A Pluriverse Siren’ re-imagines the siren in order to forge a new understanding of present and long term emergencies. Part of Aura Satz’s documentary film Preemptive Listening (2017-ongoing), this chapter of the project features the voice of Erin Matariki Carr (Ngāti Awa, Ngāi Tūhoe, Welsh, Croatian, English), lawyer, scholar and activist, Co-Lead for RIVER (Revitalising Indigenous Virtues for Earth’s Regeneration) and Taonga Pūoro performance and music by Horomona Horo (Ngā Puhi, Ngāti Porou, Taranaki, English Devon, MacGregor Scotland).

Hannah Ireland’s (b1995 Ngāti Hine, Ngāpuhi) practice embodies the notion of contemporary portraiture. The essence of each subject conveyed emotively through a gestural depiction. Ireland’s works, though painted, have an undeniable sculptural quality in how she approaches not only display but also the process of making. Often repurposing disused window frames as a painting support, Ireland paints the foreground first to achieve her finished compositions. The layering achieved in the process of painting on glass creates a sense of abstraction and allows room for interpretation.

Untitled references the consideration that the artist’s works are consistently without a title. Susan Te Kahurangi King (b1951) makes work that speaks for itself without any written language to describe or frame them. The artist herself stopped verbally communicating at the age of four years old and was, much later, diagnosed with autism in 2015. There is an immediacy and confidence in Te Kahurangi King’s mark-making that is compelling, it is not surprising that she has exhibited extensively around the world and her drawings are housed in important public collections including MoMA, The Philadelphia Museum of Art, American Folk Art Museum, and the Chartwell Collection (Auckland Art Gallery, Toi o Tamaki). Untitled shows a small range of Te Kahurangi King’s practice, highlighting ten early and ten recent works.

Layla Walter is one of Aotearoa’s leading glass artists. This work is a stunning example of the artist’s practice, grand in scale but with an incredible level of detail and delicate palette. We see layered forms and textures through the translucent surfaces, bringing a fourth dimension to the viewing experience.

This exhibition is part of Green Bay High School’s 50th Anniversary celebration events with works from Green Bay High School Visual Arts and Creative Industry students. The imagery exhibited as part of Concatenation is a select series of smaller works – enticing snippets from the beginnings of a student’s journey. They demonstrate the way a succession of visual inquiries combines to refine an idea. Leaving the viewer wondering ‘where did they go from here?'

Artist and Māori fibre weaver Shona Tawhiao has created new semi-abstract sculptural forms based on seedpods, a powerful metaphor for renewal of life forces. Harvest promises new beginnings: each seed’s DNA carries a vital encoded message to develop and sustain new life. Across the world stories and histories are woven around the meaning of the seed and its capacity to shape our futures.

A Pluriverse Siren’ re-imagines the siren in order to forge a new understanding of present and long term emergencies. Part of Aura Satz’s documentary film Preemptive Listening (2017-ongoing), this chapter of the project features the voice of Erin Matariki Carr (Ngāti Awa, Ngāi Tūhoe, Welsh, Croatian, English), lawyer, scholar and activist, Co-Lead for RIVER (Revitalising Indigenous Virtues for Earth’s Regeneration) and Taonga Pūoro performance and music by Horomona Horo (Ngā Puhi, Ngāti Porou, Taranaki, English Devon, MacGregor Scotland).

Hannah Ireland’s (b1995 Ngāti Hine, Ngāpuhi) practice embodies the notion of contemporary portraiture. The essence of each subject conveyed emotively through a gestural depiction. Ireland’s works, though painted, have an undeniable sculptural quality in how she approaches not only display but also the process of making. Often repurposing disused window frames as a painting support, Ireland paints the foreground first to achieve her finished compositions. The layering achieved in the process of painting on glass creates a sense of abstraction and allows room for interpretation.

Untitled references the consideration that the artist’s works are consistently without a title. Susan Te Kahurangi King (b1951) makes work that speaks for itself without any written language to describe or frame them. The artist herself stopped verbally communicating at the age of four years old and was, much later, diagnosed with autism in 2015. There is an immediacy and confidence in Te Kahurangi King’s mark-making that is compelling, it is not surprising that she has exhibited extensively around the world and her drawings are housed in important public collections including MoMA, The Philadelphia Museum of Art, American Folk Art Museum, and the Chartwell Collection (Auckland Art Gallery, Toi o Tamaki). Untitled shows a small range of Te Kahurangi King’s practice, highlighting ten early and ten recent works.

Layla Walter is one of Aotearoa’s leading glass artists. This work is a stunning example of the artist’s practice, grand in scale but with an incredible level of detail and delicate palette. We see layered forms and textures through the translucent surfaces, bringing a fourth dimension to the viewing experience.

This exhibition is part of Green Bay High School’s 50th Anniversary celebration events with works from Green Bay High School Visual Arts and Creative Industry students. The imagery exhibited as part of Concatenation is a select series of smaller works – enticing snippets from the beginnings of a student’s journey. They demonstrate the way a succession of visual inquiries combines to refine an idea. Leaving the viewer wondering ‘where did they go from here?'

Artist and Māori fibre weaver Shona Tawhiao has created new semi-abstract sculptural forms based on seedpods, a powerful metaphor for renewal of life forces. Harvest promises new beginnings: each seed’s DNA carries a vital encoded message to develop and sustain new life. Across the world stories and histories are woven around the meaning of the seed and its capacity to shape our futures.

A Pluriverse Siren’ re-imagines the siren in order to forge a new understanding of present and long term emergencies. Part of Aura Satz’s documentary film Preemptive Listening (2017-ongoing), this chapter of the project features the voice of Erin Matariki Carr (Ngāti Awa, Ngāi Tūhoe, Welsh, Croatian, English), lawyer, scholar and activist, Co-Lead for RIVER (Revitalising Indigenous Virtues for Earth’s Regeneration) and Taonga Pūoro performance and music by Horomona Horo (Ngā Puhi, Ngāti Porou, Taranaki, English Devon, MacGregor Scotland).

Hannah Ireland’s (b1995 Ngāti Hine, Ngāpuhi) practice embodies the notion of contemporary portraiture. The essence of each subject conveyed emotively through a gestural depiction. Ireland’s works, though painted, have an undeniable sculptural quality in how she approaches not only display but also the process of making. Often repurposing disused window frames as a painting support, Ireland paints the foreground first to achieve her finished compositions. The layering achieved in the process of painting on glass creates a sense of abstraction and allows room for interpretation.

Untitled references the consideration that the artist’s works are consistently without a title. Susan Te Kahurangi King (b1951) makes work that speaks for itself without any written language to describe or frame them. The artist herself stopped verbally communicating at the age of four years old and was, much later, diagnosed with autism in 2015. There is an immediacy and confidence in Te Kahurangi King’s mark-making that is compelling, it is not surprising that she has exhibited extensively around the world and her drawings are housed in important public collections including MoMA, The Philadelphia Museum of Art, American Folk Art Museum, and the Chartwell Collection (Auckland Art Gallery, Toi o Tamaki). Untitled shows a small range of Te Kahurangi King’s practice, highlighting ten early and ten recent works.

Layla Walter is one of Aotearoa’s leading glass artists. This work is a stunning example of the artist’s practice, grand in scale but with an incredible level of detail and delicate palette. We see layered forms and textures through the translucent surfaces, bringing a fourth dimension to the viewing experience.

This exhibition is part of Green Bay High School’s 50th Anniversary celebration events with works from Green Bay High School Visual Arts and Creative Industry students. The imagery exhibited as part of Concatenation is a select series of smaller works – enticing snippets from the beginnings of a student’s journey. They demonstrate the way a succession of visual inquiries combines to refine an idea. Leaving the viewer wondering ‘where did they go from here?'

