Mi Kyung Jang  2023 – Ceramic Convergence: Human and Earth

Mi Kyung Jang’s art is a profound exploration of humanity’s intricate connection with the natural world. She contends that the excesses of human desires have precipitated a slew of global discomforts—ranging from wars and pollution to natural disasters, inequality, and rare diseases—often disregarded as issues distant from personal concern. Her childhood in the Korean countryside nurtured a bond with animals, insects, and plants, illuminating the inseparable link between humans and nature.

In her creative process, Jang finds mind clarity, producing intuitive artworks that reflect her interconnected perspective. She perceives the unity of all earthly creatures, drawing a parallel to the human body composed of countless cells, where a single abnormal cell can reverberate catastrophically. Jang posits that nurturing nature with love begets reciprocal affection. This ethos is encapsulated in her artworks’ earthy hues and organic forms, an invitation for viewers to embrace introspection amidst the complexity of human existence.

Jang’s artistic journey traverses various mediums, encompassing sculpture, painting, and clay. Her innate artistic talents, evident since childhood, manifested in drawing and crafting with organic materials. Despite initially focusing on teaching, she aspired to be a professional artist. Her move to New Zealand catalysed her artistic pursuits, with pivotal moments including her training at the Russian Academy of Fine Arts in Florence. This experience propelled her to study at the University of Canterbury, embarking on a full-time artistic career.

Currently pursuing a Master’s degree in sculpture at the Canterbury School of Fine Arts, Jang is an active member of the Halswell Pottery Club. Her dedication extends to volunteering at the 126 Hei Hei Community Art Group, empowering individuals to engage with their creative potential. Jang’s transformative journey underscores her profound commitment to art as a conduit for understanding the world and our place within it.

Doc Ross 2023 – Botanicals

Jenny Reeve 2023 – Diverge | Converge

My recent work considers how human intervention over time has impacted the globally rare and important braided rivers of Waitaha Canterbury. These beautiful, wild rivers are the genesis of the Canterbury Plains. I grew up in rural North Canterbury. Our family often went to the braided Waitohi River, a tributary of the Hurunui River to swim on hot summer evenings. Today, that is often not possible, as water quality ratings of “Poor” and “Unsuitable for Swimming”, are determined by Land Air Water Aotearoa (LAWA). There is no doubt that as multiple interest groups use these rivers to satisfy their own agendas, the rivers have been manipulated through time, often with unfortunate consequences. My work is inspired by, made in and embossed with the water and environment of our braided rivers. I use the cyanotype process, developed in 1842 by Sir John Herschel. Cyanotypes were historically a method of reproducing drawings and plans known as “blueprints”. I use the process to help me find an interstice between time, science, and philosophies of environmental ethics and aesthetics. An element of chance also enters each work, as the unpredictable river flow and light help generate the patterns. I believe art has agency to foster greater understanding between the interest groups using Waitaha Canterbury’s braided rivers. I believe we should protect these important rivers, not just for their economic contribution.