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We dip into some Fashun with Rogue Fashion Show NZ; Kat Aucamp and Billy Blamires are in the studio to talk about the runway show on August 25th. Monoga.my is in the studio selecting some tracks and chatting about bRave this Friday night where they'll play alongside Hasji, Kieran Tahir, Caru, Left Hand Loz and Birkenthot. On Loose Reads, Suri’s reviewing The Gospel of Orla: A Novel, by Eoghan Walls. Kasper and Macy are in to talk about Making Ends Meet: a benefit show for Auckland City Mission, on the 26th August at St Kevins Arcade, the underground. Whakarongo mai nei!

Michelle Reid is a Tāmaki based painter, exploring the idea of atmospheres and gardening through a layered material language that incorporates oil paint, pencil, water colour and even the use of a water blaster. Allowing an index of material vocabulary and mark making to arise. Interweaving these explorative methods of mark making with botanical imagery to create a kind of synthesis of material language, that dances between representation and abstraction. 

Her current exhibition at Artor Contemporary, A Biome of Hue, continues Reid's exploration of atmospheres. Shifting the gallery space into its own garden-like atmosphere that invites viewers to engage with the work in a slightly different way—installed through the lens of a garden, some paintings hung high, others low to the ground, and one even wrapping around the gallery wall. Inviting viewers to encounter the paintings through this alternative embodied lens. 

Maya caught up with Michelle about the show, and overall practice.

Anto Yeldezian is a Tāmaki-based artist of Armenian heritage, who works amongst an expanded painting practice that often leans into methodologies of printmaking. Utilising methods of monoprinting, and stencils, along with a playful use of paint and material exploration.

Within his current solo show Desert Island on at Coastal Signs, Yeldezian presents a series of 7 large scale works on raw loose canvas. Installed in a manner in which the works almost engulf the gallery walls, and bring the space into a continuous field of symbols, and marks. 

The works themselves harness this heavy use of motifs, and symbols as a kind of centering point to the show. The references include camels, palm trees, oil pump-jacks, Homer Simpson's thirsty bird'; ancient fossils, the triple Gs of Canterbury Clothing Company, union jacks and logos of American defence and oil companies. 

Through the making of the work Yeldezian takes these symbols and applies them to various painterly techniques that almost pull them away from their own inherent meanings/references and into this place of a pattern-like language with its own set of meanings.

Maya caught up with Anto about the show as well as his overall practice.

Today on your bFM Breakfast: everybody loves Marlon; Jacinda weighs in on clean water and dirty boot camps; Kiran makes a case for an author's decision to dismiss the full stop; we solve the Nambassa Dancing Guy mystery; and Ange has some sage advice for those plagued with studytime stress.