This exhibition is one of two that make up a cultural and artistic exchange project with Xi'an Art Museum, Xi'an City, Shaanxi Province, China; Waikato Museum, Hamilton, NZ; and Wintec researchers (Hamilton, NZ). Themes of exchange, community, identity and location were explored by the various practitioners involved in the project.

These two sculptural works examine cultural practices of food gathering in relationship to community

Williams, Gareth C. A.

English

This exhibition is one of two that make up a cultural and artistic exchange project with Xi'an Art Museum, Xi'an City, Shaanxi Province, China; Waikato Museum, Hamilton, NZ; and Wintec researchers (Hamilton, NZ). Themes of exchange, community, identity and location were explored by the various practitioners involved in the project.
These two sculptural works examine cultural practices of food gathering in relationship to community

Wintec Research Archive

132 水墨的性格轴 The Axis of Ink No.7 Character No.7 王超 Wang Chao 纸本水墨 Ink on paper, 2016  Courtesy of the artist  水墨 No.18 Ink No.18 王超 Wang Chao 纸本水墨 Ink on paper, 2017  Courtesy of the artist  水墨 No.20 Ink No.20 王超 Wang Chao 纸本水墨 Ink on paper, 2017  Courtesy of the artist Prototypical Joe CitizenWood, metal, electronics, 2018Courtesy of the artistAggregation Tony NichollsAudio, wood, carbon fibre, steel, brass, paint, 2018Courtesy of the artistCircumnavigate IStefanie YoungDigital photograph, 2018Courtesy of the artistCircumnavigate IIStefanie YoungDigital photograph, 2018Courtesy of the artistCircumnavigate IIIStefanie YoungDigital photograph, 2018Courtesy of the artistArcadeGeoffrey Clarke Video: 30-minute duration, 2018Courtesy of the artistProxyGeoffrey ClarkeInk on synthetic canvas, 2018Courtesy of the artistSolid State. 11  Geoffrey ClarkeMDF, paint, 2018Courtesy of the artistOptica IIIXavier MeadeDigital publication, 2018Courtesy of the artistArtworks  风 · 崇墨 Wind · Ink 郭志刚 Guo Zhigang 纸本水墨 Ink on paper, 2011  Courtesy of the artist  风 · 骨 Strength of Character 郭志刚 Guo Zhigang 纸本水墨 Ink on paper, 2011  Courtesy of the artist  风 · 流谷墨 Wind · Flowing Ink 郭志刚 Guo Zhigang 纸本水墨 Ink on paper, 2012  Courtesy of the artist  千秋 · 雨 Centuries · Rain 郭志刚 Guo Zhigang 纸本水墨 Ink on paper, 2014  Courtesy of the artist  千秋 · 瞩墨 Centuries · Ink 郭志刚 Guo Zhigang 纸本水墨 Ink on paper, 2017  Courtesy of the artist  纽约涂鸦 No.09 Graffiti in New York No.09 侯拙吾 Hou Zhuowu 水墨纸本 Ink on paper, 2018   Courtesy of the artist   纽约涂鸦 No.11  Graffiti in New York No.11  侯拙吾 Hou Zhuowu 水墨纸本 Ink on paper, 2018  Courtesy of the artist  纽约涂鸦 No.16 Graffiti in New York No.16 侯拙吾 Hou Zhuowu 水墨纸本I Ink on paper, 2018  Courtesy of the artist  纽约涂鸦 No.19 Graffiti in New York No.19 侯拙吾 Hou Zhuowu 水墨纸本 Ink on paper, 2018  Courtesy of the artist  纽约涂鸦 No.20 Graffiti in New York No.20 侯拙吾 Hou Zhuowu  水墨纸本 Ink on paper, 2018  Courtesy of the artist  肖像-八大山人 Portrait of Ba Da Shan Ren 刘西洁 Liu Xijie 纸本水墨 Ink on paper, 2002  Courtesy of the artist  肖像-苏东坡 Portrait of Su Dongpo 刘西洁 Liu Xijie 纸本水墨 Ink on paper, 2002  Courtesy of the artist   战士1 The Warrior No.1 刘西洁 Liu Xijie 纸本水墨 Ink on paper, 2016  Courtesy of the artist   战士2 The Warrior No.2 刘西洁 Liu Xijie 纸本水墨 Ink on paper, 2016   Courtesy of the artist   胡适 Hu Shi 刘西洁 Liu Xijie 纸本水墨 Ink on paper, 2016  Courtesy of the artist   霍克尼 Hockney 刘西洁 Liu Xijie 纸本水墨 Ink on paper, 2016  Courtesy of the artist   阿斯帕林山国 Mount Aspiring National 家公园 Park 邵泳 Shao Yong 水墨纸本 Ink on paper, 2018   Courtesy of the artist  维多利亚山 Mount Victoria 邵泳 Shao Yong 水墨纸本 Ink on paper, 2018   Courtesy of the artist  城墙之外 Beyond the Wall 邵泳 Shao Yong 水墨纸本 Ink on paper, 2018  Courtesy of