Milford Galleries Dunedin18 Dowling Street Dunedin (03) 477 7727 info@milfordhouse.co.nz

www.milfordgalleries.co.nz

GRAHAM BENNETT20th August - 14th September 2011

Weight ing and Wait ing

1. GRAHAM BENNETT, T.R.I.G. (2008)

3 part installation; Rimu ply, steel, brass, stone, painted composition board, painted aluminium, polycarbonate

1. DETAIL VIEW GRAHAM BENNETT, T.R.I.G. (2008)

2. GRAHAM BENNETT, Weighting and Waiting (2010)

steel, rust, brass, wood, painted wood, top sculpture: 345 x 300 x 200 mm, plinth (v x h x d): 345 x 300 x 300 mm

2. DETAIL VIEW GRAHAM BENNETT, Weighting and Waiting (2010)

3. GRAHAM BENNETT, Tipping Point? (2011) painted steel, steel, aluminium, brass, wood, printed paper, glass lenses, size

painted steel, steel, aluminium, brass, wood, printed paper, glass lenses, overall size: 975 x 1680 x 470 mm

4. GRAHAM BENNETT, Mark Time (2006-11)

stainless steel, Granodiorite stone slices, brass, painted wood, size: 1695 x 800 x 800 mm

4. DETAIL VIEW GRAHAM BENNETT, Mark Time (2006-11)

5. GRAHAM BENNETT, Gauge I - III (2009)painted steel, painted wood, stainless steel rod, stone, size: ca 1540 x 820 x 500 mm (dimensions variable)

5. DETAIL VIEW GRAHAM BENNETT, Gauge I (2009)

6. GRAHAM BENNETT, Rig (2009)

stainless steel, aluminium, Granodiorite stone, painted wood, size: 1800 x 590 x 592 mm

6. DETAIL VIEW GRAHAM BENNETT, Rig (2009)

7. GRAHAM BENNETT, Weigh Up (2010)

stainless steel, painted aluminium, polycarbonate, steel, rust, steel plinth, overall size: 1195 x 260 x 260 mm

7. DETAIL VIEW GRAHAM BENNETT, Weigh Up (2010)

8. GRAHAM BENNETT, Make Time (2010)

painted steel, stainless steel, brass, biochar, lead, stainless steel wire, size: 1480 x 300 x 300 mm

8. DETAIL VIEW GRAHAM BENNETT, Make Time (2010)

9. GRAHAM BENNETT, Weight of Evidence / Wait of Evidence (2011)

painted steel, brass, polycarbonate, wood, earth, dung, water, milk powder, size: 370 x 315 x 200 mm

9. DETAIL VIEW GRAHAM BENNETT, Weight of Evidence / Wait of Evidence (2011)

10. DETAIL VIEW GRAHAM BENNETT, Weigh Out / Way Out (2010)

10. GRAHAM BENNETT, Weigh Out / Way Out (2010)

painted steel, brass, wood, gold, ground glass, plastic grass, shredded bank note, size: 325 x 247 x 245 mm

11. GRAHAM BENNETT, Attach Weight (2010)

painted steel, brass, wood, corn, oil, plastic, currency, size: 340 x 300 x 300 mm

11. DETAIL VIEW GRAHAM BENNETT, Attach Weight (2010)

12. DETAIL VIEW GRAHAM BENNETT, Time Weights (2011)

12. GRAHAM BENNETT, Time Weights (2011)

painted steel, brass, wood, lead, diamonds, carbon, pyrolysis oil, size: 338 x 311 x 310 mm

13. GRAHAM BENNETT, In the Nick of Time (2010)

painted steel, brass, polycarbonate, wood, waste water, dried algae, water, oil, size: 400 x 318 x 315 mm

