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

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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 | 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 

Julian Rosefeldt | Manifesto

Julian Rosefeldt | Manifesto

Opens February 24 – Extended until July 15

Auckland Art Gallery, Auckland

The immersive 13-screen film installation Manifesto by German artist and filmmaker Julian Rosefeldt pays homage to the moving tradition and literary beauty of artist manifestos, ultimately questioning the role of the artist in society today.

Manifesto draws on the writings of Futurists, Dadaists, Fluxus artists, Suprematists, Situationists, Dogma 95 and other artist groups, and the musings of individual artists, architects, dancers and filmmakers. Passing the ideas of Claes Oldenburg, Yvonne Rainer, Kazimir Malevich, André Breton, Sturtevant, Sol LeWitt, Jim Jarmusch, and other influencers through his lens, Julian Rosefeldt has edited and reassembled thirteen collages of artists’ manifestos.

Performing this ‘manifesto of manifestos’ as a contemporary call to action, while inhabiting thirteen different personas, Australian actor Cate Blanchett imbues new dramatic life into both famous and lesser known words in unexpected contexts.

The New Zealand premiere of the exhibition Manifesto by Julian Rosefeldt is presented by Auckland Art Gallery Toi o Tāmaki and Auckland Arts Festival.

Rated M (offensive language and drug references)

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)

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

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.

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

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 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.

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

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. 

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.



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

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.

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.


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


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.

Group Show | Water

Group Show | Water

Opening event Thursday May 3, from 4 – 6.30pm

The Geoff Wilson Gallery, Whangarei

‘Ma te wai, ka ora tonu ngā mea katoa!’
Through water, all things live! Water gives life to all things!  

New Zealand is surrounded by oceans and sea and is home to many rivers and inland waterways.  This environmental fact inspired the group exhibition Water, hosted at The Geoff Wilson Gallery, Northtec, Whangarei.

The exhibition features works by twelve, experienced and emergent, New Zealand artists each responding to the notion of water via an image, sound or sensation.  Represented are discussions pertaining to the qualities of water albeit; beauty, environmental challenges, cultural discussions or water’s sensual and erotic nature.

Participating artists include: Angela Carter, Benjamin Pittman, Brenda Briant, Denise Batchelor, Emma Smith, Jill Sorensen, Linda Cook, Lydia Anderson, Martha Mitchell, Natalie Robertson, Robert Carter and William Bardebes.

A calendar of events, workshops, lectures and discussions, will accompany the exhibition as Water runs its course through May – June, check the Geoff Wilson Facebook page for information.

Call for Proposals | Changing Lanes

Call for Proposals | Changing Lanes

Proposals due Friday July 13, no later than 5pm

CHANGING LANES is a collaborative project between Artweek Auckland, Auckland Council and Heart of the City.

Auckland Council and Heart of the City are pleased to offer opportunities for an artist, or group of artists, to activate a LANEWAY in Auckland city centre for Artweek.

There are two lanes available.

ARTWEEK AUCKLAND  |   October 6 – 14, 2018.


Artists are asked to consult with stakeholders to develop a concept that responds to an issue and/or opportunity identified with the following principles in mind:

  • Context of place – Concepts should be cognizant of both the physical and social environment, considering all of its user groups; businesses, residents, visitors alike.
  • Heritage and/or potential of place – Where possible, signals to the history or future aspirations of the location.
  • Bring to attention the spaces as alternative walking routes during construction period


  • Occurs in the public space. Artists may work with whichever materials and methods of their choice however, are subject to permitting requirements.


Each treatment/installation must be in place for the duration of Artweek Auckland festival; 6 – 14 October. Installations need to be durable and sustainable for the 10 day period night and day. Also need to factor in weather contingencies.


  • Concept design
  • Engagement with surrounding businesses and/or residents
  • Creation, installation and break-down of installation.
  • Complete all relevant permitting requirements; event permit and health and safety.
  • Ensure site health and safety requirements met.
  • Evaluation
How to apply

Email for further information on sites and how to be involved!

Ann Verdcourt, Katrina Beekhuis, Charlotte Drayton | Mirror Grain

Ann Verdcourt, Katrina Beekhuis, Charlotte Drayton | Mirror Grain

Opening event Friday May 11, from 6pm

Objectspace, Auckland

The exhibition Mirror Grain brings together the work of three New Zealand artists, celebrated ceramicist Ann Verdcourt and visual artists Katrina Beekhuis and Charlotte Drayton. Each draw on reproductions from the history of design, architecture and the visual arts, in order to focus on the material nature of our relationship with objects. Read more about Mirror Grain here.

Image: Ann Verdcourt, Morandi Vase, date unknown

Kirsty Lillico |Happy Together

Kirsty Lillico |Happy Together

Opening event Friday May 11, from 6pm

Objectspace, Auckland

Part of an on-going series of sculptures that re-present architectural floorplans utilising pieces of remnant carpet by Wellington based artist Kirsty Lillico. Happy Together draws its form from architectural plans for a co-living complex in New York, in assembled pieces of salvaged and hand dyed carpet. Read more about Happy Together here.

Image: Blueprint, 2015, Kirsty Lillico

Sarosh Mulla and Andrew Paterson - PAC Studio | Penumbral Reflections

Sarosh Mulla and Andrew Paterson - PAC Studio | Penumbral Reflections

Opening event Friday May 11, from 6pm

Objectspace, Auckland

For the first major architecture exhibition commissioned by Objectspace since the gallery’s reopening, Penumbral Reflections, by Auckland based architects Sarosh Mulla and Aaron Paterson of PAC Studio draws on ideas of penumbral shadow. The partial shadow that occurs between umbra—the darkest part of the shadow—and full illumination. The installation contains an aluminium and steel construct that merges two architectural devices—the grid and a Claude glass—through projected light and simulated shadow. Read more about Penumbral Reflections here.

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.

Workshop | Contemporary Jewellery with Sarah Walker-Holt

Workshop | Contemporary Jewellery with Sarah Walker-Holt

Classes commencing Monday May 14 2018

$157.50 for 7 week course
Mondays 7—9.30pm

Focused on object, sculpture, jewellery making for beginners to intermediate, Contemporary Jewellery offers students an insight into using riveting and other cold joining techniques and non-precious materials. Lessons include technique demonstrations exposing students to different approaches and building a strong knowledge base to develop their own ideas. Enjoy exploring and experimenting while being mentored by an experienced New Zealand Contemporary Jeweller.

To enrol visit or phone 09 577 0138

About the tutor:
Sarah Walker-Holt is a full time visual artist with a BVA from Auckland University. She is well renowned for her complex 3 dimensional compositions as an art jeweller and is represented by Fingers Gallery. Sarah exhibits nationally and internationally and is an experienced art tutor and mentor that is passionate about helping students find their own visual voice.

Tony Cragg | Lorne Street

Tony Cragg | Lorne Street

Opening Tuesday May 15, from 5pm

Gow Langsford, Auckland

ony Cragg is widely recognized as one of the most acclaimed artists of his generation. Having maintained a consistently high international profile since the 1980s his work has contributed significantly to the global discourse around contemporary sculpture. At the centre of his practice is an interest in the relationship between materials, science and the body.

This phenomenal new exhibition at Gow Langsford’s Lorne Street Gallery showcases works from a variety of mediums, including wood, marble, steel and bronze. Each is multi-faceted, exploring possibilities for stimulating multiple perceptions within a single work.

Phillip Lai and Peter Robinson | Spinning

Phillip Lai and Peter Robinson | Spinning

Opening event Friday May 18, from 6pm

Hopkinson Mossman, Auckland

Hopkinson Mossman is pleased to present Spinning, a two-person exhibition of new sculpture by Phillip Lai and Peter Robinson.

Phillip Lai (born Kuala Lumpur, 1969) lives and works in London. Lai has exhibited extensively at international venues including: Camden Arts Centre, London (2014); Tate Modern, London (2010); Transmission, Glasgow (2009); Drawing Room, London (2005); Hayward Gallery, London (1999); MOMA, New York (1998); and ICA, London (1995). Earlier this year, Lai was nominated for the Hepworth Prize for Sculpture.  Lai is represented by Stuart Shave / Modern Art, London; Edouard Malingue, Hong Kong; and Galleria Franco Noero, Turin.

Peter Robinson (born Ashburton, 1966) lives and works in Auckland. Robinson’s work has been exhibited extensively in New Zealand and internationally: he was New Zealand’s representative at the 49th Venice Biennale (2001), participated in the 5th Auckland Triennial (2013), 13th Istanbul Biennale (2013), 11th and 18th Biennale of Sydney (1998/2012), and the 8th Baltic Triennale of International Art, Vilnius (2002). Robinson was nominated for the Walters Prize in 2006 for The Humours at Dunedin Public Art Gallery, and again in 2008 when he won for his exhibition ACK at Artspace, Auckland.

Image: Peter Robinson, Fieldwork, 2018, anodised aluminium wire, 300 x 300 x 200mm approx.

Denise Batchelor | Wilderness, Water and Wind

Denise Batchelor | Wilderness, Water and Wind

Opens Saturday May 19

Nathan Homestead, Auckland

This exhibition is a rare opportunity to see work in both still and moving image by Hokianga based artist Denise Batchelor.

Wilderness, Water and Wind explores encounters with nature, revealing moments unnoticed, the way a breeze blows, native birds move or how the kelp sways.

She offers us a gift, the time to slow down, appreciate the ebb and flow of the rhythms of life and to find quiet moments of reflection.

Jacqui Colley | Phenomenon

Jacqui Colley | Phenomenon

Opening event Wednesday May 23, from 5.30pm

Solander Gallery, Wellington

“These works have been created alongside a larger project which has involved a group of thirteen New Zealand artists responding to Water and the state of the braided rivers in Canterbury. What I learnt from this research was that civilization, land, water and air are one. They are woven into a shape that we can consider as ‘us’, this place and our people. What we have done, what we do, where we do it and how we do it.

I have used aerial images from North Otago as source material to reference organic shapes; rivers which flow from the mountains to the sea, the great lakes and few remaining wetlands. With intersecting grids and lines I have mimicked the colonisation of the now mechanised land. The earth tones in the works reference the limestone, lichen and kokowai pigment, the red ochre, used by early Māori to draw on the rock walls of the cliffs at Takiroa near the Waitaki River. These drawings held information for fellow Māori of warnings, beliefs and the locations of provisions.”

Jacqui Colley

Image: Jacqui Colley, Phenomenon #2. 2018, 1360mm x 1360mm, Oil and Acrylic on Canvas.

Peter Collis | Tell me what you see

Peter Collis | Tell me what you see

Opening event Wednesday May 23, from 5.30pm

Solander Gallery, Wellington

This exhibition is an exercise in the difficulties of slip casting Parian clay in large forms and using black and white clay to explore the psychology of the splatter. Strength and softness.

The dichotomy of a strong and upright form against the flowing softness of the black shapes, this work continues Peter’s exploration of form and surface. Inviting the viewer to admire the strong form of the pot, ponder the gestural splash and dribble of the contrasting black slip and make their own decisions from the visual clues.

A mix of wheel throwing, slip casting and hand forming has seen Peter develop a number of strands to his practise over more than 45 years, but he is always concerned with form and surface, plus the chemistry involved in the make up of clay bodies and glazes. Over the years this has seen him formulate and work with porcelain, bone china, frita (soft past porcelain) and Its sister Parian clay. This notoriously difficult medium is used in these works with supreme confidence of handling.

Peter is renowned for the richness and quality of his glazes, but the nature of Parian clay, it’s satin textural surface, and the interaction of the black and white slips have rendered glaze unnecessary.

Peter has exhibited both nationally and internationally in over 50 solo and 200 group shows. His work is represented in numerous international collections and has been presented as gifts to such luminaries as Bill Clinton, Nelson Mandela and the President of China. Well known as a talented teacher Peter works from his home/gallery/studio complex in Auckland, with his wife, Julie and a changing range of graduates and interns.

Image: Peter Collis, Vessel 5. 2018, 180mm x 120mm.

Group Show | The Arrow

Group Show | The Arrow

Opens Saturday May 26

Milford Gallery, Queenstown

This exhibition directly acknowledges one of Central Otago’s legendary rivers – the Arrow River. There are also sub-texts – visual dialogues about water, history, politics, inter-personal relationships, the landscape and art. Collectively then The Arrow (as an exhibition) attests that art is a fundamental social document.

The coordinates 37 47S 175 17E name and locate the narrative of Brett Graham’s multi-layered carved target: Sydney Square, Hamilton. There Australian mercenary soldiers fighting on behalf of the New Zealand colonial government during the ‘Maori Wars’ were housed. That land was then confiscated and given to them as service reward. Rukuhia III is a plural symbol: it functions as an underwater scanner, searching for the house of the god of the sea and the original site of carving. It also traverses the politics and personal privacy issues being raised by the unobtrusive surveillance so commonplace everywhere today.

Recently shown at the Honolulu Biennale, Yuki Kihara’s video Maui Descending a Staircase II (After Duchamp) is a mesmeric masterpiece, that merges the history of art and motion photography with issues of identity and racial hierarchy. Nose Width with Vernier Calliper directly confronts nineteenth century racial stereotypes and the Auckland Blues controversy about Samoan rugby players. In Leapingand Siva (Dance) Kihara’s characteristic repetitive fragmentation is beguiling with multiple levels of narrative content revealed.

Susanne Kerr’s The Believers is a parable, where belief is shown as communal and theatrical, united by ribbons of hope which others – seemingly excluded – gaze upon and question. What are they seeing? Kerr’s quite remarkable compositional and drawing skills are again evidenced in the sexually charged The Exchange.  In The Temptation she questions religious tenets, whereas Jeffrey Harris co-opts religious symbols and supplicant’s mannerisms as fundamental cues in dialogues that are internal and individual. Together but alone …

Lisa Reihana’s mythic Diva and Pelt – Camarillo encompass gender politics as does Caroline Earley in ceramic vignettes imbued with personality, tenderness and wry humour. Paul Dibble’s outstanding geometric Figure of Ease is a seamless combination of figuration and form.

Recipient of the 2018 Wallace Award, Andy Leleisi’uao has established an utterly distinct visual language which links the past and the present in tales which demonstrate no actual beginning, middle or end but in the process diverse cultures and civilisations are suggested, comics, rock drawings and board games evoked, heaven and hell depicted, human endeavour and foibles explored, with objects morphing from one thing into another. Chris Heaphy’s characteristic silhouette and overlay technique places diverse cultural signifiers and symbols of the past together too with everything shown facing one way. Looking to the past or at the future? In this way, Heaphy establishes significant memory cues that directly elicit the viewer’s participation.

How can ‘apparent’ emptiness be full? Emily Wolfeconclusively demonstrates that the seemingly mundane (a path, a street, a shop front window, a dangling wire) is redolent with information and beauty. If we look, then we can begin to see …Likewise, Simon Morris insists that we must look and experience, before we can get to ‘see’. His works are monochromatic delineated structures, where the elusive subtleties of colour and surface are counter-pointed as the entire visual subject.

Simon Edwards’ atmospheric landscapes of the Southern Alps appear to alter substance and structure as we look. If Simon Edwards’ landscapes are achieving iconic status, then Simon Clark’s No Place Like Home series examines the iconography and symbolism of national identity. Michael Hight’s Paterson Inlet is a surreal story, at once located in Stewart Island but where the questions posed are asked of us all – how are you looking after our landscape?

Neil Dawson (sculptor) and Darryn George (painter) have many surprising elements in common. In Ariki George, like Dawson in Murmuration 25, repeats patterns and forms, alters scale, actively using positive and negative space as a key compositional device. In Reflections – Stairs Dawson links the architecture of a building with a circular stair below which we come to realise (in the reflection) that as the world warms the water is rising. In Crest of the Wave George places the viewer, seemingly, as if in the sky looking down upon the sea which is separating. In that way, the narrative opens out encompassing the story of Exodus and the crossing of the Red Sea.

Sentinel by Ben Pearce continues his development of a unique style, combining apparently precariously stacked abstract forms into an explicit figurative language. There are remarkable sensations and suggestions created, and tensions built: what is it guarding, when will it move? Katherine Smyth’s fruit pots and jars are simply outstanding and very beautiful. Paul Maseyk’s large ceramic pots are exuberant combinations of form and painted surface, again revealing him to be an imposing, multi-talented, singular figure in the resurgent world of New Zealand ceramics.

Image: Brett Graham, 37 47 s 175 17 e (2015) tawhai (silver beech) and laquer, size: 1270 x 1270 x 260 mm

Raemon Matene (Ngā Puhi, Waikato-Tainui)  | Te Raki

Raemon Matene (Ngā Puhi, Waikato-Tainui) | Te Raki

Opening Saturday May 26, at 10.30am

Franklin Arts Centre, Auckland

In her first solo exhibition, photographer Raemon Matene (Ngā Puhi, Waikato-Tainui) celebrates the people of Te Raki ō Pukekohe and Nga Hau e Wha marae, in a documentary photographic collection spanning 5 years.

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.


Group Show | Are you being looked after?

Group Show | Are you being looked after?

Opening Monday May 28

The Physics Room, Christchurch 

Four weeks of institutional housewarming by Ōtautahi Kōrerotia and collaborators (invited and unexpected) to imagine the gallery space as another place; a cave; a wharenui. This utu will bring the space and people who gather there into kōrero with others more knowledgeable than ourselves, while re-directing resources towards material tools for accessibility. A week of kaupapa-building will be followed by a hui and five wānanga kōrero to generate purpose and activities for the space given to us by the Physics Room.

Week starting Monday 28 May
12:00-13:00 every day.
The Physics Room
We want to set up some groundwork and a support structure. Come along to kōrero over our lunch break.

June 3, 12:00-15:00ish
The Physics Room
We want to gather together a group of people in the space to generate a direction, collaborators and activities for us to carry out over the remaining weeks. See the event page [–>Whakanohonoho] to register to participate.

