Where art meets landscape: Discover the magic of the Gow Langsford Sculpture Garden.
This Summer, we’re proud to host the first ever Gow Langsford Sculpture Garden at The Vivian, featuring a gorgeous selection of outdoor sculpture by highly acclaimed Australasian artists; Paul Dibble, Gregor Kregar, David McCracken and Lisa Roet.
Saturday 24 November
4pm – 6pm
@ The Vivian Gallery - Matakana
Vivian Art Bus
FREE return bus from Auckland CBD! Find more information here.
About the Gardens
All Images on this page – © Craig Ray
Purpose-built as an art gallery some 6 years ago, The Vivian is unlike any other contemporary art space in New Zealand. The garden itself is a work of art in many ways; transformed at the time from a bare paddock into the beautifully landscaped 3-acres you see today. The lake teems with local birdlife, and you’ll often hear nesting Kaka flying overhead. It’s a beautiful setting for sculpture that everyone is welcome to enjoy. Bring the kids, your dog and a picnic, then relax alongside the world-class artwork. With ample parking, lots to see, and much to explore – it’s a must-visit experience if you’re in the area. Just one hour from Auckland CBD, and as always, entry is FREE.
Paul Dibble started making works in a make-shift workshop in the shed at the end of their property in the late 1970s and, as his career gained momentum, moved to an industrial warehouse in the mid-1990s before establishing his own foundry in 2000. Since then Dibble has cast his work with the help of a small team of highly skilled assistants - one of very few New Zealand sculptors to cast their own bronze works.
The human figure, objects drawn from contemporary life, and the history of New Zealand and the Pacific form the subjects of his work. These objects and figures form fragments of many narratives. Ideas which begin as beautiful fluid line drawings are worked and reworked to a point of perfect balance before being modelled and cast.
Reflecting his broad range of subject matters, Gregor Kregar's oeuvre encompasses an extensive and unique array of media that ranges from stainless steel, glazed porcelain, lambda print photography, and found objects such as recycled timber and neon lighting, that inevitably make the audience question their role as the viewer. While such works as Pygg Bank Project (2005-2006), and the Matthew 12:12 RWC series (2011) play on the artist's role in a national and international cultural identity, his more recent work such as Fragmented Illuminations (2013) sees a refreshing and challenging take on audiences' preconceptions of what constitutes 'good' and 'successful' architecture.
A lot of my work is about honouring or elevating a humble …sometimes even utilitarian or banal form or object into a memorable object. I see it as a kind of amplification … I often call it a material ‘soap’ I like the idea of the sculpture as a sort of slow (stationary) drama… I am continually working on aspects of ‘process’ and method. I strive to design in an elegance to the process … I have often thought of the act of making a work as a slow audience less performance. I have a strong urge to make beautiful objects and ergo, peoples’ responses to that … it seems people tend to measure themselves against beauty …if they see it at all … and am continually amazed at the meanings people project onto artwork … I see the language of objects as immeasurably rich and deep … and sculpture as a tiny subset of the collective ‘all manufacture objects’…as such it is under great pressure to perform …especially as the quality and range of manufactured items soars …
Melbourne-based sculptor Lisa Roet has won acclaim in Australia and internationally for her powerful investigations into the complex interface between humans and our simian relatives.
Drawing inspiration from a myriad of sources including residencies at major international zoos, field studies of apes living in the forests of Borneo, her multidisciplinary approach challenges fundamental scientific and behavioural theories relating to human evolution and creationism, language and communication, science and art and the relationship between humans and ‘other’ primates.
Notwithstanding the potentially political nature of her subject, Roet does not indulge in heavy-handed diactinism. To the contrary, her art practice is infused with refreshing vigour, candour and an inescapable sense of mystery, poignantly highlighting how inextricably linked humans and primates are amid the messy uncertainty of biology, nature and culture.