The way Hilary Johnstone sees it, Whakatū is emerging from a bit of a creative lull. “We used to be known as the craft capital of New Zealand, but that hasn’t been the case since the 70s or 80s,” says the local artist. “A part of that is there’s very little affordable inner-city real estate for working artists to use, so the idea behind Project 100 was to form that space – and things just naturally grew from there.”
An unassuming old dry-cleaning building proved the perfect location for the new creative hub. “It was a 1960s concrete-block gem,” remembers Johnstone. “A massive shell with high ceilings, beautiful soft light and a simple form.” Gutting it entirely, the renovation involved rewiring, replumbing, repainting and reconfiguring the building’s layout to create three separate spaces: private studios for working artists, a new jewellery school (The Bench) run by respected contemporary jeweller Kay van Dyk, and a window-ringed gallery. “Honestly, I never wanted a gallery, but that light-flooded front corner was perfect,” says Johnstone. “I was told by the building what to do; I had no choice.”
Artists can apply to show at the gallery through the Project 100 website, where a rotating panel of creatives will select the successful candidates. Those chosen will have free rein over the space for a month, using it however they like, so long as they leave it the way they found it. Accepting proposals from contemporary artists of any medium and experience, they’re seeking those “who dance on the edge”. “Nelson has great art galleries representing a large range of works, but what we didn’t have was something more conceptual and a bit edgier,” says Johnstone. “We want to attract those who will open eyes and minds and stimulate Whakatū’s arts landscape.”
The inaugural show, Thomas Baker’s Lite Cracks Gleaming Bricks, wholly embraced the concept. The progressive ceramicist exhibited his works one week before climbing a ladder to smash them. Upcoming exhibitions will traverse themes and media, bringing renewed diversity to the local art scene. Josephine Cachemaille and Sam Loe are currently exploring their practices in the studio, but there’s potential to fold that space into a larger residency. “Who knows?” shrugs Johnstone. “The project will continue to evolve as we learn and develop. It’s an experiment, there’s a lot of unpredictability, and that’s exciting.”
Project 100
100 Collingwood Street, Whakatū Nelson
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