JENNIFER HALLI
  • Sculpture
    • Park, 2023
    • Cerulean Latency, 2023
    • Clepsydra, 2022
    • Window I, Window II and Window III, 2020
    • Impossible Shrines, 2019
    • Float | Pōrena, 2019
    • Measuring to a Saint, 2019
    • Clark's Point Cento, 2018/2019
    • SeaWallCento: May 2018
    • With Feet Opposite: March 2018
    • 256: November 2017 - February 2018
  • Printmaking
    • the other side of better Prints, 2021-2024
    • Time Lapsed/Blue Prints 2022-2024
    • Ngāmotu Prints, 2023
    • Kāwhia Prints, NZ, 2020
    • Driving Creek Prints, 2020
    • Watershed Prints, 2019
    • Collagraphs 2017 - 2019
    • Collage + Sculpture, 2015-2016
  • Projects
    • Reta Aroha Ki Te Mounga, Love Letters to the Mounga, 2025
    • Saint Lucia (Lux), 2025
    • Disheartened, 2024
    • Little Free Library, 2024
    • ImMaterial, 2023
    • Watching Grass Grow. 2021/2022
    • MIGHT COULD
  • Ceramics
    • Lamingtons, 2017
    • Restless, 2017
    • The Antipodeans, 2014-2016
    • Pods, Bipods and Tripods, 2011 - 2013
    • Rudnick Trail Mural, 2011/2012
    • Baking Dishes
    • Flasks
    • Plates & Platters
    • Teapots
    • Wood Firing
  • CV
    • Biography
  • Thank You
Measuring to a Saint II, 2024
Collagraph prints on Thai kozo with pigment and terra cotta, candle wick, flocking, gold leaf
3000 x 700 x 20mm

Measuring to a Saint II is about a life that once was, or could have been.
In the Catholic Church, votive candles are lit as the physical representation of a prayer for a loved one who has passed or is contending with a foreboding event. In the Middle Ages, candles were created equal to the height of the person remembered or the length of their coffin. Thus ensued the phrase “measuring to a saint”. Like the abbreviated votive candles we light today, the prayer continues as long as the candle burns.
54 collagraph prints traverse the wall, heading in a celestial direction. Alongside is a single wick dotted with press moulded figures, steadily marking time.
The figure is of the mother we were taught to look up to most as children, the Virgin Mary. The Marian statue is pressed in iron-rich terra cotta, akin to the sticky, staining variety of my childhood in South Carolina

Exhibited as part of Homework at Puke Ariki Museum, Ngāmotu, New Plymouth. Curated by:
  • Sculpture
    • Park, 2023
    • Cerulean Latency, 2023
    • Clepsydra, 2022
    • Window I, Window II and Window III, 2020
    • Impossible Shrines, 2019
    • Float | Pōrena, 2019
    • Measuring to a Saint, 2019
    • Clark's Point Cento, 2018/2019
    • SeaWallCento: May 2018
    • With Feet Opposite: March 2018
    • 256: November 2017 - February 2018
  • Printmaking
    • the other side of better Prints, 2021-2024
    • Time Lapsed/Blue Prints 2022-2024
    • Ngāmotu Prints, 2023
    • Kāwhia Prints, NZ, 2020
    • Driving Creek Prints, 2020
    • Watershed Prints, 2019
    • Collagraphs 2017 - 2019
    • Collage + Sculpture, 2015-2016
  • Projects
    • Reta Aroha Ki Te Mounga, Love Letters to the Mounga, 2025
    • Saint Lucia (Lux), 2025
    • Disheartened, 2024
    • Little Free Library, 2024
    • ImMaterial, 2023
    • Watching Grass Grow. 2021/2022
    • MIGHT COULD
  • Ceramics
    • Lamingtons, 2017
    • Restless, 2017
    • The Antipodeans, 2014-2016
    • Pods, Bipods and Tripods, 2011 - 2013
    • Rudnick Trail Mural, 2011/2012
    • Baking Dishes
    • Flasks
    • Plates & Platters
    • Teapots
    • Wood Firing
  • CV
    • Biography
  • Thank You