Alma Zucchini

Form & Emptiness

The Smellery 

Sata's Priest 

Dala Horses 

Rosmåling 

Silver Collection

Wild-Flowers

Sata's Expulsion from Paradise 

Seventeenth of May

Tea Party

Market Day

4.45pm

9.30am

The Garden of Forking Paths

The Red Dyne

Walking the Velvet Labyrinth

Always Elsewhere

Beere Place

Character in Fiction

The Adelph

The Epoch of Space

The Olsen Sisters

  The Summerary    

Patterns & Paintings  (The Widow) 

The Adelph                          

Bolette, Bamse, Bess, Black Watch 

 8.15pm  

We need to live more by the sea 

Tante Helle's Kitcen

The Seery

The Wintary 

Tori Beeche's paintings are formed through a process of extracting poetic moments from historical archives and encoding them with an alternative reality, asking viewers to consider the value of nostalgic reflection.

Tori lives and works in Auckland, New Zealand. She graduated in 2015 from the University of Auckland’s Elam School of Fine Arts with a BFA (First Class Honours) and gained her MFA (First Class Honours) in 2020. Her work has been included in the finalist exhibitions for the Molly Morpeth Canaday Award (2021), New Zealand Painting & Printmaking Award (2020), and the Sunshine Coast Art Prize (2018).

Tori Beeche

Remise

Pars pro toto - Hold

Hoarding

The Only Way Out, is In

Pars Pro Toto-Civil Appeal III and IV, 2021

Pars Pro Toto-Billboard

Pars pro toto-Civil Appeal IV, 2021

Pars pro toto

Pars Pro Toto-Civil Appeal VIII, 2021

Pars Pro Toto-Civil Appeal VII & VIII

Pars Pro Toto-Civil Appeal III, 2021

The Space Between Us

Pars Pro Toto-Private II

The Space Between Us 1-4

Pars Pro Toto-Public, 2021

Pursuasion

Armee Figure 2

 Assistance Judicaire

Marinda Vandenheede

Future Nostalgia features new works from three artists.

Each artist art draws from the past to speak to us in the present, reformulating objects, ideas and moments from personal and historical archives.
The result is works which invite viewers to consider the value of nostalgic reflection through our connection to memory, object and place.



‘s paintings explore the link of memory and nostalgia to the physical spaces we occupy. In the tradition of Western genre painting, where a room becomes a site for inquiry, her practice examines the forces at play in the representation of an interior space. Utilising the basic compositional components of genre painting, such as a window, a mirror or a doorway melded with decorative elements and pattern motifs, to examine the influences we absorb and how the spaces we occupy shape our understanding of the world.

The paintings inhabit a spatial dimension that is formed by the social, emotional, and aesthetic narratives that the spaces we live in hold. Although she grew up in a suburb in Auckland, the narratives of her lived space were Scandinavian. From the décor of her family home to the social and emotional narratives of family life, her Norwegian father’s influence was profound. Childhood memories of stories and visits to her father’s homeland felt like fairy tales sparking her imagination and creating the lens of nostalgia that are layered into Tori’s paintings.

Constructing her paintings through a melding together of old black-and-white family snapshots, referencing flashes of coloured textile and decorative motifs that are in our memory-banks or imagined spaces from novels we have read. The canvas offers a space to re-negotiate history by connecting different locations in a heterotopian dimension. Asking how re-imagining our past could re-configure the present and, perhaps, re-kindle hope for the future.

’s delicate embroideries are microcosms of myth and mystery, as well as personal meditations on the passage of time and the inner landscapes of the mind. Bonheur takes inspiration from universal mythologies, drawing symbols and motifs from both European & Pacific culture.