the artist  从皇后镇到西 From Queenstown to Xi’an   安之交错  邵泳 Shao Yong 水墨纸本 ink on paper, 2018  Courtesy of the artist  大秦岭 Great Qinling Mountains 邵泳 Shao Yong 水墨纸本 Ink on paper, 2018  Courtesy of the artist  一片终南 Zhong Nan   邵泳 Shao Yong 水墨纸本 Ink on paper, 2018  Courtesy of the artist   大手印， Fingerprints 水墨纸本  邵泳 Shao Yong 水墨纸本 Ink on paper, 2018  Courtesy of the artist   道果，水墨纸本 Path and Fruition 邵泳 Shao Yong 水墨纸本 Ink on paper, 2018  Courtesy of the artist   水墨的性格 The Character of Ink 王超 Wang Chao 纸本水墨 Ink on paper, 2015  Courtesy of the artist    水墨 No.7 Ink No.7 王超 Wang Chao 纸本水墨 Ink on paper, 2016  Courtesy of the artist  水墨 No.8 Ink No.8 王超 Wang Chao 纸本水墨 Ink on paper, 2016  Courtesy of the artist Point of ViewLuke McConnellMDF, paint, light, 2018Courtesy of the artistOverlapping MurmursJeremy MayallIn collaboration with Haco, Horomona Horo, Kent Macpherson, Megan Rogerson-Berry and Reuben BradleyAmbient sound piece, 2018Courtesy of the artistsStepping Towards Sustainable Colour Rebekah HarmanWool, rug canvas, 2018 Courtesy of the artistYellow River BoatGareth WilliamsBrass, wood 2018Courtesy of the artistTrapGareth WilliamsBrass, copper mesh, 2018Courtesy of the artistA Machine for Living #1 Mark PurdomDigital giclée print, 2018 Courtesy of the artist A Machine for Living #2 Mark PurdomDigital giclée print, 2018 Courtesy of the artist On the U P Road Tim CroucherAcrylic on canvas, 2008Courtesy of Sarah Mitchell MunroPalaceTim CroucherAcrylic on canvas, 2008The Barry Hopkins Art Trust CollectionDiscarded - Smash Palace - Horopito, Jan 2018 Tracey Stockley-SmithPhotographic triptych, 2018Courtesy of the artist654ne might imagine ink and wash paintings by the Xi’an artists Guo Zhigang, Hou Zhuowu, Liu Xijie, Shao Yong, and Wang Chao in this exhibition to be ‘ traditional’ based on stereotypes of the Chinese painting tradition, but on closer inspection, you will see this is not the case. In the People’s Republic of China, guohua (Andrews, 1990)1 is a specific term used to describe the art of monochromatic ink and wash painting upon Chinese paper or silk . In Chinese aesthetic terms, it is distinct from other forms of art practice using ink because it maintains the formula of black ink on white paper, balanced figure-field composition (including the negative space of the white ground) and perhaps the use of one other colour. The full and appropriate term, zhongguohua, implies a style that does not change over time. However, the Xi’an artists, while practitioners of guohua, are like any other contemporary artists and their content has evolved to express modern-day phenomena. The viewer experiences abstraction as opposed to butterflies, Emperors, peasants, and mountainous hillsides for example.Similarily, the assumption that Maaori carving or weaving is traditional because there are instantly recognisable Maaori forms has similarly been challenged. There have been major shifts in various patterns, and in the representations of ancestors and atua2 (gods) since the very first stone taumata atua were found, and the oldest kaakahu or cloaks were made from animal skins. The culture and its design has evolved over time.So, while it may appear difficult to find the relationship between our manuhiri (visiting group) artists and our mana whenua (local) artists because the media employed is so distinctly disparate, this diversity serves as a reminder that our Western perspective of art and the knowledge (of its movements in history) should not be the sole lens through which to view art, or deem its value, including deciding whether it is “contemporary”.The guohua works break out with subject matter that locates their artistic gaze as outward-looking and global. Their works are celebrating the contemporary as do the works of our Waikato artists. They are united in their attempts at creating a new conversation in art.  