13. DETAIL VIEW GRAHAM BENNETT, In the Nick of Time (2010)

14. GRAHAM BENNETT, How Near, How Far (2008)

painted steel, brass, stainless steel, stone, wood, size: 520 x 305 x 305 mm

14. DETAIL VIEW GRAHAM BENNETT, How Near, How Far (2008)

15. GRAHAM BENNETT, Fissure (2008)

Kauri, callipers, basalt, steel rod, size: ca 632 x 300 x 280 mm, (dimensions variable as stones pivot)

15. DETAIL VIEW GRAHAM BENNETT, Fissure (2008)

16. GRAHAM BENNETT, Augur (2009)

stainless steel. basalt, wood, size: 1105 x 100 x 87 mm

16. DETAIL VIEW GRAHAM BENNETT, Augur (2009)

17. GRAHAM BENNETT, Grasp (2008)

steel, stainless steel, callipers, painted wood, size: ca 600 x 600 x 500 mm (dimensions variable as pod turns & pivots)

17. DETAIL VIEW GRAHAM BENNETT, Grasp (2008)

18. GRAHAM BENNETT, Wait Watch I (2011)

black pearl, silver, painted steel, stainless steel, brass, wooden stand, size incl stand: 155 x 52 x 52 mm,

18. DETAIL VIEW GRAHAM BENNETT, Wait Watch I (2011)

…issues confront usthe uncertainty of how much timehave to address them ---

poles a tenuous relationshipWhat, we wonder, and where, are the

tipping points?

issues confront us, and then there is how much time we--- between these two

tenuous relationship holds. What, we wonder, and where, are the

tipping points?

For the last 30 years Graham Bennett has invited us to question human interaction with the natural environment and ‘Weighting and Waiting’ continues this theme. In this significant exhibition Bennett’s sculptures investigate the checks and balances involved in economic, industrial and agricultural development, and the environmental cost we ultimately have to pay. How do we measure net gains and losses when there is more than one scale to take into account? The beautifully crafted levers, counter-weights and receptacles created by Bennett suggest an adult’s Meccano set, with much more to consider than how the nuts and bolts fit together. The quasi-scientific form of ‘Weight of Evidence Wait of Evidence’ pointedly comments on the industrialisation of milk production: can pollution of waterways and the creeping monopolisation of land use be in anyway countered by the economic heft of the dairy multi-nationals? The weathered and rusted steel used in this piece appears to have seen better days and its contrast with the incorruptible polycarbonate might well suggest that this is one battle where science and industry will prevail. From the intimacy of ‘Short Weight’ to the imposing ‘T.R.I.G’, Bennett’s works are exquisitely balanced in terms of materials, composition and form. The pointed brass feet of ‘T.R.I.G’ mimic the form of the rimu pointers atop the work. These counterbalanced pointers can be manipulated, allowing a very real interaction with the work that drives home the message that we can indeed affect the balance of things surrounding us. Carefully dovetailed black and white joins serve an aesthetic as well as a practical purpose, creating a series of dynamic dashes which frame Bennett’s text. Hanging world globes, coloured to emphasise New Zealand’s distinct place in the world, swing freely at the slightest touch - reminders of the fragile and inter-connected equilibrium of the environment. Bennett’s clever use of scale in this show allows viewers to move easily between the personal and the global, at the same time making us very aware that both these spheres are intrinsically linked. Similar motifs are used throughout the range of works and they deliver cohesion of form that underlines the cohesion of thought behind them. A large work such as ‘T.R.I.G’ interacts with its environment and its viewers on a public platform, inviting open discussion about the ‘issues [that] confront us [and] the uncertainty of how much time we have to address them’ (1) The tiny ‘Wait Watches’ pieces can be used to adorn the body, at the same time functioning as a type of personal and private memento mori – a constant reminder of these same concerns. The sculptures in ‘Weighting and Waiting’ address very real concerns: ‘What, we wonder, and where, are the tipping points?’ (2) As an artist Bennett poses the questions, but he leaves it to us to riddle out the answers.

