androgynous boys and girls
drift in the nocturnal turmoil
of adolescence, in painterly
dreams that continue the
tradition of romantic literature
and painting in our postmodern
age.
You might know Henson’s work
from the controversial seizure
of his photography in 2008,
where his work was labeled as
child pornography and the age
old debate of censorship once
There is no such thing as bad
publicity. No matter what side
of the fence you stand on,
Henson’s work has continued
to impress the viewer for over
30 years with his exploration
shadow, the human form and
architecture, making him one
of Australia’s most successful
photographers both nationally
and internationally.
Bill Henson Untitled #17, 1998 Type C photograph 104 × 154cm Edition of
5 + 2 A/Ps
Bill Henson Untitled #17, 1998 Type C photograph 104 × 154cm Edition of
5 + 2 A/Ps
www.ifrancis.co.uk
www.joshualinergallery.com
Ian Francis
I might have introduced you to
Ian Francis before. If I did it is
purely out of biases that I do so
again. Francis draws inspiration
from cinema, pornography
and street culture, and creates
intricate visions of mediated
landscapes. Amid high-colour
washes and jagged brushwork
with a blend of abstraction,
painting and drawing, Francis
in scenes of intimate and
hedonistic abstractions. The
often young
and beautiful
denizens of a
particular media
fantasy fuelled
by sex, death,
and celebrity.
Top: Ian Francis Le
Corbusier’s Dream
Falls Apart as
the Cliff Beneath
Collapses 2012
Mixed media on
canvas 1520 x
1520mm
Bottom: Ian
Francis A Girl
Commits (Fake)
Suicide with a
Raygun 2012
Mixed media on
canvas 1370 x
1830mm

38 / Gallery36 Vol 5. No. 2. 2013 / 39
www.sayakaganz.com
Sayaka Ganz
Giving recycled art a whole new feeling, is Sayaka
Ganz’s ‘reclaimed creations’.
odd shapes together and a sympathy toward
discarded objects, I create animals from thrift
store plastics”. (Sayaka Ganz).
Part of Ganz’s philosophy is to only select objects
that have been used and discarded.
“My goal is for each object to transcend its
origin by being integrated into an animal/organic form that are alive and in motion. This process of
reclamation and regeneration is liberating to me as an artist”.
www.sayakaganz.com
Grimes
Music has always been a huge inspiration to me. I listen to
a wide range of genres and often like to use music to inspire
me to paint – kind of Kandinsky style. I remember one of my
lectures at art school playing a song at the close of a lecture
on social theory. The artist was Katy Perry singing ‘You’re So
Gay.’ The point that my lecture was making was: 1) you are
remembered by what you say/do, 2) fame is available in any
genre, and 3) artistic creativity is about originality within the
social context that it can be understood. It was only six to
eight months from hearing ‘You’re So Gay’, that Katy Perry
was riding the wheel of fame, a bit higher than Lady Gaga…
depending on whom you are loyal to! Watch out for Grimes: a
talented young lady that proves you can do what you believe
in, no matter the circumstances.

