The Machine Stops: The Allegorical Architectural Project

Alice Charles

May Myo Min

Thomas Jackson

Rory Patterson

Ryan Western

William Du Toit

Hamish Beattie-Craven

Nicholas Wilkey

Jonathan Morrish

Travis Hinchliff

An exhibition of architectural drawings curated by Daniel K. Brown

19 November 2021 – 27 March 2022

Wide view of a gallery with text and artworks on the white walls and a dark red sculpture on the wooden floor. Daniel K. Brown

Installation view, The Machine Stops: The Allegorical Architectural Project, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University of Wellington, 2021. Photo: Ted Whitaker

Wide view of a long gallery with text and artworks on the white walls and a dark red sculpture on the wooden floor. Daniel K. Brown

Installation view, The Machine Stops: The Allegorical Architectural Project, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University of Wellington, 2021. Photo: Ted Whitaker

Wide view of a gallery with text and artworks on the white walls and a dark red sculpture on the wooden floor. Daniel K. Brown

Installation view, The Machine Stops: The Allegorical Architectural Project, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University of Wellington, 2021. Photo: Ted Whitaker

Straight on view of a gallery wall with text and square architectural images in perspex mounts. Daniel K. Brown

Alice Charles, Vessel for a Codex,2021, digital collage: historic map, digital architectural model, heritage photograph, notation marks, text; An Artefact of Time, 2021, graphite on paper, digitally collaged; and Unveiling an Artefact of Time,2021, graphite on paper, digitally collaged. Installation view, The Machine Stops: The Allegorical Architectural Project, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University of Wellington, 2021. Photo: Ted Whitaker

Straight on view of a gallery wall with text and a square architectural image in a perspex mount. Daniel K. Brown

May Myo Min, Inside the Game, 2020, digital collage: digital model, photograph of physical model, shadows, notation marks, text. Installation view, The Machine Stops: The Allegorical Architectural Project, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University of Wellington, 2021. Photo: Ted Whitaker

Straight on view of a gallery wall with a white rectangular relief sculpture, and two smaller ones on either side. Daniel K. Brown

Thomas Jackson, Atlas Shrugged, 2021, printed muslin fabric, ink on tracing paper, white card, Indian ink, laser-cut fibreboard, weathered pallet timber, steel, acrylic paint, artificial rust mixture, paper receipts, 3D printed ABS filament; Michael Weir, The Sorcerer and the Artisan, 2021, gold foam, fibreboard, plaster, 3D printed ABS filament, artist’s mull, gesso, plaster, wire, acrylic paint; and Adam Clark (Ngāti Maniapoto and Ngāti Hauā), Te Whare Atapō: The House Before Dawn, 2021, digital collage, fibreboard, canvas, unprocessed muka flax, wool, translucent paper, rimu, metal pegs, acrylic paint. Installation view, The Machine Stops: The Allegorical Architectural Project, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University of Wellington, 2021. Photo: Ted Whitaker

A wooden gallery floor with a dark red architectural sculpture, with geological looking lumps and square angles

Rory Patterson, Stalker, 2021, laser-cut gold foam, fibreboard, acrylic paint, remnants of digital recording devices. Installation view, The Machine Stops: The Allegorical Architectural Project, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University of Wellington, 2021. Photo: Ted Whitaker

Straight on view of a gallery wall with text and square architectural images in perspex mounts. Daniel K. Brown

Ryan Western, The Engraver’s Craft,2020, digital collage: digital model renders, physical model photograph, topographic map, notation marks, text; and The Engraver’s Landscape,2020, digital collage: physical model photograph, site photographs, topographic map, notation marks, text. Installation view, The Machine Stops: The Allegorical Architectural Project, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University of Wellington, 2021. Photo: Ted Whitaker

Straight on view of a gallery wall with text and square architectural images in perspex mounts. Daniel K. Brown

William Du Toit, The Architectural Ruins,2021, digital collage: ink on paper, digital model and textures; The Mineshaft, 2021, digital collage: ink on paper, digital sluicing; and The Aerial Cableway,2021, digital collage: ink on paper, digital weaving. Installation view, The Machine Stops: The Allegorical Architectural Project, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University of Wellington, 2021. Photo: Ted Whitaker

A gallery with white walls and wooden floors. A largescale print on the wall of a greyscale architectural drawing, with light from a window shining down the right side.

