Rachel Hope Allan
Our Arrangement in Grey and Black No. 1
2022
Photograph
Paying homage to the famous painting Whistler’s Mother while offering a personal perspective this unplanned portrait, portrays the man who instructed the artist in driving, cigar smoking, and the meticulous art of cleaning stainless steel.
Through this contemporary reinterpretation, Allan explores the enduring importance of human connections and the transmission of knowledge and traditions between generations. Our Arrangement in Grey and Black No. 1 serves as a heartfelt tribute to the bonds that shape us and the moments of reflection that bridge the past and present.
Alysha Bailey
Lucy Cranwell (Kōwhai)
2021
Digital ink-jet print on Epson Hot Press Bright
Lucy Cranwell, a name resonating through the lush underbelly of New Zealand’s botanical history. She shattered glass ceilings as the first female curator at the Auckland Museum and clinched Te Apārangi’s Hector Medal, making history once again. Partnered with Lucy Moore, their fieldwork blazed trails as the most extensive female endeavor in the nation’s annals. Cranwell’s mastery of pollen analysis unearthed an uncharted realm within New Zealand’s botanical past.
Enter “My Mothers’ Garden,” a visual odyssey transcending time and space. Within this photographic series, we navigate the verdant labyrinth, deciphering the tales woven by flora. The garden, an ageless crucible, births narratives that transcend epochs. In the ephemeral ballet of petals and leaves, we confront the relentless march of history’s vulnerability. Each frozen moment, captured and preserved, becomes an eerie portrait, a cryptic document, a sentinel monument, echoing Cranwell’s pioneering spirit in the shadows of nature’s enigmatic whispers.
Michele Beevors
Industrial Barf
2023
Expanding polyurethane and can (Gorilla)
Industrial Barf confronts the paradoxical nature of an everyday material often overlooked – expanding polyurethane foam. This abject object, found in many sculptors’ studios and commonly used for practical purposes like sealing gaps around windows, holds a complex history tainted with environmental toxicity.
The sculpture embodies the transformation of this once highly toxic substance, now modified in its chemistry but still pervasive in our surroundings, silently leaching into the soil. Its persistence and resistance to decomposition mirror humanity’s negligence toward the environment. It is difficult to destroy, you could set fire to it. The plumes of toxic smoke are black, I know I have tried.
Industrial Barf is a sombre reminder of the lasting impact of our industrial choices. It challenges us to confront our complicity in the degradation of our environment while highlighting the urgent need for responsible consumption and disposal practices. In this unassuming object, Beevors finds a potent symbol of our fraught relationship with the world we inhabit.
De-Arn Buchholz and Molly Wright
Don’t You Press My Buttons
2023
Found object
Don’t You Press My Buttons is a conceptual artwork that transforms the iconic typewriter, a symbol of bygone office culture, into a potent emblem of emotional tension within the contemporary workplace. This non-functional typewriter serves as a tangible touchpoint for the daily frustrations and anxieties experienced in the modern office environment.
By rendering it inoperative, viewers are invited to confront their own feelings of powerlessness, stress, and the struggle to communicate effectively in a world increasingly reliant on digital tools. The typewriter becomes a bed of nails for the intersection of technology and human emotion, highlighting the often discordant relationship between our desire for authentic connection and the pressures of productivity.
Ponder the emotional landscape of the modern workplace, where the act of pressing buttons becomes a palpable expression of unspoken frustrations and the need for meaningful connection in an increasingly mechanised world.
Rob Cloughley
Spring Melt
2023
101 Earth Materials, including metals originally from the earth
In Spring Melt, the artist ponders the experience of post-winter emergence. Through the medium of ceramics using raw materials from the earth, they capture the essence of scratching around in the mud during the aftermath of a harsh season.
The work is a tactile exploration of the transitional period when the remnants of winter slowly yield to the burgeoning life of spring. The rough, earthy surfaces juxtaposed with moments of delicate intricacy reflect the interplay of resilience and vulnerability.
Spring Melt invites viewers to contemplate the cyclical nature of life, where the muddied chaos of one season gives way to the promise of rebirth and growth. It serves as a reminder that even in the most challenging moments, there is the potential for renewal waiting to be unearthed through patience and grit.
Octavia Cook
Shards of Royal Gilded Ectoplasm, collar
2011
Photograph, acrylic, brass, silver
Royal Gilded Ectoplasm, a brooch crafted in 2010, represents a singular exploration of opulence, mystique, and the unattainable. Exclusively showcased in Amsterdam, it encapsulates the allure of regal decadence while challenging perceptions of material worth.