40 / Gallery36 Vol 5. No. 2. 2013 / 41
Ariane of smARTist http://smartistcareerblog.com/about/
smARTist Telesummit http://smartist.com/store
smARTips http://smartist.com/live-telesummit/weekly-smartips/
Facebook http://ArianeOnFacebook.com
DM me on Twitter http://ArianeOnTwitter.com
smARTist Store GRAND OPENING (Round 3) gives you 35% - 68% off April
30 – May 7. Click here to see the Store! http://store.smartist.com/store-
round-1/
smARTips
by Ariane Goodwin, Ed.D
smARTips
I’m Ariane of smARTist and I’ve been
passionate about artists since I was a
toddler tripping out on the cliffs of Big Sur,
California while my artist mother held her
before she could get to me.
These days, I hang out on the smARTist®
cliffs, soaking in the sweet salt air of artists
who love what they do in the studio, and
feel just a bit lost when they come out.
For the last seven years I’ve been coaching
private clients so they can fast forward
their art careers, as well as developing
information, inspiration, and insight for
artists who want to bridge the gap between
making art and making a living.
Ah, yes, the scoop on our brand new
smARTist Store: GRAND OPENING gives you
35% - 68% off until May 7th! After that the
price goes up.
I’ve broken out six years of the smARTist
Telesummit keynote speaker presentations
(from successful artists and leading art-
career authorities) so you can pick and
choose the right information for your art
career right now.
GRAND OPENING Round 3 - gives you
35% - 68% off until May 7
Thank you from my soul for having this
smARTist Telesummit, for dreaming it,
creating it and making it happen. It is
wonderful. I came in thinking I don’t do
licensing! I paint.
Imagine the surprise I felt when Maria
Brophy started talking: my energy soared,
my enthusiasm not just for her talk but all
the possibilities she was calling out in my
imagination was sky rocketing.
I was glued to my headset.” ~Anneke
Newman (from Australia)
smARTip #1: Understanding Black Power
& the First Law
------------
Artists love black. Love, love, love it.
It has class. It engages. It draws you in.
------------
Black is classy. It fairly screams “high end.”
It dominates and holds our attention.
Let’s face it: black has power.
And for years and years and years it has
been the color of choice to lay the crown
jewels on, as the backdrop for a brochure,
in framing… the list goes on.
But let me tell you the one place where
everything black does, and stands for, works
completely against you, and against your
art.
On your website and blog!
I know. It’s so hard to realize that the
Old Order has given way to a New Virtual
Reality.
In fact, it is so hard that a good many of us
haven’t caught on to the differences that
decide our online fate.
Because much of what we put online we
Universe are not immediately apparent.
And in this case, we are also working
against a traditional sacredness of black
that is positively trance inducing.
Try this question on for size:
What is the most important element on my
website or blog?
smARTips
Hi!
I’m going to spit right in the Colour God’s eye. (Not kidding). I’m going to take one of the
most sacred of all colors and shake off the Old World commandments. And I’m going to do
this with a calmness I do not feel when talking about the online, misuse of black. And a
sensibility I’m praying you cannot ignore.
P.S. Ready to connect?
Maybe you’ve been tossing around the idea of zooming your art career forward with private
art-career coaching... I have two spots opening up in May.
Interested? You can DM me on Twitter - @artcareerdeva
Send me a Facebook friend request or email me: ariane@smartist.com

