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I graduated from Elam Art School in 1974 majoring in sculpture using materials with translucent qualities such as rice paper, resin, film etc. I gained my Secondary Teacher’s Diploma in 1975. During my early teaching years and having my three children I taught myself how to work with glass, firstly with leadlight and then through slumping and fusing which allowed me to develop more freedom to play with the colour and light qualities that have been my preoccupation as an artist. I work mainly through private commissions, which enables me to create site and client specific installations, eg Smashed Pipi Gallery, Cafe and Bar, and which allows a creative connection to be established with the person who is to live with the work. It also gives an opportunity to work in a therapeutic way with the restorative energies of light and colour.
I spent the last nine years teaching art at the Wellington Rudolf Steiner School and Taruna "Art Of Health" course 2004 and Gerald Wagner Colour Course in Switzerland 2006, which has enabled a deepening of my understanding of the above concepts and concerns.
Now I have returned to Mangawhai where I am building a new studio to house a larger kiln and have 'artist only time' to develop ideas that have been perculating over the teaching years
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EXHIBITIONS
Women’s Work, Warkworth Gallery, 1993
Pacifica Gallery, Devonport, Auckland, 1994
Society of Artists in Glass, Burning Issues, Whangarei, 1996
Naja Café, Mangawhai, 1997
Morris and James, Matakana, 1998
Auckland Easter Show, Artists in Glass Society, 1998
Lower Hutt Art Society, Lower Hutt, 1999
Heart of Glass, Greytown, Wairarapa, 2000
Toi Poneke, Wellington, 2006
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Review of Pauline's most recent exhibition:
Sustaining Rhythms: Slumped and fused glass work by Pauline Mann
TOI PONEKI Able Smith Street, 18th November – 2nd December 2006
'Sustainable Rhythms'
Glass artist Pauline Mann’s new exhibition opens at 5.30pm on 18 November at the Toi Poneke Gallery, Wellington Art’s Center, 61 Abel Smith Street, Wellington.
Her focus in this exhibition of kiln-fired glasswork is an exploration of the rhythms underpinning life. If we look, she suggests, we can see them. Both complex and simple at the same time, our lives are woven from and patterned by their infinite repetitions. Nothing is exempt and everything and everybody is part of their cycles.
The principal question driving Pauline’s new work is that of sustainability. How in a volatile and increasingly alienated world, can we find meaning and sustenance from the rhythms of life?
The pieces, while drawing on her study of Goethe’s colour theory and the work of Austrian philosopher Rudolf Steiner, metamorphose to become meditations on what it is to find harmony in the relationship between ourselves and our environment.
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