Intriguingly, its counterpart the collar, Shards of Royal Gilded Ectoplasm, emerged solely for a shadow exhibition in Auckland, existing as an entirely separate entity. The two were never destined to meet physically, yet they share a conceptual thread that binds them—a dichotomy of unity and separation. The deconstructed portrait offers a fragmented glimpse into the essence of the brooch, inviting viewers to explore the enigma and allure beneath its surface.
These parallel narratives, one of lavish grandeur and the other of dissected beauty, highlight the multiplicity of perspectives inherent in art. Together, they remind us of the acute impact of context on perception, and the endless possibilities for artistic expression and interpretation.
Anita DeSoto
Her Fertility Turned him into a Tree, after Jordaen
2023
Oil on canvas
Her Fertility Turned him into a Tree, after Jordaen, pays homage to the Baroque era while highlighting the ongoing struggle for women’s rights. In today’s world, where these rights are at risk, it’s essential to revisit history and acknowledge the persecution women endured during witch hunts. Drawing inspiration from Baroque masters, this oil on canvas piece challenges traditional gender roles. Its title symbolizes a transformation in gender dynamics, as fertility becomes a symbol of feminine power, reversing the roles of oppressor and oppressed.
This artwork sparks a postmodern discourse, inviting viewers to question the portrayals of gender by European artists of the past. Her Fertility Turned him into a Tree serves as a platform to discuss women’s historical resilience, emphasizing their enduring strength and the urgent need to safeguard and advance women’s rights in a world where they face renewed threats. It acts as both a reminder of our history and a call to action for a more equitable future.
Amy Dougherty
Saves the Whales
2023
Screenprint monoprints
Saves the Whales captures the enigmatic beauty and fragility of these magnificent marine creatures. Through screenprint monoprints, Amy Dougherty explores the whales’ dual nature, where their fluidity and elegance in their natural environment are juxtaposed with their potential threat and vulnerability. Through gestural rendering of their majestic forms, Dougherty aims to celebrate the awe-inspiring aesthetics of these creatures, highlighting their intrinsic beauty.
However, this portrayal is far from one-dimensional. It also serves as a poignant reminder of the existential threats faced by whales today. Their colossal presence and ecological importance are matched by the fragility of their existence in the face of human activities such as hunting, habitat destruction, and climate change.
Saves the Whales seeks to evoke a sense of responsibility and empathy, urging us to appreciate the delicate balance of life in our oceans and to take meaningful actions to ensure the survival of these incredible beings.
Prue Edge
2Xl
2020–2023
Repurposed textiles: fleece and yarn
2XL, an art project spanning from 2020 to 2023, is a compelling exploration of the transformative power of repurposed textiles, specifically fleece and yarn. This wearable diary serves as a testament to the journey of deconstruction and reinvention, unfolding over the course of three years.
As textiles are deconstructed and reimagined, they embody the ever-changing nature of our lives, mirroring the cycles of growth, adaptation, and transformation that we all experience.
2XL aims to challenge conventional notions of fashion and consumerism by highlighting the beauty and sustainability of repurposed materials. It invites viewers to reconsider the value of time and the stories embedded in the objects we wear, emphasizing the potential for creativity and renewal that exists within the scope of everyday materials.
Scott Eady
Lycaena Boldenarum
2023
Bronze, 24 carat gold leaf, plant-dyed silk ribbon
“While driving into Christchurch, my thoughts drifted into contemplation, and a vision of bronze sculptures materialised in my mind. In this moment of creative inception, I was struck by the notion that humanity could be distilled into tangible, object-like forms.”
Lycaena Boldenarum emerges as a testament to the transformative power of the artistic process and the serendipity of inspiration. This sculpture, crafted from bronze and adorned with the opulence of 24-carat gold leaf, is a result of that visionary encounter. Lycaena Boldenarum captures the essence of human existence through the alchemy of materials and imagination. The addition of plant-dyed silk ribbon adds an organic and ephemeral element, reminding us of the intertwined relationship between humanity and the natural world.
Graham Fletcher
Untitled (Head, Shield and Red Seat)
2019
Acrylic on canvas
Untitled (Head, Shield and Red Seat) is a visual embodiment of a postcolonial discourse, probing the intricate interplay of cross-cultural relationships between Western and non-Western peoples. Through the medium of acrylic on canvas, Fletcher paints a visual narrative engaging with the complex discourse of history, identity, and power dynamics.
