Wandering in Place
Topographic contour maps of Tāmaki Makaurau’s 53 volcanoes at 1:1000 layered and centred at a single point. 53 volcanoes, centred, condensed, all in one place and all at once.
Auckland’s 53 Volcanoes at 1:1000, Graphite on Fabriano, 1415 x 2200mm
Webb’s Landscapes
Webb’s Landscape #2, 295 x 550mm framed
Excerpt from Threads For Lost Mothers, or how she gained a Masters of Economics by Hanna Scott
Rose Meyer‘s collages of miniature landscapes in muted colours recombine landscape paintings from art auction catalogues. These collages index the process of landscape being painted, printed, photographed, marketed, printed again, cut up, assembled, photographed again, printed again. Meyer’s images highlight the radical instability of real-estate-as-property. Her hybrid landscape works chart how the land (and then its image) is cut up and commodified, sold and resold again and again. Meyer’s works bundle connection to whenua with a deconstruction of the landscape tradition, bound up as it is in colonisation, ownership and enclosure. They are pointedly collectivised history paintings, amalgams that can outlast reductive individual title and extractive land practices. (full PDF of Catalogue here)
Webb’s Landscape #3, 260 x 635mm framed
Webb’s Landscape #4, 235 x 800mm framed
Webb’s Seascape #2, 195 x 630mm framed
Shown at mothermother Iteration 16 Aotearoa Art Fair 2022
Beneath the Stains of Time
You never finished your project and time crept in, leaving marks you had not intended, I too left accidental accents; blossoms of crimson against the white of our work.
Beneath the stains of time, 1090 x 1060mm Embroidery on unfinished tablecloth
Shown at mothermother Iteration 13, FINGER PRICKS & CURSES for TENT: Aotearoa Art Fair
“Arthritic hands, clearing out the stash, boredom, changes in fashion, lack of time, death, or an inability to concentrate; all could be reasons for abandoned stitch works. These histories may never be revealed. In early 19th Century Britain, embroidery was regarded as frivolous and quite unhealthy, as it requires many hours of sitting down and inner focus. Fifteen mothermother artists have been invited to pick up these discarded works, collaborate with an unknown crafter, and engage in excessive making and concentration, synthesising layered histories, one stitch at a time.”
Pat and Eileen
Acrylic on wallpaper 276 x 53.2 cm
I remember being told a story about my grandparents and their perpetual difference of opinion on what colour to paint over the wallpaper in the hallway.
Eileen’s cheerful yellow preference calling out from her potting wheel at one end of the house, Pat’s practical grey reply emerging from his workshop at the other. A playful back and forth over the years, a mantra, a dichotomy of colour describing character more than merely paint preference.
Eileen passed in 1992, Pat in 2014.
The hallway remained unpainted.
Pat and Eileen, installed in Iteration 10, mothermother at the 2021 Auckland Art Fair
Rose Meyer 