{"title":"Past Exhibitions","description":"\u003cp\u003eProduct in past Exhibition Collection\u003c\/p\u003e","products":[{"product_id":"wake-up-call-a-vibration-from-within-copy","title":"Wake-Up Call (A Vibration From Within) (Copy)","description":"\u003ch3\u003e\n\u003cem\u003eWake-up Call (a vibration from within), \u003c\/em\u003e2021\u003cbr\u003eCorten steel, bronze, 24k gold leaf, driftwood \u003cbr\u003e2390mm x 1500mm\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e \u003ca href=\"https:\/\/brick-bay-sculpture.squarespace.com\/enquire\/?Artwork=Mahoe%20Leaf%20by%20Jeff%20Thomson\"\u003ePrice on request\u003c\/a\u003e\n\u003c\/h3\u003e\n\u003cp class=\"\"\u003eNestled in native bush at the top of the sculpture trail’s ‘figure-8 loop’ boardwalk, visitors will encounter Nicholas Duval-Smith’s majestic \u003cem\u003eWake-Up Call.\u003c\/em\u003e Recently installed, but seeming to have been stationed in this spot forever, this artwork has a sense of being timeless and other-worldly.\u003c\/p\u003e\n\u003cp class=\"\"\u003eFramed by three elegant corten steel legs which have a creature-like quality, the large bell hovers in the centre, and upon first discovery there is a sense of gentle anticipation, perhaps even apprehension. As the subtitle ‘\u003cem\u003ea vibration from within\u003c\/em\u003e’ infers, \u003cem\u003eWake-Up Call\u003c\/em\u003e is an interactive sculpture, designed to invite visitors to sit beneath the bell. What is interesting about this act is that it immediately breaks away from the more typical interaction we tend to have with artworks - \u003cem\u003elook, but don’t touch.\u003c\/em\u003e Furthermore, sitting beneath a large bronze bell, ducking one’s head to be encased within it, requires an element of trust. Once inside, the gold leaf provides a view of a gorgeous glowing chamber which elevates the experience to be one that feels reverent and sacred.\u003c\/p\u003e\n\u003cp class=\"\"\u003eBut the experiential emphasis of this work is that of the sound it produces. With the use of Smith’s hand-carved mallet, visitors are invited to strike the exterior of the bronze bell, which provides a rich yet delicate scope of vibrations and therefore sound frequencies. Given the dome-like encasement of the bell, the ‘surround-sound’ effect is effervescent, and both calming and invigorating.\u003c\/p\u003e\n\u003cp class=\"\"\u003eAs Duval-Smith notes, \u003cem\u003e“Bells can connect us with the metaphysical, within and without. This is observed in both Eastern and Western cultures. Wake-up Call is an ethereal interactive artwork, inviting the visitor to experience a meditative moment listening to a spectrum of sound frequencies. It may also serve as an opportunity to connect with the self or as a channel to broadcast wishes of hope or joy.”\u003c\/em\u003e\u003c\/p\u003e","brand":"brick-bay-2024","offers":[{"title":"Default Title","offer_id":52196353638699,"sku":null,"price":0.0,"currency_code":"NZD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0901\/2822\/0459\/files\/NDuvalSmith-2093.jpg?v=1729493823"},{"product_id":"cylinders","title":"Cylinders","description":"\u003ch3\u003e\n\u003cem\u003eCylinders\u003c\/em\u003e, 2011\u003cbr\u003eStainless steel, Aluminium, Electromechanical components, Solar panels\u003cbr\u003e950mm x 500mm x 500mm\u003c\/h3\u003e\n\u003cp\u003eAiko Groot’s kinetic sculpture appears to defy the laws of gravity. At one moment it is a solid stack of perfectly formed cylinders, at another glance these cylinders gently topple away from one another. The power to move these forms is gathered from the sun. The sculpture absorbs solar energy and moves in response to the changing levels of light in an unpredictable and ever-changing dance. Suitable for both outdoors and indoors, the artist has created the sculpture to also work through mains power supply.       \u003c\/p\u003e","brand":"Brick Bay","offers":[{"title":"Default Title","offer_id":52202191225131,"sku":null,"price":0.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0901\/2822\/0459\/files\/26106195610_73d1c87f63_o.webp?v=1770162115"},{"product_id":"small-cubes","title":"Small Cubes","description":"\u003ch3\u003e\n\u003cem\u003eSmall Cubes\u003c\/em\u003e, 2009\u003cbr\u003eSteel, Aluminium, Electro components and Solar panels,\u003cbr\u003e770mm x 150mm x 150mm\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003eAiko Groot’s kinetic sculpture appears to defy the laws of gravity. At one moment it is a solid stack of perfectly formed cubes, at another glance these cubes gently topple away from one another. The power to move these forms is gathered from the sun. The sculpture absorbs solar energy and moves in response to the changing levels of light in an unpredictable and ever-changing dance. Suitable for both outdoors and indoors, the artist has created the sculpture to also work through mains power supply.\u003c\/p\u003e","brand":"Brick Bay","offers":[{"title":"Default Title","offer_id":52202218062123,"sku":null,"price":0.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0901\/2822\/0459\/files\/small-cubes_8690028661_o.webp?v=1770164412"},{"product_id":"truncated","title":"Truncated","description":"\u003ch3\u003e\n\u003cem\u003eTruncated\u003c\/em\u003e, 2014\u003cbr\u003eStainless steel and solar panels,\u003cbr\u003e3000 high x 900mm diameter\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003eAiko Groot’s kinetic sculpture appears to defy the laws of gravity. Solar powered, this kinetic sculpture slowly moves at intermittent intervals on three points of axis, creating the illusion it is bending in space. The power to move these forms is gathered from the sun as the solar panel at the base absorbs energy and moves the sculpture in response to the changing levels of light in an unpredictable dance. \u003c\/p\u003e\n\u003cp\u003eA master in his practice, Aiko Groot is renowned for his technical expertise in the creation of kinetic sculpture. Stylistically his work has been likened to that of the great minimalists Donald Judd and Pol Bury but in conceptual terms he considers himself better described as a maximalist, in that he aims to imbue profoundly inorganic forms with multiple layers of organic complexities through movement. \u003c\/p\u003e","brand":"Brick Bay","offers":[{"title":"Default Title","offer_id":52202218520875,"sku":null,"price":0.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0901\/2822\/0459\/files\/25812941643_d88dff7dcd_o.webp?v=1770164691"},{"product_id":"red-dress","title":"Red Dress","description":"\u003ch3\u003e\n\u003cem\u003eRed Dress\u003c\/em\u003e, 2016\u003cbr\u003eCorten steel, lacquer, \u003cbr\u003e2800 x 1000 x 1000mm\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003eAnna Korver's works are feminine in their identity and perspective, the fundamental concepts and feeling of the works inviting intimacy and personal connection. The forms which are often abstracted and minimalist strive to project the inner self through the outer form. Though they are driven by experiences and concepts that question and challenge traditional feminine roles, Korver's figurative works also strive to find the balance of masculine and feminine within the form.\u003c\/p\u003e\n\u003cp\u003eThe cubist style of the red figure is painted meticulously with a high gloss automotive paint, pristine and highly reflective. This is the antithesis of the corten steel stairs which the figure perches on. The stairs which act as a plinth are a matt oxidised earthy brown patina, which complements the and counterbalances the figure above which reflects the sky and earth in its multi-faceted surfaces.\u003c\/p\u003e\n\u003cp\u003eKorver has been working nationally and internationally since receiving her BFA in sculpture from the University of Canterbury in 2013.\u003cbr\u003eThis is the first time Korver has exhibited at Brick Bay.\u003c\/p\u003e","brand":"Brick Bay","offers":[{"title":"Default Title","offer_id":52240439640363,"sku":null,"price":0.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0901\/2822\/0459\/files\/ANNA_KORVER_-_RED_DRESS_1.webp?v=1771210727"},{"product_id":"aphasia","title":"Aphasia","description":"\u003ch3\u003e\n\u003cem\u003eAphasia\u003c\/em\u003e, 2010\u003cbr\u003eAnodised Aluminium, 2600mm x 2400mm x 2400mm\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003eLanguage is reordered to make for new possibilities. 'Aphasia' offers information in an abstract manner, embellished and elaborated upon by whoever is looking at it. There is no right or wrong meaning.\u003c\/p\u003e\n\u003cp\u003eParsons employs a range of media in his practice - industrial materials, ready made objects and photography. Scale is exaggerated, surfaces are highly polished sometimes to the point of distraction, and the way an object occupies a space is carefully considered. The emptiness or unoccupied space around his work of art is just as important as the work itself, for viewers to become participants, interacting with the installation, navigating and negotiating their way around.\u003c\/p\u003e\n\u003cp\u003eAll of these techniques result in an open experience, questions rise and answers fall. Likened to the silence between musical tracks on an album, Parsons' creates a 'visual pause for thought' in his work.\u003c\/p\u003e","brand":"Brick Bay","offers":[{"title":"Default Title","offer_id":52240440951083,"sku":null,"price":0.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0901\/2822\/0459\/files\/26109589820_2da84a4d08_o.webp?v=1771211202"},{"product_id":"myopia","title":"Myopia","description":"\u003ch3\u003e\n\u003cem\u003eMyopia\u003c\/em\u003e, 2010\u003cbr\u003eAnodised Aluminium, 2600mm x 2400mm x 2400mm\u003c\/h3\u003e\n\u003cp\u003eThere is a sense that 'Myopia' must mean something, like a missing word from a crossword puzzle where you look at the clue again and again, knowing the answer is there if you only think hard enough. The artist intends for the viewer to find their own meaning in their experience with the work.\u003c\/p\u003e","brand":"Brick Bay","offers":[{"title":"Default Title","offer_id":52240441508139,"sku":null,"price":0.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0901\/2822\/0459\/files\/26109610190_d7a7e19d37_o.webp?v=1771211343"},{"product_id":"profane","title":"Profane","description":"\u003ch3\u003e\n\u003cem\u003eProfane\u003c\/em\u003e, 2017\u003cbr\u003eSteel, zinc, cast iron, polyurethane,\u003cbr\u003eH1200mm X W1000mm X D1100mm\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003eIn this hexagonal work titled Profane, the length of the cast iron rods are seemingly random and could portray anything from secret codes to mathematical formulae. Parsons does not wish to dictate to the viewer what a work of art means, instead he takes an approach of secrecy and allows his audience to freely interpret it for themselves. \u003c\/p\u003e\n\u003cp\u003eHe says, \"It's a popular mythology that the artist is a bit of a fascist, that he knows what is right for others and his art is the only true take. I much prefer that people approach my art with a sense of curiosity and fill in the gaps themselves.