Fieldwork | Writing Workshops

Shannon Te Ao | With the sun aglow, I have my pensive moods

Shannon Te Ao | With the sun aglow, I have my pensive moods

Opening Saturday November 18, 4-6pm
Exhibition runs from Saturday November 18, 2017 to  Sunday April 22, 2018
Te Tuhi, Auckland

Curated by Sorcha Carey and Bruce E. Phillips

Te Tuhi is proud to present With the sun aglow, I have my pensive moods, a major new work by Wellington-based artist Shannon Te Ao (Ngāti Tūwharetoa) and a joint commission between Te Tuhi and the 2017 Edinburgh Art Festival. This two-channel video installation features footage filmed in three separate locations in Aotearoa New Zealand, documenting a dance, a highway and a farm. These visuals also contain a myriad of references that create a convergence between Te Ao’s personal socio-geography, his tīpuna and the imaginings of other artists, directors and musicians from distinct times and places.

Image: Shannon Te Ao, With the sun aglow, I have my pensive moods, 2017 (video still) two channel video, colour and sound, cinematography by Iain Frengley, commissioned by Edinburgh Art Festival and Te Tuhi, Aotearoa New Zealand

Yuki Kihara | Te Taenga Mai o Salome

Yuki Kihara | Te Taenga Mai o Salome

Artist’s Floor Talk | Friday December 8, 4pm
Friday December 8, 2017 to Tuesday June 5, 2018
MTG Hawke’s Bay, Napier

Poetic and visually alluring photographs and video works from leading interdisciplinary artist Yuki Kihara place the symbolic figure of Salome in the landscape of Ngāti Kahungunu ki Heretaunga – Hawke’s Bay.

Kihara was inspired to set her works in the Hawke’s Bay region after reading an account of the great Takitimu waka, built in the artist’s homeland of Sāmoa many generations before carrying ancestors of Ngāti Kahungunu to Aotearoa.

Salome is seen visiting various sites of layered historical and contemporary significance, exploring the connections between local tangata whenua and the people of Sāmoa while critiquing colonial systems.

James Robinson | Doors: Hyper objects of the cthulucene

James Robinson | Doors: Hyper objects of the cthulucene

Saturday December 9, 2017 to Sunday June 3, 2018
Te Manawa Public Art Gallery, Palmerston North

This stunning exhibition presents a new series of compelling, experimental large paintings and drawings created specifically for this exhibition by award-winning artist James Robinson. Using a series of actual doors he explores the concept of the cthulucene – the concept of a new age when ‘humans, as refugees from environmental disaster, come together to create new worlds based on balance and living in harmony with nature – or what’s left of it’.

Image courtesy of the Diversion Gallery

Call for Proposals | Hainamana 2018

Call for Proposals | Hainamana 2018

Hainamana is looking for contributors. If you would like to contribute a piece of writing about contemporary Asian New Zealand art or culture, then get in touch. This is a paid writing opportunity!

Aspirational or provocative ideas are encouraged, as well as experimental pieces of writing. Long-form essays, articles, interviews, reviews and pieces of creative writing are all welcome.

Proposals should be no longer than 150 words and should respond to contemporary Asian-New Zealand culture within the context of Aotearoa and the Asia-Pacific.

To make a submission please email

HAINAMANA is a first linguistic encounter with Asia from a regional perspective. A transliteration of an English denomination –Chinaman – and operating at a third remove from what Chinese and East Asian migrants would call themselves, HAINAMANA points to a moment in Aotearoa’s recent colonial history, and to the often uneasy relations between tangata whenua and tauiwi.

With broad allegiances, HAINAMANA is committed to fostering contemporary Asian New Zealand arts and cultural discourse. With a view towards subjectivity and personal narratives, regional specificity, linguistic difference, and the multifarious and rapidly changing dimensions of contemporary New Zealand society, HAINAMANA also seeks to ask pertinent questions around issues of identity. It is at best an indication of emergent themes rather than resolutions, never a definitive authority on Asian cultural practice, and acknowledges social agitation as its primary function.



Call for Submissions | Fieldays No.8 Wire National Art Award

Call for Submissions | Fieldays No.8 Wire National Art Award

Applications close Friday April 13, 2018
Nationwide opportunity

Fieldays No.8 Wire National Art Award, hosted by Waikato Museum, culminates in a public exhibition at Hamilton’s ArtsPost. 

Held annually around the Fieldays event, the Fieldays No.8 Wire National Art Award celebrates innovation by challenging artists to create artworks using No.8 wire, an iconic Kiwi agricultural product.

Entrants are invited to utilise agricultural-based materials and No.8 wire to create sculptural artworks. The online entry form enables streamlined entry, multiple images, online payment and a blind selection of the finalists by the judge.

In previous years, the entry criteria have called for the artworks to feature a minimum 50 per cent No.8 wire. Reflecting the way the future of farming is changing, the awards will now allow artists to use a wider range of agricultural products, with the dominant visual and structural feature of the artwork to be No.8 wire or wire of a similar gauge.

Waikato Museum Director Cherie Meecham says the removal of the 50 per cent No.8 wire condition expands what artists are now able to create with the iconic farm product.

“The variety and intricacy of what can be created through the manipulation of No.8 wire never ceases to amaze me,” she says. “Waikato Museum and ArtsPost are excited to be part of Fieldays’ milestone celebration.”

The award culminates in a month-long exhibition at Hamilton’s ArtsPost Galleries & Shop, and selected finalists will also be invited to have their work displayed at Fieldays, which celebrates its 50th anniversary in 2018.

The judge for the 2018 award is Andrew Clifford.

First prize: $7,000
Second prize: $1,000
Third prize: $500
President’s Choice: $100 ArtsPost voucher
People’s Choice: $100

Key Dates

Entry closes: Friday April 13 2018
Finalists notified: Week of April 16 2018
Opening and Awards event: 5.30pm, Thursday May 10 2018
Exhibition: Friday May 11 to Monday June 11 2018
Venue: ArtsPost Galleries and Shop, 120 Victoria Street, Hamilton.

For more information visit



No Categories

Art Today with Lois Perry

Art Today courses are year long but students tend to continue year after year as they gain confidence. There is no set programme for these classes but rather the course material and topics considered develop from current events in the art world. These may be exhibitions or events in New Zealand, New York, London, Sydney or elsewhere.

There is discussion on exhibitions to visit locally and interesting art places to visit overseas. We also make class trips to galleries in Auckland from time to time, and students have the opportunity to visit art events in other places with Art Today groups.

There are no examination requirements and students are encouraged to learn at their own pace.

For further information or to enrol in a class, please contact Te Tuhi
(09) 577 0138

Click here for Terms & Conditions.

Call for Submissions | National Contemporary Art Award 2018

Call for Submissions | National Contemporary Art Award 2018

Submissions close Wednesday May 9, 1pm

Waikato Museum, Hamilton

The National Contemporary Art Award can be described as brave, colourful and never shy, an award which takes on an exciting genre – contemporary art. Contemporary art is simply described as art that has been and continues to be created during our lifetimes. In other words, contemporary to us. Or more simply, the art of now.

Key members of the Waikato Society of Arts initiated and launched what we now know as  the National Contemporary Art Award in 2000. Gavin Hipkins won the inaugural Trust Waikato National Contemporary Art Award and received $10,000 for his photo of a soap dish.

Artists entering this year’s National Contemporary Art Award, managed by Waikato Museum, will now vie for a prize pool of more than $27,000.

The overall winner will receive $20,000 from Tompkins Wake and Chow Hill. The Hugo Charitable Trust will sponsor the Hugo Award for the Runner-Up, with the recipient receiving $5,000, and each merit award winner will receive $1,000 sponsored by Friends of Waikato Museum and Random Art Group.

Important dates:

  • Entries open Thursday February 15 2018 and close 1.00 pm Wednesday May 9 2018
  • Entrants will be notified if their work has been selected in the week beginning Monday May 21 2018
  • Waikato Museum will announce finalists the week commencing Monday 21 May 2018

This year’s award will be judged by the Director of Pātaka Art Gallery and Museum, Reuben Friend.

Entry Form

For more information, terms and conditions please go to the Waikato Museum Website

Clouds | Group Show

Clouds | Group Show

Featured image Kenneth MacQueen McCauley’s Farm 1935, watercolour, 1937/2/2. Collection of the Sarjeant Gallery Te Whare o Rehua Whanganui

Starting Saturday February 17

Sarjeant Gallery, Whanganui 

A selection of works from the Gallery’s permanent collection depicting the many moods of clouds as represented over several centuries of artmaking.


Kerry Ann Lee | Life Should Be Simple And Good

Kerry Ann Lee | Life Should Be Simple And Good

Opens Saturday February 17

Te Uru Waitakere Contemporary Gallery, Auckland

Kerry Ann Lee is a visual artist from Wellington who uses hand-made processes and socially-engaged projects to explore hybrid identities and histories of migration. For this commissioned project, Lee continues her interest in the relationship between craft, identity and place by drawing upon the specialist craft knowledge and legacies associated with West Auckland. The Learning Centre gallery is re-imagined as a whimsical garden – a space loaded with concepts of home and belonging. Here, visitors are invited to create a pot plant with handmade flowers made from twigs and paper. The simplicity of the invitation belies its endless experimentation; what can a vessel look like? How many different ways can you make a flower or plant? What else might grow, or take shape?

In prying open the possibilities of form, the project makes space for different forms of material knowledge to come to the fore. Over the course of the project, Te Uru and Kerry Ann Lee will develop public programmes that further connect with local makers who specialise in the various mediums of wood, clay and paper. Somewhat paradoxically, then, by encouraging a sprawl of creative growth, Lee also sparks a recognition of locally-rooted expertise.

Fiona Connor | Object Classrooms

Fiona Connor | Object Classrooms

Opening Wednesday February 21

Govett-Brewster Art Gallery, New Plymouth 

Fiona Connor’s exhibition, Object Classrooms, tracks the movement and eventual disappearance of an artwork as it was moved around New Zealand in the mid-1970s. Tracking its mysterious path – through galleries, art institutions and conservation departments – Connor allows the absent painting and its related documentation to create a series of counterpoints between objects, words and architectures.

The painting in question was created by Los Angeles artist John McLaughlin, a pioneer of minimalism and hard-edge painting, and a leading United States West Coast post-war artist. It was included in the exhibition State of California Painting, which toured New Zealand in 1972, organised  by the American director of the Govett-Brewster Art Gallery, Robert Ballard. The exhibition had a substantial impact on New Zealand artists at the time, many of whom found inspiration in McLaughlin’s approach to contemporary painting.

Connor’s new film, Object Classrooms #1 (Finding John McLaughlin), commissioned by the Govett-Brewster, follows in the footsteps of the exhibition’s tour and includes footage of the New Zealand art institutions that hosted State of California Painting. The film is presented alongside other new works and historical material drawn from the Govett-Brewster’s archives. It forms an investigation into the life of the painting and considers the impact that an artwork and a place can have on one another.

Object Classrooms is accompanied by Abstractions: Works from the Govett-Brewster Collection, in Galleries 2, 3 and 4 (Sat 10 Mar– Sun 29 Apr), which focuses on the history and influence of geometric abstraction (particularly from the West Coast of the United States) on artists in New Zealand.

Call for Submissions | 2018 EMERGING ARTIST AWARDS

Call for Submissions | 2018 EMERGING ARTIST AWARDS

Submissions due Monday July 16

Upstairs Art Gallery, Auckland

Call for submissions open now!

Upstairs Gallery’s 10th EAA exhibition is now open to emerging artists in all media Auckland wide. Ten finalists will be exhibited in the Upstairs Gallery and 3 will be awarded with prizes worth over $5000.

Exhibition Period: 3 – 26 Aug 2018.

The 2018 Upstairs Gallery Emerging Artist Award is promoting the medium of art as a means to engage the local community and cultures around the concept of mental health, and to convey messages to counter misunderstanding, fear and prejudice.

We believe art is a tool for empathy that can help people understand mental illness in a way that is enlightening and therapeutic for both the viewer and the artist.

A recent research study identified that publicly displayed art is an effective way of increasing empathy and understanding towards people with mental illness. Simply viewing or discussing a work of art can evoke powerful emotions.  We would like you to submit a work of art, in the media of your choice, which cultivates empathy and helps us become more aware of our own emotions and more receptive to the emotion of others.

Email: for further information

Entry Form below:

2018 EAA form 

The Language of Things | Meaning and Value in Contemporary Jewellery

The Language of Things | Meaning and Value in Contemporary Jewellery

Opens Saturday February 24

Dowse Art Museum, Wellington

Precious things aren’t always made from precious materials—and jewellery is no exception.

The intimacy of jewellery worn on the body gives us a unique way of showing who we are and what’s important to us. This exhibition expands on our associations with adornment: drawing out how ideas of value have changed in the twentieth and twenty-first centuries.

The Language of Things features over 100 artists from Europe, America, Asia, Australia and Aotearoa New Zealand whose work reveals how personal meaning develops from the often unusual materials and processes used in the field of contemporary jewellery. Visitors can expect to see beautifully crafted, wearable pieces as well as installation, photography and video, including a necklace made of scissors; a woman covered in brass leaves and a screening of jewellery appearances in films over the last 80 years.

At the heart of the exhibition, will be an installation by Berlin based Yuka Oyama called Helpers—Changing Homes, made especially for The Dowse during her Te Whare Hēra Residency. Featuring a video of a performance of wearable jewellery made from cardboard ‘moving’ boxes: her installation playfully mimics hermit crabs swapping shells to find new ‘homes’ which are a better fit. Through it, Oyama helps us think about immigration and how the objects we carry with us help create a sense of home.

The contemporary jewellers in this exhibition make pieces that comment on social, cultural or political matters through the materials that they choose to work with. Their themes include the shifting perception of precious materials such as gold, vanity, gender stereotyping, associations with place and our relationships with accessories, the environment and each other. Using our inherent understanding of jewellery as a symbol of personal expression to explore these ideas, The Language of Things also prompts us to reflect on how we ‘read’ the materials that surround us in daily life.

Contemporary jewellers in The Language of Things include Bernard Schobinger; Conversation Piece (duo), Daniel Kruger, David Bielander, Dorothea Prühl, Gerd Rothmann , Gijs Bakker, Helen Britton, Jiro Kamata, Karl Fritsch, Lauren Kalman, Liesbet Bussche, Lisa Gralnick, Mia Maljojoki, Moniek Schrijer, Noon Passama, Otto Künzli , Renee Bevan, Sharon Fitness, Susan Cohn, Suska Mackert, Ted Noten, Réka Lörincz and Zoe Brand.

The Dowse is grateful to all the artists and supporters who have made this exhibition possible especially The Rotasa Collection, USA; The Powerhouse Museum, Sydney; The Josef and Anni Albers Foundation, USA and CODA, The Netherlands. Exhibition sponsors and partners include Creative New ZealandBlumhardt FoundationMassey UniversityAsia New Zealand FoundationGoethe-InstitutHandshakeFab Lab Wgtn, and Allied Pickfords.

Open day event: All that Glitters

Exhibition open day featuring three international makers in the show, Daniel Kruger (SA/GER), Susan Cohn (Aus) and Lauren Kalman (USA)

Call for proposals | Toi Pōneke Gallery

Call for proposals | Toi Pōneke Gallery

Submissions due Monday April 30 at 5pm

Toi Pōneke Gallery, Wellington

Do you have an exhibition idea?

Toi Pōneke Gallery
is calling for proposals for our 2019 programme.

Toi Pōneke exhibits work by solo artists, groups and curators, with priority given to Wellington-based artists.  It supports emerging contemporary artists and curators, as well as more established artists.
Proposals are due Monday April 30 at 5pm.

Email reception if you have any questions.

Applications are reviewed by the Toi Pōneke Exhibition Panel.


Proposing an Exhibition at Toi Pōneke Gallery (244KB PDF) – Please note we no longer charge an exhibition fee.

Tips for writing exhibition and funding proposals (43KB PDF) 

Submit your exhibition proposal

The Third Space | Ambiguity in the Art of Graham Fletcher

The Third Space | Ambiguity in the Art of Graham Fletcher

Opening event Thursday March 1, from 5.30pm

Gus Fisher Gallery, Auckland

You are invited to celebrate the opening of the exhibition
‘The Third Space: Ambiguity in the Art of Graham Fletcher’.

In association with Auckland Arts Festival and Tautai Pacific Arts Trust, The Gus Fisher Gallery is pleased to announce the opening of a new exhibition surveying the work of contemporary artist Graham Fletcher.

Join the Gus Fisher Gallery and guest speaker Ron Brownson (Senior Curator of New Zealand and Pacific Art, Auckland Art Gallery) for drinks and nibbles at the opening event.

In addition, Graham Fletcher will be giving a floor talk inside the exhibition on Saturday March 3 at 11am.

‘The Third Space’ will survey works from across Fletcher’s oeuvre, demonstrating how he harnesses the ambiguous to bring together Pasifika culture and European art history in a cultural limbo.

This exhibition will aim to deconstruct the entangled web of cross-cultural negotiations and elusive patterning found across the artist’s artworks. Sculptural forms included in the show will harness the same mystical qualities present in Fletcher’s painted statues in modern interiors. Standing within the gallery, the viewer will find themselves in an intersecting cultural third space where themes can be negotiated and cultures can harmonise.

Curated by Hannah Burgoyne with Linda Tyler.

Is this New Zealand | City Gallery Explores the Role of Art in Shaping National Identity

Is this New Zealand | City Gallery Explores the Role of Art in Shaping National Identity

Michael Stevenson This Is the Trekka 2003–5, collection Te Papa, Wellington.

Opening Saturday March 3

City Gallery, Wellington 

City Gallery reopens on March 3 with the exhibition This Is New Zealand. Taking over the entire building, this expansive show explores the role art has played in asserting and questioning notions of New Zealand national identity. It takes a critical look at the stories we’ve told ourselves—and the stories we’ve told others—about who we are.

The exhibition is curated by Robert Leonard and Aaron Lister. Their thinking started with works sent to represent New Zealand at the world’s pre-eminent contemporary art show, the Venice Biennale. Although the Biennale has been running for over 100 years, New Zealand has only been going since 2001 and our participation declares our desire to be ‘international’. However, some of the artists New Zealand has sent have used the opportunity to tackle themes of national identity, playing on the Biennale’s old-school national-pavilion structure. This Is New Zealand includes Venice works by Michael Stevenson (2003), Michael Parekowhai (2011), and Simon Denny (2015).

Alongside the Venice Biennale works, the exhibition includes works New Zealand has commissioned for other international exhibitions and diplomatic contexts. These include Marcus King paintings for the 1939 New York World’s Fair; John Drawbridge’s mural for New Zealand House in London; This Is New Zealand, a three-screen film made by Hugh Macdonald at the National Film Unit for Expo ’70 in Osaka; and photographic works by Michael Parekowhai and Fiona Pardington, gifted to Paris’s Musée du Quai Branly by the New Zealand government in 2006.

There are also new projects exploring national iconography. Gavin Hipkins’s The Homely II is a frieze of eighty photos shot on touristic excursions in New Zealand and Britain. Bronwyn Holloway-Smith’s The Southern Cross Cable: A Tour is an inquiry into New Zealand telecommunications infrastructure, which evolved out of a project to restore an E Mervyn Taylor’s ceramic mural representing Maui fishing up the North Island. For The National Basement, Emil McAvoy re-presents archival photos from the National Publicity Studios that document old promotional displays. He offers a ‘behind-the-scenes view’ usually hidden in the pictorial presentation of New Zealand. Plus there are films, TV ads, and vintage New Zealand Railways posters.

This Is New Zealand teases out connections between images, ideology, and identity. It reflects on who we thought we were and who we think we are. It presses the question of who and what is included and excluded in our representations of national identity. Is this New Zealand?’, says Robert Leonard.

This Is New Zealand opening weekend events (March 3 – 4) will include artist talks, discussions, and tours.

