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Ella Sutherland’s current exhibition, FOLDS, is showing at Sumer in Tauranga. Here, Sutherland talks on research and, in particular, her interest in the non-heterosexual spaces of early 20th century Paris.
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The cool, sharp-edged abstract paintings in FOLDS, Ella Sutherland’s newest exhibition at Sumer, Tauranga, are miraculous icebergs supported by a deep foundation of intensive reading and writing. As of this month, Sutherland should be starting her Creative New Zealand Visual Arts Residency as the artist-in-residence at the Künstlerhaus Bethanien, Berlin and a year of intensive making and research into the social and political climate of Germany in the 1930s. Instead, she is still in Sydney, where she has lived and worked since 2016, and where the paintings in FOLDS were created. These paintings are architectural in form and scale. Though theirs is an architecture looking for human forms, an architecture of intimacy: doors, windows, staircases, screens. Sutherland spoke to Chloe Lane about some of the research that supports these works, in particular her interest in the non-heterosexual spaces — architectural, literary and social — of early 20th century Paris, her belief in the innate rhythm of letterforms and texts, and what she thinks can be gained by acts of refusal and looking backwards.
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