*Wānanga kōrero with Nina Oberg-Alaifea*
June 5, 14:00-15:00ish
Ilam School of Fine Arts, University of Canterbury
Working through the navigation of Art Institutions, Education, and Whānau.

*Wānanga kōrero [TBC]*
Date TBC
The Physics Room
Working through….

*Wānanga kōrero with Jennifer Shields and Khye Hitchcock*
Date TBC
The Physics Room
Working through safety and accessibility in the institution.

*Wānanga kōrero [TBC]*
Date TBC
The Physics Room
Working through….

*Wānanga kōrero with Cora-Allan Wickliffe*
June 24, 14:00-17:30ish
Avon Loop Community Cottage
Working through artistic relationships and relational knowledge.

The Gallery will be open 12:00-13:00 in the first week, and 11:00-16:00 (or 21:00 on Wednesdays) and closed Mondays for the remainder of the project. We will post here if there are any changes.

be responsible for the energy you bring into this space

The Avon Loop Community Cottage has ramp access but limited accessibility to the bathroom, which is for all genders. The Physics Room has limited access for those with limited mobility via Montreal St and the CAG Design Store, but easy access to all-gender bathrooms in the Christchurch Art Gallery. We are happy to help with any accessibility needs — just message us here or email: if we can help. See our page and The Physics Room’s page for Public Transport info. Our events are All Ages and Drug-Free.

Whakakapia te hau o Tāwhiri-mātea te whenua nei.
Ngā kete wānanga e toru.
Ngā mokopuna o Āoraki hoki.
Kei te noho mātou ki tenei wahi, e ora ana kei raro i te manaakitanga me te mana o ēnei tikanga.
The breath of Tāwhiri-matea fills this space alongside the three kete of knowledge and the descendents of Āoraki.
When we occupy this place, we operate in respect of, and are guided by, these generous bodies.

Call for Entries | Emerging Practitioner in Clay Award $10,000

Call for Entries | Emerging Practitioner in Clay Award $10,000

Entries due Saturday June 30, no later than 4pm

The Trustees of the Rick Rudd Foundation are pleased to announce the inaugural Emerging Practitioner in Clay Award.

$10,000 will be awarded to the entrant selected by the trustees, studio potter, Rick Rudd; ceramic artist and co-owner of Rayner Brothers Gallery, Paul Rayner and IT consultant and art collector with a focus on ceramics, Tom Seaman.

The Trustees would appreciate the attached information and entry form being passed on to anyone who may be interested.

Term and Conditions, as well as entry forms can be found on their website

For enquiries phone 06 348 5555 or email 

Denise Batchelor | Blue Series

Denise Batchelor | Blue Series

Opening event Wednesday May 30, from 5.30pm

OREXART, Auckland

Denise Batchelor is based in New Zealand’s far north where is she is often to be found exploring the shallows and shoreline. Working in both still and moving image media, her practice reflects a deep engagement with the natural world and captures moments that simultaneously explore the familiar yet reflect the overlooked or unnoticed.

The Blue Series, (a suite of 6 still photographs), and Symbiosis (3-minute video), focus on the delicate but dangerous Physalia utriculus, commonly known in New Zealand as the bluebottle. These works featured in Evolutionary Biology – Appealing to the Populous, an exhibition presented by Humboldt University in Berlin, 2017.

As part of the Auckland Photography Festival 2018 OREXART will be featuring Batchelor’s new works direct from Berlin, as well as new works from Jeremy Blincoe.

Image: Blue Series #5 (2017) Hahnemule photo rag print 308gsm 700 x 466mm ed.1/5

Expressions of Interest | Creative Projects in the Albert-Eden Local Board area

Expressions of Interest | Creative Projects in the Albert-Eden Local Board area

Submissions due Friday June 22, no later than 10pm

Calling everyone within the Albert-Eden local board area* who has a creative project within the community they’d like to undertake over the next twelve months.

Albert-Eden Neighbourhood Arts, the community arts broker service from the Albert-Eden Local Board, are opening our annual call for creative proposals once again.

They are looking for locally based or connected people and organisations to submit ideas for creative projects that happen in and with local communities. Previous projects have included temporary sculptural installations in parks and cafes, dance performances in supermarkets, radio broadcasts created in schools, street performances, a story told via social media, exhibitions in retail areas, and lots more, so a wide variety of projects are welcomed.

The arts broker programme can provide funding and other project support in a number of ways, from assistance navigating Council processes to writing a press release – let’s talk about what you might need to make the project happen.

The project must take place in the Albert-Eden area between August 2018 and June 2019.

To submit a proposal, please send through: 

– an outline of your idea including: what it is, who’s involved, when you plan to do it, and what the community involvement or outcomes are.

– a budget

– any supporting images (optional)

If you’d like support putting these documents together, or need to submit in a format apart from emailed documents, get in touch and they can work with you on this. 

Have a look at current and previous projects here:  and for more information on this opportunity, see

For more information or to submit a proposal, email Bronwyn on 

*area covers: Pt Chevalier, Waterview, Owairaka, Mt. Albert, Mt. Eden, Sandringham, Morningside, Kingsland, Balmoral, Epsom and Greenlane.

How to apply

To submit a proposal, please send through:

– an outline of your idea including: what it is, who’s involved, when you plan to do it, and what the community involvement or outcomes are.

– a budget

– any supporting images (optional)

to Bronwyn on by 22 June 2018.

Jeremy Blincoe | Auckland Festival of Photography

Jeremy Blincoe | Auckland Festival of Photography

Opening event Wednesday May 30, from 5.30pm

OREXART, Auckland

Born and raised in Auckland, Melbourne-based Jeremy Blincoe creates dark and provocative technically pristine photographs that are set in stunning, natural landscapes. Due to their complexity, his images can take weeks or even months to plan, stage, shoot and edit.

His love of unspoiled nature fuels his passion for travel to remote locations and it’s obvious from his pictures that environmental degradation and the disconnection from nature are deeply held concerns. Blincoe would like to incite environmental awareness saying, “I make the things I do because I’m curious about making sense of different issues.” He like to “… alter the viewer’s perspective even the tiniest amount … or make somebody think about something new …” He reads a lot and makes work because his ideas evolve as he works as a process for understanding.

Blincoe has had fourteen solo exhibitions and won a number of prestigious prizes – including the 2017 Brisbane Art Prize with its $10,000 purse, for Simba, his beautiful moonlit portrait of an Indigenous teenager.

He cites New Zealand portrait painters C.F. Goldie and Gottfried Lindauer as artists whose work has inspired this recent series of Indigenous portraits.

Image: Simba (2017) pigment ink jet print, ed.2/3 1000 x 1740mm

Peter Stichbury | Altered States

Peter Stichbury | Altered States

Opening event Wednesday May 30, from 6pm

Michael Lett, Auckland

Michael Lett is pleased to present Altered States, a new body of work by Peter Stichbury, his second exhibition with the gallery. Drawing on the case studies of individuals who have experienced a temporary shift in consciousness, Altered States considers the assimilation of this experience into the individual’s subsequent world-view, and the paradigm shift that can occur in belief structure after such an experience.

American orthopedic surgeon Dr. Mary Neal drowned in a kayaking accident while holidaying in Chile in 1999, her body pinned underwater, in her kayak, without oxygen, at the base of a waterfall for at least 15 minutes. During this time she reported her consciousness peeling away from her body.  She found herself in another dimension, in which she had a profound sense of coming home to something more real than anything she had previously known. Near Death Experiences (NDE’s) like Neal’s confound rigorous scientific investigation because they are unrepeatable, and difficult to study in a way that adheres to the tight scientific protocols that render research useful. And yet NDE’s are not rare: conservatively, around 4 percent of those who come close to death experience an NDE.

Medicine, psychology, religion, and spirituality have all posited theories to explain NDE’s, some of those relegating the NDE and its researchers to pseudoscience. And yet true or not, there are many accounts of NDE’s having a lasting impact – individuals, post NDE, initiating profound and long-term changes towards the altruistic, in their approach to life.

Altered States examines other causative influences which significantly shift consciousness: ontology altering pharmacology, specifically the use of dimethyltryptamine (DMT), a naturally occurring neurotransmitter, which transports the user’s consciousness to another dimension. Logic asserts this dimension is manufactured by the drug-enhanced brain, but some proponents of DMT argue the dimension is real.  Young children between the ages of 2 and 5 who are preoccupied with past-life memories, including details which can at times be corroborated, imply another dimension beyond our human understanding of birth, death, identity and consciousness. Finally, Altered States also explores remote viewers, who claim to use the mind to sense and give information about an unseen geographical location, person or object.

Alongside the inevitable range of logical explanations of these shifts in consciousness, sits the mystery implied by each. Altered States considers where consciousness lies, whether we are able to accurately assess where, in terms of dimension, we are, and whether a human life could exist as a facet of a longer, layered multi-dimensional experience.

Image: Peter Stichbury, Ingo Swann perturbs a shielded quark detector at Stanford Research Institute, 1972, 2018, oil on linen, 120 x 95cm

Yvonne Todd | New Works

Yvonne Todd | New Works

Opens Wednesday May 30

McLeavey Galley, Wellington

Yvonne Todd was born in Auckland in 1973, where she lives and works.

Todd received a BFA majoring in Sculpture from the University of Auckland in 2001. The following year she won the inaugural Walters Prize with a series of ten photographs made in her final year of study. Judge Harald Szeemann said it was the work that irritated him the most.

Since then, Todd’s work has been in numerous exhibitions including the Edinburgh Art Festival (2014) the Sydney Biennale (2010), and the Busan Biennale (2006). Other group exhibitions include Unnerved at the National Gallery of Victoria and the Queensland Art Gallery (2010),3.Fotofestival, Mannheim (2009), High Tide at Zacheta National Gallery of Art, Warsaw and Contemporary Art Centre, Vilnius, (2005) and Mixed-up Childhood at Auckland Art Gallery, (2005).

Todd’s major solo exhibitions include Creamy Psychology at City Gallery Wellington (2015), Wall of Seahorsel at the Centre for Contemporary Photography, Melbourne and Dunedin Public Art Gallery (2012), and Blood, in its Various Formsat the Institute of Modern Art, Brisbane (2007).

Visit Yvonne Todd’s website:

Ash Keating | Gravity System Response

Ash Keating | Gravity System Response

Opening event Thursday May 31

Fox/Jensen/McCrory, Auckland

Fox Jensen McCrory are delighted to announce their first exhibition of the work of Australian painter Ash Keating.

Keating’s approach to scale and site are highly ambitious, though his aspirations are much deeper and complex than the bravado that could be inferred by such magnitude.

Looking at Keating’s Gravity System Response paintings one finds a clear connection to a history of 20th century painters such as Morris Louis, Pat Steir and more recently Katharine Grosse. Their approach to process, the fluidity of material and the implications of nature are shared by Keating. But there is also something of the “action” painter about him – more Callum Innes than Jackson Pollock, especially given Keating’s “Un-painting” process, but his capacity and desire to paint large, demands logistical and practical solutions.

The chromatic sensitivity that he is able to retain across a grand sequence of canvases is extraordinary. Much of the pigment he lays down on the canvas is ultimately lost to the floor in the vigorous erosion that follows.

The majestic “fresco” on the exterior of the National Gallery of Victoria during the Melbourne Now exhibition in 2013, saw Keating using layers of intense pigments to create a dense chromatic field but the FJM exhibition shows Keating at his most atmospheric. These new works are closer to his presentation at Dark Mofo in 2015 Remote Nature Response. They carry traces and blushes of colour infused in a cool meteorological phenomenon.

The installation in the Auckland gallery will be immersive in its cinematic breadth but the delicacy of the material and the subtlety of the gradation certainly invite the viewer closer to the screen, closer to the torrent and the spume.

The artist will be present.

Image: Gravity System Response #90, Acrylic and water on canvas, 250 x 150 cm each

Call for Entries | National Youth Art Award 2018

Call for Entries | National Youth Art Award 2018

Submissions due Friday July 27

The Midland MRI National Youth Art Award is open for entries again and cannot wait to see this year’s submissions! Open to all New Zealand visual artists aged 15 to 27

The amazing Anna Mile’s has come on board to judge this year’s event and we are thrilled to be working with her. Owner and operator of the contemporary dealer gallery (the Anna Mile’s gallery in Auckland), she is extremely knowledgeable and passionate about contemporary art in Aotearoa.

Again, we have seven awards to present: The Midland MRI Grand Prize of $2,000, the Breakthrough Artist award ($1,000), Emerging Young Artist award ($500), the Print award ($500), the Abstract award ($500), the Photography award ($500), and the People’s Choice award ($250).

This is an excellent opportunity to participate in a national art award whether this is the first time you have had the opportunity to exhibit or you have done it before. An exhibition of the finalists will be shown at ArtsPost in Hamilton from September 7 – October 8. We look forward to seeing your exhibitions as they roll in, entries close Friday July 27.

If you have any questions regarding the award, feel free to email

Good luck!

To download and print an entry form for this year’s 2018 NYAA please click the link below:


Call for Entries | Walker & Hall Waiheke Art Award 2018

Call for Entries | Walker & Hall Waiheke Art Award 2018

Entries open Friday June 29 – Entries close Monday August 13

The Waiheke Art Award 2018 is proudly sponsored by Walker & Hall in association with Casita Miro Vineyard, The Skin Institute Waiheke, and the Waiheke Community Art Gallery. This is a National Award for two dimensional works in any medium and has a Prize of $5000 as the Premier award. This years selector and judge is Noel Ivanoff, HOD Fine Art, Whitecliffe School of Art & Design.


Exhibition opens at 6pm and the Gala Award Ceremony commences at 7pm. $45 pp. Finalists & partners complimentary


Friday June 29: Entries Open

Monday August 13: Closing date for entries

Monday September 10: Artists advised of selection results

Monday October 15: Selected works to have been received at the gallery. Gallery hours 10 – 4pm 7 days

Friday October 19: Exhibition opens at 6pm. Award Ceremony commences at 7pm.$45 pp. Finalists & partners complimentary.

Sunday November 11: Exhibition closes at 4pm. Unsold works available for collection.


How to enter: Entries open June 29 2018. From the link on our website you will be able to link to the submission page. To complete an entry you need to follow the sequence, submit up to three images (jpegs not larger than 2MB) and a current CV. If this is your first time visiting their website you will need to ‘create an account’. You will also be able to pay the entry fee online.Your images go into an image gallery which is accessed by the selector. If you do not have access to a computer please contact Waiheke Art Gallery to submit.

Entry Criteria: The exhibition is open to any New Zealand resident upon payment of the entry fee (non-refundable) $45. Entry is limited to one work per artist. Every work must be original, the sole work of the artist, and not completed in a class of instruction. Work must not have been exhibited previously and must be completed within the last year. Work must be for sale and no larger than 1200mm in height or length. WCAG reserves the right to decline or accept a submission. Appropriate packaging, insurance, freight and postal costs to the gallery and return are the artists responsibility. The Judges decision is final and no correspondence will be entered into. WCAG reserves the right to reproduce exhibited entries for publicity purposes.

Presentation of Work: If your work is selected it will need to arrive at the gallery no later than Monday 15 October 2018. This is an award for two-dimensional work in any medium. Work must be presented ready for exhibition hanging and no larger than 1200mm in length or height. poorly presented work may be disqualified. Please attach to the work: The name and address of the artist, the retail price of the work (including GST) the title, size and medium. Work must be adequately packaged for return of work with pre-paid courier tickets or similar arrangements.

Visit their website to enter and for more details

Call for Proposals | Te Tuhi Project Wall & Billboard Spaces

Call for Proposals | Te Tuhi Project Wall & Billboard Spaces

Proposals due Monday June 25, no later than 10am

Te Tuhi, Auckland

Project Wall and Billboard spaces

Application’s for Te Tuhi’s Project Wall and Billboard Spaces are now open. Over the years both the Project Wall and Billboards have provided a unique opportunity for artists to experiment in a non-gallery context.

Each project has different guidelines and requirements so please download and read the proposal guidelines carefully.

For further information on past projects please visit the exhibition archive.

The Te Tuhi Billboards are proudly supported by Pakuranga Plaza.

Te Tuhi Project Wall Proposal Guidelines (PDF)

Te Tuhi Billboard Project Proposal Guidelines (PDF)

Karl Maughan | Halcombe

Karl Maughan | Halcombe

Opening event Thursday May 31, from 5.30pm

Page Blackie, Wellington

Please join Page Blackie to celebrate Karl Maughan’s new exhibition and meet the artist.

Oliver Perkins | Bleeding Edge

Oliver Perkins | Bleeding Edge

Opening event Thursday May 31, from 6pm

Hopkinson Mossman, Wellington

Hopkinson Mossman is pleased to present Bleeding Edge, a solo exhibition of new work by Oliver Perkins. Bleeding Edge is Perkins’ fourth solo show with the gallery and first in Wellington.

In cartography and printmaking, the bleeding edge is the edge of a print, chart, or map on which the printed image extends beyond the normal margin to the edge of the sheet. Alternatively, the scientific or technological definition of the term refers to a project that is on the very leading edge of development. The words “bleeding edge” illustrate the inherent risks – physical pain or a monetary equivalent – that accompany radical innovation at the edge of accepted knowledge.

In his new exhibition at Hopkinson Mossman, Perkins’ process embraces the moment of potential that engenders a moment of jeopardy, or risk, deconstructing the painting surface, physically cutting it, compromising it, in a continuously evolving process of innovation. The paintings in Bleeding Edge are relatives of Perkins’ earlier implant paintings, yet instead of a painting inserted beneath the canvas skin, the secondary painting here is partially exposed. Sometimes inserted still wet with rabbit skin glue, the gesture is fluid and takes place within the act of painting, to reveal that which  “hovers at the fringes of our attention”.*

In one work, a canvas is incised, and through the cut a second canvas protrudes in parallel. The combination of objects draws our attention to the only visible margin of the inserted work, while creating a new margin in the raised surface of the first canvas, non-identical in surrounding width, and taut slope. In another piece, a simple yellow fold protrudes from a yellow canvas, a generative extroversion of Fontana’s cut, or inflation of the flatness of Ellsworth Kelly’s wobbly-yet-flat geometric formalism.

