New can­vas

Hop­kin­son Moss­man opens a gallery in Welling­ton

HOME Magazine NZ - - Con­tents - Pho­tog­ra­phy David Straight

Why Welling­ton and why now? DANAE MOSS­MAN Welling­ton is a vi­brant, cul­tural city and we wanted to be part of the con­ver­sa­tion here. There’s a re­ally in­ter­est­ing young-artist scene; a num­ber of en­er­getic new artist-run spa­ces that of­fer an al­ter­na­tive en­ergy to the public in­sti­tu­tions. Tell us about the space – what was there be­fore? It was in pretty poor con­di­tion af­ter a few decades hous­ing light in­dus­try and man­u­fac­tur­ing. The floor had bro­ken linoleum tiles and a weird lit­tle of­fice space. We re­moved ev­ery­thing and started from scratch; our ex­tra­or­di­nary builder – David Kisler – el­e­gantly worked his magic in the space. But the bones are good, it’s a late 1950s six-storey mod­ernist build­ing, with great win­dows. What was it like work­ing with Lon­don­based New Zealand ar­chi­tect Ja­son White­ley again? Ja­son has an at­ten­tion to de­tail and a sim­plic­ity of form that we re­ally value. He worked with lo­cal ar­chi­tect James Fen­ton to re­alise the gallery ren­o­va­tion from afar. Both Ja­son and James have been in­volved in the art world all of their pro­fes­sional lives and have a finely tuned sense of the im­por­tant. Your Auck­land gallery has a green of­fice, this one has a peach of­fice. Are they a pair? I hadn’t thought of it like that! The peach ap­peared in parts of the space dur­ing the ren­o­va­tion; a soft pas­tel from a by­gone era. We wanted some­thing warm, hint­ing to the do­mes­tic, a shift away from the cool white of the gallery walls. We also wanted this for Auck­land, so it was the same thought process, but Welling­ton had a dif­fer­ent out­come be­cause of its par­tic­u­lar con­text. The ‘cash­mere’ tone just worked. Our graphic de­signer and friend War­ren Olds called it ‘in­sti­tu­tional’ peach, which I think was a com­pli­ment…

Clock­wise from top Closed Down Clubs & Monochromes (2018), an ex­hi­bi­tion by Fiona Con­nor; gallery di­rec­tor Danae Moss­man in front of ‘Un­ti­tled #7’ (2017) by Fiona Con­nor; ‘Un­ti­tled’ (2014) Du­ra­trans print in cus­tom light­box by Tahi Moore, all at Hop­kin­son Moss­man Welling­ton.

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