For more information please go to the City Gallery Website

I Understand If You're Busy | Group Show

I Understand If You're Busy | Group Show

Opening event Wednesday March 7

RM, Auckland

Anxiety is a psychological and physiological phenomenon familiar to most all of us in this contemporary time. ‘I Understand If You’re Busy’ aims to examine its nature in an effort to contextualise, understand and perhaps exorcise or ameliorate it, through utilising strategies of investigation, transformation and escape. Accordingly, the exhibition attempts to play with and/or make useful an otherwise uncomfortable sensation, by which we are increasingly beset.

As a title, ‘I Understand if You’re Busy’ nods to anxiety as it manifests itself in micro-moments, particularly within the context of texts, Facebook messages and emails: ‘I understand if you’re busy’; ‘I’m sorry to be a pain…’; ‘It’s all good if not’; ‘I just wanted to check whether…’; ‘No worries if not…’; ‘Yeah, nah…’; ‘Can I ask a question?’ etc.

The exhibition will examine the concept and experience of anxiety through art, writing and a series of events including a poetry reading, panel discussion and story-telling event. It will feature an accompanying publication to be released at a closing event, as well as the zine ANXIETY which will be launched at an associated event. The exhibition will also show at the newly established [tacit] gallery in Hamilton, from April 12 – 29

Sarah Callesen /
Olyvia Hong /
Anh Tran /
Taylor Wagstaff /
Ellie Lee-Duncan /
Holly Paynter /
Rachel Ashby

Kari Schmidt /
Loulou Callister-Baker

Billy Apple® | Trademark Registration

Billy Apple® | Trademark Registration

Opens Sunday March 11

Te Tuhi, Auckland

Situated outside a shopping mall delivery bay, Billy Apple®’s Te Tuhi Billboard Project locates the artist’s desire to become a brand amidst an ecosystem of consumables that can be inserted into the wider social space. The workexposes a timeline tracing the stages in registering his brand, making visible a process initiated in 2007 whereby Billy Apple™ went on to become Billy Apple®.

Even before his participation in the 1964 pop art exhibition American Supermarket alongside the likes of Warhol, Lichtenstein, Johns and Oldenburg, Billy Apple has consistently erased the border that separates art from life. From his alterations of art gallery spaces to the establishment of the artist’s labour in barter transactions, he works to continuously expand the notion of what art can be and explore the ownership of ideas by investigating the concept of intellectual property.

John Vea | "you kids should only experience this for a moment - don't be here for life like me"

John Vea | "you kids should only experience this for a moment - don't be here for life like me"

Opening Sunday March 11

Te Tuhi, Auckland

“Every summer break for University, I often register myself into a temping agency for work to keep up with the cost of living. This habit started at an early age, as kids living in Herne Bay in the late 80s we were exposed to factory work from an early age. During our school holidays, my parents couldn’t afford baby sitters or holiday programmes, so we tagged along with our parents, uncles and aunties to their work places. The temping agency I enrolled into generally contracts work for factory industrial jobs, very minimal mundane repetitive activities in eight hour plus shifts for five to six days a week. This summer break, I worked at a potato chip plant, my role was to cut potatoes and lookout for foreign objects.”

As part of an ongoing enquiry into the conditions of labour, this latest exhibition by John Vea hones in on the people that work in Auckland’s factories. Focusing on how long days spent performing monotonous tasks affects the workers, he recreates the atmosphere of the potato chip plant as an installation for the gallery space. The work allows the audience to immerse themselves in a similar experience to that lived daily by the workers.

As far removed from the reality of factories as the art world can be, the artist bridges both spaces with this new piece, named after a statement heard on his first day at the factory from the mouth of a Samoan worker. Her advice to the younger generation becomes a cautionary tale encompassing both hope and despair in one sentence.

Kāryn Taylor | Diagram for a Quantum Event

Kāryn Taylor | Diagram for a Quantum Event

Opens Sunday March 11

Te Tuhi, Auckland

For Te Tuhi’s Project Wall, Kāryn Taylor has created a work consisting of perspex, wood, painted line and geometric animation. Taylor is interested in exploring the space between the immaterial and the material.

In quantum physics there is an idea that the observer and the observed are somehow connected, that it is our observation that shifts energy into physical matter and that our experience of reality is determined by this interaction. Using this experiential framework, Taylor plays with relationships between chosen materials, the viewer, and the project wall in which they come together. Taylor attempts to create a place where the space between the immaterial and material can exist at the perceptual edge of the viewer’s experience.

Philip Fickling | The Fragile Sea

Philip Fickling | The Fragile Sea

Opens Tuesday March 13

Te Uru Waitakere Contemporary Gallery, Auckland

Who knows what’s happening at this very moment on the bottom of the Fragile Sea?

Louis skulks along the bottom looking for an easy meal, while just above, Ronaldo eyes Louis with similar intent. Clem pokes his horns in where they don’t belong — if he’s not careful, he’ll wind up bloated on the beach. Meanwhile, plucky little Whale Rider takes up a commanding position on top of her giant hungry friend, guiding him toward Lucinda, an unsuspecting cephalopod, basking on the glassy surface.

– Phillip Fickling

Phillip Fickling is a paper engineer with a significant backgound in handcrafted paper objects, books and sculptures including the celebrated pop-up book Swell: The Art of Judy Millar. In this exhibition Fickling presents a display of carefully sculpted paper creatures – part animal, part machine – of a fictional era inspired by industrial design. The still and stark white paper gives way to imagined colours, movements and interactions between the underwater beings swimming through the exhibition space.

Elizabeth Thomson | White Coda Blue Coda.

Elizabeth Thomson | White Coda Blue Coda.

Opening event Thursday March 15, from 6pm

Two Rooms, Auckland

Elizabeth Thomson, one of New Zealand’s foremost sculptors has for twenty years been creating exquisitely crafted works which orchestrate the area between two and three dimensions, and the boundaries of art and science.

Noel Ivanoff | Open Time

Noel Ivanoff | Open Time

Opening event Thursday March 15, from 6pm

Two Rooms, Auckland

Noel Ivanoff’s formalistic painting practice has been marked by a sheer determination to innovate new possibilities in the language of painting’s surfaces and supports. His explorations into painting as sculptural constructions were first seen in the crate-like works in his exhibition Fabrication (Vavasour-Godkin Gallery, 2007) and the floor box paintings in Landing (Enjoy Public Art Gallery, 2008).

Belinda Griffiths | Mixed Feelings

Belinda Griffiths | Mixed Feelings

Opening event Wednesday March 21, from 5.30pm

Solander Gallery, Wellington

Belinda Griffiths is a conceptual figurative artist based in Auckland, New Zealand. Working within the disciplines of painting and printmaking, her art explores the expressive power of the gestural mark. When coupled with depictions of the human form, this push and pull between mark and form has the potential to dig deeper and communicate something of the human experience that becomes more authentic, more visceral.

Belinda was the recipient of the Molly Morpeth Canaday Art Award in 2010 and The Estuary Artwork Award in 2013. She has been a finalist in the Wallace Art Awards, the NZ Painting and Printmaking Award, and the Adam Portraiture Award. Belinda’s work is held in a number of private and public art collections, including the Wallace Arts Trust.

Duncan Pepe Long | Indivisible

Duncan Pepe Long | Indivisible

Opening event Wednesday March 21, from 5.30pm

Solander Gallery, Wellington 

Auckland artist Duncan Pepe Long exhibits a series of new paintings, lithographs and monotypes, focusing on portraits of friends, and still lives of medical models. The works explore the themes of morality and mortality.

“Although we are made up of many individual parts, and may not even be the same group of molecules and atoms we began as – we are not divisible. We are more than dust. I am fascinated by dark images and I find hope in them. This new series of works were born from anxiety but in making them I have hopefully moved closer to an acceptance.”

Euan Macleod | Painter

Euan Macleod | Painter

Opening Event Wednesday March 21 from 6pm

TSB Bank Wallace Arts Centre, Auckland

Euan Macleod: Painter is the first major touring exhibition of the artist’s work on this side of the Tasman. Christchurch-born, but resident in Sydney since the early 1980s, Euan Macleod has produced a singular, remarkable and gripping body of work. Spanning three decades of a prolific career, the 39 canvases in the exhibition take us on a journey not only through physical landscapes but also through states of mind and being. As well as asking how each of us engages with nature, the exhibition hints at myths and narratives from human history–processes of discovery, conflict and resolution.

Many of these paintings are self-portraits. With impassioned, visceral applications of oil paint, Macleod depicts himself marching, striding and covering ground. The exhibition features works painted in New Zealand as well as Australia– alpine and coastal vistas contrast with the baked or scrub-covered outback. Macleod paints himself from different vantage points; he buries himself in earth and clay, he dissolves into a plume of volcanic smoke. He is consumed by fire; he is drowned and then resuscitated. Extending, rather than being confined by, the genre of self-portraiture, Macleod is that rare being, an artist ‘prepared to push the boat out into uncharted waters and dare to take a risk’, as Peter Rose observed in his history of the Archibald Prize (which Macleod won in 1999).

With its striking imagery, raw, impasto surfaces and immense vitality, ‘Euan Macleod:Painter’ will excite, inspire and challenge viewers of all ages and backgrounds. Importantly, it is the first survey exhibition of Macleod’s work to be shown in Auckland. At a time when New Zealand society is thinking about environmental issues, global warming and the politics of water, his figure-in-landscape paintings are as relevant as they are vital.

– Gregory O’Brien, 2017

 Exhibition talk with Euan Macleod and Gregory O’Brien on Thursday 22 March from 1pm.

Maria Moyer | Thisness

Maria Moyer | Thisness

Opening even Wednesday March 21, from 5.30—7pm

Parlour Project, Hastings

On March 21, Hawke’s Bay gallery Parlour Projects will present its first exhibition by an international artist, Maria Moyer. Titled Thisness, the exhibition will feature a selection of sculptures and paintings by the New York-based artist.

The works in Thisness comprise a variety of materials and treatments including sculptures in unglazed, coloured or oxide-treated porcelain, stoneware with terra sigilatta surfaces, as well as paintings. In appearance, Moyer’s works display the tension of opposites—forms found in industry and nature, themes of refinement and coarseness, and simultaneous fragility and strength—like the porcelain she uses in her work, which is in fact tougher than other clay bodies.

The use of clay as a sculptural material enables the artist to manipulate it as a personal act of expression and also as an exploration of process, colour, texture and form, as the clay manifests inherent mineral properties. At the same time, clay has memory and responds to and records human touch, providing unique material opportunities. Moyer states, “One reason I am not using glaze in this work is that I want the imperfections of my touch and random material events that occur in the kiln to be evident.” The uncertain and always varied results of kiln-fired clay alone carry the artist’s interest.

For her paintings, Moyer pours ‘viscous blends’ of gouache and other media on non-absorbent polypropylene paper, then manipulates the liquid over several days as it dries. The finished works are the result of the materials, atmospheric conditions and informed decisions by the artist.

While Moyer is deeply fascinated by the exquisite obscurities of nature, her work does not attempt to describe nature, rather it involves discovery in the explorative act of making: “The science-obsessed me focuses on the truth of things—the nature of nature. What makes a thing or an experience this and not that? As an artist I am not representing nature, I’m developing my own nature-inspired rules and allowing process and discovery to lead me. I make work that is less about describing life, rather, I want the work to have a life of its own.”

Recent Acquisitions | TSB Bank Wallace Arts Centre

Recent Acquisitions | TSB Bank Wallace Arts Centre

Opening event Wednesday March 21, from 6pm

TSB Bank Wallace Arts Centre, Auckland

The Trust stages exhibitions of recent acquisitions on a regular basis throughout the year. These demonstrate the support we give the visual arts through our ongoing, active and widespread acquisition programme.

A key aspect of this activity is the assistance given to emerging artists and artists as they develop. This results in a growing “diary” collection which now amounts to over 9,000 works.

Image: Philip Trusttum, Ealhot (2017), Acrylic on canvas.



Opening event Friday March 23 from 6pm

Invercargill Public Art Gallery, Ivercargill

Martyn, an accomplished New Zealand photographer, spent a week at Anderson House in 2017. By investigating the atmosphere and light within the house, as well as evoking a sense of its historically important past as an art gallery and a home, she has created two separate bodies of work that collectively make up this twenty four piece exhibition.

The first series, Interiors, showcases Martyn’s initial plan to photograph the gallery rooms of Anderson House, devoid of the objects and art works that people have come to expect within the space.

With a portion of the IPAG collection still onsite, Martyn also seized the opportunity to create a second series of work called Objects. These works feature selected collection items shrouded with calico, both alluding to the dust cloths of an old home whilst documenting the current reality of the house and art collection being in a transitory phase.

The resulting exhibition is a thought provoking collection of work which captures the multiple roles Anderson House has played through the years, as well as this unique time in IPAG’s existence through a fine art lens.

With earthquake strengthening scheduled for the house once the IPAG collection has been fully removed, this is a wonderful opportunity for the people of Invercargill to view the house as it is today, before it changes roles once again.

Artist floor talk commencing at 6.45pm. Unlimited photographic prints from the exhibition are available for purchase throughout the exhibition.

Due to the generosity of the artist, and a recent bequest made to the gallery, IPAG is pleased to announce that this important body of work will become part of our collection at the culmination of the show.

Aaron Scythe | Pop Pachimon

Aaron Scythe | Pop Pachimon

Opening event Saturday March 24, from 4pm

The Vivian, Matakana

Pottery remixed  Visual hip-hop meets Japanese culture in a unique show of recent work  by one of New Zealand’s most fascinating potters.

Aaron Scythe (b. 1971, Auckland, New Zealand) has had a fascination for Japanese pottery since his early training at Carrington Polytech in 1988 and East Sydney Polytech in 1989. Whether his hands are shaping clay or holding a brush, Aaron’s work is a delightful fusion of quirky Japanese mastery and kiwi ingenuity.

Aaron travelled to Japan in 1995 to study under Koie Ryoji, an internationally-renowned innovative master of the Minoyaki style. Living in Japan since 1997, Aaron smartly relocated back to New Zealand soon after the Fukishima earthquake disaster with his young family. Scythe has had over 60 shows in his ever-blossoming international career, and The Vivian is delighted to host this one. (Oh, and grab a piece while you can, before he heads back to Japan. Seriously.)

Christine Wylie | The Space Between Us

Christine Wylie | The Space Between Us

Opening event Saturday March 24 from 5pm

Art at Wharepuke, Kerikeri 

The prints and drawings consisting this exhibition were conceived and made between 2013 and 2018, the time in which Wylie’s partner has been posted from the UK to RNZAF Whenuapai.

Every year, from January to May, Wylie has travelled from Edinburgh to Auckland to be with him.  From August this year, the posting will end and her annual trips will cease.

Each of the works in this show originated in Auckland; the prints processed and printed at Edinburgh Printmakers, and the drawings completed here.

The title of the exhibition hopes to reflect that the physical space between Edinburgh and Auckland, although initially daunting for her and her partner, has in fact, led to a collaboration of ideas and processes resulting in a complete body of work.


Group Show | Feet of Clay

Group Show | Feet of Clay

Opening preview Saturday March 24, from 4pm

The Vivian, Matakana

Classical Greek and Roman influences provided us with lofty ideals of order, structure, and form. For hundreds of years, these concepts literally formed the bedrock of our cultural understanding of ‘western art’. (Anything else was regarded with a sense of exotic otherness; conveniently ignored or discarded as ‘primitivism’ or ‘ethnography’.)

This fascinating exhibition showcases many artists who still enjoy the powerful reference point and sense of tangibility that classicism provides, contrasted with others who have rejected (or simply not known) these ideals – either by choice, religion, or circumstance.

Scott Lawrie
Director, The Vivian

Kiri Riwai Couch |  Kuia+

Kiri Riwai Couch | Kuia+

Opening event Saturday March 24, 5:30pm

Aratoi, Masterton

Kiri and her whanau invite you to the opening of the Kuia+ exhibition.

Following on from the 2014 Kuia exhibition and the 2015 publication of the Kuia book, Kiri presents all 60 Kuia portraits together for the first time.

The exhibition will be accompanied by a new publication.

Artist talk: Saturday March 24, 11am

Fatu Feu'u, Graham Bennett and Nigel Brown | Facing Change

Fatu Feu'u, Graham Bennett and Nigel Brown | Facing Change

Opening event Sunday March 25, from 4pm

The Diversion Gallery, Picton 

confronting social and sustainability issues – powerful paintings by three major NZ artists

A monumental 5.2 metre long painting by Fatu Feu’u anchors this exhibition, one of the most important he has ever painted, because it’s about one of the largest social issues we face as a society today – the need for families and community to counter youth depression and suicide by nurturing our young people and their spiritual well being. Alongside it, prominent artists Graham Bennett and Nigel Brown challenge us to urgently find solutions to sustainability issues in the face of global climate volatility, through new paintings and sculpture.


Luke Jacomb | 25 Years On

Luke Jacomb | 25 Years On

Opening event Sunday March 25, from 2-4pm

Materworks Gallery, Auckland

This year marks Luke Jacomb’s 25th year of blowing glass. Luke’s glass adventure has taken him to the many centres of glass excellence across the globe, including Australia, America and Italy. The skills gathered have given Luke a vast vocabulary of techniques that enable him to explore what it means to be a contemporary glass blower.

Group Show | Forms of Perception

Group Show | Forms of Perception

Opening event Monday March 26

PG Gallery, Christchurch

You are invited to PG Gallery’s opening of ‘Forms of Perception’; an exhibition featuring works from emerging artists Viv Kepes, Motoko Kikkawa, Donna-Marie Patterson and Arabella Spoors. Come along to enjoy a diverse selection of artworks from oil painting, water colour, sculpture, installation to photography.

Accepting applications for Jutta Cuny-Franz Memorial Award 2019

Accepting applications for Jutta Cuny-Franz Memorial Award 2019

Accepting applications for Jutta Cuny-Franz Memorial Award, due Sunday October 14

Jutta Cuny-Franz Foundation

Museum Kunstpalast
Ehrenhof 4-5
40479 Düsseldorf
T +49 211 56642360

Jutta Cuny-Franz Memorial Award 2019

The award is granted to artists worldwide who make significant use of glass in their work. Participating artists should not be older than 40 years of age in 2019, and their submitted work (sculpture, objects) should date from the previous two years. Each participant may submit three works in the form of images. The awards will be presented in the spring of 2019.

The Jutta Cuny-Franz Memorial Award is endowed with 10,000 EUR. Additionally, two Talent Prizes are awarded, each with an endowment of 1,500 EUR. The awards and a number of Honorary Diplomas are granted every two years. A choice of entries for this competition will be published in the journal Neues Glas/New Glass.

Winners are selected by a jury, and there is no possibility of legal recourse. Current members of the jury of the Jutta Cuny-Franz Foundation are: Christoph Brockhaus, former director, Lehmbruck Museum; Mischa Kuball, artist and professor, Academy of Media Arts, Cologne; Dedo von Kerssenbrock-Krosigk, head, Glasmuseum Hentrich; Helmut Ricke, former head, Glasmuseum Hentrich; Elisabeth Scheuba, attorney at law.

Further information and online application here.

Application deadline: Sunday October 14, 2018.

Questions and feedback:

The Jutta Cuny-Franz Memorial Award was founded by Ruth-Maria Franz (1910–2008) to keep the memory of her daughter and artist Jutta Cuny (1940–1983). Jutta Cuny was a distinguished protagonist of European glass sculpture from the mid-1970s to her early death. Shaped by sand-blasting from solid glass blocks, her sculptures opened new paths into glass art. Ruth-Maria Franz established the Jutta Cuny-Franz Foundation in Vienna in 1984. By her request, the seat of the foundation was transferred in 1994 to the city of Dusseldorf. The foundation’s tasks are being managed at the Glasmuseum Hentrich, Museum Kunstpalast.

Museum Kunstpalast, Ehrenhof 4–5, 40479 Dusseldorf, Germany

Ruth Cleland | Fluorescent

Ruth Cleland | Fluorescent

Opening event Tuesday March 27, from 5.30pm

Melanie Roger, Auckland

Ruth Cleland has built her artistic reputation on exquisitely rendered drawings and paintings of the everyday – the wallpaper of our suburban lives. Her work appears familiar and yet alien – it could be from anywhere and everywhere.