Perkins has returned to the seductive surfaces generated by rabbit skin glue, commonly referred to as size (a gelatinous substance which when warmed to a liquid is typically used to treat a canvas before paint is applied), imbued with dye, ink or watercolour to create luscious, coloured surfaces. The pigmented substances that stain the canvas become taut as they dry, securing the encompassed insert.

For Perkins, the studio is an extension of the operative painting brain. The artist describes his practice as ‘porous’, that is, it absorbs all kinds of material observed in his environment. Whether it is other paintings, vernacular architectures, colours, design or craft objects,  these encounters are revisited and reshaped in a continuously evolving, experimental, studio practice. The resulting works must keep up with the cognitive pace in the studio on any given day: “the painting must move, distort, be pushed and cut”.

In his essay, What is a Thing?, Heidegger asserts that “What things are cannot be contrived at a desk or prescribed by generalized talk. It can be determined only in workshops and in the research laboratories.”** Perkins’s practice and ludic experimentation in the studio takes up this question, and handles the painting on the dual edge of a cut, an insert, a mark, an erasure, in his quest to find the ‘thingness’ of a painting.

Oliver Perkins (b. 1979, Christchurch) lives and works in Christchurch. Recent exhibitions include: Japanese Laurel, Te Uru Waitakere Contemporary Gallery, Auckland (2017); Translations, Hopkinson Mossman, Auckland (2017); Painting: A Transitive Space, St. Paul St Gallery, AUT, Auckland (2016); XXXVII Certamen Minicuadros, Centro Cultural Las Cigarreras, Alicante (2016); Micro Salon 7, Galerie l’inlassable, Paris (2016); Necessary Distraction: A Painting Show, Auckland Art Gallery toi o Tamaki, Auckland (2016); When I paint my masterpiece, Hopkinson Mossman, Auckland (2014); Accordion, Cell Project Space, London (2011). In 2017 Perkins was artist-in-residence at Parehuia McCahon House, Auckland.

* G. Harman, ‘Black Noise’, Alien Phenomenology, 2012
** Martin Heidegger, What is a Thing?, 1967


Ann Shelton  |  The Missionaries

Ann Shelton | The Missionaries

Opening event Friday June 1, from 5.30pm

Two Rooms, Auckland

Ann Shelton’s new series The Missionaries, explores the powerful relationship between colonisation, nationalism and plants in the context of Aotearoa/New Zealand. In a kind of contrived bouquet garni set against the musty colour palette of the Arts and Crafts movement in 19th Century Europe, these domestic botanic epitaphs engage with the reasons emigrants brought plants with them, why they went to elaborate ends to preserve them on their long journey, and the consequences of their interventions.

Chora Luz Carleton | Gloaming

Chora Luz Carleton | Gloaming

Opening Friday June 1

Toi Pōneke, Wellington

Public Readings: Monday 4, Monday 11, Monday 18 June at dusk

Solstice Reading: Thursday June 21 at dusk

Gloaming presents an experience exploring chromatic transformation in the time between day and night through a series of observational watercolour paintings and writings by Chora Luz Carleton. At gloaming, a strange light obscures our perceptions, colours transfigure into shadowy masses. The state of transition marks changes in our mental perception and focus, we define our world as a smaller more intimate space and the darkness looming beyond, calls the imagination.


Drawing towards the winter solstice this exhibition celebrates the growing dimness over the colder months. Carleton extenuates the lighting conditions within the gallery as if it were dusk. Within this temporal atmosphere, paintings and readings of observational poetry explore the connection between the perception, understanding and communication of space, colour, light and sense.

Conor Clarke  |  Ground Water Mirror

Conor Clarke | Ground Water Mirror

Opening event Friday June 1, from 5.30pm

Two Rooms, Auckland

Conor Clarke’s new exhibition Ground Water Mirror connects the waters of Berlin to Auckland to Whanganui. It asks whether we seek out Nature in order to appreciate nature itself, or rather to find a solution to urban living as a means of self-reflection. The title is a slight mistranslation of Grundwasserspiegel, the German word for water table. Berlin’s ground water mirror is never far beneath one’s feet, it flows through a network of overhead pipes as it is pumped across the city from construction sites to waterways. These pipes are a reminder of the connectedness of water, and why we long for another kind of water; the kind we feel the need to travel to in order to find.

J.S. Parker and Ian Scott

J.S. Parker and Ian Scott

Opening Friday June 1

Gallery Thirty Three, Wanaka

A rare collection of works by two of NZ’s late, great artists.

Image: Ian Scott, Small Lattice No. 339, Acrylic on canvas, 2009, 610 x 610 mm

Matthew McIntyre Wilson (Taranaki, Ngā Māhanga and Titahi) | Whetū Whitu

Matthew McIntyre Wilson (Taranaki, Ngā Māhanga and Titahi) | Whetū Whitu

Opens Friday June 1

Courtney Place Park Lightboxes, Wellington 

Tērā Matariki ka rewa i te pae
Nau mai, haramai te hua o te tau hou…

Whetū Whitu is a series of  brooches that reflect the stories of Puanga and Matariki.  The brooches are part of McIntyre Wilson’s ongoing Price of Change Series which  feature re-purposed imagery cut from New Zealand, Cook Island and British coins. Brooches are normally pinned to the wearer, but for this exhibition they adorn light boxes as large-scale prints.


Attached image: Matthew McIntyre Wilson The Price of Change

Susan Te Kahurangi King| Paperdwellers

Susan Te Kahurangi King| Paperdwellers

Opening event Friday June 1, from 6pm

Artspace, Auckland

Emerging from a selection of work by Susan Te Kahurangi King from 1967 to 1980, Paperdwellers proposes the convergence of exhibition and personal practice. Prompted by King’s work, Paperdwellers advocates for drawing as a self-forming and world-building technology.

Within King’s work, the relationship between figure and ground is often porous; inside and outside perform dual roles. Boundaries between bodies, scapes, and objects are depicted in an act of eternal collapse: fingers into what they hold; limbs into negative spaces, blooming into open topographies. Informed by this relationship, Paperdwellers evolves from an understanding that there is no distinction between self and ecology. This logic operates across multiple scales within the exhibition.

As an open proposition, Paperdwellers has the capacity to account for its viewers, their images, and their words. Viewers are invited into this space as collaborators, with a programme of public workshops, and spaces for these outcomes to become permanent fixtures. Integrated working spaces allow the viewer to become a student of King’s artwork: a mutually informing exchange, via drawing or writing.

Just as King’s works from this period toy with impulses of human nature and movement, the exhibition’s structural interventions challenge the function of the gallery space. The outside world is drawn into the institutional space, animating it with semblances of the private. This utilitarian environment, by exhibition designer Anto Yeldezian, proposes a democratic relationship between viewer and work.

Taking cue from King’s imagery, Paperdwellers experiments with malleable and plastic natures, reimagining ourselves as writable, drawable, and erasable. It offers a domain for the act of making and thinking as modes that shape both the world and the self.

Born in 1951, Te Aroha, Susan Te Kahurangi King currently lives in Hamilton, New Zealand.

Texts by Kuini Campbell-Behar, Anna Rankin, and Shiraz Sadikeen

Exhibition design by Anto Yeldezian
Curated by Bridget Riggir-Cuddy

Public Programme

Saturday June 16 Writing workshop with Anna Rankin
Saturday June 30 Drawing workshop with Shiraz Sadikeen
Saturday July 14 Drawing with Susan

Tommy Hamilton | Steady Stream of Condolences

Tommy Hamilton | Steady Stream of Condolences

Opening event Friday June 1, from 5pm

Whitespace Contemporary Art, Auckland

Steady Stream of Condolences is a set of images that explore the multiple ways space and people inhabit the world.  Its an operation evoking memories of how places are traversed and possible outcomes from being in these spaces. Tommy studied at the Tasmanian School of Art and VCA in Australia.  His practice has encompassed, photography, video, performance and printmaking.  Themes in his work have moved from self portraiture through to stories that incorporate bodies and movement between ephemeral spaces. Steady Stream of Condolences is part of the Auckland Festival of Photography.

Reminder: Whitespace has moved to 20 Monmouth Street, Grey Lynn.

Group Show | Dark Horizons

Group Show | Dark Horizons

Opening event Saturday June 2, from 4pm

Te Uru, Auckland

Dark Horizons is a suite of three interconnected solo exhibitions exploring this state of global anxiety through the lens of Muslim migrant communities in Australia. The artists in the exhibition are Malaysian and Anglo-Australian brothers Abdul Abdullah and Abdul-Rahman Abdullah, and leading Lebanese-Australian moving image artist Khaled Sabsabi.

Each artist presents an individual contemplation on issues relating to migration and multiculturalism in Western colonial nations such as Aotearoa New Zealand. These concerns are explored through a range of media including film, sculpture, photography, embroidery and painting. Through a process of personal introspection, the artists shed light on our own complicity in contributing to the economic, environmental and political conditions afflicting our international neighbours.

Abdul-Rahman Abdullah (1977) works primarily in sculpture and installation and draws on his cultural heritage as the basis for his art practice. He has an extensive exhibition history nationally and internationally with numerous projects at major Australian public art institutions, including most recently Casula Powerhouse Arts Centre, Sydney, 2017.

Abdul Abdullah (1986) is an accomplished multi-disciplinary artists working across mediums including painting, photography, video, installation and performance. He has an impressive exhibition history with major projects throughout Australia and internationally, including recent works in Primavera at 25 at the Museum of Contemporary Art, 2016 and the 8th Asia Pacific Triennial at Queensland Art Gallery | Gallery of Modern Art, 2015.

Khaled Sabsabi (1965) was began his creative life as a hip hop artist in the mid-1980s, before completing a Master of Arts from the University of New South Wales in 1998. He regularly exhibits nationally and international, including projects at major world biennales, including the 3rd Kochi Biennale, India, 2016; the 1st Yinchuan Biennale, China, 2016; the 5th Marrakech Biennale, Morocco, 2014; the Sharjah Biennial 11, United Arab Emirates, 2013; the 18th Biennale of Sydney, Australia, 2012;  the 9th Shanghai Biennale, China, 2012 and the 21st Biennale of Sydney, 2018.

The exhibition opening will be preceded by artist talks at 3pm, including all three artists who are visiting from Australia.

This exhibition is staged in partnership with Pataka Art + Museum, who presented Dark Horizons in Porirura in 2017.


Jonathan Jones | Untitled (D21.281 GALARI BARGAN)

Jonathan Jones | Untitled (D21.281 GALARI BARGAN)

Opens Saturday June 2

Dunedin Public Art Gallery, Dunedin

In the 1920s the Australian Museum, Sydney exchanged a collection of Aboriginal and Papuan New Guinean material including a Galari (Wiradjuri) bargan (boomerang) with the Otago Museum, receiving two Māori amo (bargeboard supports) in return.  The amo, originally from the Hawkes Bay region, also connect to the unique concrete wharenui and church at Ōtākou marae on the Otago peninsula.

The ripples of colonial exchange continue to impact communities; Colonisation creating new global networks and relationships between indigenous peoples.  In early 2018 Sydney-based artist Jonathan Jones (b.1978), a member of the Wiradjuri and Kamilaroi nations of south-east Australia, visited Ōtepoti to undertake research toward a new work and discovered this connection between his Wiradjuri people and those of this rohe. Untitled (D21.281 Galari bargan) is a physical manifestation of ancestral forms and new relationships.

Tiger Murdoch | The Insider

Tiger Murdoch | The Insider

Opening Saturday June 2, from 2.30pm

Malcolm Smith Gallery, Auckland

Developing from their exhibition in Ōtepoti in 2017, The Insider uses public space, street and gallery, as a site for response to inequality, allowing for a propaganda-like campaign to act as the catalyst for conversation and directly questions the hierarchies that govern culture and critical thinking.

Presented as part of Auckland Festival of Photography

Vincent Ward | Palimpsest/Landscape

Vincent Ward | Palimpsest/Landscape

Opens Saturday June 2

The Suter, Nelson

A palimpsest is a reinvention.  The scarcity of parchment, a writing surface made from animal skin, led to its reuse during the Middle Ages through the careful scrapping away of layers of ink to make way for new text. The reused document was a palimpsest – a text with the ghost of its previous use lurking behind the new script. Vincent Ward’s Palimpsest/Landscapes takes this notion of reinvention and applies it to the body, environment, language and art.

These elemental films position the body and earth as connected. A necessary if sometimes difficult coexistence, the understanding of the body and landscape as linked, is ancient. Many creation myths, including that of Papatūānuku and Ranginui, explain the creation of the earth through the separation of parental bodies. Ward reimagines the human body as deserts, mountains, caverns and river beds with breath and water giving them both life. Through Ward’s filmic isolation these primordial bodies create an environment within the gallery in which the forces that shape humans and the land are understood as universal. This atmosphere is reinforced by the immersive soundscape that throbs and pulses.

Accompanying the three Palimpsest/Landscapes films are Haiku and New Words Under The Old. Language is central to these mesmerising works as text become three dimensional. Ink consumes water and marks the body, just as we scar and layer the land with human history and memory.

Palimpsest/Landscapes grew from Ward’s interest in painting, film, landscapes and history: “With ink, paint and pigments, bathe the human form directly, then breath on it with the elements, of wind, dust, rain and fog. It continued a range of experiments that I had been making where paint meets film, but rather than motion painting on film, it could be painting / filming on a new landscape, our bodies, male and female, ephemeral as the elemental world we live in, and as harsh and varied as the hill country I experienced as a child”.

Sarah McClintock
Suter Curator


Andrea Selwood | Home Science

Andrea Selwood | Home Science

Opens Monday June 4

Malcolm Smith Gallery, Auckland

Like the phenomena captured by applied scientific photography, Home Science explores connections between light, water and altered states of matter through images centering on a vortex motif, capturing an energy flow within the life-growth cycle.

Presented as part of Auckland Festival of Photography

Call for Entries | Wallace Arts Trust Awards

Call for Entries | Wallace Arts Trust Awards

Entries due Monday July 23, no later than 5pm

Key Dates:
Entries open: June 1 2018
Entries close: 5pm Monday July 23 2018 (NZ time) no late applications will be accepted
Round 1 judging finishes:  August 5
Finalists notified: August 6
Finalists’ delivery of artworks: August 21-23 .  Final Deadline 5pm, August 23
Round 2 judging finishes: August 26

Award Winners announced and opening of exhibition of finalists and travelling show:  September 3 2018.

The Pah Homestead:
Wallace Art Awards  September 3 –  November 4
Salon de Refusés 4 September – 28 October

Wallace Gallery Morrinsville:
November 29 –  January 28 2019

Wellington venue TBC:
February/March 2019

All Finalists in the Wallace Art Awards must undertake to make their work available for Trust exhibitions until mid-May 2019

he Wallace Arts Trust Paramount Award
A six-month residency at the International Studio and Curatorial Program in New York City, USA. The ISCP is the premier residency-based contemporary art centre in the United States for emerging to mid-career artists and curators from around the world. This residency includes a studio, 24-hour access to ISCP’s facilities, support from on-site staff, the opportunity to attend lectures given by members of the New York arts community, field trips including out-of-town expenses, and a minimum of two open-studio exhibitions/receptions. The Paramount Award Winner also receives a bronze trophy by Terry Stringer.

The Kaipara Wallace Arts Trust Award
A three-month residency at Altes Spital in Solothurn, Switzerland. This residency includes a large studio apartment, access to specialist studios, workshops and exhibitions.

The Wallace Arts Trust Vermont Award
A three-month residency at the Vermont Studio Center in Vermont, USA. This includes a studio, living expenses, counsel from a distinguished roster of six visiting artists and the fellowship of professional peers from around the world. The Vermont Studio Center was founded by artists in 1984 and is the largest international artists’ and writers’ residency program in the United States.

Apply for the Wallace Arts Trust Paramount Award, Kaipara Wallace Arts Trust Award and the Wallace Arts Trust Vermont Award here. Applications close 5pm, Monday 23 July 2018.

The Process:
Entries are invited from practitioners of painting, sculpture, audio-visual, print, photography, drawings and documented interdisciplinary arts. All eligible entries to the Wallace Art Awards will be considered by each Judge at Round 1 of the judging process.

The Judges’ decisions at Round 1 will determine those entries which become finalists for the awards.

Finalists will then be notified and asked to deliver their artworks to the Pah Homestead for Round 2 of the awards judging. Nominated finalists need to confirm their intention to deliver artworks within 72 hours of notifications being sent, a non-response will result in the opportunity to participate in the awards being withdrawn.

Finalists and winners will be selected based on the sole criterion of excellence of the work; the gender, ethnicity, age and geographic location of the artist are irrelevant. The Judges’ decisions are final, and no correspondence will be entered into in that regard.

Application Requirements:

Apply online for all Wallace Art Awards here.

Fulbright-Wallace Arts Trust Award here. (note different criteria and processes)
BSR Wallace New Zealand Residence Award here. (note different criteria and processes)

The application materials consist of:
1. Copy of proof of New Zealand Citizenship (passport preferred) or New Zealand Permanent Residence

2. One or two digital photographs of the submitted artwork of a suitable quality
(a.) .jpg files are the preferred format. File size up to 4mb
(b.) File resolution should be around 300 dpi
(c.) If your artwork is selected as a finalist an image of the work may be printed in the Art Awards catalogue. Please note that the catalogue is printed in an A5 format so please consider this when sizing your images
(d.) If your artwork is a video work you must provide a still in .jpg format

3. Supporting written statement about the artwork Maximum 500 words
– Describe the body of work that you are currently working on and your motivations for taking this direction
– Explain how you would benefit from the experience of an overseas residency in general and, if appropriate, the ISCP, Altes Spital or Vermont residencies in particular
– Explain techniques and/or concepts used towards making the entered artwork
– Contextualise the entered artwork within broader artistic or cultural movements or traditions

Applicants are advised that judgments are made on the basis of the submitted image(s) or uploaded video file rather than the strength of the supporting written material.

