• I Too Am In Paradise II

    I Too Am In Paradise II is another iiteration of the living sculpture installed in the Dowse Courtyard during the summer 2016-17. A video will be made of the installation as it decays and grows in the artist's garden. Again the urns are cast using unfired white clay but this time red clay dug from the property has been used to create bases and these are placed on a bed of greywacke, also from the property.

    The plants are ngutukākā mā, last seen growing on cliffs inland of Waiaroa in the 1950's and have been successfully brought back from the brink of extinction through the efforts of Crown Research Institute, Scion, and East Coast iwi.  

    Ngāti Hinehika, the local hapu where these plants originated have entrusted these taonga to the project and when filming has finished the ngutukākā mā will be gifted on and preferably planted in the wild. Ngāti Hinehika  call these plants, Ngutukōrako, after their ancestress, Hinekōrako. The translation of kōrako is albino. 

  • I Too Am In Paradise Installation in The Dowse courtyard

    I Too Am In Paradise  Installation in The Dowse courtyard

    "I Too Am in Paradise is a series of unfired clay urns, each bearing the phrase "Et in Arcadia ego" and containing a young kowhai ngutukaka (kakabeak) plant.

    Using the title of this renowned seventeenth century Nicolas Poussin painting, the words act as a momento mori, or a reminder of our mortality. I Too Am in Paradise is a living sculpture and will undergo an organic process while installed in The Dowse open air courtyard this summer. Depending on both the weather conditions and the type of care that the plants receive, the kowhai ngutukaka will continue to grow and the unfired porcelain clay will gradually decay.

    Kowhai ngutukaka plants are found only in New Zealand and both of the two species that exist are threatened with extinction. They were originally used by Māori for gifting and trade and as these urns naturally degrade, the plants will be gifted to people in the community who would like to participate in the recovery of kowhai ngutukaka." The Dowse




    Auckland Art Fair 2016, Bowen Galleries stand

    slip cast porcelain, inscribed, Tekapo glaze

  • ABOVE THE KITCHEN SINK Mark Amery on the exhibition Inspired: Ceramics and jewellery shaped by the past

    "Raewyn Atkinson is interested in exploring the tension in ceramics between nature and culture. The fragility of the environment and the impact our use of it has is evoked powerfully, poetically in her work. Her 2013 series ‘Wasters’ (a term used to describe discarded or defective pieces of pottery) was inspired by shards recovered from the stretch of northern Californian shoreline used for more than 30 years as a dumping ground for the Tepco pottery factory. Atkinson clearly thinks deeply about what we place value in. Since returning to New Zealand, with a life more focused on family, she has returned to making vessels for use and shared experience, of which the porcelain wheel-thrown cups and plates from the 2014 ‘On a Plate’ series are an example. Dipped in an exquisite icy blue, they’re ordinary yet extraordinary, elegant yet cheekily pinched, minimalist yet creamy-full of natural and human character."

    Mark Amery

  • Premiere Award - Portage Ceramic Awards 2015

    Premiere Award - Portage Ceramic Awards 2015

    Wasters III (Accumulate) 

    Catalogue statement

    This work belongs to a series that initially used found 'wasters' from a ceramic factory. The work draws upon a range of influences and experiences, including a beach in Northern California composed entirely of ceramic shards, a Delf 'waster' in the Victoria Museum in London and an interest in the discarded. It is also informed by personal circumstances, which include a return to the responsibilities of home and family and the making of porcelain tableware. 

    In the making of porcelain tableware, my own expectations and the limitations prescribed by function results in a high rate of 'wasters'. By stacking and balancing the losses that occur in the firing process- the breakages and the accumulation of one's history of making-Wasters III (Accumulate) is my reflection on personal and global fragility and responsibility. I want to make the discarded visible and to question the value and meaning of making in the 21st century. I am interested in the effect of re-contextualisation through installation on perception, meaning and value.