In her new exhibition “Fluorescent”, Cleland shifts her focus from the external to the internal. From wide views to minute often overlooked details – concrete composite floors, flickering ceiling lamps, reflections and tiles. These figurative details are amplified and isolated to become abstract without context – and juxtaposed next to consciously abstract grids and colour fields typical of Cleland’s practice.


Image: Ceiling, Floor, Grid (detail) | 2018 | acrylic on aluminium composite panel | one of three panels

Call for Proposals | Wellington Asia Residency Exchange

Call for Proposals | Wellington Asia Residency Exchange

Proposals due Monday April 30 2018

Each year, the Council and the Asia New Zealand Foundation select a Wellington-based artist to take part in a residency in either Beijing or Xiamen in China. In 2018, artists will go to the Chinese European Arts Centre (CEAC) in Xiamen.

The residency runs for three months, from September to November. Artists work towards presenting an exhibition in the Chinese European Arts Centre Gallery or hosting an open studio at the Red Gate Gallery.

The chosen artist receives support throughout their residency, including return flights, a daily allowance for living costs, exhibition materials, self-contained accommodation and a studio space to work.

Submit a proposal

We are calling for proposals from Wellington-based artists to participate in this year’s exchange programme at CEAC in Xiamen for three months from September 2018.

Click here for the Application and more information 

 Use this application form to submit your proposal and email it to katie.taylor-duke@wcc.govt.nzThe deadline for applications is Monday 30 April 2018.

Image: The Only Girl in the World by Erica Sklenars

Andie Pryce | The Undiscovered Nebulae - Travels in space time

Andie Pryce | The Undiscovered Nebulae - Travels in space time

Opening event Friday April 6 from 5.30 – 7.30pm

Depot Artspace, Auckland

The Hubble telescope is humanity’s window out into space; but the universe is huge, incomprehensibly so. The farther we look into the distance the further back we are looking in time. What does it really look like way way out there?  What does it look like now?  What else is out there?

Drawing from the ubiquity of space photographs in popular culture The Undiscovered Nebulae explores space, time, distance, scale and the need for humans to label unmanageable things in an attempt to understand them. In this new body of work created in camera on film, Andie Pryce references the notion that film does not lie, while also questioning reality – there is no way this could be real, could it?


In Conversation with Andie Pryce to celebrate International Dark Sky Week

Monday 16 April 6:00 – 7:30pm

Main Gallery

International Dark Sky Week was created in 2003 by high school student Jennifer Barlow, to help preserve the wonder of the night sky, and draws attention to problems associated with light pollution while promoting simple solutions for mitigation. It is held in April in the week of the new moon closest to Astronomy Day, and this year runs from Sunday April 15 to Saturday April 21, with the new moon on Monday April 16.

Join Andie Pryce in a conversation about dark skies, stretching the mind and travels to find deep space.


Cristina Popovici | Study for Self-Portrait

Cristina Popovici | Study for Self-Portrait

Opening event Thursday March 29, from 4pm

Gallery Thirty Three, Wanaka

Cristina Popovici’s exhibition ‘Study for Self-Portrait’ is an exposition of the experiences that have layered themselves in the creases of her skin, accumulated in the corners of her eyes, and in the palms of her hands. It is the words with no sound, it is the power in subtly. It is the self-portraits that have been developing in the depths of Popovici’s mind for years.
Throughout the course of her life, her paintings have always been an expression of herself. As an abstract artist, Popovici works with her energy, intuition, and physical body to create self-expression through the artistic vocabulary she has developed.

Self-expression is not a method that Popovici uses, and it is not something that can named, there is no specific spot on a canvas you can point to and say, ‘this is self-expression’. It is the chemical reaction between vulnerability and the fluidity of the paint that she uses, which allows deposits of ‘self’ to slowly seep underneath and dry slowly with the painting. Self-expression is the result.

Remove the rusting paint from the canvas, and both the canvas and paint become just another tool. Place them together, and they show you what skin would say if it could speak. Remove the geometrical shapes from each painting and you are left with a book with no pages. Place them back together and you create a stillness in colour, a lens to see her stories.
The ochre and earthy tones seep Popovici’s relationship with nature. The rawness of minerals, the time-accumulated rust, the richness of green. Popovici uses the dark and the light to paint the bond with earth.

From the scriptures on her body, to the scriptures dug into the plaster, there is dialogue. Unutterable as they may be, calligraphy takes the deposits of Cristina’s thoughts, her memories, and defines the spaces within the canvas. Creating lines of expression and boundaries allow the photographs to keep their power.

Rather than being morphed, covered and developed into an unrecognisable form, the photographs have been given space to subtly ooze their own expression. Her faces, her hands, her eyes are speaking to you as they speak amongst themselves. Not all journeys have a physical road, some are paved in your mind.

With her past used as a compass, her ‘self’ used as a reference point, and the desire for creation and expression as her vehicle, Popovici has allowed herself to expose her raw skin, unfiltered. She has challenged herself to let the boldness of a photograph be the visual impact of her works. There is a rawness in self-acceptance. There is a genuineness in the bumps, smudges, wrinkles and ripped edges that if removed, would leave these works just portraits.
This is a study of self-portraits.

Ana Tinc, Melbourne, 2018.

Susan Mabin and Robyn Fleet | Memory Theatre

Susan Mabin and Robyn Fleet | Memory Theatre

Opening event Thursday March 29, from 5.30pm

Muse Gallery, Hastings

Muse Gallery would like to invite you to the opening of the joint exhibition, Memory Theatre, showcasing the latest sculpture by Susan Mabin and paintings by Robyn Fleet.

Botanical Art Worldwide | Exhibition

Botanical Art Worldwide | Exhibition

From Friday March 30, 8am

Huakaiwaka Visitor Centre, Auckland Botanic Gardens

Linking people to plants through botanical art.

The Friends of Auckland Botanic Gardens and the Botanical Art Society of New Zealand (BASNZ) are proud to to present Ngāi Tipu Taketake – Indigenous Flora, an exhibition of Botanical Art.

This exciting exhibition is part of the Botanical Art Worldwide exhibition, a global event where New Zealand’s botanical artists, along with botanical artists in 24 other countries, have come together to document their native plants.

The aim of the exhibition is to link people to plants through botanical art and by doing so create a record of today’s botanical diversity. A slideshow of all 25 countries artworks will be shown throughout the duration of the exhibition.

Fifty artworks by 41 NZ artists, including artwork by three Auckland secondary students, were chosen for this exhibition.

Watercolourists, acrylic artists, printmakers, graphite and coloured-pencil artists, as well artists working on vellum, have come together to create a veritable feast of form and colour. Their diverse styles range from traditional pen and ink line work, to large contemporary paintings, which allow the viewer to see our often small and unassuming native flora in a new and exciting light.

On 18 May, it will be the first World Botanical Art Day, and celebrations will go on over the 24 hours throughout the world. New Zealand, being the first country to see the day, has the honour of kicking off this global event! Come and help us celebrate the inaugural World Botanical Art Day!

Throughout the exhibition there will be workshops run by exhibiting artists, artist demos and talks.

Andrew Blythe | Cartography of the Unknown

Andrew Blythe | Cartography of the Unknown

Opening event Tuesday April 3, from 6pm

Tim Melville, Auckland

Andrew Blythe’s Cartography of the Unknown takes its title from Orlando Stewart’s documentary of the same name in the 2017 NZ International Film Festival. The 11-minute short film was an introduction to Blythe’s turbulent life and intense art practice and its single screening sold out.
It is now available to view on vimeo

Andrew Blythe’s 2018 exhibition comprises a suite of ‘poured’ paintings in new colours, a group of four graphic, linear and layered works utilising the artist’s trademark repeated ‘x’ and ‘no’ motifs, together with a new series of multi-coloured works made with crayon and pencil on paper.

The Winter 2012 issue of Art News New Zealand contains a profile of Andrew Blythe which quotes artist and art advocate Stuart Shepherd:
“… Pattern and rhythm play a big part in [Andrew’s] work, but pattern-breaking also happens – and sometimes a layering of other patterns occurs so that visual ‘accidents’ happen.
If Andrew’s work could be transcribed as music it would sound like improvisational jazz with a strong jungle backbeat …”

Cartography of the Unknown is Andrew Blythe’s fifth solo exhibition at Tim Melville.

Graham Ambrose | The Colours of Space

Graham Ambrose | The Colours of Space

Opening event Wednesday April 4, from 5.30pm

Form Gallery, Christchurch

Form Gallery would like to warmly invite you to join us for an exhibition of artworks by artist Graham Ambrose; he has carefully chosen a collection of pit-fired pieces and ceramic curiosities for all of us to consider. Graham will display an array of out-of-this-world objects that could inspire thoughts of outer space, moon rocks, science fiction and more!

A Message from Graham Ambrose:

“The theme of this work refers to a recent book I enjoyed, it was called: “Universe” (A journey to the edge of the cosmos). The images bore remarkable similarities to the pit-fired surface of my latest double-walled pieces; pit-firing produces unique colours and patterns resulting from the combination of sulphates, carbonates and combustible materials. In deep space, it seems that the effects I have contrived to produce already exist. This supports my belief that nothing is ever entirely unique – however, the attempt to replicate natural phenomena is one of the challenges I enjoy.  It is also one of the most interesting aspects of the vanishing horizon in ceramics.”

Group Show | Cul-de-sac

Group Show | Cul-de-sac

Opening event Wednesday April 4, from 6pm

RM, Auckland

Featuring Talia Smith, Alice Alva, Ed Ritchie, Monique Lacey, Katie Kerr
Curated by Chloe Geoghegan

In April, RM presents Cul-de-sac, a group show bringing together the work of five artists that experiment with the crossings of art within its many disciplines. Using elements of design as a framework for discussion, Cul-de-sac will transform RM into a laboratory-showroom, challenging what an experimental space can provide conventional, margin-dwelling fields within contemporary art.

Sydney-based artist Talia Smith will present a series of cyanotypes on cotton that investigate the materiality of the photographic image and its form. While Auckland based artist Monqiue Lacey will explore the nature of structure and surface within painting, Dunedin artist Ed Ritchie will create sculptural assemblages that become props for uncertain narratives. Wellington artist Alice Alva will present a series of radical, pop-imagistic handcrafted works and Auckland graphic designer Katie Kerr will produce an experimental paperback that folds the ideas in Cul-de-sac back on themselves.

Julian Hooper | Yes No

Julian Hooper | Yes No

Opening event Wednesday April 4, from 6pm

Ivan Anthony, Auckland

Image: Girl, 2018, acrylic on canvas, 350 x 250mm

(Un)conditional I | Group Show

(Un)conditional I | Group Show

Opens Thursday April 5

Ana Iti, Clara Wells, Kerry Ann Lee, Miranda Parkes, and Tim McLaughlin with work from the collection of The Aigantighe Art Gallery, Timaru

The Physics Room, Christchurch 

(Un)conditional I is a continuation of The Physics Room’s itinerant 2018 programme where we are partnering with a number of public galleries across Te Waipounamu, the South Island to create collaborative exhibitions.

This exhibition takes place at The Physics Room in Ōtautahi and combines borrowed collection items from The Aigantighe Art Gallery in Timaru chosen by the artists showing in those spaces later this year, as well as new and existing work by those artists.

(Un)conditional V opens at The Aigantighe Art Gallery, Timaru in September and includes work by Ana Iti, Clara Wells, Kerry Ann Lee, Miranda Parkes, and Tim McLaughlin.

Derek Cowie | Exhibition

Derek Cowie | Exhibition

Opening Thursday April 5, from 5.30

Page Blackie, Wellington 

Please join Page Blackie to celebrate Derek Cowie’s new exhibition and meet the artist.

Contact the Gallery for more information.

Elisabeth Pointon & Gwyn Easterbrook—Smith | Human Resources

Elisabeth Pointon & Gwyn Easterbrook—Smith | Human Resources

Opening event Wednesday April 4, from 5.30pm

MEANWHILE, Wellington

Grounded in their experiences in the workplace, Elisabeth Pointon (bookings coordinator for a luxury car dealership) and Gwyn Easterbrook-Smith (a sex worker) scrutinise unpaid performative and emotional labour undertaken by femmes in the workplace.

The multimedia exhibition consisting of installation, performance and video art offers a theatrical counterpart to their physical workplaces and the everyday practices that occur there. Pointon uses her working as the centre of her art research, and attempts to remedy the inherent structural problems that result from its hierarchical structure, through the gesture of art. In doing so, she facilitates opportunities to transform the communal spaces at her workplace from cold, isolating areas into humorous and [absurdly] hopeful sites for communion and engagement. The immersive space created within MEANWHILE uses elements from Pointon and Easterbrook-Smith’s workplaces, creating a synthesis of the visual elements and ephemera most associated with sex work, and the aspects which are frequently overlooked. By placing these two artists’ occupations side by side, Human Resources highlights the frequently invisibilised labour carried out in both workplaces.

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Gwyn Easterbrook-Smith is a sex worker and researcher based in Wellington, New Zealand. Easterbrook-Smith recently completed their PhD thesis “Illicit drive-through sex”, “Migrant Prostitutes”, and “Highly Educated Escorts”: productions of ‘acceptable’ sex work in New Zealand news media 2010 – 2016, which investigates who has access to notions of acceptability within the sex industry. Their research also considers the role of unacknowledged emotional labour within sex work, both when dealing with clients and in speaking publicly about the work. Easterbrook-Smith has recently appeared in Paying For It: An Insiders Guide to the New Zealand Sex Industry, Bats Theatre.

Elisabeth Pointon is a Wellington based artist whose recent works centre on her experiences as the Bookings Coordinator, and (eventually re-configured) artist in residence at a luxury car company, over the past two years. Her work extends across the media of public intervention, performance, sculpture text, and video. Recent projects include Don’t miss out. The Dowse Art Museum, March 2018- , Welcome to the real world*. Exposure,* 2017, The Welcoming Party Presents Free Time, Meanwhile, August 2016, and The Welcoming Party Presents Complimentary Service, 2016 Performance Arcade.

The show includes a 14-minute video work called “Pleasure Doing Business With You”, conceptualised and featuring the artists. The video was filmed and edited by Ethan Donnell.

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Thursday April 5 — Saturday April 21

12pm — 5:30pm Wednesday to Saturday

Join us on Thursday April 12 for a Publication Launch and Panel discussion with the artists of Human Resources.

Parallel to Human Resources, MEANWHILE’S URL exhibition, Information in Three Acts from Paul Timings is online now at

Jeremy Blincoe | Wonder

Jeremy Blincoe | Wonder

Opening event Thursday April 5, from 5.30pm

Orex Art Gallery, Auckland

New Zealand born, Melbourne based photographer Jeremy Blincoe’s dark and provocative works have garnered him awards in New Zealand, Australia and residencies in the US and Europe.

His technically pristine, large format photographs are highly staged, created by digitally layering props and models onto extraordinary natural landscapes. The complexity of these images and remote locations mean they can take weeks or even months to plan, stage, shoot and edit.

Blincoe derives much of his inspiration from what he reads, gradually translating ideas into images, and he is strongly motivated by a deep concern for the environment. As a result, his work often presents a juxtaposition of the beauty and wonder of the natural world and the chaos and devastation humans have wrought upon it.

In the limited-edition series of works called Wander and Wonder, the hyper-real settings, and the dense layering of signs and symbols, plunge us into a realm that hovers between the real and the imagined, the beautiful and brutal, and forces us to confront content that flutters between innocence and something altogether more sinister.

Photograph: Tyson C-print 960 x 673mm (edition 2/5)

Mark Graver | In Series

Mark Graver | In Series

Open until May 27

Whangarei Art Museum 

A collection of works by Kerikeri- based artist printmaker Mark Graver focuses on connection to place, memory and the passing of time in a series of works. Prints created to explore the motion of water, light, shadow, fauna and flora– brought to Aotearoa by European settlers and viewed as signifiers of physical and environmental colonisation.

Image: Mark Graver, So With Present Time I, 2015

Oscar Enberg | Taste & Power, a prologue

Oscar Enberg | Taste & Power, a prologue

Opening event Thursday April 5, from 6pm

Hopkinson Mossman, Auckland

Smith:   Occasionally Mia would remove one or both of the quills and let touch (her preferred sense) takeover. Very-gay-Peter would lie back-down-face-up on the tanned skin of a freemartin, his genitals tucked between his legs so that his testes rested approximately where the beast’s non-functioning ovaries would have been at one time. Here, on lake’s edge with an imagined smell of pine, printed and wrapped around a stick’o’budda, with Peter, re-cast as the siamese to this masculine heifer hide, pigtailed Mia, smelling of unsalted beurre, would trace the contours of his useless body in denial with her feathered fingers. Forever, infinitum… the milking parlour, baby….

Grimod:   Put this warbler, thus trussed, in an ortolan, fat and plump.
Put this ortolan, thus chosen, in the body of a lark, from which, besides the amputation of the legs and the head, the main bones will have been removed, and that will have been covered with a bard of very thin bacon.
Put the lark, thus stuffed and dressed, in the body of a thrush that you will have dressed and trussed likewise.
Put the thrush in the body of a very fat, very juicy quail, and which be from vineyard, in preference to a domestic quail.
Put this quail, non-barded but wrapped in a vine leaf, which will serve as its title of nobility and certificate of origin, in the body of a fine lapwing.
Put the lapwing, well trussed and dressed in a thin frock-coat of bacon, in the body of a fine golden plover.
Put the said plover, well barded, in the body of a fine partridge, red if you can.
Put this partridge in the body of a young woodcock, tender as Miss Volnais, succulent, and well mortified [= made tender by hanging, beating, etc.].
Put this woodcock, after enveloping it with thinly cut crusts, in the body of a teal.
Put the teal, carefully barded and well dressed, in the body of a young guinea fowl.
Put the guinea fowl, well barded too, in the body of a duck, young, and chosen among the wild ones, in preference to the domestic ducks.
Put the duck in the body of a young fattened chicken, white as Mrs Belmont, plump as Miss De Vienne, fat as Miss L. Contat, but medium-sized.
Put this chicken in the body of a fine pheasant, young, well chosen, but above all properly mortified, for the gourmands only like them this way.
Put this pheasant in the body of a young wild goose, fat, and well tenderised.
Put this young and fine goose in the body of a very fine hen turkey, white and fat as Miss Arsène.
Finally, enclose your hen turkey in the body of a fine bustard, and if it does not fit in it exactly, fill up the gaps with good chestnuts from Le Luc, sausage meat, or some good elaborate forcemeat.

Smith:   Speaking of which, the first time Peter rubbadubdolled, went a’rubber dolling down main street USA (a placeholder in this case for something less shiny, less tooth-achey) that is, was approximately, exactly several baker’s dozen years before the French sculptor Jean Luc Moulene would assert himself as one of the great object-makers of his time…*
Oscar Enberg (b. 1988, Christchurch) lives and works in Berlin. Recent solo exhibitions include: Der Amethyst, Die Opale, Die Agamemnon (curated by Maurin Dietrich), Frankfurt am Main, Berlin (2017); troubles de la croissance (der ursprung des pendels), Auckland Art Gallery Toi o Tamaki Sculpture Terrace, Auckland (2016); the prophet, the wise, the technician, and the Pharisee, Artspace, Auckland (2016); Sire So-and-So or Richard Pågen, Johan Berggren, Malmö (2014); The Pynchons S01E02: Slouching Towards Dignity, Hopkinson Mossman, Auckland (2014). Recent group exhibitions include: Projection Series #7: First as fiction, then as myth (curated by Sophie O’Brien), Govett-Brewster Art Gallery, New Plymouth (2017); and Les règles du jeu / The rules of the game, Centre Pompidou, Paris (2015).

Enberg recently completed the Kunstlerhaus Bethanien artist-in-residence programme in Berlin. Last year he was awarded the ars viva 2018 prize, that included exhibitions at Kunstverein München in October 2017 and (currently) at S.M.A.K in Gent, Belgium. In September this year Enberg will be artist-in-residence at Fogo Island Arts, Fogo Island.

