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So far the kiln has created 5 blog entries.

Paul’s art and dinnerware at Loretta

The Dominion Post has just reviewed Loretta Restaurant in Cuba Street Wellington, praising both it and Paul's artwork and dinnerware! Here's a snippet of the article: "You gotta love Loretta" - Dominion Post, 5th July 2014 The trio from Floriditas - James Pederson, Marc Weir and Julie Clark - have knocked out the rear wall of the former Simply Paris, and converted the spacious boulangerie into a magnificent Scandi-influenced tunnel of elegance, all arctic whiteness, kitchen tiles and pristine stainless steel. Controlled areas of distressed

The City– Becoming and Decaying

  "The City– Becoming and Decaying" is an exhibition of photographs curated by the Goethe Institute, currently showing at Aratoi. In the introduction to his book ‘Century’ featuring 100 years of photography (1900 – 2000), the editor Bruce Bernard says: Later in the passage he says: ‘The City – Becoming and Decaying’ would have been very different had the late Bruce Bernard been selecting the images. The exhibition tries to be a photographic essay about one of the most complex human

Close to Home – William Beetham Portraits

Portraits are a statement about societal manners as much as they are the record of the appearance of a particular individual.  Above all perhaps, throughout the history of image making, portraits have been an attempt to preserve and immortalise the status and position of the subject as worthy and important. The current exhibition of Beetham portraits at Aratoi extols the values of probity, dignity, sobriety and respectability as much as they are records of the appearance of their mostly family subjects. William -

Breath – the Fleeting Intensity of Life by Vincent Ward

Video installation 4.50m, 2012, showing at Aratoi Gallery until 28 February Vincent Ward’s video is a shortened version of a larger work that circulated around New Zealand Galleries in late 2011 and 2012. Much of the publicity surrounding those showings and the commentary around them seems to have been provided by Ward himself through interviews and written publicity material. The version we see at Aratoi has two scenes. One shows a fat naked man lying in the middle of the road, in a deserted small

The Unknown Craftsman

I recently read a short article in the last issue of Ceramics Quarterly from an Auckland Potter raising some interesting questions about the nature and definition of domesticware. Suzy Dünser’s discussion revolved around a much-heralded exhibition at Masterworks Gallery in Ponsonby, Auckland. Called ‘The Last Supper’, it had the ambitious aim of establishing a new 21st century ‘ethos’ for contemporary domesticware. Masterworks considered that in most other areas of the arts a 21st century approach could be seen but in handcrafted domesticware it was not.