Artist and Māori fibre weaver Shona Tawhiao has created new semi-abstract sculptural forms based on seedpods, a powerful metaphor for renewal of life forces. Harvest promises new beginnings: each seed’s DNA carries a vital encoded message to develop and sustain new life. Across the world stories and histories are woven around the meaning of the seed and its capacity to shape our futures.

Untitled references the consideration that the artist’s works are consistently without a title. Susan Te Kahurangi King (b1951) makes work that speaks for itself without any written language to describe or frame them. The artist herself stopped verbally communicating at the age of four years old and was, much later, diagnosed with autism in 2015. There is an immediacy and confidence in Te Kahurangi King’s mark-making that is compelling, it is not surprising that she has exhibited extensively around the world and her drawings are housed in important public collections including MoMA, The Philadelphia Museum of Art, American Folk Art Museum, and the Chartwell Collection (Auckland Art Gallery, Toi o Tamaki). Untitled shows a small range of Te Kahurangi King’s practice, highlighting ten early and ten recent works.

Layla Walter is one of Aotearoa’s leading glass artists. This work is a stunning example of the artist’s practice, grand in scale but with an incredible level of detail and delicate palette. We see layered forms and textures through the translucent surfaces, bringing a fourth dimension to the viewing experience.

This exhibition is part of Green Bay High School’s 50th Anniversary celebration events with works from Green Bay High School Visual Arts and Creative Industry students. The imagery exhibited as part of Concatenation is a select series of smaller works – enticing snippets from the beginnings of a student’s journey. They demonstrate the way a succession of visual inquiries combines to refine an idea. Leaving the viewer wondering ‘where did they go from here?'

Hannah Ireland’s (b1995 Ngāti Hine, Ngāpuhi) practice embodies the notion of contemporary portraiture. The essence of each subject conveyed emotively through a gestural depiction. Ireland’s works, though painted, have an undeniable sculptural quality in how she approaches not only display but also the process of making. Often repurposing disused window frames as a painting support, Ireland paints the foreground first to achieve her finished compositions. The layering achieved in the process of painting on glass creates a sense of abstraction and allows room for interpretation.

Untitled references the consideration that the artist’s works are consistently without a title. Susan Te Kahurangi King (b1951) makes work that speaks for itself without any written language to describe or frame them. The artist herself stopped verbally communicating at the age of four years old and was, much later, diagnosed with autism in 2015. There is an immediacy and confidence in Te Kahurangi King’s mark-making that is compelling, it is not surprising that she has exhibited extensively around the world and her drawings are housed in important public collections including MoMA, The Philadelphia Museum of Art, American Folk Art Museum, and the Chartwell Collection (Auckland Art Gallery, Toi o Tamaki). Untitled shows a small range of Te Kahurangi King’s practice, highlighting ten early and ten recent works.

Layla Walter is one of Aotearoa’s leading glass artists. This work is a stunning example of the artist’s practice, grand in scale but with an incredible level of detail and delicate palette. We see layered forms and textures through the translucent surfaces, bringing a fourth dimension to the viewing experience.

This exhibition is part of Green Bay High School’s 50th Anniversary celebration events with works from Green Bay High School Visual Arts and Creative Industry students. The imagery exhibited as part of Concatenation is a select series of smaller works – enticing snippets from the beginnings of a student’s journey. They demonstrate the way a succession of visual inquiries combines to refine an idea. Leaving the viewer wondering ‘where did they go from here?'

Hannah Ireland’s (b1995 Ngāti Hine, Ngāpuhi) practice embodies the notion of contemporary portraiture. The essence of each subject conveyed emotively through a gestural depiction. Ireland’s works, though painted, have an undeniable sculptural quality in how she approaches not only display but also the process of making. Often repurposing disused window frames as a painting support, Ireland paints the foreground first to achieve her finished compositions. The layering achieved in the process of painting on glass creates a sense of abstraction and allows room for interpretation.

Untitled references the consideration that the artist’s works are consistently without a title. Susan Te Kahurangi King (b1951) makes work that speaks for itself without any written language to describe or frame them. The artist herself stopped verbally communicating at the age of four years old and was, much later, diagnosed with autism in 2015. There is an immediacy and confidence in Te Kahurangi King’s mark-making that is compelling, it is not surprising that she has exhibited extensively around the world and her drawings are housed in important public collections including MoMA, The Philadelphia Museum of Art, American Folk Art Museum, and the Chartwell Collection (Auckland Art Gallery, Toi o Tamaki). Untitled shows a small range of Te Kahurangi King’s practice, highlighting ten early and ten recent works.

Layla Walter is one of Aotearoa’s leading glass artists. This work is a stunning example of the artist’s practice, grand in scale but with an incredible level of detail and delicate palette. We see layered forms and textures through the translucent surfaces, bringing a fourth dimension to the viewing experience.

This exhibition is part of Green Bay High School’s 50th Anniversary celebration events with works from Green Bay High School Visual Arts and Creative Industry students. The imagery exhibited as part of Concatenation is a select series of smaller works – enticing snippets from the beginnings of a student’s journey. They demonstrate the way a succession of visual inquiries combines to refine an idea. Leaving the viewer wondering ‘where did they go from here?'

Hannah Ireland’s (b1995 Ngāti Hine, Ngāpuhi) practice embodies the notion of contemporary portraiture. The essence of each subject conveyed emotively through a gestural depiction. Ireland’s works, though painted, have an undeniable sculptural quality in how she approaches not only display but also the process of making. Often repurposing disused window frames as a painting support, Ireland paints the foreground first to achieve her finished compositions. The layering achieved in the process of painting on glass creates a sense of abstraction and allows room for interpretation.

Untitled references the consideration that the artist’s works are consistently without a title. Susan Te Kahurangi King (b1951) makes work that speaks for itself without any written language to describe or frame them. The artist herself stopped verbally communicating at the age of four years old and was, much later, diagnosed with autism in 2015. There is an immediacy and confidence in Te Kahurangi King’s mark-making that is compelling, it is not surprising that she has exhibited extensively around the world and her drawings are housed in important public collections including MoMA, The Philadelphia Museum of Art, American Folk Art Museum, and the Chartwell Collection (Auckland Art Gallery, Toi o Tamaki). Untitled shows a small range of Te Kahurangi King’s practice, highlighting ten early and ten recent works.

Layla Walter is one of Aotearoa’s leading glass artists. This work is a stunning example of the artist’s practice, grand in scale but with an incredible level of detail and delicate palette. We see layered forms and textures through the translucent surfaces, bringing a fourth dimension to the viewing experience.

This exhibition is part of Green Bay High School’s 50th Anniversary celebration events with works from Green Bay High School Visual Arts and Creative Industry students. The imagery exhibited as part of Concatenation is a select series of smaller works – enticing snippets from the beginnings of a student’s journey. They demonstrate the way a succession of visual inquiries combines to refine an idea. Leaving the viewer wondering ‘where did they go from here?'

Hannah Ireland’s (b1995 Ngāti Hine, Ngāpuhi) practice embodies the notion of contemporary portraiture. The essence of each subject conveyed emotively through a gestural depiction. Ireland’s works, though painted, have an undeniable sculptural quality in how she approaches not only display but also the process of making. Often repurposing disused window frames as a painting support, Ireland paints the foreground first to achieve her finished compositions. The layering achieved in the process of painting on glass creates a sense of abstraction and allows room for interpretation.

Untitled references the consideration that the artist’s works are consistently without a title. Susan Te Kahurangi King (b1951) makes work that speaks for itself without any written language to describe or frame them. The artist herself stopped verbally communicating at the age of four years old and was, much later, diagnosed with autism in 2015. There is an immediacy and confidence in Te Kahurangi King’s mark-making that is compelling, it is not surprising that she has exhibited extensively around the world and her drawings are housed in important public collections including MoMA, The Philadelphia Museum of Art, American Folk Art Museum, and the Chartwell Collection (Auckland Art Gallery, Toi o Tamaki). Untitled shows a small range of Te Kahurangi King’s practice, highlighting ten early and ten recent works.

