Elizabeth Thomson

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  • Artworks
  • Exhibitions
  • Collections
  • Bibliography
'White Coda', 2016, glass spheres, optically clear epoxy resin, cast vinyl film, lacquer on contoured and shaped wood panel, 112 x 112 cm

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2014
Elysian Fields: Pataka Art + Museum, Porirua, Wellington
2013 -2014
Transitive States: Pataka + Museum, Porirua, Wellington

2012
The Ocean of Eden: Two Rooms, Auckland
Over and Above: Black Barn Gallery, Havelock North, and Hawke’s Bay
Islands of Dodonaea: RH Gallery, Upper Moutere, Nelson

2011
Colour/ Field: Curated by Aaron Lister, City Gallery, Wellington

2010
Another Green World: Tauranga Art Gallery, toi tauranga, Bay of Plenty

2009
La Planète Sauvage: Two Rooms, Auckland
Tonight in the Mystic Garden: Black Barn Gallery, Havelock North, Hawke’s Bay

2008
Astrophysics and the Thomson Effect: Mark Hutchins Gallery, Wellington
Supposition: Two Rooms, Auckland
Horoeka: rh art, Woollaston Estate, Upper Moutere, Nelson

2007
Studies for the Bigger Picture: Anna Bibby Gallery, Auckland
Relativity and the Fourth Dimension: Mark Hutchins Gallery, Wellington
Elizabeth Thomson – my hi-fi my sci-fi: touring survey exhibition curated by Gregory O’Brien, City Gallery, Wellington; Waikato Museum of Art and History, Hamilton; Te Tuhi – Centre for the Arts, Auckland; Rotorua Museum of Art and History; Dunedin Public Art Gallery

2006
Elizabeth Thomson – my hi-fi my sci-fi: major survey exhibition curated by Gregory O’Brien, City Gallery, Wellington
Interference: Anna Bibby Gallery, Auckland
Mondo Tondo: Mark Hutchins Gallery, Wellington
A Night and a Day: Nadene Milne Gallery, Arrowtown

2005
The Black and Whites: Anna Bibby Gallery, Auckland
Aerial: Mark Hutchins Gallery, Wellington

2004
Love Me Tender: Mark Hutchins Gallery, Wellington
Aviatrix: Anna Bibby Gallery, Auckland

2003
My Hi- Fi, My Sci -Fi: Anna Bibby Gallery, Auckland
Horoeka and Antequera, Observations on Home and Abroad: Michael Hirschfeld Gallery, City Gallery, Wellington

2002
Horoeka and Antequera: Anna Bibby Gallery, Auckland

1999/2000
Naenae Parterre, A Garden of Optics from the Intermillennium Series (1991-1996): Dowse Art Museum, Wellington

1997/98
Fringe of Heaven: Ten Year Survey: Lopdell House Gallery, Titirangi Auckland

1997
Purple Parterre: Artis Gallery, Auckland
Parterre: Brooker Gallery, Wellington

1996
Elizabeth Thomson Collected Works 1986-1996: Hawke’s Bay Exhibition Centre
Waking up Slowly: Auckland Art Gallery
From the Natural Abstraction Series 1991-1996: Fox Gallery, Auckland

1995
Sensillae: Jensen Gallery, Wellington

1994
Phantoms of the Night: Te Manawa; Museum, Gallery, Science Centre, Palmerston North

1991
The Winged and the Wingless: Fox Street Gallery, Auckland
Denizens of the Deep: Window Installation, Auckland Art Gallery

1990
Manukau Heads: Lopdell House Gallery, Titirangi, Auckland
The Winged and the Wingless: Catherine Scollay Gallery, Wellington

1989
The Fearless Five Hundred: Fox Gallery, Auckland

1988
Natural Aspects: George Fraser Gallery, Auckland

1987
Emerging Artists Series: Govett-Brewster Gallery, New Plymouth
New Work, Etchings and Bronze: Southern Cross Gallery Wellington
New Zealand Print Survey: City Gallery, Wellington

1986
Etchings: Southern Cross Gallery, Wellington

Elizabeth Thomson
Voyage Sauvage, 2014

In May 2011, I was one of nine artists (eight New Zealand, one Australian) invited to voyage on the HMNZS Otago to the remote Kermadec region – a vast oceanic expanse, up the centre of which runs a seam of over fifty undersea volcanoes and a handful of islands. To the west of this volcanic chain lies the ten kilometre deep Kermadec Trench in the second deepest waters on the planet. The region is of huge geological, oceanographic and scientific interest and the purpose of the trip was to raise public awareness of the Kermadec region and the dangers that threaten it. My experiences of that voyage and the special qualities of this still-pristine environment have subsequently had a profound impact on my practice.