\" This strategy results in an open experience, questions are raised and answers are unattainable.\u003c\/p\u003e\n\u003cp\u003eThe artist compares the space within the centre of Profane to the breaks between tracks of music replayed on audio equipment, or the silence in between notes in a song. For example the space and silence between a chord or drumbeat is as important as the sound itself. Parson refers to this as a visual pause for thought.\u003c\/p\u003e\n\u003cp\u003eParsons employs a range of media in his oeuvre, industrial materials, readymades objects and photographs.\u003cbr\u003eParsons is well known and respected for his large scale public and corporate installations. One of his most famous is titled 'Gone Fishing', 2002. Located on the first floor concourse of the Price Waterhouse Cooper’s tower. It is on a monumental scale which creates an entire 'curtain wall sculpture' that spans over forty metres in length, engulfing the viewers peripheral vision.\u003c\/p\u003e","brand":"Brick Bay","offers":[{"title":"Default Title","offer_id":52240443736363,"sku":null,"price":0.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0901\/2822\/0459\/files\/ANTON_PARSONS_-_PROFANE_1.webp?v=1771211439"},{"product_id":"good-boy","title":"Good Boy","description":"\u003ch3\u003e\n\u003cem\u003eGood Boy\u003c\/em\u003e, 2015\u003cbr\u003eAluminium, Epoxy. Edition 1\/6,\u003cbr\u003e1000mm X 1000mm X 300mm\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003eBen Foster creates meticulous crystaline geometrical forms, which are precisely derived from nature. Here he pays homage to the K-9 form, perhaps a hound howling to the moon, or being subserviant sitting at attention waiting eagerly for a treat.\u003c\/p\u003e","brand":"Brick Bay","offers":[{"title":"Default Title","offer_id":52240446849323,"sku":null,"price":0.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0901\/2822\/0459\/files\/Good_Boy_2_1.webp?v=1771211626"},{"product_id":"the-white-deer","title":"The White Deer","description":"\u003ch3\u003e\n\u003cem\u003eThe White Deer\u003c\/em\u003e, 2016\u003cbr\u003eAluminium, pearlescent paint,\u003cbr\u003e1440mm x 1250mm x 460mm\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003eBen Foster constructs his work using triangular geometric forms, which create perfectly proportioned animals such as 'White Deer'. His work is immaculate, created from glossy white waterborne automotive paint applied to aluminium structures. Multi-faceted, this pristine technique of interplay between reflection and shadow produces a chameleon-like experience for the viewer.\u003cbr\u003eFoster's art practice explores human interaction with animals and the environment.\u003c\/p\u003e","brand":"Brick Bay","offers":[{"title":"Default Title","offer_id":52240447177003,"sku":null,"price":0.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0901\/2822\/0459\/files\/WhiteDeer_1.webp?v=1771211808"},{"product_id":"the-white-horse","title":"The White Horse","description":"\u003ch3\u003e\n\u003cem\u003eThe White Horse\u003c\/em\u003e, 2014,\u003cbr\u003eAluminium, Epoxy, 2100mm x 2500mm x 800mm\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003eKaikoura based, Ben Foster's art practice explores human interaction with the land and the animals with which we share our lives and spaces.\u003cbr\u003eThe effects of everyday phenomena provide Foster with inspiration. He pays homage in works which both evoke and rely upon their surroundings. His work is highly polished enamel coated aluminium. Foster's organically inspired forms are dynamic, tactile and elegant.\u003cbr\u003eWe enjoyed exhibiting this work by Ben, it sold even before we could include it on a Trail Map.\u003c\/p\u003e","brand":"Brick Bay","offers":[{"title":"Default Title","offer_id":52240447537451,"sku":null,"price":0.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0901\/2822\/0459\/files\/The_White_Horse_1.webp?v=1771211931"},{"product_id":"bio-structure","title":"Bio.Structure","description":"\u003ch3\u003e\n\u003cem\u003eBio.Structure\u003c\/em\u003e, 2010,\u003cbr\u003eSteel, 1150mm x 1350mm x 1200mm\u003c\/h3\u003e\n\u003cp\u003e'Bio.structure' is a form enclosing a space using a membrane of 18 identical components. A dynamic is created between the physical nature of the delimiting enclosure and the field of energy that is contained inside.\u003c\/p\u003e\n\u003cp\u003eThis sculpture is part of a body of work investigating the configurations achievable using the same component, according to a simple set of organising principles. The 'Bio.structure' series presents a multitude of options from random to super.symmetric aggregations.\u003c\/p\u003e\n\u003cp\u003eThis process emulates a principle in complexity sciences which states that a vast, complex organisation can emerge out of simplicity. The principle is at play in.\u003c\/p\u003e","brand":"Brick Bay","offers":[{"title":"Default Title","offer_id":52240453108011,"sku":null,"price":0.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0901\/2822\/0459\/files\/25777769004_d6ff5f3bb1_o.webp?v=1771212559"},{"product_id":"counterbalancing-entropy","title":"Counterbalancing Entropy","description":"\u003ch3\u003e\n\u003cem\u003eCounterbalancing Entropy\u003c\/em\u003e, 2016,\u003cbr\u003ePolypropylene, stainless steel, 2500 x 1300 x 700mm\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003e“ While the Universe is expanding at an ever-increasing rate and billions of galaxies are driven apart to their cosmological entropy, on this tiny and peripheral planet Evolution is tenaciously committed to the structure of life.”\u003c\/p\u003e\n\u003cp\u003eCounterbalancing Entropy is a suspended structure made of 34 identical components interconnected to define an organic geometry, reminiscent of a biological structure.\u003c\/p\u003e\n\u003cp\u003eLiquid Symmetry is dedicated to celestial orbits as expressions of the cosmic intelligence that permeates space-time.\u003c\/p\u003e\n\u003cp\u003eLiquid Symmetry is a suspended structure containing an internal molecular forms, both generated by the same replicated component. The configuration is pivoted on a ternary symmetry that conveys a mathematical yet fluid quality to its presence.\u003c\/p\u003e\n\u003cp\u003eThe two sculptures currently on the Brick Bay Trail, suspended amidst the nikau forest, are part of an extensive project called Coherent Permutations focusing on the evolution of a single form into a system of interrelated configurations.\u003c\/p\u003e\n\u003cp\u003eEach configuration is generated by a single component replicated a number of times and arranged according to numerical sequencing and organizing principles. The appearance of the configurations can range from highly symmetric to biomorphic and free-form features. The production of diversifications and increased complexity is potentially unlimited.\u003c\/p\u003e\n\u003cp\u003eOverall the project reflects on how complexity can arise from simplicity, how diversity evolves from singularity and how small modifications can create evolutionary adaptations.\u003c\/p\u003e","brand":"Brick Bay","offers":[{"title":"Default Title","offer_id":52240453370155,"sku":null,"price":0.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0901\/2822\/0459\/files\/IMG_3422.webp?v=1771212654"},{"product_id":"nikau-ii","title":"Nikau II","description":"\u003ch3\u003e\n\u003cem\u003eNikau II\u003c\/em\u003e, 2015,\u003cbr\u003eCrystallised sandstone, grey and blue stones, 1400 x 3200 x 900mm\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003eNature and change are almost synonymous with the work of Chris Booth. The sculptor has an ordered yet hushed reverence for the land - wherever he walks. Nikau II demonstrates a proficient sculptor’s keen eye for natural form, the revealing of something of nature’s ‘hidden order’. Booth finds this in the nikau; an indigenous plant with a prevalent history, aiding the thatching of roofs, weaving, bowls and food.\u003c\/p\u003e\n\u003cp\u003eNikau II is comprised of a small, delicate pebble structure which sits atop a crystalline sandstone slab from his local region of Northland. The pebble edifice is woven like a blanket, with stainless steel cable tensioning the arcs of pebbles and creating a miniature, hut-like structure. The intricacy of the structure’s braiding out of stone and steel is the mark of a talented artist’s process.\u003c\/p\u003e\n\u003cp\u003eBooth states: “For many years it has been a vision of mine to inhabit my art with flora and fauna as well as working with land, nature, spirit [and] community.” Becoming not just a site-specific sculpture but an integral part of the natural environment, Booth’s work grows lichen, algae, moss and fern over time, becoming a mirror of its environment. Nikau II is a temporary shelter for the creatures who wish to inhabit it - like a birdhouse in a tree. Booth’s 1993 artwork In Celebration of a Tor in Cumbria, England, where the hollow of a woven stone ‘tube’ encouraged animals to make a home, signalled the beginning of the artist’s encouragement of living nature within his art. Nikau II, in keeping with Booth’s oeuvre, becomes nature’s dollhouse.\u003c\/p\u003e","brand":"Brick Bay","offers":[{"title":"Default Title","offer_id":52240454025515,"sku":null,"price":0.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0901\/2822\/0459\/files\/IMG_1127.webp?v=1771212828"},{"product_id":"i-beam","title":"I-Beam","description":"\u003ch3\u003e\n\u003cem\u003eI-Beam\u003c\/em\u003e, 2006,\u003cbr\u003eAluminium, 1240 x 600 x 3360mm\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003eDavid McCracken’s I Beam is basically a fabrication of a massive section of a universal beam or RSJ, a commonly used form in the construction industry. The Brick Bay work is the final piece in a series that David McCracken has developed around the theme of ‘portraits of raw materials’. This is a theme that has occupied him for the last three or four years. Brick Bay’s I Beam is easily the largest in the series. This particular work is a logical extension of the work he produced in 2005 (also called I Beam) that was a finalist in the Wallace Art Awards.\u003c\/p\u003e\n\u003cp\u003eWorks in this series rely on attention to detail and proportion to make them believable. The artist’s intention is to present these unremarkable materials in such a way as to make them surprising. There is an element of theatre in the works. McCracken uses his creative vision, his technical expertise and a degree of artifice to present an exaggerated version of common materials and utilitarian forms.