Layla Walter is one of Aotearoa’s leading glass artists. This work is a stunning example of the artist’s practice, grand in scale but with an incredible level of detail and delicate palette. We see layered forms and textures through the translucent surfaces, bringing a fourth dimension to the viewing experience.

This exhibition is part of Green Bay High School’s 50th Anniversary celebration events with works from Green Bay High School Visual Arts and Creative Industry students. The imagery exhibited as part of Concatenation is a select series of smaller works – enticing snippets from the beginnings of a student’s journey. They demonstrate the way a succession of visual inquiries combines to refine an idea. Leaving the viewer wondering ‘where did they go from here?'

Hannah Ireland’s (b1995 Ngāti Hine, Ngāpuhi) practice embodies the notion of contemporary portraiture. The essence of each subject conveyed emotively through a gestural depiction. Ireland’s works, though painted, have an undeniable sculptural quality in how she approaches not only display but also the process of making. Often repurposing disused window frames as a painting support, Ireland paints the foreground first to achieve her finished compositions. The layering achieved in the process of painting on glass creates a sense of abstraction and allows room for interpretation.

Untitled references the consideration that the artist’s works are consistently without a title. Susan Te Kahurangi King (b1951) makes work that speaks for itself without any written language to describe or frame them. The artist herself stopped verbally communicating at the age of four years old and was, much later, diagnosed with autism in 2015. There is an immediacy and confidence in Te Kahurangi King’s mark-making that is compelling, it is not surprising that she has exhibited extensively around the world and her drawings are housed in important public collections including MoMA, The Philadelphia Museum of Art, American Folk Art Museum, and the Chartwell Collection (Auckland Art Gallery, Toi o Tamaki). Untitled shows a small range of Te Kahurangi King’s practice, highlighting ten early and ten recent works.

Layla Walter is one of Aotearoa’s leading glass artists. This work is a stunning example of the artist’s practice, grand in scale but with an incredible level of detail and delicate palette. We see layered forms and textures through the translucent surfaces, bringing a fourth dimension to the viewing experience.

There Is Nowhere to Go, There Is Nothing to Do brings together a focused selection of photographs by Tāmaki Makaurau based artist Greta Anderson, produced between 1997 and 2022. The exhibition premise anticipated the launch of a new monographic publication of the same title, designed by exhibition curator New Public.

Drawing from a premise that forest health is under threat from kauri dieback (Phytophthora agathidicida) and myrtle rust (Austropuccinia psidii) the exhibiting artists have researched and explored expressions of grief, healing and restoration.

This exhibition is part of Green Bay High School’s 50th Anniversary celebration events with works from Green Bay High School Visual Arts and Creative Industry students. The imagery exhibited as part of Concatenation is a select series of smaller works – enticing snippets from the beginnings of a student’s journey. They demonstrate the way a succession of visual inquiries combines to refine an idea. Leaving the viewer wondering ‘where did they go from here?'

Hannah Ireland’s (b1995 Ngāti Hine, Ngāpuhi) practice embodies the notion of contemporary portraiture. The essence of each subject conveyed emotively through a gestural depiction. Ireland’s works, though painted, have an undeniable sculptural quality in how she approaches not only display but also the process of making. Often repurposing disused window frames as a painting support, Ireland paints the foreground first to achieve her finished compositions. The layering achieved in the process of painting on glass creates a sense of abstraction and allows room for interpretation.

Untitled references the consideration that the artist’s works are consistently without a title. Susan Te Kahurangi King (b1951) makes work that speaks for itself without any written language to describe or frame them. The artist herself stopped verbally communicating at the age of four years old and was, much later, diagnosed with autism in 2015. There is an immediacy and confidence in Te Kahurangi King’s mark-making that is compelling, it is not surprising that she has exhibited extensively around the world and her drawings are housed in important public collections including MoMA, The Philadelphia Museum of Art, American Folk Art Museum, and the Chartwell Collection (Auckland Art Gallery, Toi o Tamaki). Untitled shows a small range of Te Kahurangi King’s practice, highlighting ten early and ten recent works.

Layla Walter is one of Aotearoa’s leading glass artists. This work is a stunning example of the artist’s practice, grand in scale but with an incredible level of detail and delicate palette. We see layered forms and textures through the translucent surfaces, bringing a fourth dimension to the viewing experience.

There Is Nowhere to Go, There Is Nothing to Do brings together a focused selection of photographs by Tāmaki Makaurau based artist Greta Anderson, produced between 1997 and 2022. The exhibition premise anticipated the launch of a new monographic publication of the same title, designed by exhibition curator New Public.

Drawing from a premise that forest health is under threat from kauri dieback (Phytophthora agathidicida) and myrtle rust (Austropuccinia psidii) the exhibiting artists have researched and explored expressions of grief, healing and restoration.

This exhibition is part of Green Bay High School’s 50th Anniversary celebration events with works from Green Bay High School Visual Arts and Creative Industry students. The imagery exhibited as part of Concatenation is a select series of smaller works – enticing snippets from the beginnings of a student’s journey. They demonstrate the way a succession of visual inquiries combines to refine an idea. Leaving the viewer wondering ‘where did they go from here?'

Hannah Ireland’s (b1995 Ngāti Hine, Ngāpuhi) practice embodies the notion of contemporary portraiture. The essence of each subject conveyed emotively through a gestural depiction. Ireland’s works, though painted, have an undeniable sculptural quality in how she approaches not only display but also the process of making. Often repurposing disused window frames as a painting support, Ireland paints the foreground first to achieve her finished compositions. The layering achieved in the process of painting on glass creates a sense of abstraction and allows room for interpretation.

Untitled references the consideration that the artist’s works are consistently without a title. Susan Te Kahurangi King (b1951) makes work that speaks for itself without any written language to describe or frame them. The artist herself stopped verbally communicating at the age of four years old and was, much later, diagnosed with autism in 2015. There is an immediacy and confidence in Te Kahurangi King’s mark-making that is compelling, it is not surprising that she has exhibited extensively around the world and her drawings are housed in important public collections including MoMA, The Philadelphia Museum of Art, American Folk Art Museum, and the Chartwell Collection (Auckland Art Gallery, Toi o Tamaki). Untitled shows a small range of Te Kahurangi King’s practice, highlighting ten early and ten recent works.

Layla Walter is one of Aotearoa’s leading glass artists. This work is a stunning example of the artist’s practice, grand in scale but with an incredible level of detail and delicate palette. We see layered forms and textures through the translucent surfaces, bringing a fourth dimension to the viewing experience.

There Is Nowhere to Go, There Is Nothing to Do brings together a focused selection of photographs by Tāmaki Makaurau based artist Greta Anderson, produced between 1997 and 2022. The exhibition premise anticipated the launch of a new monographic publication of the same title, designed by exhibition curator New Public.

Drawing from a premise that forest health is under threat from kauri dieback (Phytophthora agathidicida) and myrtle rust (Austropuccinia psidii) the exhibiting artists have researched and explored expressions of grief, healing and restoration.

This exhibition is part of Green Bay High School’s 50th Anniversary celebration events with works from Green Bay High School Visual Arts and Creative Industry students. The imagery exhibited as part of Concatenation is a select series of smaller works – enticing snippets from the beginnings of a student’s journey. They demonstrate the way a succession of visual inquiries combines to refine an idea. Leaving the viewer wondering ‘where did they go from here?'

Hannah Ireland’s (b1995 Ngāti Hine, Ngāpuhi) practice embodies the notion of contemporary portraiture. The essence of each subject conveyed emotively through a gestural depiction. Ireland’s works, though painted, have an undeniable sculptural quality in how she approaches not only display but also the process of making. Often repurposing disused window frames as a painting support, Ireland paints the foreground first to achieve her finished compositions. The layering achieved in the process of painting on glass creates a sense of abstraction and allows room for interpretation.