1. Graham Bennett, Artist Statement, 2011 2. Ibid

All prices are NZD and include GST; Prices are current at the time of the exhibition

E X H I B I T I O N P R I C E L I S TE X H I B I T I O N P R I C E L I S TE X H I B I T I O N P R I C E L I S TE X H I B I T I O N P R I C E L I S T

1 T.R.I.G. (2008) 16,000

2 Weighting and Waiting (2010) 5,000

3 Tipping Point? (2011) 18,000

4 Mark Time (2006-11) 18,000

5 Gauge I - III (2009) 5,000 each

6 Rig (2009) 5,000

7 Weigh Up (2010) 10,500

8 Make Time (2010) 6,000

9 Weight of Evidence / Wait of Evidence (2011) 5,000

10 Weigh Out / Way Out (2010) 5,000

11 Attach Weight (2010) 5,000

12 Time Weights (2011) 5,000

13 In the Nick of Time (2010) 5,000

14 How Near, How Far (2008) 6,000

15 Fissure (2008) 6,500

16 Augur (2009) 4,000

17 Grasp (2008) 5,000

18 Wait Watches (2011) 850 each

Graham Bennett 2011 CV Milford Galleries Dunedin www.milfordgalleries.co.nz

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GRAHAM BENNETT b. 1947, lives Christchurch

Seabed Sure III (2006)

Graham Bennett’s three dimensional work comprises both large environmental installations and small

scale sculptures. His art work “emphasises the importance of sea, sky and land, and the agents and instruments that navigate and connect these elements. Since the 70s, Bennett has used a paradigmatic perceptual frame (of horizontals, verticals and diagonals) as his core agent of perception. His works are not images of ‘lived reality’ but rather reflections of the artist’s experience of and enquiries into his Pacific environment.” (1)

“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. My art explores my personal questions, arguments with myself and my materials, and maybe, hopefully, encourages others to question and comment.” (2) “In his hands, sculpture is about measure, control and weight – and the exploration of volumes, of mass.

Such discoveries are also the concern of the explorer, and for Bennett we are all still explorers…His sculptures can be seen as altars that elevate the land. Sometimes he mimics forms of the land – clusters of steel poles evoke clumps of tall reeds or nikau palms; curved pendants hang to resemble seed pods or canoe hulls.” (3)

Born in Nelson, New Zealand in 1947. Diploma of Fine Arts, Canterbury School of Fine Arts 1970. Currently lives & works as a full time artist in Christchurch, New Zealand. Since 1980 Bennett has had more than 50 solo exhibitions including 10 in Japan. He has participated in more than 70 group exhibitions in New Zealand and overseas, including International Drawing at the Joan Miro Foundation, Spain and a contemporary metals exhibition, Memphis, USA. His work is held in public and private collections in New Zealand, Australia, England, France, Spain, USA and Japan. He has received numerous awards,

residencies and commissions. Major public commissions have included “Engage”, Christchurch South Library, 2006, “Reasons to Return”, Connells' Bay Sculpture Park, Waiheke Island, 2005, “Fixing Positions”, Rocky Bay, Waiheke Island, 2004, “Reasons for Voyaging”, Christchurch Art Gallery, Te Puna o Waiwhetu 2003, “Lines Extending”, Kurashiki City, Japan, 2003 and “Tribute to Firefighters” (9/11 memorial), Christchurch, 2002.

1. Dr Cassandra Fusco, ‘Praxis in Practise’, Craft Arts International No.49, 2000. 2. Graham Bennett, Artist’s Statement, 2000. 3. David Eggleton, ‘Rock Art: The holy stones of Graham Bennett’, NZ Listener, 14 October, 2006.