The painting’s elements, a head, a shield, and a red seat, symbolise the dichotomy of dominance and subjugation that often characterizes Western colonial encounters with non-Western cultures. The head signifies the imposition of Western ideologies, the shield represents resistance and resilience, while the red seat alludes to both a symbol of authority and a place of confrontation.
Untitled (Head, Shield and Red Seat) encourages viewers to reflect on the enduring legacy of colonialism and its impact on contemporary global dynamics. It serves as a visual catalyst for dialogue, empathy, and understanding, inviting us to confront the complexities of our shared history and move towards a more equitable and inclusive future.
Michael Greaves
Data Generator, Heavy Forms. Cache. and
Data Generator, Folk Medicine. Cache
2023
Acrylic, airbrush and oil on linen,
ornate frame
Data Generator, Heavy Forms. Cache. and Data Generator, Folk Medicine. Cache. are two interconnected artworks that investigate painting as both a deliberate process and an observational reflection.
Challenging the traditional boundaries of painting, the works move beyond mere representation into the space of propositional creation and observation. Data Generator references the act of generating, storing, and reinterpreting data, mirroring the intricate layers of our digital age.
Through the transitive act of painting, viewers are invited to contemplate the intersection of intention and intuition, to traverse the shifting landscapes of art and information. These works offer a visual dialogue, where the act of creation becomes a bridge between the conceptual and the tangible, blurring the lines between proposal and observation, ultimately inviting us to reconsider the essence of artistic expression in the context of our data-driven world.
David Green
Forest Remnants, Pikikirunga Range
2023
Single channel 4K digital video loop
00:07:19
If we allow ourselves time to sit in the exquisite tension between naïve wonder and the discomfort of uncertainty, perhaps we can find the freedom to imagine other ways of being in the world.
Forest Remnants, Pikikirunga Range is a contemplative 4K screen work that invites viewers to immerse themselves in a world of natural beauty and consider the delicate balance between awe and unease. By allowing ourselves to reside in this exquisite tension, we open the door to new possibilities and ways of perceiving our role in the world.
Naïve wonder represents the unbridled curiosity of a child, the capacity to marvel at the world with untainted eyes. It embodies the purest form of human fascination, an unapologetic embrace of the mysteries that surround us. On the other hand, the discomfort of uncertainty symbolises the hesitance and trepidation that often accompanies the pursuit of knowledge. It is the gnawing feeling that arises when we confront the limits of our understanding.
Hannah Joynt
For the Sake of Leisure
2023
Oil on board
Amidst an ever-accelerating world fixated on relentless productivity, For the Sake of Leisure unfurls a satirical prism to scrutinize our seemingly irrational pastimes. Infused with a surreal touch, this series ventures into the enigmatic heart of modern leisure’s paradox. It beckons the viewer to probe the essence and purpose of our recreational dalliances – are they genuine wellsprings of joy and respite, or rather, peculiar rites tethered to societal pressures and trends?
As an artist, Joynt challenges the established norms of leisure, beckoning contemplation regarding the profound meanings concealed within our choices. For the Sake of Leisure extends an invitation to delve into the eccentricities, paradoxes, and at times, sheer absurdities that lie beneath our quest for reprieve in a world hurtling forward. This series potentially sparks conversations about the authenticity of our leisure pursuits, urging a reconsideration of what authentically infuses our lives with significance and fulfillment.
Vicki Lenihan
kakara mai
come hither
2023
Angiangi, hinu kakara, papanga me weu taru tawhiti
kakara mai | come hither is an ode to our deep connection with our habitat gathered from the bounty of our environment, featuring treasured crafts, medicinals, and tools that are carried upon our bodies. These elements serve as tangible expressions of our whakapapa, our genealogy, and heritage, echoing the wisdom passed down through generations.
The work seeks to illuminate the profound interdependence between humans and nature, showcasing our role as stewards of the earth. Each crafted item, each medicinal plant, each tool represents our willingness to participate actively in the enduring legacy of our ancestors.
In this intricate interplay of material and meaning, viewers may contemplate the significance of their own connection to the natural world and the responsibilities we bear in preserving it for future generations. This artwork is a testament to our shared journey through time and space, a celebration of our enduring legacy, and a call to nurture and protect our precious habitat.