4. Applicants may also choose to supply a small artistic portfolio of a further two or three works contextualising the artwork entered for the awards. The contextual portfolio artworks should have been made in the same period as the entered artwork to foreground a development or an articulation in the artist’s practice. This is not a requirement of entry.

5. For video artworks, in addition to digital still, a full video must be supplied via a password-protected URL link (e.g. Youtube, Vimeo etc.) or via a file delivery service (e.g. WeTransfer, DropBox etc.)

Keep a copy of the Wallace Art Awards Terms and Conditions and BSR Terms and Conditions for your own records.

Image: The Wallace Arts Trust Paramount Winner 2017, Harmonic People (detail), 2017, Andy Leleisi’uao, acrylic on canvas, 1500 x 2400 mm

Craig McClure | An un-raiment: new drawings

Craig McClure | An un-raiment: new drawings

Opening event Thursday June 7, from 5.30pm

Freit Contemporary, Hamilton

“Each day I know less and less. I’m suspicious of my intentions. I want to make toast and resist making up a story about it, or make up magnificent stories and remember to disbelieve them. If you hush that last harsh voice in your head, how can you know you’ll ever do anything again?

If there’s no reinventing yourself unless a part of you dies – and you can’t guess at the start which one it’s going to be – will you do it?” – Stephanie Christie, 2018


raiment / ray-ment – middle english
noun: clothing; garments
1. Clothing; apparel; attire
2. gorgeous/glamorous raiment
3. especially fine or decorative clothing
verb: provide with clothes or put clothes on “a parent must feed and dress their child”

Raiment is formal clothing. It comes from the Old French word areer or “to array,” which describes dressing in decorative clothing, or adorning yourself in the very best.

This exhibition includes new works by Craig McClure that are predominately  creative writing by Stephanie Christie and a riso publication created by Paul Bradley and Craig McClure.

Sponsored by Brewaucracy, local beer brewery and taphouse, there will be some fine beers on tap!

You can follow the progress of the show on instagram: @craig._.mcclure

Group Show | ROCK 'N' ROLL

Group Show | ROCK 'N' ROLL

Opening event Tuesday June 5, from 5.30pm

Jonathan Smart Gallery, Christchurch

A group show celebrating 30 years in Christchurch.
Featuring work by Neil Dawson, Michael Parekowhai, Anne Noble, Julia Morison, Lonnie Hutchinson, Saskia Leek, John Pule, Richard Reddaway, et al., Marie Le Lievre and Rob Hood.

Gabrielle Amodeo | 'I have an idea for an exploded essay' and Evangeline Riddiford Graham | 'La Belle Dame avec les Mains Vertes'

Gabrielle Amodeo | 'I have an idea for an exploded essay' and Evangeline Riddiford Graham | 'La Belle Dame avec les Mains Vertes'

Opening event Wednesday June 6, from 6pm

RM, Auckland

La Belle Dame avec les Mains Vertes
Evangeline Riddiford Graham


The future’s a disaster.
Everyone knows it’s time to get proofing.
But you, you’re out of energy to bolt down the bookshelf.
You can’t afford to renovate a carbon-neutral kitchen.
Balance the math and trash the books: you won’t ever have a house.
You little worm. Do you really think you deserve your own bedroom?

Fear not! If you can’t afford to be a part of the problem, you can still buy into the compromise. There’s still time to maximise space. Make your last-ditch dive for privacy!  La Belle Dame avec les Mains Vertes offers a solution, in the shape of hand-crafted, silk-painted, made-in-New Zealand room dividers.

These light-weight, adjustable folding screens not only respond to your every civic grievance, but have it set down in writing. Please forgive the cursive: one last blast of art and crafts, for Auckland.

La Belle Dame sees your plaint, and raises it. Would you like to register a charge, or a lamentation?

She offers you RM, divided.

Thank you to Wall Fabrics, Ltd., for their generous sponsorship.

I have an idea for an exploded essay
Gabrielle Amodeo


I have an idea for an exploded essay.

Something that sits between writing and object; between reading and performance; between the privacy of being a viewer or a reader and the interaction of a participant.

Essays are three-dimensional for me; I carry them in my mind and work on passages of text in my head, so the experience of writing an essay is as much in the world as it is in front of a computer screen or on a piece of paper. So I have this idea for an exploded essay that can somehow be replete with objects as well as words; that takes place throughout a space as well as in the time of reading; that allows narrative to be formed through the objects as well as via the words; that the words can be heard as well as read.

But especially, I want to write an exploded essay about unfinished work, about beginnings that went nowhere, about the constant tensions between wanting to make artwork and all the constraints that suspend the making, about the artworks I wish I’d made and never did.

So, this is an exploded essay of missed opportunities; of unfinished work; of ideas had but not acted upon. This is about the sense of missed opportunities and regrets of being an artist, ten-years after graduation.

[Bemodern] Paul Darragh | Game of Life

[Bemodern] Paul Darragh | Game of Life

Opening event Thursday June 7, from 5pm

Weasel, Hamilton

Come along to the opening of Game of Life, a solo show by Bemodern and whilst you’re out, head to Frankton to see Craig McClure’s show ‘An un-raiment’ at Freit gallery.

Game of Life is a solo exhibition by Bemodern, which is a nom de plume used by the artist, Paul Darragh. Operating under Bemodern for over ten years, Bemodern has built his creative practice and identity over Aotearoa, Australia and the United States. Game of Life is an exhibition of Bemodern’s dynamic acrylic paintings on canvas which reference time/decay, Chuck Jones (and his contribution to the Warner Bros productions) and board games.

Call for Entries | Impressions National Art Awards 2018

Call for Entries | Impressions National Art Awards 2018

Entries due Friday August 31 2018

Impressions are proud to sponsor this national art award open to all New Zealand residents

The 2017 Awards were organised and managed by the newly-formed Tasman Art Focus Group. This year’s organising panel was led by nationally recognised Ruby Coast artist printmaker, Graeme Stradling and supported by fellow artist Glenys Forbes. Lewis Della Bosca of Impressions also provided input into the group.

The 2018 Impressions National Art Awards entry forms are now available to download below

Download the Impressions National Art Award Criteria as a PDF HERE

Image: Impressions Supreme Award: “Violet II” by Sally Barron

Hannah Valentine and Vivienne Worn | Looking in, Breathing out

Hannah Valentine and Vivienne Worn | Looking in, Breathing out

Opening event Wednesday June 6, from 5.30pm

Enjoy Public Art Gallery, Wellington

Bringing together the work of Hannah Valentine and Vivienne Worn, “Looking in, breathing out” focuses on the physical actions and gestures of the body. By looking closely at painterly gestures, Worn considers how to negotiate art histories. For Valentine, physical action is a way to explore the material conditions of contemporary life.

Valentine’s sculptural practice interrogates the conditioning of the human body within a digital and capitalist landscape. Contemplating notions of desire, endurance and value, her recent work has focused on the production and display of bronze objects cast from hand-moulded wax. These objects show remnants of the artist’s fingerprints and moments of touch, pressure and temperature from the casting process. Resembling equipment such as dumbbells and gymnastic rings, Valentine’s sculptures recall the space of the gym—a space understood by many as an outlet for stress or refuge from contemporary life. “Looking in, breathing out” includes a series of these cast objects, presented on metal stations that recall retail display systems. Visitors can caress, carry and move these objects around the gallery space and between stations. In choreographing this encounter, Valentine explores the affective qualities of weight, temperature, texture and desire.

For “Looking in, breathing out,” Worn delves into the life and work of painter Rhona Haszard (1901–31), who was born in New Zealand and immigrated to Europe in the early twentieth century. This research is a continuation of Worn’s engagement with the lives and work of women who were painting within a heightened moment of Western modernism, but who still remain relatively overlooked within this canon. Spending time with Haszard’s archive and painted works, Worn samples what she describes as “clippings” or close readings of particular brushstrokes and painterly moments. These moments act as beginnings for her own works as she zooms in on the rich mosaics of Haszard’s painted landscapes, re-rendering the artist’s mark-making at a much larger scale. Operating somewhere between abstraction and figuration, the physical gestures of both women are decidedly present within the resulting work.

About the artists

Hannah Valentine lives and works in Tāmaki Makaurau. Her practice is based around the body, movement and participation. Hannah is interested in the impact of new technologies on our physicality, and the way we use and think about our physical self-in-space. Her work takes form primarily in object, installation and documentary style film. Hannah graduated from Elam School of Fine Arts with an MFA (Hons) in 2017. Recent exhibitions include: Flex, Small Space, Te Uru Waitakere Contemporary Gallery, Auckland, 2017; Grips, slips, of space, a memory, Drawing Wall project, Te Tuhi, Auckland, 2016-2017; New Perspectives, curated by Simon Denny, Artspace, Auckland.

Vivienne Worn also lives and works in Tāmaki Makaurau. She graduated from Elam School of Fine Arts with an MFA in 2017. Worn’s practice works towards a process of painting that sits somewhere between abstraction and a contemporary digital version of the figure, referencing small moments or details from online reproductions of historical paintings. Navigating this flattened online imagery through paint and gesture, Worn’s work offers a stilling of real-unreal space. Recent exhibitions include: Never an Answer, The Vivian Gallery, Auckland, 2018; Re-reading Laurencin, Window Gallery, Auckland, 2017; The Graduate Art Fair, Guangzhou, China, 2017; Back to Fore, George Fraser Gallery, Auckland; 2017.

Kate Williamson | Origin: a visual journey to the source

Kate Williamson | Origin: a visual journey to the source

Opens Saturday June 7

Moray Gallery, Dunedin

Paint behaves in a similar way to water. It glides across the canvas. It pools, splatters and runs. This kinetic connection reveals to me the true nature of the source. It is the act of paring something back to its most basic elements in order to reveal more…

I invite you to look closer. There – beyond the detail – you will possibly glimpse a flicker: the life beneath the painted surface.

Artist’s Quote:

“Paint for me is a living entity, flowing, fluid, fleeting and fragile. I want the paint to breathe the life-energy of nature onto the canvas. I also strive to create truly one off original art works which are only finished once my eye wants to explore the surface.”

Chris Corson-Scott | Evanescent Monuments

Chris Corson-Scott | Evanescent Monuments

Opening event Saturday June 9, from 11am

Parlour Projects, Hastings

Parlour Projects is honoured to present Chris Corson-Scott: Evanescent Monuments, the artist’s first solo exhibition with the gallery. The exhibition presents nine new photographs by the Auckland-based artist. An essay by Laurence Simmons will accompany the exhibition.

The public are invited to attend an opening reception on Saturday June 9, from 11am to 1pm. The artist will be present.

For further information, images or enquiries please email or call 021 450 279.

Group Show |  It's All About the Decoration

Group Show | It's All About the Decoration

Opening event Saturday June 9, from 10.30am

Avid Gallery, Wellington

A special group exhibition featuring work by ceramic artists Madeleine Child, Paul Maseyk, Luke O’Connor (Australia), John Parker, John Roy, Aaron Scythe, Nichola Shanley, Katherine Smyth and Christine Thacker.

Group Show | I See Red

Group Show | I See Red

Opens Saturday June 9

The Suter, Nelson

Red is an elemental colour: the colour of blood, heat and fire, the colour perceived to be at the top of a rainbow.  Red’s associations are with power and prestige, protection, life and death, fertility, sexiness, virility and vitality.  Most cultures’ languages have a name or words for the colour red, along with black and white, but not necessarily other colours. Red, in the form of red ochre is a pigment found in the art and body adornment from pre-historic times to the present day.

In the Western art world red is regarded as one of the three primary colours; a colour that is not arrived at by the mixing of other colours, like its complementary green (yellow + blue) or its neighbours on the colour wheel, purple (red + blue) or orange (red + yellow) or its variant, pink (red + white).


Group Show | LOCALity

Group Show | LOCALity

Opening event Saturday June 9, from 3pm

Arts in Oxford, Oxford

A group exhibition exploring location, materiality and positioning. The exhibition will be accompanied by workshops including: Paper Making with Arts in Oxford Paper Making Group | Paint Making with Celia Wilson | Paper Hinged Lid Box with Tessa Warburton


Richard Stratton | Living History

Richard Stratton | Living History

Opens Saturday June 9

The Suter, Nelson

Brutalist architecture, Russian constructivism, broken ceramics scavenged from the river Thames and the everyday realities of suburban life have all influenced this new body of work by ceramic artist Richard Stratton.

Over his twenty-year career, Stratton has become known for creating intricate domestic ware, juxtaposing historical ceramic techniques with decorations that reference pop culture. In Living History Stratton extends these ideas, as the result of his 2015 residency at Guldagergaard, an international ceramic research centre in Denmark. The residency inspired him to move away from figurative representation into enigmatic, abstracted forms.

Stratton’s work is unusual in that instead of stemming from Asian ceramic traditions—as many other studio potters’ practices do—it develops out of European industrial production. For Living History, he created over 200 variants of redware and black basalt stoneware clay by eighteenth century potters William Greatbatch and Josiah Wedgwood. In reproducing clays from the European industrial revolution, Stratton acknowledges that objects such as bricks, chimneys and even toilets are just as important to our heritage as our nationally treasured Crown Lynn. He reflects:

Internationally, ceramics has played a key role to unlocking human history, helping us to date our growth via fragments of clay. New Zealand’s industrial ceramic history was based upon techniques reflected in sherds (pieces) I found while mudlarking on the Thames. These sherds are examples of processes our ceramic predecessors were influenced by and became the backbone of early New Zealand pottery.

 The works in Living History were built gradually and painstakingly by hand, each taking about one month to complete. Consequently, Stratton’s works absorb his concerns and responsibilities as an artist and stay-at-home father. One of his most abstracted works, Girl from the Mailbox, is based on a clothing model from a Farmers catalogue: part of a commercial world that affects Stratton’s practice just as much as the historical techniques he researches. These realities drew Stratton to modernist movements such as constructivism and brutalism on his residency, which are both reactions to the industrial age. Each calls for artists and architects to understand the limitations and possibilities of the materials they work with, so that their final output is stripped down to its most essential elements.

Connecting these components, Stratton draws links between past and present and the hidden influences that permeate contemporary New Zealand society.

Living History is developed and toured by The Dowse Art Museum with the support of Creative New Zealand.

Pacific Notion | 20 Years On

Pacific Notion | 20 Years On

Opening event Sunday June 10, from 2pm

Whitespace, Auckland

Lianne Edwards, Niki Hastings-McFall, Ioane Ioane, Lily Laita, Kenneth Merrick & Raymond Sagapolutele

A stocktake
Lana Lopesi

In 1998, Pacific Notion, at the Melbourne Art Fair introduced the commercial art market to the work of Niki Hastings-McFall, Ioane Ioane, Fatu Feu’u, Andy Leleisi’uao, Dagmar Dyck and Lily Laita. Organised by Deborah White the stall occurred at a time where the commercial representation of Pacific art and artists was fairly non-existent, despite the depth and breadth of Pacific art production occurring in the 1990s. Fast forward 20 years to 2018, Whitespace, from their new gallery presents Pacific Notion: 20 Years On, including the work of the original Pacific Notion artists, Niki Hastings-McFall, Ioane Ioane and Lily Laita, as well as, Kenneth Merrick, Lianne Edwards and Raymond Sagapolutele.

While each of the five artists have very diverse practices amongst themselves, what is perhaps most important about this exhibition is the space it offers up for us to run a stocktake of Pacific art in Aotearoa New Zealand. Major changes are occurring at Tautai Contemporary Pacific Arts Trust and Creative New Zealand is revaluating the ways in which they should be supporting Pacific art, leading to one core question, what support does Pacific art and do Pacific artists need in 2018?

Pacific art in Aotearoa New Zealand in 2018 is healthy. I say that as we reflect on having Luke Willis Thompson win the 2014 Walter’s Prize, the same year that Kalisolaite ‘Uhila was nominated, with the only Pacific finalist prior to that being Edith Amituanai in 2008. We are starting to notice (although it’s very marginal) more Pacific artists being represented by dealer galleries and more work being acquired by our public institutions. Toi Art, Te Papa’s revamped contemporary art galleries reopened with two major exhibitions by Pacific artists, The Pacific Sisters and Tiffany Singh, as well as commissioning new work by Janet Lilo and Sopolemalama Filipe Tohi. We now have three Pacific curators in generalist curatorial roles at Waikato Museum Te Whare Taonga o Waikato, Te Uru Waitakere Contemporary Gallery and Rotorua Museum Te Whare Taonga o Te Arawa. We are starting to read more Pacific voices in arts criticism. And more and more young Pacific artists are graduating from our universities. And as a result of these milestones, in 20 years the conversation has shifted majorly.

In 1998, Pacific art conversations had already shifted to a new, younger, urban generation. Moving away from the migration narrative of Pacific artists in the 1970s, this new 90s generation sought to reconfigure, re-describe and re-atheticise what it meant to be Pacific in diaspora. A few factors separated this generation from the previous one, for starters many of them were New Zealand born and therefor the product of urban Auckland and New Zealand and amongst this generation an art school experience was much more common. They were witnesses of artists before them, as well as social movements such as the Polynesian Panthers. Here, the narrative of the Pacific experience widened from interrogating effects of colonisation and highlighting harsh realities for Pacific people in New Zealand to experimental and innovative new ways of discussing culture through performance art and fashion.

