Titirangi-born Elizabeth Thomson (born 1955) has devoted much of her career as a sculptor/visual artist to exploring both the order and randomness she finds not only in the physical world but in the fabric of human life and thought. As a special encore for the recent exhibition, Cellular memory, three works are exhibited in Te Uru’s distinctive spiral staircase and highlight three very different approaches to art-making, each of them bringing together elements from the methodology of sculpture, painting, photography and applied arts. Thomson’s works take the forms, colours and textures of the world around us and translate them into a visual language which is, at once, mysterious yet strangely familiar.

The title of this exhibition by Auckland-based artist Rozana Lee comes from an Indonesian saying, which means ‘once an immigrant, always an immigrant’. Lee’s project draws from personal histories to consider the journeys and status of migrant communities in society globally, and particularly in relation to her own Chinese-Indonesian heritage.

Te Uru presents a major new film commission by London-based filmmaker and artist Ufuoma Essi. Is my living in vain is a meditation on the continuing history and emancipatory potential of the Black church as a space of belonging, affirmation and community organising. Weaving together the lived experiences and transgenerational histories of Black women.

During 12 weeks of workshops and photo walks, InSight photographers experimented with processes, techniques, and subject matter to reveal their own visual pathways captured by photography. Communities often struggle to make space for young people as they transition into adulthood, but in the hands of these students, the camera becomes a tool of connection; each image showing how they relate to the physical and social spaces where they live and move. 

In Te Uru's window space, we unveil an arresting installation featuring Frank, a figure seated on a stool, seemingly within their private sanctuary. A casement fosters a voyeuristic tension between the viewer and Frank, prompting introspection on the essence of monstrosity and its origins.

Titirangi-born Elizabeth Thomson (born 1955) has devoted much of her career as a sculptor/visual artist to exploring both the order and randomness she finds not only in the physical world but in the fabric of human life and thought. As a special encore for the recent exhibition, Cellular memory, three works are exhibited in Te Uru’s distinctive spiral staircase and highlight three very different approaches to art-making, each of them bringing together elements from the methodology of sculpture, painting, photography and applied arts. Thomson’s works take the forms, colours and textures of the world around us and translate them into a visual language which is, at once, mysterious yet strangely familiar.

The title of this exhibition by Auckland-based artist Rozana Lee comes from an Indonesian saying, which means ‘once an immigrant, always an immigrant’. Lee’s project draws from personal histories to consider the journeys and status of migrant communities in society globally, and particularly in relation to her own Chinese-Indonesian heritage.

Te Uru presents a major new film commission by London-based filmmaker and artist Ufuoma Essi. Is my living in vain is a meditation on the continuing history and emancipatory potential of the Black church as a space of belonging, affirmation and community organising. Weaving together the lived experiences and transgenerational histories of Black women.

During 12 weeks of workshops and photo walks, InSight photographers experimented with processes, techniques, and subject matter to reveal their own visual pathways captured by photography. Communities often struggle to make space for young people as they transition into adulthood, but in the hands of these students, the camera becomes a tool of connection; each image showing how they relate to the physical and social spaces where they live and move. 

In Te Uru's window space, we unveil an arresting installation featuring Frank, a figure seated on a stool, seemingly within their private sanctuary. A casement fosters a voyeuristic tension between the viewer and Frank, prompting introspection on the essence of monstrosity and its origins.

Titirangi-born Elizabeth Thomson (born 1955) has devoted much of her career as a sculptor/visual artist to exploring both the order and randomness she finds not only in the physical world but in the fabric of human life and thought. As a special encore for the recent exhibition, Cellular memory, three works are exhibited in Te Uru’s distinctive spiral staircase and highlight three very different approaches to art-making, each of them bringing together elements from the methodology of sculpture, painting, photography and applied arts. Thomson’s works take the forms, colours and textures of the world around us and translate them into a visual language which is, at once, mysterious yet strangely familiar.

The title of this exhibition by Auckland-based artist Rozana Lee comes from an Indonesian saying, which means ‘once an immigrant, always an immigrant’. Lee’s project draws from personal histories to consider the journeys and status of migrant communities in society globally, and particularly in relation to her own Chinese-Indonesian heritage.

Te Uru presents a major new film commission by London-based filmmaker and artist Ufuoma Essi. Is my living in vain is a meditation on the continuing history and emancipatory potential of the Black church as a space of belonging, affirmation and community organising. Weaving together the lived experiences and transgenerational histories of Black women.

During 12 weeks of workshops and photo walks, InSight photographers experimented with processes, techniques, and subject matter to reveal their own visual pathways captured by photography. Communities often struggle to make space for young people as they transition into adulthood, but in the hands of these students, the camera becomes a tool of connection; each image showing how they relate to the physical and social spaces where they live and move. 

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.

In Te Uru's window space, we unveil an arresting installation featuring Frank, a figure seated on a stool, seemingly within their private sanctuary. A casement fosters a voyeuristic tension between the viewer and Frank, prompting introspection on the essence of monstrosity and its origins.