Seraphine trained in the high-fashion epicentre of Paris, where she learned centuries old techniques. Her carefully selected materials are sourced from the workshops of Chanel, with each artefact and thread carrying with it a material residue of the past, as if evoking memories of its former locale. Yet it’s the curious synergy of universal storytelling, material object, and it’s re- arrangement, that creates these compelling contemplative spaces, where the past joins the future and nostalgia takes shape for tomorrow’s lore

 creates sculptural objects, works on paper, and paintings that employ natural, used, and discarded materials. “I tend to work with weathered, natural materials that testify to the beauty of decay.” Such materials lend a sensitivity and sense of wonder to her works that contrast her use of lines and geometric forms Her paintings and drawings often contain a rough-edged, imperfect geometry combined with used paper and other repurposed surfaces – abstract, yet very much part of this world. Her objects border on the surreal as they repurpose recognizable worn and aging items and worldly fragments.

Vandenheede’s practice embraces imperfection, atrophy, and stillness. It is a rejection of perfection, disconnectedness, and consumerism. “

I use discarded, out-of-use things that no longer meet the exacting standards of our Western society, giving them a new life as works of art.

” Layers of time and narrative potential are embedded in her materials. She invites viewers to take a moment to be still and to take a deeper look.

Future Nostalgia

Act your Beige

Better Slate than Never, 

Willing and Sable

Celdon Vase Painting

It Feel's Much Butter

Vintage Fog

Verdant Dreaming in the Dessert

Chamomile Cleansing Ritual 

Sing of Cerulean

A Common Sage

Lazy Yellow

Hairy Artichokes

At the River

In the Flesh

Surprise Light Pink

Untitled

Thyme & Thyme Again

Pinkoherent

Dandelion Street

Dried Rose Coloured Glasses

Dusty Hazy Days

Gernium

Silver Springs

Mauve in the Corner

Sappy Sage

I Was Possessed by the Blue

Sugar Gray

The Right Kinda Blue

Shrubs go to Town

installation 2022

Whole Lotta Mauve

Cadmium and Clover Over and Over

There’s a Slug at the Back

Wholesome Balsam

No Wonder Lavender

Urban Forest

Hinoki Doki

Silver Spring

No is a Colour

Sands Serif

Spirit Bay Blues

By My Cypress

Riveria During the Day

Huia During the Day

Pondering

installation

Bloom Day

The Wallowing Walnut

Wake up Make Up

Tomorrow at Indigo

When the Shrubs go to Town

Floral Decay

Kahurangi 

Botanic Attack

Karaka Verde,

Moss Definitely

Cedar Later

Nightshift

Petrichorus

Heart of Sass

Murder on the Canvas

Andrea Bolima

Caught up in Circles features a suite of new works from three significant female artists:

Tori Beeche | Andrea Bolima | Marinda Vandenheede

Each artist art draws from the past to speak to us in the present, reformulating objects, ideas and moments from personal and historical archives. The result is works which invite viewers to consider the value of nostalgic reflection as well as our connection to memory and sensation of the natural world

‘s paintings explore the link of memory to the physical spaces we occupy. In the tradition of Western genre painting, where a room becomes a site for inquiry, her practice examines the forces at play in the representation of an interior space. Utilising the basic compositional components of genre painting, such as a window, a mirror or a doorway melded with decorative elements and pattern motifs, to examine the influences we absorb and how the spaces we occupy shape our understanding of the world.

’s paintings assert their physical presence but perhaps more importantly, they allow dreamy associations to be made in the paint. Bolima’s paintings sit in an ambiguous zone between abstraction and representation and as such one can find themselves in flux between ‘here’ and ‘there’, in focus and out of focus. Her paintings are led not so much by representation as sensation.

Inspired from memory and the natural world, Bolima paints ambiguous organic forms, areas of paint may resemble cloud currents in a sky scape or leaves and trees in a whimsical garden. Her forms are never explicit. Colour and active gesture spark the feeling of such places without letting go of a painterly materialism and abstract aesthetic. Through colour and form they remind us of unspecific places and moments that are simultaneously personal, private and universal.