\u003c\/p\u003e\n\u003cp\u003eThere is always a sense of drama with McCracken’s works. They are dramatic in the sense that they perform something they are not. I Beam is fabricated out of aluminium but gives the impression of being solid steel. There is a sense of irony too in that McCracken is working against all commercial practice as he takes a very modern material and uses high technology to ‘dumb down’ its appearance.\u003c\/p\u003e\n\u003cp\u003eThe scale of these fabricated objects invests them with drama. So too does the context. Lying on a grassy knoll the work invites thought. How did it come to be here? What huge edifice was it once part of? What else used to be here? The work invites contemplation of the environment and invokes musings on the passage of time, human intervention in the landscape and the significance (and ultimately the insignificance) of human effort and travail.\u003c\/p\u003e","brand":"Brick Bay","offers":[{"title":"Default Title","offer_id":52240460251435,"sku":null,"price":0.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0901\/2822\/0459\/files\/8711706485_ed9a3c71bc_o.webp?v=1771213614"},{"product_id":"incendiary","title":"Incendiary","description":"\u003ch3\u003e\n\u003cem\u003eIncendiary\u003c\/em\u003e, 2009,\u003cbr\u003eStainless Steel, 2200 x 600 x 600mm\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003eStrong, playful, immaculate, Incendiary Artwork is a bomb, partner to the rocket Squeeze Me (Offensive) at Brick Bay.\u003c\/p\u003e\n\u003cp\u003eAn admiration for the aerodynamic purity and formal beauty of the 'grand slam' bombs and rockets designed by Barnes Wallis during World War II motivated McCracken to create these striking sculptures.\u003c\/p\u003e\n\u003cp\u003eCommonly associated with war, power and fear, the artist lightens these ‘heavy’ objects by creating them to resemble inflatable toys, and paints them with colours taken from the socks of school boys.\u003c\/p\u003e","brand":"Brick Bay","offers":[{"title":"Default Title","offer_id":52240464150827,"sku":null,"price":0.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0901\/2822\/0459\/files\/8699947843_59e95fbc69_o.webp?v=1771213709"},{"product_id":"involute-and-transmission","title":"Involute and Transmission","description":"\u003ch3\u003e\n\u003cem\u003eInvolute and Transmission\u003c\/em\u003e, 2013,\u003cbr\u003eCorten steel, 2200 x 2920 x 500mm\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003eDavid McCracken’s Involute and Transmission depicts a large, looped form with raised ridges, like the cleats of a caterpillar tread or an immense driving belt. By taking the utilitarian vernacular object such as the bulldozer tread, McCracken embodies a transformation from the mundane to the monumental.\u003c\/p\u003e\n\u003cp\u003eThe industrial materiality of the corten steel becomes synonymous with this elevation, the enduring material that ensures the sculpture will last for centuries. McCracken deeply considers the nuanced presentation of art in the public realm, and works that will last a lifetime. The funding bodies for public art often lean towards work that will not require huge maintenance in years to come, hence the weathering steel. Although the immense mass of the sculpture dominates the viewer’s eye, there is much surface nuance in this work; the hollow ‘treads’ are welded to the corten steel, breaking the monotony of the yellow-orange streaks and rusting of the steel with a silvery patina.\u003c\/p\u003e\n\u003cp\u003eInvolute and Transmission plays off delicate, weather-beaten and enduring surface against thick, weighty form. The juxtaposition of form is integral; one of cumbersome industrial materials, a cog in a machine or a tractor tyre, and the amusing, cartoonish distortion of the sculpture, as if it is an elastic band on the ground, or a wobbly kidney shape. McCracken’s titles are accordingly entertaining: Involute and Transmission, being as buckled as it is, denies any possibility of such functionality or implied energy transmission.\u003c\/p\u003e","brand":"Brick Bay","offers":[{"title":"Default Title","offer_id":52240464412971,"sku":null,"price":0.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0901\/2822\/0459\/files\/McC-tire-2019-00009.webp?v=1771213823"},{"product_id":"orange-bomb","title":"Orange Bomb","description":"\u003ch3\u003e\n\u003cem\u003eOrange Bomb\u003c\/em\u003e, 2015,\u003cbr\u003eStainless steel, paint, 1200 x 600 x 600mm\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003eDavid McCracken’s Orange Bomb was born out of an admiration for the aerodynamic purity and formal beauty of the 'grand slam' bombs and rockets designed by Barnes Wallis during World War II.\u003c\/p\u003e\n\u003cp\u003eAs McCracken himself says: “I have a strong drive to make beautiful objects...I see the language of objects as immeasurably rich and deep.” There lies an awful gravitas to the context of our understanding of this particular object; what the sculpture signifies and the inherent intention of a bomb. McCracken, however, sees the language of form and object as a struggle between a shape’s literal and figurative connotations. His intention is to make work that contains – in fact is built around a fundamental contradiction – in this case between material, vernacular and form. “I have found that this allows viewers to project meaning onto the object in a way that encourages a feeling of surprise and profundity”. Orange Bomb is simply a shape - not a bomb, but the shape of a bomb. The work is given the timbre to become something both profound and banal.\u003c\/p\u003e\n\u003cp\u003eBy subverting the purpose of the bomb in to pure aesthetic sculpture, McCracken highlights a particular interest in materiality and process. The purpose built, aerodynamic projectile appears crinkly and inflated, a result of his hydro-expanding the material. The welded, fabricated stainless steel is inflated with water and highly pressurised, becoming almost comical in its toy-like appearance. Through highly saturated citrus colour, he transforms the emotional signature of the object, using the colour of school uniforms, socks and jumpers. One of McCracken’s greatest inspirations is his daughter, a budding cartoonist. He says that he is “constantly amazed by her process, which is so reduced, but efficient at conveying ideas and emotions... the opposite of what I do”.\u003c\/p\u003e","brand":"Brick Bay","offers":[{"title":"Default Title","offer_id":52240465068331,"sku":null,"price":0.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0901\/2822\/0459\/files\/IMG_1241_1.webp?v=1771213955"},{"product_id":"portrait-of-mass-and-columnar","title":"Portrait of Mass and Columnar","description":"\u003ch3\u003e\n\u003cem\u003ePortrait of Mass and Columnar\u003c\/em\u003e, 2014,\u003cbr\u003eCorten steel, stainless steel, 1200 x 600 x 600mm\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003eDavid McCraken’s work unveils an intriguing balancing act between the blunt, raw physicality of his material and the more sensorial effects of elegant form and height. Taking the familiar monumental form of the monolith, Portrait of Mass and Columnar towers above us as we move around it, nestled like a pillar amongst the natural rigidity of the surrounding Kauri trunks and native bush.\u003c\/p\u003e\n\u003cp\u003eThe industrial material weathering steel has arguably become the new bronze in sculpture; giving a sense of age and permanence through a rich and rusted surface. McCraken’s planar hunk of steel features a burnished Binish that suggests age, the enduring monument.\u003c\/p\u003e\n\u003cp\u003eIn his act of manipulating mundane steel materials, McCraken has cleft the surface of the work with fissures that are deep and savage. The steel is twisted and torn as if it were mere clay, a feat of workmanship; becoming a refined study of negative and positive space. The force used to create these jagged cracks remains elusive to the viewer - perhaps a cataclysm of extreme heat, or the weight of load-bearing forces. Earlier works fissured in this manner produced a more logical suggestion of thrust and weight that resulted in arched forms. Portrait of Mass and Columnar, although impressive with its towering strength, does not evoke the same feeling of stress and manipulation. Like the splitting of firewood with cracks and gaps, McCraken undermines the strength of his material, an ironic aside about the rigid properties of steel.\u003c\/p\u003e","brand":"Brick Bay","offers":[{"title":"Default Title","offer_id":52240465854763,"sku":null,"price":0.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0901\/2822\/0459\/files\/IMG_2614.webp?v=1771214088"},{"product_id":"portrait-of-mass-and-transmission","title":"Portrait of Mass and Transmission","description":"\u003ch3\u003e\n\u003cem\u003ePortrait of Mass and Transmission\u003c\/em\u003e, 2012,\u003cbr\u003eCorten steel, 2400mm x 220mm\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003eDavid McCracken’s Portrait of Mass and Transmission depicts a large, looped form with raised ridges, like the cleats of a caterpillar tread or an immense driving belt. By taking the utilitarian vernacular object such as the bulldozer tread, McCracken embodies a transformation from the mundane to the monumental.\u003c\/p\u003e\n\u003cp\u003eThe industrial materiality of the corten steel becomes synonymous with this elevation, the enduring material that ensures the sculpture will last for centuries. McCracken deeply considers the nuanced presentation of art in the public realm, and works that will last a lifetime. The funding bodies for public art often lean towards work that will not require huge maintenance in years to come, hence the weathering steel. Although the immense mass of the sculpture dominates the viewer’s eye, there is much surface nuance in this work; the hollow ‘treads’ are are welded to the corten steel, breaking the monotony of the yellow-orange streaks and rusting of the steel with a silvery patina.\u003c\/p\u003e\n\u003cp\u003ePortrait of Mass and Transmission plays off a delicate, weather-beaten and enduring surface against thick, weighty form. The juxtaposition of form is integral, one of cumbersome industrial materials, a cog in a machine or a tractor tyre, and the amusing, cartoonish distortion of the sculpture, as if it is an elastic band on the ground, or a wobbly kidney shape. McCracken’s titles are accordingly entertaining: The Portrait of Mass and Transmission, being as buckled as it is, denies any possibility of such functionality or implied energy transmission.\u003c\/p\u003e","brand":"Brick Bay","offers":[{"title":"Default Title","offer_id":52240471392555,"sku":null,"price":0.