With the health that I outlined above comes politics, factions and complexity. The very question of what it means to be Pacific, a Pacific artist or just an artist has no one answer and nor should it. Three generations deep of Pacific artists means that the ways in which we understand and locate ourselves are more complex and multi-layered than ever. Today, twenty years on from the 90s I would say we’re in a new conversation again focused on the interrogation of power and structures. Where the earlier two generations relied on collaborating and working with non-Pacific allies, the landscape has shifted so Pacific people are now in more powerful positions as curators, writers and administrators. Questions of who has what right to be a part of the community are swirling. That is assuming there is one community to which we all belong.

The question of what support does Pacific art and do Pacific artists need in 2018? May have obvious answers to some, but personally it seems in part like an impossible question. With so many subsets within the current Pacific art community and so many varied needs, offering yourself up to everyone just means there are those who will always be let down. Perhaps what is of most importance now is rather than zooming out to understand Pacific art as sitting within a single umbrella, to really focus in acknowledging the complexities, the depth and the breadth, so that all Pacific artists and their work is included.

Image: Ioane Ioane, ‘Define a Superhero’, Photo by Meek Zuiderwyk in collaboration with Ioane Ioane.

Call for Entries | Franklin Arts Festival

Call for Entries | Franklin Arts Festival

Entries due Sunday July 15

Franklin Arts Centre, Auckland

Details on how to Enter our 2018 Festival + Delivery & Collection of your Artworks

Congratulations on deciding to enter into the Franklin Arts Festival – every entry is a valuable contribution to this annual event. Each entry form includes full details specific to your Section and Category, including the award information, and the entry conditions.

The committee has made a few changes from last year, so please read the conditions of entry carefully to avoid any disappointment. Read through the categories on their website

If you are having any trouble please contact Franklin Arts Centre and we will make arrangements for getting you an entry form(s).  ph: 09 235 8569 or email:

Please send your entry to arrive to Franklin Arts Festival by the July 31

Please read our terms and conditions before completing your entry form to ensure you are aware of all our rules for entry as they are legally binding. Please then complete the form ensuring all fields are filled in, then check your entry thoroughly to ensure all your details and the amount to pay are correct. No late or incorrect entries will be accepted.

You can send your entry form anytime up to July 31. If you are mailing it to us, please allow time for it to arrive and insure for safe delivery. Please send your Entry with your fee(s) to:

Franklin Arts Festival, PO Box 586, Pukekohe 2340

Delivering your Artwork on Tuesday August 28

Please deliver all entered Artworks by hand on Tuesday August 28 between 10.00am and 7.00pm to:

Work will not be accepted unless entry fees have been paid. Please ensure all labeling and swing tag requirements are in place in accordance with our Conditions of Entry specific to your Section and Category. (Alternative arrangements may be made for delivery and collection if required)

Damage and loss insurance

Please make arrangements for getting your art work(s) insured for the duration of the Festival. All insurance is the responsibility of the artist. While all due care will be taken, the Arts Festival Committee is not responsible for any damage or loss which may occur during the Festival.

Courier deliveries

Art work may be Couriered in the week prior to the Festival not earlier than Tuesday August 21 and no later than Tuesday August 28.

Delivery address: Franklin Arts Festival Society, Attn. Franklin Art Gallery, 12 Massey Avenue, Pukekohe, 2120.

All works sent by Courier or Post must be packaged in suitable containers for repacking and return if not sold. Please have your name and address on the courier packing.

Please make arrangements for getting your art work(s) insured for delivery by Courier.

Negotiate with your Courier to guarantee delivery within the dates set below. We are not able to take artwork after that.

Collecting your Artwork on Sunday September 9

Please collect all unsold works Artworks by hand on Sunday 9th September between 2.00 and 4.00pm. Your receipt of entry must be sighted by the Section Convenor before work is released. Please note: Work will not be released unless this is available. (Alternative arrangements may be made for delivery and collection if required).

Entries not collected within 7 days of the collection date will become the property of the Festival.

Call for Submissions | Iris Fisher Scholarship

Call for Submissions | Iris Fisher Scholarship

Entries due Monday July 16 2018, no later than 10am

Te Tuhi, Auckland

Supporting the next generation of New Zealand’s contemporary artists

The Iris Fisher Scholarship is a national award of $5,000 to support a postgraduate student in their final year of a visual arts/fine arts course of study.

Since 2007 Te Tuhi, in partnership with the Fisher family, have supported the development of emerging New Zealand artists with this generous and prestigious award. Previous recipients of the Scholarship are Erica van Zon, Boris Dornbusch, Jeremy Leatinu’u, Anthony Cribb, Louise Menzies, Blaine Western, Charlotte Drayton, Kalisolaite ‘Uhila, Katrina Beekhuis, Hannah Valentine and Christina Pataialii. Now is your chance to join their ranks.

Key Dates:

Submissions open: Monday June 11 2018
Submissions close: 10am, Monday July 16 2018
Recipient announced: Saturday August 11, at Te Tuhi’s Spring Exhibition Opening

Image: Untitled 2016 by Hannah Valentine

Gareth Moon and Tammy Williams  | Into The Darkness

Gareth Moon and Tammy Williams | Into The Darkness

Opening event Tuesday June 12, from 6pm

Studio One Toi Tū, Auckland

Art meets engineering. What happens when two photographers are given unprecedented access to document one of New Zealand’s most ambitious civic projects?

To most of us, the Waterview Tunnel Project was nothing more than a long-awaited road upgrade. But to a small, unseen group of people, the underground route was the dark centre of their working lives for many years. Heading into the depths of the tunnel for demanding 12-hour shifts, their work on the subterranean build went by largely unwitnessed by most Aucklander’s. But not by all.

Photographers Gareth Moon and Tammy Williams were given the rare opportunity to join these teams and document the process.

Setting out, the pair were conscious of the legacy that engineering photography has. From workers lunching on a high beam to a portrait of Isambard Kingdom Brunel, our fascination with scale, ambition, progress and the textures of construction give this subject extraordinarily enduring relevance.

Given little capacity in the working environment for posed setups, they adopted an observational approach and set out to generate an artistic record of the human spirit within the realm of science and engineering.

The results of their exhibition confirm the tunnel’s place in history. Graphic, iconic, and powerful. Engaging portraits and unreal landscapes. The photography tells a story of audacious engineering, humanity, and the contrasts and interactions between the two.

Into The Darkness:

Group Show | Sleight of Hand

Group Show | Sleight of Hand

Opens Tuesday June 12

Ramp Gallery, Hamilton

Five artists come together in “Sleight of Hand”, the latest exhibition at Ramp Gallery: Jen Bowmast / Leafa Janice Krause / Natasha Matila-Smith / Lynda Wilson / Barbara Smith.

Exploring magical moments of collision during the act of making art, the exchange between materials, ideas and intuition are played out by each artist.

Sculptures of porcelain, bronze and clay talk to fabric based text works and the artefacts of past performances; suggesting an alternative way of experiencing and looking at the world around us.

Image: Jen Bowmast

Joshua Rutter | Flesh Perspective

Joshua Rutter | Flesh Perspective

Opens Tuesday June 12

Blue Oyster Project Space, Dunedin 

Artist Talk: Wednesday June 27, 6pm.
Free to attend, all welcome.

Some years ago, Dave and I were doing some dance training on top of a carpark building in central Auckland. I think we were taking turns trying to tell stories with our feet. After about ten minutes a car pulled up beside us and a security guard leaned out the drivers-side window, “What you boys doing?”

Not able to think of anything else, I replied,

“Oh…” he sat back in his seat, nodding gently “…training.”
He reflected on this a moment longer then fixed his eyes on mine. “Sweet. Have a good one.” and drove off.

No longer able to concentrate, we went for coffee.

The activities in the rooms may feel like training, or just pointless. Some of them are practiced by professional sports people, others are made up. Maybe it’s possible to get better at the actions by simply doing them, or maybe you’re just hastening the heat-death of the universe. There mightn’t be another place where you get the chance to try them out, unless you recreate them yourself. In all cases, the point is in the doing. Each activity invites reflection in action, offering the simple joys and frustrations of bodily play. Each presents a problem that can be met with to-hand skills almost unconsciously at a bodily level. This leaves the mind free to reflect, or become absorbed in detail.

Joshua​ ​Rutter​ ​is​ ​a​ ​freelance​ ​artist​ ​from​ ​NZ​ ​based​ ​in​ ​Berlin,​ ​Germany.​ ​He​ ​has​ ​performed​ ​in Europe,​ ​the​ ​Americas,​ ​Asia​ ​and​ ​Oceania.​ ​He​ ​has​ ​worked​ ​with​ ​notable​ ​international​ ​artists​ ​such as​ ​Min​ ​Tanaka,​ ​Tino​ ​Sehgal,​ ​Jerome​ ​Bel,​ ​Hans​ ​Van​ ​den​ ​Broeck,​ ​Kate​ ​McIntosh,​ ​Alicia Frankovich,​ ​Jochen​ ​Roller,​ ​and​ ​many​ ​NZ​ ​artists.​ ​Coming​ ​from​ ​a​ ​movement​ ​and​ ​dance background,​ ​his​ ​work​ ​tends​ ​to​ ​linger​ ​around​ ​the​ ​choreographic​ ​aspects​ ​of​ ​culture.​ ​He​ ​has recently​ ​completed​ ​his​ ​masters​ ​studies​ ​in​ ​Solo/Dance/Authorship​ ​at​ ​the​ ​Berlin​ ​University​ ​of​ ​the Arts.​ ​This​ ​study​ ​was​ ​made​ ​possible​ ​with​ ​a​ ​stipend​ ​from​ ​the​ ​DAAD.

Kate van der Drift | Water Slows as it Rounds the Bend

Kate van der Drift | Water Slows as it Rounds the Bend

Opening event Tuesday June 12, from 5.30pm

Sanderson Contemporary, Auckland

Water Slows as it Rounds The Bend is part of an ongoing investigation into the fragile ecology and transformation of the Hauraki Plains. The groundwater of the present day Plains is tightly controlled; few clues remain of the great fertile wetland, yet concealed in the center of the gridded farmland lays Kopuatai Peat Dome. Acting as a sponge, the Peat Dome protects low-lying farmland from flooding, but in recent years it hasn’t soaked up the excess rain. Traversing the wetland by foot and kayak, van der Drift captures scenes once full of giant Kahikatea that have since been crowded out by Willow.

Van der Drift would like to acknowledge the Tangata Whenua of Hauraki especially Ngāti Hako, whose land this work is set in and whose stories are referenced.  As well as tau iwi – the farmers, hunters and environmentalists whose relationships to the land are referred to and pictured.

Water Slows Around the Bend is part of the 2018 Auckland Festival of Photography CORE programme.

Kevin Capon | Portraits 1984 – 85

Kevin Capon | Portraits 1984 – 85

Opening event Tuesday June 12, from 5.30pm

Sanderson Contemporary, Auckland

This is a small selection of works from a wider body of forty photographic portraits that Kevin Capon shot throughout 1984-85. The black and white portraits captured prominent figures within the arts at the time, a snapshot of New Zealand’s creative face of the time. The portraits are close up and personal, tightly framed on the face and intimate images of artists that have echoed through time such as Colin McCahon, Doris Lusk and Ralph Hotere. Portraits 1984-85 is a true snapshot of an era – allowing us to glimpse back while knowing the legacy of today.

Portraits 1984-85 is part of the 2018 Auckland Festival of Photography CORE programme.

The Artists Alliance Board is recruiting

The Artists Alliance Board is recruiting

Artists Alliance is looking to recruit new board members.
We are interested in talking to applicants who have the following skills: accounting, communication and all-round governance experience.

Established in 1991 Artists Alliance has represented and advanced the professional interests of the visual artists of Aotearoa New Zealand for 27 years.  The organisation’s unique role is to provide access to …

>Networks, both national and international;

>Information, news and resources;

>Advocacy on behalf of individual artists and the wider arts community; and

>Artists’ professional development, including Workshops and the Mentoring, Internship and Volunteer Programmes.

More on

Board meetings are held in Auckland on a monthly basis. This is a voluntary role.

In the first instance please contact Maggie Gresson on for more information and an expression of interest form.

The deadline for expressions of interest is Friday June 29, 2018.

Anthony Davies | Plight of the Innocent, Part II

Anthony Davies | Plight of the Innocent, Part II

Opens Tuesday June 12

Space Studio and gallery, Whanganui

34 Lithographs of current events

If the scourge slays suddenly, he will laugh at the plight of the innocent. 

(The Book of Job, chapter 9, verse 23, King James Version)

Davies’ most recent series is a suite of lithographic prints. His realism is as brutal to the gaze of the viewer as God is to Job in the Bible. Davies attempts to give us a very clear picture of the onset of disaster caused by humanity and our wanton use of the planet as a rubbish tip. Each work in this series demonstrates just how we have left no inch of the earth and the immediate airspace around it pristine. In this verse, Job is enraged at God seemingly sitting idly by whilst suffering and tragedy strikes him constantly. Are we, like Job, supposed to never give up or are we to remain in an aggrieved state? Has Davies reached the point where he can barely cope with any more of the planet’s sickness? Whilst Davies is not actually using biblical reference to proselytise, this series does seem to urge us to consider if this is what we actually want for the innocent future generations?

-Excerpt from Anthony’s most recent publication “As the situation unfolds: Anthony Davies, A Survey of works: 2007-16″.

Call for Applications | Wild Creations

Call for Applications | Wild Creations

Applications due Friday August 24

Creative New Zealand has teamed up with DOC again to help artists get inspiration from nature! Wild Creations offers artists the opportunity to experience DOC environments and / or programmes as inspiration for new work.

Wild Creations offers a minimum of two artists the chance to experience Department of Conservation environments and/or programmes as inspiration for new art work.

For full information and application visit their website

Project timing

  • You must be available to undertake your nominated Wild Creations experience between December 2018 and June 2019.

Benefits and track record

  • Your project or activities must directly benefit New Zealand (NZ) arts, artists or practitioners.
  • You must have a track record of arts experience and success. This means you must have:
    • recognition from peers or experts
    • specialised training or practical experience
    • successfully completed an arts project, outside of a course of study, that received a degree of critical or sales success

Who can apply

  • You must be an individual artist who is a NZ citizen or permanent resident – organisations are not eligible to apply for this fund.
  • Overseas-based NZ artists can apply, but your application must show direct benefits to NZ arts and you must have it endorsed by:
    • a NZ artist(s) resident in NZ and/or;
    • a well-established NZ-based arts organisation(s).

For full information and application visit their website


Claudia Edwards, onsite & Selina Ershadi, online | Window

Claudia Edwards, onsite & Selina Ershadi, online | Window

Opening event Wednesday June 13, from 5.30pm

Window, Auckland

You’re not a princess you know – Claudia Edwards

The other night my mother and I were talking about the things I do that she finds frustrating. She quips, “There’s a platter of lobster tails for dinner and everybody is eager to help themselves. You happen to be first to the table and pick the largest tail on the plate.” When we argue, I often think the lack of any witness to our dispute is unfair.

Hollywood Ave – Selina Ershadi

Hollywood Ave is a recent film by Selina Ershadi, mirrored by fragments from the text Notes for 3 Women

Hollywood Ave & Notes for 3 Women prefer the multiple over the singular, circling over straight lines, fragmentation over the complete, ambivalence over certainty, the minor over the major. Imitations and the real weave into each other so that eventually the two might merge into one. Walls are knocked down only to be rebuilt and knocked down again. Indeed, the task of telling is itself fractured and interminable; it has multiple beginnings, multiple voices, and thus infinite retellings might only edge the teller/s closer to their story. The kaleidoscope slowly turns, each glass bead dancing around the other.

Don Driver Banner Works | Vexillology

Don Driver Banner Works | Vexillology

Opening event Wednesday June 13, from 6pm

Bowerbank Ninow, Auckland

Don Driver’s large-scale banner works are, like most of his output, complex, hybrid entities. Like all of Driver’s mature works, they display a compositional rigour derived from modernism’s radical fracturing of the picture plane, but also venture outside of these strictures, drawing in elements of the outside world through an assemblage process derived from the explorations of Robert Rauschenberg and, before him, Kurt Schwitters.

Vexillology is made up of six examples of Driver’s banner work. These pieces reflect Driver’s ongoing interest in the potential of wall-hanging works, building on the series of highly successful formalist abstractions produced during the 1960s and early ‘70s. Driver’s move towards soft materials and assemblage was perhaps borne out of frustration at the logistical issues surrounding the transport and handling of highly polished, technically precise modernist works, which are prone to damage and whose conceptual integrity is reliant on presenting a seamless, unbroken front to the viewer. However, choosing to transfer the methodology of his rigid, painted relief works into a medium that could be rolled and folded has the effect of completely changing the way the works are read. Suddenly, they are objects that hang, and that speak in the language of banners, flags or tapestries: objects that are traditionally carriers for meaning, signifiers of a group identity or a hegemonic power.

Patchwork is a significant example of Driver’s mastery of abstract composition, in which overlapping, painterly fields of colour are balanced by the inclusion of a cow’s skull with a ballcock and chain attached. These totems of agrarian New Zealand are reconfigured here, functioning both as a compositional element that draws the eye upwards and offsets the forceful central fields of red and yellow with a linear element, and as a wry Taranaki momento mori.

Elsewhere, Skin and Bone represents a different aspect of Driver’s practice, working much more sculpturally and giving precedence to the assemblage of found objects. This process tends to create works that tip the balance towards narrative and atmosphere and away from structure and composition, although Driver’s mastery of modernist image-making remains evident. Skin and Bones, as the title suggests, plays with the interaction between hard and soft, and between supporting, internal structures and flexible coverings. The bicycle tyre, which Driver would return to almost a decade later in 1991’s Mellow Yellow, frames a cow’s skull and jawbone, as well as a spade, a symbol of manual labour and, in this context, a rigid, inflexible “bone”—perhaps also evoking the idea of digging, exposing the “bones” of the country. Alongside these objects, an empty tubular sack hangs like a ghostly presence, its contents (bodily or otherwise) long since departed.

