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A.A.M. Bos, Carole Prentice, Dr P Colonial Road 20 April – 2 July 2023 Pah Homestead 72 Hillsborough Road, Auckland Tuesday to Friday, 9am – 3pm Saturday and Sunday, 8am – 5pm Ever wondered what’s at the end of Colonial Road? It’s not a carpark or failed monument to imperial ambition but more a surprising, self-determined community of seabirds living in sight of the city. A.A.M. Bos’ film Colonial Road (2020) is an intimate, uncensored, harbourside view of the lives and crimes of The Real Shags of Chelsea Heritage Estate. Colonial Road is a three-artist exhibition including new work by Northland-based painter Carole Prentice, exploring family history and personal connection with place. Featured on the ground floor in the elegant Conservatory is another indoor garden landscape by Dr P, where, this time, her non-standard domestic exterior imagines an avian Breakfast Room just prior to the arrival of the morning mail. ‘The most well observed, sensitive and compassionate picture imaginable’ – Ted Coubray, Romantic and Sea-Girt North Shore (1928) Please note: The exhibition by Dr P in the Conservatory is open for three weeks only, closing Sunday, 14 May 2023 Colonial Road is accompanied by an exhibition catalogue, co-published by Mokopōpaki and Pah Homestead Colonial Road (2023) ka puta mai i Colonial Road (2020) ki Mokopōpaki, Ākarana

A.A.M. Bos lives in Auckland. His work investigates marginal urban ecosystems and habitats. Although the artist loves and admires the birds he photographs, A.A.M. Bos does not tweet. Or do Facebook. Mokopōpaki exhibition history: Colonial Road, 2020; Domestic #3: Ahimaru, The Dutch Embassy, 2019; WARY—A Survey, 2018; Whio: Blue Duck, Other Perspectives, 2017. Carole Prentice is a baker’s daughter from Panmure. She received a Bachelor of Fine Arts in 2001 from Elam School of Fine Arts, University of Auckland. Her paternal great grandfather, Jean-Baptiste Grondin, from the French overseas territory of Réunion Island in the Indian Ocean, arrived in Auckland in 1884, the same year Chelsea Sugar Works began operating a refinery on the North Shore. Carole says her love of ‘something a little sweet’ is inherited from her exotic French ancestor and their shared cultural passion for patisserie and all matters choux. Mokopōpaki exhibition history: Colonial Road, 2020; Household Hints: Ahikaea, 2019; Nīkau Delicatessen, 2018; Korekore Whakapiri, Other Perspectives, 2017. Dr P aka Cushla P is not a doctor or a dentist. Disregarding her mother’s sound career advice, she is neither a lawyer nor a plumber. Dr P is an occasional writer, indoor landscape garden designer and General Secretary of the Mokopōpaki Exhibitions Committee (MMPK). Mokopōpaki exhibition history: Colonial Road, 2020; Domestic #3: Ahimaru, 2019; This Joyous, Chaotic Place: He Waiata Tangi–ā–Tahu, 2018. Image: A.A.M. Bos, Avian Shits, 2023

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The Pantograph Punch (NZ)

Imagine my surprise upon walking into Mokopōpaki’s Brown Room, and seeing a Wellington East Girls’ College blazer attached to the wall by a metal coat hanger, the uniform tie slung casually around its neck. As a former WGC girl, I recognised the familiar teal blue colours of my sister school immediately. Something I hadn’t expected to see up in Tāmaki.

A uniform blazer is an interesting object to display in a gallery, more often found stranded in a Sallies or tucked discreetly at the back of a family wardrobe. Many elder siblings will pass their uniform down to younger brothers and sisters. Some former highschoolers will hold onto their uniform as a memento for such a formative, if uncanny, period. Exhibited by artist Dr P, the blazer references ‘the real Dr P’, her mother, who was an old girl at Wellington East. The patch of pins proudly attached to the blazer’s label recall both profound and mundane legacies; the cultural groups and committees that the artist’s mother was part of. In the catalogue notes, Dr P writes that these depictions of her mother in highschool are of “knowing and not knowing”. Time volleys back and forth. One person’s future, hazy and uncertain, transforms into another person’s past recollection. The future of the blazer-wearer becomes concrete, but still unknown to casual viewers. Memory is something that is both worn and retrieved.

Dr P connects the blazer to her work Lumen accipe: Receive the light, placed in the front window of Mokopōpaki. Borrowed plants – native and introduced – sit underneath the glow of a tall lamp, surrounded by chicken fence. There is a photo behind the lamp, and a mirror. For anyone who grew up in Wellington, the title of the window show will be familiar from the motto of most of the city’s highschools, including WEGC. Lumen accipe et imperti is the full phrase: to receive the light and hand it on. Hence the lamp. It’s about tuakana/teina relationships, about gaining knowledge and then becoming a vessel for others. In the programme notes, there is an alternate interpretation offered: “For there to be an image or whakaahua/likeness, light received by the camera must pass through a lens”. Placing Lumen accipe at the entrance of the show frames the way we consider the photographs and video footage that follow throughout the gallery, how we might think of photos like we think of clothes. As objects of transference.

Vanessa Crofskey, The Unmissables: Three Artworks to See in October (Auckland: The Pantograph Punch, 24 October, 2020)

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Dr P, Lumen accipe: Receive the light, 2020

Tanalised fence post, wire, fixings, vinyl flooring, tōtara, Podocarpus tōtara, pōhutukawa, Metrosideros excelsa, English oak, Quercus robur, plastic pots, antique standard lamp, gilt mirror, duraprint

Installation dimensions variable

Photo: Arekahānara

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