* excerpt from Oscar Enberg, Matryoshkan Shame on the Great Plains: a radio play for tenor, baritone and bass, 2018

N.B. Hopkinson Mossman Auckland will be closed for installation over the Easter break, and from April 3–5 2018. Hopkinson Mossman Wellington will be open on Easter Saturday 11am-3pm as Fiona Connor’s exhibition, Closed Down Clubs & Monochromes, continues until 14 April 2018. 

Andrew Denton and Janine Randerson | Strange Climes

Andrew Denton and Janine Randerson | Strange Climes

Opening event Monday April 9, from 6pm

TSB Bank Wallace Arts Collection, Auckland

AV and Little Gallery

Strange Climes includes three video artworks and two prints that respond with sensory cues that our world is undergoing rapid change. Digital and analogue media in the work of Andrew Denton and Janine Randerson probe the aberrant landscapes created by the warming climate to produce affective resonances. As fragile terrestrial and cryospheric landscapes rapidly become unrecognisable, these works operate to keep our climate emergency in the public eye.

Dr Janine Randerson is an artist, writer and academic at AUT University. She has collaborated with environmental scientists on media artworks in Denmark, Australia, and New Zealand. Her first book ‘Weather as Medium: Toward a Meteorological Art’ will be published by MIT Press in 2018.
Dr Andrew Denton is an academic at AUT, and a film and video artist who works with digital, analogue, and interactive time-based media, with a focus on the topic of ecological crisis. His moving image and photographic practice applies methods aligned with essayist cinema and video installation, as well as historical avant-garde film.

Image: Janine Randerson, film still from Slope (2018), HD video. Courtesy of the artist.

hela trol pis | magic eye; holographic drawings and book launch.

hela trol pis | magic eye; holographic drawings and book launch.

Opening event Tuesday April 6, from 6pm

Satchi&Satchi&Satchi, Auckland

ook ~ line ~ body ~ image ~*~*~*~*~

book is an object that modulates world. the going mythology/ideology tells u if u stare at it for long enough, the image of truth will appear.

reading consists of looking behind the external image to find the internal image.

the meaning is not in the text or picture but in the connection up of points/lines within the body. using the body as a passage between movements.the lines and lineages of the imagery of space and time are taken for granted and ignored and not played with. 

who created the imagery you identify your life with?

at what depth do you engage with the lines that tie you to identity?

engagement with art/image is alreay reading. engagement with world is reading. but submitting to an established meaning (word, form, system) is only reading to the extent that a dvd player reads a dvd. if it’s not holographic it’s not reading. the lines and patterns of the book intersect and merge with those of reality; 歩き方、喋り方など、

the body/subject opens up a window between book and reality. but the exten to which this is engaged with by book is too limited. book and body are overridden with the bureaucracies of communication or exchange or economy. so, its bs and the world could be a lot cooler.

holographic drawings combine traditional markmaking and experiential projectionmapping methods. the book combines gestures from divination and pick-a-path narrative devices.

Most Things Happen When I Am Asleep

Most Things Happen When I Am Asleep

Opening event Friday April 6, from 6pm

Artspace, Auckland

Most Things Happen When I am Asleep is an international exhibition bringing together the work of La Agencia from Colombia, Beta-Local from Puerto Rico, Alice Yard from Trinidad and Tobago, TEOR/ética from Costa Rica, and Cemeti Institute for Art and Society from Indonesia to Artspace NZ.

The exhibition showcases work from these places as well as offering modest proposals on how institutes can evolve, develop and constantly change, actively connecting Aotearoa to the geography and social urgencies of Indonesia, Costa Rica, Colombia, Puerto Rico and Trinidad and Tobago.

As an internal exercise on the institutional workings of Artspace NZ itself, Most Things Happen When I am Asleep p
ublicises the work of other ‘artspaces’, visualising printed and pasted material in the space along with artist proposals, manifesto’s, moving image work, flyers, and books, arguing that the institute can be understood through artistic work and vice versa. The different knowledges that both artists and institutional bodies produce are blended together to propose three loose themes through which to read artspaces.

The knowledges produced mean to challenge definitions of ‘institutes’ and ‘grassroots’, and other such categories, diverting attention from ideas like ‘the source’ and ‘authenticity’ to instead focus on flexible and open use. What emerges are liquid methods that produce work by navigating weather, fast changing political realities, education and life’s necessities.

Ross Whitlock | Three Rivers, One Mountain

Ross Whitlock | Three Rivers, One Mountain

Opening event Friday April 6, from 5 – 7pm

Taylor-Jensen Fine Arts, Palmerston North

An Old Friend returns to the gallery with a series of new works featuring the region’s iconic geography and paintings produced during recent forays around New Zealand and elsewhere. Ross Whitlock, former Palmerston North resident and plein air painter extraordinaire, returns to Taylor-Jensen Fine Arts with around 30 paintings in his inimitable style. “Three Rivers, One Mountain” features framed oil on panel paintings of the Manawatū, Wanganui and the Rangitikei rivers along with views of Mt Ruapehu, the dominant geographic feature of this region. Smaller paintings included in this exhibition feature scenes from the artist’s travels. “Three Rivers, One Mountain” displays both the versatility and capability of this talented artist and tutor. The exhibition will open on Friday April 6 with a reception to honour the artist from 5-7pm; the public is cordially invited to attend (no RSVP required; please just come along) to meet the artist and view the exhibition. “Three Rivers, One Mountain” continues through Wednesday May 2 at Taylor-Jensen Fine Arts, 33 George Street, Palmerston North.

On Saturday April 7, Ross will give an ‘Artist’s Floor Talk’ at 11am at Taylor-Jensen Fine Arts followed by a plein air demonstration in the Square from 2pm.

Ross Whitlock retired from full-time teaching about 10 years ago and now lives, sails and paints in Nelson when not traveling. Prior to retirement, Whitlock had been Head of the Department of Art and Arts Coordinator at Nga Tawa Diocesan School, Marton. Whitlock writes: “As a teacher I tended to work in a very traditional manner, these days I am a more ‘direct painter’. I work much faster using a few bright primary colours, and a very big brush. It must be fun to watch, as I often have people watching me paint. They are usually very respectful, and keep their distance. I like to invite them to come closer and have a look.”

Ross has joined several art groups within the Nelson district and various groups have asked him to give demonstrations of direct painting from time to time. He says: “It has become quite the thing to paint out-of-doors.” Ross says that up to twenty people often join him on Sunday afternoons at different locations to try their hand at plein air painting.

On Wednesday evening April 4, Whitlock will give a demonstration of Alla Prima painting in Palmerston North. Italian for ‘all at once’, it means finishing a painting in a single session.
A two hour time period is planned where Ross will demonstrate alla prima speed painting in oil for the outdoor painter. He will answer questions about the technique, also known as the ‘Master’s Method’. “Not as easy as it sounds,” according to Ross, “because as one might expect things can go wrong: Colours turn muddy; mistakes are messy; composition can be tricky as the necessary sequence of layers from dark to light is deceptive.” This session will be especially interesting to connoisseurs wishing to know more about classical oil painting techniques; the studio artist who wishes to paint en plein air and the beginner who would like to know where to start. Space is very limited. For further information see Stuart Schwartz, Gallery Manager at Taylor-Jensen Fine Arts.

Ross Whitlock was born and educated in Wanganui, studied at Auckland University and at the Elam School of Fine Art. He was awarded a Master of Fine Arts Degree from Whitecliffe College of Arts and Design, Auckland in 2003. Ross was Director of Art at the Collegiate School, Wanganui from 1981 to 1988. He then travelled extensively in Australia and England, returning to teach and paint in Palmerston North. Whitlock retired as Head of the Department of Art and Arts Coordinator at the Wellington Diocesan School for Girls, Nga Tawa, Marton. After retirement the artist was busy fixing up a wonderfully sited but slightly neglected house, not to mention the yard and gardens now fully enjoyed by his wife and dogs. Ross also built himself a proper painter’s studio for use when not painting plein air.

Whitlock has exhibited frequently in recent years both in solo and group exhibitions and reviews, winning prizes and awards including the ‘Popular Prize’ in the Wanganui Art Awards and a Certificate of Merit at the Manawatu Art Expo. Among Ross’s previous work of note has been a series of paintings on 1500 x 1500mm aluminium which feature reflections and reverse images which were created as part of his Masterate degree programme and exhibited in Auckland and at Taylor-Jensen Fine Arts.

Whitlock’s exhibition history has included: a retrospective at Nga Tawa in 2006; ‘The City’ at Morgan Street Gallery, Auckland (2007); ‘Upon Reflection’ at Taylor-Jensen Fine Arts (2008); ‘Seeing Nelson’ at the Suter Gallery, Nelson (2009) and ‘The Plein Air Show’ at Refinery Gallery, Nelson, 2012 and 2014.

Whitlock has work in many private collections in New Zealand and Australia as well as in America, Canada, the United Kingdom and Ireland. His paintings grace the walls of many corporate and academic offices within the greater Manawatu.

Sacha Copland and Tom Hoyle | Tread Softly

Sacha Copland and Tom Hoyle | Tread Softly

Opens Friday April 6

Toi Pōneke Gallery, Wellington

Tread Softly is a collaboration  between  photographer Tom Hoyle and choreographer Sacha Copland. As the days grow shorter Autumn will spread throughout the gallery and dancers will capture moments of abandon in and amongst falling leaves. This fusion of photography and choreography culminates with NZ Dance Week, when the gallery becomes a dancer’s habitat for the whole week. Tread Softly offers the chance to spend a stolen moment with autumnal fragility and human curiosity before the ephemeral dance of life descends into winter.

Dancer/s will inhabit the space at the following times:

Tuesdays 11.30am-1pm

Thursdays 6-7pm

Saturdays 11.30am-1pm

NZ Dance Week

Monday & Tuesday 10am-12pm & 1-4pm

Wednesday 1-4pm & 5.30-7pm

Thursday & Friday 10am-12pm & 6.30-7.30pm

Vincent Langford | O.K. NO

Vincent Langford | O.K. NO

Opening event Friday April 6, from 5pm

Weasel Gallery, Hamilton

O.K. NO is a solo exhibition of paintings by Auckland based artist, Vincent Langford. Langford invites us to enter his world which is comprised of figures and animals residing among dreamscapes.

O.K. NO bears its name as a reference to the mental state of decision, and indecision, as part of the human experience. Through O.K. NO, Langford acknowledges and accepts vacillation, and sits among the possibilities around him. Here, he extends an offer for you to do the same.

Poster design by Area Design

Bill Riley | Turbulence

Bill Riley | Turbulence

Opening event Saturday April 7, from 2 – 4pm

Antoinette Godkin, Auckland

These new works reflect on a number of issues: Ocean conservation, value systems, contemporary human behaviour etc.They are made using plastic objects from beaches around New Zealand and discarded paint from construction sites and rubbish collections.

John Z Robinson | Dozen

John Z Robinson | Dozen

Opens Saturday April 7, 12.00pm

Moray Gallery, Dunedin 

12 new works by John Z Robinson.

Mainly I like to draw the familiar places, faces and things.

Image: John Z Robinson, View from Bath Street.

Mikel Durel | Stringed

Mikel Durel | Stringed

Opening event Saturday April 7, from 5.30pm

Space Studio and Gallery, Whanganui

Mikel Durel Stringed –  where sculpture meets music, a exhibition of instruments. “There is geometry in the humming of the strings, there is music in the spacing of the spheres” -Pythagoras

Mikel will be offering a floor talk and demonstration for this exhibition, date and time to be confirmed.

To express interest email:


Marti Friedlander | Lived Lives

Marti Friedlander | Lived Lives

Opening event Sunday April 8, from 3 – 5pm

FHE Galleries, Auckland

“That is all I want my images to do. To touch people and make them think.”  – Marti Friedlaner

Stephen Bambury | Lines of Desire

Stephen Bambury | Lines of Desire

Opening event Sunday April 8, from 4pm

Trish Clark Gallery, Auckland

Back in New Zealand after months re-establishing a European studio, Bambury will present his first solo exhibition since 2014. Throughout his career, Bambury has traveled extensively in the USA, Europe, and Asia, exploring art and architecture from a diversity of historic periods and cultures; these experiences remaining integral to his studio practice. Employing an exceptional range of scale, Bambury explores and reconnects the apparent dualities of light / dark, negative / positive, masculine / feminine, the sea and the land, the intellectual and emotional and the universal and the particular.

Curated from works spanning newly created to the early 90’s, this exhibition delivers a fresh take on Bambury’s deep mastery of materiality and recurring preoccupations. His constant investigation of materiality drives Bambury’s practice and delivers a visually rich and compelling exhibition. No empty formalist, more an alchemist, Bambury’s comprehensive technical mastery sees exhibited works utilizing precious and semi-precious metal gilding, graphite, resin, chemical patinas and rust. An exceptional range of scale in the paintings, from several meters long to under 200 millimeters, gives physical punch to the exhibition.

Born in Christchurch, Stephen Bambury has been exhibiting regularly in New Zealand since the mid-1970s, after graduating with a Diploma of Fine Arts (Hons) from the University of Auckland. From the mid-1980s he has exhibited in the USA, Australia, France, Germany, Austria and Slovenia. Among other awards he received the inaugural New Zealand Moët & Chandon Fellowship in 1989; including the Fellowship period, Bambury spent two and a half years living and working in France. A major retrospective exhibition at Wellington’s City Gallery and the Auckland Art Gallery, and the publication of a monograph, marked the turn of the century. Since 2009 Bambury has been exhibiting regularly in Germany.

Hanna Shim | SMER SMER (스멀스멀)

Hanna Shim | SMER SMER (스멀스멀)

Opens Monday April 9

Nathan Homestead, Auckland

The title of artist Hanna Shim’s exhibition SMER SMER (스멀스멀) is a Korean onomatopoeic word for ‘slowly growing/approaching’ or a ‘bug crawling’ sound.

This exhibition presents us with a suite of surprising sculptures based on bacteria, fungus, plankton, jellyfish and bugs. These large rambling and delightful objects are made of fabric and fibre, soft materials which are typically associated with maternal, homely and domestic qualities.

In contrast to the softness of the materials she uses Shim’s soft sculptures challenge the hard-edged and rigid architectural space of the gallery.

Lara Thomas | Nest

Lara Thomas | Nest

Opens Monday April 9

Nathan Homestead, Auckland

To nest is to make a home; a place of comfort, warmth and protection.

For her exhibition Nest, artist Lara Thomas has created nest-like structures which appear in the grounds and garden of the Nathan Homestead.

The project draws connections between site and materials, offering time and space to reflect on our basic human needs, and a suggestion that we reconsider our attitudes and values around homes and housing.

Through interactive elements in the gallery space, the artist invites visitors to share what ‘home’ means to them.

Susan Wilson | Nottinghill: Kaikoura

Susan Wilson | Nottinghill: Kaikoura

Opening event Monday April 9, from 6pm

TSB Bank Wallace Arts Centre, Auckland

Boardroom, Little Gallery and Master Bedroom

“I am just trying to make something personal.” – Bonnard

Susan Wilson, b.1951, grew up in remote mountain country in Southland where her Father’s parish included Milford Sound and Lakes Manapouri, Te Anau to the foot of Wakatipu. It was wild, and the shingle roads were dangerous. The family moved to Waikari, North Canterbury when the artist was seven.

Susan was educated at rural schools in the South Island and graduated at Auckland Public Hospital with Distinction. She later worked in the Neurosurgical Unit until departure for Tahiti and Peru in 1976.  On arrival in Europe, she moved to Notting Hill, London, 1976.

Susan Wilson studied at Camberwell School of Art & Crafts and The Royal Academy Schools, London. Her exhibition history is extensive with many solo and group shows in New Zealand and the U.K. Represented by Browse & Darby 19 Cork St  London W1. She taught at Chelsea School of Art (BA & MA Painting 1992-2000). She is a Senior Member of Faculty at The Royal Drawing School.

“I am not able, nor can I explain what I do. It is up to the visitor to look and think and find what they will in the images. I don’t work from photographs always working from life, from objects and outdoors in the landscape. It’s more interesting. The wind blows, the sun shifts, the sea roars, the boat rocks. Who would want to be in the studio copying photographs? The world is too interesting and too ever changing for that.”

Image: The Oxford undergraduate muses on the poetry of Siegfried Sassoon (2007), Oil on linen, 910 x 710mm

Bill Riley | Turbulence

Bill Riley | Turbulence

Opening April 7, 2pm

Antoinette Godkin, Parnell, Auckland

These new works reflect on a number of issues: ocean conservation, value systems, contemporary human behaviour, etc. They are made using plastic objects from beaches around New Zealand and discarded paint from construction sites and rubbish collections.


Claudia Edwards | Mother and Daughter on Hiatus

Claudia Edwards | Mother and Daughter on Hiatus

Opening Tuesday April 10

Sanderson Contemporary, Auckland

“The other night my mother and I were talking about things that I do that she finds frustrating. I asked her for an example. She immediately responded with this, “There’s a platter of lobster tails for dinner and everybody is eager to go and help themselves, Claudia happens to be the first one to the platter and she will pick the largest tail on the plate … that’s you.”

Mother and Daughter on Hiatus is an ironic collection capturing the rivalrous and friction-run relationship that one has with their mother; in this case my own.

Unapologetically domestic, these frieze-like structures create a coliseum for my mother and I to compete in. When we argue, often I think the lack of any witness to our dispute is unfair. In hopes to validate who’s in the wrong and who’s in the right, a third person, an audience or a referee would suffice. This arena of sporting events categorises my disharmonic relationship with my mother into that of entertainment, disguised as humour rather than stigmatic.

You are the viewer. You are the audience. You are the referee.

Damien Kurth | Tropicana

Damien Kurth | Tropicana

Opening Tuesday April 10

Sanderson Contemporary, Auckland

Damien Kurth has been practicing still life painting for more than a decade – mastering the depiction of a variety of objects and textures. The sparse nature of Kurth’s works leave room for our own interpretation, and oftentimes the works spark a nostalgic reaction, with iconic jars and commonplace vessels. Tropicana is a body of work that further pushes Kurth’s investigation. The works are balanced to perfection with carefully considered compositions.

Andrew Beck | Open Surface

Andrew Beck | Open Surface

Opening event Wednesday April 11, from 6pm

Bowerbank Ninow, Auckland

Andrew Beck’s Open Surface is a new body of work that continues his practice of making photograms. These works intentionally confound the viewer’s expectations about the role of photography as a medium that captures or reflects the real; although Beck’s images are photographs, in the sense that they use the properties of light-sensitive chemicals to create an image, they are not figurative representations of the phenomenal world.

The photogram differs from the photograph in that it is accomplished without the aid of a lens or negative. Without these mediating technologies that allow light to be focused, directed and captured, the photogram is an immediate, unique record of a moment when light met photosensitive chemical. It is also a kind of spatial situation, an intervention in the path of a source of light that verges on the sculptural. Indeed, Beck has produced site-specific installations in the past, using architectural forms as the impetus for work that questions the relationships between space and surface.
In her 2015 Art New Zealand article on Beck, Christina Barton frames his practice in terms of a Minimalist rejection of Modernism’s contention that artworks are disparate, self-contained and self-sufficient. In her view, Beck’s work adopts a position that draws on elements of both modernism and postmodernism, presenting a multivalent practice whose implications draw the viewer in a multitude of directions simultaneously.

Dissipative Structure II (2018) sees Beck’s usual hard-edged abstraction giving way to a field of cloudy, subtly graduated tonal shifts. The work is beguiling but also somewhat unsettling, refusing the eye a place to rest or a hard edge on which to find purchase. Its nebulous forms recall aerial photographs of clouds or microscopic imagery, rendering its scale obscure. The work’s seamless surface also recalls computer-generated imagery, suggesting an uneasy tension between the analogue and the digital.

