eternal summer. Installation at Bridge Street Collective, 9th February – March 2016
‘eternal summer’ is a tribute to that which is soon to be dying, but remembered as always alive, growing, even blossoming. Tokens of summer are here gathered and treasured, while suspending belief that it withers and dries.
Memory is the over-arching impetus of eternal summer. Fond memories with romantic, summery glows, forever to stay that way, if we maintain them.
Flight is a secondary inspiration to eternal summer. Flight compels leaving, changing state, evolving. Nature has found the most effective way to fly I believe, and seed pod distribution displays a micro scale testament to that. The Sycamore seed reminds me of concept drawings by Leonardo Da Vinci depicting machines for human flight, while dandelion seeds command ubiquitous imagery as miniature parachutes sailing on any light breeze.
Death is the third tenant to eternal summer. Death exists only where there is life, and yet to some of us, death is considered the worst enemy of all. That would seem absurd if we openly witness our seasons. In this there is no eternal, change is the only constant. The summer’s heat cannot endure infinitely, it must give in to the following season and through this, death is initiated. Our experience of death evokes our memory, and in some cultures, flight is a consequence of death too.
Lee Woodman, February 2016
Heavy/light. Refinery ArtSpace Installation. October 5th – 20th, 2015
Medium: Paper, Stone, Steel pipe, Thread.
Heavy/light is an installation using the materials; paper, stone, thread, and steel.
The orchestration of opposites in Heavy/light is about equivocation, tension, and balance.
Weight, mass, and the associated physics are apparent where the stones hang, yet each stone is carried by something light. The stones evoke permanence and mass, while the paper is fragile and relatively temporary. The colour black represents mass, a dense heaviness.
The thread can also be thought of as light, an ephemeral delicate screen, such as a spider’s web.
‘Light’ in this installation also refers to lumens. The power of a candle or bulb. Here, light is used to create a separation. Together with the thread, the light suggests a barrier or screen to another dimension.
String Theory. Salt Gallery, Nelson. 13th May – 30th June 2015
Ann Braunsteiner and Lee Woodman
The name for my installation Three Fold Cord is a nod to the biblical scripture from Ecclesiastes chapter 4 v 12; ‘And if a man prevail against one, two shall withstand him: a threefold cord is not easily broken’. Or in todays’ language; ‘in a tough situation, two is better than one no doubt, but three is even better’. There are many other quotes that promote the advantages of teamwork, like ‘Many hands make light work’.
It would be impossible for one thread to hold any of these rocks, but for multiple threads it becomes possible. Furthermore, it becomes apparent during construction that some threads do not contribute at all to the load but stay loose, yet the rock still hangs.
Three Fold Cord plays on physics and engineering, with some visual inspiration from sailing ship rigging. These thread installations aspire to respond to the given structure of the building.
My line drawings are experiments in repetition, finding differences between straight lines and converging lines. All hand drawn in pencil, the works are meditations on different ideas and compositions.
The scans of Tangled Up are the opposite; documented moments of randomness never to be repeated. This tangle of thread is a re-use of thread from previous practice installations.
String theory for me relates to both the structured and the chaotic. Some parts are rational, comprehensible, and other parts are random, and hard to quantify. Both are needed for any form of unification theory such as String theory.
Lee Woodman 2015
Meditation in Red. Installation for Canopy Design in Lucas House, Nelson. 2014
Meditations on Hundertwasser. Bridge St Collective, May 2014
Paper, Rock. Art in Windows, Nelson NZ. October 2013
Impressions Art Awards October 2013
Meditation on Hundertwasser’s ‘ungodly’ straight line #2 won ‘Best Artist from Top of the South’
AnnCT, Larisse Hall, Lee Woodman. Refinery Artspace, Nelson. May 2013
New Members Exhibition. April 2013
AnnCT Braunsteiner, Lee Woodman. McKee Gallery, Nelson NZ. January 2013
Final year exhibition, Victoria University. November 2012