Untitled references the consideration that the artist’s works are consistently without a title. Susan Te Kahurangi King (b1951) makes work that speaks for itself without any written language to describe or frame them. The artist herself stopped verbally communicating at the age of four years old and was, much later, diagnosed with autism in 2015. There is an immediacy and confidence in Te Kahurangi King’s mark-making that is compelling, it is not surprising that she has exhibited extensively around the world and her drawings are housed in important public collections including MoMA, The Philadelphia Museum of Art, American Folk Art Museum, and the Chartwell Collection (Auckland Art Gallery, Toi o Tamaki). Untitled shows a small range of Te Kahurangi King’s practice, highlighting ten early and ten recent works.

Layla Walter is one of Aotearoa’s leading glass artists. This work is a stunning example of the artist’s practice, grand in scale but with an incredible level of detail and delicate palette. We see layered forms and textures through the translucent surfaces, bringing a fourth dimension to the viewing experience.

There Is Nowhere to Go, There Is Nothing to Do brings together a focused selection of photographs by Tāmaki Makaurau based artist Greta Anderson, produced between 1997 and 2022. The exhibition premise anticipated the launch of a new monographic publication of the same title, designed by exhibition curator New Public.

Drawing from a premise that forest health is under threat from kauri dieback (Phytophthora agathidicida) and myrtle rust (Austropuccinia psidii) the exhibiting artists have researched and explored expressions of grief, healing and restoration.

This exhibition is part of Green Bay High School’s 50th Anniversary celebration events with works from Green Bay High School Visual Arts and Creative Industry students. The imagery exhibited as part of Concatenation is a select series of smaller works – enticing snippets from the beginnings of a student’s journey. They demonstrate the way a succession of visual inquiries combines to refine an idea. Leaving the viewer wondering ‘where did they go from here?'

Hannah Ireland’s (b1995 Ngāti Hine, Ngāpuhi) practice embodies the notion of contemporary portraiture. The essence of each subject conveyed emotively through a gestural depiction. Ireland’s works, though painted, have an undeniable sculptural quality in how she approaches not only display but also the process of making. Often repurposing disused window frames as a painting support, Ireland paints the foreground first to achieve her finished compositions. The layering achieved in the process of painting on glass creates a sense of abstraction and allows room for interpretation.

Untitled references the consideration that the artist’s works are consistently without a title. Susan Te Kahurangi King (b1951) makes work that speaks for itself without any written language to describe or frame them. The artist herself stopped verbally communicating at the age of four years old and was, much later, diagnosed with autism in 2015. There is an immediacy and confidence in Te Kahurangi King’s mark-making that is compelling, it is not surprising that she has exhibited extensively around the world and her drawings are housed in important public collections including MoMA, The Philadelphia Museum of Art, American Folk Art Museum, and the Chartwell Collection (Auckland Art Gallery, Toi o Tamaki). Untitled shows a small range of Te Kahurangi King’s practice, highlighting ten early and ten recent works.

Layla Walter is one of Aotearoa’s leading glass artists. This work is a stunning example of the artist’s practice, grand in scale but with an incredible level of detail and delicate palette. We see layered forms and textures through the translucent surfaces, bringing a fourth dimension to the viewing experience.

There Is Nowhere to Go, There Is Nothing to Do brings together a focused selection of photographs by Tāmaki Makaurau based artist Greta Anderson, produced between 1997 and 2022. The exhibition premise anticipated the launch of a new monographic publication of the same title, designed by exhibition curator New Public.

Drawing from a premise that forest health is under threat from kauri dieback (Phytophthora agathidicida) and myrtle rust (Austropuccinia psidii) the exhibiting artists have researched and explored expressions of grief, healing and restoration.

This exhibition is part of Green Bay High School’s 50th Anniversary celebration events with works from Green Bay High School Visual Arts and Creative Industry students. The imagery exhibited as part of Concatenation is a select series of smaller works – enticing snippets from the beginnings of a student’s journey. They demonstrate the way a succession of visual inquiries combines to refine an idea. Leaving the viewer wondering ‘where did they go from here?'

Hannah Ireland’s (b1995 Ngāti Hine, Ngāpuhi) practice embodies the notion of contemporary portraiture. The essence of each subject conveyed emotively through a gestural depiction. Ireland’s works, though painted, have an undeniable sculptural quality in how she approaches not only display but also the process of making. Often repurposing disused window frames as a painting support, Ireland paints the foreground first to achieve her finished compositions. The layering achieved in the process of painting on glass creates a sense of abstraction and allows room for interpretation.

Untitled references the consideration that the artist’s works are consistently without a title. Susan Te Kahurangi King (b1951) makes work that speaks for itself without any written language to describe or frame them. The artist herself stopped verbally communicating at the age of four years old and was, much later, diagnosed with autism in 2015. There is an immediacy and confidence in Te Kahurangi King’s mark-making that is compelling, it is not surprising that she has exhibited extensively around the world and her drawings are housed in important public collections including MoMA, The Philadelphia Museum of Art, American Folk Art Museum, and the Chartwell Collection (Auckland Art Gallery, Toi o Tamaki). Untitled shows a small range of Te Kahurangi King’s practice, highlighting ten early and ten recent works.

Layla Walter is one of Aotearoa’s leading glass artists. This work is a stunning example of the artist’s practice, grand in scale but with an incredible level of detail and delicate palette. We see layered forms and textures through the translucent surfaces, bringing a fourth dimension to the viewing experience.

There Is Nowhere to Go, There Is Nothing to Do brings together a focused selection of photographs by Tāmaki Makaurau based artist Greta Anderson, produced between 1997 and 2022. The exhibition premise anticipated the launch of a new monographic publication of the same title, designed by exhibition curator New Public.

Drawing from a premise that forest health is under threat from kauri dieback (Phytophthora agathidicida) and myrtle rust (Austropuccinia psidii) the exhibiting artists have researched and explored expressions of grief, healing and restoration.

This exhibition is part of Green Bay High School’s 50th Anniversary celebration events with works from Green Bay High School Visual Arts and Creative Industry students. The imagery exhibited as part of Concatenation is a select series of smaller works – enticing snippets from the beginnings of a student’s journey. They demonstrate the way a succession of visual inquiries combines to refine an idea. Leaving the viewer wondering ‘where did they go from here?'

Hannah Ireland’s (b1995 Ngāti Hine, Ngāpuhi) practice embodies the notion of contemporary portraiture. The essence of each subject conveyed emotively through a gestural depiction. Ireland’s works, though painted, have an undeniable sculptural quality in how she approaches not only display but also the process of making. Often repurposing disused window frames as a painting support, Ireland paints the foreground first to achieve her finished compositions. The layering achieved in the process of painting on glass creates a sense of abstraction and allows room for interpretation.

Untitled references the consideration that the artist’s works are consistently without a title. Susan Te Kahurangi King (b1951) makes work that speaks for itself without any written language to describe or frame them. The artist herself stopped verbally communicating at the age of four years old and was, much later, diagnosed with autism in 2015. There is an immediacy and confidence in Te Kahurangi King’s mark-making that is compelling, it is not surprising that she has exhibited extensively around the world and her drawings are housed in important public collections including MoMA, The Philadelphia Museum of Art, American Folk Art Museum, and the Chartwell Collection (Auckland Art Gallery, Toi o Tamaki). Untitled shows a small range of Te Kahurangi King’s practice, highlighting ten early and ten recent works.

Layla Walter is one of Aotearoa’s leading glass artists. This work is a stunning example of the artist’s practice, grand in scale but with an incredible level of detail and delicate palette. We see layered forms and textures through the translucent surfaces, bringing a fourth dimension to the viewing experience.

