Lianne Edwards
Beauty and chaos, transience and permanence are key phrases in Lianne Edwards’ analysis
of nature and its mindless destruction by humankind.
Lianne Edwards background in marine ecology and resource management, and as an artist serves to position her at the forefront of eco artists in New Zealand. Her interest in both science and art finds its voice in artworks that make comment on our relationship with the natural world. All too often humankind is found wanting in an examination of our interaction with nature. Edwards work, often microscopically delicate, or alternatively, commanding a strong physical presence, questions how we value the natural world. The subtlety and aesthetic appeal of her works belies the underlying environmental messages and important themes she addresses.
Edwards has collaborated with organisations such as the Sea Cleaners initiative, and also with wildlife scientists to draw attention to what’s happening in our marine environment and with our critically endangered native bird populations. Lianne is of Tongan, Irish, Scottish & English descent. Born and bred in South Auckland she is now based in the top of the South Island.
"I personally feel a very strong connection to the Pacific region, firstly from growing up on an island nation (New Zealand) surrounded by the Pacific Ocean, secondly due to my Tongan ancestry, and thirdly because of my background and interest in marine ecology and conservation. I’m concerned about what’s happening to our oceans and to our native plants and animals and the future that we will be leaving for generations to come”.
Lianne has work in the collections of Auckland Art Gallery Toi o Tāmaki, Chartwell Collection, Ministry of Foreign Affairs, James Wallace Arts Trust and many private and public collections.
Rise of the Jellies I, 2019, 1040 x 1040 mm (framed), Materials: Plankton Net, bird leg bands (Wandering albatross), fish otolith, coins, swordfish bill
Rise of the Jellies II, 2019, 900 x 900mm (framed), Materials: Plankton Net, bird leg bands (Wandering albatross), fish otolith, coins, swordfish bill
Rise of the Jellies III, 790 x 790mm (framed), Materials: Plankton Net, bird leg bands (Wandering albatross), fish otolith, coins, sharks teeth (Tokelau reused), South Seas pearl shell, swordfish bill
Sea Kraits, Swordfish bill, buoy, coir, fishing nylon, ink
Sea Kraits (detail), Swordfish bill, buoy, coir, fishing nylon, ink
Number 201, Mililla, 2019, 920 x 920mm, Materials: Brass-encased freezer thermometers (from vessel No.201 Melilla), perspex, vinyl, plankton net, fish otolith (hoki)
(detail) Number 201, Mililla, 2019, 920 x 920mm, Materials: Brass-encased freezer thermometers (from vessel No.201 Melilla), perspex, vinyl, plankton net, fish otolith (hoki)
IUU, 2019, 920 x 920mm
(detail) IUU, 2019, 920 x 920mm
The Wanderer of the South, 2019, 910 x 685mm
12 Chicks, 4 Adults, 2019, Materials: bird leg bands (wandering albatross), 345 x 700mm
(detail) 12 Chicks, 4 Adults, 2019, Materials: bird leg bands (wandering albatross), 345 x 700mm
$2 Turtle, 865 (d) Plankton Net, 1oz silver coin (Nuie, 2018), one pennies (Fiji), swordfish bill, Albatross leg bands, re-used sharks teeth (Kiribati), coir, perspex, vinyl
The Plankton Series (detail), Plankton net, beach cast plastics, brass
Sky City Friday, 555 x 965mm, mixed postage stamps, pins (framed)
18 February, 2017
Delicate art reflects our fragile oceans
NZ Herald. Read online here.
18 November, 2009
Philately rollercoaster
eyeCONTACT. Read online here.
2019
8–12 May BRIGHT NIGHTS