For the past two decades, the islands and the 7450 square kilometres of sea surrounding them have been a protected New Zealand conservancy. During the last couple of years the international Pew Environment Group has been lobbying to expand the Kermadec marine reserve to 620,000 square kilometres, which would make it the largest ocean sanctuary in the world.Fellow artist and shipmate, Gregory O’Brien wrote of our journey that "without any co-ordinates, landmarks or familiar objects, the artists found themselves cast adrift in a new kind of space – one that was at once overwhelming and full of imaginative potentialities"

When the HMNZS Otago hove to on the Tropic of Capricorn in the middle of this vast ocean, a call of "Hands to bathe" came over the loud speaker. Those intrepid enough to dive or leap from the upper deck, plunged into the open sea – 10,000 metres deep. This crucial moment of mid-ocean immersion proved to be a creative epiphany for me. It was one of the defining experiences of the journey. When I put my head under the water, I opened my eyes to the most wonderful blue I have ever seen.Was I floating within, hovering over or submerged beneath? When I was floating in that blue, I just couldn’t stop smiling. It was a sublime experience. I was thinking about how I could spend a lifetime, exploring that astounding intensity of colour. Different tonal densities and colour fields, the light from above.

I felt so connected to the purity of the experience, primordial even, an extraordinary sense of weight and weightlessness, a sense of what the voyage was about, a connection to the fragility of our world, and the need to protect it. It felt like a blessing and an awakening. In that numinous blue I did feel a part of something greater than myself – a small part of everything – an immersion of the senses. Since then, I have wanted my work to be evocative of that memory – elusive – intensive, intangible, mysterious, elemental, virtual. I want my work to be as a hole in the wall revealing the world beyond.

Voyage Sauvage – towards distant lands and brave possibilities… swimming in the void

 

Amery, Mark, Poetic and powerful art, Culture, The Dominion Post, Wellington, 27 November, 2013
Elizabeth Thomson, My Hi Fi My Sci Fi, Dominion Post, 21 July 2006
Elizabeth Thomson, My Hi Fi My Sci Fi, The Lumière Reader, 11 August 2006
www.lumiere.net.nz/reader/item/633-49k
My artist, my friend, The Dominion Post, 21 May 2004, p. B10
Going Public, Visual Art. Dominion Post, 27 June 2003
Brown, Warwick, One Hundred New Zealand Artists, Auckland: Godwit Publishing, 1996
Cardy, Tom; Artist turning over a new leaf, Dominion Post, 27 June 2003
Caughey, Elizabeth (ed.), ‘Elizabeth Thomson’, Contemporary New Zealand Artists 4, Auckland: David Bateman, 2005, pp.64-66
Clement, Shelly, ‘Aerial perspective’, Urbis Landscapes 8, May/July 2006, pp.26-30
Corner, Katy, ‘Wellington’, Art News, Summer 2005, p.27
New Zealand Review – Sense on High Alert, Elizabeth Thomson, AAR Australian Art Review, Issue 12. 2006
Dunn, Michael, ‘New Zealand Sculpture: A History’, Auckland: Auckland University Press 2002
Foster, Bruce: Kermadec Log, http://vimeo.com/37186027
Kermadec: Reflections on a Voyage – Elizabeth Thomson on Vimeo vimeo.com/33616083? Dec 13, 2011 Interview with sculptor/installation artist
Elizabeth Thomson about her voyage to the Kermadec Islands
Foster, Susan, ‘Wellington’, Art New Zealand 44, Spring 1987, pp.49-50
Garrett, Louise, ‘Wellington’, Art New Zealand 83, Winter 1997, p.35
Golder, Bronwen & O’Brien, Gregory, Kermadec: Nine artists Explore the South Pacific, hardback 150pgs pub Pew Environment Group, 2011
Encounters, (publication reporting on nine artists voyage to the Kermadecs on the HMNZS Otago), Global Ocean Legacy – Kermadec Initiative, 2011
Kermadec: Nine Artists in the South Pacific, (publication presenting travelling exhibition to Tongan audiences), 2012
Kermadec from Rangitahua to Rapa Nui, (publication) 2012
Nueve artistas exploran el pacific sur, (publication for Rapa Nui audience), 2012
The Kermadec artists, (publication for Rapa Nui audience), 2012
Wakey Wakey Wakey ( Kermadec – Art Across the Pacific), (publication for Chilean audience), 2013
Harvey, Ruth; The Dynamics of Difference: Photography’s influence on the work of Elizabeth Thomson, Art New Zealand 124, Spring 2007, pp.50-53
Immersion: A conversation with Elizabeth Thomson, Art New Zealand 143, Winter 2012, pp.30-38
Lister, Aaron; Colour/ Field (exhibition publication), City Gallery, Wellington 2011
McIntosh, Jill (ed.), Contemporary New Zealand Prints, Wellington: Allen & Unwin/Port Nicholson Press, Wellington, 1989
McNamara, T. J.; Visual Arts, New Zealand Herald, 17 May 2006
Visual Arts, New Zealand Herald, 18 August 2004
Beauty of the Commonplace, New Zealand Herald, 17 July 2003
From the Scant to the Generous, New Zealand Herald, 30 September 2002

 