Titirangi-born Elizabeth Thomson (born 1955) has devoted much of her career as a sculptor/visual artist to exploring both the order and randomness she finds not only in the physical world but in the fabric of human life and thought. As a special encore for the recent exhibition, Cellular memory, three works are exhibited in Te Uru’s distinctive spiral staircase and highlight three very different approaches to art-making, each of them bringing together elements from the methodology of sculpture, painting, photography and applied arts. Thomson’s works take the forms, colours and textures of the world around us and translate them into a visual language which is, at once, mysterious yet strangely familiar.

The title of this exhibition by Auckland-based artist Rozana Lee comes from an Indonesian saying, which means ‘once an immigrant, always an immigrant’. Lee’s project draws from personal histories to consider the journeys and status of migrant communities in society globally, and particularly in relation to her own Chinese-Indonesian heritage.

Te Uru presents a major new film commission by London-based filmmaker and artist Ufuoma Essi. Is my living in vain is a meditation on the continuing history and emancipatory potential of the Black church as a space of belonging, affirmation and community organising. Weaving together the lived experiences and transgenerational histories of Black women.

During 12 weeks of workshops and photo walks, InSight photographers experimented with processes, techniques, and subject matter to reveal their own visual pathways captured by photography. Communities often struggle to make space for young people as they transition into adulthood, but in the hands of these students, the camera becomes a tool of connection; each image showing how they relate to the physical and social spaces where they live and move. 

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.

In Te Uru's window space, we unveil an arresting installation featuring Frank, a figure seated on a stool, seemingly within their private sanctuary. A casement fosters a voyeuristic tension between the viewer and Frank, prompting introspection on the essence of monstrosity and its origins.

Titirangi-born Elizabeth Thomson (born 1955) has devoted much of her career as a sculptor/visual artist to exploring both the order and randomness she finds not only in the physical world but in the fabric of human life and thought. As a special encore for the recent exhibition, Cellular memory, three works are exhibited in Te Uru’s distinctive spiral staircase and highlight three very different approaches to art-making, each of them bringing together elements from the methodology of sculpture, painting, photography and applied arts. Thomson’s works take the forms, colours and textures of the world around us and translate them into a visual language which is, at once, mysterious yet strangely familiar.

The title of this exhibition by Auckland-based artist Rozana Lee comes from an Indonesian saying, which means ‘once an immigrant, always an immigrant’. Lee’s project draws from personal histories to consider the journeys and status of migrant communities in society globally, and particularly in relation to her own Chinese-Indonesian heritage.

Te Uru presents a major new film commission by London-based filmmaker and artist Ufuoma Essi. Is my living in vain is a meditation on the continuing history and emancipatory potential of the Black church as a space of belonging, affirmation and community organising. Weaving together the lived experiences and transgenerational histories of Black women.

During 12 weeks of workshops and photo walks, InSight photographers experimented with processes, techniques, and subject matter to reveal their own visual pathways captured by photography. Communities often struggle to make space for young people as they transition into adulthood, but in the hands of these students, the camera becomes a tool of connection; each image showing how they relate to the physical and social spaces where they live and move. 

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.

In Te Uru's window space, we unveil an arresting installation featuring Frank, a figure seated on a stool, seemingly within their private sanctuary. A casement fosters a voyeuristic tension between the viewer and Frank, prompting introspection on the essence of monstrosity and its origins.

Titirangi-born Elizabeth Thomson (born 1955) has devoted much of her career as a sculptor/visual artist to exploring both the order and randomness she finds not only in the physical world but in the fabric of human life and thought. As a special encore for the recent exhibition, Cellular memory, three works are exhibited in Te Uru’s distinctive spiral staircase and highlight three very different approaches to art-making, each of them bringing together elements from the methodology of sculpture, painting, photography and applied arts. Thomson’s works take the forms, colours and textures of the world around us and translate them into a visual language which is, at once, mysterious yet strangely familiar.

The title of this exhibition by Auckland-based artist Rozana Lee comes from an Indonesian saying, which means ‘once an immigrant, always an immigrant’. Lee’s project draws from personal histories to consider the journeys and status of migrant communities in society globally, and particularly in relation to her own Chinese-Indonesian heritage.

Te Uru presents a major new film commission by London-based filmmaker and artist Ufuoma Essi. Is my living in vain is a meditation on the continuing history and emancipatory potential of the Black church as a space of belonging, affirmation and community organising. Weaving together the lived experiences and transgenerational histories of Black women.

During 12 weeks of workshops and photo walks, InSight photographers experimented with processes, techniques, and subject matter to reveal their own visual pathways captured by photography. Communities often struggle to make space for young people as they transition into adulthood, but in the hands of these students, the camera becomes a tool of connection; each image showing how they relate to the physical and social spaces where they live and move. 

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.

In Te Uru's window space, we unveil an arresting installation featuring Frank, a figure seated on a stool, seemingly within their private sanctuary. A casement fosters a voyeuristic tension between the viewer and Frank, prompting introspection on the essence of monstrosity and its origins.