Elsewhere, in untitled (2018), a shaft of pure white light seemingly erupts from a dark, indistinct mass anchored to the bottom of the picture plane. While Beck’s work implies that it depicts objects that exist in space, these forms are the traces left by light alone—more images of the process itself than of any product or outcome. They are also aesthetically pleasing compositions whose painterly qualities are seductive and, in the context of Beck’s Minimalist reference points, vaguely transgressive. Despite being utterly intangible, Beck’s “beam” of light erupting from the dark is strangely bodily, almost carnal.

Colour works such as Split Focus (Blue) (2018) cleave much more tightly to the model of Beck’s minimalist forebears such as Morris, Stella and Serra. Although his works are neither painting nor sculpture, they invoke both objects and surfaces without totally resolving to be either. The coloured acrylic that Beck places in front of his hard-edged abstract photograms transforms them into floating, luminous planes of light, sheets of colour more pure and inaccessible than any painted canvas or board. The irreality of these objects, like the rest of Beck’s work, speaks to the intangible components of the digital environment, an outsider’s perspective (Beck’s work is decidedly analogue in execution) that nevertheless captures the uneasy essence of the virtual.

Bronte Perry and Ange Perry | and my heart is soft

Bronte Perry and Ange Perry | and my heart is soft

Opens Wednesday April 11

Enjoy Public Art Gallery, Wellington

and my heart is soft is an installation of sculpture and weaving by Ange and Bronte Perry. As mother and child with Pākeha, Māori and Croatian heritage, their collaboration confronts the ideas of unknowing and re-learning, exploring gaps and incommensurabilities in cultural knowledge and whakapapa through an open-ended, materially-driven dialogue.

For this exhibition, Bronte has worked predominantly with text and timber, sourcing large cross sections of Pohutukawa and swamp Kauri and engraving passages of text into the wood. Based on English and Te Reo Māori translations of religious psalms from the Croatian Bible Novi Zavjet i Psalmi, the texts reveal the uncertainty of translated language as different poetic meanings are used to describe experiences of loss and mourning. For instance, the notion of being ‘broken hearted’ or ‘soft hearted’ referred to in these translations creates room for vastly different interpretations.

While Pohutukawa is often recognised its strength and beauty, swamp Kauri, large forests of felled trees preserved underground in the swamps of Northland, is a particularly charged material—an ancient tāonga, a scientific resource committing environmental changes in Aotearoa to carbon, and a precious commodity as one of the world’s most expensive timbers. It also has particular significance within the artists’ family history. As Bronte notes, the Kauri “gumfields brought my tupuna together, Māori, Croatian, Pākehā…they earned a living stripping and tearing at the earth with great ferocity to harvest the gum beneath.”

These timber works are presented alongside two woven tāniko by Ange, which take the stories of her Croatian Grandfather and Māori Grandmother as starting points. For the artist, the process of learning how to weave has been intertwined with developing a reconnection to Te Ao Māori after years of discouragement within colonial and religious contexts.

Working with this challenging weaving technique—where coloured horizontal threads are introduced to the whatu twining technique, combining full and half twists to bring one or another colour to the front to create intricate geometric patterns—both tāniko represent family meetings and stories and are linked by the sea and migration. The first, a creamy muka (Harakeke fibre) colour with a blue and yellow Croatian star pattern, is based off the design and palette of a blue leather bottle that belonged to Ange’s grandfather and was brought from Croatia to Aotearoa. The design of the second—rendered in traditional black and red—represents a “pathway to the sea”—the location where Angela’s grandparents first met.

Presented in the gallery laid over basalt rock and other natural materials, the work of both artists refuses to claim a single authoritative identity, but instead brings successive generations and cultural ideologies into active discussion.


Bronte Perry is an artist based in Tāmaki Makaurau. Born ‘n’ bred in South Auckland, Perry is interested utilising the ideas of whakapapa, whanaungatanga and lived experiences to explore socio-political contexts through immersive installation and sculpture. They have recently graduated with a Bachelor of Fine Arts Honours, from the Elam School of Fine Arts at the University of Auckland.

Ange Perry is based in Tāmaki Makaurau. Emerging from a highly religious upbringing, Perry uses raranga (weaving) to relearn her whakapapa and cultural heritage as a way to heal. Perry has completed her Kāwai Raupapa level four certificate in Māori visual arts at Te Wānanga o Aotearoa and is currently completing her Toi Paematua Diploma.

Call for Applications | McCahon House Artists' Residency

Call for Applications | McCahon House Artists' Residency

Applications due Friday June 15, no later than 5pm

McCahon House Artists’ Residency 2019 Call for Applications

The McCahon House Trust is calling for applications from outstanding emerging and mid-career professional visual artists for the McCahon House Artists’ Residency programme.

Three residencies, each of three months duration, are available between January 2019 and December 2019.

The future potential of artists will be a major factor in the panel’s choice. The selectors must believe that the recipients of the residency have the potential to reach national and international standing and that the opportunity afforded by this residency will contribute to that potential.

Full criteria and application guidelines are available on their website .     

Photo Credit: Patrick Reynolds

Call for Applications | Olivia Spencer Bower Foundation Art Award

Call for Applications | Olivia Spencer Bower Foundation Art Award

Applications due Saturday June 30 

The Olivia Spencer Bower Foundation Art Award is a year long residency in Christchurch. The recipient receives a stipend of $30,000 and a studio at The Physics Room.

The general purpose of the award is to encourage and promote New Zealand artists and sculptors with particular emphasis on future artistic potential rather than financial need. It was Olivia’s specific objective to assist New Zealand artists and sculptors with talent so they could devote their energies, on a full time basis for a twelve month period, to painting and sculpture freed from the necessity to seek outside employment.

For full information and application forms to download please visit their website

Or contact Gary Anderson @ Perpetual Guardian

Call for Submissions | Toi Pōneke Arts Centre Visual Arts Residency 2018

Call for Submissions | Toi Pōneke Arts Centre Visual Arts Residency 2018

Submissions due by Monday May 7

Toi Pōneke is calling for proposals from visual artists for our 2018 Visual Arts Residency. We are looking for applications from Wellington-based artists. This 12 week residency culminates in the exhibition of a new body of work at Toi Pōneke Gallery in October 2018.

The aim of this residency is to support an artist to develop a body of work and provide them with resources to dedicate themselves to their work full time. We aim for the artist-in-residence to gain experience installing a solo exhibition of their work at Toi Pōneke Gallery in October/November 2018.

Shortlisted candidates may be invited to an interview with Toi Pōneke staff before a final decision is made. At the completion of the residency the successful candidate will be required to provide a report and feedback.

What’s on Offer

  • Toi Pōneke will provide the candidate with a studio space for 12 weeks with 24/7 access
  • A 4 week exhibition at Toi Pōneke Gallery this includes pack in & pack out (3.5 weeks open to the public)
  • Mentoring
  • Promotion of the candidate’s exhibition and associated activities
  • A stipend during the 12-week residency
  • Some technical and hosting support for the exhibition


  • Available only to Wellington-based New Zealand citizens or permanent residents (resides in Wellington)
  • Applicants must be emerging artists
  • Artists must be able to commit to this residency full time (spend at least 40 hours a week at Toi Pōneke) and install their own exhibition

Students or artists within one year of finishing under-graduate study are not eligible to apply

  • Applicants recently graduated from a Post Graduate course are eligible to apply
  • Employees and family members of the employer Wellington City Council are not eligible to apply


  • Submissions due by 7 May 2018
  • Successful artist announced mid May 2018
  • Residency commences 9 July 2018
  • Exhibition dates: 15 October – 11 November 2018

This Residency has the outcome of an exhibition at Toi Pōneke Gallery.

Dates are non-negotiable.

  • Install:  October 15 – 18
  • Opening: 5:30pm Thursday October 18  or 5.30pm Friday October 19
  • Exhibition Dates:  October 19 –  November 10
  • De-install:  November 11

Your Application should comprise of:

  • Application Form
  • 2 page Visual Arts Resume
  • Minimum of 10 images of recent work A5 size, with captions and a short description if necessary
  • Please provide links to any relevant documentation (e.g. website, vimeo/Youtube channel, articles or papers about work, exhibitions, publications, etc.)
Please send all of the following to by Monday May  2018.

Terms and conditions

Successful applicants will be required to

  • Sign the Toi Pōneke – Visual Arts Residency Agreement;
  • Agree to the Toi Pōneke Arts Centre Terms and Conditions;
  • Complete a Toi Pōneke Arts Centre Artist Studio Application;
  • Agree to the Toi Pōneke Arts Centre Artist Studio Agreement.
Group Show | The Water Project

Group Show | The Water Project

Opening event Wednesday 11 April, from 6pm

Ashburton Gallery, Canterbury 

The province of Canterbury has become the epicentre of much discussion about the role of water in present day New Zealand. From political to scientific standpoints, the many opinions on the future of water seem convoluted and fraught with disunity. The arts play a vital role in widening the scope for discussion and dialogue at a grassroots level and The Water Project attempts to bring a new voice to the fore. Thirteen New Zealand artists have responded to the invitation to ‘be the water’ and create new work which challenge, inspire and call to action every individual inhabiting the natural world.

This exhibition is developed by the Ashburton Art Gallery. The thirteen artist involved are Ross Hemera, Peter Trevelyan, Brett Graham, Kate Woods, Jenna Packer, Bruce Foster, Gregory O’Brien, Euan Macleod, Jacqui Colley, Dani Terrizzi, Phil Dadson, Bing Dawe and Elizabeth Thomson. 

Hannah Jensen | Wild No Categories

Hannah Jensen | Wild

Opening event Wednesday April 11, from 6pm

Allpress Studio, Auckland 

ILD is the result of fifteen years of process and dedication, culminating in eight large-scale animal carvings adorning Allpress Studios walls. These works celebrate the exceptional beauty of wild animals, emphasising their magnificent textures, from fur to feathers, tusks to antlers; all are intricately hand-carved into 140 litres of paint.

From African Game to French Wild Horses, Arctic Mammals and Japanese Cranes, these striking animal portraits are a harrowing reality check of what will be left behind if we continue to destroy their natural habitats. WILD looks to encourage the viewer to connect with the broader ideas of sustainable living and our environmental footprint.

presented by


COCKTAILS Allpress Espresso
WINE Odyssey Wines
BEER McLeod’s Brewery
WATER Antipodes Water Company
PLANTS Hire Plants
INSTALL Art Associates

Call for Applications | Liz Stringer Curatorial Internship 2018

Call for Applications | Liz Stringer Curatorial Internship 2018

Applications close Monday April 30

The New Zealand Portrait Gallery is calling for applications for the 2018 Liz Stringer Curatorial Internship.

The New Zealand Portrait Gallery gives us perspectives on ourselves and our place in the world. It is home to a growing collection of portraits. Our exhibitions include painting, sculpture, caricature, photography and new media.

This paid internship will be an opportunity for you to:

  • develop hands-on curatorial, collection and project management skills
  • develop your skills and experience across the wide range of activities that take place in a busy public art gallery
  • curate two shows featuring works from the New Zealand Portrait Gallery Collection, developing curatorial skills including exhibition, research, artwork selection, interpretation and public programme development
  • contribute new perspectives, connections and appreciation of portraiture to the NZPG team

We anticipate the internship to be part-time for 7 months starting in May and ending in December, though this will be negotiated with the successful applicant.

Applicants must have a tertiary qualification in art history, museum studies, fine arts or a related subject, or have relevant equal experience.

Applicants must submit a proposal for an exhibition in the NZPG Deane Gallery space with a 200 word concept and a list of 10-20 proposed artworks from the New Zealand Portrait Gallery Collection and from other collections.

To request a JD or a plan of the Deane Gallery please email Talei Langley

How to apply

To apply send your exhibition proposal, cover letter and CV to:  by Monday April 30.

Call for Entries |  Aesthetica Art Prize

Call for Entries | Aesthetica Art Prize

Submissions due Friday August 31 2018

The Aesthetica Art Prize is now open for entries. It is a fantastic opportunity for artists, both established and emerging to further their careers in the art world and showcase their work to a wider audience.

The internationally renowned award nurtures and supports talented practitioners from around the world, aiming to unite and provide a diverse platform for artists.

Furthering the career of many artists, the Prize is an opportunity for artists to gain further exposure through publication in the Future Now: 100 Contemporary Artists annual and have the chance to exhibit their work at the Aesthetica Art Prize Exhibition, hosted in the historic city of York, UK.

There are two categories for entry; the Emerging Prize which is open to current students and artists who have graduated within the last two years, and the Main Prize, open to all including those eligible for the Emerging Prize.

Artists can submit work to one of four categories; Photographic & Digital Art; Three-Dimensional Design & Sculpture; Painting, Drawing & Mixed Media and Video; and Installation & Performance.

Prizes include; £5,000 for the Main Prize, £1,000 for the Emerging Prize, group exhibition hosted by Aesthetica, Editorial coverage, Publication in the Future Now annual, art supplies and books supplied by Prize sponsors.



Call for Entries |  Pacific Island Memorial Design Competition

Call for Entries | Pacific Island Memorial Design Competition

Entries due Monday May 21

Manatū Taonga Ministry for Culture and Heritage is running an open architectural design competition to find a winning design for a Pacific Island Memorial to be installed at Pukeahu National War Memorial Park in Wellington.

Pukeahu National War Memorial Park is the national place for New Zealanders to remember and reflect on this country’s experience of war, military conflict and peacekeeping and how this experience shapes our ideals and sense of national identity.

The memorials in Pukeahu National War Memorial Park stand as symbols of our shared experiences, as well as our enduring friendships and commitment to peace and international cooperation. This new memorial will recognise our closest friends, the Pacific nations.

The Pacific Island Memorial will represent New Zealand’s friendship with all Pacific Island countries and in particular will recognise the service of Pacific Islanders in the New Zealand Defence Forces.

The Design Brief Document provides all information on the competition including background, dates and design criteria.

For policy information on Pukeahu National War Memorial Park please see the Ministry’s websiteTechnical drawings of the park are also available on the website, for any further cad drawings please contact the Ministry on the email address below.

For information on New Zealand’s shared history with the Pacific Islands see NZHistory and Te Ara.


Information on Pukeahu National War Memorial Park is available on the Ministry’s website:

  • Pukeahu National War Memorial Park was opened in April 2015 in the precinct surrounding the National War Memorial in Wellington.
  • One of the goals for Pukeahu was to create a space in Wellington for the development of new memorials from countries which New Zealand has a close military relationship with or a shared military history.
  • To date four international memorials have been installed within Pukeahu, these are: Australia, Turkey, United Kingdom and Belgium, with memorials for France, the United States of America and Canada to follow in 2018 and 2019.

The Competition

Competition stages

The competition will be run in two stages:

  • Stage One – is open to any team involving at least one New Zealand registered architect, and/or practices, academics and/or graduates who are members of NZIA. Stage One will be at concept design level and involves registering interest and creating a concept plan.  Those registering interest will be given a unique identification number to ensure the anonymity of all entrants.
  • Stage Two – up to three entries will then be selected to go through to Stage two. Each selected team will be paid NZD $10,000 (excluding GST) to prepare their detailed submission for consideration by a panel of professionals.

Key Dates

For a detailed timeline for the competition refer to the Design Brief.

All entrants will first need to register their interest anonymously via the website and use their unique ID number for all correspondence with the Ministry.

The entry period ends on Monday May 21 2018 and the judging panel will then meet to review the entries and agree on a shortlist of three designs. The three finalist teams will be notified by Thursday May 31 2018.

The three finalist teams will be allocated $10,000 per team and will have two months (until early August 2018) to prepare a detailed design submission and presentation for consideration by the panel and expert advisors.

The Panel will then select the winning design which we expect to announce in late August 2018.

Judging Panel Members

The winning design for this memorial will be selected by a five-person panel who bring together a huge depth of experience in art, design, architecture and include a Pacific Island community representative.

Chair: His Excellency Hon Fisa Pihigia, High Commissioner for Niue

Hon. Fisa Pihigia has more than 20 years of experience working in the Niuean Government across several offices. He became a Member of Parliament in 1990 as a Common Roll Member of the Niue Legislative Assembly. Appointed as a Cabinet Minister his portfolio included Business Sector Relations, Broadcasting Cooperation and Public Works. Fisa Pihigia is a strong and enthusiastic supporter of community engagement, participation and development through all spheres from educational, social, spiritual and physical.

Andrew Tu’inukuafe

Tongan lineage Andrew Tu’inukuafe is a registered architect based in Auckland currently working as an Interiors Principal with Warren and Mahoney. He believes collaborative partnerships are important to the successful delivery of designs. The winner of several design awards Andrew Tu’inukuafe has studied at the Architectural Association School of Architecture in London and has also worked in the UK and the USA.

Jacky Bowring

Jacky Bowring is a registered landscape architect and Professor of Landscape Architecture at Lincoln University. Her research and interests include cultural landscape, history memory and emotion. With a strong interest in the design of places for memory, she has been successful in a range of competitions including as a finalist in the Pentagon Memorial Design Competition. Jacky Bowring is editor of the international journal Landscape Review and was on the selection panel for Oi Manawa, the Canterbury Earthquake National Memorial.

Sean Mallon

The Senior Curator Pacific Cultures at Te Papa, Sean Mallon specialises in the social and cultural history of Pacific peoples in New Zealand.  He is currently researching the cultural history of Samoan tattooing, and issues relating to the agency and activism of Pacific peoples in museums.  Sean Mallon was the recipient of the Creative New Zealand Contemporary Pacific Artist Award 2013 for his extensive contribution to Pacific arts.

Leilani Kake

Lens-based artist and educator, Leilani Kake has been working in the creative arts industry for more than 20 years in South Auckland. She has exhibited and presented at conferences both nationally and internationally with a focus on Pacific and Māori issues through personal experiences. Her most recent achievements have been the recipient of a UNESCO grant to represent Aotearoa at the Asia-Pacific Regional Workshop on the Global Action Programme on Education for Sustainable Development in New Delhi, November 2017 and participation in a group exhibition in the Toi Nga Puhi Arts Festival 2018.

Design Brief

The Pacific Islands and New Zealand place great value on the significance of this memorial to celebrate the friendship between our countries and the close cultural, historical, economic and political ties between New Zealand and the Pacific nations.

Along with the International Memorials Selection, Location and Design Guidelines, key criteria required for the design are:

–        Represents all Pacific Island countries

–        Acknowledges the contribution of Pacific peoples in both World Wars and in other conflicts

–        Recognises and appreciates the diversity of Pacific countries

–        Represents the strong relationships across the region

–        Recognises New Zealand’s friendship with all Pacific Island countries

–        Recognises the service of Pacific Islanders in the New Zealand Defence Force

–        Is suitable for official ceremonies, for example, wreath laying ceremonies, and

–        Reflects the Pacific Islands, this could be in the design, materials used or symbols, or through the participation of a Pacific Island creative professional in the design.

Email contact

If you cannot find the information you require via this webpage or within the Design Brief, please contact the Administrator at:

How to register?

Click below if you wish to register your interest in the competition, you will receive an email with a unique identification number which should be used for all correspondence and documentation you send to the Ministry.  The unique ID number means all teams will remain anonymous to the judging panel during stage one of the selection process.



Double Opening | Sweet Dreams and #Update

Double Opening | Sweet Dreams and #Update

Opening event Thursday April 12, from 6pm

Corban Estate Arts Centre, Auckland

Join Corban Estate Arts Centre for the opening of two new exhibitions. A solo exhibition by Sweet Dreams by Yukari Kaihori and group exhibition #Update featuring artists Hanna Shim, Dominique Baker, Alvin Xiong, Jihun Hwang, Sena Park and Ruby White.

SWEET DREAMS / Yukari Kaihori 
When Yukari Kaihori’s grandmother passed away in 2016, she left behind a book of handwritten poems featuring tanka and haiku (forms of Japanese short poetry). Surviving through WWII and a tough upbringing, these bittersweet poems explore a deep sense of longing. Beauty and sorrow co-exist in her grandmother’s poems, and Kaihori uses this relationship as a starting point for this project. Sweet Dreams explores the process of dreaming and encourages people to embrace when their dream worlds merge with reality.