2016
'White Coda', 2016, glass spheres, optically clear epoxy resin, cast vinyl film, lacquer on contoured and shaped wood panel, 112 x 112 cm
'Tongatapu', 2016, glass spheres, optically clear epoxy resin, cast vinyl film, lacquer on contoured and shaped wood panel, 50 x 50 cm
2015
'Blue Beginning', 2015, glass spheres, optically clear epoxy resin, cast vinyl film, lacquer on contoured and shaped wood panel, 112 x 112 cm
‘Ocean of Eden Topographical Study for the Aviatrix I’, 2012, glass spheres, optically clear epoxy resin, acrylic on panel, 74 x 61 x 3 cm
‘Ocean of Eden Topographical Study for the Aviatrix II’, 2012,<br />
glass spheres, optically clear epoxy resin, acrylic on panel, 61 x 74 x 3 cm
2014
'Voyage Sauvage', 2014, Glass spheres, optically clear epoxy resin, acrylic, cast vinyl film, lacquer on wood, 640 mm x 920 mm
‘Sentient II’, 2014, cast vinyl film, lacquer on contoured wood panel, 50 x 50 cm
‘Alpine Club’, 2014, Bronze, copper wire, patina, oil pigment, wax, <br />
5 mountaineers 30mm - 70mm, dimensions variable
'Lavinia Region', 2014, Glass spheres optically clear epoxy resin, acrylic, cast vinyl film, lacquer on contoured wood, 1120 mm x 1778 mm
'Lavinia Region', 2014, (detail) Glass spheres optically clear epoxy resin, acrylic, cast vinyl film, lacquer on contoured wood, 1120 mm x 1778 mm
‘Delta’, 2010, Sublimated vinyl, epoxy resin, glass spheres, lacquer and acrylic on wood panel. 112 x 150 cm
‘Delta’, (detail), 2010, Sublimated vinyl, epoxy resin, glass spheres, lacquer and acrylic on wood panel. 112 x 150 cm
‘La Planète Sauvage # 4: Lavinia’ (Detail) 2009 Sublimated vinyl, epoxy resin, glass spheres, lacquer and acrylic on convex wood disc, 75 cm diameter
‘La Planète Sauvage # 4: Lavinia’ (Detail) 2009 Sublimated vinyl, epoxy resin, glass spheres, lacquer and acrylic on convex wood disc, 75 cm diameter
‘La Planète Sauvage # 1: Terra Luna’, 2009<br />
Sublimated vinyl, epoxy resin, glass spheres, lacquer and acrylic on convex wood disc, 120 cm diameter
‘La Planète Sauvage # 1: Terra Luna’ (detail) 2009, Sublimated vinyl, epoxy resin, glass spheres, lacquer and acrylic on convex wood disc. 120 cm diameter
La Planète Sauvage: Mare Sirenum, 2014, Cast vinyl film, epoxy resin, glass spheres, optically clear epoxy resin, lacquer and acrylic on convex wood disc 450mm diameter
La Planète Sauvage: Another Blue World, 2014<br />
Cast vinyl film, epoxy resin, glass spheres, optically clear epoxy resin, lacquer and acrylic on convex wood disc 1200mm diameter
'La Planete Sauvage, Blue Moon', 2014, Cast vinyl film, epoxy resin, glass spheres, optically clear epoxy resin, lacquer and acrylic on convex wood disc, 600 mm diameter
'The Ocean of Eden III', 2012, Glass spheres, optically clear epoxy resin, polymeric vinyl, lacquer on wood panel, 1200 mm x 1540 mm x 30 mm
'New Blueland', 2014, Glass spheres, optically clear epoxy resin, acrylic, cast vinyl film, lacquer on wood, 1120 mm x 1630 mm
'New Blueland', 2014, (detail) Glass spheres, optically clear epoxy resin, acrylic, cast vinyl film, lacquer on wood, 1120 mm x 1630 mm
'Numinous Transitive Blue III', 2014, Cast vinyl, lacquer, contoured wood panel, 1120 mm x 1120 mm
'Numinous Transitive Blue I', 2014, Cast vinyl, lacquer, contoured wood panel, 1120 mm x 1120 mm
'Numinous Transitive Blue 1', 2014, Cast vinyl, lacquer, contoured wood panel, 1120 mm x 1120 mm, side view
'Mon Voyage Sauvage', 2014, Glass spheres, optically clear epoxy resin, acrylic, cast vinyl film, lacquer on wood, 640 mm x 955 mm
'Star Map 1', 2014, Glass spheres, optically clear epoxy resin, cast vinyl film, lacquer on wood, 1120 mm x 1120 mm
'The Greening of New Blueland', 2014, Glass spheres, optically clear epoxy resin, cast vinyl film, lacquer on wood, 1120 mm x 1630 mm
'The Greening of New Blueland', 2014, (detail) Glass spheres, optically clear epoxy resin, cast vinyl film, lacquer on wood, 1120 mm x 1630 mm
'Solaris, Transitive States II', 2013-2014, Cast vinyl film, lacquer, contoured wood panel, 1400 mm x 2020 mm