Graham Bennett 2011 CV Milford Galleries Dunedin www.milfordgalleries.co.nz

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GRAHAM BENNETT b. 1947, lives Christchurch

EDUCATION

1971 DipTech, Christchurch College of Education 1970 University of Canterbury School of Fine Arts (Graduated 1970) SELECTED SOLO EXHIBITIONS AND INSTALLATIONS

2011 Weighting and Waiting, Milford Galleries Dunedin 2010 Auger Augur, Whitespace, Auckland Pivot, The Arthouse, Christchurch 2009 Diversion Gallery, Grove Mill Winery, Marlborough

Latitude, The Arthouse, Christchurch A Part, Cable Bay Vineyard, Waiheke Island 2008 How Near, How Far?, Koru Gallery, Hong Kong Latitude, Galerie Paris, Yokohama, Japan ZAIM Contemporary Art Space, Yokohama, Japan Converse, The Arthouse, Christchurch

2007 Affinity, Shiori Gallery, Kurashiki, Japan, with Wataru Hamasaka Seek, The Arthouse, Christchurch 2006 Ukabu, The Arthouse, Christchurch (with Wataru Hamasaka) 2005 Five Spaces, The Arthouse, Christchurch 2004 Trajectories, Diversion Gallery, Grove Mill Winery, Marlborough Spheres of Influence, The Arthouse Christchurch

2003 Behind Reasons for Voyaging, Christchurch Art Gallery, Te Puna o Wai Whetu Defining Markers, The Arthouse, Christchurch 2002 Making Connections, Diversion Gallery, Grove Mill Winery, Marlborough 2000 Judith Anderson Gallery, Auckland Questions & Connections, Milford Galleries Dunedin

1999 NICAF International Arts Festival Tokyo representing Galerie Paris, Japan Hashimaya Gallery Kurashiki, Japan 1998 Salamander Gallery, Christchurch 1997 NICAF International Arts Festival, Tokyo, Japan Galerie Paris, Yokohama, Japan Judith Anderson Gallery, Auckland

1996 1+1=3, Joint exhibition with Gavin Hitchings, Potters Gallery, Wellington 1+1=3, Joint exhibition with Gavin Hitchings, Salamander Gallery, Christchurch Installation 'Demarcation' 300 cast iron frames, Boulder Bank Nelson Canal City (Gallery Miyabi) Fukuoka, Japan 1995 Mie Prefecture Contemporary Art Museum, Japan Gallery Miyazaki, Osaka, Japan

New Zealand Embassy, Tokyo, Japan Gallery Miyabi, Fukuoka, Japan Gallery Arte Ferrana, Hamamatsu, Japan 1994 Judith Anderson Gallery, Auckland 1993 Gallery Miyazaki, Osaka, Japan 1992 Gallery Miyabi, Fukuoka, Japan

Installation in steel and glass, Grey River flood wall, Westland Left Bank Gallery, Greymouth Aeroclub Gallery, Port Chalmers, Dunedin 1991 Installation Sea/Sky/Stone #2, Boulder Bank, Nelson waterfront Installation Sea/Sky/Stone, Archery lawn, Christchurch Botanic Gardens Suter Gallery, Nelson

Jonathan Jensen Gallery, Christchurch 1990 Installation Sea/Sky/Stone #1, Boulder Bank, Nelson waterfront 1989 Exhibition of 1988 Artist in Residence work, Suter Gallery, Nelson

Graham Bennett 2011 CV Milford Galleries Dunedin www.milfordgalleries.co.nz

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1989 Annex Gallery, Robert McDougall, Public Art Gallery Christchurch 1987 Parameters (invited Artists Project), Robert McDougall Public Gallery, Christchurch Carnegie Centre, Dunedin Louise Beale Gallery, Wellington 1986 Gingko Gallery, Christchurch Louise Beale Gallery, Wellington

Bishop Suter Gallery, Nelson 1985 Brooke/Gifford Gallery, Christchurch 1984 Louise Beale Gallery, Wellington 1983 Louise Beale Gallery, Wellington Red Metro Gallery, Dunedin 1982 Dunedin Public Art Gallery