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0901\/2822\/0459\/files\/IMG_3298.webp?v=1771214218"},{"product_id":"squeeze-me","title":"Squeeze Me","description":"\u003ch3\u003e\n\u003cem\u003eSqueeze Me\u003c\/em\u003e, 2012,\u003cbr\u003eStainless Steel, 2200 x 600 x 600mm\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003eStrong, playful, immaculate, Squeeze Me (Offensive) is a rocket, partner to the bomb Incendiary Artwork at Brick Bay.\u003c\/p\u003e\n\u003cp\u003eAn admiration for the aerodynamic purity and formal beauty of the 'grand slam' bombs and rockets designed by Barnes Wallis during World War II motivated McCracken to create these striking sculptures.\u003c\/p\u003e\n\u003cp\u003eCommonly associated with war, power and fear, the artist lightens these ‘heavy’ objects by creating them to resemble inflatable toys, and paints them with colours taken from the socks of school boys.\u003c\/p\u003e","brand":"Brick Bay","offers":[{"title":"Default Title","offer_id":52240471687467,"sku":null,"price":0.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0901\/2822\/0459\/files\/25776746963_307fe8323f_o.webp?v=1771214329"},{"product_id":"kone-fitu","title":"Kone Fitu","description":"\u003ch3\u003e\n\u003cem\u003eKone Fitu\u003c\/em\u003e, 2007\u003cbr\u003eMacrocarpa, 1720 x 530 x 530mm\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003eRaised in the small village of Poutasi, Western Samoa, Fatu Feu’u was exposed to a range of traditional art forms. Complemented by careers in colour and textile design following his move to New Zealand during the 1960s, Feu’u's practice has grown to convey the importance of the art of Pasifika expressed within a contemporary, fine art context.\u003c\/p\u003e\n\u003cp\u003eStretching across a variety of media including painting, lithographs, woodcuts, glass, bronze, wood and stone sculptures, Feu’u’s oeuvre is unified by signature motifs drawn from various Polynesian sources as evidenced in Kone Fitu. Over one and a half metres in height, the sculpture consists of seven carved macrocarpa wood totems. Each element is incised with symbols that reference ancient motifs found on tapa and tatau, Lapita pottery and even the analytic cubism of Picasso. Hugely influenced by African and Oceanic art, Picasso’s rejection of naturalistic imagery in favour of geometric, multi-faceted shapes and angles, impressed Feu’u. An amalgam of graphic, stylised patterns, the sculpture’s incisions convey Feu’u’s love of balance, symmetry and repetition.\u003c\/p\u003e\n\u003cp\u003eHowever, Feu’u’s work encompasses more than the pictorial elements of Pacific and Samoan art by promoting the underlying significance of fa’asamoa. Generally defined as ‘the Samoan way,’ fa’asamoa promotes the religious and cultural values of respect, reverence and love. The artist believes “…fa’asamoa is very much alive and valid in everyday life. To me, art is not just about painting or sculpting. Art is a part of everything we do…something we do with respect.” Fa’asamoa is fundamental to Feu’u’s practice. As Founder\/Patron of the Tautai Contemporary Pacific Arts Trust, he hopes that ‘…one day Pacific Island art will be well recognised by the Western world for its spiritual value, its meaning to the Pacific people and as a worthwhile contribution to this country, New Zealand.\u003c\/p\u003e","brand":"Brick Bay","offers":[{"title":"Default Title","offer_id":52241879204139,"sku":null,"price":0.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0901\/2822\/0459\/files\/8699949839_efd30cf7ac_o.webp?v=1771270851"},{"product_id":"a-stick-of-first-rate-quality","title":"A Stick of First Rate Quality","description":"\u003ch3\u003e\n\u003cem\u003eA Stick of First Rate Quality\u003c\/em\u003e, 2008,\u003cbr\u003eManila rope and Kauri\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003eClimbing the Brick Bay trail through the tall kauri, visitors suddenly find themselves amongst shrouds and ratlines of manila rope which tail into coils underfoot. These signal Fiona Garlick’s transformation of a living kauri into the mast of an eighteenth century sailing ship. Along with the installation of ship’s rigging in A Stick of First Rate Quality there is a semi circular wooden platform, a crow’s nest perched high up on the mast-like trunk of the tree, just below the first branches. The crow’s nest is the stuff of pirate ships and imagination rather than an exact replica of an original. Similarly, sound plays an important part in an imaginative reading of the work, often announcing the presence of the installation before the viewer actually sees it. The creaking of ropes, a ship’s bell and the sound of the wind suggest the sense of being at sea on the deck of a ship.\u003c\/p\u003e\n\u003cp\u003eWhile the rigged ‘mast’ alludes to the young kauri rickers cut before their time, the crow’s nest, constructed of recycled kauri floorboards, points to the subsequent felling of the mature kauri giants for timber. Being a look out point it is also a metaphor for the ‘view’ of the newcomer who saw not trees but only an economic resource. A Stick of First Rate Quality pays homage to the first kauri felled by Europeans. The young kauri, known as ‘rickers’, were cut down for replacement spars and masts of the early explorer ships. \u003c\/p\u003e","brand":"Brick Bay","offers":[{"title":"Default Title","offer_id":52241888510251,"sku":null,"price":0.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0901\/2822\/0459\/files\/8629799288_ffbd6bfb72_o.webp?v=1771271137"},{"product_id":"disks","title":"Disks","description":"\u003ch3\u003e\n\u003cem\u003eDisks\u003c\/em\u003e, 2008,\u003cbr\u003eSteel, Aluminium, Electro components and Solar panels,\u003cbr\u003e1015mm x 500mm x 500mm\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003eIf you catch Aiko Groot’s sculpture at the right moment the discs are stacked into a neat cylindrical form. Then suddenly this seemingly immobile stack of featureless metal discs will start to rotate apart on an eccentric axis. Disks is a complex structure with a span of over 6 metres.\u003c\/p\u003e\n\u003cp\u003eThe discs respond individually and collectively to three distinct sources of energy. The primary source is the sun. Each disc has an integrated solar panel which powers a hidden motor. Thus the speed of these motorized discs is directly proportional to the amount of solar energy received. This energy is in constant flux because the strength of the sunlight varies and the discs in their endless rotations occlude each other.\u003c\/p\u003e\n\u003cp\u003eThe second source of power to the sculpture is the wind. A magnetic clutch allows the discs to spin independently of the motor on days that the wind is a stronger force than the sun. In extreme weather conditions the magnetic clutch mechanisms de-couple the motor from the sculpture and the forms move into a ‘resting’ position, a ‘reefed’ position, which minimizes forces on the structure.\u003c\/p\u003e\n\u003cp\u003eThe third force is the discs’ actions upon themselves. Periodically the work re-forms into a complete cylinder. This reinforces the profound change between rigid form and complex organic behaviour. Aiko Groot’s intention is to encourage a multitude of interpretations.\u003c\/p\u003e","brand":"Brick Bay","offers":[{"title":"Default Title","offer_id":52241901945131,"sku":null,"price":0.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0901\/2822\/0459\/files\/25678068303_40fd10f999_o.webp?v=1771271430"},{"product_id":"encompass","title":"Encompass","description":"\u003ch3\u003e\n\u003cem\u003eEncompass\u003c\/em\u003e, 2009,\u003cbr\u003eStainless steel, Cast aluminium and Steel,\u003cbr\u003eVarious, each sculpture approx. 1800mm x 500mm x 500mm\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003eGraham Bennett’s sculptures deal with relationships between people, place and identity, with particular reference to the Pacific region. Each piece contains references to maps, navigation and land measurement. He questions the fragile world we inhabit and the nature of physical and social interactions. The delicately balanced forms of these sculptures “challenge what balance means in our life, actions and relationships with the earth and others” says Bennett.\u003c\/p\u003e","brand":"Brick Bay","offers":[{"title":"Default Title","offer_id":52241905123627,"sku":null,"price":0.0,"currency_code":"NZD","in_stock":false}]},{"product_id":"locate","title":"Locate","description":"\u003ch3\u003e\n\u003cem\u003eLocate\u003c\/em\u003e, 2009,\u003cbr\u003eStainless steel, 6000mm X 2000mm X 2000mm\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003eGraham Bennett’s Locate explores and layers the concept of projection through measure, control and weight. The assured, balanced fragility of the piece, as it stands poised on the land, brings to mind the natural forms that surround it; clumps of tall reeds or nikau palms echoed in the overlapping steel poles, the curved centre mimicking the hulls of waka (canoes), or seed pods. We see the vision of an artist who bases his practice in the patterns of his wild home, Aotearoa, New Zealand.\u003c\/p\u003e\n\u003cp\u003eBennett’s ongoing interest in the negotiation of space results in his consistent use of horizontal, vertical and diagonal frames; these act as our core agents of perception when moving around the interchanging artwork. Locate is not a reflection of Bennett’s particular personal story or ‘lived reality’ but rather a mediation of the artist’s experience in his Pacific environment; the shaping of identity through associations with place. As Bennett himself states: “I think it takes a lifetime to see. Seeing is standing upright and looking back and forward at the impact of our endeavours in relation to one another, the land and what notions of identify we hold”.\u003c\/p\u003e\n\u003cp\u003eLocate explores Bennett’s interest in journeying across oceans, geography, measuring and mapping. Such discoveries are also the concern of the explorer, and for Bennett we are all explorers of land, and identity. Locate elevates the land with its rising form; a response to its environment, casting dramatic shadows to create another trajectory. As Bennett says: ”My work is a convoluted journey of tangents and overlays.”\u003c\/p\u003e","brand":"Brick Bay","offers":[{"title":"Default Title","offer_id":52241906827563,"sku":null,"price":0.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0901\/2822\/0459\/files\/25751558664_dc46b34f25_o.webp?v=1771271739"},{"product_id":"position-fixing","title":"Position Fixing","description":"\u003ch3\u003e\n\u003cem\u003ePosition Fixing\u003c\/em\u003e, 2007,\u003cbr\u003eStainless steel, 3150mm X 7600mm X 130mm\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003eTake forty five Endless Columns by Brancusi, hollow them out and place them in a row in Aotearoa New Zealand. This could be a literal description of Graham Bennett’s Position Fixing. The resultant chain link fence Graham Bennett creates makes for an impressive site on the walkway at Brick Bay. As a narrative of people and place it suggests fragile cultural strings linked together.