Confronting our Western art history lens, this exhibition reaches across vernacular art forms and language to communicate something new.Most of the ink on paper works are starkly contrasted by the colourful painted works of Tim Croucher and digital paintings of Geoff Clarke. Shao Yong’s works go out of the traditional parameters of monochromaticity with his use of more than one colour. One of his series refers to the New Zealand and Qinling landscapes and the distance between 1 Andrews, J. F. (1990). Painting in new China: Guohua and the anti-rightist campaign. Retrieved from https://www-jstor-org.ezproxy.aut.ac.nz/stable/2057771?Search=yes&resultItemClick=true&searchText=Guohua&searchUri=%2Ftopic%2Fchinese-ar t%2F%3Ftopic%3Dchinese-ar t%26amp%3BQuery%3DGuohua&seq=1#metadata_info_tab_contents       2 Taumata atua are stones fashioned in the form of a Maaori deity and said to be a resting place for the atua or god.Queenstown, Aotearoa New Zealand to Xi’an City in northwest China. Joe Citizen’s prototype for his soon-to-be-unveiled public sculpture Matariki resonates with the large scale vertically-formatted abstract works by Guo Zhigang. The brooding photographs by Stefanie Young possess an inky wash-like appearance not unlike some of the guohua works. Likewise, there are similar textures experienced in the works of Wang Chao and Mark Purdom’s giclée photographic worksWhile the delicacy of the ink and wash works might appear heavily contrasted by the media varieties of the Waikato artworks, you will see a synergy as you move from the digital and photographic works by Xavier Meade, Tracey Stockley-Smith, the sculptural/installation works of Rebekah Harman, Tony Nicholls Luke McConnell and Gareth Williams. It could be argued that this exhibition serves to highlight a great divide between both the worlds, but the sound piece devised by Jeremy Mayall and performed with Haco, Horomona Horo, Kent Macpherson, Megan Rogerson-Berry and Reuben Bradley operates as an ethereal bridge that moves us back and forth between mainland China and Aotearoa New Zealand. It ’s often said that we should let art speak for itself, so here they are speaking to you in one indelible composition.Leafa WilsonCurator (Art) Waikato Museum Te Whare Taonga o WaikatoOctober 2018 Artists WaikatoJoe CitizenGeoffrey ClarkeTim CroucherRebekah HarmanLuke McConnellXavier Meade Tony NichollsMark PurdomTracey Stockley-SmithGareth WilliamsStefanie YoungJeremy Mayall (featuring Haco, Horomona Horo, Kent Macpherson, Megan Rogerson-Berry and Reuben Bradley) Xi’an王超 Wang Chao刘西洁 Liu Xijie邵泳 Shao Yong郭志刚 Guo Zhigang侯拙吾 Hou ZhuowuCurators Leafa Wilson - Waikato Museum Te Whare Taonga o Waikato  杨超 Yang Chao - Director, Xi’an Art Museum白茜 Bai Xi - Curatorial Assistant, Xi’an Art MuseumLocated in Shaanxi Province, Xi’an Art Museum is one of the largest recently built art institutions in China. It is dedicated to making international contemporary art accessible to a Chinese audience. This exhibition is a collaborative exchange between Xi’an-based artists, Waikato Institute of Technology (WINTEC), and Waikato Museum Te Whare Taonga o Waikato.

Indeliable exhibition: Yellow river boat (2018):
Trap (2018)

http://researcharchive.wintec.ac.nz/6748/1/Indelible%20Catalogue.pdf

Indeliable exhibition: Yellow river boat (2018): Trap (2018)

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