42 / Gallery36 Vol 5. No. 2. 2013 / 43
smARTips
smARTips
A. My domain name
B. A picture of me working on my art
C. My art
D. My artist statement
E. The background color
Of course, each of these is important in it’s
own way. But without C, none of the rest
matters, right?
Which brings us to the First Law of the
Online Universe. Nothing should upstage
website and blog.
Nothing should detract, draw attention away
from, or usurp your viewer’s focus on your
art. Period.
If black is engaging, dominant, holds our
attention and draws us in, doesn’t it go
without saying that a black background
trumps your art?
It seems so simple, so logical. Yet,
whenever you tread on sacred ground that
is also visually emotional, simple and logical
hardly register.
“But my art looks so good against a black
background,” I can hear the wailing right
across the oceans between us.
Alongside the obliviousness that what we
are responding to is the tremendous power
of black, not how good your art looks
against it.
Think about this…have you ever been in a
gallery with black walls?
Besides, what do you want people to think is
classy?
Your website background or your art.
You can’t have both.
*****
smARTip #2: The Second Law & The
Irrefutable Logic for Killing That Black
Background
------------
Unlike gallery walls, a website needs words
to deepen your viewer’s connection to you
and your art because words replace the
handshake and eye contact missing on a
web page.
You also need words to keep your visitor on
your website, and moving in the direction
of taking action to sign up for something
(newsletter, a free offer, a short article, etc.)
so you can follow up and stay in touch.
But how can you read words on a black
background?
Ah… yes… thundering in, stage left: the
White/Light Font!
Which brings us to the Second Law of the
Online Universe: Do not make anything hard
for your visitor because they… will… leave.
And nothing, but nothing, is harder than
reading white or light colored words on a
black or dark background.
Nothing. (Except, maybe, slow loading
images.)
You can get away with white-on-black In
small doses, say a tag line or a headline. It
might even be classy.
But once you start piling up sentence after
sentence, never mind paragraphs, you are
asking the human eye to do an inhuman
task.
It physically hurts…so, naturally, people
don’t read, or don’t read much. Or don’t
read enough.
Me, I just click off as fast as I can. And your
art doesn’t stand a chance.
I have a theory (this is the Irrefutable
Logic part…).Why would something, like
black, work so well on paper but not on a
computer monitor?
I suspect one answer lies in our biology.
The human eye is not calibrated for the
monotonous, static light of a computer
monitor. Human eyes are designed to adjust
to incremental, minute changes in light from
the minute we open them in the morning
until we close them at night.
Plunk down in front of the static, unchanging
light of a monitor screen, then stare at it for
minutes, if not hours, and suddenly you are
holding your eyes hostage.
A monitor is the gateway into a challenging
environment, and anything you do that even
the life span of a single visitor staying on
your website long enough to engage and
enjoy the creative work you so lovingly and
passionately share with them.
In the 1990s, research said you had only
3 to 9 seconds to engage a visitor on your
web page before they clicked off to more
engaging sites. That has now shortened to 2
to 5 seconds.
Keep a black or dark background and you’ll
never know how many people have surfed
off in search of more friendly territory.
Give up black and you give your visitors a
chance to fall in love with your work.
*****
I’d love to hear your thoughts about your
follow-up strategies or anything else “art”
you’d like to tell me. So, please, connect
by...
tweeting me - @artcareerdeva
Sending me a Facebook message.
Or emailing me: ariane@smartist.com
BTW, check out the new smARTist Store
presentations from six years of my annual,
professional development, art career
conference, the smARTist Telesummit.
The artists who came had a lot to say about
the individual presentations, like this one …
“Once again, you pulled together a fabulous
group of speakers – diverse and brilliant.
Listening to the presentations and panel
discussions was wonderfully informative and
inspiring. LOVE that Eden Maxwell!!!
As I sift through my notes today, I am
myself as an artist are crystallizing into a
clear, authentic me. I’m excited to continue
on this journey – renewed and reinvigorated
by your marvelous conference.” ~ Donna
Blair
For all the details, click here before- the
35% - 68% “Round 3” Grand Opening Sale
is over on May 7, 2013 -> smARTist Store
And if you want to check out the brand new
smARTist Store click here: http://store.
smartist.com/store-round-1/