Thomas Lord
Untitled (Gorse, Otago Peninsula)
2023
Framed archival pigment print
In Untitled (Gorse, Otago Peninsula), Thomas Lord explores the profound convergence of time within a single, large-format black and white photograph. This work examines the intricate layers of temporality, transcending the immediate snapshot and delving into the realms of geological, deep, and historical time.
The geological time is evident in the Otago Peninsula landscape, shaped by years of natural processes. The deep time unveils the hidden stories of this land, revealing the whispers of its indigenous inhabitants and early European settlers. The enduring presence of gorse, an introduced and relentless invasive species, acts as a symbol of nature’s resilience through time. Long exposure photography reveals the subtle shifts and transitions occurring over extended moments, allowing viewers to witness the flow of time within the frame.
Untitled (Gorse, Otago Peninsula) invites viewers to contemplate the intricate play of time’s many facets and our place within it, and the world around us.
Pam McKinlay
Blah Blah Blah
2023
Cotton and fine kimono silk
From “Carnival of the Animals” series.
Plain weave, hand woven on a countermarche loom in the studio of the Mandaweavians.
Blah, Blah, Blah channels the urgent and compelling words of Greta Thunberg’s 2021 United Nations speech into a visual fabric of climate consciousness. This textile pays homage to Thunberg’s impassioned plea for environmental action by rendering the complex data of global temperature change, spanning from 1870 to 2022, as an evocative array of stripes.
The #ShowYourStripes woven panels, derived from the work of Ed Hawkins at the University of Reading, serve as both a testament to the undeniable truth of climate change and a rallying cry for collective action. Each stripe tells a story, representing a year’s deviation from the average temperature, calculated from the reference period of 1971–2000. Scientific data is transformed into a tangible narrative of our planet’s warming.
The Mandaweavians are a guild of ancient thread smiths (established 2023) committed to the weave. Weavers of the watch adhere to weaving relevance by contributing to the guild’s mental welfare through creative acts and reverence for the world weave.
Kiri Mitchell
Still Waters
2023
Dry point and screen print on Tiepolo
Kiri Mitchell’s artistic exploration delves into the juxtaposition of middle-aged women and the hippopotamus, unravelling a complex tapestry of symbolism. The hippopotamus, seemingly gentle in its aquatic realm, becomes a compelling archetype that mirrors society’s treatment of middle-aged women. At first glance, the creature’s tranquil demeanour lures us into a false sense of security, echoing how middle-aged women have been relegated to the sidelines, their significance often underestimated.
However, delving deeper, the menace within the hippopotamus unveils a parallel truth – the suppressed power and resilience that middle-aged women possess. Just as the creature fiercely defends its territory, middle-aged women too have fought against societal limitations, often erupting with a potent force to challenge expectations.
The work questions societal perceptions, inviting viewers to reevaluate the multi-dimensional nature of middle-aged women. The juxtaposition of the hippopotamus archetype serves as a potent reminder that beneath the surface lies an intricate interplay of vulnerability and strength. It’s an invitation to recognize the fallacy of perceived safety and embrace the empowering, complex essence of womanhood.
Brendon Monson
Hand of Adam
2018
Plastic 3D print, laser cut satin, brass and stainless steel
Three pieces from the Hand of Adam series.
The Hand of Adam series of jewellery works is a testament to the timeless union of tradition and innovation. Each piece in this collection is not merely an accessory but a living narrative of artistic evolution and transformation.
This series takes us from the roots of ancient craftsmanship to the forefront of modernity, seamlessly melding tradition with cutting-edge techniques. Each creation is a manifestation of the artist’s intricate thought process and a testament to the endless possibilities within the realm of jewellery. The fusion of traditional elements with innovative concepts breathes life into these pieces, making them more than adornments; they are living embodiments of artistic evolution.
This series invites us to explore the inherent duality of tradition and innovation, where the past and the present harmoniously coexist. It encourages us to reflect on our own evolution and transformation as individuals and as a society, much like the metamorphosis of raw materials into exquisite jewellery.
Michael Morley
Horse Tranqs.
2023
Oil on canvas
Disruptions are a constant, where can the subject for painting reside?
Disruptions are not just a thematic element but an integral part of the creative process itself.
Disruptions become the very essence of the canvas, as if the painting itself is a living, evolving entity. The subject exists in the interplay between chaos and order, in the dynamic tension between what is seen and what is concealed.
Painting questions the boundaries of perception and interpretation. It challenges us to find beauty and meaning amid disruptions, reminding us that life is a constantly shifting landscape.