There Is Nowhere to Go, There Is Nothing to Do brings together a focused selection of photographs by Tāmaki Makaurau based artist Greta Anderson, produced between 1997 and 2022. The exhibition premise anticipated the launch of a new monographic publication of the same title, designed by exhibition curator New Public.

Drawing from a premise that forest health is under threat from kauri dieback (Phytophthora agathidicida) and myrtle rust (Austropuccinia psidii) the exhibiting artists have researched and explored expressions of grief, healing and restoration.

This exhibition is part of Green Bay High School’s 50th Anniversary celebration events with works from Green Bay High School Visual Arts and Creative Industry students. The imagery exhibited as part of Concatenation is a select series of smaller works – enticing snippets from the beginnings of a student’s journey. They demonstrate the way a succession of visual inquiries combines to refine an idea. Leaving the viewer wondering ‘where did they go from here?'

Hannah Ireland’s (b1995 Ngāti Hine, Ngāpuhi) practice embodies the notion of contemporary portraiture. The essence of each subject conveyed emotively through a gestural depiction. Ireland’s works, though painted, have an undeniable sculptural quality in how she approaches not only display but also the process of making. Often repurposing disused window frames as a painting support, Ireland paints the foreground first to achieve her finished compositions. The layering achieved in the process of painting on glass creates a sense of abstraction and allows room for interpretation.

Untitled references the consideration that the artist’s works are consistently without a title. Susan Te Kahurangi King (b1951) makes work that speaks for itself without any written language to describe or frame them. The artist herself stopped verbally communicating at the age of four years old and was, much later, diagnosed with autism in 2015. There is an immediacy and confidence in Te Kahurangi King’s mark-making that is compelling, it is not surprising that she has exhibited extensively around the world and her drawings are housed in important public collections including MoMA, The Philadelphia Museum of Art, American Folk Art Museum, and the Chartwell Collection (Auckland Art Gallery, Toi o Tamaki). Untitled shows a small range of Te Kahurangi King’s practice, highlighting ten early and ten recent works.

Layla Walter is one of Aotearoa’s leading glass artists. This work is a stunning example of the artist’s practice, grand in scale but with an incredible level of detail and delicate palette. We see layered forms and textures through the translucent surfaces, bringing a fourth dimension to the viewing experience.

There Is Nowhere to Go, There Is Nothing to Do brings together a focused selection of photographs by Tāmaki Makaurau based artist Greta Anderson, produced between 1997 and 2022. The exhibition premise anticipated the launch of a new monographic publication of the same title, designed by exhibition curator New Public.

Drawing from a premise that forest health is under threat from kauri dieback (Phytophthora agathidicida) and myrtle rust (Austropuccinia psidii) the exhibiting artists have researched and explored expressions of grief, healing and restoration.

This exhibition is part of Green Bay High School’s 50th Anniversary celebration events with works from Green Bay High School Visual Arts and Creative Industry students. The imagery exhibited as part of Concatenation is a select series of smaller works – enticing snippets from the beginnings of a student’s journey. They demonstrate the way a succession of visual inquiries combines to refine an idea. Leaving the viewer wondering ‘where did they go from here?'

Hannah Ireland’s (b1995 Ngāti Hine, Ngāpuhi) practice embodies the notion of contemporary portraiture. The essence of each subject conveyed emotively through a gestural depiction. Ireland’s works, though painted, have an undeniable sculptural quality in how she approaches not only display but also the process of making. Often repurposing disused window frames as a painting support, Ireland paints the foreground first to achieve her finished compositions. The layering achieved in the process of painting on glass creates a sense of abstraction and allows room for interpretation.

Untitled references the consideration that the artist’s works are consistently without a title. Susan Te Kahurangi King (b1951) makes work that speaks for itself without any written language to describe or frame them. The artist herself stopped verbally communicating at the age of four years old and was, much later, diagnosed with autism in 2015. There is an immediacy and confidence in Te Kahurangi King’s mark-making that is compelling, it is not surprising that she has exhibited extensively around the world and her drawings are housed in important public collections including MoMA, The Philadelphia Museum of Art, American Folk Art Museum, and the Chartwell Collection (Auckland Art Gallery, Toi o Tamaki). Untitled shows a small range of Te Kahurangi King’s practice, highlighting ten early and ten recent works.

Layla Walter is one of Aotearoa’s leading glass artists. This work is a stunning example of the artist’s practice, grand in scale but with an incredible level of detail and delicate palette. We see layered forms and textures through the translucent surfaces, bringing a fourth dimension to the viewing experience.

There Is Nowhere to Go, There Is Nothing to Do brings together a focused selection of photographs by Tāmaki Makaurau based artist Greta Anderson, produced between 1997 and 2022. The exhibition premise anticipated the launch of a new monographic publication of the same title, designed by exhibition curator New Public.

Drawing from a premise that forest health is under threat from kauri dieback (Phytophthora agathidicida) and myrtle rust (Austropuccinia psidii) the exhibiting artists have researched and explored expressions of grief, healing and restoration.

This exhibition is part of Green Bay High School’s 50th Anniversary celebration events with works from Green Bay High School Visual Arts and Creative Industry students. The imagery exhibited as part of Concatenation is a select series of smaller works – enticing snippets from the beginnings of a student’s journey. They demonstrate the way a succession of visual inquiries combines to refine an idea. Leaving the viewer wondering ‘where did they go from here?'

Hannah Ireland’s (b1995 Ngāti Hine, Ngāpuhi) practice embodies the notion of contemporary portraiture. The essence of each subject conveyed emotively through a gestural depiction. Ireland’s works, though painted, have an undeniable sculptural quality in how she approaches not only display but also the process of making. Often repurposing disused window frames as a painting support, Ireland paints the foreground first to achieve her finished compositions. The layering achieved in the process of painting on glass creates a sense of abstraction and allows room for interpretation.

Untitled references the consideration that the artist’s works are consistently without a title. Susan Te Kahurangi King (b1951) makes work that speaks for itself without any written language to describe or frame them. The artist herself stopped verbally communicating at the age of four years old and was, much later, diagnosed with autism in 2015. There is an immediacy and confidence in Te Kahurangi King’s mark-making that is compelling, it is not surprising that she has exhibited extensively around the world and her drawings are housed in important public collections including MoMA, The Philadelphia Museum of Art, American Folk Art Museum, and the Chartwell Collection (Auckland Art Gallery, Toi o Tamaki). Untitled shows a small range of Te Kahurangi King’s practice, highlighting ten early and ten recent works.

Layla Walter is one of Aotearoa’s leading glass artists. This work is a stunning example of the artist’s practice, grand in scale but with an incredible level of detail and delicate palette. We see layered forms and textures through the translucent surfaces, bringing a fourth dimension to the viewing experience.

There Is Nowhere to Go, There Is Nothing to Do brings together a focused selection of photographs by Tāmaki Makaurau based artist Greta Anderson, produced between 1997 and 2022. The exhibition premise anticipated the launch of a new monographic publication of the same title, designed by exhibition curator New Public.

Drawing from a premise that forest health is under threat from kauri dieback (Phytophthora agathidicida) and myrtle rust (Austropuccinia psidii) the exhibiting artists have researched and explored expressions of grief, healing and restoration.

Hannah Ireland’s (b1995 Ngāti Hine, Ngāpuhi) practice embodies the notion of contemporary portraiture. The essence of each subject conveyed emotively through a gestural depiction. Ireland’s works, though painted, have an undeniable sculptural quality in how she approaches not only display but also the process of making. Often repurposing disused window frames as a painting support, Ireland paints the foreground first to achieve her finished compositions. The layering achieved in the process of painting on glass creates a sense of abstraction and allows room for interpretation.