44 / Gallery36 Vol 5. No. 2. 2013 / 45
ArtReview
None Gallery 13th-25th March 2013, Dunedin
Walking around the Nymphets’ Underwater
Apocalypse Adventure Vacation exhibition
made one’s senses dither on edge, but all
the while invited you to become more and
more immersed inside the palpably dynamic
environment.
Curated by Glue Gallery and hosted by None
Gallery in Dunedin as part of iD Fashion
Week, Nymphets’ Rose Thomas transformed
the space into a candy coloured world for
the unconscious. It seemed like a place one
drifts into falling asleep. The inner nature of
such a place is just as unknown to us as the
reality of the external world. The Underwater
Apocalypse Adventure Vacation made one’s
gaze become embedded into an otherworldly,
prismatic and beautiful showcase of
Nymphets’ Underwater Apocalypse A/W
2013 collection. Nymphets takes its name
from the book Lolita by Vladimir Nabokov,
whose title character is a Nymphet. In Lolita,
the language of the prose lures the viewer
into a state of aesthetic bliss. The prose is
enchantingly written and seems to recall the
enchantment of fairy tales. The Underwater
Apocalypse Adventure Vacation hauntingly
reminded one of the domestic interior, but
simultaneously it was as though you were
entering another world.
The gallery space at None Gallery seemed
memories of Lolita – the space has endless
Underwater Apocalypse Adventure Vacation - Nymphets 2013 Collection
By Hana Aoake
doors and the exhibition has marked out
walkways, which aided in the dislocated
feeling of being in a non-space. The exhibition
layout was organised into large rectangular
squares, where a distortion of domesticity
bulbous sculptural forms, fake dollar bills and
The jewellery featured in the exhibition,
included work by Christian McNab and I Am
WoRm’s, Olivia Rowens. Each rectangular
square in the space was fraught with objects
alluding to domesticity, including a washing
line, a bed with a mosquito net and a couch.
The clothes dangled ghostly in the air on a
clothes line, which stretched out across the
centre of the space. Each of the garments
seemed to refer to the absence of a body and
to the purpose of clothing, to be worn. This
was most evident by the singular dress, which
dangled from the ceiling on the far left of the
room and was isolated from the rest of the
garments.
During the opening, Thomas organised a
performance in which herself and two others
followed each other jaggedly, like geishas in
a single line. Without any expression and in a
continuous movement, each followed a ritual
of dressing, undressing and hanging each
garment on the clothesline. The performers
looped across the room, while Max Trevor
Thomas Edmund created a soundscape by
collaging a series of samples. Thomas, her
nymphets, and Max Edmund had their hair
coated in pink paint, while their faces featured
ArtReview
bold swirls of colour, seemingly referencing
the small, yet bulbous sculptures scattered
throughout the installation. After dressing
and undressing each other, Thomas and her
nymphets scooped up and threw fake dollar
bills into the sky, while jumping up and down
on the bed. It was an action that seemed to
be so far removed from the commercialisation
of fashion, and it also seemed almost ironic
in comparison to other events during iD
Fashion Week. Thomas’ Nymphets projects
belonging to one or the other. It was a
rejection of capitalism, yet simultaneously
seemed like a game a child would play.
In Lolita, Humbert Humbert describes a
number of Nymphetic indexes throughout the
book, including a duality in nature; innocence
combined with an ‘eerie vulgarity’.1
The
Underwater Apocalypse Adventure Vacation
nymphet; a childlike precociousness and a
vulgarity were etched across the space. This
vulgarity is expressed through a number
space, Underwater Apocalypse and Exorcism
Vacation. Both appeared on a television
screen placed on the ground and projected
released, including videos in collaboration
with Tawahinga Butt, Matt Kofoed, Totems
and $noregazZzm. In the Underwater
playfully enter the end of existence, by diving
into a pool of death and drowning.
Exorcism Vacation harboured a feeling of both
repulsion and enticement. The viewer’s eye
became captivated by the swirls of colour,
the scattered movement of the performers,
and the beautiful Ophelic undertones of the
characters, which alluded to the fatalistic
hedonism of youth. Yet at the same time it
retained a carnality, which was expressed
through a series of the actors’ animalistic
gestures, including both performers tumbling
over and biting one another. These gestures
registered a tension between playfulness,
absurdity and uneasiness. It is as though
both of the nymphets suddenly became mad
spirit animals.
The apocalyptic overtones of the show were
expressed through the constant referrals
to that which is abject, much in the same
way that Nabokov uses a rich style of prose
to envelope the reader into the brutality of
Lolita. This realisation of such aversion is
positioned in contrast to the magnetic beauty
of the Underwater Apocalypse Adventure
Vacation exhibition. A fatality echoes through
the room, which is most notable in both of the
videos. It’s almost with excitement that each
of the nymphets plunges to their deaths; the
water swallows them, and all the while makes
one want to join them at the beginning of the
apocalypse, hand in hand, as though it were a
game.
1
Jerold Abrams. The Philosophy of Stanley Kubrick.
Lexington, KY: The University Press of Kentucky, 2007, 115.

46 / Gallery36 Vol 5. No. 2. 2013 / 47
ArtReview
ArtReview
Photos taken by Olivia Rowens and Rose Thomas

gallery36Vol5No22013

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