Frank Pawluk
Woman with a Pink Jacket and
The Morning After
2023
Digital inkjet print
In the realm of ocular introspection, the artist seizes the dawning day as it emerges through the prism of the eye’s reflection. Here, a tableau of hope, renewal, or the poignant residue of significant moments unfolds. These diptychs offer a portal into the ever-shifting emotional terrain, the hidden threads weaving beneath the surface of our gaze. Through these abstract compositions, the artist beckons the spectator into the labyrinthine corridors of human expression and connection, all ensconced within the mesmerizing universe of the human iris and its refracted narratives. They serve as a poignant reminder that within the fathomless depths of our gaze, an infinite anthology of tales and sentiments lies in wait, eager to be unearthed and shared.
Steev Peyroux
Underground
2023
Collagraph, monotype and oil paint on paper
Underground is an intimate artistic exploration that marries the tactile richness of collagraph and monotype techniques with the depth and emotion conveyed through oil paint on paper. This artwork invites viewers to dive beneath the surface, not only of the artwork but also into the overlooked landscapes that surround us.
The subject, an obscure corner of a track beneath Steev Peyroux’s home, becomes a metaphor for the hidden and overlooked aspects of our lives, our environment, and our inner selves. The textured ground in the piece serves as both a literal and metaphorical foundation, embodying the layers of experience, memory, and emotion that underlie our existence.
Through the interplay of texture and figurative imagery, Underground activates contemplation of the quiet, hidden corners of our world and the often-unnoticed beauty they hold. It reminds us to pause, appreciate the subtleties of our surroundings, and embrace the complexity that lies beneath the surface of our lives.
Lynn Taylor
Retracing
2023
Laser etched and cut acrylic
Please Touch and rearrange the cubes to create new narratives.
Retracing is an interactive artwork that beckons viewers to engage with it on a tactile and creative level. It challenges the conventional notion of art as a static, unchanging entity by inviting the audience to actively participate in its evolution. Comprised of movable cubes, this piece encourages viewers to touch and rearrange them, fostering a sense of agency and authorship.
In Retracing, the act of rearranging the cubes becomes a form of storytelling, allowing individuals to craft new narratives with each reconfiguration. It is an exploration of the fluidity of meaning and the endless possibilities inherent in artistic expression. As viewers reshape the composition, they become co-creators, each arrangement a unique reflection of their thoughts and emotions.
This work seeks to blur the boundary between artist and audience, highlighting the transformative power of human interaction.
Locke Unhold
Eldritch Thing No. 1
2023
Ceramic
Eldritch Thing No. 1 introduces a thoughtful exploration of the corporeal experience through the perspective of transgender identity. This ceramic work examines the intricate interplay between familiarity and alienness that resides within our own bodies.
Drawing inspiration from the eldritch, a term often reserved for the eerie and otherworldly, this work seeks to unmask the enigmatic qualities of the human form. It unearths the paradoxical feelings of belonging and estrangement that accompany the transgender experience. The piece evokes a sense of unease and fascination, akin to the way we regard the intricacies of our own ever-evolving selves.
Eldritch Thing No. 1 aims to provoke contemplation of the intricacies and mysteries that lie within our physical vessels. It invites viewers to engage with the space between self-recognition and disassociation, fostering empathy and understanding of the transgender journey. This work serves as a poignant beginning to a series that dares to illuminate the profound beauty in our shared yet deeply personal journeys of self-discovery and transformation.
Marion Wassenaar
Futile Threads
2022
Carbonized cotton reel
The carbonized cotton reel stands as a poignant testament to the complex bonds of human endeavours and the web of futility that can ensnare them. In its charred and seemingly lifeless form, it encapsulates the essence of entwined aspirations and the cyclic nature of human pursuits.
Futile Threads seeks to illuminate the inherent paradox of progress and stagnation, inviting contemplation on the relentless pursuit of goals that can lead to a sense of being caught in an inescapable loop. The carbonization process symbolises the toll of time and effort, transforming the once functional into a relic of thwarted potential.
As viewers engage with the carbonized cotton reel, they are prompted to reflect on their own pursuits, the interplay between ambition and setbacks, and the profound connection between individual actions and the broader tapestry of existence. The artwork serves as a reminder that while striving for advancement is vital, recognizing the potential for entanglement and recalibrating one’s course is equally crucial to navigate the labyrinth of human aspirations.