Untitled references the consideration that the artist’s works are consistently without a title. Susan Te Kahurangi King (b1951) makes work that speaks for itself without any written language to describe or frame them. The artist herself stopped verbally communicating at the age of four years old and was, much later, diagnosed with autism in 2015. There is an immediacy and confidence in Te Kahurangi King’s mark-making that is compelling, it is not surprising that she has exhibited extensively around the world and her drawings are housed in important public collections including MoMA, The Philadelphia Museum of Art, American Folk Art Museum, and the Chartwell Collection (Auckland Art Gallery, Toi o Tamaki). Untitled shows a small range of Te Kahurangi King’s practice, highlighting ten early and ten recent works.

Layla Walter is one of Aotearoa’s leading glass artists. This work is a stunning example of the artist’s practice, grand in scale but with an incredible level of detail and delicate palette. We see layered forms and textures through the translucent surfaces, bringing a fourth dimension to the viewing experience.

There Is Nowhere to Go, There Is Nothing to Do brings together a focused selection of photographs by Tāmaki Makaurau based artist Greta Anderson, produced between 1997 and 2022. The exhibition premise anticipated the launch of a new monographic publication of the same title, designed by exhibition curator New Public.

Drawing from a premise that forest health is under threat from kauri dieback (Phytophthora agathidicida) and myrtle rust (Austropuccinia psidii) the exhibiting artists have researched and explored expressions of grief, healing and restoration.

Hannah Ireland’s (b1995 Ngāti Hine, Ngāpuhi) practice embodies the notion of contemporary portraiture. The essence of each subject conveyed emotively through a gestural depiction. Ireland’s works, though painted, have an undeniable sculptural quality in how she approaches not only display but also the process of making. Often repurposing disused window frames as a painting support, Ireland paints the foreground first to achieve her finished compositions. The layering achieved in the process of painting on glass creates a sense of abstraction and allows room for interpretation.

Untitled references the consideration that the artist’s works are consistently without a title. Susan Te Kahurangi King (b1951) makes work that speaks for itself without any written language to describe or frame them. The artist herself stopped verbally communicating at the age of four years old and was, much later, diagnosed with autism in 2015. There is an immediacy and confidence in Te Kahurangi King’s mark-making that is compelling, it is not surprising that she has exhibited extensively around the world and her drawings are housed in important public collections including MoMA, The Philadelphia Museum of Art, American Folk Art Museum, and the Chartwell Collection (Auckland Art Gallery, Toi o Tamaki). Untitled shows a small range of Te Kahurangi King’s practice, highlighting ten early and ten recent works.

Layla Walter is one of Aotearoa’s leading glass artists. This work is a stunning example of the artist’s practice, grand in scale but with an incredible level of detail and delicate palette. We see layered forms and textures through the translucent surfaces, bringing a fourth dimension to the viewing experience.

There Is Nowhere to Go, There Is Nothing to Do brings together a focused selection of photographs by Tāmaki Makaurau based artist Greta Anderson, produced between 1997 and 2022. The exhibition premise anticipated the launch of a new monographic publication of the same title, designed by exhibition curator New Public.

Drawing from a premise that forest health is under threat from kauri dieback (Phytophthora agathidicida) and myrtle rust (Austropuccinia psidii) the exhibiting artists have researched and explored expressions of grief, healing and restoration.

Hannah Ireland’s (b1995 Ngāti Hine, Ngāpuhi) practice embodies the notion of contemporary portraiture. The essence of each subject conveyed emotively through a gestural depiction. Ireland’s works, though painted, have an undeniable sculptural quality in how she approaches not only display but also the process of making. Often repurposing disused window frames as a painting support, Ireland paints the foreground first to achieve her finished compositions. The layering achieved in the process of painting on glass creates a sense of abstraction and allows room for interpretation.

Untitled references the consideration that the artist’s works are consistently without a title. Susan Te Kahurangi King (b1951) makes work that speaks for itself without any written language to describe or frame them. The artist herself stopped verbally communicating at the age of four years old and was, much later, diagnosed with autism in 2015. There is an immediacy and confidence in Te Kahurangi King’s mark-making that is compelling, it is not surprising that she has exhibited extensively around the world and her drawings are housed in important public collections including MoMA, The Philadelphia Museum of Art, American Folk Art Museum, and the Chartwell Collection (Auckland Art Gallery, Toi o Tamaki). Untitled shows a small range of Te Kahurangi King’s practice, highlighting ten early and ten recent works.

Layla Walter is one of Aotearoa’s leading glass artists. This work is a stunning example of the artist’s practice, grand in scale but with an incredible level of detail and delicate palette. We see layered forms and textures through the translucent surfaces, bringing a fourth dimension to the viewing experience.

There Is Nowhere to Go, There Is Nothing to Do brings together a focused selection of photographs by Tāmaki Makaurau based artist Greta Anderson, produced between 1997 and 2022. The exhibition premise anticipated the launch of a new monographic publication of the same title, designed by exhibition curator New Public.

Drawing from a premise that forest health is under threat from kauri dieback (Phytophthora agathidicida) and myrtle rust (Austropuccinia psidii) the exhibiting artists have researched and explored expressions of grief, healing and restoration.

Hannah Ireland’s (b1995 Ngāti Hine, Ngāpuhi) practice embodies the notion of contemporary portraiture. The essence of each subject conveyed emotively through a gestural depiction. Ireland’s works, though painted, have an undeniable sculptural quality in how she approaches not only display but also the process of making. Often repurposing disused window frames as a painting support, Ireland paints the foreground first to achieve her finished compositions. The layering achieved in the process of painting on glass creates a sense of abstraction and allows room for interpretation.

Untitled references the consideration that the artist’s works are consistently without a title. Susan Te Kahurangi King (b1951) makes work that speaks for itself without any written language to describe or frame them. The artist herself stopped verbally communicating at the age of four years old and was, much later, diagnosed with autism in 2015. There is an immediacy and confidence in Te Kahurangi King’s mark-making that is compelling, it is not surprising that she has exhibited extensively around the world and her drawings are housed in important public collections including MoMA, The Philadelphia Museum of Art, American Folk Art Museum, and the Chartwell Collection (Auckland Art Gallery, Toi o Tamaki). Untitled shows a small range of Te Kahurangi King’s practice, highlighting ten early and ten recent works.

Layla Walter is one of Aotearoa’s leading glass artists. This work is a stunning example of the artist’s practice, grand in scale but with an incredible level of detail and delicate palette. We see layered forms and textures through the translucent surfaces, bringing a fourth dimension to the viewing experience.

There Is Nowhere to Go, There Is Nothing to Do brings together a focused selection of photographs by Tāmaki Makaurau based artist Greta Anderson, produced between 1997 and 2022. The exhibition premise anticipated the launch of a new monographic publication of the same title, designed by exhibition curator New Public.

Drawing from a premise that forest health is under threat from kauri dieback (Phytophthora agathidicida) and myrtle rust (Austropuccinia psidii) the exhibiting artists have researched and explored expressions of grief, healing and restoration.

Hannah Ireland’s (b1995 Ngāti Hine, Ngāpuhi) practice embodies the notion of contemporary portraiture. The essence of each subject conveyed emotively through a gestural depiction. Ireland’s works, though painted, have an undeniable sculptural quality in how she approaches not only display but also the process of making. Often repurposing disused window frames as a painting support, Ireland paints the foreground first to achieve her finished compositions. The layering achieved in the process of painting on glass creates a sense of abstraction and allows room for interpretation.

Untitled references the consideration that the artist’s works are consistently without a title. Susan Te Kahurangi King (b1951) makes work that speaks for itself without any written language to describe or frame them. The artist herself stopped verbally communicating at the age of four years old and was, much later, diagnosed with autism in 2015. There is an immediacy and confidence in Te Kahurangi King’s mark-making that is compelling, it is not surprising that she has exhibited extensively around the world and her drawings are housed in important public collections including MoMA, The Philadelphia Museum of Art, American Folk Art Museum, and the Chartwell Collection (Auckland Art Gallery, Toi o Tamaki). Untitled shows a small range of Te Kahurangi King’s practice, highlighting ten early and ten recent works.