For Bolima, colour precedes composition in process, fields of colour are applied before surface textured marks are applied. She will apply and mix colour directly on the canvas and in doing so, creates a site of change from which she can then respond to intuitively. A practice that is characterised by varying degrees of control and lack of control, spontaneity, play and intuition.’ (Benjamin Abdale-Weir, 2021)
____________________

 creates sculptural objects, works on paper, and paintings that employ natural, used, and discarded materials. “I tend to work with weathered, natural materials that testify to the beauty of decay.” Such materials lend a sensitivity and sense of wonder to her works that contrast her use of lines and geometric forms Her paintings and drawings often contain a rough-edged, imperfect geometry combined with used paper and other repurposed surfaces – abstract, yet very much part of this world. Her objects border on the surreal as they repurpose recognizable worn and aging items and worldly fragments.

Caught up in Circles

Tori Beeche deftly manipulates visual and material culture to create works that are nostalgically astute and optically glorious. Curious souvenirs, ceremonial objects and decorative patterns fill these grand domestic interiors which have all been carefully captured by Beeche’s diversified practice. Combining the familiar and imagined, she presents and explores the artifice of constructed spaces, languages of fragmented time and a mysterious discourse of cross-cultural, deliberately juxtaposed, relationships.

Beeche’s new exhibition Dream Bird continues to mine family narratives for reference material to paint. The exhibition title takes its name from a quote by the German cultural critic and media theorist Walter Benjamin (b.1892, d.1940) who said:

“Boredom is the dream bird that hatches the egg of experience”.

For Tori, childhood bouts of boredom were alleviated by her father’s entertaining stories from his past, often centered around the history of his family and the many decorative objects in her family home. His narratives were weaved around the rituals and symbolic objects of his childhood, not only quelled boredom – they passed on cultural heritage in way that we don’t seem to do much anymore.

This entertainment ritual Tori had with her father, is now enacted out in her painting practice. The psychological canvas of daydreaming and paternal storytelling, now a real canvas on which to project fantasies, emotions, ways of life and try to arrange them in a useful narrative.

The subject matter for Dream Bird references objects and places that have been saved for future generations. Asking us to consider what marks objects or places of such cultural significance to someone that they feel a responsibility to preserve them for the future. And how can these precious archived items be of use to these future generations. With the disappearance of many of the rituals that these objects were used in, they are now redundant. Today they are stored out of sight and never engaged with. They are photographed, digitizing them for permanence, but we are losing contact with the physical objects and the communities and connections that are built around them.

Cultural theorist Byan Churl Han writes how the combination of our drug like dependency on technology and a disappearance of traditional community bonds has led to many today suffering afflictions of isolation, loneliness and depression.

The contemporary world offers multiple ways to avoid boredom. If we choose, every spare moment can be occupied with some form or other of digital entertainment. But with this constant flow of media, Han believes people are experiencing a temporal crisis, their experience of time speeds up and is full of fractured narratives, with no specific end points to rest at. No time to consider and process what they have seen or to daydream about what it all might mean for them and their loved one. But for Benjamin the psychological state of boredom was useful, and Tori sees the truth of this. It was the instances of boredom from her childhood that lead to periods of unstructured daydreaming, time to reflect on the social conditions in which we live and consider in what sense they could be made better.

Beeche utilises the suggestion of nostalgic recall to explore how our memories are linked to the objects we attribute meaning to and the physical places we occupy – and how these artifacts and spaces shape our understanding of the world. Her paintings formulate a spatial dimension from the social, emotional, and aesthetic narratives the spaces we live in hold. Foucault talks about space as the experience of being drawn out of ourselves and into space as our journey through life occurs. We have absorbed the influences the rooms of our childhood contained, and the spaces we create as adults can hold our worldview. It is a critical reflection on the past that incorporates nostalgia. At the heart of it is the idea of a detour, which suggests unexpected exploration and encourages the recovery of unforeseen pasts. The idea of a detour sends us off to explore side-shows and back-alleys rather than following the straight road of forward progress that has been the narrative of the twentieth century. Looking back to find a way forward. The re-presentation of the past is a certain kind of political statement; a call for us to re-value the past and learn from these rediscoveries.

Föenander Galleries | Auckland

Tori Beeche