William Du Toit, The Stamper Battery,2021, digital collage: ink on paper, digital amalgamation. Installation view, The Machine Stops: The Allegorical Architectural Project, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University of Wellington, 2021. Photo: Ted Whitaker

Straight on view of a gallery wall with text and square architectural images in perspex mounts. Daniel K. Brown

William Du Toit, The Water Race,2021, digital collage: ink on paper, digital excavation; The Schist Tailings, 2021, digital collage: ink on paper, digital dripping; Lamentations, 2021, digital collage: ink on paper, digital model and textures. Installation view, The Machine Stops: The Allegorical Architectural Project, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University of Wellington, 2021. Photo: Ted Whitaker

Straight on view of a gallery wall with text and square architectural images in perspex mounts. Daniel K. Brown

Hamish Beattie-Craven, In the Generative Cell,2015, digital model, colour and textures digitally collaged onto an inverted painting by Laura Hathaway; and Construction of a Ruined Temple,2015, digital collage: digital model, digital colour and textures. Installation view, The Machine Stops: The Allegorical Architectural Project, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University of Wellington, 2021. Photo: Ted Whitaker

An oblique view of a gallery wall with text and 5 square architectural images in perspex mounts, and a larger print in the centre of a dark angular drawing. Daniel K. Brown

Nicholas Wilkey, Installation view of The Repository of Shadows series, 2020. Installation view, The Machine Stops: The Allegorical Architectural Project, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University of Wellington, 2021. Photo: Ted Whitaker

A straight on view of a white gallery wall with a square architectural image in perspex mount on either side of a larger print of a dark angular architectural drawing . Daniel K. Brown

Nicholas Wilkey, Inside the Repository of Shadows,2020, pen and ink on paper, digitally collaged; Gateway into the Repository of Shadows,2021, pen and ink on paper, digitally collaged; and The Shadow Grounds,2020, pen and ink on paper, digitally collaged. Installation view, The Machine Stops: The Allegorical Architectural Project, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University of Wellington, 2021. Photo: Ted Whitaker

A straight on view of a white gallery wall with architectural images in perspex mounts, and cropped partly on the left is a larger print of a dark angular architectural drawing . Daniel K. Brown

Nicholas Wilkey, The Shadow Grounds,2020, pen and ink on paper, digitally collaged; and The Gateway and the Gatehouse, 2020, pen and ink on paper, digitally collaged. Installation view, The Machine Stops: The Allegorical Architectural Project, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University of Wellington, 2021. Photo: Ted Whitaker

Straight on view of a gallery wall with text and rectangular architectural images in perspex mounts. Daniel K. Brown

Jonathan Morrish (Ngāti Ruanui), Haeata | Beam of Light, Sunrise, 2021, digital collage, pen and ink on paper, digital colour and textures; and Poutūmārō | The Pinnacle, Midday,2021, digital collage, pen and ink on paper, digital architectural render, digital colour and textures. Installation view, The Machine Stops: The Allegorical Architectural Project, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University of Wellington, 2021. Photo: Ted Whitaker

Straight on view of a gallery wall with text and square architectural images in perspex mounts. Daniel K. Brown

Travis Hinchliff, The Hero’s Journey: Crossing Thresholds,2021, digital collage; and Connor Aislabie, We Are Nō. One, 2021, digital collage. Installation view, The Machine Stops: The Allegorical Architectural Project, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University of Wellington, 2021. Photo: Ted Whitaker

Wide view of a gallery with text and artworks on the white walls and a dark red sculpture on the wooden floor. Daniel K. Brown

Installation view, The Machine Stops: The Allegorical Architectural Project, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka Victoria University of Wellington, 2021. Photo: Ted Whitaker