Layla Walter is one of Aotearoa’s leading glass artists. This work is a stunning example of the artist’s practice, grand in scale but with an incredible level of detail and delicate palette. We see layered forms and textures through the translucent surfaces, bringing a fourth dimension to the viewing experience.

There Is Nowhere to Go, There Is Nothing to Do brings together a focused selection of photographs by Tāmaki Makaurau based artist Greta Anderson, produced between 1997 and 2022. The exhibition premise anticipated the launch of a new monographic publication of the same title, designed by exhibition curator New Public.

Drawing from a premise that forest health is under threat from kauri dieback (Phytophthora agathidicida) and myrtle rust (Austropuccinia psidii) the exhibiting artists have researched and explored expressions of grief, healing and restoration.

Hannah Ireland’s (b1995 Ngāti Hine, Ngāpuhi) practice embodies the notion of contemporary portraiture. The essence of each subject conveyed emotively through a gestural depiction. Ireland’s works, though painted, have an undeniable sculptural quality in how she approaches not only display but also the process of making. Often repurposing disused window frames as a painting support, Ireland paints the foreground first to achieve her finished compositions. The layering achieved in the process of painting on glass creates a sense of abstraction and allows room for interpretation.

I AM is a collaborative exhibition of self-portraits in a range of media including painting, textiles and ceramics created by the artists in residence at Two4nine Community Gallery and Studio.

Untitled references the consideration that the artist’s works are consistently without a title. Susan Te Kahurangi King (b1951) makes work that speaks for itself without any written language to describe or frame them. The artist herself stopped verbally communicating at the age of four years old and was, much later, diagnosed with autism in 2015. There is an immediacy and confidence in Te Kahurangi King’s mark-making that is compelling, it is not surprising that she has exhibited extensively around the world and her drawings are housed in important public collections including MoMA, The Philadelphia Museum of Art, American Folk Art Museum, and the Chartwell Collection (Auckland Art Gallery, Toi o Tamaki). Untitled shows a small range of Te Kahurangi King’s practice, highlighting ten early and ten recent works.

Layla Walter is one of Aotearoa’s leading glass artists. This work is a stunning example of the artist’s practice, grand in scale but with an incredible level of detail and delicate palette. We see layered forms and textures through the translucent surfaces, bringing a fourth dimension to the viewing experience.

There Is Nowhere to Go, There Is Nothing to Do brings together a focused selection of photographs by Tāmaki Makaurau based artist Greta Anderson, produced between 1997 and 2022. The exhibition premise anticipated the launch of a new monographic publication of the same title, designed by exhibition curator New Public.

Drawing from a premise that forest health is under threat from kauri dieback (Phytophthora agathidicida) and myrtle rust (Austropuccinia psidii) the exhibiting artists have researched and explored expressions of grief, healing and restoration.

Hannah Ireland’s (b1995 Ngāti Hine, Ngāpuhi) practice embodies the notion of contemporary portraiture. The essence of each subject conveyed emotively through a gestural depiction. Ireland’s works, though painted, have an undeniable sculptural quality in how she approaches not only display but also the process of making. Often repurposing disused window frames as a painting support, Ireland paints the foreground first to achieve her finished compositions. The layering achieved in the process of painting on glass creates a sense of abstraction and allows room for interpretation.

I AM is a collaborative exhibition of self-portraits in a range of media including painting, textiles and ceramics created by the artists in residence at Two4nine Community Gallery and Studio.

Untitled references the consideration that the artist’s works are consistently without a title. Susan Te Kahurangi King (b1951) makes work that speaks for itself without any written language to describe or frame them. The artist herself stopped verbally communicating at the age of four years old and was, much later, diagnosed with autism in 2015. There is an immediacy and confidence in Te Kahurangi King’s mark-making that is compelling, it is not surprising that she has exhibited extensively around the world and her drawings are housed in important public collections including MoMA, The Philadelphia Museum of Art, American Folk Art Museum, and the Chartwell Collection (Auckland Art Gallery, Toi o Tamaki). Untitled shows a small range of Te Kahurangi King’s practice, highlighting ten early and ten recent works.

Layla Walter is one of Aotearoa’s leading glass artists. This work is a stunning example of the artist’s practice, grand in scale but with an incredible level of detail and delicate palette. We see layered forms and textures through the translucent surfaces, bringing a fourth dimension to the viewing experience.

There Is Nowhere to Go, There Is Nothing to Do brings together a focused selection of photographs by Tāmaki Makaurau based artist Greta Anderson, produced between 1997 and 2022. The exhibition premise anticipated the launch of a new monographic publication of the same title, designed by exhibition curator New Public.

Drawing from a premise that forest health is under threat from kauri dieback (Phytophthora agathidicida) and myrtle rust (Austropuccinia psidii) the exhibiting artists have researched and explored expressions of grief, healing and restoration.

Hannah Ireland’s (b1995 Ngāti Hine, Ngāpuhi) practice embodies the notion of contemporary portraiture. The essence of each subject conveyed emotively through a gestural depiction. Ireland’s works, though painted, have an undeniable sculptural quality in how she approaches not only display but also the process of making. Often repurposing disused window frames as a painting support, Ireland paints the foreground first to achieve her finished compositions. The layering achieved in the process of painting on glass creates a sense of abstraction and allows room for interpretation.

I AM is a collaborative exhibition of self-portraits in a range of media including painting, textiles and ceramics created by the artists in residence at Two4nine Community Gallery and Studio.

Untitled references the consideration that the artist’s works are consistently without a title. Susan Te Kahurangi King (b1951) makes work that speaks for itself without any written language to describe or frame them. The artist herself stopped verbally communicating at the age of four years old and was, much later, diagnosed with autism in 2015. There is an immediacy and confidence in Te Kahurangi King’s mark-making that is compelling, it is not surprising that she has exhibited extensively around the world and her drawings are housed in important public collections including MoMA, The Philadelphia Museum of Art, American Folk Art Museum, and the Chartwell Collection (Auckland Art Gallery, Toi o Tamaki). Untitled shows a small range of Te Kahurangi King’s practice, highlighting ten early and ten recent works.

Layla Walter is one of Aotearoa’s leading glass artists. This work is a stunning example of the artist’s practice, grand in scale but with an incredible level of detail and delicate palette. We see layered forms and textures through the translucent surfaces, bringing a fourth dimension to the viewing experience.

There Is Nowhere to Go, There Is Nothing to Do brings together a focused selection of photographs by Tāmaki Makaurau based artist Greta Anderson, produced between 1997 and 2022. The exhibition premise anticipated the launch of a new monographic publication of the same title, designed by exhibition curator New Public.

Drawing from a premise that forest health is under threat from kauri dieback (Phytophthora agathidicida) and myrtle rust (Austropuccinia psidii) the exhibiting artists have researched and explored expressions of grief, healing and restoration.

Hannah Ireland’s (b1995 Ngāti Hine, Ngāpuhi) practice embodies the notion of contemporary portraiture. The essence of each subject conveyed emotively through a gestural depiction. Ireland’s works, though painted, have an undeniable sculptural quality in how she approaches not only display but also the process of making. Often repurposing disused window frames as a painting support, Ireland paints the foreground first to achieve her finished compositions. The layering achieved in the process of painting on glass creates a sense of abstraction and allows room for interpretation.

I AM is a collaborative exhibition of self-portraits in a range of media including painting, textiles and ceramics created by the artists in residence at Two4nine Community Gallery and Studio.