#UPDATE / Hanna Shim, Dominique Baker, Alvin Xiong, Jihun Hwang, Sena Park and Ruby White
This exhibition was influenced by curatorial research into contemporary Asian art practices combined with our vision to provide a platform for diverse artistic perspectives. #UPDATE features a collection of Te Whanganui a Tara and Tāmaki Makaurau based artists who work with media such as painting, carving, sculpture, ceramics and light.

Public programme: 

Saturday April 14, from 11am-12pm

SATURDAY GALLERY CLUB #37:GEISHA AND KOI (part of Kids Arts Festival 2018)
Saturday May 12, from 10.30am and 12pm

Image: Yukari Kaihori, Sweet Dreams (2018).

Group Show |  Reckless Abandonment

Group Show | Reckless Abandonment

Opening event Thursay April 12, from 5pm

Megan Dickinson Gallery, Whangarei

Surrendering to the moment…A group show including print, painting, drawing, photography, installation and more. With works by Chrisse Serville, Grant Beran, Peter Bradburn, Jacqueline Aust, Kyla Cresswell, Lisa Clunie, Cathy Tuato’o Ross, Ellie Smith, Kenneth Adams, Mike Morgan, Megan Dickinson, Rosie Parsonson, Richard Darbyshire, Barbara Rhudorfer, Suza Schiele and more!

Image: Chrisse Serville, courtesy of Megan Dickinson Gallery


Ta Moko | From Origins to Evolution

Ta Moko | From Origins to Evolution

Opening event Thursday April 12, from 7pm

Riverton Vault, Riverton

RSVP’s for the gallery opening night to the exhibition can be sent to

Te Taonga Mauri (The Living Treasure) Trust and Vault Gallery presents Ta Moko: From Origins to Evolution Exhibition.

Sculpturist and artist Richard OTI Murray, along with the Te Taonga Mauri Trust will present a body of carvings to the Southland region in this Pop Up Exhibition at Riverton Vault this April. Oti has a vast history of projects and his creative work can be found throughout the region and New Zealand. As a Founder and Director of Te Taonga Mauri, Oti has been part of Kura Rejuventation Whakairo (Carvings), gave the Nga Taonga O Nga Matua Tupuna Exhibition at the Southland Museum and Art Gallery and carried out commissions Tamareriti and Te Moananui Pokopoko a Tawhaki for Nga Tahu Seafood in Bluff.

Oti was trained at Te Whare Wananga O Aotearoa (1981-1983) and has spent many years developing and honing his craft. His training came from Lt Rua Kaika from Tikitiki Tuparoa, Ngati-Porau and Mr Kohe Webster from Masterton, Ngati-Raukawa, who were both trained by John and Pene Taiapa, Tohunga whakairo, Master Carvers. He also learned from Greg Brightwell, Te Arawa/Ngati-Porau and Mr Louis Kereopa, from the Turangi region Tuwharetoa.
He writes of his work:

“Behold the Light”
Kaore a te rakau whakaaro, kei te mauri o te Tipuna Te Whakaaro… The design is not in the wood, but in the life-source of the Ancestors. The Knowledge we experience in the World of Ritual, an experience of oneness with People, with Creation and with Io, God is the knowledge that comes to us from the Third Basket Of Knowledge, Te Kete Tuaatea, the basket of knowledge which is beyond space and time.

Gallery hours will be 11:00am to 4:00pm, and will run Friday through to Sunday from April 13 to April 29.

The aim of the gallery is to showcase Southland artists for a unique exhibition and is an opportunity to purchase art work. Art collectors and enthusiasts are encouraged to visit the gallery, which is open to display the artist on show for three weekends. The gallery is set up in the former National Bank Building on the corners of Napier and Palmerston Streets, in Riverton, Southland.

Group Show | On Death Row

Group Show | On Death Row

Opening event Friday April 13, from 6pm

Upstairs Gallery, Auckland

Internationally acclaimed photographers and creatives Mark Carter, Craig ‘CPL’ Levers, Brent Courtney and Terry Williams-Willcock are opening a new gallery exhibit ON DEATH ROW.

The collaboration unites fine art with a mission of environmental conservation to highlight the beauty of the Waima landscape, the scars it leaves our next generation and the documenting of rare native species as they face extinction from both kauri dieback and industrial development.

Group Show | Chroma

Group Show | Chroma

Opening Saturday April 14, from 10.30am – 12.30pm

Franklin Arts Centre, Auckland

Contemporary artists Elizabeth Crosby, Norah Johnson, Kristy Kirkpatrick, Claudia Slaney and Jon Tootill, at the opening of this mesmerising exhibition. The ageless technique of watercolour painting has been used differently by each artist – from effortless brushstrokes to eloquent forms and patternmaking.

Image credit: Claudia Slaney, ‘Union Road’, 2017 (detail)

Jan Nigro | Out of the Bedroom and into the Lounge

Jan Nigro | Out of the Bedroom and into the Lounge

Opens Saturday April 14

Waikato Museum, Hamilton

As the anniversary of Jan Nigro’s death five years ago nears, this significant retrospective exhibition has been distilled from her life’s work held by the Jan Nigro Trust. The works illustrate a strong female contribution to the trajectory of contemporary New Zealand art history and reclaims Jan Nigro as an important New Zealand artist. Nigro resolutely celebrated the human figure regardless of trends in contemporary art practice. It also firmly places the artist as commentator, a role she perhaps unwittingly played as her content reflected current events or thinking during a period of immense social change in New Zealand. Most importantly it celebrates us, our bodies, united by an unclad identity and shaped by her uninhibited colourful context. During her life, Jan battled to have her close focus on the ‘nude’ accepted by viewers and peers. We are honouring Jan’s commitment to “get them out of the bedroom and into the lounge” as she wished.

Education programmes are available for this exhibition.

This exhibition is brought to you by Fine Art Society New Zealand and Jan Nigro Trust in collaboration with Waikato Museum Te Whare Taonga o Waikato.

Image: Nude and Rose, Jan Nigro, courtesy of Jan Nigro Trust and Fine Art Society New Zealand

Reuben Paterson | Inherit the Earth

Reuben Paterson | Inherit the Earth

Opens Saturday April 14

Milford Galleries, Queenstown

In his latest display of glitter masterpieces, Reuben Paterson draws on two specific influences: Cook Island tivaevae and the orchid. In both cases, these are not departures from Paterson’s key styles and message, but are rather a development and evolution.

Rarotonga has long fascinated the artist; Paterson spent time on the island as part of an artist residency in 2010. The island also has resonance with Maori history, as one of the presumed departure points for waka heading south for Aotearoa. The mythical archetype of the island paradise has featured in previous work from the artist, notably in his giant sunset beach scenes, and here it is the tivaevae, traditional rhythmically symmetrical botanical patterns, which provide a link to Paterson’s long-held artistic practice. Works like So Let Me Speak of All of Us (2018) and Winika(2018) are distinctly Cook Island inspirations, yet also draw to mind the artist’s heavily floral wallpaper-inspired works.

The dark backgrounds of these works becomes a physical presence in its own right – a “negative space” which has as much weight as the blooms themselves. The background serves two distinct purposes: it carries with it a weight of artistic history, linking it to classical Flemish and Dutch still lifes, (1) and simultaneously, it allows room for the blooms to breathe and take centre stage, amplifying the colour and making the flowers stand clear of the darkness. The soft creams and yellows of Inherit the Earth (2018) stand out like flares from the deep foliage, and the effect is even more dramatic when the subject is a single bloom, as in Love You, Love You More (2017).

The darkened backgrounds also give the feeling of the garden at night, in which the smell of the plants often overwhelms the gloom. (2) Paterson is playing with our senses in these works, making us imagine we smell the blooms in a darkness which – thanks to the characteristics of glitter – is illusory, and actually bright and shimmering.


1. Interview with Reuben Paterson by Lucy Hammonds, in “Blooming new: The rebirth of Reuben Paterson”, Art New Zealand 164, Spring 2017-18.

2. Ibid.


Rachael Dewhirst | Sense of Wonder

Rachael Dewhirst | Sense of Wonder

Opening event Tuesday April 17, from 5.30pm

Warwick Henderson Gallery, Auckland

Please come along to the Warwick Henderson Gallery in Newmarket to support Rachael Dewhirst for her first solo exhibition in Auckland titled “Sense of Wonder”. All work available for sale.

Call for Submissions | Estuary Art and Ecology Prize 2018

Call for Submissions | Estuary Art and Ecology Prize 2018

Submissions due Friday June 1, by Midnight

The only contemporary art prize in Aotearoa New Zealand with ecology at its core. Artists are invited to research and respond to the Tāmaki Estuary, to underscore the ecological value of this vital waterway and encourage action against its pollution. With a total prize pool of $8,300 the winning artworks will be intelligent and innovative responses to ecology in the field of contemporary art.

Download the Conditions of Entry Here

Download the Entry Form here

Opening and Awards Ceremony Saturday July 7, 2.30pm
Exhibition of Finalists Monday July 9 – Friday August 17

Image: Roma Anderson, Liminal, 2017, Merit Award EAA11


Paul Brobbel is the Len Lye Curator at the Govett-Brewster Art Gallery/Len Lye Centre, and former Assistant Collection Manager (Photography) at Te Papa Tongarewa Museum of New Zealand.  Paul grew up in Howick and brings a local knowledge of the area to this year’s Awards.    Photo credit: Glenn Jeffrey


First Prize: $5,000

Second Prize: $2,000

People’s Choice: $1,000
As chosen by visitors to the exhibition.

Two Merit Awards: $150 Gordon Harris Gift Voucher

The Estuary Art and Ecology Prize is generously funded by the Auckland Council’s Howick Local Board and supported by Gordon Harris and the Rice Family Partnership.

Call for Submissions | Miles Art Awards 2018

Call for Submissions | Miles Art Awards 2018

Submissions due Friday May 11, no later than 4.30pm

Tauranga Art Gallery, Tauranga

This bi-annual event and exhibition is an opportunity for artists residing in the Bay of Plenty to submit their most accomplished artworks for Tauranga’s premiere art award. The finalists work will be shown in a curated exhibition (Saturday June 16 –  Sunday September 2 2018). This is the fifth instalment of our biennial awards and exhibition at Tauranga Art Gallery.

The event is named after one of Tauranga Art Gallery’s original donors, Venetta Miles, who is remembered for her considerable foresight and generosity. The Miles Art Awards is generously supported by The Venetta Miles Trust and made possible also thanks to the Friends of Tauranga Art Gallery, Tauranga Mayor Greg Brownless, The Incubator Creative Hub, and the Bay of Plenty Times.

See the full Terms & Conditions here…

Important Dates:


Deadline for receipt of entry forms: 4.30pm Friday May 11, 2018

Delivery of Works:

Delivery of by courier must arrive no later than:

Thursday June 7 2018, 4pm

Courier deliveries must be addressed to: Miles Art Awards, Tauranga Art Gallery, 108 Willow Street, Tauranga

Delivery of Works in person:

All hand delivery artworks must arrive:

Thursday June 7 2018, 12noon – 4pm or Friday June 8 2018, 10am-12noon

Artworks arriving by hand must be delivered to: Tauranga Art Gallery, cnr Willow and Wharf Streets, Tauranga

We reserve the right to refuse any artworks that arrive outside the designated times or do not meet the eligibility criteria.

Official Opening and Awards

Friday June 15, 5.30pm Tauranga Art Gallery

Exhibition Dates

Saturday June 16 – Sunday September 2, 2018 open daily from 10am-4.30pm

Return of Works:

All entrants whose work has not been selected will receive an email by 5pm on Monday June 11 2018 and will need to come in and collect their works from Tauranga Art Gallery on: Wednesday June 13 2018, 12.30pm-5.30pm

Exhibited works to be collected at the end of the exhibition period (if unsold) from Tauranga Art Gallery on:

Thursday September 6 2018, 12noon-4.30pm

Friday September 7 2018, 10am-12noon

Courier return of works

Unselected works will be dispatched by Monday June 18 2018. Selected works returning by courier will be dispatched by Friday September 7 2018.

For further information: visit their website or for queries related to pick-up and drop-off contact Jo Torr: Phone 07 5790625

Carole Prentice | Nīkau Delicatessen No Categories

Carole Prentice | Nīkau Delicatessen

Opening event Wednesday April 18, from 6pm

Mokopōpaki, Auckland

He Pānui Whānau!

MOKOPŌPAKI warmly invite you to join them Wednesday 18 April 6–8pm to celebrate the opening of NĪKAU DELICATESSEN, an exhibition of new work by Northland-based artist CAROLE PRENTICE

Home-made ALL–BUTTER–SHORTBREAD will be served with TEA

Nau mai, Haere mai!

Back in the day, the Nīkau Delicatessen, at 175 Karangahape Road, owned and operated by master baker Stuart McDonald, sold bread, pastries, biscuits, slices and cake, all made with good old, real New Zealand butter. Also popular with punters was the McDonald family trademarked brand of ice cream. A signboard written up in chalk advertised seasonal changes in the real fruit flavours and proudly announced the in-house Specials of the Day. Customers were encouraged to treat themselves. Try a McDonald’s Peach Melba or an Ice Cream Soda perhaps? Tempt you with a Milkshake or Ovaltine, or possibly a Malted Milk? Or, how about our legendary Rangitoto Special? (three scoops of ice-cream – yes folks three scoops of ice-cream, extra large one in the middle to represent the island’s volcanic cone, all flowing with red, berry lava sauce, topped by a maraschino cherry for bonus explosive effect). Bargain.

After the war, Stuart’s second oldest son Ralph became a regular stall holder at major outdoor events such as the Royal Easter Show in Auckland selling the original all-Kiwi-made McDonald’s hot chips to go. Although the big red lettering that towered above Ralph McDonald’s chip stand could be easily seen for miles, the main attraction, carried far and wide by waves of crisp night air, was the smell of chunky cut potatoes frying in clean, unadulterated peanut oil, drawn straight from the barrel. Aaaah! Breathe it in people. Fresh, hot, lightly salted chips. Irresistible.

From: Best Made with Butter in Nīkau Delicatessen. Auckland: Mokopōpaki, 2018. Published to accompany the exhibition.

Pānui drawing by Carole Prentice (2018)

Group Show | Hive Mind

Group Show | Hive Mind

Opening Wednesday April 18, from 5.30pm

The Engine Room, Wellington

Laura Duffy, Maddy Plimmer and Sean Burn.


And the word was god.

We now have access to a mass net of information with ports in our home, workplace and pockets at any given moment.

This is a public platform where visual and written material is constantly distributed and redistributed via the various social intranets that make up this dense tangled web of information.

Intertextuality becomes a sub-language to the dominant text based communication. Connotations are social currency. A corporation pays a ‘millennial’ for a new buzzword.

References are a byproduct of the linguistic basis for consciousness, a pattern-seeking mentality that can’t help but constantly adapt and expand all modes of collective understanding.

This is the hive mind. A behavioural universality, that is mimicked in the extended online platform.

The words are just the after-effect of this process of becoming conscious. This is the collective consciousness. What enables me to send information from me to you.

We are the gods of our own universe.


Honor Hamlet, Cameron Ah Loo-Matamua onsite & Jessica Lim online

Honor Hamlet, Cameron Ah Loo-Matamua onsite & Jessica Lim online

Opening event Wednesday April 18, from 6pm

Window, Auckland

We Were Round – Honor Hamlet & Cameron Ah Loo-Matamua

We Were Round considers its environment as a hortus conclusus­­­­—an enclosed garden, perhaps sitting on the outer edge of a current, an inert space, or at least an eddy. The paradise garden may be one of the earliest human fictions, predating and playing a central role in the foundations of many monotheistic religions. Its ubiquity is only matched by its sui generis nature—the idea that it is unique and closed upon all else, for one or two alone, and that we would not even wish to think outside of it. It’s akin to the paradoxical ability to live in your mind and yet turn your mind inside out—there is nothing here to touch that is not it itself….

We Were Round is a collaboration between artist Honor Hamlet, and writer Cameron Ah Loo-Matamua.

POWER PLAY – Jessica Lim

I awake from a dream of my boss reading my notes. I remember feeling violated, but ‘it was okay,’ they said, because they ‘have the right to.’ My colleagues were there too, and while I knew that soon no one would have any privacy or autonomy, everyone was continuing on, feeding more information into the datasphere.

I work for a billion dollar tech company.
My labour is outsourced. Most others who I work with are predominantly immigrants or people of colour.

All the bosses are Pākehā.

Do you ever think about how our bodies are constituted of the material and social conditions which permit their existence?

Do you ever wonder who among us will go to prison? Who will be relegated to informal, precarious labor? Whose benefits will be cut, whose food stamps canceled or insufficient? Who will be evicted? Who will be unable to get health care, to get hormones or an abortion?(1)

“To have a body and be a member of some groups can be a death sentence.”
“You should have tried harder.”

The violence of this sentence.
This sentencing.(2)

What is something you have done for money?

I had a dream I was named Brian Townsend and everyone took me seriously.

I reckon you could be the CEO of a company. They will just hand you the keys lol #privilege

Because the men who hold power will never willfully relinquish from it. They will defend it by every means possible. Because those in power will never relinquish it, it must be removed from them.(3)



Collectivisation is a political process. If heteronormativity, colonialism, capitalism and patriarchal values intersect to form the material of a wider system of oppression, we must work together in order to dismantle them. WE CANNOT ISOLATE OUR POSITION WITHIN STRUGGLES. To foster and establish collectives that stem, not from our backgrounds or disposition, but out of our experience within struggles…to start writing workshops, recycling warehouses, share meals, meet friends in different cities and create a stable centre of solidarity that transcends geographical boundaries.

Remember that while EVERYTHING WE WRITE WILL BE USED AGAINST US(4), it is in our hands whether the suppression continues or whether of not it will be smashed.

1. W & TCH. “On the Recent #Occupations ” LIES: A Journal Of Materialist Feminism. 2012. 118.
2. Ahmed, Sara. “Selfcare as Warfare”. feministkilljoys. 25th August 2014. Accessed 6 April 2018.
3. Tiqqun, Galloway, Alexander and Smith, Jason. Introduction to Civil War. (Semiotext(e), 2010).
4. LIES Collective. “Editorial Note”. LIES: A Journal Of Materialist Feminism. 2012. 11.

Call for Proposals | A Group Exhibition of Contemporary Art by Chinese artists

Call for Proposals | A Group Exhibition of Contemporary Art by Chinese artists

Application closes Friday June 29, no later than 6pm 

Northart, Auckland

In order to further engage with Auckland Chinese and other immigrant communities Northart is calling for proposals for a group exhibition of contemporary art by Chinese artists to be held in August, 2018.

This programme aims to support and promote Chinese art and develop audiences. Expression of interest and proposals from New Zealand resident Chinese artists, as well as international artists, who’s work deliver ideas about Chinese culture, reality and fantasy.

The proposed dates of the group exhibition are: opening function Sunday August 5, 4pm 2018; on display daily 10am to 4pm until Sunday August 26 2018.

Exhibition venue: Northart gallery, Northcote.

Proposals for solo exhibitions are also welcomed.

Please submit your proposal as a single PDF document, including:

  • Brief outline of your works, such as approaches, materials, concepts and further ideas.
  • Contact details, contributor’s CV will be appreciated.
  • Images of your work.

Visit their Website for more information

Please email your proposal to, and feel free to contact Mia for further information.

Cora-Allan Wicklife & Daniel Twiss | What we do at home: PDX > AKL

Cora-Allan Wicklife & Daniel Twiss | What we do at home: PDX > AKL

Opening event Thursday April 19, from 5.30pm

 ST PAUL St Gallery One, Auckland

BC Collective: Cora-Allan Wicklife and Daniel Twiss

“That blurry line between what should be shared and what should be kept sacred in institutional space gave us our first rule of engagement. 1: We share what we do in everyday life, at home. This exhibition is an exploration of how we embody being indigenous, both through memories and in everyday practices. With whānau at the core of our thoughts, we will be intertwining memories to establish how we, as the BC Collective, own, learn and are indigenous. The works are installation based and involve conducting ceremonial / contemporary versions of events. We are hoping to involve different groups that inform ideas of the transmission of knowledge within the family unit, and how working as a whānau promotes indigenous ideologies of learning.” — BC Collective

In 2017 Cora-Allan Wickliffe and Daniel Twiss launched the BC Collective. BC stands for ‘Before Cook and Before Columbus’, and was initiated as a way to share, directly engage with and exchange indigenous ideas and concepts. BC Collective will hold Gallery One space for this exhibition, during which a one-day gathering will be held with invited guests. (For details of this keep on an eye on their Facebook page).