Gingko Gallery, Christchurch Bishop Suter Gallery, Nelson 1981 Brooke/Gifford Gallery, Christchurch 1980 Art of Man Gallery, Sydney Brooke/Gifford Gallery, Christchurch

RECENT SELECTED GROUP EXHIBITIONS

2011 Auckland Art Fair, Whitespace, Auckland Sculpture on the Peninsula

Sculpture in Central Otago, Wanaka Chambers 241 opening exhibition, Christchurch 2010 My City, Whitespace, Auckland Shapeshifter Dowse Art Museum, Wellington Arts Festival PromoArte, Tokyo, Japan

2009 Sculpture on the Peninsula, Canterbury Brick Bay Sculpture Trail, Matakana Headland Sculpture on the Gulf, Waiheke Island Sculpture in Central Otago, Rippon Estate, Wanaka 2008 Promoarte Gallery Tokyo

Attitude, with Mild Red, Galerie Paris, Yokohama

Brick Bay Sculpture Trail, Matakana Conversations Across Time, Canterbury Museum, Christchurch

Save our Water, Ng Gallery Christchurch 3Bs, Milford Galleries, Auckland ID Dunedin in collaboration with Mild-Red Shapeshifter, Dowse Art Museum, Wellington Arts Festival

2007 Sculpture in the Park, Waitakaruru, Waikato Sculpture Trust NZ Artists, Taipei Art Fair, Taiwan Koru Gallery, Hong Kong ID Dunedin, collaboration with Mild-Red Collaborative Tapestries, Marilyn RaeMenzies, Ng Gallery, Christchurch Sculpture on the Peninsula, Guest exhibitor, Christchurch

Manifest, Guest exhibitor, Nelson Arts Festival Art in Central Otago, Bannochburn Brick Bay Sculpture Trail, Matakana

Second Side, The Arthouse, Christchurch Group Exhibition, North Art, Auckland 2006 Shapeshifter, Dowse Art Museum, Wellington Arts Festival

Gowshed opening exhibition, Connells Bay Sculpture Park 2005 Crowded House, The Arthouse, Christchurch Sculpture in Central Otago, Bannockburn Trilogy, Diversion Gallery, Marlborough Shriek Revisited, 100 International Artists, Medialia Gallery, New York

COCA, Large-scale tapestry weaving with Marilyn Rae-Menzies 2004 NZ Sculpture On Shore , Takapuna, Auckland

Graham Bennett 2011 CV Milford Galleries Dunedin www.milfordgalleries.co.nz

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2004 Shape shifter, Dowse Art Museum, Wellington Arts Festival Dowse Foundation Auction for the Galvan Macnamara/James Mack Tribute Bannockburn Outdoor Sculpture, Central Otago Transit of Venus, Milford Galleries, Auckland After Woollaston, Catchment Gallery, Nelson Seven, The Arthouse, Christchurch

2003 Sculpture on the Gulf, Waiheke Island 2002 Participated in innumerable group exhibitions in the period from 1979 to present New

Zealand, Australia, Spain, Japan, USA

SELECTED COMMISSIONS

2010 Reflect, Sumner Christchurch Traverse, Hotel reception, Christchurch 2008 Reach, Wanaka Kaputone Creek Pedestrian Bridge, Christchurch Insight, St Margaret’s College, Christchurch

2006 Engage, Christchurch South Library 2005 Reasons to Return, Connell’s Bay Sculpture Park, Waiheke Island 2004 Fixing Positions, Rocky Bay, Waiheke Island 2003 Reasons for Voyaging, Christchurch Art Gallery, Te Puna o Waiwhetu 2003 Lines Extending, Kurashiki City, Japan 2002 Tribute to Firefighters, Christchurch

