Nor'West News: October 25, 2016

Pompe i Optional Experience
Optional Experience on Day 3
6
Tuesday October 25 2016
Our People
NOR’WEST NEWS
Daegan Wells
Exploring art history in the red
Artist Daegan Wells recently received an award
which will allow him to focus on his latest project.
He spoke to Caitlin Miles about the city’s art
history and his experience documenting the
residential red zone
Congratulations on receiving
the Olivia Spencer Bower
Award – what was it like to win?
Thank you, it was really exciting
to be given it. It’s only offered
every two years so I’m really
excited to be selected. It’s really
rare to have an opportunity to
work on your practice full-time
as an artist and especially in
New Zealand.
Is that what this award allows
you to do?
Yes, so over the next year I will
be able to focus on this project
without having to balance working
and my art. It gives artists a
chance to work solely on their
project and provides financial
assistance.
Is it nice to know you don’t
have to worry about your finance
for the next year?
Yes it is. It’s not often you get a
chance to do this so it will take a
bit of stress off trying to balance
my project around working.
Do you work full time?
No, I work part time at a
few places. I’m a tutor, I teach
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photography and I also work at
the Physics Room, which is an
art gallery.
What is your project on?
I have chosen to focus on
Christchurch’s art history between
1932 and 1939 because it
coincided with a period of time
of Olivia Spencer Bowers being
in Christchurch. So I decided
to focus on that time and investigate
what was happening in
Christchurch and the similarities
in that time to now.
Do you have any idea of where
this project will take you, or is
it still quite new?
It’s still quite new. I think I’ve
got a few starting points. I’ll go
to the research library at the
Christchurch Art Gallery, which
will probably be my starting
point. Also, talking to people
that knew Olivia, knew of her
or collected her works. So it will
start like that but I’m not quite
sure where it will go or how the
work will look, but yeah, that’s
my starting point.
Your last project involved
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spending time in the residential
red zone, can you tell me a bit
about that?
I have a show at the moment at
the Centre of Contemporary Art
and that work is based around
Bill Sutton and his abandoned
studio and residence in the
residential red zone. So my work
has just been about going there
and to other sites and putting together
research and work about
these sites.
What was it like going into
those people’s homes?
It was really overwhelming,
but I guess I had, for lack of a
better word, this good intention.
I thought this wasn’t being
documented and it was such a
massive part of Christchurch because
these people once occupied
these spaces and I suppose I just
wanted to engage with the site in
a way that previously no one had
been doing.
So why did you choose to look
at the residential red zone?
I guess I felt that there was an
urgency, things were changing so
fast and there wasn’t much documentation
around these sites so
I guess, for me, urgency was the
main kind of concern that I had.
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DISPLAY:
Some of
Daegan
Wells’ work
is currently
on show at
the Centre of
Contemporary
Art.
How long did this project
take?
This was part of my masters’
research so it started in 2015. It’s
been a year-long project.
Can you tell me a bit about
some of the other work you
have done?
So I had a show at Blue Oyster
Gallery in Dunedin and the
work was specifically about
the Bill Sutton house. It
incorporated some historical
photographs, which the
Christchurch Art Gallery lent to
me, and some construction work
as well.
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