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Waiheke Summer School 2015

12 November 2014 at 2:47:48 pm

Bookings for the 2015 Waiheke Summer School can be made by ringing us here on (09) 372 9907.

More information will be available soon but here's an outline to the courses and tutors. Visit the website again soon for more info.

Waiheke Island SUMMER SCHOOL 12 – 16 January 2015

WORDSMITH POETRY: THE SEASONS for published and unpublished writers.

Tutor: Caroline Lark

Oneself and object must become a single thing, and from that singleness the poetry issues – Basho

Explore how seasonal imagery in poetry conveys life events: internal, external and the metaphorical mix. Create vivid images to express the personal via the universal. Read examples by Basho, Sharon Olds, Mary Oliver, Tony Hoagland, Lauris Edmond, Kenneth Koch, William Carlos Williams, Li-Young Lee and other celebrated poets. Enjoy exercises and workshops, sharing and developing ideas within a positive, supportive group atmosphere.

  1. Spring – Rejuvenation. Signifiers of spring: unexpected and expected moments. Embodying spring’s attributes. Texture: voice/sight/sound devices.

  2. Summer – Associations of summer: objects/places/memories. Changing light/time/heat/scents to create new sensations. Dramatic Narrative: 2 notes/voices tell a story.

  3. Autumn – Shadows: challenging landscapes, difficult characters. Colour to shift mood and tone. Sonnets and 14 line poems.

  4. Winter – Closure as a theme. Elegy (lyric lament) and Eclogue (idyl/pastoral). Ending and beginning: late flowering, winter love.

  5. Closure. Final draft. Submission. Reading.

Comments from previous participants:

The best aspect of the course was: - Rekindling my writing excitement – A good tight working/learning schedule. – Excellent teaching!!

I was really impressed with the high quality of work everyone produced at very short notice ... a comfortable, supportive and creative group ... very enjoyable and stimulating.

The best aspect of the course was: Stimulation – hearing others’ work and receiving ideas for personal use. Analysis of great poets. Reading own work in a non-threatening environment. Encouragement to continue when one feels inadequate.

Extended my understanding of the theory/construction possibilities for writing poetry ... To be challenged to write better/stronger/more efficiently in a supportive, ‘safe’ environment is the best kind of learning. Thank you.

The best aspect of the course was: The balance between reading, writing, workshopping.

It’s been so nice feeling the group getting easy with each other trusting to share.

The best aspect of the course was: Writing – lots of opportunities.

The exercises pushed me hard! Made me be more playful, experimental.

I really liked the discussion about our poems (the ones we wrote). It helps me to develop a critical sense – makes me listen better. I’d really like to do this all over again.

Course comments Martha Morseth:

For me, as an already published poet, the course presented challenges to write about topics in a way I had never thought of and to use new forms that made my poetry take different and exciting turns.

Listening to the poetry of others on the course gave me new ideas and confidence to attempt poetry that I had never attempted before.

Critiquing successful and historically well known poets opened up to me the varieties of structure, images and figures of speech that could be at my disposal.

The egalitarian atmosphere of the class made it easy to accept the helpful comments of other course members.

Writing alone can be very claustrophobic, working in a group was extremely liberating. Comments from others inspired me to take chances and write in different ways.

The subtleties and the wide ranging references of the seasonal theme were inspiring.

Bio for Martha Morseth
My work has been published in many New Zealand magazines, including Landfall, Sport, and the Listener. I have had two collections of poetry published, Staying Inside the Lines and Hippopotamus in the Room and have been invited to appear in anthologies and public presentations.

PRINTING WITH AND WITHOUT A PRESS: MONOPRINTS AND COLLOGRAPHS

Tutor: Clive Humphreys

Monoprint (or monotype) is often thought of as a halfway stage between painting and printmaking. Students will be exploring and extending working in series with monoprinting using a small etching press.

Collographs use surface texture and will be developed on a much larger scale than the monoprints. They do not necessarily require a press and can be printed by hand onto paper or fabric using a baren.

Barens for handprinting

 

Image: Barens for handprintings shown above.

Emphasis in the course will be on experimentation. No previous experience is necessary.

Students should bring:
• Scissors
• Paper glue or gum
• Pencils
• Eraser
• Charcoal (compressed and willow)
• A3 Sketchbook
• Clean rags
• Old sheets of corrugated cardboard

Printing plates, printing inks, printing paper will be provided.

Clive Humphreys Monoprint

 

BUILDING YOUR OWN SCULPTURE
Tutor: Jenny Hemmings

Come and enjoy creating sculpture in Waiheke's beautiful summer. You'll explore in the environment, create temporary installations, work with clay and create your own small object works. 

Jenny has taught and encouraged many students over the years both adults and teenagers to tap into their creative juices in order to produce imaginative contemporary Art.

Five years she started her own business teaching Art from home “Art on St Aubyn St” and teaches both Adults and Children. Previously she taught at High schools in several NZ cities.

Outline of 5 Fun Days of Sculpture - experiencing a variety of mediums and projects

You may be able to realize some of the Marquette’s as larger sculptures at a later date.

Day 1

The Study of Abstract relationships

You will study the Elements of Line, Plane, Volume and space by completing a series of small sculptures.
Cardboard, Ping Pong Ball, Bamboo Skewers, and Rubber thread. Research several sculptors before you come; Robert Morris Sol Le Witt Julian Opie, Clido Meireles, Carolyn Williams

Day 2

Clay Forms

Modeling 3 Clay forms to be place in the environment. Artist model: Henry Moore

Day 3 and 4

Land/Environment

Create an environmental sculpture, working with the beautiful materials that Waiheke island supplies.

Artist models: Andy Goldsworthy, Geoff Booth etc

Day 5

Site Drawing of The Environmental Sculpture or Photographic Presentation

 

Materials to Bring: A3 drawing pad, black ink pen, pencil and rubber, camera or camera phone to document your work, 2 Ice cream containers to transport you clay pieces, kitchen knife, plastic bag, watercolour brush, scissors, stanley knife, sellotape

Course fees: $475.00

Call (09) 372 9907 or email director@waihekeartgallery.org.nz