\u003c\/p\u003e\n\u003cp\u003eBeyond the physical, Bennett’s sculptures deal directly with relationships between people, place and identity, with particular reference to the Pacific region. In large scale public situations and in more intimate gallery spaces, Bennett constantly asks questions about the fragile world we inhabit and the nature of interactions, physical and social.\u003c\/p\u003e\n\u003cp\u003ePosition Fixing fascinates viewers by its sheer scale. People start counting the vertical poles. There are 45 of them. And there are over one thousand elements, hand folded prisms, threaded over the towers. In their form, repetition and the threading technique, one cannot go past Brancusi’s iconic column of cast iron ‘beads’. This distinctive shape also has an affinity with the geometric border patterns of the Pacific.\u003c\/p\u003e\n\u003cp\u003eAtop each tower sits a polished crescent. These represent siting devices, a celestial indicator or reference. Graham Bennett often references mapping and navigational aids in his on-going exploration of location in time and place. To that end Position Fixing is carefully placed in a line that references the south\/west, north\/east trajectory of our islands, a line that extends out across the Pacific through the Tonga Trench. It suggests pathways across the Pacific, Te Moana Nui a Kiwa, that emanate from Aotearoa New Zealand.\u003c\/p\u003e\n\u003cp\u003ePosition Fixing with its longitudinal and latitudinal markers each tensioned by a horizon or site line, articulates ideas about marking territory, making claims, movement, mapping and measurement. It talks of repetition or cycles - tidal and celestial - and of perceptions, internal and external.\u003c\/p\u003e","brand":"Brick Bay","offers":[{"title":"Default Title","offer_id":52241907482923,"sku":null,"price":0.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0901\/2822\/0459\/files\/25777436044_8ac7f64c44_o.webp?v=1771271884"},{"product_id":"seek","title":"Seek","description":"\u003ch3\u003e\n\u003cem\u003eSeek\u003c\/em\u003e, 2006,\u003cbr\u003eStainless steel,\u003cbr\u003e\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003eGraham Bennett’s sculptures deal directly with relationships between people, place and identity, with particular reference to the Pacific region. In Brick Bay’s Seek, the informing idea is that of Aotearoa\/New Zealand as an island. The two forms of Seek suggest two islands, two segments of a globe. The overall proportion of each is that of 1\/18th of the globe based on latitudinal and longitudinal divisions. All manner of association can be read into the physical shape of this work and the transient forms it creates through the sweep of its wind-generated movement. One can read references to charts and maps, navigational devices that speak of the ocean, Te Moana Nui a Kiwa, the place in our history and psyche, its impact on people as island dwellers. The crossing arcs of the outer contours hint at cycles, currents, patterns, all relating to the oceanic existence of this land.\u003c\/p\u003e\n\u003cp\u003eThematically, Bennett explores aspects of arrival by settlers. He references particularly the brigantine that his ancestors brought here in 1868. But the association is more universal than this. The work is inclusive. It references all manner of ocean-going vessels and voyaging canoes. Seek encompasses journeys by the earliest arrivals: voyages migrational, colonial, ancestral.\u003c\/p\u003e\n\u003cp\u003eIn Seek the use of reflective material, stainless steel, creates a constant change of colour associated with the surroundings and the sky. Ambiguities and illusions are created as the forms move through their drill. This encourages the viewer away from a static presentation and encourages movement around the work in order to explore it fully, to engage with it more completely.\u003c\/p\u003e\n\u003cp\u003eSeek is one of three variations on a theme. The other two works in this series utilise the same two forms of Seek but are not wind responsive. One is a ground-based horizontal version and the other is a static vertical.                                                        \u003c\/p\u003e","brand":"Brick Bay","offers":[{"title":"Default Title","offer_id":52241908859179,"sku":null,"price":0.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0901\/2822\/0459\/files\/8628849463_f062818e20_o.webp?v=1771272016"},{"product_id":"gnome","title":"Gnome","description":"\u003cp\u003eGnome, 2017,\u003cbr\u003eBronze, 2010 x 600 x 500 mm\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eGregor Kregar takes the vernacular garden gnome that is an icon of suburban popular culture and transforms it from the kitsch into a monumental guardian of everyday life.  Gnome is a two metre high cast bronze gnome with stunning blue patina, thoughtfully holding court in the middle of the bush.\u003c\/p\u003e\n\u003cp\u003eNevertheless, gnomes also date back to medieval times where they were sacred gatekeepers, watchers and guardians of forests, minerals and precious metals. It is interesting to note the word 'gnome' originates from the greek word 'gnosis', which means 'knowledge'. Dwarfish earth spirits guarding a mystical underground treasure is also a common theme in many European cultures, popularly in Der Ring Das Nibelungen by Richard Wagner where the works are based on characters from the Norse Sagas and the Nibelungenlied.\u003c\/p\u003e\n\u003cp\u003eKregar comments: \"I'm interested in how something that is usually made out of plastic or concrete and is associated with a low, kitsch aesthetic can be transformed into an arresting monumental sculpture.\" Instead of monuments to heroes, presidents and partisans, he creates a monument that resonates with the everyday.\u003c\/p\u003e","brand":"Brick Bay","offers":[{"title":"Default Title","offer_id":52241909940523,"sku":null,"price":0.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0901\/2822\/0459\/files\/IMG_5095.webp?v=1771272372"},{"product_id":"seat","title":"Seat","description":"\u003ch3\u003e\n\u003cem\u003eSeat\u003c\/em\u003e, 2017,\u003cbr\u003eStainless steel and plywood, 2050 x  700 x 500 mm\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003eGregor Kregar creates a kaleidoscopic seat which simultaneously reflects and inhabits the landscape. This architectonic form is functional and sublimely juxtaposes the inorganic with pristine mirrored stainless surfaces. Seat is interactive, inviting the viewer to sit and rest.  A highly regarded sculptor with works in major Australasian and European collections, Kregar typically utilises a wide range of materials, often using familiar subjects giving surprising and ambiguous meanings.\u003c\/p\u003e","brand":"Brick Bay","offers":[{"title":"Default Title","offer_id":52241910202667,"sku":null,"price":0.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0901\/2822\/0459\/files\/IMG_5229.webp?v=1771272474"},{"product_id":"a-sound-of-thunder-orange-triceratops","title":"A Sound of Thunder: Orange Triceratops","description":"\u003ch3\u003e\n\u003cem\u003eA Sound of Thunder: Orange Triceratops\u003c\/em\u003e, 2019,\u003cbr\u003eCast mirror polished stainless steel and automotive painted stainless steel,\u003cbr\u003e1500 x 1900 x 1600mm \u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003eGregor Kregar creates both figurative and abstract sculpture using a broad range of media. He comments on people and nature in his work, literally and symbolically reflecting the world around us. Consistent throughout his practice is the repetition of elements - one builds upon the other to form a whole, often conveying a sense of the uncanny.\u003c\/p\u003e\n\u003cp\u003eIn ‘A Sound Of Thunder - Orange’ the formalist elements of the geometric prism is juxtaposed with the playful and lo fi domestic child’s pool toy Dinosaur. Kregar elevates the insignificant object to a new height, by playing with our everyday expectations, and placing Triceratops upon the orange rock plinth. He employs industrial materials such as stainless steel and automotive paint to give the finish that brilliant glow. \u003c\/p\u003e","brand":"Brick Bay","offers":[{"title":"Default Title","offer_id":52241911873835,"sku":null,"price":0.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0901\/2822\/0459\/files\/Triceratops-00001.webp?v=1771272604"},{"product_id":"a-sound-of-thunder","title":"A Sound of Thunder","description":"\u003cp\u003eA Sound of Thunder, 2018,\u003cbr\u003eStainless steel and automotive paint,\u003cbr\u003e1800mm x 1600mm x 1700mm\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eGregor Kregar creates both figurative and abstract sculpture using a broad range of media. He comments on people and nature in his work, literally and symbolically reflecting the world around us. Consistent throughout his practice is the repetition of elements - one builds upon the other to form a whole, often conveying a sense of the uncanny.\u003c\/p\u003e\n\u003cp\u003eIn ‘A Sound Of Thunder -Yellow’ the formalist elements of the geometric prism is juxtaposed with the playful and lo fi domestic childs pool toy Dinosaur. Kregar elevates the insignificant object to a new height, by playing with our everyday expectations, and placing Brachiosaurus upon the yellow rock plinth. He employs industrial materials such as stainless steel and automotive paint to give the finish that brilliant glow. \u003c\/p\u003e","brand":"Brick Bay","offers":[{"title":"Default Title","offer_id":52241912693035,"sku":null,"price":0.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0901\/2822\/0459\/files\/BB-Autumn-2019-00042.webp?v=1771272725"},{"product_id":"fragmented-interactions","title":"Fragmented Interactions","description":"\u003ch3\u003e\n\u003cem\u003eFragmented Interactions\u003c\/em\u003e, 2011,\u003cbr\u003eStainless steel, 5000 x 4000 x 4000mm\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003eGregor Kregar creates both figurative and abstract sculpture using a broad range of media. He comments on people and nature in his work, literally and symbolically reflecting the world around us. Consistent throughout his practice is the repetition of elements - one builds upon the other to form a whole, often conveying a sense of the uncanny.\u003c\/p\u003e\n\u003cp\u003eThe stainless steel Fragmented Interactions reflects nature in multiple ways. While mirroring its surroundings, formally it resembles a crystalline or plant-like growth. Kregar is interested in geometric mathematical structures, their combinations and multiplications found in nature. Here, he enlarges these microscopic structures, visualising a hidden world.