Exhibition Program

Boundaries

This body of work is the outcome of my Masters. The works attempt to navigate the key concepts under consideration, extending from the initial enquiry question being

how does the female body, landscape, time and the ephemeral connect with ideas of ownership and authorship in the pacific?  My Art practices primary concern revolves around concepts of objectification, what objectification means  in relation to myself as a female and a Mother, where I live, and transcending this objectification, a term I have developed “held space”, which is the exploration of the construct of time and how we record moments of time. (influced by Bergson’s durée and concepts of Tā–Vā)

I have used early European recordings in the construction of some of these works. For example in the work titled Ka mura, Ka muri- walking backwards into the future,(below) I have composed the work using William Hodges’s painting [Cascade Cove], Dusky Bay, 1775. By using these images I aim to bring the past into the present, while at the same time by overlaying and integrating a female figure I am discussing aspects my own identity. Also note the scale of these works (2.8 x 1.9)

In this show I use a variety of mediums including charcoal and chalk pastel, volcanic pigment from banks peninsular as well as oil and various other paints. The focus of my media choice was to use a fluid approach to mark making, by doing so I am able to approach the making of these works in an immediate yet subtle way. Mark making is at the front of my practice, particularly the use and control of line weight. In this particular body of work I have furthered my technique in creating a staccato rhythm to the actual making process. This has resulted in a more abstract outcome, which relays back to explored concepts in the reimaging and representing of time. This is particularly evident in the work

Aphrodite visits ships cove (right). in this work there is also a heavy use of blue, this relates to ideas of recording, but through current technology -google maps.

Artists who have influenced my practice include Jenny Saville, Tracy Emin, Marie Le Liever, Kim Pieters, Marian Maguire and Lisa Reihana.

My previous Bio for my last show at chambers is still current, as the work created for Navigating horizons was at the halfway point of my masters.

(previous Bio)

These works are part of a body of work that examines the transient nature of life, exploring concepts around identity, particularly femininity, vulnerability and ownership. Elizabeth Moyle’s work aims to contextualise her geographical environment whilst examining Pasifika, Maori and Pakeha concepts of belonging. Her adept handling of a variety of media demonstrates not only the artist’s innate abilities but a true sensitivity towards her subject with gradations in line lending her charcoal forms an ephemeral quality and yet simultaneously, and seemingly impossibly, monumental presence.

Graduating with First Class Honours BFA from the University of Canterbury in 2011, Moyle dedicated part of her practice in studying historical printmaking in the Pacific. Moyle has exhibited both nationally and internationally and has been the recipient of many awards and scholarships, and is currently completing her Masters study at Ara