Headland Sculpture on the Gulf, Waiheke Island, NZ

Field Apart by Angus Muir and Alexandra Heaney

Headland Sculpture on the Gulf is a biennial outdoor sculpture show that winds its way through one of the most dramatic and scenic settings possible: the shoreline cliffs, hills and valleys of the magnificent headland sheltering the small harbor of Waiheke Island, just a 35-minute ferry ride from Auckland, NZ.  It was founded in 2003 by the Waiheke Community Art Gallery to "inspire and challenge" New Zealand artists as well as offer people an opportunity to experience art in the Island's gorgeous landscape.  Over the years they have added an outdoor pavillion that hosts music and offers local wines and superb food, including the best sorbet I have had in my life, crafted from apricots and black currents grown on Waiheke.

Target by James Wright

The exhibition's narrow walking trail begins with oversized steel arrows -- most falling short of their target, but one a bull's eye.  I heard that this work has an underlying humor: the artist -- James Wright -- applied many times for this exhibition without finally "hitting the target" and having his work accepted.  The number of arrows embedded in the ground = the number of times he missed the mark with the selection committee.

But I also like to think of the giant arrows as "you are here" markers run amok, and love the contrast of that honed and deadly point with the inviting  scenery surrounding it.  In fact, it made me a little nervous, that some giant might let loose another shaft while my back was turned, on my way towards the next stop.

There were 31 works on display of varying quality, but overall the exhibition offers a wonderful experience.  It isn't easy to design a sculpture that holds its own in a landscape of this scale (without resorting to visual jokes as with Target) and that is durable enough to withstand the elements as well as the actions of thousands of visitors -- 45,000 in 2013, according to organizers.  I also prefer pieces that feel integrated with the landscape, as opposed to merely placed there for people to see.  And if the work can connect with the history, meaning, social use, or cultural context of the site, so much the better.  But three works that I loved simply intensified my enjoyment of being in such a beautiful place: Field Apart by Angus Muir and Alexandra Heaney, Landform by Veronica Herber, and Crossed Wires by Sharonagh Montrose (sculpture) and Helen Bowater (sound).  There is a short post here about each one.