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The Weight of the Door
July 27 - August 20

Using the bronze door handle from Notre-Dame du Haut as its source—La Corbusier’s chapel in Ronchamp, France—The Weight of the Door presents a series of objects that the artist describes as translations. This fragment of the chapel structure, isolated, removed its vitrine surround.The bronze form appears here as a series of distortions. Horizontal and vertical iterations of varying lengths and proportions that differ from the source. A series of bronzes presented not on plinths but directly on the gallery’s concrete floor, dispersed.


City of Tomorrow, Natalie Guy & Gavin Hipkins
June - October 2022
Tauranga Art Gallery

Auckland-based photography and moving image-artist Gavin Hipkins and sculptor Natalie Guy, who each contend with the early aspirations of modern architecture. Borrowing the title Le Corbusier’s early writings on repetition and order, together they unpack the famed architect’s zealous ideals for the makeup of the future city by contending with traces of his legacy.— Stephen Cleland

Translation in the Language of Sculpture

Doctoral Examination Exhibition
Elam School of Fine Arts
Auckland Univerity

To use Nicholas Bourriaud’s description of Translation, I practice translation by inserting myself into a cultural chain, referencing the original work and the response to it for a contemporary audience. The result, as Bourriaud describes, is the “radicant subject [appearing] as a construction or montage, in other words, as a work born of endless negotiation”. As a contemporary cultural critique, the artworks reference how modernism, although often disparaged as a post-script to colonialism, is intertwined with the local history of Aotearoa. The artwork oscillates between the references, favouring neither, leaving the viewer to connect them or create their own response.

Architecture is a vessel and a source of memory. It inhabits, consciously and subconsciously, our everyday lives and is, therefore, an evocative source of reference. Nevertheless, as George Steiner says, all language is unreliable; it is never naked but always inflected by intent and attenuated by the milieu in which it is uttered “we fragment in order to reconstruct desired alternatives, we select and elide”. In this shifting of cultural and semiotic cues, the sculptor publicly presents the translation, as Steiner suggests, not by saying what is but by saying what might be, by bringing about what “the eye and remembrance compose”. — Natalie Guy from Translation in the Languge of Sculpture

Steiner, George. After Babel: Aspects of Language and Translation. 3rd ed., Oxford UP, 1998.