Verve chats with Yuka O’Shannessy, the inspiring director of Public Record – a platform that curates craftworks made from raw materials with unique processes by artisans from New Zealand, Japan, and around the world.
What led you to New Zealand?
My journey to New Zealand began after my career as a marathon runner ended due to an injury. Having had the opportunity to travel abroad as an athlete, I developed an interest in English. Also, my best friend was in New Zealand, prompting me to visit her and study English here. It was at the time that I met my husband before my visa expired – and now we’ve been married for 18 years!
How did you overcome the time transitioning to your new career from being an athlete?
The transition took about two years. I faced uncertainties and even spent a whole month just staying in bed. However, my family and friends were great supporters during that period, and since then, I’ve always tried to surround myself with people I love. It’s also important to talk to others, go see things outside, experience as many things as possible, and try to understand what you love. It’s okay to take time to think until it becomes clear what you want to do next, but never stop!
How has your experience in New Zealand changed your perceptions of fashion and beauty?
In Japan, I feel there’s a strong pressure to follow trends. People there tend to choose an item because everyone else has it. Whereas in New Zealand, each person has one’s own style which is not affected by trends. With the absence of major trendsetters and a limited range of available items, along with a deep connection to nature and high environmental awareness, people here tend to avoid unnecessary purchases. I really appreciate their mindset of choosing only things that they genuinely love. That’s why the artworks in my gallery are selected based on what I find beautiful.
What inspired you to establish Public Record, and what distinguishes it from other galleries?
The inspiration to create Public Record arose from a passion for working on something timeless that transcends borders. What sets it apart is my dual role as a director and creator – as I am also a designer of my fashion brand Yuka&Tristan – so I know what it’s like to create. I usually engage in numerous conversations with artists, visit them in person, and witness the process of creating artwork before holding an exhibition. By the time an exhibition takes place, I have a comprehensive understanding of the artist’s creative process. That’s why, my captions can be so enthusiastic when promoting them on social media. I proudly consider myself their number one fan!
What kind of place would you like Public Record to be?
As art possesses the power to touch hearts without relying on words, I want people to enjoy art beyond any confines of national borders. I aim to create a space for artists and communities to interact, not just culturally but also in terms of sharing techniques and forming connections. Especially in a young country like New Zealand, I hope we can offer something new to learn and grow through this exchange.
What are your future goals for Public Record?
Public Record was established right after lockdown. It’s been four years, and we’re finally settling down after going through the pandemic. As the director my current goals include to continue pursuing my values, building my team, establishing routes for creative exchange with other countries, and supporting artists in reaching global audiences. I aim to promote more cultural exchange, establish a community space, potentially a café, to make art more accessible, and take on various challenges.
Could you tell us about the current exhibition?
The current exhibition, A Silent Correspondence by Aona Hayashi and Justin Hoffman, is a collaborative exploration of intuitive mark-making, where both artists detach from their individual selves to focus on a simple motif, contributing to a dynamic landscape. This project harmoniously unites the two artists with a shared creative vision and aesthetic cohesion, transcending boundaries and cultural environments. Justin draws inspiration from Aona’s recent compendium, Kuromono, indicating a shared admiration and a quiet exchange between artists, emphasising the power of artistic expression and mutual understanding. The exhibition carries an unexpected unification of two creative worlds from different corners of the globe, showcasing the culmination of their exceptional efforts.
Could you tell us about the current exhibition?
The current exhibition, A Silent Correspondence by Aona Hayashi and Justin Hoffman, is a collaborative exploration of intuitive mark-making, where both artists detach from their individual selves to focus on a simple motif, contributing to a dynamic landscape. This project harmoniously unites the two artists with a shared creative vision and aesthetic cohesion, transcending boundaries and cultural environments. Justin draws inspiration from Aona’s recent compendium, Kuromono, indicating a shared admiration and a quiet exchange between artists, emphasising the power of artistic expression and mutual understanding. The exhibition carries an unexpected unification of two creative worlds from different corners of the globe, showcasing the culmination of their exceptional efforts.
A Silent Correspondence
25 January – 18 February
Artists: Aona Hayashi and Justin Hoffman
AONA HAYASHI: Born in 1989 in Ishikawa prefecture, Hayashi resides in Tokyo and began artistic pursuits from an early age at Kuni Studio. After graduating from Kuwasawa Design School in 2010, she worked as an illustrator, focusing on still life’s in sumi ink. Hayashi, awarded the Suzuki Seichi Award in 2014, exhibits her abstract brush and ink paintings globally since 2010. Rooted in simple lines and circles, her abstracts explore the essence of being, detached from the self, and emanate from a state of near-quiescent consciousness.
JUSTIN HOFFMAN: Born in 1974, Hoffman is an American ceramic artist and painter based in the San Francisco Bay Area. His dynamic works, influenced by Japanese ceramic artists, span sculpture, vessels, and three-dimensional objects. Embracing spontaneity, each piece is unique, created with layers of depth and texture. Hoffman has studied wood-firing in Japan under master potters and participated in a Noborigama firing in Seto, Japan. Operating from his private studio in Lafayette, CA, he approaches each creation like a blank canvas.
Public Record, 76 Ponsonby Road | publicrecord.shop
