The contrast between light and shadow is regularly used to outline an allegorical understanding of good and bad. In the physical world there is only the presence of light, and the absence of it. So too in humans there is no wickedness; it is merely the presence or absence of good that creates the construct. The continuum of varying degrees of good is present in us all.
In the series 'Milk and Honey' Nik Hanton re-purposes luxury items from the 1950s and in so doing generates one final act of respect for the materials, thereby saving them from obsolescence. In creating these works she acknowledges the culture of creative repair and re-doing that was emblematic of that time.
We all have locked rooms inside us and find our own way to secure them. We encase them, we stitch them, we bind them, we bury them, and, regardless of their weight, we carry the burden alone.
We lock our raw memories in miniature palaces to retrieve and examine from every angle. Our distance from them doesn't make them any less real, only more bearable.
These visual memoirs map the narrative of our lives. They tell of our unique ability to evaluate our past and under its impact on our present. We are all at the intersection of incomplete stories.
Childhood is a time that shapes us possibly more than any other. In this series I use colour palettes, materials and techniques emblematic of the decades in which I grew. Pairing discarded kauri and heart rimu with the ever-present pine and engineered wood, the pieces are a nod to the DIY culture of Aotearoa.
This series explores the concept of Duty by examining the internal mental world of the do-er, and the external world of the perceptions of those witnessing the acts.
Our identity as individuals is inextricably intertwined with our past. As much as we value our separateness and the unique space we inhabit, we must also acknowledge our interconnection with the members of our clan and those who have gone before us.