Sure To Rise is a pop-up exhibition opening Friday the 31 of October, in the James Smith building in central Wellington. It show cases new work from seven artists who have consistently produced strong evocative and sometimes challenging work. From 2011 and 2012 all seven artists would be  part of a small group that showed at  ‘a gallery’ a small Dunedin gallery at the far end of  Princess Street. The gallery showed artists that produced work that fell in-between what would be shown in the handful of local commercial galleries and the one or two art project spaces.
From Philip James Frosts signature messy colourful works of text and line mixed with pop and grime. To Sharon Singers fairytale fantasy dreamscapes that hint at a darkness that lurks just bellow the surface. Singers works echoes the dark distopian urban photographs by Justin Spiers. Rachael Taylor has produced an intimate series of what could be botanical illustrations from a distant world. Simon Attwoolls new prints inspired by a random box of photographs of unknown children and the recent spat of high school shootings.
Sam Ovens with another humorous attack on current social politics rendered in violent colours and a larger than life hand-stitched ‘My Little Pony’ By Jay Hutchinson.
Please join us for a drink at the opening at 6:00pm Friday 31st October
Ground Floor, Saint James Building, Corner of Cuba and Manners Street
Wellington, New Zealand. Exhibition open for viewing 9:00am till 5:00pm Saturday and Sunday 1-2 November
Copies of the Publication B L I N D / H A T E still available…

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Conceived as a two-year project, ‘a gallery’ opened in February 2011 at 393 Princes Street, Dunedin and closed in September 2012. Strategically placed south of the center of town nestled between tattoo studios, sex shops and a needle exchange. What was integral in the selection of the gallery space was that it would be able to be viewed from the street through the street level floor to ceiling windows. This would allow the artists showing to be exposed not only to viewers visiting the gallery, but also those walking past, as a gallery was to represent artists that did not fit within the commercial gallery context or the so called experimental project space’s, this would be the best way to expose a particular group of artists selected by gallery curator/manager Jay Hutchinson, artists he respected and admired and felt were not being represented in the gallery scene at the time.

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