John Hurrell notes the extent to which Driver’s work engages with ideas related to religion, mythology and embodiment, contending that the sacks, barrels, tools and clothing that make up such a significant part of Driver’s work “can be interpreted as symbols for soul-bearing bodies.” There is tension between the formal elements of Driver’s work—his knack for finding balanced combinations of forms and colours that create harmonious modernist compositions—and the symbolic readings inherent in his choice of materials, namely the discarded and found by-products of late twentieth-century material culture. However, this tension never works to distract or confuse the viewer, but rather opens new, fertile avenues of thought to be explored. In this respect, the questions posed by Driver’s work remain resonant and challenging today.

Image: Don Driver, Skin and Bone. 1978, spade, bicycle tyres, sacks, cowhide, felt, animal skull and jawbone on tarpaulin. 1750mm × 2100mm

Gemishka Chetty | So Where Do You Really Come From?

Gemishka Chetty | So Where Do You Really Come From?

Opening event Wednesday June 13, from 5pm

Studio One Toi Tū, Auckland

Auckland’s multicultural background is revealed in Gemishka Chetty’s photo and video works – capturing the lives of young adult immigrants and immigrant’s children who now call themselves
kiwis. Chetty’s work celebrates the ethnic diversity of Auckland and people trying to find acceptance and defining their identity.

Group Show | Landscape & Memory

Group Show | Landscape & Memory

Opening event Wednesday June 13, from 5pm

Studio One Toi Tū, Auckland

Artists Chervelle Athena, Gillian Green and Nicholas Monks all share a fascination with nature. Memory, rituals and spirituality are another common interest expressed in their group exhibition.

John Roy | Mr Invisible

John Roy | Mr Invisible

Opening event Wednesday June 13, from 5.30pm

The National, Christchurch

“My work revolves around iconic forms, social memory, and what the viewer brings to the piece or their knowledge of that form. I introduce my ideas or thoughts in a way the viewer can relate to or interpret comfortably.  It is important to maintain my social, political and aesthetic intentions for the work, yet provide enough information for the viewer to draw upon their own personal experiences to tell their own story”.
John Roy has been working in clay for 26 years.  He trained at Wanganui Polytechnic, receiving a Bachelor of Fine Arts in 1997 majoring in Ceramics. Since then he has exhibited continually in solo and group exhibitions in New Zealand, and has won numerous Awards including Premier award /New Zealand Society of Potters Exhibition 2004, Merit Award /Portage Ceramics Award 2004, Supreme Award /Waiheke Ceramics Award 2004, Non Functional Object Award/New Zealand Society of Potters Exhibition 2006, Waikato Award /Waiclay National Ceramics Exhibition 2006, Merit Award /New Zealand Society of Potters Exhibition 2010. His work is held in a number of public collections including the Auckland War Memorial Museum, Tauranga Art Gallery, Waikato Museum and Art Gallery, Sarjeant Gallery, Rotorua Museum and the James Wallace Arts Trust collection.
Image:  John Roy, Wisp, 2018, handbuilt earthenware.  Photo: John Collie

Mary-Louise Browne | White Satin

Mary-Louise Browne | White Satin

Opening event Wednesday June 13, from 5.30pm

Bartley and Company, Wellington

You are warmly invited to join Mary-Louise for the opening of her new exhibition next Wednesday 13 June at 5.30pm

The title of the exhibition operates materially and poetically to open out possibilities of meaning. Like the The Moody Blues song that the title brings to mind, it is a love song – to language, to lists, to taxonomical processes, to order, to calm. Here white words shimmer on white satin. White works, with just a splash of colour in the white gallery, operate almost as a secular prayer for a gentler, kinder world.

This new body of work came about after a reading of The White book by Hang Kang, which opens with a list of white things. Strangely familiar, this resonated with an earlier artwork of Mary-Louise’s:  Off-white pages, a handmade publication, created in the 1980’s apartheid era, listing dictionary meanings given to white. The new work may be seen as over-scaled book covers with the title projected on the surface, a cinematic sleight of hand with the curtain waiting to be opened to the politic hidden behind.

Mary-Louise has been working at the forefront of text-based conceptual practice in New Zealand for over 30 years. Using text in lieu of imagery, her work speaks to the visual while refusing the prevalence of images and their authority over contemporary imagination. She has an impressive history of exhibitions and and has created several permanent art works in public places in Auckland and Wellington.

Matthew Hawke | Viserate

Matthew Hawke | Viserate

Opening event Wednesday June 13, from 5pm

Studio One Toi Tū, Auckland

Matthew Hawke is a rule breaker. He uses multiple mediums to represent his fascination with the creative process. The essence of his work is the journey of identity. He documents people, places and objects as a print-maker and writer. In exhibiting his work he
invites audience members to reflect and discover new aspects of their own

Call for Applications | British School of Rome Wallace New Zealand Residence Award

Call for Applications | British School of Rome Wallace New Zealand Residence Award

Submissions due Monday July 23, no later than 5pm

Apply now for a three-month residency at the British School at Rome, Italy. This residency is an initiative driven by independent working artists and is designed to facilitate a unique opportunity for New Zealand artists in their early to mid-career stage. Artists can submit work in the mediums of painting, sculpture, audio-visual, print, photography, drawings and interdisciplinary arts.

Apply for the British School of Rome Wallace New Zealand Residence Award here.

How to apply:

In addition to basic information applicants will be asked to supply the following:

• A statement of intent outlining what the applicant wishes to explore and achieve while in Rome at the BSR and how this residency will provide a new direction or otherwise impact on their work (no more than 500 words);

• Curriculum Vitae, in PDF format;

• The applicant’s CV is to include the names of two referees with their contact details. The nominated referees should be able to comment on the applicant’s artistic and professional achievements and potential and be willing to sign a declaration confirming the absence of conflict of interest;

• A digital portfolio, in PDF format, including a selection of works demonstrating the range of uses of their chosen medium/media. This may include images, writing, hyperlinks to showreels or anything else relevant to showcasing the applicant’s work.

• The portfolio should detail 6 -10 individual artworks or projects and include:
o Two works of art created during the year prior to the application deadline;
o At least two of the works of art must not have been sold;
o Works of art that have been exhibited are clearly marked;
o At least two of the works of art must be made available for exhibition and possible purchase in the Wallace Art Awards Travelling Show. The two works should be clearly indicated.

The successful applicant will be notified by August 21 which work(s) of art have been selected for exhibition, and must make arrangements for his/her work(s) of art to reach the Wallace Arts Trust in time for the exhibition, opening on the September 3 2018.

Call for Applications | Fulbright-Wallace Arts Trust Award

Call for Applications | Fulbright-Wallace Arts Trust Award

Applications due Monday July 23, no later than 5pm

The annual Wallace Art Awards profile outstanding examples of contemporary New Zealand art. Through establishing the awards in 1992, Sir James Wallace’s aim was to foster, honour and support the practices of visual artists. Over the years some of New Zealand’s most prominent artists have entered and the residencies awarded to the winners have transformed their careers. Past winners have included Andy Leleisi’uao, Yuki Kihara, Mark Braunias and Judy Millar.

Differing from other major art prizes, the Wallace Art Awards provide broadening experiences to the five major winners by way of various residencies at top-class international institutions. Artists can submit work in the mediums of painting, sculpture, audio-visual, print, photography, drawings and interdisciplinary arts.

The Fulbright-Wallace Arts Trust Award is for an outstanding mid-career or senior New Zealand visual artist to undertake a ten week residency at Headlands Center for the Arts in Sausalito, California. One award valued at US$24,000 is granted each year, towards a ten week artist residency.

Fulbright New Zealand was established in 1948 to promote mutual understanding through educational and cultural exchanges between New Zealand and the United States of America.

Apply for the Fulbright-Wallace Arts Trust Award here.

To be eligible, you must:

  • have a suitable background in the visual arts. The minimum qualification is a Bachelor’s degree, or the equivalent artistic or professional achievement;
  • have a specific project on which you propose to work on during the residency; and
  • meet the citizenship requirements for this award.
Holly Zandbergen | Compositions of Nature

Holly Zandbergen | Compositions of Nature

Opening event Thursday June 14, from 6.30pm

Black Asterisk, Auckland

London, New York, Toronto, Seattle and Timaru are just some of the places Holly Zandbergen paintings have been shown since she graduated from the Dunedin School of Art in 2013 and immediately headed for the United Kingdom. And she’s worked hard for her international success. While based in London, working as an au pair, the 26 year-old who is originally from Timaru, continued to paint, entering her work into various competitions, winning awards – notably the Best Young Artist award at the National Open Art Competition in London in 2015 – and being shown at various galleries, including a solo show for the ‘River Series’ at the Graham Hunter Gallery in London. Crucial exposure which bought her to the attention of Rebecca Hossack.

Hossack has two galleries in London and one in New York, in addition to being a regular on the international art fair circuit. Signing with Hossack in 2016 has meant that Zandbergen has gained an impressive amount of offshore exposure for such a young artist. Proving that talent and tenacity really are a winning formula. Zandbergen who returned to New Zealand in 2016 is now based in Christchurch where she continues to paint and exhibit. Her most recent body of work ‘Compositions of Nature’ will have its first showing at Black Asterisk from June 14th to July 18th.

Landscape has been Holly Zandbergen’s painterly preoccupation over the last few years. Mountains iced with snow, tumbling, murky bodies of water, verdant tracts of native bush and the most recent iteration, flowers in her mother’s garden.

Working in oils and using the impasto method, Zandbergen
layers her paint on, she says, by instinct rather than eye, though quite often uses photographs as her starting point. However, the paintings aren’t about capturing a moment in time preserved in its actuality by a photograph, but consolidating the wholeness of her subjects, across the day and the seasons, capturing the ever changing light and shadow, be it on a mountain or a corner of a domestic garden with its cacophony of colour.

Abstract her paintings may be but the subject matter
is always instantly recognisable, both visually and viscerally.
Lush, richly textured and full of movement, her paintings capture and reveal the essence of her subject matter rather than its specificity allowing the viewer to bring their own experience to the act of seeing.

Image: Bloom, oil on linen, 120x160cm, 2018.

How to say something with fewer words | Objects without Object

How to say something with fewer words | Objects without Object

Opening event Thursday June 14, from 6pm

play_station, Wellington

How to say something with fewer words: Objects without Object

Object;- a material thing that can be seen and touched.
Object;- a goal or purpose.
Object; – say something to express one’s opposition to or disagreement with something.

HTSSWFW; Objects without Object brings together a range of practitioners working across New Zealand, Australia and Chile with collections, reproductions, assemblage, objects, narratives, art and non art.


Anthony Johnson (AUS)
Brad Heappey
Caitlin Devoy
Dani Terrizzi
Elisabeth Pointon
Erica van Zon
Kane Laing
Kalya Ward
Lee Jensen
Nicolas Grum (CHL)
Rachel Hope Peary
Yonel Watene

Proudly Sponsored by
George Greville from Tommy’s Real Estate

Proudly Supported by;
City Timber

Matt Palmer | From A Distance

Matt Palmer | From A Distance

Opening event Thursday June 14, from 6pm

NKB Gallery, Auckland

Matt Palmer’s New Zealand is iconic, yet intimate. His paintings explore the role desire and intimacy play in the recall of personal history and development of memory. Palmer an expat New Zealander, living in Australia, draws upon experience and a developed sense of personal mythology in depicting the land From a Distance:

I see myself as a New Zealander living in Australia. Set against the background of this fact about my life, are intense feelings of loss and longing. The dream of living somewhere on the east coast or settling into life again on the Cook Strait suburbs of Wellington, the illusion or the vision from afar always seems so much more appealing than the constant struggle to stay afloat in the hustle and bustle of Sydney’s inner city sprawl.  Of course, we all know this is a symptom of something deeper and more significant of the human condition. In fact, the truth would be closer to “The grass is always greener”.

“What I am longing for is a sense of space. Moments where nothing else matters except the way the light hits the hills or the way the road cuts through the composition, promising something around the next corner. This tension between reality and imagination lies at the heart of my paintings. The way that I make them is even trapped in there somewhere. What is real? What is made up? What is by my hand and what has been provided by the moment? A secret place which I find myself protecting as if my life is at stake. Emotionally it feels as if it is”.    (Matt Palmer, 2018)

A background in filmmaking informs Palmer’s painting practice. His compositions are cinematic, atmospheric and narrative driven, while his brush work plays in the space between the painterly and photographic. This new suite of highly personalised landscapes, capture a moment in time, where light and spatial arrangement work together – tapping into something distinctly New Zealand, yet strangely universal. Through roads, dilapidated buildings, fence posts and other civilizing signs are playfully set against the vibrancy and rawness of the natural landscape, perhaps exposing both the tension and congruity of our relationship with the land.


Palmer’s father is the well known New Zealand landscape painter Stanley Palmer. Matt was brought up experiencing the New Zealand landscape from multiple angles, exploring its far reaches as he went on his father’s frequent painting excursions.  Palmer’s creative upbringing lead him Elam School of Art where he was taught and a further inspired by Denys Watkins; following which he moved to Sydney in the mid-nineties to explore a career as film director, working extensively on short films and music videos for which he has won a range of awards in Australia and overseas.  Palmer had his first show of paintings in 2013, and two subsequent sell out exhibitions in 2014 & 2016. His paintings have been reviewed favourably by herald critic TJ McNamara and feature in a variety of private and corporate collections across Australasia, Europe and the USA.


Vea Mafile'o | Digital Launima

Vea Mafile'o | Digital Launima

Opening event Thursday June 14, from 5.30pm

St Paul Street Gallery, Auckland

“Mining an archive of personal footage that spans almost fifteen years, Vea Mafile’o renders a digital ngatu launima (decorated barkcloth) that both conflates and acts as an index of time. Ngatu launima is one of a variety of Tongan textiles that commemorate historical events and genealogical histories.[1] Much like ngatu launima, there is a sense of scale and generosity in Mafile’o’s work. The three-screen projection is a cascade of visual imagery and sound drawn from her return trips to the Kingdom of Tonga from as early as 2003.

Unique juxtapositions oscillate between past and present as well as personal and collective histories. Mafile’o draws on a diverse range of imagery; from the 2016 Tupou College Toloa Sesquicentenerary juxtaposed with a koka’anga (female collective of barkcloth-makers) creating a launima in the village of Lapaha. Within these public celebrations are more personal narratives that reflect Mafileo’s experiences. In one part of the work scenes of the Tongan landscape are layered over with a recording of Mafile’o’s late Aunty Ana sending best wishes to family in Aotearoa.” — Ane Tonga

Vea Mafile’o (b. 1981) is an artist of Tongan, Māori and Scottish descent who works primarily in moving image and installation. She completed a Bachelor of Visual Arts and a Graduate Diploma of Fine Arts from the University of Auckland, and has exhibited extensively since 1998. Selected exhibitions include This Time of Useful Consciousness—Political Ecology Now, The Dowse Art Museum, 2017; Imaginary Dateline, Venice, 2015; and Tonga ‘I Onopooni: Tonga Contemporary, Pātaka, 2014. Mafile’o continues to work as a filmmaker and is co-founder of the company Malosi Pictures. She is currently developing her first feature film, which is due to be released later this year.

[1] Ngatu launima (decorated barkcloth) is revered for its size. Launima indicates the length of fifty individual pieces sized between 45-60 centimetres.

This exhibition opens alongside AUT Art + Design postgraduate shows in ST PAUL St Gallery One.

Tracey Tawhiao | Te Puna O Āio: The Temple of Potential

Tracey Tawhiao | Te Puna O Āio: The Temple of Potential

Opening Event Friday June 15, from 5pm

DCT Performance Space
WG210 access from L2 Atrium Foyer
Sir Paul Reeves Building [WG]
WG Building access: Gov Fitzroy Place or Wellesley St East, Auckland

Thursday June 21, from 5-9pm with music and poets at 7pm
Tuesday June 26, from 5-9pm with an Artist Talk at 7pm

Closing Exhibition Friday June 29, from 6-9pm

“As a contemporary Māori artist working within Aotearoa, New Zealand, I investigate what is meant by spirituality or wairua in my art practice; and why Māori art is both a practice and a philosophy that can revive the spirit. I explore my connection to the natural world and the primordial elements to define what is meant by an Indigenous psyche. Steeped in the same wairua of customary Māori art, I am in the realm of imagining, feeling and activating a force from within. I project non-physical images/ideas into the physical world. Being in the realm of wairua Māori informs my art practice despite the impacts of colonisation. Enacted through whakapapa (genealogical connection) to the natural world, my art practice is a pathway to reviving an unwritten/oral philosophy.

Through my own creative art practice and research, I have awakened my own primordial connection to Nature’s biological intelligence and created a place that enriches wairua. Wairua exists within all whakapapa. I have activated my artwork Te Puna O Āio, The Temple of Potential with its own spirit and whakapapa. Wairuatanga and Māorioritanga are evoked as a framework to attend to the spirit through an ease or lightness of approach. This research proposes a counter-narrative to art as hard work, instead positioning art as an elemental flowing spring of our creative potential that emerges with Ease. This Ease combined with Spirit has become a method I use to create my work.

The simple notion that grounds this research is that we have a spirit and it must be activated; both to contribute to “thought” and to activate our inner potential. The spirit joined with our physical being contributes to a multi-dimensional reality. It is an acknowledgment of our potential to be anything we can think of being, regardless of our circumstances. Using an indigenous-auto ethnographic methodology, this thesis explores how the Temple of Potential; Te Puna O Āio, as a piece of contemporary Māori Art, constitutes the space of the acknowledged spirit; a place to remember our multi-dimensional potential.

