MY CHOICE: Natalie Bradburn / February 2023
February 2023: Natalie Bradburn
Each month a member of our community is invited to browse our online collection and select six of their favourite artworks. Each My Choice selection, together with personal responses to the works, will be available to view on the Sarjeant Gallery website for one month at a time. The February 2023 My Choice has been selected by Natalie Bradburn and is available to view until 28 February, 2023.
Natalie Bradburn wears many hats; splitting her time between architectural work and CLEANCLEANCLEAN – a continually evolving research and design project founded to examine the way we use and move around space. One of her first areas of interest is the bathroom; a room that’s often an afterthought but one integral to functioning. Outside of work, she’s an avid cook, impeccably dressed and lives with her partner and their two children, Marlowe and Frances.
See Natalie’s selections on our Explore the Collection ‘My Choice Exhibition Series’ highlight here and below:
Ann Verdcourt, Ceramic Pitcher (E2017/84)
“It’s amazing to me how it doesn’t take much for something to become strange. Something so minor, some small variation on the expected, it can be barely noticeable. This pitcher is such a familiar form, yet so strange! It would be hard to say if it came from the year 200 or 20,000, but I think it would be comfortable in both eras.”
Ans Westra, Wanganui Colour Work no. 1, 1993 (1996/3/133)
“I read David Hockney and Martin Gayford’s book ‘Spring Cannot be Cancelled’ recently and seriously enjoyed it. Among many things, it has me thinking about the weather all the time now, and what it takes to properly illustrate it. I love how this Ans Westra photograph captures the wind so accurately, it’s almost audible.”
John Bailey, Winter Solstice/Spring Equinox ’83, 1983 (1985/8/1.1-1.11)
“This whole series is just wonderful! The observation of light over time in a single space, such a worthwhile pursuit. Architecturally, light plays no small role in bringing a room to life and I love how Bailey has captured it in these minimalist and measured drawings.”
To see the entire series, you can read about the premise of the work here. Then the series is as follows: 8:40am, 9:00m, 9:20am, 9:40am, 10:00am, 10:20am, 10:40am, 11:00am, 11:20am and 11:40am.
Don Driver, Two for One, 1983 (1984/26/3)
“I don’t know what to think of this really, it seems awfully macabre. But so full of colour and life! A bit confusing really. A couple of bodies recently evaporated, leaving behind a set of pristine and freshly laundered coats, set against what is obviously the murder weapon! It’s a captivating scene, and I can’t take my eyes off it.”
Trevor Moffitt, Wedding Night, Lights Out and Every Night Thereafter, 1980 (1982/38/2)
“So ordinary. Yet so ominous! This painting equally makes me want to laugh and cry. I feel deeply concerned for the young lady. Exquisite colour palette and I love the blunt brushstrokes.”
Peter Peryer, Octopus, 1985 (L1997/29/30)
“I suspect there are some sinister themes emerging in this selection, but I couldn’t help but include this photograph too. Endlessly impressive to me that the octopus is in fact real, for all the reasons that can be viewed in this work. I mean just look at those tentacles! Shocking stuff.”
Category
Past Exhibitions 2023