Untitled references the consideration that the artist’s works are consistently without a title. Susan Te Kahurangi King (b1951) makes work that speaks for itself without any written language to describe or frame them. The artist herself stopped verbally communicating at the age of four years old and was, much later, diagnosed with autism in 2015. There is an immediacy and confidence in Te Kahurangi King’s mark-making that is compelling, it is not surprising that she has exhibited extensively around the world and her drawings are housed in important public collections including MoMA, The Philadelphia Museum of Art, American Folk Art Museum, and the Chartwell Collection (Auckland Art Gallery, Toi o Tamaki). Untitled shows a small range of Te Kahurangi King’s practice, highlighting ten early and ten recent works.

Layla Walter is one of Aotearoa’s leading glass artists. This work is a stunning example of the artist’s practice, grand in scale but with an incredible level of detail and delicate palette. We see layered forms and textures through the translucent surfaces, bringing a fourth dimension to the viewing experience.

There Is Nowhere to Go, There Is Nothing to Do brings together a focused selection of photographs by Tāmaki Makaurau based artist Greta Anderson, produced between 1997 and 2022. The exhibition premise anticipated the launch of a new monographic publication of the same title, designed by exhibition curator New Public.

Drawing from a premise that forest health is under threat from kauri dieback (Phytophthora agathidicida) and myrtle rust (Austropuccinia psidii) the exhibiting artists have researched and explored expressions of grief, healing and restoration.

Hannah Ireland’s (b1995 Ngāti Hine, Ngāpuhi) practice embodies the notion of contemporary portraiture. The essence of each subject conveyed emotively through a gestural depiction. Ireland’s works, though painted, have an undeniable sculptural quality in how she approaches not only display but also the process of making. Often repurposing disused window frames as a painting support, Ireland paints the foreground first to achieve her finished compositions. The layering achieved in the process of painting on glass creates a sense of abstraction and allows room for interpretation.

I AM is a collaborative exhibition of self-portraits in a range of media including painting, textiles and ceramics created by the artists in residence at Two4nine Community Gallery and Studio.

Untitled references the consideration that the artist’s works are consistently without a title. Susan Te Kahurangi King (b1951) makes work that speaks for itself without any written language to describe or frame them. The artist herself stopped verbally communicating at the age of four years old and was, much later, diagnosed with autism in 2015. There is an immediacy and confidence in Te Kahurangi King’s mark-making that is compelling, it is not surprising that she has exhibited extensively around the world and her drawings are housed in important public collections including MoMA, The Philadelphia Museum of Art, American Folk Art Museum, and the Chartwell Collection (Auckland Art Gallery, Toi o Tamaki). Untitled shows a small range of Te Kahurangi King’s practice, highlighting ten early and ten recent works.

Layla Walter is one of Aotearoa’s leading glass artists. This work is a stunning example of the artist’s practice, grand in scale but with an incredible level of detail and delicate palette. We see layered forms and textures through the translucent surfaces, bringing a fourth dimension to the viewing experience.

There Is Nowhere to Go, There Is Nothing to Do brings together a focused selection of photographs by Tāmaki Makaurau based artist Greta Anderson, produced between 1997 and 2022. The exhibition premise anticipated the launch of a new monographic publication of the same title, designed by exhibition curator New Public.

Drawing from a premise that forest health is under threat from kauri dieback (Phytophthora agathidicida) and myrtle rust (Austropuccinia psidii) the exhibiting artists have researched and explored expressions of grief, healing and restoration.

Hannah Ireland’s (b1995 Ngāti Hine, Ngāpuhi) practice embodies the notion of contemporary portraiture. The essence of each subject conveyed emotively through a gestural depiction. Ireland’s works, though painted, have an undeniable sculptural quality in how she approaches not only display but also the process of making. Often repurposing disused window frames as a painting support, Ireland paints the foreground first to achieve her finished compositions. The layering achieved in the process of painting on glass creates a sense of abstraction and allows room for interpretation.

I AM is a collaborative exhibition of self-portraits in a range of media including painting, textiles and ceramics created by the artists in residence at Two4nine Community Gallery and Studio.

Untitled references the consideration that the artist’s works are consistently without a title. Susan Te Kahurangi King (b1951) makes work that speaks for itself without any written language to describe or frame them. The artist herself stopped verbally communicating at the age of four years old and was, much later, diagnosed with autism in 2015. There is an immediacy and confidence in Te Kahurangi King’s mark-making that is compelling, it is not surprising that she has exhibited extensively around the world and her drawings are housed in important public collections including MoMA, The Philadelphia Museum of Art, American Folk Art Museum, and the Chartwell Collection (Auckland Art Gallery, Toi o Tamaki). Untitled shows a small range of Te Kahurangi King’s practice, highlighting ten early and ten recent works.

Layla Walter is one of Aotearoa’s leading glass artists. This work is a stunning example of the artist’s practice, grand in scale but with an incredible level of detail and delicate palette. We see layered forms and textures through the translucent surfaces, bringing a fourth dimension to the viewing experience.

There Is Nowhere to Go, There Is Nothing to Do brings together a focused selection of photographs by Tāmaki Makaurau based artist Greta Anderson, produced between 1997 and 2022. The exhibition premise anticipated the launch of a new monographic publication of the same title, designed by exhibition curator New Public.

Drawing from a premise that forest health is under threat from kauri dieback (Phytophthora agathidicida) and myrtle rust (Austropuccinia psidii) the exhibiting artists have researched and explored expressions of grief, healing and restoration.

Hannah Ireland’s (b1995 Ngāti Hine, Ngāpuhi) practice embodies the notion of contemporary portraiture. The essence of each subject conveyed emotively through a gestural depiction. Ireland’s works, though painted, have an undeniable sculptural quality in how she approaches not only display but also the process of making. Often repurposing disused window frames as a painting support, Ireland paints the foreground first to achieve her finished compositions. The layering achieved in the process of painting on glass creates a sense of abstraction and allows room for interpretation.

I AM is a collaborative exhibition of self-portraits in a range of media including painting, textiles and ceramics created by the artists in residence at Two4nine Community Gallery and Studio.

Untitled references the consideration that the artist’s works are consistently without a title. Susan Te Kahurangi King (b1951) makes work that speaks for itself without any written language to describe or frame them. The artist herself stopped verbally communicating at the age of four years old and was, much later, diagnosed with autism in 2015. There is an immediacy and confidence in Te Kahurangi King’s mark-making that is compelling, it is not surprising that she has exhibited extensively around the world and her drawings are housed in important public collections including MoMA, The Philadelphia Museum of Art, American Folk Art Museum, and the Chartwell Collection (Auckland Art Gallery, Toi o Tamaki). Untitled shows a small range of Te Kahurangi King’s practice, highlighting ten early and ten recent works.

Layla Walter is one of Aotearoa’s leading glass artists. This work is a stunning example of the artist’s practice, grand in scale but with an incredible level of detail and delicate palette. We see layered forms and textures through the translucent surfaces, bringing a fourth dimension to the viewing experience.

There Is Nowhere to Go, There Is Nothing to Do brings together a focused selection of photographs by Tāmaki Makaurau based artist Greta Anderson, produced between 1997 and 2022. The exhibition premise anticipated the launch of a new monographic publication of the same title, designed by exhibition curator New Public.

Drawing from a premise that forest health is under threat from kauri dieback (Phytophthora agathidicida) and myrtle rust (Austropuccinia psidii) the exhibiting artists have researched and explored expressions of grief, healing and restoration.

Hannah Ireland’s (b1995 Ngāti Hine, Ngāpuhi) practice embodies the notion of contemporary portraiture. The essence of each subject conveyed emotively through a gestural depiction. Ireland’s works, though painted, have an undeniable sculptural quality in how she approaches not only display but also the process of making. Often repurposing disused window frames as a painting support, Ireland paints the foreground first to achieve her finished compositions. The layering achieved in the process of painting on glass creates a sense of abstraction and allows room for interpretation.

I AM is a collaborative exhibition of self-portraits in a range of media including painting, textiles and ceramics created by the artists in residence at Two4nine Community Gallery and Studio.