This work describes the evolution of Te Puna O Āio. A – vibration of the sacred feminine. I – vibration of the sacred child potential. O – vibration of the sacred masculine. ĀIO – peace, calm, serenity, tranquility, balance of potential. Te Puna O Āio is not a direct translation of The Temple of Potential, as an architectural form, instead it is a vibrational equivalent that expresses this spiritual potential.

At the very end of this work, I discovered that, Te Puna O Āio metamorphoses to Te Pū Nao A Io, the source, essential, creative energy, influence of the creator within us all.

The thesis for this work will be online in a couple of months. This opening is of the Temple itself.”

Tracey Tawhiao

Naumai Haeremai.

Marie Shannon | Short Stories

Marie Shannon | Short Stories

Opening event Sunday June 17, from 4pm

Trish Clark, Auckland

Trish Clark Gallery is pleased to present a solo exhibition by Marie Shannon to coincide with both the 2018 Auckland Festival of Photography and her survey exhibition Rooms found only in the home currently at Adam Art Gallery, Wellington. Shannon’s survey exhibition was developed and presented by Dunedin Public Art Gallery in 2017 and tours to Auckland in 2019. Developed from DPAG’s holdings of the artist’s work and her personal archive, the exhibition brought together the history and current concerns of this important artist.

Short Stories will elucidate her importance within contemporary New Zealand art history, marking a departure for Shannon in bringing together a body of moving image works developed over the past eight years, including three new short videos.

Shannon represented New Zealand in 1996 at the Asia Pacific Triennale held at Queensland Art Gallery, and also exhibited that year in Sydney at the Australian Centre for Photography. Two years later Shannon showed at the Govett Brewster Gallery, New Plymouth, and the Australian Centre for Contemporary Art, Melbourne. In 2000 her work was included in the exhibition Fissures, shown at ACProjects, New York, curated by Connie Butler as part of the series, Five Shows, Five Curators.

Auckland-based artist Marie Shannon has been creating delicately intimate, witty and thoughtful works for over thirty years. While the domestic has remained her primary concern, her work has also addressed the artwork of others as a way to investigate the creative process. Since the death of her partner, artist Julian Dashper, in 2009, Shannon has been cataloguing his works and archive in their shared Auckland studio. From this lengthy process she has gathered the material for her text-based video works and related photographs. Her desire to use text in a visual, as well as a narrative context, stems from an interest in the conventions of text titles and credits in movies.

Working with photography as her principal medium, Shannon’s practice also incorporates drawing and video. Her use of a large-format camera and her own hand-printing results in sharp, finely detailed silver gelatin prints, variously toned with sepia, selenium and gold. Shannon is interested in the narrative or poetic resonance of the single object, “using photography to display, or show something and to ask the viewer to pay particular attention to it.”

Whitu | Matāriki Exhibition

Whitu | Matāriki Exhibition

Opening event  Sunday June 17, from 2pm

Masterworks Gallery, Auckland

In celebration of Matāriki (Maori New Year) several of our Maori artists were asked to invite another, with the idea that in remembering the past we acknowledge the importance of the future in the creative continuum.
Whitu (seven) is inspired by the seven stars (whetu) of Matāriki whose visibility in the sky mark the start of the New Year and will showcase artists from the broader craft/object field, including Mike Crawford, Stevei Houkamau, Roger Kelly, Te Rongo Kirkwood, Neke Moa, Aaron Scythe, Terence Turner and Keri-mei Zagrobelna.

Join Masterworks Gallery at the opening Sunday June 17 from 2-4pm. All welcome.

The seven stars of Matāriki: Tupu-ā-nuku, Tupu-ā-rangi, Waitī, Matāriki, Waitā, Waipuna-ā-rangi and Ururangi.

Image: detail of Aaron Scythe wall plate

Call for Proposals | Studio One Toi Tū

Call for Proposals | Studio One Toi Tū

Proposals due Sunday July 22

Studio One Toi Tū, Auckland

Call for Exhibition Proposals for the 2019 calendar year are now open. Applications close on Sunday the 22nd of July. Get started now and get planning for your next show at Studio One Toi Tū.

Follow the link for more information and to apply.

Studio One Toi Tū offers more ways for Aucklanders to meet and share ideas, skills and practices with each other and visitors. Whether you’re a beginner or experienced, a maker, a resident or a visitor, creativity can become part of your life in Auckland.

Studio one Toi Tū is always keen to hear from makers and innovators with ideas for events, activities and exhibitions or those with studio or space enquiries and proposals.

Call for Proposals | NZSoS 2018 Indoor Gallery

Call for Proposals | NZSoS 2018 Indoor Gallery

Proposals due Friday August 31, no later than 5pm

NZ Sculpture OnShore are now inviting submissions for the Indoor Gallery at NZ Sculpture OnShore 2018 is now open. In 2016, the gallery raised tens of thousands of dollars for Women’s refuges and artists around the country.  If you’re an artist working in small sculpture or quality objet d’art, and would like your work to be seen by an arts-focused audience of 20,000 while supporting a good cause, then they would like to hear from you.

All artists interested in proposing an artwork(s) for the Indoor Gallery space in the Officers’ Mess at Fort Takapuna in Auckland are invited to submit a proposal(s) for consideration. It is not a themed exhibition. All concepts will be considered.

Proposals will be received until 5pm on Friday August 31 2018. – however they urge you to register early to secure your space. There is no entry fee.

NZ Sculpture OnShore looks forward to hearing from you.

– Ross Liew and Anna Hanson, Curators, NZ Sculpture OnShore 2018.

NZ Sculpture OnShore is a national biennial event presented at the spectacular Fort Takapuna Historic Reserve on Auckland’s North Shore. The Indoor Gallery is an opportunity for artists to place sculptures and works related to their sculptural practice within an indoor environment focused on sales. For several years the indoor gallery has included both artists who have been selected for the outdoor exhibition and any other artist who submits work of a suitable quality.

The focus in the Indoor Gallery is to provide a very diverse offering of high quality art works of all sizes for interested art collectors and members of the public. NZ Sculpture OnShore aim to include many smaller art works that are priced more modestly; and several artists have provided us with multiples and editions.

NZ Sculpture OnShore welcome submissions of more than one work.

All of the works will be for sale. NZ Sculpture Onshore Ltd will take a commission of 33⅓%, the proceeds of which will directly benefit NZ Women’s Refuges. They are proud to say that, since its inception, more than $1.7 million dollars has been donated for women and families in need across New Zealand.

For more information, please visit their website, or contact us at

All proposals should be submitted via our online form here:

2018 Exhibition |  November 3 – 18 | Fort Takapuna, Devonport, Auckland |

Enquiries |

image: Russell Beck, ‘Autumn Diagonal’, 2014. Photo: Goina Thedinga,

Call for Proposals | Paragon Matter

Call for Proposals | Paragon Matter

Proposals due Wednesday August 1

Paragon Matter is excited to announce a new outdoor sculpture exhibition open to all practising artists.

The exhibition site is located in the historical milling town of Owhango, bordering the Ohinetonga Reserve, next to the Tongiriro World Heritage National Park.  Owhango Summer Sculpture Show will showcase artwork by leading New Zealand sculptors at the inaugural exhibition in January 2019.

Established by artists Jonathan Organ and Jessica Pearless, the inaugural exhibition offers professional artists the opportunity to present works in the unique enviroment of Owhango, close to New Zealand’s most stunning scenery.

All works exhibited will be for sale. Assistance with installation will be provided.

How to apply

Expressions of interest are invited until  August 1 2018.

Please include:
– An artwork concept, sketches, digital renderings
– Artist curriculum vitae
– Portfolio of past work

To request a site map and images contact: 

Jonathan Organ + Jessica Pearless
Paragon Matter

Rosie Parsonson | Eye Candy

Rosie Parsonson | Eye Candy

Opening event Friday June 22, from 5.30pm

Megan Dickinson Gallery, Whangarei

MD Gallery proudly presents Rosie Parsonson’s much anticipated solo exhibition – Eye Candy.  We warmly invite you to attend the grand opening event on Friday 22nd June 5.30-7pm.  Rosie’s breathtaking body of work features large and small scale paintings along with a limited edition series of embellished prints.  A fabulous collection of vitrified stoneware vessels by “Rosie & Rich” will be available to purchase on the night too.

For the duration of her exhibition, you will have the opportunity to see Rosie in action every Saturday from 11am-1pm at the gallery.  Weather permitting she will be completing her gorgeous mural (which is already looking fantastic!) on the outside wall of the gallery, or indoors working on a painting or two.

We are also very excited to announce that our friends at McLeod’s Brewery, Waipu are kindly sponsoring this event with their delicious hand crafted beer.

If you cannot make it to the opening event do not despair. The works will be available for preview from June 20 and the exhibition runs until July 21, so plenty of time to view these unique works.

Thomas Pound | The Instance No Categories

Thomas Pound | The Instance

Opening event Wednesday June 20, from 5pm

Old Government House, Auckland

Visual Poetry
Thomas Pound has a unique, curious eye refined by years of film-making, theatre design, museum exhibits and found-object sculpture. For his latest visual harvest, once again, he collects from the streets. A hundred Instagram squares richly informed by what the Count de Lautréamont called ‘the chance meeting of an umbrella and a sewing machine,’ not to mention roses, road cones, rotundas, and rare birds. This is vital visual poetry for all creative readers.
Roger Horrocks, Emeritus Professor at the University of Auckland.
“The works encourage a type of seeing that can produce a disconcerting response: have I been here before? I remember a playground like that when I was younger…Reframing both his and our reality is indeed the territory of his work.” Sam Melser, curator.
On Instagram : thomasnewmanpound

Art Ache by Candlelight | Dunedin

Art Ache by Candlelight | Dunedin

Thursday June 21, from 5pm

Dog with Two Tails, Dunedin

Art Ache has a supremely delicious line-up of artists for you to salivate over between sips of your heartwarming mulled wine.
Ft. John Ward-Knox XXX Motoko Kikkawa XXX Daniel Blackball AlexanderXXX Holly Aitchison XXX Edward Richie.

All artists will be present on the night with selected studio treasures for your satisfaction.
More information and artists bios will be gracing the Art Ache page leading up to the event.

Group Show | Backhome No Categories

Group Show | Backhome

Opening event Thursday June 21, from 6pm

Lowtide, Auckland

In a globalised society where change is constant, where most of us are further away from our roots than any of our ancestors have ever been, our ideas of home are often liminal and transitory. How can we establish our own identity in spaces that are endlessly moving? How can we find home when we’re endlessly placed in unfamiliar spaces?

We create tangible recollections which help us process events, space, time, and in turn this helps us heal, establish identity, and remind ourselves that we exist.

backhome is a collection of autobiographical works focused on capturing people, textures, spaces, experiences in our lives that are bound to change. The works are part of the process of documenting small things, big things, and the spaces between them. It is within what’s captured where we find home.

Featuring still and moving image installations by: 
Iara Gelpi
Bridget McCarthy
Joel I Thomas

Thursday June 21, 6pm.
Cheap beers and free snacks.
Koha for the bands.

Featuring live music by:
Tree Nurse

Different events taking place throughout the week!

Open from 2pm-6pm, Monday-Thursday.

Nikolai Kokx | The Hand No Categories

Nikolai Kokx | The Hand

Opening event Thursday June 21, from 5pm

Photospace Gallery, Wellington 

This photographic series consists of images of the anonymous hands of secondary school students who have branded their hands with “tattoos” in biro. Often the product of classroom boredom, these applications of ink may appear as mindless doodlings, but on closer examination they reveal loaded subliminal messages of a kind suggesting speculation on the origins and significance of the tattoo in human societies, as well as engaging us with associated and often unsettling social issues and very contemporary ideas around the construction of self – in this case the volatile teenage self.

Sarb Johal | American Granite No Categories

Sarb Johal | American Granite

Opening event Thursday June 21, from 5pm

Photospace Gallery, Wellington

“Often, there is a view that taking photographs of objects and scenery somehow interferes with our enjoyment or experience of being in the moment. However, the reality is more nuanced than this simplistic view. Taking photographs can also heighten our sensibilities and sensitivity and increase our engagement in our experiences.  For me, walking around a snowbound Yosemite National Park was a truly wondrous experience. My wife and I were amongst the last to be admitted into the Park for two days as the snow mounted up and transport options both into and out of Yosemite became difficult. Many of these photographs were made wandering around with a Park Ranger in sub-zero temperatures one morning. I went back to my room so cold that I couldn’t actually move my fingers for a few minutes. I remember nervously checking my camera memory card to see that my fingers were working well enough in the field to have actually pressed the shutter when I thought I had. “
Dr Sarb Johal is a Clinical Psychologist and photographer. He enjoys experimenting with different styles of photography, including documentary, portrait, travel and landscape. He has been taking photographs for as long as he can remember, first using 110 and 126 film cameras before moving on to 35mm film with a Praktica B100. He was an early adopter of digital photography, and has recently moved to the Fujifilm mirrorless camera system. These photographs were made with a Fujifilm X-T1 and 18-55mm lens.
Timon Maxey | Land & Water Paintings

Timon Maxey | Land & Water Paintings

Opening event Friday June 22, from 5pm

Taylor-Jensen Fine Arts, Palmerston North

Taylor-Jensen Fine Arts takes great pleasure in showcasing the talents of Whanganui-based artist Timon Maxey.  According to the artist, “the title Land & Water pretty much encapsulates the subject matter of my artworks. I have a passion for rivers, geography, landforms and maps, so not surprisingly these interests are conveyed in my paintings of beautiful and interesting landscapes. I very much enjoy painting the amazing landscapes around Whanganui, Rangitikei and Manawatu.” Formerly a commercial artist in Wellington, Maxey now devotes most of his time to his ‘dislocated painting style’ of which the artist will exhibit approximately 20 paintings. The term ‘dislocated’ was coined by the late Feilding artist Rita Easther for her own works in a similar technique; a Wellington dealer called them ‘Fractionalist’, while they are often seen as a type of ‘Cubism’ in the historic perspective.

Born in London in 1966 to Kiwi parents on their OE, Maxey was named by his English-teacher father after the title character of the play Timon of Athens by William Shakespeare.  His talent and creativity comes from his mother who taught art, encouraging both Timon and his sister Sarah to pursue artistic endeavours.   Maxey studied geography at Victoria University, Wellington gaining a BA. Discovering his true passion led him to take an Auckland-based design course, where he attained a Certificate in Production Graphics and Design (1991); later gaining an Advanced Certificate in Multimedia from NCMT, Wellington (2000).  Maxey is also a keen kayaker who uses his kayaking expeditions to gain inspiration for his artworks. “Art and kayaking aren’t natural bedfellows,” he says, “but I’m obsessed with both, so it seems natural to combine them.”  Maxey was the kayaking double for Aragorn in Lord of the Rings and also acted as an Orc in that Peter Jackson epic.

Among the many awards and kudos that Timon Maxey has garnered during his career include being a finalist in the NZ Post Book Awards (2005) for illustration and design of Everything You Need To Know About The World by Simon Eliot. He also developed a children’s television game show from the book which screened in New Zealand and Australia. In 1998 he was a finalist in the Wellington Telecom Art Awards and in 2001 he was a finalist in the Wairarapa Telecom Art Awards. Also in 2001, the maps he designed for Captain Cook’s World helped that book to win the Spectrum Print Annual Book Design Award for that year.  Maxey was a finalist in the 2014 Waikato River Art Awards; he completed a large commission for Sydney-based clients later that same year. Timon is featured in Denis Robinson’s New Zealand’s Favourite Artists (2008). North & South Magazine featured an article on Maxey’s painting in 2010.  A painting commissioned for the Wellington Airport (2015) was created as a carpet for the domestic terminal in 2016.

Maxey has exhibited extensively throughout New Zealand as well as being shown in the Art Attack Gallery in Dubai.  His river-themed works have also been shown in Flagstaff, Arizona and at the Orbit Gallery in New York City.

Originally establishing has art practice in Wellington, Timon and his family moved to Whanganui in 2017 for family reasons, superior weather and the easy lifestyle of the provinces; he has secured a studio in the new Glasgow Street Art Centre. Land & Water will be Maxey’s first exhibition at Taylor-Jensen Fine Arts. It is a much anticipated event!

Image: Timon Maxey. Sunset Manawatu.

Auckland City Mission | Life

Auckland City Mission | Life

Opening event Saturday June 23, from 2pm

Depot Artspace, Auckland

Auckland City Mission’s Homeless Services presents Life, an exhibition of mixed media works by some of Auckland’s inner-city rough sleepers and marginalised people. In 2016, Depot Artspace hosted the first ever multi-media exhibition of Mission artists’ work, and we are proud to once again celebrate their achievement and support the healing and transformative power of their engagement in the arts.

As part of this exhibition there will be a dedicated space for 12 works on paper by a group of homeless London artists. In exchange, 12 works by City Mission artists were exhibited in May in London as part of the ‘This is Where I Live’ international exhibition. This cultural exchange is organised by Sarah Caldwell-Watson from Cafe Art in London.

Final_final Garage Sale

Final_final Garage Sale

Saturday June 23, from 10am – 4pm

Final_final, Auckland

Final_final is closing up shop at the end of June, so they’re having a big clear out and selling our stuff at BANANAS prices. Come down, pick up a bargain and say farewell to the little space on Dryden Street.

There will be a whole lot of second hand stuff—stationery, art supplies, books etc. as well as a nice stash of lovely art prints, zines, and other crafty things, leftover from the two year residence.

EFTPOS available.

Kahurangiariki Smith | MāoriGrl

Kahurangiariki Smith | MāoriGrl

Opening event Saturday June 23, from 2pm

Depot Artspace, Auckland

MāoriGrl combines installation and video game to reinvent the story of Hinetītama / Hinenuitepō, the woman who became the goddess of death in Māori mythology. The game MāoriGrl serves as a visual reference to this story, with bright colours, a nostalgic wide-screen format, and abstract landscapes to create a naïve atmosphere in the game’s world– a stark contrast to the realities of Hinenuitepō’s purpose in embracing the deceased.