\u003c\/p\u003e","brand":"Brick Bay","offers":[{"title":"Default Title","offer_id":52241913053483,"sku":null,"price":0.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0901\/2822\/0459\/files\/25777407454_9af2aaf1ff_o.webp?v=1771272855"},{"product_id":"mathew-12-12-cup","title":"Mathew 12:12 Cup","description":"\u003cp\u003eMathew 12:12 Cup, 2011,\u003cbr\u003ePorcelain, Dimensions variable\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eMatthew 12:12 Cup is an exhibition by sculptor Gregor Kregar featuring a collection of new porcelain sheep in national rugby jerseys, set to coincide with the 2011 Rugby World Cup.\u003c\/p\u003e\n\u003cp\u003eKregar continues his practice of displacing and disrupting the everyday to allow new and unexpected meanings to emerge. For this New Zealand based artist, nothing is quite as ubiquitous as sheep. They are a national icon, an economic mainstay and an unmistakable feature of the livestock landscape.\u003c\/p\u003e\n\u003cp\u003eKregar has previously investigated the role or sheep in society in his Matthew 12:12 projects where he dressed 12 live sheep in hand knitted woollen jumpers and placed them in white picket enclosures outside the Wellington and Christchurch City Art Galleries. Presenting this rural animal in such unlikely surrounding, urban audiences were confronted as to their assumptions of the ‘indistinguishable flock’ and to consider religious symbolism relating to sheep’s historical depiction and the number presented. But when transformed in porcelain and painted in highly saturated colours, they seem more at home in a tourist shop than in a pastoral setting. They ooze kitsch. Their sheer multiplicity further fractures their meaning, almost reducing them to trinkets.\u003c\/p\u003e\n\u003cp\u003eHowever, these aesthetically invisible animals are invigorated by their splashes of colours, drawing them out from under their often missed white palate. We are forced to look at the overlooked. And they are disturbing –one cannot help but feel a little uneasy from confronting gaze of a flock of ceramic sheep. Behind their playfulness lies an unsettling swell of the uncanny. By elevating sheep to artistic subject, Kregar wreaks havoc with our conceptions of the ridiculous and the sublime.\u003c\/p\u003e","brand":"Brick Bay","offers":[{"title":"Default Title","offer_id":52241913872683,"sku":null,"price":0.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0901\/2822\/0459\/files\/8629534737_ff88b09b0d_o.webp?v=1771272983"},{"product_id":"monument-cow","title":"Monument Cow","description":"\u003cp\u003eMonument Cow, 2016,\u003cbr\u003eBronze, 750mm x 450mm x 1000mm\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eGregor Kregar relishes the chance to create trouble in his art. He questions and subverts familiar objects and enduring meanings with his innovative sculptural reinventions, be they piggy banks, garden gnomes or a child’s toy. With Monument - Cow, Kregar takes an iconic seventies rubber toy and subverts it into the high realm of modernist sculpture. His art stirs together irreverence, the mundane and intellectual loftiness, utilising the tensions that result from two very different modes of thinking colliding.\u003c\/p\u003e\n\u003cp\u003eKregar’s work strips away ingrained habitual knowledge, something we may struggle with at first. His elevation of what we see as an entirely ‘insignificant’ object issues a refreshing and challenging take on audiences' preconceptions of what constitutes 'good' and 'successful' art. Channelling Georges Braque and Pablo Picasso's bronze bulls and minotaurs of the thirties, he mimics the comical blow-up plaything and creates a contemporary biomorphic object, transforming it into its antithesis. It is simply a caricature of its original. As Kregar himself states: “Quite often what people respond to and what so-called art experts respond to is different, but in [my] work I manage to push buttons for both audiences. I think it’s really good to see that contemporary art can do that. I enjoy it when works are successful on different levels.”\u003c\/p\u003e","brand":"Brick Bay","offers":[{"title":"Default Title","offer_id":52241914528043,"sku":null,"price":0.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0901\/2822\/0459\/files\/IMG_1795.webp?v=1771273090"},{"product_id":"polyhedron","title":"Polyhedron","description":"\u003ch3\u003e\n\u003cem\u003ePolyhedron\u003c\/em\u003e, 2006,\u003cbr\u003eStainless steel, 5100 x 3400 x 3400mm\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003eGregor Kregar studied fine arts in Slovenia before completing a Master of Fine Arts at the Elam School of Fine Arts in Auckland in 1999. His figurative and abstract sculptures are often comprised of a broad range of materials and convey a sense of the uncanny.\u003c\/p\u003e\n\u003cp\u003eRecent sculptures reveal Kregar’s interest in geometric mathematical structures and their combinations and multiplications found in nature. Like Prstan, his winning entry in the 2000 Wallace Art Awards, Kregar’s Brick Bay Polyhedron is an investigation of ancient Platonic and Archimedean solids. A laser-cut, stainless steel Icosi-dodecahedron over five metres in height, the work grows into an Icosahedron, a Tetrahedron and other geometric shapes. Resembling a ‘blown up’ conglomeration of molecular structures, Polyhedron focuses on the aesthetic, formal and chemical similarities of natural formations such as crystals, ice and mountains.\u003c\/p\u003e\n\u003cp\u003eInitially, Brick Bay’s highly polished Polyhedron appears as a foreign – even alien – intrusion upon the landscape. Upon closer inspection, however, the artwork replicates it physical environment. Paddocks, trees, water, even viewers are reflected in the sculpture. In turn, its very shape echoes the macrocosmic construction of natural elements by imitating natural molecular systems.\u003c\/p\u003e\n\u003cp\u003eKregar observes, “In nature everything is built out of three basic triangular systems and their combinations and multiplications.”  The molecular structures that generate these natural forms are constructed in the shape of Platonic and Archimedean solids. Archimedean solids are derived from the five Platonic solids; the cube, the dodecahedron, the Icosahedron, the octahedron and the tetrahedron. Described by Plato as ‘cosmic figures,’ each shape was aligned with the elements of fire, air, water and the materials of which the constellations and heavens were made. Thus Polyhedron embodies the very essence of the environment; visualising the unseen in the organic.\u003c\/p\u003e","brand":"Brick Bay","offers":[{"title":"Default Title","offer_id":52241915183403,"sku":null,"price":0.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0901\/2822\/0459\/files\/8629539407_b5912f64be_o.webp?v=1771273212"},{"product_id":"detritus","title":"Detritus","description":"\u003ch3\u003e\n\u003cem\u003eDetritus\u003c\/em\u003e, \u003cbr\u003eReadymade ladders, wheelbarrow, powder coating,\u003cbr\u003e2200 x 2000 mm\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003eJeff Thomson's Detritus is unlike anything in his expansive and treasured oeuvre of typical corrugated iron works. Where we might be more familiar with the Mahoe Leaf sculptures that have graced the sculpture trail for years, Detritus brings to mind a small playground in the forest - something native birds might perch on, or an animal might make a home in. The work is a look at the deconstruction of vernacular metal objects, using familiar imagery to create an intriguing, aestheticised artwork in the forest.\u003c\/p\u003e\n\u003cp\u003eThe multitude of rich, saturated colours in Detritus are stark in what is a dense patch of dark bush, a playful contrast of visual colour effects. The tangled linearity, the stripped back semi- transparent forms, are perhaps derived from the skeletal leaf structures of his familiar Mahoe leaves; the work achieves a similar web-like quality which seems to defy the strength and rigidity of the material. Thomson cuts out the bulk of the object with a plasma cutter, which he uses just like drawing with a pencil. This effect creates an intricate linear construction of outer and inner perimeters. Detritus breaks new ground by moving away from corrugated iron and using readymades, such as aluminium A-frame ladders, extension ladders, galvanised bins, number eight wire, paint buckets and wheelbarrows, to create an enchanting and delicately balanced playground of lines.\u003c\/p\u003e","brand":"Brick Bay","offers":[{"title":"Default Title","offer_id":52241927242027,"sku":null,"price":0.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0901\/2822\/0459\/files\/IMG_1016.webp?v=1771274081"},{"product_id":"dinghy","title":"Dinghy","description":"\u003ch3\u003e\n\u003cem\u003eDinghy\u003c\/em\u003e, 2012,\u003cbr\u003eCorrugated Iron, 550 x 1100 x 2400 mm\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003eThe enchanting Dinghy fashioned from corrugated iron is characteristically Jeff Thomson. The artist manages to transform this basic, cold material into an inviting work of art. Not simply a sculpture, this piece is a boat with a nautical story to tell.\u003c\/p\u003e","brand":"Brick Bay","offers":[{"title":"Default Title","offer_id":52241929437483,"sku":null,"price":0.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0901\/2822\/0459\/files\/IMG_3600.webp?v=1771274333"},{"product_id":"harmony","title":"Harmony","description":"\u003ch3\u003e\n\u003cem\u003eHarmony\u003c\/em\u003e, 2019,\u003cbr\u003eCarrara marble, granite base, corten steel plinth,\u003cbr\u003e2500 x 500 x 500 mm\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003eJohnny Turner’s sculptures are about essence, the intrinsic nature of something, and in their minimalist form they are symbolic of much deeper relationships between humans and the environment. He says of his most recent work: “Harmony is a metaphor for relationships. Equals connected via a relationship - in all its various incarnations , but with 'breathing space' to be a unique self.” \u003c\/p\u003e\n\u003cp\u003eTurner works predominantly with stone, granite and hard metamorphic rock.  He is a self-taught artist, who has trained his eye and skills over the years. He has been heavily inspired by his travels to Italy, where he has spent time in Carrara at the northernmost tip of Tuscany - the source of the famous white and blue-grey marble. Carrara marble has been used since the time of ancient Rome, with Renaissance masterpieces such as Michelangelo’s Pietà and David sculpted from the precious stone. \u003c\/p\u003e\n\u003cp\u003eTravels to Japan have been another rich source of inspiration for the artist, who references elegant classical forms mixed with modernist tendencies, in the vein of Noguchi and Brancusi.