OSPX

Oliver Stretton-Pow
Artist

  1. Infrastructure 45: The infrastructure works involve a meditative fabrication process, layering volumes and linear elements over the central impulse or concept, simultaneously obscuring and enhancing the initial theme.
  2. In Vitro: An exhibition under glass at Exhibitions Gallery, 20 Brandon Street, Wellington: The infrastructure works involve a meditative fabrication process, layering volumes and linear elements over the central impulse or concept, simultaneously obscuring and enhancing the initial theme.
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  4. : The series of works currently on display in Wellington provide portals for the imagination, the glass cases seem to imprison these tactile works, interposing a fragile protective veil between the object and the audience
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  6. : The series of works currently on display in Wellington provide portals for the imagination, the glass cases seem to imprison these tactile works, interposing a fragile protective veil between the object and the audience
  7. : The series of works currently on display in Wellington provide portals for the imagination, the glass cases seem to imprison these tactile works, interposing a fragile protective veil between the object and the audience
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  12. The Eye Candy counter:
  13. ART WARD: A third project is taking shape in this space in the form of an ‘art ward’ a place where ailing ideas might convalesce until they are strong enough to face the world.
  14. La Folley I: The castle ruin in ‘The Drawing Room’ is a site specific response to a unique environment, as such it could be imagined in terms of entropic or transient ideas that slowly decay providing mineral support for a barren cultural substrate. The urge to build these folly’s springs from not only the inherited tendency to embark on overzealous projects that may (inadvertently) have side affects or unforeseen outcomes... but also as a pre-disastered concept the work has intuitive, almost rhizomatic growth. Both the offshoot or ‘sucker’ potential and self destructive elements are encoded from the start; on one level it is an allegorical caution of excessive development or exploitation of resources...on another it speaks of the past and the future which lie embodied within objects created from these resources. The displayed aspect of the dresser draw usually lies hidden beneath our layers of disguise, the clothes we use to communicate our connectedness to one tribe or another. By displaying these bones stripped clean of flesh we see each drawer in a Kantian Noumenal way, as a 'thing-in-itself', and in this moment of seeing perhaps we may also glimpse the folly of our modern existence. Oliver Stretton-Pow Tweaked by Dr J R Hill Esq August 2012
  15. During the evenings fire apparently blazes in the hearth, repeatedly flaring up and billowing out onto the pavement and the pas:
  16. Stills from 'Tapuaetahi' A Collaboration with George Chang:
  17. See my work at Exhibitions gallery http://www.exhibitionsgallery.co.nz/:
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Latest Sculpture Projects

Date: 30th August, 2012

Metamorphoses
a group exhibition of sculptures
16 April – 10 May 2014
Preview: 15 April, 5:30 – 7:30pm
Taking its name from Ovid's collection of poems, this exhibition showcases artists for whom metamorphosis is a vital element of their work. In the first instance, in taking matter and re-forming or re-configuring it, the sculptor effects the metamorphosis of base material into artwork. Furthermore, as our world, our lives and our selves are constantly changing in physical form, appearance and character it follows that the artwork of our time should reflect this.
Metamorphoses will include new sculpture by contemporary NZ artists Ada Leung, Janna van Hasselt, Oliver Stretton-Pow, Aaron McConchie, Richard Kearney and Mason Vincent. Between them, this group of artists has worked with sculpture in the form of object, installation, assemblage and ready-made; and with themes of metamorphosis which range from comical to lyrical and visceral to cerebral.

Recent work

All works