The title and essence of the game itself is derived from Aroha Yates-Smith’s thesis Hine, E Hine, in which she researched different Māori goddesses from pre-colonial times and sought to further support a spiritual connection back to these atua wāhine.

This exhibition is part of the Matariki Festival 2018 programme.

Maha Wahine | Weaving Workshop

Maha Wahine | Weaving Workshop

Saturday June 23, from 10am – 12pm

Fresh Gallery, Auckland


Whakawhanaungatanga – Woven Tote Bags

Join Artist Ana Te Whaiti in weaving with contemporary materials. Bring your enthusiasm, creativity and patience to produce something that is unique and usable.

Bookings essential, please call the gallery. 09-261 8030

Frances Atkins | Matariki No Categories

Frances Atkins | Matariki

Opening event Sunday June 24, from 4pm

Northart, Auckland

Window galleries

We celebrate the new beginnings that Matariki brings with an exhibition in the window space by Frances Atkins (Ngati Kahungunu, Ngati Porou), who participated in the gallery’s first Matariki show 12 years ago. That was the start of a close relationship between Northart and the Northcote-based painter, whose creative practice in recent years has traced the changing face of Maori. Viewable by day and at night under lights, works from Frances’ 2016 ‘Tekau’ exhibition will hang alongside new pieces produced especially for this show.

Image: Frances Atkins 2018 ‘Potiki’

Ian Moore No Categories

Ian Moore

Opening event Saturday June 24, from 4pm

Northart, Auckland

With a focus on colour and form, Ian Moore’s works in are based on chevrons – two lines that meet at one point. His central interest is in how they can indicate movement, protection, direction, containment and connection. “Colour speaks to our eyes, words to our ears. A soft tone can evoke a warm conversation,” he notes.

Ray Wilkinson | Exploring Colour No Categories

Ray Wilkinson | Exploring Colour

Opening event Sunday June 24, from 4pm

Northart, Auckland

Ray Wilkinson uses geometric imagery in his paintings, which seek to indicate how colour, texture and space can affect the emotional climate of a work. In several he compresses stripes close together, with bolder colour combinations suggestive of vigour and energy; in others fewer stripes placed wider apart convey a calmer and quieter atmosphere.

Image: Ray Wilkinson ‘Green’

Siobhan Crowley | Cut up Rough No Categories

Siobhan Crowley | Cut up Rough

Opening event Sunday June 24, from 4pm

Northart, Auckland
For her new show, Elam post-graduate student Siobhan Crowley exhibits two series of works created over the past 18 months: ‘Cut Up Rough’ and ‘Some Minor Disruptions’. In both her focus is on drawing and how much or how little information the viewer needs in order to participate, to find their own meaning in the piece. “What will the eye see or not see as it seeks to draw together its own drawing?” she posits.

Image: Siobhan Crowley ‘Untitled’ 2018
Trevor Newman | Eyes Down, Straight Ahead No Categories

Trevor Newman | Eyes Down, Straight Ahead

Opening event Sunday June 24, from 4pm

Northart, Auckland

For his first solo exhibition at Northart, Trevor Newman attempts through his works to answer the question: “Can painting really show us something else, take us on a journey that is not available elsewhere?” Towards that end he activates space, pushing the ‘how’ of painting. The backs of Newman’s artworks and the surface of the gallery wall are intended to interact, to “have a dialogue” with the viewer, encouraging them “to see the world through both a vertical and horizontal perspective that reflects the distraction of contemporary life”.

Image: Trevor Newman 2018 ‘1’

Zoe Nash | Slowly and Carefully No Categories

Zoe Nash | Slowly and Carefully

Opening event Tuesday June 26, from 5om

Grey, Auckland

“Slowly and carefully” – wise words frequently spouted from the mouth of my dearly departed, late mother-in-law, is a show about drawing, mark-making and composition. Using a variety of retro and vintage found materials, combined with a range of media, it playfully dances somewhere between the past and the present, fine art and craft, high and low brow, while weaving together both personal and collective narratives and conversations. Awkwardly conscious of their contradictory status, the works explore a form of labour-intensive, repetitive, pattern-making, slowly building up shape and form to create something from nothing. Via a slow inquiry into space, illusion and obliteration, these works celebrate the fact that, like wine and cheese-making, good things take time…

Zoe Nash

Jo Ogier and Margaret Elliot | Above and Below

Jo Ogier and Margaret Elliot | Above and Below

Opening event Wednesday June 27, from 5.30pm

Solander Gallery, Wellington 

Jo Ogier: Above and Below

Works by Christchurch based artist Jo Ogier are often concerned with issues of conservation, ecology and the role each of us can have in nurturing, protecting and preserving our fragile world. Her work seeks to celebrate the beauty and fragility of the natural world around us with the aim to help us better appreciate, protect and preserve it for future generations.

“In these works I have focused on some or the smaller New Zealand birds in their terrestrial habitats. Using the wonderful fluid qualities of watercolour to capture the fragile and ephemeral moments, like the flit and flutter of a bird within an environment that is always in flux.”

Margaret Elliot: Above and Below

“The thrill in Landscape is a spatial thrill” David Hockney

For over thirty years I have lived on the South coast of Wellington. The drama of the coastal environment continues to fascinate with dramatic weather changes and the force of the sea eroding both land and man made structures alike.

Jacques Cousteau was always compulsory viewing on our black and white TV set. I wanted to become a marine biologist until I discovered that counting limpets in a square metre quadrant is boring and I ended up going to the dark side, art!. I realised that although I was interested in the how and why, I was much more interested in the visual delights of the marine environment.

The two major interests that have driven my painting practice have been the need to convey a sense of the drama of space and scale and a fascination with natural processes and the patterns and forms resulting from these. The painting as it develops over time and the layers build up is a summation of many aspects of my experience of the natural world and my feelings for it and a dialogue with the medium of paint to create a language to express and convey this to the viewer

Image: Margaret Elliot, Beneath the Skin of the Sea, oil on board, 400 x 400mm, 2018

Y4 // Fine Arts+ Photo Media | Mid-year Exhibition No Categories

Y4 // Fine Arts+ Photo Media | Mid-year Exhibition

Opening event Wednesday June 27, from 5.30pm

Pearce Gallery, Auckland

Mid-year show of arty goodness by the fourth year Photomedia and Fine Arts students of Whitecliffe College of Arts and Design.
Come check it out!

Kris Sowersby | There is no such thing as a New Zealand Typeface No Categories

Kris Sowersby | There is no such thing as a New Zealand Typeface

Opening event Friday June 29, from 6pm

Objectspace, Auckland

The British have Gill Sans, the French, Garamond, the Italians, Bodoni, the Swiss, Helvetica. Is there a relationship between a typeface and place? Can a typeface have a regional accent?

With a lack of digital typefaces to choose from, and motivated to create a typeface that local designers could use to communicate with rather than reaching for foreign ones, typeface designer Kris Sowersby began investigating a typeface that would be from New Zealand. It was first released in 2007 and was named National.

Now National is everywhere, especially here at home. It’s on the front cover of the Anthology of New Zealand Literature and in the New Zealand Fashion Design encyclopedia. It’s there every time you pass a Z petrol station or a Westpac billboard. It’s at Te Papa Tongarewa, the Christchurch Art Gallery, and throughout the branding of Victoria University. It’s on everything at Xero. It’s the face of for New Zealand Tourism. It’s even been pulled into politics by the Green and Labour parties. When we want to say “New Zealand”, we seem to reach for National.

Image: Kris Sowersby, 2018

Martin Awa Clarke Langdon and Elliot Collins | Te Reo Pākehā

Martin Awa Clarke Langdon and Elliot Collins | Te Reo Pākehā

Opening Friday June 29

Toi Pōneke, Wellington

Te Reo Māori, like any language is important to the vitality and meaning of culture. The exhibition Te Reo Pākehā asks how we understand these meanings when looking at Te Reo Māori as
non-Māori or as a Māori disconnected from learning the language in the home?

Working across sculpture and painting, artists Martin Awa Clarke Langdon and Elliot Collins converse and reflect on the power of language, place and variation of ‘meanings’ we have access to.

Free Te Reo Māori Lesson
Saturday July 14, from 1-2pm 

Toi Pōneke HUB

In this fun, relaxed, workshop taught by Joan Costello, you will be given the opportunity to learn six accessible, fun and memorable pronunciation tips that will give you confidence to use Te Reo Māori.

Son La Pham | Warm Blood No Categories

Son La Pham | Warm Blood

Opening event Friday June 29, from 6pm

Objectspace, Auckland

Imagining a momentary blur between the opposing axes of corporate identity design and popular music, Warm Blood threads itself into the industrial production of emotion.

Inserting itself between the composite identity mechanisms of commercial art forms – typographic identities, mascots, popstars and their various charms – Warm Blood responds to these visual and auditory exchanges of feeling with a form of branding fan-fiction: one that finds concrete poetry at the karaoke bar, and seeks the beautiful affects in our interactions with these charismatic, partially artificial intelligences.

Image: Son La Pham

Whenua Hou |  New Māori Ceramics No Categories

Whenua Hou | New Māori Ceramics

Opening event Friday June 29, from 6pm

Objectspace, Auckland

Whenua Hou: New Māori Ceramics
Dan Couper, Davina Duke, Stevei Houkamau, Hera Johns, Tracy Keith, Jess Paraone, Hana Rakena and Aaron Scythe.

Whenua Hou: New Māori Ceramics, a joint project between Tauranga Art Gallery and Objectspace, was conceived as a selected survey of recent uku practice. It features new and existing work from artists who come from a variety of disparate geographical locations, making backgrounds, and conceptual positions, but who share (for the most part) an interest in creating works based on kaupapa Māori.

Image: Hera Johns, Kaitiaki

Nga Tohu o Te Kawerau a Maki | the people, their stories and treasures

Nga Tohu o Te Kawerau a Maki | the people, their stories and treasures

Opening Saturday June 30, from 10am

Te Uru Waitakere Contemporary, Auckland

Te Uru Waitakere Contemporary Gallery in Titirangi is pleased to present Nga Tohu o Te Kawerau a Maki – the people, their stories and treasures – an exhibition celebrating the mana whenua of Waitakere and surrounding districts. The exhibition will open at Te Uru in Titirangi on 30 June, following on from the dawn karakia at Arataki Visitor Centre, which launches Matariki Festival 2018.

Nga Tohu o Te Kawerau a Maki marks an ongoing and developing relationship between the gallery and local iwi. Te Uru, a name that refers to the phrase Te Hau a Uru (the wind from the west) was gifted to the gallery by Te Kawerau a Maki. Te Hau a Uru, developed in partnership with Te Kawerau a Maki, was ALSO the first exhibition held in the gallery in November 2014.

Image: Hei Tiki Pounamu from Te Kawerau a Maki Collection

Situate 2018 July Graduate Show | Hungry Creek

Situate 2018 July Graduate Show | Hungry Creek

Saturday June 30

Hungry Creek Art & Craft School, Auckland

3pm – Graduation
3.30pm – 6.00pm – Opening Exhibition

Students graduating:
– Diploma in Art & Craft Year 2
– Diploma in Art & Craft Year 3
– Diploma in Jewellery Year 3
– Diploma in Art & Craft Advanced

Hungry Creek would like to say a big congratulations to the students who are graduating and they will see you there!

Ceramic work by Tamara Nicholson Diploma in Art & Craft

Alvin Xiong

Alvin Xiong

Opening event Saturday July 7, from 2.30pm

Malcolm Smith Gallery, Auckland

Alvin Xiong is an accomplished painter, photographer, sculptor and teacher. He is a tutor at UXBRIDGE and has exhibited at the Centre numerous times. We are pleased to have works by Xiong installed to complement this year’s Estuary Art and Ecology Prize.

Alvin Xiong’s sculpture practice has long concentrated on investigating the relationship between light and shadow. Utilising LED components, Xiong explores Yin and Yang (darkness and light) and how these apparently opposite or contrary forces are actually complementary, interconnected, and interdependent in the natural world.


Katie Blundell | Urban Jungle

Katie Blundell | Urban Jungle

Opening event Thursday July 5, from 5-8pm

Railway Street Studios, Auckland

Explore art together with ‘Idioms Into Action’ our free interactive gallery game.

School Holiday fun for kids and adults alike. Calling for all lovers of thinking, puzzles, meanings, words and images. Come along and engage with Art.

An idiom is a phrase or expression, a combination of words that say one thing and mean another. Artist Katie Blundell’s exhibition, ‘Urban Jungle’ uses idioms referencing animals. For example: “Ahead of the pack” which is accompanied by a cheetah. Playing ‘Idioms Into Action’ you will match Idioms with their underlying meaning, then find the corresponding painting and the Artist will be on hand to help guide you and talk Art.

With her deep interest in the human condition combined with a generous dose of humour, her paintings have a lot to declare. The urban dictionary describes the term ‘Urban Jungle’ as streets, alleys, railway systems and inner-city neighbourhoods, a metropolis characterized by densely packed residential buildings, businesses and a decaying industrial sector.  Blundell takes this as a cue to poke a finger at herself and society, of what we may have lost by building monstrosities, and becoming alienated from each other. She wants us to consider what it means to retain our connections. Blundell has used animals as models, this has enabled her to distance herself from the human issues reflected upon in the idiom as well as bringing in a lighter side.

Influenced by Abstract Expressionism the work contains gestural expression and abstraction. “I start with an idea, then work spontaneously in response to each Artwork through the creative process, never knowing what the Artwork will look like until it is finished”, explains Blundell. She has used a range of medium from drawings, prints, to paintings large and small with techniques to suit. The result is a collection of questions and thoughts. It’s her insights and perspectives, in the here and now, and how she articulates them using contemporary idioms and mediums, that is most exciting about her current work.

Blundell has a Masters of Fine Art from Elam and 20 years of Art making experience to draw from. Years as a Senior Teacher of Art at Diocesan School, provided a platform for her natural tendency towards experimentation; pushing boundaries of her knowledge, skill and equipment – resulting in new and revolutionary ideas.

Railway Street Gallery owner Fiona Cable describes Blundell as “a force of nature who dispenses her treatment of witty humour and double meanings by drawing on deeply personal experiences that viewers can relate to but not always verbalise or admit. She warns visitors to expect to be surprised and delighted when you attend Katie’s upcoming exhibition.”


Katie Blundell Artist with ‘Paint the town grey’ (Chimpanzee) 2018
Medium: Colour and Sumi Ink drawing on 300gm Fabriano paper
Size: 950mm H x 750mm W (Including frame)

Estuary Art and Ecology Prize 2018 | Awards Ceremony

Estuary Art and Ecology Prize 2018 | Awards Ceremony

Ceremony Saturday July 7, from 2.30pm

Malcolm Smith Gallery, Auckland

Now in its 12th year, the Estuary Art and Ecology Prize is 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.

Join Malcolm Smith Gallery on Saturday 7 July for the presentation of this year’s Awards, presented by 2018 Judge, Paul Brobbel.

The Estuary Art and Ecology Prize is generously supported by Howick Local BoardGordon Harris The Art & Graphic Store and Rice Family Partnership.

Group Show | Forest has the Blues

Group Show | Forest has the Blues

Opening event Saturday July 14, from 2pm

Depot Artspace, Auckland

Entangled in the richness of our native forest remnants are the sneaking tendrils of unwanted exotic weeds. Forest has the Blues is an installation project that brings the unique plant life of Aotearoa into the gallery space, with 9 printmakers collaborating to create a large scale urban forest, along with some of those undesirable species, using multiple printmaking techniques.

Alongside the installation will be a mini-forest of seedlings, with native trees to give away to local residents, to encourage better backyard biodiversity. The exhibition draws attention to the native forest presence in our urban areas, and the threats they face from invasive weeds.

The threats are many, from the constant incursions of development and land-use change pushing their boundaries ever inwards, to the proliferation of invasive weeds along their margins that can smother regrowth and limit regeneration, and the devastating effects of plant pathogens.

Participating artists include Celia Walker, Toni Hartill, Elle Anderson, Kheang Ov, Nicola Ov, Ina Arraoui and Esther Hansen, and selected students from Pukekohe High School.

Forest has the Blues is complemented by two free events and is part of the Matariki Festival 2018 programme.

Group Show | Whenua: Land

Group Show | Whenua: Land

Opening event Saturday July 14, from 2pm

Depot Artspace, Auckland

This exhibition takes place during Matariki and celebrates the advent of the Maori New Year and the place of whenua in generating new life.  It celebrates the distinctive perceptions of and relationships to whenua of artists both past and present. Our hope for this exhibition is that it raises awareness of our place on this land, Papatuanuku, and creates greater appreciation for the privilege of our presence here.

Matariki is both the name of the Pleiades star cluster and also of the season of its first rising which signals the beginning of the New Year. When the stars are at their brightest it is thought that this is the most auspicious time for planting. Hence, we acknowledge both the confluence of stars and the fertility of whenua.

Artists: Joanne Barrett, Robyn Gibson, Karen Browne, Richard Joughin, Sean McDonnell, Celia Walker, Jermaine Reihana, Don Binney, Howie Cook.

Whatungarongaro te tangata. Toitū te whenua

People perish but the land endures.

Image credit: Takarunga by Richard Joughin

Group Show | Give Me Space

Group Show | Give Me Space

Opening event Thursday July 19, from 6pm

Corban Estate Arts Centre, Auckland

Antje Barke, Patricia Ramos, Hanna Shim and Arielle Walker

Give me space explores ways to articulate and emphasise the physical area of the gallery spaces at Corban Estate Arts Centre. Using a broad range of materials, from the natural to the man-made, this exhibition includes wool, silk, steel, concrete, photography, textiles and more. The site-specific pieces ask the audience to consider their own footprints in relation to the architecture, shape and design and history of the Homestead space.

Image: Patricia Ramos If it were my bahay kubo what do I see around me. 2018. Photograph.

artists alliance