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A
platform
for
contemporary
art

25 April 2009 —
12 July 2009

Select > Effect > Export

Select > Effect > Export, 2009 (installation view).
Rose Nolan, A Big Word: DIFFICULT, 2009 (installation view). Water based enamel on wall. Courtesy of Hamish McKay Gallery, Pōneke Wellington.
Simon Morris, Manganese Blue Line, 5 hours 57 minutes, 2009 (installation view). Water based enamel on wall. Courtesy of Two Rooms, Tāmaki Makaurau Auckland.
Simon Morris, Manganese Blue Line, 5 hours 57 minutes, 2009 (detail). Water based enamel on wall. Courtesy of Two Rooms, Tāmaki Makaurau Auckland.
John Lyall 1, 2, 3, 4, 5, 6, 7, 8, 9, 0, 1979-1985 (installation view). 4mm nibbed pen on 1mm gridded architectural drafting film. Courtesy of Jane Sanders, Tāmaki Makaurau Auckland.
John Lyall 1, 2, 3, 4, 5, 6, 7, 8, 9, 0, 1979-1985 (installation view). 4mm nibbed pen on 1mm gridded architectural drafting film. Courtesy of Jane Sanders, Tāmaki Makaurau Auckland.
Sarah Munro, Blood Red Object ISO, 2008 (installation view). Automotive paint on hand laminated fibreglass support. Courtesy of Page Blackie, Pōneke Wellington.
DJ Simpson, SNO 2, 2005 (detail). Formica laminate on birch plywood. Courtesy of Sue Crockford Gallery, Tāmaki Makaurau Auckland.

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Select > Effect > Export presents a selection of projects that approach mathematical and mechanical methods of art production. Traversing from the miniature to the enormous, the exhibition explores calculated procedures of scaling up and reducing down linear form. From a large-scale typographic wall piece by Rose Nolan, to the machine carved objects of Sarah Munro, to an intricate set of hand produced drawings by John Lyall based on the 1mm grid of architectural drafting film, Select > Effect > Export approaches rule-based procedures of art fabrication and asks: what can be learned from mimicking machines?