Marie E. Potter




LAND OF HOPE                    
2018 Finalist - National Contemporary Art Awards Waikato Museum of Art and Culture. Judge Reuben Friend Director Pataka Museum of Art and Culture Wgtn ( 32 chosen from 330).

To place ourselves in the present, we must know our past.  Artist 2018

Art has the ability to facilitate informal sharing and revisiting of social /cultural history. It acts as a congruent not only recognising and honouring rituals and traditions established by early New Zealand European settlers, but reflecting on their significance in relation to the viewer’s own ancestral values.  Everyday objects / artefacts are part of cultural history, triggering memories of traditional function, aesthetics, origin, agedness, and sense of the familiar. They bring their own voice, a voice that keeps alive the past in 21 century NZ.


FRAGMENTED PERCEPTION                     
2018   Finalist - Small works Walker and Hall  Awards
Fragmented perception - by juxtaposing hard/soft artefacts Potter highlights the emotional/physical reality of lives passed.   H.340mm x W.390mm x D.390
 Objects: Obstetrical instruments brought to N.Z. in the 1800s, birds’ nest, medical and surgical instruments, razor blade, ancestral photograph, crochet hook, bones, glass rod, gauze square, artist’s blood, safety pins, tiny spoon, medical phial, text from ancestral cook book, pearl, broken locket, cameo, crucifix, gold baby pin, ancestral gold wedding ring, needle and thread, handmade  lace, crochet, tiny new testament, thimble, broken bottle, leaf fragment, NZ war badge, rusty nails, rusty nib, shell, old fob watch front, old cufflink, bird’s skull, 1919 penny, dried rosebud, crucifix. The artist acknowledges Gordon Ell. Other artefacts are from the Potter Family Cultural Heritage Collection.


An Invited International Exhibition of 100 past residents of the New Pacific Studio Residency Wairarapa programme.  The exhibition was held at Aratoi Museum  of art and history Wairarapa.  It embraces each artists’ response to their residency, also local environmental experience and work produced during that time.  'A Window in Time' is underpinned by research carried out during my first residency.  It keeps alive N.Z. history and is underpinned by ethnographic research of social, cultural and local history relating to the establishment of northern Wairarapa.  This includes the War Memorial Bridge at Eketahuna honouring the lives and influence of local men and women.  The art material / artefacts were gathered during my time in the Wairarapa, others are from my personal artefact collection. A window in time consists of a deep  custom made black  light  box / ‘window / frame’ inviting the viewer to look deeper into local N.Z. history, revisiting the role of local ancestors, which in some cases may include their own.  (Assemblage, photography, light box, wall installation - size 500 mm x 600 mm x 120 mm)


By Association (Part 1 and 2)
Part of Little Histories, an invited group exhibition to be held at the Wallace Morrinsville Art Gallery in November 2017. This exhibition honours the social history of rural New Zealand including the HEARTLAND / Waikato Region. By Association further extends my ongoing social and cultural focus and is underpinned by research and new work produced as the 2015 Friends of Aratoi Fellow (see heading below -Memory/Text).  It has the ability to narrate origins and other relevant connections associated with rituals and traditions, including those relating to rural N.Z.  When in situ By Association will be positioned so that each covered plinth is adjacent to the other, positioned against the gallery wall. Spotlighting will enhance the work and create thought provoking shadows, alluding to time passed. Objects include  – 3 Perspex stands (2x large, 1x small) belonging to artist, glass cake stand, glass cream bowl, cream spoon, butter knife, glass milk bottle, metal milk tokens, 1x old wooden peg, 1919 penny, tiny antique leather purse,  labourer’s leather thumb protector, old farm / stitching needle, weathered twine, over 100 year old handmade antique handkerchief brought to N.Z. 1800s, tiny dried rose bud, old metal soap shaker holding a small candle, a piece of broken plate and a dress hook, tea strainer holding a cigarette butt, baby’s silver spoon and pusher, crystal talc dispenser, old toe-shoe plate, rusty thimble, rusty nails, old ceramic pot, rusty hook scale, rusty beer bottle opener, WW2 N.Z. war badge , part of lady’s fob watch, rusty horse shoe, old phone speaker, old bible. (Many of the artefacts are from the artist’s private family collection dating back three generations. Others have been gifted to the artist during ongoing ethnographic research).

34 memory

MEMORY / text  (Gallery 1)                      Link to Gallery 1 >>>
As the 2015 New Zealand Pacific Studio-Aratoi Fellow, Potter held a solo exhibition MEMORY / text / VISION / object, at the Aratoi Museum of Art and History. The criteria for the Fellowship, was to create work with New Zealand cultural and community significance. This exhibition consisted of two parts, text / installation and object / assemblage. Collectively it honoured the lives of the early settlers and challenged the viewer to revisit N.Z. social and cultural European history. MEMORY / text included a double-sided vinyl text installation consisting of approximately 1,000 vinyl squares. Each square design represented the land or lots that settlers acquired, the layout of the squares alluded to the towns and roads established and individual letters alluded to and honoured each settler family. This two sided installation consisted of words on one side that captured the challenges faced by the early settlers, both men and women. The other side brought focus to many challenges onboard the ship as a passenger, sailing to an unknown land. One side was viewed for the exterior of the museum and the other from the interior.

Table. Prompt to Memory 

A PROMPT TO MEMORY                        Link to Gallery 2 >>>
This post residency solo exhibition was held at the Pah Homestead 2014. It consists of an installation and a wall image. This image shows the installation only which includes artefacts that were part of Potter’s private collection, many belonging to her own female ancestors. She also included fish bones, fish eyes, chicken bones, pumpkin seeds, grated soap and other objects–all part of her own domestic rituals.


Table2 Contemplation

CONTEMPLATION#2                          Link to Gallery 3 >>>
- solo travelling exhibition held at Light Space Gallery NZAFA Wellington, launched Potter’s re-emerging art career post Master of Fine Arts 2010.Installation includes medical and domestic objects which honour the rituals and social cultures established in N.Z. in the 1800s, many artefacts being brought to N.Z. at that time. Potter calls on the influence of her kiwi upbringing, female ancestors and as a trained nurse and maternity nurse, to underpin her concept.

Materialising Memory

MATERIALISING MEMORY                         Link to Gallery 4 >>>
-work was conceived during Potter’s 2014 Residency at New Zealand Pacific Studio. It consists of an assemblage incorporating re-juxtaposed archaeological artefacts from the Burton Collection, presented as a photographic image printed on metallic paper and face mounted on Perspex;  2014 Wallace Art Awards Finalist.