Exhibitions

Lake House Arts presents a vibrant and engaging exhibition program profiling artists and groups that are both nationally and locally recognized as well as community based and local artistic talents. Our exhibition program strives to represent a wide range of visual art mediums, including historical and multi-cultural themes with links to a selection of regional and local, arts and cultural events. The exhibition program is accompanied by a range of public programes including artist’s talks, exhibition tours and art workshops for adults and children. 

Lake House Arts has several exhibition spaces: The Becroft Gallery, The Cafe Gallery, The Tindall Room, the Art Capsule, Pop up Studio, the upstairs Harcourts Heritage Homes and buildings exhibition hallway. We also collaborate with a network with external organizations and businesses to provide a a wider exhibition opportunity to our members and artists, these include Spenser on Byron and the Pump House Theater. 


Ch Ch Ch Changes: Vaughan Clements

Monday 14 May 2018 - Sunday 27 May 2018

This exhibition by the artist Vaughan Clements is the result of spending time up in Nicaragua earlier this year with the French artist Jean-Marc Calvet and the Central American influences that have crept into his art.

https://www.facebook.com/vaughan.clements.5


Metalaxis - Spiros Poros

Monday 28 May 2018 - Sunday 17 June 2018

 

‘’From Zero One goes to nothingness
 On the path you will see the sun” 
 
 When one tries to talk about life and death he is moving into unfamiliar waters. We seem to lack real answers for the greatest issues
and question of our lives. But, we never cease to search. 
 

 “We are made up of the material that dreams are made of, and our little life is surrounded by sleep”. ~ Shakespeare 
 

 A concept that has occupied individuals, generations, cultures and civilizations. Depending on time and place, cultures interact with the issue of life and death in ways that present similarities to that of the
individual but with unique differences between civilizations. 
 
 In Egypt, pharaohs were being buried with their material possessions, believing in the continuation of as if it were unchanging. 
 
 The existential question of whether and in what form there is life after death, and of the exact relationship between body and soul
was answered in different ways in Greek philosophy. Ancient Athenians had the
custom of anointing young women before they were married and at their death if
they were unmarried. Both, as rites of passage. The oil used was kept in a
white vase called a lekythos, on which was
painted a colorful representation depicting the dead in the underworld. This
lekythos was placed over their graves. 
 
 Fundamental questions and eternal wondering…who really can talk about the boundaries of life and death? How does the one exist in tandem with the other? Where does one stop, and then begins the other? 
 
And the body, its breath, its movement, its pain, its needs and desires, the performer of the soul.
 
 Our thirst for strength, for beauty, for passing into a world where destruction will not condemn us to obscurity, is depicted through the operation of the body, and how it is immersed in art and a reflection of
the human experience. 
 
 The desire for the land of incorruptibility, of eternity, makes us apprehend the moment, to make it immortal. Life, death and the
body their connector…the single point of currency.
 
 Within this adventure of our battle with death, the creative process works uniquely in the moment with the power to relate the past
and the future, giving the feeling of continuity, which may be the only form of
immortality. 
 
 The only thing these things have in common is man. His life, his death, his body as a field of encounter of life and death, his body
as a vehicle that moves through the passage between nonexistence, then life, and ultimately death. 
 
 A desperate attempt to fight against the unknown and the futility we are condemned to, from the beginning to the end of our life.
 
 In our sacred and desperate attempt to give a personal meaning to a world that stands firm on meaningfulness, we only desire to be
where beauty and silence themselves want to save something under the sun…or the
shadow…



In Earliest Light

Saturday 2 June 2018 - Saturday 30 June 2018

Saturday, 2 June 2018     Saturday, 30 June 2018

“In Earliest Light”

Photography Festival (31 May - 22 June)

Café Gallery with Photography Sessions in the Pop Up Studio

“In Earliest Light”  - Wet Plate images from The Collodion Collective

“Convenience is the enemy of creativity….”

Wet plate collodion is one of the earliest photographic processes arriving a few years after the daguerreotype. It permitted the creation of finely detailed images on glass or metal. Permanent images can be produced on site within a few minutes and the process has sometime been described as “Victorian Polaroid”. Wet-plate negatives can also be used to contact print onto albumen coated or salted paper. For a few decades from 1851 the wet plate process dominated photography but the need for a portable darkroom and the vagaries of its chemistry meant it was a process that was arduous for both the photographer and their subjects. The arrival of the dry glass plate negative that could be mass produced and developed long after plates were exposed eclipsed wet-plate within a few years and by the 1880s the process was largely consigned to history.

 

However, large format cameras and lenses continued to be used well into the late 20th century producing images on film of unrivalled quality. Increased interest in recent years in all things analogue has led to a new generation of photographers repurposing old equipment and rediscovering pre-digital processes. Wet-plate has undergone a minor revival with lenses and cameras that have been unused for more than a century once again being coveted and used for image making. The internet has let networks of “collodionistas” across the world share their knowledge and work.

Collodion and the large format cameras most wet-plate photographers use present some special challenges. Collodion’s sensitivity to light is about 100th that of modern analogue film. Portraits require exposures of 5-10 seconds or several thousands of watts of flash power. Each plate is prepared by hand and there is no second chance with an image, either in its exposure or development. The behaviour of the chemistry varies with changes in temperature, humidity, pH and time.

The extremely slow film speed and the medium of large format also moves the shutter speed, aperture, depth of field paradigm into territory unfamiliar to most 21st century photographers. The process necessitates commitment from the photographer and sitter..

In New Zealand accessing the chemistry needed for wet plate (and most 19th century photographic processes) has made rediscovering these processes more difficult. It has also made collodion photography a more collective experience with all of us sharing formulae, ideas, chemistry and equipment.

In this show the Collodion Collective are returning to The Lakehouse for a second year. We will be also demonstrating the process at Lake House during the festival. 

Portrait sessions can be booked by emailing martinsowter@xtra.co.nz. Allow about an hour as taking wet-plate images takes time. You’ll also get a chance to see how the process works and “pour a plate” if you wish.

Wet Plate Photography Sessions 10am – 2pm in the POP UP STUDIO

 

 

 

 

Sunday, 17 June & Sunday June 24th

 

 

 

 

Lake House Arts Centre

37 Fred Thomas Drive,
Takapuna, Auckland 0622

Phone: 09 486 4877

Email: info@lakehousearts.org.nz

Opening hours

Office WINTER HOURS
Monday - Friday 9:30am - 3:30pm
Office is not open on weekends.

Gallery WINTER HOURS
Tuesday - Friday 9:30am - 3:30pm,
Saturday & Sunday 10am - 2pm

Cafe WINTER HOURS
Tuesday - Friday Open from 8am
Saturday & Sunday Open from 8:30am

 

 

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