Tuesday, December 18, 2012


I have a couple of exhibits early on next year the first is at MASTERWORKS in  PONSONBY from the 20th February and the second is at the SUTER GALLERY in NELSON Thursday 28th March–Sunday 21st April


Monday, December 10, 2012

New work


You can see these pieces at
The National - Christchurch

Respect Respond Prolong

The National 
The National presents the work of three emerging artists, Kvetoslava Flora Sekanova, Sarah Walker-Holt and Gillian Deery whose practices push the physical possibilities and conventional notions of the materials they work with. Through their own distinctive exploratory practices these artists manipulate, rework and transform their materials, which are still imbued with their previous histories, to form new works which challenge these original associations. 


'When I work with a material I often feel like I experience an intuitive identification with its origins or innate qualities. My ethics in making are to respect and honour this intuition in terms of what I do to the material.’

The word “Respect”, communicates the interaction between the artist and material during and throughout her practice. The intrinsic qualities of the materials, which include their previous contexts, are both respectfully considered and a source of inspiration in the development of her work. 

Flora’s work involves the modification of newspapers. ‘I am intrigued by its formal qualities and illusionary effect of variegated and patterned surfaces. I laminate the recycled newspaper multiple times, then carve it, layer it, hollow it out, reconstruct it, and manipulate its surface.’ She is interested in the way in which these old newspapers evoke subjective responses by individuals, especially considering such responses are often shaped by their cultural and personal experiences and memories.


‘I predominantly use objects that already exist in the world, that have generally been discarded until I have come along and seen a potential beyond what they currently exist as.’

The word ‘prolong’ seems to permeate every facet of the Sarah’s practice. Her work consists of mechanisms which allow the piece to physically pivot and lengthen. Sarah’s practice involves the recontextualisation of found objects beyond their original function and purpose through the alteration of their forms. 
Sarah has used items of domesticity, such as kitchen utensils, which she then deconstructs to ‘prolong’ their purpose, while also creating a new ornamental purpose for the object to enact, which rejects its initial utilitarian function, while still acknowledging its relationship with the human body, ironically as an extension of the body.

Sarah’s works acknowledges the role of the wearer, intrigued by the interaction between piece and body /wearer, extending her process onto the wearer, the piece enables wearer to take on the role of maker to reconfigure formations, engaging in a collaborative dialogue with the artist. Further extending the potential/possibilites of the work.
‘The definition of prolong below states that it can be to ‘lengthen in extent’. I see extent as being a range or level of jewellery practice that can push outcomes beyond what is preconceived or expected.’


“I work to construct objects out of sterling silver sheet and found objects, without using solder. Material play and pre-meditated action work in tandem to facilitate the transformation of two-dimensional sheet into a 3-dimensional form.

In this process I utilise a responsive and reflexive relationship between myself and the sterling silver, where, chance, nonchalance, material processes, risk, failure, time, my judgment and control as a maker generates and arrives at making outcomes.’

The word ‘respond’ suggests the correlation between artist and material, a reciprocal process where play, chance, and the inherent qualities of the medium informs the artist’s process. The physical manifestation of the work implies a collaborative process between artist and her chosen materials.
Gillian constructs her objects employing the use of an alternative approach to formulate and fuse various elements together. Utilising the historical associations of sterling silver metal specifically as a material which signifies wealth in traditional jewellery construction and adornment, Gillian addresses the traditional and historical notions of her materials, forming new objects which reference the initial associations within a reorganisation of its structures.

view more Prolong images on facebook

The National

Fingers annual Group Show

October 28th - November 16th

Tray#1, Button-hole Brooch, 2012
Wooden tray, Brass, Acrylic, Paper, Copper, Brass nut and bolt

Tray#2, Button-hole Brooch, 2012

Wooden tray, Brass, Acrylic, Paper, Copper, Brass nut and bolt


MON - FRI 10AM - 5.30PM
SAT & SUN 11AM - 4.30PM

PH/FAX 64 9 3733974
email enquiry@fingers.co.nz