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Parts of SCAPE Past and Present Still Standing

1 Apr 2011

This content is tagged as Visual arts .

NEWS

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Although the project the SCAPE team envisioned (and re-envisioned) for the 6th installment of this Christchurch Biennial of Art in Public Space was twice interrupted by the shifting of the earth, artworks from SCAPE past and present are still standing tall in the Christchurch inner city.

Anton Parsons’ Passing Time, which was created for the 6th SCAPE, was installed only a few days prior to the shaking we experienced on 22 February, and we are happy to report that the work is still standing at Wilson Reserve (entrance to CPIT). Right in the midst of the scattered rubble and fallen buildings the 2006 SCAPE work, Nucleus by Phil Price, watches over the once busy intersection of High, Manchester and Lichfield streets. Regan Gentry’s 2008 addition, Flour Power, continues to stand tall over Stewart Plaza whilst the cordon surrounds the inner city.

As central Christchurch continues to undergo demolitions and assessments we are thankful that these three works have survived. Despite the difficult road ahead towards recovering the inner city let us look to these works of art as beacons of hope shining through the rubble.

“New public art will be an important part of redefining a vibrant local art scene and urban identity within our city. Let's strive for the realisation of works that bridge the richness of the city’s history, the trauma of these last few months and the optimism for our city’s future; works that put Christchurch on the map in new ways.” – Deborah McCormick, Director, SCAPE Christchurch Biennial.

"While the challenges facing Christchurch in the rebuild are enormous, the Art & Industry Biennial Trust (producers of SCAPE) remains committed to helping deliver significant public works of art for the new central city. At an appropriate time the Trust will work with other organisations to ensure that public works of art continue to have a key place in public buildings and open spaces, following on a tradition of more than 100 years of public art in the city.” Bob Blyth, Chairman, Art & Industry Biennial Trust.