Cora-Allan Wickliffe (Ngāpuhi, Tainui, Alofi and Liku) is a multidisciplinary artist of Māori and Niuean descent, originally from Waitakere. In 2016 she returned to Aotearoa after working at the Walter Phillips Gallery in Banff, Canada. Her practice often examines constructed identities of indigenous people, developing platforms for the self-determination of such representations. Cora-Allan has worked as a curator, preparator, photographer, artist and educator. In 2013, she completed her MA in Visual Art at AUT University.

Daniel Twiss (Lakota, Sioux, Rosebud Reservation) was raised in Vancouver, Washington. His family relocated for a year to the Coeur D’alene Indian Reservation in Plummer, Idaho. His late father Richard Twiss was the co-founder of the Wiconi organisation and a Professor of Native American Studies at Portland State University. Under his influence, Daniel took up Grass Dancing and joined the International Dancing our Prayers Tour in 2003, which created the platform for his involvement in Indigenous conferences and gatherings. Since then, he has attended and danced at numerous Indigenous events including NAIITS Symposium, Vancouver, Canada (2011); Rosebud Immersion Experience, Rosebud Reservation, USA (2012); Surrender in the Desert Conference, Alice Springs, Australia (2012) and Good Water Conference, Turangi, Aotearoa (2015).

Group Show | Trace

Group Show | Trace

Opening Thursday April 19, from 6pm

Black Asterisk, Auckland

Eight local artists of varying practices have been brought together for this group show. They are; Alma Proença, Emma Paton, Kohl Tyler-Dunshea, Richard Darbyshire & Rosie Parsonson, Sheryl Koegh, Strahan Clarke, and Tony Lane. All of the works used in ‘Trace.’ are either on paper or ceramic. The title loosely refers to the innate nature of mark making and leaving a trace as well as the history and traces of memory that the earth, or clay, holds.

Image: ‘Boquette’ by Kohl Tyler-Dunshea

I Understand If You're Busy | Hamilton Iteration at [tacit]

I Understand If You're Busy | Hamilton Iteration at [tacit]

Opening event Thursday April 19, from 5pm

Tacit, Hamilton 

This is the second iteration of the ‘I Understand If You’re Busy’ exhibition series. Formerly showing at RM gallery in Auckland (March, 2018), we are proud to bring the exhibition to show in Hamilton at [tacit] gallery

Anxiety is a psychological and physiological phenomenon familiar to most all of us in this contemporary time. ‘I Understand If You’re Busy’ aims to examine its nature in an effort to contextualise, understand and perhaps exorcise or ameliorate it, through utilising strategies of investigation, transformation and escape. Accordingly, the exhibition attempts to play with and/or make useful an otherwise uncomfortable sensation, by which we are increasingly beset.

As a title, ‘I Understand if You’re Busy’ nods to anxiety as it manifests itself in micro-moments, particularly within the context of texts, Facebook messages and emails: ‘I understand if you’re busy’; ‘I’m sorry to be a pain…’; ‘It’s all good if not’; ‘I just wanted to check whether…’; ‘No worries if not…’; ‘Yeah, nah…’; ‘Can I ask a question?’ etc.

The exhibition will examine the concept and experience of anxiety through art, writing and a series of events including a poetry reading, panel discussion and story-telling event. It will feature an accompanying publication to be released at a closing event, as well as the zine ANXIETY which will be launched at an associated event.

Sarah Callesen /
Olyvia Hong /
Anh Tran /
Taylor Wagstaff /
Ellie Lee-Duncan /
Holly Paynter /
Rachel Ashby

Kari Schmidt /
Loulou Callister-Baker

It was past your bedtime but we stayed up late /DefragPhaseShift

It was past your bedtime but we stayed up late /DefragPhaseShift

Opening event Thursday April 19, from 6pm

play_station, Wellington


It was past your bed time but we stayed up late

Works by Rebekah Rasmussen in collaboration with Selva

“…Motherhood is collaboration: a shifting, plucking and pulling forward of compatible elements, with information and support feeding not one, but both ways….” excerpt of text by Connah Podmore.


Defrag Phase Shift

Poppy Lekner
The Yellow Room

“Using alternative photographic and painting processes to experiment with light, form and materiality…” Poppy Lekner


Texts by Connah Podmore and Sondra Bacharach
Design by Backlog Studio/ Milan de Maule

Louisa Afoa, Natasha Matila-Smith and Molly Rangiwai-McHale | Between you and me

Louisa Afoa, Natasha Matila-Smith and Molly Rangiwai-McHale | Between you and me

Opening event Thursday April 19, from 5.30pm

ST PAUL St Gallery Two, Auckland

Between you and me continues a conversation between three practitioners who work across sculpture, painting, vinyl and video installation. The works are developed as a second chapter to the earlier exhibition Heavenly Creatures at Verge Gallery, Sydney, 2018. The artists don’t claim to speak for everyone, but represent three perspectives amongst the many diverse voices of people in Aotearoa. While these three women share commonalities, it is their points of difference which underpins their works for these exhibitions.

Natasha Matila-Smith (Ngāti Kahungunu, Ngāti Hine) is an artist and writer based in Tāmaki Makaurau, with a Master of Fine Arts from the University of Auckland. Her practice often deals with social interactions and anxieties. Natasha’s recent exhibitions include Heavenly Creatures, Verge Gallery (Sydney), 2018; You’re my number 1, Firstdraft Gallery (Sydney); In The Flesh, Blue Oyster art project space (Dunedin) and Cold Islanders, Waikato Museum of Art and History (Hamilton), all 2017.

Molly Rangiwai-McHale is an interdisciplinary artist based in Tāmaki Makaurau. She graduated with a Bachelor of Visual Arts from the University of Auckland. Her practice is centred on WoC in her life, and the experiences shared with them. Her latest projects have been in collaboration with her partner Luisa Tora, in which they have photographed queer identifying women in their lives.

Louisa Afoa is a Tāmaki Makaurau based artist. She graduated from AUT with Honours in Visual Art in 2016. Louisa’s practice deals with social encounters that relate to experiences of prejudice, misconceptions and racism towards brown bodies. Selected recent exhibitions include Heavenly Creatures, Verge Gallery (Sydney), 2018; Influx, Pātaka (Porirua); Cold Islanders, Waikato Museum of Art and History (Hamilton), and I’ll see you at Orion, Corban Estate Arts Centre (Tāmaki Makaurau), all 2017; and New Perspectives, Artspace (Tāmaki Makaurau), 2016.

Image: Louisa Afoa, Untitled (still), HD video, 9:48 minutes, 2018. Image courtesy of the artist.

Jay Hutchinson | two cups and a Jimmy’s mince and cheese pie wrapper

Jay Hutchinson | two cups and a Jimmy’s mince and cheese pie wrapper

Opening event Friday April 20, from 5.30pm

Blue Oyster, Dunedin

Please join Blue Oyster Friday April 20 for the opening of two exhibitions, ‘two cups and a Jimmy’s mince and cheese pie wrapper’ by Jay Hutchinson and ‘The Race Marches Forward on the Feet of Little Children’ by Matilda Fraser. The fifth annual parallel exhibitions at Blue Oyster presents work which begins with investigations into the artists’ immediate surroundings, and the people, objects, and histories associated therein.

Walk, talk and stitch: Saturday May 5, 10am (weather dependent)
Free to attend, limited placed available
Email to register

Matilda Fraser | The Race Marches Forward on the Feet of Little Children

Matilda Fraser | The Race Marches Forward on the Feet of Little Children

Opening event Friday April 20, from 5.30pm

Blue Oyster, Dunedin 

Please join Blue Oyster Friday April 20 for the opening of two exhibitions, ‘two cups and a Jimmy’s mince and cheese pie wrapper’ by Jay Hutchinson and ‘The Race Marches Forward on the Feet of Little Children’ by Matilda Fraser. The fifth annual parallel exhibitions at Blue Oyster presents work which begins with investigations into the artists’ immediate surroundings, and the people, objects, and histories associated therein.

Artist Talk: Saturday April 21, 11am
Free to attend, all welcome.

Group Show | Unseen, Unknown: Unveiled

Group Show | Unseen, Unknown: Unveiled

Opening event Saturday April 21, from 2.30pm

Uxbridge, Auckland

Curated by Alice Tyler and Zoe Hoeberigs

Making the invisible visible, this exhibition brings together works by artists who reflect on things unnoticed and the obscured forces that play within the overlooked.

Featuring Wanda Gillespie, Matilda Woods, Sarah Smuts-Kennedy, Rozana Lee, Pamela Wolfe, Georgie Hill.

Image: Wanda Gillespie, Seeker 2 (Kai) 2016, woodcarving (Ash), fur, fabric

Matthew Galloway | The Freedom of the Migrant

Matthew Galloway | The Freedom of the Migrant

Opening Saturday April 21

Dunedin Public Art Gallery 

Matthew Galloway has an art practice that uses the tools and methodologies of design as a way to investigate social and political issues. Through new sculptural works and printed ephemera The Freedom of the Migrant takes its starting point from an article published in the New Zealand Herald on 26.03.16 detailing a hypothetical scenario presented by Sir John Key after returning from a meeting of the International Democratic Union (of which Key was then Chairperson). In his new body of work, Galloway explores the complex narratives set up by this statement by Key that positions the terrorist, the refugee, the investor and the politician in relation to one another.

Artist talk: Saturday April 21, 11.00am

Wellington Media Collective representatives Chris McBride and Philip Kelly, and artist Matthew Galloway will celebrate the first public day of their respective exhibitions with an artist-led talk in the galleries. NOT NEUTRAL: Selected works from The Wellington Media Collective Archive 1978-1998, and Matthew Galloway: The Freedom of the Migrant .

Image courtesy of Dunedin Public Art Gallery

Shannon Te Ao | my life as a tunnel

Shannon Te Ao | my life as a tunnel

Opening Saturday April 21

The Dowse Art Museum, Wellington

The exhibition my life as a tunnel is the third iteration of a moving image project that follows on from Untitled (malady) (2016) and With the sun aglow, I have my pensive moods (2017); the title itself an analogy for his process of mining, revisiting, transposing. The video installation configured for The Dowse embraces local references and distinct historical narratives.

Sleeping Arrangements

Sleeping Arrangements

Opening Saturday April 21

The Dowse Art Museum, Wellington

Sleeping Arrangements pivots around a moment of crisis—the beginning of the second decade of the AIDS epidemic in the early 1990s. This exhibition uses the epidemic to provide a shared context within which meditations on intimacy, tactility, memory and desire are offered.

Featuring works by Malcolm Harrison (1941–2007), Grant Lingard (1961–1995), Zac Langdon-Pole (b. 1988), and Micheal McCabe (b. 1994), Sleeping Arrangements proposes a queer time and space in which bodies, objects and languages are invited to encounter, play with and complicate each other.

A selection of quilts by Malcolm Harrison provides a point of departure for the exhibition. These works are rendered in a visual language at once generous and playfully coy, and demonstrate the artist’s skill as a storyteller. The quilts locate Harrison within a community of friends and lovers, and prompt a critical re-examination of the ways the artist navigated his identity, politics and sexuality through a complex and often contradictory aesthetic and sensory vocabulary.

Alongside Harrison are three artists whose work troubles the relationship between language, desire and identity. They transform intimate objects into sites of contestation and open up space for reconsidering ornamentation, surface effects and the body’s relation to textiles and architectural space.

Sleeping Arrangements brings to bear new perspectives on a crisis that remains unresolved and unfinished. The show suggests a non-linear model of queer history based on intergenerational intimacy, erotic encounters and tactile pleasures.

Sleeping Arrangements is curated by Simon Gennard, the 2017–2018 Blumhardt/Creative New Zealand Curatorial Intern.


Helen Pollock | A Moving Tribute

Helen Pollock | A Moving Tribute

Opening event Monday April 23 from 6.30 – 8pm

Depot Artspace, Auckland

‘Victory Medal’ has toured for the past four years, to provincial museums throughout New Zealand as a tribute to the thousands of young men and women, who served on the Western Front in WW1.

As the soldiers did a century ago ‘Victory Medal’ made the sea journey to Europe. It traversed the countryside of France and Belgium to the battlefield towns of Arras, Messines, and by November this year, will go to Le Quesnoy, commemorating the centenary of these three significant battles involving New Zealanders.

A Moving Tribute is a photographic journey of ‘Victory Medal’ in each of its eight installations including its presence at Arras where the work formed the heart of Tony McNeight’s poppy installation, together creating the memorable Coquelicot de Paix/Poppy of Peace viewed by thousands.

Tony McNeight | The Giant Poppy Peace Project - Place a poppy message for peace

Tony McNeight | The Giant Poppy Peace Project - Place a poppy message for peace

Opening event Monday April 23 from 6.30 – 8pm

Depot Artspace, Auckland

Artist Tony McNeight invites you to visit Depot Artspace on Monday April 23, Tuesday April 24 and ANZAC Day, Wednesday April 25 to participate in The Giant Poppy Peace Project.

Come and write a personal ANZAC message on a poppy petal/disc, to honour loved ones who gave their lives in all wars. You will be able to view the Giant Poppy installation in our Main Gallery from  April 26 –  May 9.

Tony McNeight created The Giant Poppy in Auckland Domain in 2015 where 59,000 messaged red poppy petals were placed on the ground, creating the biggest Poppy in the world. He was then invited to the town of Arras in Northern France where he again created the Poppy of Peace (Coquelicot de Paix) with French people writing messages of thanks to New Zealanders who helped to liberate the town. New Zealand artist Helen Pollock’s beautiful Victory Medal sculpture was the centerpiece of the Poppy.

The Poppy has now come full circle with its final resting place in Tony’s local community of Devonport, Auckland, recreated on the walls of Depot Artspace.

The Giant Poppy Peace Project will officially open with a special event on Monday April 23, 6:30 – 8:00pm in the Main Gallery, alongside Helen Pollock’s exhibition opening for A Moving Tribute.

Katy Corner

Katy Corner

Opening event Tuesday April 24, from 5.30pm

{Suite}, Wellington 

Committed to artistic pursuits throughout her life (1956 – 2016), Katy Corner worked in a variety of media before settling on tapestry from 2001. As an insomniac the medium suited her well, she could while away the hours eventually allowing the works to evolve as she stitched.

“Each tapestry has an individual presence with quirks and challenges of its own.  The passage from blank canvas to mounted, framed tapestry has been rich, complex and full of surprises.”  – Katy Corner (2010)

Several of Katy’s works were recently sold as part of the Lynn & Frank Corner collection.  The works with {Suite} are the remainder from her estate.

Auckland Print Studio | Editions

Auckland Print Studio | Editions

Opens Thursday April 26

Solander Gallery, Wellington

Auckland Print Studio: Editions is a selection of recent prints produced by several artists working with Master Printmaker, John Pusateri at Auckland Print Studio. Each artist expresses their own artistic vision, using the creative opportunities and limitations found in printmaking media. The collaboration experience of working with a Master Printmaker is unique for each artist and is shaped by the strengths and personality of each individual.

In this exhibition of lithographs and woodcuts it is the act of drawing that is the fundamental thread that binds them together. Each work hinges on the strength of the artist’s command of drawing, whether this is by hand, digital and laser techniques.

Featured Artists: Tim Musso, Dan Heskamp, Jude Rae (Courtesy of Fox/Jensen/McCrory), Trevor Parker, Jason Greig (Courtesy of Hamish McKay Gallery), Felix Vining, Stephen Ellis (Courtesy of Sanderson Contemporary), Amy Blinkhorne, Paul McLachlan, Lonnie Hutchinson (Courtesy of Bartley + Company Art) and John Pusateri.

Exhibition runs from 26 April to 19 May

Stanley Palmer | Chart of Aotearoa

Stanley Palmer | Chart of Aotearoa

Opening event Thursday April 26, from 5.30pm

Melanie Roger Gallery, Auckland

A new series of paintings by STANLEY PALMER that explores and revisits favourite locations around New Zealand – from Otago Peninsula and Karamea in the South Island; to Rangitikei and Great Barrier Island in the North Island, these are quintessentially New Zealand places captured by one of our most admired landscape artists.

More than simply a depiction of place and topography, Stanley’s landscapes attempt to touch something far deeper. Through his work he asserts the potency of the New Zealand landscape as a metaphor for ourselves, allowing it to ‘reflect our own experiences and perceptions, as well as the inherent fragility and isolation of living in a country surrounded by a vast ocean’ (Isabel Haarhaus, The North Shore Years, 2004)

Elizabeth Price | A RESTORATION

Elizabeth Price | A RESTORATION

Opening event Friday April 27, from 6pm

Adam Art Gallery, Wellington

The Adam Art Gallery is pleased to present A RESTORATION by 2012 Turner Prize winning British artist Elizabeth Price. In this complex two-channel video installation, Price reanimates objects, images and archives from the collections of The Ashmolean and Pitt Rivers Museums to evoke an unruly and sensuous vision of a past that can only be accessed by its material traces.

Marie Shannon | Rooms found only in the home

Marie Shannon | Rooms found only in the home

Opening event Friday April 27, from 6pm

Adam Art Gallery, Wellington

Join the Adam Art Gallery for the Wellington presentation of Rooms found only in the home, a focused survey presenting 39 photographs and five recent video works by Auckland artist Marie Shannon. This exhibition has been developed and toured by Dunedin Public Art Gallery.

Opening weekend event 

Marie Shannon in conversation with
curators Lucy Hammonds and Lauren Gutsell
Saturday 28 April, 2pm
Adam Art Gallery


Preston Russell Law Art Awards 2018

Preston Russell Law Art Awards 2018

Award Ceremony Friday April 27, from 7pm

Riverton Community Arts Centre, Riverton

Following on from the very successful 2016 & 2017 Preston Russell Law Art Awards, as part of the 2018 Southland Festival of the Arts, Riverton Community Arts Centre is now inviting submissions from artists residing in Southland, Otago and Central Otago to enter artworks into the 2018 Art Awards.

The partners of Preston Russell Law value the contribution artists make to our communities, and have joined with the Arts Centre to support and showcase artists in Southland and Otago by way of a third year of sponsorship of these awards.

The ‘Supreme Winner’ award is a $2,000.00 cash prize, with three ‘Judge’s Choice’ awards of $300.00 each. Last year’s event was a resounding success characterised by a wide range of exceptional exhibits in varying mediums, including of course the ‘Supreme Award’ winner by James Yau, ‘Pen Impressionist – The Beehive’.

Sian Rafferty | Nimble Fingers, Tiny Places

Sian Rafferty | Nimble Fingers, Tiny Places

Opening event Saturday April 28, from 5.30pm

Space Studio and Gallery, Whanganui

Embroidery artist Sian Rafferty explores our local wilderness through vintage textiles and your grandma’s china

Bootcamp Professional Development Workshops 2018

Bootcamp Professional Development Workshops 2018

The Artists Alliance Bootcamp Programme is back!

What is Bootcamp?

In 2018, Artists Alliance will once again present a suite of short, sharp workshops designed to give your career a boost! This popular programme boasts a stellar line up of industry professionals, and with each session being kept to a maximum of 15 participants you will have a unique opportunity to engage directly with each speaker.

The programme consists of eight complementary workshops, which will run over four Saturdays from April – July 2018 at Studio One Toi Tu, 1 Ponsonby Road, Newton, Auckland. Our 2018 series is a full suite of new workshop topics. Once again, we are offering a ‘pick and mix’ approach – it is not compulsory to purchase the entire suite.

The full suite of workshops (four days, eight workshops) is $340.
Individual days (consisting of one morning and one afternoon workshop) are priced at $85 per day.