\u003c\/p\u003e\n\u003cp\u003eJohnny Turner’s works are in numerous prestigious private art collections throughout the world, including Australia, U.S.A and Europe.\u003c\/p\u003e","brand":"Brick Bay","offers":[{"title":"Default Title","offer_id":52241979801899,"sku":null,"price":0.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0901\/2822\/0459\/files\/JTurner-2019-00001.webp?v=1771276049"},{"product_id":"alpha","title":"Alpha","description":"\u003cp\u003eAlpha, 2016,\u003cbr\u003eGranite, 2380mm X 615mm X 720mm\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eIn Johnny Turner's new sculpture titled: Alpha - The Beginning, the artist addresses issues and concepts based on the origins of life, the universe and time. Light is highly referenced in the creation myths of many cultures and in  Maori mythology, the primal couple Rangi and Papa appear in a creation myth explaining the origin of the world.\u003c\/p\u003e\n\u003cp\u003eRanginui and Papatuanuku are the primordial parents, the sky father and the earth mother who lie locked together in a tight embrace. They have many children who are all male and they are forced to live in the cramped darkness between them. These children grow and discuss what it would be like to live in the light.\u003c\/p\u003e\n\u003cp\u003eIn this work, Turner creates a fine 'slit', rising vertically skyward, emphasising the light coming out of the black abyss.\u003c\/p\u003e","brand":"Brick Bay","offers":[{"title":"Default Title","offer_id":52241987862827,"sku":null,"price":0.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0901\/2822\/0459\/files\/IMG_3063.webp?v=1771276186"},{"product_id":"timekeeper","title":"Timekeeper","description":"\u003ch3\u003e\n\u003cem\u003eTimekeeper\u003c\/em\u003e, 2017,\u003cbr\u003eGranite, 1930mm X 440mm X 150mm\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003eJohnny Turner is a self taught artist who sculpts in granite and hard metamorphic rock.\u003c\/p\u003e\n\u003cp\u003eTimekeeper is a reference to the passing of time, both universal and personal. Its form is a combination of the hand of 'nature' and the hand of man. In Japanese sculpture, artists call the contrasts between rough natural stone and highly polished parts 'Warehada' and 'Nomgiri',  breaking the stone and then reviving it back to life by caressing and polishing.\u003c\/p\u003e\n\u003cp\u003eExposed natural grain (its material granite named after the Latin term for grain - 'granum') is evidence of it being one of the oldest stones in the USA and indeed the world - 1.7 billion year old Rancho Cucamonga Californian granite from the Pre-Cambrian (before fossils) period. Daily quotidian social life can be measured by the shadow on the ground that Timekeeper casts.\u003c\/p\u003e\n\u003cp\u003eThis seminal new sculpture is one of his most ambitious works to date, weighing well over 120 kilograms and standing approx two metres in height. The artist has created a fine balance between the highly polished mirror like finish and the rough hewn speckled surface of the dark grey granite. The attention to detail is more intricate than previous works in his ouevre. The sculptural form features stepped, drilled and curved detailing, which is all executed precisely. Turner is very passionate about the ritual of carving, coming back to a work time after time, seeking that 'wow' factor that engages and surprises him.\u003c\/p\u003e\n\u003cp\u003eTimekeeper stands somewhere visually between a waka bow and a streamlined rudder form, aerodynamic and fluid. The thick piece of granite is in fact recycled from a large American made printing machine, a heavy slab which would have once anchored the heavy machinery steady. An existing anchor bolt hole has been replicated twice more below, counter sunk and piercing through the sculpture.\u003c\/p\u003e\n\u003cp\u003eTurner continues to reference elegant classical forms and adds a modernist twist, tapping into the psyche of Noguchi, Brancusi and Japanese aesthetics.\u003c\/p\u003e\n\u003cp\u003eHis works are in numerous prestigious private art collections throughout the world, including Australia, U.S.A and Europe.\u003c\/p\u003e","brand":"Brick Bay","offers":[{"title":"Default Title","offer_id":52241988682027,"sku":null,"price":0.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0901\/2822\/0459\/files\/IMG_5302.webp?v=1771276429"},{"product_id":"night-fishing-on-the-nagara","title":"Night Fishing On The Nagara","description":"\u003ch3\u003e\n\u003cem\u003eNight Fishing On The Nagara\u003c\/em\u003e, 2017,\u003cbr\u003eBronze, Dimensions variable\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003eNatalie Guy’s work lovingly intertwines the familiar, traditional and nostalgic through a homage, of sorts, to the international :lavour of Japanese Ikebana and Zen gardens, and the loaded symbolism that accompanies modernity.\u003c\/p\u003e\n\u003cp\u003eThe lanterns we see are placed right on the lake edge, almost like flattened, indestructible lily pads, are infused with history. Guy’s work is based on the innovations of Isamu Noguchi, who, in 1951, visited the Japanese town of Gifu, known for its manufacture of lanterns and umbrellas from the mulberry bark paper and bamboo. Fascinated with the subtle shimmer of the lanterns illuminating the night fishers on the Nagara River, Noguchi designed the first ‘Akari’ lamps. Akari, meaning light as illumination, but also implying the idea of weightlessness, embodies the effects of Guy’s artwork perfectly - the visualisation and subversion of tradition, nostalgia and modernity.\u003c\/p\u003e\n\u003cp\u003eGuy utilises the premise of the Akari lanterns in her bronze casts, flattening the form and reversing the traditional characteristics of light and weightlessness through the darkened bronze patina. Slight detailing in the surface texture of the works echoes ripples in water, a visual play on what one might see when lightly touching a pond-surface with one finger. Her work will eventually move through processes of natural verdigris over time, especially with the water being in such close proximity; the pieces will eventually turn pale green.\u003c\/p\u003e\n\u003cp\u003eIn her work, Guy chooses bronze material that gives longevity to the lantern forms, dematerialising the traditional memory of the original, but not necessarily its legacy. Night Fishing on the Nagara acts as poignant mementos, achieving the sensitivity that Guy consistently identifies in the most successful modernist aesthetics.\u003c\/p\u003e","brand":"Brick Bay","offers":[{"title":"Default Title","offer_id":52242011554091,"sku":null,"price":0.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0901\/2822\/0459\/files\/IMG_5333.webp?v=1771276865"},{"product_id":"hoop","title":"Hoop","description":"\u003ch3\u003e\n\u003cem\u003eHoop\u003c\/em\u003e, 2013,\u003cbr\u003eCarbon fibre, epoxy, metals, precision bearings,\u003cbr\u003e5950 x 2000 x 2000mm\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003eVibrant yellow, the circular form of 'Hoop' dances with the slightest touch of wind. It's gentle sweeping movement is captivating; rising and falling, moving away from the bladed works we see in New Angel. Acting as a frame through which we can see the sun, the sky and the land the work is poised on, Hoop also recalls a larger-than-life abstracted flower, its organic shape reimagining the rhythms of natural landscape. Large forms such as this work are further left amenable to the elegant or violent movements encouraged by the wind. Wherever they are placed, Price’s sculptures inhabit eye-catching positions in their environment; their ability to capture and hold your attention with their revolving movement is inevitable.\u003c\/p\u003e\n\u003cp\u003eThe sinuous nature of Hoop is a result of his technical, design making process, in which moulds and highly engineered sketches are envisioned to create a feeling of continuous joints, a flow to the linearity of the piece. His natural fascination for his technical practice, an intuitive understanding of the interactions of material and engineering feats result in an impressionable, powerful moving sculpture. The futuristic form and child-like candy colours of the sculpture work together with the dignified geometric dance of his kinetic practice. Price’s works can be found across the globe, in hostile coastal environments to the middle of the urban city- designed to endure even the most extreme natural unfoldings of weather and temperature.\u003c\/p\u003e","brand":"Brick Bay","offers":[{"title":"Default Title","offer_id":52242027774251,"sku":null,"price":0.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0901\/2822\/0459\/files\/IMG_3587.webp?v=1771277730"},{"product_id":"new-angel","title":"New Angel","description":"\u003ch3\u003e\n\u003cem\u003eNew Angel\u003c\/em\u003e, 2015,\u003cbr\u003eCarbon fibre, stainless steel,\u003cbr\u003e4500 x 2000 x 400mm\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003eSublimely balanced and poised, New Angel by Phil Price takes flight. The elongated blade work instantly recalls wings - be it the New Zealand vernacular of bird life, or angel wings. Price is renowned for his enchanting kinetic sculpture in which his work has the ability to draw itself towards the breeze, and also be pushed away. Action and dynamism are inherent. The shadow created by the impressive, large scale work is integral - like a dove, or an angel form, twisting and turning with the caress of a breeze. The blades also recall that of a propellor - as if the work could take flight at any moment, with enough of a gust.\u003c\/p\u003e\n\u003cp\u003ePrice often refers to his workplace as a design studio in a sense; conceptualising the work and grappling with form and kinetics through digital drawings. He uses media technologies to aid with the mechanical and technical negotiations of space for what are groundbreaking, powerful portraits of motion and evolution. Price’s ease in achieving form and kinetic functionality through carbon fibre composite methods of construction is unparalleled, moving from the static to the mesmerising movement we see in New Angel. The work transforms from the artist’s intimate sketches, through his computer animated technical process, to a fully realised sculpture.\u003c\/p\u003e","brand":"Brick Bay","offers":[{"title":"Default Title","offer_id":52242030100779,"sku":null,"price":0.