b'exhibition designopposite and left: Resene Zylone Sheen tinted to Resene Flax, Resene Cross Country, Resene Mustang and Resene Black Magic were the key colours used in this MTG Hawkes Bay exhibition, along with stripe details in Resene Serenity, Resene Opal, Resene Petite Orchid, Resene Kalgoorie Sands, Resene Caper, Resene Nirvana, Resene Chelsea Cucumber, Resene Origin, Resene Contessa, Resene Rose Of Sharon, Resene Flourish, Resene Bay Leaf, Resene Aqua and Resene Area 51. The exhibition showcases the breadth of woven Taonga in the museums collection and the materials and techniques used to create these precious works of art. The project was recognised with a Resene Total Colour Nightingale Award and a Resene Total Colour Installation - Experiential - Product Award. Exhibit design and specification by James Price, MTG Hawkes Bay Exhibitions & Facilities Team, www.mtghawkesbay.com. Curators and designers discuss the ReseneCuration by Nigel How. Images by David Frost.colours that allow art and artefacts to shine. Resene Resene ReseneAqua Petite Orchid NirvanaResene Resene ReseneOpal Contessa FlourishResene Resene ReseneSerenity Kalgoorie Sands FlaxResene Resene ReseneBay Leaf Rose Of Sharon CaperResene Resene ReseneOrigin Mustang Chelsea CucumberResene Resene ReseneArea 51 Black Magic Cross CountryO f all the places one can seek out inspiration, art galleriesendless scroll of imagery on Google, Instagram and Pinterest hascolours on the walls improves the viewing experience of paintings, andmuseumsareamongthemostcommonlocalesshone light on the valuable work that curators do in identifyingwhich has more to do with the science of colour rather than taste. In that designers and specifiers go to top up their creativewhat is relevant and important. Their ability to assemble thedesigning exhibitions, we also look to evoke feelings and responses fuel tanks. Though many have begun leveraging the conveniencecrme de la crme into experiences that ebb and flow, which canthat enhance the experienceand colour plays a big part in that.of the internet to make imagery of their collections available farbe experienced collectively with friends, family and strangersThe use of non-white wall colours can be such an incredible and wide, nothing compares to seeing a masterpiece or preciousalike, is a great service to those in creative fields. And part oftool and can enrich the visitors experience of the space, explains antique in person. Whether its a paintings glossy finish or visiblewhat makes those experiences so much more enjoyable is theNick Eagles of The Letter Q, a design studio which specialises in brushstrokes, the subtle impression of a makers fingerprint onway they are rolled out across physical areas, and the almightyexhibit design. It can say something about the artist or creator the surface of a pottery vessel or the sensation of being dwarfednegative spaceor white spacethat frames each piece and it can be biographical or a visual cue to a particular time period by a large-scale work, there is a unique and undeniable magicprovides the eye with a place to rest. or place. We would never position ourselves against the use of that these objects hold. But somewhere along the line, the term white space waswhite in gallery or exhibition spaces, but its not a convention we Theinternetcanbeanoverwhelmingplace,too.Whentakenalittletooliterally.Whiteonwhiteinteriorsbecamefeel restrained by.everything is screaming for your attention, it makes it awfullysynonymous with a gallery look, even though this is rarely theMore designers and specifiers could do with this release from hard to focus on any one thing. While its democratic natureideal circumstance to experience artworks and artefacts. restraint and convention; not only do coloured walls offer up better and widespread availability is one of the webs most admirableWhitegalleriesonlybecameagallerynorminthe20thopportunities to work with and around clients artworks and antiques aspects, which allows us to expose ourselves to work that weCentury, explains Charlotte Davy, Head of Art at the Museum even if that setting is residential or commercial in nature rather would otherwise never know existed, it also makes it difficultofNewZealandTePapaTongarewa.Formanycenturies,artthan a true gallerythey create more enjoyable and engaging to separate the wheat from the chaff. The phenomenon of thehas been displayed on coloured walls. We know that using certainspaces to be in. While there will always be exceptions where white is 22 blackwhitemag.com blackwhitemag.com 23'