Workshop location:
Studio One, 1 Ponsonby Road, Auckland

To book your spot, please fill in the form here: Our workshop coordinator will get in touch to confirm your place on the workshop/s you have requested as soon as possible and will provide payment details. Please note: Bootcamp workshops are limited to 15 people per workshop day, please note filling in this form does not confirm your place – however we will fill the 15 available places in the order we receive the bookings.

The Schedule:

DAY ONE, Saturday April 28, 2018

10:30am – 12:30pm | Goal Setting with Veronica Herber

We will kick of Bootcamp 2018 with a goal setting workshop to get your practice into focus. The morning will be structured around questions to identify each participant’s values, then take these results to create a step by step practical process to help each person plan their next 6 to 12 months with a 5 year goal in mind. The session will be fast moving, lively and fun with concrete outcomes to take away.

Before becoming a full time contemporary art student and artist Veronica Herber was a successful business owner and business coach in Christchurch. Now fully immersed in her art practice, she still enjoys sharing practical goal setting knowledge with creatives.

1pm – 3pm | Making it Happen with Emil McAvoy

An artist’s perspective of time management, balancing life and work, navigating the art world. Emil McAvoy is an artist, art writer and Lecturer in Photo Media & Fine Arts at Whitecliffe College of Arts & Design. His art work examines the cultural roles of the artist: as medium, activist, citizen and public intellectual. He works across a range of media and publishes widely as an essayist and critic.

DAY TWO, Saturday May 26, 2018

10:30am – 12:30pm | NET-WORK: Creating an art portfolio website with Shelley Simpson

NET-WORK is designed specifically for artists. Artists’ websites need to fill specific requirements. The 2 hour NET-WORK bootcamp session will help you to identify those requirements and will demystify the process of setting up your own site. By the end of the session you will have a clear pathway to creating a website that works for you and your audience.

The workshop will cover; Identifying your audience and what they need, project planning – identifying users and user goals, domain names and hosting, choosing the right website format for you, content – what to include and how to prepare it, using social media.

Shelley Simpson is both a website designer/developer and an artist. She taught digital media for many years at Media Design School and AUT. She has a Certificate in Tertiary Teaching from AUT and an MFA from Elam. She works with small creative businesses on their online presence, and teaches workshops on web design and creation. Her art website is, and her business site is

1pm – 3pm | Clearing a path; tactics for writing in and about art practises, with Elle Loui August

Art writing workshop with Elle Loui August.

Elle Loui August is a writer and curator currently based in Tamaki Makaurau. Elle has previously held professional roles at The Physics Room in Christchurch, University of Auckland, and Elam School of Fine Arts where she completed her MFA in curatorial practice through the postgraduate research programme. She has written for a number of institutions and publications including Art New Zealand, Artspace NZ, Pantograph Punch and split/fountain, and presently divides her time between independent writing and curatorial projects and her role as Assistant Curator at Objectspace.

DAY THREE, Saturday June 23, 2018

10:30am – 12:30pm | Editioning: Best Practice, with John Pusateri

Artist John Pusateri will guide us through his experience working as a printmaker, with a focus on the dos and don’ts of producing editions. Bring along your questions!

1pm – 3pm | Commissions: Best Practice, with Deborah White

What happens if your family lawyer asks you to make an artwork for the board room to fit a specific space? You are flattered to be asked and agree on a price and make and install the work. Transaction completed – or is it?

What then happens when an image of the artwork appears on the company’s annual report cover and on the companies Christmas card mailed out to clients?

What are your rights in the commissioning process?

In this workshop we discuss what can go wrong and how best to avoid awkward situations. Bring along your stories and questions.

DAY FOUR, Saturday July 28, 2018

10:30am – 12:30pm | Pricing Your Work & Other Money Matters with Tim Melville and Artists Alliance

Tim Melville (Te Arawa, Te Atiawa) speaks regularly to tertiary students about strategies for creating post-university relationships in the commercial art world, including around pricing, and will be more than happy to answer questions.

Tim Melville Gallery represents Matt Arbuckle, Elliot Collins, Johl Dwyer, Russ Flatt, Alberto Garcia-Alvarez, Star Gossage, Jonathan Jones, Mabel Juli, Nonggirrnga Marawili, Joe Sheehan, Phyllis Thomas and Roberta Thornley.

1pm – 3pm | Artist Collectives

Artists Deborah Rundle and Jerome Ngan-Kee will conduct an informal discussion around their involvement in various artist collectives, the challenges, the highlights and advice for those wanting to start or join a collective. This is an opportunity to bring your questions.


To book your spot, please fill in the form here: Our workshop coordinator will get in touch to confirm your place on the workshop/s you have requested as soon as possible and will provide payment details. Please note: Bootcamp workshops are limited to 15 people per workshop day, please note filling in this form does not confirm your place – however we will fill the 15 available places in the order we receive the bookings.

Free Fundraising Workshop: Boosted

Free Fundraising Workshop: Boosted

Arts crowdfunding workshop

Since it was launched by the Arts Foundation, Boosted has supported more than 650 successful projects, raising over $4 million for the arts in New Zealand. We’ve supported more than 120 successful visual arts projects, which raised $4,880 on average.

This workshop, facilitated by visual artist and Boosted Ambassador Jessica Pearless, will teach artists and art facilitators how crowdfunding can help to build and engage the audience for their work, develop digital marketing skills, and diversify funding sources. The skills required to run a successful fundraising campaign are professional building blocks, transferable beyond crowdfunding.

Please register your attendance HERE 

Aratoi Artists Auction

Aratoi Artists Auction

In a massive show of support for the near 50-year-old Aratoi Wairarapa Museum of Art and History, in Masterton, tickets to the Aratoi Artists Auction on April 13thsold out. About 200 people attended the celebratory event in the main gallery of the award-winning architecturally designed Museum.

Eighty-three (83) lots of fine art were contributed by 70 local, national and international painters, photographers, sculptors, mixed-media artists, jewellers, printmakers, and ceramicists who had exhibited at the Museum over the years.  Major artists included Milan Mrkusich, Gregory O’Brien, John Pule, Elizabeth Thomson, and Ans Westra.

There were 153 registered bidders, in Aotearoa, and abroad – absentee/telephone bidders represented about 30% of the buyers. Bids ranged from $100 to $200,000. About 90% of the art was sold.

The centrepiece of the Auction was Lot 41, Triptych: Homage to Rodchenko, 1966, a pivotal and monumental painting by Milan Mrkusich, regarded as New Zealand’s greatest living painter. Aratoi had mounted a major Mrkusich exhibition in 2014/2015 and is pleased that the Triptych sold at the Auction, with the hammer price of $200,000 being the highest price ever received for a Mrkusich work.

“The winning bidder for the Mrkusich was anonymous and only registered on the day of the auction itself. The excitement in the room was tremendous and palpable,” said Chair of the Aratoi Regional Trust Board, Barbara Roydhouse, who initiated and oversaw the Auction. “The Triptych is one of Mrkusich’s largest works, at 1753 mm x 2619 mm, and the new owner, in Auckland, is the first owner – the painting had never been sold before.”

The last artwork auctioned, at about 10:30pm, was Lot 83, Whakarongo, by Dame Robin White, also Honorary Patron of Aratoi Museum a work, printed on a wool bale, that she donated, and for which her dealer gallery waived the commission. The work sold for $10,500. The sales continued over the weekend: a negotiated sale also saw the maquette for Neil Dawson’s Ascension sculpture sold.

The Auction was a charity fundraiser for the museum which puts on about 25 exhibitions each year, yet has only one full-time staff member. This event will assist the Museum with operational costs and will bring more financial security. None of the art came from the Aratoi Collection; the work had been provided by artists or by their dealer galleries, some as a donation, with a percentage of all the sales returned to Aratoi.

The 400 tickets for a Prize Draw for Robin White’s donated work Tui and Magpie also sold out. Art collector John Heginbotham, a resident of Masterton as is Dame Robin White, won the Prize Draw. There was also a surprise raffle of a Magnum of Palliser Estate’s Pinot Noir.

Aratoi Regional Trust is deeply grateful for all the goodwill that made the event possible: the Aratoi artists for donating work or for a generous return of sale, dealer galleries for waiving their commission in favour of Aratoi, Mike Perry of Wakefield Auctions Greytown for donating his services, Barry Saunders of the Warratahs for providing entertainment at no charge, Dame Robin White for her donation of work, Geoff Francis of goodeye for all the pro-bono design work, Peter Biggs and Assignment Group Ltd for their no-fee assistance with marketing, Sir David Gascoigne for kindly writing the Foreword in the catalogue, advertising sponsors Armstrong Prestige Wellington, Hamill Realty Ltd, MREINZ, Rigg–Zschokke Ltd, and Wairarapa Building Society (WBS) who allowed the near 100-page catalogue to be printed, and the professional team of more than 30 volunteers who worked behind the scenes.

Of course, the largest thanks goes to the 70 artists, in New Zealand, Australia, Austria, Niue, and the United States: Stephen Allwood / Anna Balasoglou / Denise Batchelor / Bridget Bidwill / Anthea Birch / Anneke Borren / Esther Bunning / Angela Busby / Megan Campbell / Hélène Carroll / John Casey / Ian Chapman / Gavin Chilcott / Paula Coulthard / Matthew Couper / Crystal Chain Gang / Neil Dawson / Sue Delamare / Anita DeSoto / Mark Dimock / Geoff Dixon / Sam Duckor-Jones / Annette Dunnage-Roy / Jan Eagle / Fatu Feu’u / Rebekah Farr / Tina Finn / Rebecca Flowerday / Bruce Foster / Kirsty Gardiner / Janet Green / Rhondda Greig / Dennis Handyside / Pat Hanly (1932-2004) / André Hemer / Adrian Jackman / Evan Jones / Gina Jones / Virginia King / Anna-Marie Kingsley / Francis Kirkham / Sam Ludden / Marian Maguire / Paul Martinson / Nikki McIvor / John McLean / Paul Melser / Milan Mrkusich / Gregory O’Brien / Prakash Patel / John Pule / Tina-Rae Carter / Anna Rutherford / Ian St. George / Susanna Shadbolt / Madeleine Slavick / Kate Small / Nicki Stewart / Elizabeth Thomson / Linda Thornton / Linda Tilyard / Michel Tuffery / Jake Walker / Viv Walker / Ans Westra / Adam West-Watson / Robin White / Sandra Wong.

Lara Lindsay-Parker and Holly Walker | Anti-body

Lara Lindsay-Parker and Holly Walker | Anti-body

Opening Friday May 4

Toi Pōneke, Wellington

Anti-body aims to draw lines between the conflicting intimacy we feel towards an increasingly technological landscape and our innate desire to be connected to our earth.

Through video and sculpture the artists unearth relationships between their own bodies and metaphorical bodies created from their chosen areas of research into gender, identity and the environment.

Using ordinary objects and materials such as iphones, mac computers, plants and soil, the bodily relationship acts as a catalyst to realise an emotional connection to these objects and the cultural significance they hold.

Veronica Herber

Veronica Herber

Opens Monday April 9

Uxbridge, Auckland

As part of the Arts Out East Festival in May, Veronica Herber will be creating an installation at UXBRIDGE.

Veronica Herber began using masking tape as a medium during her visual arts degree as it offers immediacy and the ability to create works at scale. Alongside her trademark tape fabric and large-scale outdoor works Herber also creates indoor installations utilising Japanese Washi tape on paper.

Her installations deal with materiality and transformation and aim to engage the audience by encouraging observing and ‘staying’ with the piece, made all the more poignant by its temporary nature.

Adrian Jackman | Still Life with Landscape

Adrian Jackman | Still Life with Landscape

Opening Thursday May 10, from 6pm

NKB Gallery, Auckland


Still Life with Landscape is a new series of paintings by Adrian Jackman.

Still Life with Landscape, is what you first see when you pull into any small town – the bright light, the static open spaces. It is only after looking closer, discovering more, that you begin to make out the landmarks and figures of those who inhabit that space.

At first glance, these new paintings are a drone-eye view of the plains, ravines and patchwork fenced-in farmland of the artist’s new home in the Wairarapa. As the eye ranges it teases out more information, figures and objects float through unhinged within the painted surface. The technological clutter that inhabits the visual topography of the everyday, acts as a buffer and diffuses the viewers focus.

A Pantone colour palete of what’s been trending globally over a three year period forms the basis for this series of works. As does an interest in Seurat’s pointillist technique known as ‘chromoluminarism’ – a method that utilises colours in patches that essentially trick the eye into blending them, creating luminance and shape.

Fields of flat solid colour are arranged and held together with clean sharp lines which diverge, align, and intersect across the surface of these works. New forms appear and disappear, developing a complex web of relationships and endless a rythmic flow for the viewer to move through.

Adrian Jackman graduated in 1997 with an MFA from Auckland University’s Elam School of Fine Arts and has exhibited widely thought New Zealand since. His recent exhibitions include a solo exhibition at the Sarjeant Gallery, from the Tylee Cottage Artist in Residence programmed and a Solo exhibition at Bath Street. His work is held in public, private and corporate collections across New Zealand & Overseas, including: TSB Wallace Arts Trust, The Sarjeant Gallery, Te Whare o Rehua Whanganui, Citibank Art Collection, Perpetual Guardian Trust, Auckland City Council.

Dieneke Jansen | 90 DAYS +

Dieneke Jansen | 90 DAYS +

Opens Sunday May 13

Te Tuhi, Auckland

On the 22nd of October 2016 Ioela Rauti (Niki) was issued a third 90 day eviction notice from her home of 22 years. As a member of the Tamaki Housing Group, she has been fighting the destruction and gentrification of her Glen Innes community and home since 2011. An occupation of Niki’s home began with two conjoint marches arriving at her home on the 17th January 2017. This action, highlighted through media coverage and Niki’s four subsequent court appearances, alerted people to the injustice and improprieties that took place between the government, the Tāmaki Regeneration Company and developers.

90 DAYS + invites viewers to consider the kaupapa of the activists: connectivity, hospitality, care and respect. Of particular concern is the relationship between the resident wahine elders and strident rangatahi (youth) through the practice ofako-ako (a two-way teaching and learning process). At the core of this collective determination for social justice is the reluctant face of the struggle: Niki Rauti. Niki subsequently asked Dieneke Jansen – an adjunct member of the Tamaki Housing Group – to witness this resistance.

Activating a space between aesthetics and activism, 90 DAYS + creates an immersive experience in the gallery, questioning how lens-based art practices might provide possibilities for observation and for listening, enabling visibility for that which sits outside fields of vision. At the core of this project is a desire to enable and expand the space for politics, to explore gestures that traverse the didactic and the poetic[1].

[1] Thompson, Nato. Seeing Power: Art and Activism in the 21st century. Brooklyn, NY: Melville House 2015.

Professional Development | Creativity and art making for people living with dementia

Professional Development | Creativity and art making for people living with dementia

Wednesday May 16, from 10am – 4pm

Fresh Gallery, Ōtara

‘Creativity and art making for people living with dementia’

Make Moments is an Auckland-based programme that works to connect and engage older people, and people living with dementia, with the rich and diverse art and cultural opportunities Auckland has to offer. Connect the Dots’ trained and passionate arts educators deliver facilitated art tours and art making workshops at local arts venues. The discussions and supported art making engage participants in intellectual stimulation, cultural engagement and social interaction.

Workshop overview:

Introduction to Make Moments and the role of art making in working with people with dementia.

Exploration and practical application of visual analysis techniques, facilitation skills, and particularly how to create a rich and meaningful art making workshop in response to an art work or object.

You will leave with a practical knowledge about the value of creativity, and tools that enable you to use art / objects as prompts for meaningful and respectful art making exploration and experimentation.

As part of this Professional Development workshop you will begin as a participant on a Make Moments workshop, and we will then work in small groups on activities to develop a range of possible art making workshops and themes that you can draw on to create programming back at your facility.


  • Wednesday 16 May 2018
  • 10.00am-4.00pm
  • Small group size: up to 12 people
  • $60 – (funds go directly to future Make Moments workshops)
  • Tea and coffee provided
  • Parking available
  • Venue: Fresh Gallery Ōtara
  • Bookings through Eventbrite


How long is the workshop?

The workshop itself runs for four hours.

What if I need to cancel?

We appreciate that things can come up that mean you are no longer able to make it. We would require one week’s notice of cancellation.


Yes! Connect the Dots’ Make Moments programme comes with two foxies. They are very friendly.

Why is it so affordable?

Through the generous support of Foundation North.

How can I find out more about Connect the Dots and the Make Moments programme?

We would love you to visit our website to learn more about who we are and the work we love to do:

What are my parking options at the event?

There is ample parking around the Otara Town Centre, but it is for 60 minutes or 2 hours so you will need to move your car during the workshop!

How can I contact the organiser with any questions?

Please do contact us with any questions!

Andrea 021 990 370

Acts of Passage | Te Tuhi Offsite

Acts of Passage | Te Tuhi Offsite

Opens Friday May 18

Silo 6, Wynyard Quarter, Auckland

Albert Ashton (Aotearoa NZ) // FAFSWAG (Aotearoa NZ) // Ayrson Heráclito (BR) // Kitso Lynn Lelliott (BW/ZA) // Antonio Paucar (PER-DE) // Rosanna Raymond (Aotearoa NZ)

The performance exhibition Acts of Passage addresses the body in its cathartic function: by performing small rituals and cleansing gestures artists trigger memory to reconcile history and the now through physical action.

Since the dawn of humanity, ritual practices have been meticulously devised to establish and maintain personal and common welfare. The expression sumak kawsay (literally ‘good living’) widely refers to the worldview of the Quechua peoples of the Andes, a community-centred, environmentally balanced and culturally responsible system that has recently entered the legal framework of Ecuador by including nature as a right-bearing entity in the country’s Constitution.

Acts of Passage will include immersive video installations and scheduled live performances that showcase the most exciting manifestations of the practice from around the world including Africa, Aotearoa, Brazil, the Pacific, and Peru.

Drawing from a particularly southern cartography, the exhibition presents artists versed in a diversity of knowledge systems invariably connecting humans with the natural world, myth and ancient cultural values. Their films and live performances bond the body to the surrounding world to symbolically address a powerful way of being present at the crossroads of times.

Owen Mapp | Dragons & Taniwha – Fifty Years an Artist Carver

Owen Mapp | Dragons & Taniwha – Fifty Years an Artist Carver

Opens Sunday May 27

Pātaka Art + Museum, Wellington

There was no one before Owen Mapp’. It seems indisputable to attribute the revival of bone carving as an independent practice substantially to him… In Owen’s practice a sense of history is palpable, he’s consciously making works inspired from history for history.
Philip Clarke

Owen Mapp has been carving bone in Aotearoa New Zealand for 50 years. Before he started to carve in the late 1960s, bone was considered to be a secondary, less desirable medium for carving artists. Through Owen’s unwavering dedication to developing and refining the art of bone carving and sharing his technical skills with emerging carvers, he has played a vital part in its revival and the desirability of finely-carved bone today.

Pātaka’s major retrospective exhibition OWEN MAPP: Dragons & Taniwha – Fifty Years an Artist Carver celebrates Owen’s ground-breaking achievements as the country’s first professional contemporary artist carver of bone and the important influence he has had on the many carvers who have followed him.

Owen Mapp began his career in earnest in 1970 and quickly established himself as one of the most prominent bone carvers alongside Donn Salt and Norman Clark. While drawing on both his own European heritage and Asian influences, Owen also embraced traditional Māori carving to create works of great beauty and diverse cultural significance. While he is not Māori himself, Mapp is highly regarded by many Māori artists for his exceptional ability to sculpt bone and semi-precious stone.

Works by Mapp have become the benchmark for excellence in modern bone carving and are highly sought after by museum curators and private collectors in New Zealand and internationally. Mapp continues to create new works and expand and share his knowledge through international workshops and teaching opportunities. There are very few artists in this country today who match his skill and technical expertise in the field of bone carving and small object sculpture.  He is quite literally New Zealand’s’ most eminent living artist in that field.


artists alliance