1997 Sea/Sky/Stone, Kaipara The Farm, Kaipara

SELECTED AWARDS

2007 & 2008 NZ Japan Exchange Programme (NZJEP) Grants

1996 Trustbank Community Trust Arts Excellence Award 1995 Fellowship in Visual Arts, New Zealand Arts Council, Toi Aotearoa 1995,96,2000 Asia 2000 Foundation Grants 1990 New Zealand Arts Council Grant 1988 Artist in Residence, Nelson Polytechnic 1984 New Zealand Arts Council Grant BIBLIOGRAPHY 2011 A Gallery Without Walls, John and Jo Gow tour of their outdoor gallery at Connells Bay,

Artsville TV1 45 mins. 2008 Stevenson, Karen, Conversations Across Time, Whakawhiti Kōrero, Michael Reed 2008 How Near, How Far, Koru Contemporary Art Catalogue 2008 Woodward, Robin, Connells Bay Centre for Sculpture, pp 48 – 51 2006 Gina Irish & Ruth Harvey, Squaring the Circle: New Work by Graham Bennett, Exhibition

Catalogue, Milford House Ltd, 2006

2006 Reasons to Return, DVD Documentary on Connell’s Bay commission, Mindseyeflicks 2004 Fusco, Dr. Cassandra, ‘Changing Reflections’, Craft Arts International, Vol. 60 2004 ‘World Artist’, Feature article in a Korean Art magazine, ArtPrice Vol 10, 08/04 2004 Fusco, Dr, Cassandra, ‘Of Time and the Ocean’, World Sculpture News, Vol. 10 No. 2004/05 VIP Magazine Summer 04/05 2004 Hay, Jennifer, ‘Reasons for Voyaging’, Sculpture,Vol 23. No.3 April 2004 (ISC, USA

2004 Ross, James, The Farm, Kaipara New Zealand 2003 Editor John Freeman-Moir, Walking Through: Graham Bennett's Reasons for Voyaging,

Southwalk Publishing 2003 2003 Shiels, Rosa, Journey, The Story of the Steel, Christchurch City Council 2002 Moore, Christopher, 'Fire and steel', Christchurch Press , October 23, 2002 2001 Milburn, Felicity, 'Reasons For Voyaging', Christchurch Art Gallery Bulletin,125. Winter 2001,

2001 A shriek from an invisible box, Meguro Museum, Tokyo catalogue, 2001 2000 Fusco, Dr. Cassandra, Praxis in practice, International Craft Arts [Aust] Issue 49 2000 1997 Fusco, Cassandra, 'The Importance of Dialogues', World Sculpture News, Volume 3 Number 2

Spring 1997

Graham Bennett 2011 CV Milford Galleries Dunedin www.milfordgalleries.co.nz

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1996 Blankstein , Amy, Sculpture (International Sculpture Centre, USA) recent commissions, October 1996

1996 Brown, Warwick, 100 New Zealand Artists, Godwit Publishing 1996 1995 Rewi, Adrienne, 'Diverse Talent Focussing on Place', Pacific Way, April 1995 1994 Beatson, Dianne and Peter, The Crane and the Kotuku, Manawatu Art Gallery Catalogue

August 1994

1994 Fusco, Cassandra, 'Making Relations Forms and Forces', Art NZ, no 72, September 1994 1992 Bibros, vol 12 , Fukuoka Japan, July 1992 1991 Freeman-Moir, John, 'Objects in Landscape - Landscape in Objects', Craft New Zealand no

38, Dec 1991 1991 Gilling, Naomi, Christchurch Press, October 1991 1989 McIntosh, Jill, Contemporary NZ Prints, Allen & Unwin

1989 Freeman-Moir, John, 'Artists Construction of Nature', Art NZ, no 51 1989 1987 Smart, Jonathan, Art NZ, no 44 1987 Freeman-Moir, John, Louise Beale Gallery newsletter, no 108 1987 Parameters, Robert McDougall Gallery Catalogue, 1987 1986 Betts, Elva, New Zealand Art: A Modern Perspective, Reed/Methuen,1986

1985 Smart, Jonathan, Landfall, no 44, 1985