Gennie de Lange - ceramic tiles

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Towards Tauranga (1970s)
525 x 525 x 52mm (framed)
(detail left, framed work on right. Use
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1970s Towards Tauranga 525 x 525 x 55 e
The Gardener 1 (2021)
270 x 270 x 52mm (framed)
(detail left, framed work on right. Use
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2021 The gardener 1 210 x 210, 235 x 235 a1
We Are Out of Here (2006)
535 x 525 x 30mm (framed)
(detail left, framed work on right. Use
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2006 We are out of here fr 300 x 300, 535 x 525 x
Shattered Buildings, Shattered Lives 2 (2011)
435 x 425 x 30mm (framed)
(detail left, framed work on right. Use
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2011 Shattered Buildings, Shattered Lives 2 435 x 435 x 30 b
Orange Dog (2011)
360 x 360 x 52mm (framed)
(detail left, framed work on right. Use
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2011 Orange Dog a
The Dog Wants You to Stay (2011)
310 x 310 x 52mm (framed)
(detail left, framed work on right. Use
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The Dog Wants You to Stay 300 x 300, 315 x 315 x 52 a
The Dog Still haunts Me (2004)
430 x 440 x 45mm (framed)
(detail left, framed work on right. Use
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The Dog Still haunts Me 2004 430 x 440 x 45
The Old Sea Dog (2001)
360 x 360 x 52mm (framed)
(detail left, framed work on right. Use
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SOLD
2001 The Old Sea Dog 300 x 300, 360 x 355 x 52 new a
Why Are We Waiting (2004)
440 x 430 x 45mm (framed)
(detail left, framed work on right. Use
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2004 Why Are We Waiting 430 x 430 x 45 new b
The End of The Week (2004)
435 x 430 x 45mm (framed)
(detail left, framed work on right. Use
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2004 The End of the Week 430 x 440 x 45 c
The Family (2003)
310 x 310 x 52mm (framed)
(detail left, framed work on right. Use
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2003 The Family fr 250 x 250, 310 x 310 x 52 x
Love in a Thicket (2015)
455 x 440 x 55mm (framed)
(Detail left, framed work right. Use
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Love in a Thicket
Do You Understand (2015)
Ceramic tile, 250 x 220mm
400 x 375 x 55mm (framed)
2015 Do You Understand
There's A Chance We'll All Dance
Together Again Some Day
Ceramic tile, 255 x 250mm
315 x 310 x 52mm (framed)
There
Diggers - Phantom series (1994)
360 x 360 x 52mm (framed)
(detail left, framed work on right. Use
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1994 Phantom Series Diggers360 x 360 x 52 y
Hollow Men - Phantom series (1994)
Looking to the Future (1992)
310 x 310 x 52mm (framed)
(detail left, framed work on right. Use
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1994 Phantom Series Hollow Men 310 x 310 x 52 x
Summer Series (1988)
Ceramic tile, 300 x 300mm
335 x 335 x 30mm (framed)
1988 Summer Series 1988 335 x 335 x 30
A Shout (1980s)
300 x 300 x 30mm (framed)
(detail left, framed work on right. Use
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1980s Small Abstract A Shout 300 x 300 x 20 b
Summer Series Small (1991)
300 x 300 x 20mm (framed)
(detail left, framed work on right. Use
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1991 Summer Series sm 300 x 300 x 20

Gennie de Lange commenced art studies at the Wellington Polytechnic (1958-1960). In her search for a self-supporting career, she headed for Scandinavia to study leading edge design. Inspired by the colours and textures experienced during her travels, she returned to London in 1963, spending a year at the Hammersmith School of Art, before working at Chelsea Pottery (1965-1967). When the family moved to Texas, de Lange borrowed a kiln and began creating unique tile artworks. Returning to Christchurch at the end of 1968, her art practice flourished. In 1980, she returned to London undertaking post-graduate studies at the Middlesex School of Art. The family continued to travel widely, spending significant time in their 300 year old apartment in Sète, France.

Since her first group show, at the New York World Fair in 1967, de Lange has continued to exhibit widely throughout New Zealand in both dealer and public art galleries, including The Suter (Nelson), The Sarjeant (Whanganui), The Dowse (Upper Hutt) and Govett-Brewster (New Plymouth). Her work has been exhibited in England, France and Switzerland, and is in both public and private art collections, including the Auckland Museum, The James Wallace Collection and the Waikato and Christchurch art galleries.

With a career in the arts spanning over 60 years, de Lange has been a potter, fashion designer, author, and photographer. She is however, best known for her ceramic paintings created using a unique glazing technique. Working on high quality unglazed terracotta tiles, she paints many layers of glazes, some transparent, some opaque. The tones and colours (matt pastels before firing) are completely transformed after three days in the kiln. Through endless experimentation, de Lange has discovered how to handle these to their greatest advantage. There is a very painterly feel to the works and the glaze effects are rich, luminous and complex, with a jewel-like quality.