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0901\/2822\/0459\/files\/IMG_2070_1.webp?v=1771277830"},{"product_id":"pyxis","title":"Pyxis","description":"\u003ch3\u003e\n\u003cem\u003ePyxis\u003c\/em\u003e, 2019,\u003cbr\u003eCarbon fibre, automotive paint, stone base, 2400 x 2600 x 2600mm\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003eRay Haydon’s Pyxis is a sleek kinetic work comprised of lines in motion and dynamic curves. Pyxis moves subtly in the wind in three parts from atop its stone plinth.  An expression of lyricism and rhythm. \u003cbr\u003ePyxis takes its name from the night skies: it is a small and faint constellation in the southern sky. Abbreviated from Pyxis Nautica, its name is Latin for a Mariner’s compass and that is the form the sculpture moves into in the breeze. The forms also resembles the blades of a Samurai sword, or a machete, while at the same time calling to mind a birds wing or an abstraction of three birds in flight. \u003cbr\u003e Haydon accomplishes simplicity and elegance in his sculptures seamlessly, this belies the fact that they are built with such a high level of technical expertise and skill. Pyxis is made from Carbon Fibre, a strong durable material which is then coated in automotive paint for a lustrous streamlined finish. \u003c\/p\u003e","brand":"Brick Bay","offers":[{"title":"Default Title","offer_id":52242031214891,"sku":null,"price":0.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0901\/2822\/0459\/files\/RayHaydon-Kinetic-2019.00001.webp?v=1771278184"},{"product_id":"untitled-fluid-series","title":"Untitled (Fluid Series)","description":"\u003ch3\u003e\n\u003cem\u003eUntitled (Fluid Series)\u003c\/em\u003e, 2017,\u003cbr\u003eStainless Steel, basalt base, 370mm X 870mm x240mm\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003eUntitled (Fluid Series) is a definitive part of Haydon’s ‘ribbon-esque’ works - fluid pieces of unforgiving, rigid materials that the artist twists and bends to achieve a delicate line drawing, suspended in the air. This particular work, a large-scale moebius strip, is simply one flat piece of stainless steel that moves in an eternal continuity.\u003c\/p\u003e\n\u003cp\u003eHaydon’s practice is one of pure materiality and the feats of curvilinear beauty he can achieve with his chosen medium. These materials are often varied; his in-depth knowledge of jewellery design, fine furniture making and the construction of fittings for super yachts have aided Haydon in developing a symbiotic relationship with the materials that aid his creations. Kinetic works hold increasing fascination to Haydon as of late, a regularity of constant movement that creates a dynamism between the viewer and their relationship to the work and the space it fills. He addresses the push and pull between simply looking at piece and truly watching it as it is moving. This is likened, in his musings, as the difference between looking at an object, such as a tree, and the movement of birds within that same tree. What would we truly engage with?\u003c\/p\u003e\n\u003cp\u003eHaydon’s Untitled (Fluid Series) is lithe and enlivening, a painting in space, and a reflection of the artist’s pure interest in the tracing of line and form.\u003c\/p\u003e","brand":"Brick Bay","offers":[{"title":"Default Title","offer_id":52242031903019,"sku":null,"price":0.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0901\/2822\/0459\/files\/IMG_5379.webp?v=1771278315"},{"product_id":"revolution","title":"Revolution","description":"\u003ch3\u003e\n\u003cem\u003eRevolution\u003c\/em\u003e, 2017,\u003cbr\u003eAluminium, automotive paint, basalt, H.2200mm x W.900mm x D.800mm\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003eRay Haydon's art articulates infinite lines in motion. Revolution elegantly balances a biomorphic swirling head on a subtle curved vertical column, which enables the whole sculpture to complete full 360 degree revolutions, harnessing the subtle movements of the wind. Picture a child swirling a ribbon behind them or a rhythmic gymnast with their trailing baton - Haydon creates this continuous expression of line and lyricism with materials that are innately durable, nothing like a soft piece of silk. His refined artwork Revolution belies the exactitude of its making, sitting atop its plinth as if frozen in a swirl of movement.\u003c\/p\u003e\n\u003cp\u003e“I started out as a jeweller, so I have always made beautiful things,” Haydon has said. (1) His methods in creating Revolution are borrowed from a plethora of different industries, be it boat building, jewellery or fine furniture making. His meticulous and dedicated approach to his artwork fabrication - the engineering required - stands in contrast to the intuitive flow of his visual forms, line drawings in the air. Time is not invested in planning and sketching works, rather in the practicalities of building them; arranging, dismantling, trialling and testing. His constant inquiry into dissolving the gap between technical processes and fine art means his methods in creating his works are incredibly unique to him. Calling himself a ‘mad inventor’, his artwork challenges us with its unwavering simplicity and technical expertise.\u003c\/p\u003e","brand":"Brick Bay","offers":[{"title":"Default Title","offer_id":52242033115435,"sku":null,"price":0.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0901\/2822\/0459\/files\/IMG_5360.webp?v=1771278761"},{"product_id":"united","title":"United","description":"\u003ch3\u003e\n\u003cem\u003eUnited\u003c\/em\u003e, 2019,\u003cbr\u003eMarine grade stainless steel on stone base,\u003cbr\u003e1150 x 1150 x 1150mm\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003eGentle and elegant, Ray Haydon’s United sits in perfect harmony within its surroundings. Poised on the slope near to the Blackwood Dam, this sculpture instills a sense of calm in the viewer, and because of its innate symmetry and fine beauty it would compliment a large garden setting or a more intimate domestic space. \u003c\/p\u003e\n\u003cp\u003eUnited has the energy to enliven its environment, rather than dominate it as some more monumental sculptures may do. It is light and airy in its composition - the outer framework contrasting with the glimpses through to the opposite side. With the steel ribbons bending in a seemingly effortless way, one has the sense of continuity, and the essence of both strength and flexibility. \u003c\/p\u003e\n\u003cp\u003eRay Haydon has been making art for over 20 years and has more recently focussed on wall works and large scale kinetic sculptures. He carries throughout his practice the same design principles and technical skills he has honed and developed over the years. He is known to work with a wide variety of materials to make pieces that extend and respond to their environment, with in-depth knowledge of all the materials he works with, such as corten steel, stainless steel, bronze, wood, carbon fibre or veneer. He initially worked as a jeweller for many years and then constructing and designing fittings for super yachts before embarking on his artistic career. \u003c\/p\u003e","brand":"Brick Bay","offers":[{"title":"Default Title","offer_id":52242033508651,"sku":null,"price":0.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0901\/2822\/0459\/files\/RayHaydon-Ball-2019.00001.webp?v=1771278877"},{"product_id":"flourish-iii","title":"Flourish III","description":"\u003ch3\u003e\n\u003cem\u003eFlourish III\u003c\/em\u003e, 2011,\u003cbr\u003eSand cast bronze, 3300 x 380 x 380 mm\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003eRichard Mathieson’s Flourish III depicts intricately detailed plant forms continuously spiralling into growth, evoking themes of botanical study, scientific research and accompanying issues of intervention in nature.\u003c\/p\u003e\n\u003cp\u003eWorking with the contours of the botanical, Mathieson’s pieces are often intertwined with their site, acting as stages in the growth of a plant and mirroring surrounding species and their evolution within the bush landscape. Mathieson has spoken of the importance of letting his works integrate - or if you like, germinate - in the land they reside: “The chance to leave the work on site for up to two years is also a huge attraction...that allows it to settle into the landscape, as you would let a plant take root in the earth.”\u003c\/p\u003e\n\u003cp\u003eWhere his earlier work Propagation (2006) evoked a sense of the beginning, the idea of introducing species and watching them begin to grow, Flourish III suggests the product of this, a continuation of Mathieson’s enduring artistic practice and his investment in the botanical in art. In its isolation on the hill, a single, towering structure that holds a certain rhythm in each individually cast bronze leaf, Mathieson forges a link between his artworks, presenting them as lonesome ‘introduced species’ in what is otherwise incredibly dense native bush. Mathieson asks us to consider the effects of such intervention in nature and the ethics of disrupting our natural order, the tension between the exotic and the native bush which we revere.\u003c\/p\u003e","brand":"Brick Bay","offers":[{"title":"Default Title","offer_id":52242036588843,"sku":null,"price":0.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0901\/2822\/0459\/files\/25775255763_c2a4acbd80_o.webp?v=1771279296"},{"product_id":"in-the-gloaming","title":"In the Gloaming","description":"\u003ch3\u003e\n\u003cem\u003eIn the Gloaming\u003c\/em\u003e, 2015,\u003cbr\u003eJarrah timber, hot dip galvanised fittings,\u003cbr\u003eH.1000mm X W.1500mm\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003eGateways and journeys create an interactive work which generate sound passing through to the other side and beyond.\u003c\/p\u003e\n\u003cp\u003eThis  work at Brick Bay Sculpture Trail evokes a sense of fey, of haunting like mist over shade, natural sounds that are local to the area, electronically altered to evoke temporal disjunction where the past meets the present.\u003c\/p\u003e\n\u003cp\u003eThat disjunction takes the form of a gate: a free standing, moss covered portal in a glade on the walkway beckons yet denies admission to the secrets of the wood. It is a tale of mystery and wonder. We approach along the walkway and pass through the gate, activating sounds that reverberate from a series of subterranean chambers deep below the earth, which crescendo and fade as the gate closes.\u003c\/p\u003e\n\u003cp\u003eMontrose creates a gate that looks comfortable and familiar in its environment yet it evokes a childhood mystery of gates that lead to secret, magical places and forbidden adventures, legends and myths.\u003c\/p\u003e","brand":"Brick Bay","offers":[{"title":"Default Title","offer_id":52242039439659,"sku":null,"price":0.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0901\/2822\/0459\/files\/IMG_1928.webp?v=1771279706"}],"url":"https:\/\/www.brickbay.co.nz\/collections\/past-exhibitions.oembed?page=2","provider":"Brick Bay","version":"1.0","type":"link"}