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and spoke frankly to each other as only true friendsmay. But it always ended with Doris telling me to"get lost" — at least until lunch time.When the Art School moved into its newbuilding in 1978 there were many adjustments to bemade. Slowly we realised that our handsome newbuilding was rather deficient in sound-proofing.This fact was brought home to me in a chillingfashion when one morning Doris walked into myoffice saying "That was a very interesting telephoneconversation you had a few moments ago." When Iasked her how she knew that, she smiled and replied"Well I've just been sitting downstairs in the ladies'and I heard every word of it."Another incident reveals her courage. In 1981,1think it was, Doris entered my office, sat down andtold me that she had received a worrying medicalreport — she would need a operation. In admittingher concern she added "You would be concernedtoo if you felt that your life was starting to ebbaway", and then almost without pause she added,"Oh what a bore I'm becoming, let's go over to theStaff Club for a couple of sherries and some lunch."Fortunately Doris recovered from her operationand enjoyed good health and a very productiveworking period for many years. And what work shewent on to do — her Demolition paintings and herImagined Projects series are examples. In all of thisshe broke new ground, for hers was an art notdulled by customs and routine.The appointment of Doris Holland to the Schoolof Fine arts was an act of singular foresight. Thosewho taught with her and legions of students willtestify to that.She observed theworld with apenetrating eye.DORIS LUSKA POTTER BYROSEMARYk PERRYroris Holland was one of NewZealand's pioneer potters. Shestarted potting at the King Edward^kW Technical College in Dunedinunder Robert Field in the 1930'sand her love of potting continuedthroughout her life.Doris was one of the firstpottery teachers in Christchurch,teaching at Risingholm Community Centre from1947 until 1967. She made earthenware potteryusing a standing kick wheel. The brushwork,slipware and decorative glazes on her mouldeddishes showed the influence of her painting.A foundation member of the Canterbury PottersAssociation in 1963, Doris served as its president in1969 and 1970.Throughout her life she made wonderful masksusing thrown, reassembled clay. An exhibition hasbeen arranged to show a group of these at the CaveRock Gallery in August this year.Doris had a wide range of interest as well as herpaintings and pottery. These included language,music and theatre. For some years she wroteinteresting articles about potters' activities for theCanterbury Society of Arts newsletter. An excellentteacher who encouraged young talent, she will beremembered for her lively interest and support of allforms of the arts.Rosemary PerryWhen she retired we, her colleagues, missedher but we were also glad that now she would havemore uninterrupted time for her own painting. Shetook advantage of it, even finding time to fit in someteaching for the Continuing Education Departmentof the University and for other groups. She continuedto be sought after but the demands were nownot so constant — she was more free.Doris had a very special feeling for the NewZealand landscape, it's moods and structures. Likeall artists worthy of the name she followed her ownbugle call and was not swayed by the idiosyncraciesof fashion. She had little patience with posturing butobserved the world with a penetrating eye and setabout the exacting process of bringing it to accountin her painting.Doris will be missed — mostly of course by herfamily. But if we are all saddened by her death weknow also that so long as her works are with us shealso is with us and those who follow us.Don Peebles/'Doris Lusk,Ceramic Mask
J U L Y 4 — 1 5PREVIEWS TUESDAY 3 JULY 8 PMROMAN RAIAPaintingsRoman Raia presents a selection ofworks on paper in which he exploresthe expressive nature ofcolour.MARKCROSSPaintingsThe works of Auckland artist, MarkCross are strongly influenced byhis frequent visits to Niue Islandand his home in the North of NewZealand. They depict architecture,the human figure and other elementswithin wide horizontal landscapesand are concerned withboth environmental and culturalissues.CSA ANNUAL OPENEXHIBITIONAssociate members of the C.S.A.Gallery present works in a widevariety of media for this show.Receiving Day: Friday 30 June1990Opening: Tuesday 3 July 8pmClosing: Sunday 15 JulyCollection: Thursday 19 July 1990Untitled, painting, Roman RaiaPENNYOTTOPaintingsIn this exhibition Penny Otto combinesthe influences of the Expressionistmovement and Japanesecalligraphy to paint works whichdeal with the expressive nature ofthe brushstroke and line. Theworks also convey the artists impressionsof the Canterbury regionand its inhabitants."Diners Talk", Mixed Media on paper.Penny OttoJ U L Y 1 8 —"PRINTEXPONENTS"ASA Print ExhibitionThis exhibition brings together abody of work by a group of majorNew Zealand printmakers. All ofthe participating artists areteachers of printmaking at artschools and colleges around thecountry and attempt both throughthis exhibition and their teaching toshow the different capabilities andPREVIEWS TUESDAY 17 JULY 8 PMversatility of this medium. Artistsinclude: John Drawbridge,Marilyn Webb, Stanley Palmer, LizThompson, Denys Watkins, JennyDolozel, Perry Davies, FelicityWest, Rodney Fumpston, MartyVreede, Catherine Shine, AlbertoGarcia Alvarez and CaroleShepheard.LINDAW00DPaintingsThe paintings of Linda Wood areconcerned with colour, light andrepresentation. They convey a personal symbolism which denotes theemotions and perceptions of theartist. Wood exhibits works in avariety of media including prints,watercolours, drawings and oil on"Behind the Facade", Oil on canvas,Linda Wood
Page 1 and 2: PREVIEWJULY —AUGUST 1 9 9 0 1 5 3
Page 3 and 4: I LETTERS I tDear EditorThe C.S.A.
Page 5: and then find new directions from h
Page 9 and 10: A U G U S T 8 — 2 6PREVIEW WEDNES
Page 11 and 12: SELLINGGALLERYThe Selling Gallery i
Page 13 and 14: For the finest range ofFurniture, F
Page 15 and 16: CANTERBURYGALLERYDirector Pat Condo

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