Titirangi-born Elizabeth Thomson (born 1955) has devoted much of her career as a sculptor/visual artist to exploring both the order and randomness she finds not only in the physical world but in the fabric of human life and thought. As a special encore for the recent exhibition, Cellular memory, three works are exhibited in Te Uru’s distinctive spiral staircase and highlight three very different approaches to art-making, each of them bringing together elements from the methodology of sculpture, painting, photography and applied arts. Thomson’s works take the forms, colours and textures of the world around us and translate them into a visual language which is, at once, mysterious yet strangely familiar.

The title of this exhibition by Auckland-based artist Rozana Lee comes from an Indonesian saying, which means ‘once an immigrant, always an immigrant’. Lee’s project draws from personal histories to consider the journeys and status of migrant communities in society globally, and particularly in relation to her own Chinese-Indonesian heritage.

Te Uru presents a major new film commission by London-based filmmaker and artist Ufuoma Essi. Is my living in vain is a meditation on the continuing history and emancipatory potential of the Black church as a space of belonging, affirmation and community organising. Weaving together the lived experiences and transgenerational histories of Black women.

During 12 weeks of workshops and photo walks, InSight photographers experimented with processes, techniques, and subject matter to reveal their own visual pathways captured by photography. Communities often struggle to make space for young people as they transition into adulthood, but in the hands of these students, the camera becomes a tool of connection; each image showing how they relate to the physical and social spaces where they live and move. 

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.

In Te Uru's window space, we unveil an arresting installation featuring Frank, a figure seated on a stool, seemingly within their private sanctuary. A casement fosters a voyeuristic tension between the viewer and Frank, prompting introspection on the essence of monstrosity and its origins.

Titirangi-born Elizabeth Thomson (born 1955) has devoted much of her career as a sculptor/visual artist to exploring both the order and randomness she finds not only in the physical world but in the fabric of human life and thought. As a special encore for the recent exhibition, Cellular memory, three works are exhibited in Te Uru’s distinctive spiral staircase and highlight three very different approaches to art-making, each of them bringing together elements from the methodology of sculpture, painting, photography and applied arts. Thomson’s works take the forms, colours and textures of the world around us and translate them into a visual language which is, at once, mysterious yet strangely familiar.

The title of this exhibition by Auckland-based artist Rozana Lee comes from an Indonesian saying, which means ‘once an immigrant, always an immigrant’. Lee’s project draws from personal histories to consider the journeys and status of migrant communities in society globally, and particularly in relation to her own Chinese-Indonesian heritage.

Te Uru presents a major new film commission by London-based filmmaker and artist Ufuoma Essi. Is my living in vain is a meditation on the continuing history and emancipatory potential of the Black church as a space of belonging, affirmation and community organising. Weaving together the lived experiences and transgenerational histories of Black women.

During 12 weeks of workshops and photo walks, InSight photographers experimented with processes, techniques, and subject matter to reveal their own visual pathways captured by photography. Communities often struggle to make space for young people as they transition into adulthood, but in the hands of these students, the camera becomes a tool of connection; each image showing how they relate to the physical and social spaces where they live and move. 

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.

In Te Uru's window space, we unveil an arresting installation featuring Frank, a figure seated on a stool, seemingly within their private sanctuary. A casement fosters a voyeuristic tension between the viewer and Frank, prompting introspection on the essence of monstrosity and its origins.

Titirangi-born Elizabeth Thomson (born 1955) has devoted much of her career as a sculptor/visual artist to exploring both the order and randomness she finds not only in the physical world but in the fabric of human life and thought. As a special encore for the recent exhibition, Cellular memory, three works are exhibited in Te Uru’s distinctive spiral staircase and highlight three very different approaches to art-making, each of them bringing together elements from the methodology of sculpture, painting, photography and applied arts. Thomson’s works take the forms, colours and textures of the world around us and translate them into a visual language which is, at once, mysterious yet strangely familiar.

The title of this exhibition by Auckland-based artist Rozana Lee comes from an Indonesian saying, which means ‘once an immigrant, always an immigrant’. Lee’s project draws from personal histories to consider the journeys and status of migrant communities in society globally, and particularly in relation to her own Chinese-Indonesian heritage.

Te Uru presents a major new film commission by London-based filmmaker and artist Ufuoma Essi. Is my living in vain is a meditation on the continuing history and emancipatory potential of the Black church as a space of belonging, affirmation and community organising. Weaving together the lived experiences and transgenerational histories of Black women.

During 12 weeks of workshops and photo walks, InSight photographers experimented with processes, techniques, and subject matter to reveal their own visual pathways captured by photography. Communities often struggle to make space for young people as they transition into adulthood, but in the hands of these students, the camera becomes a tool of connection; each image showing how they relate to the physical and social spaces where they live and move. 

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.

In Te Uru's window space, we unveil an arresting installation featuring Frank, a figure seated on a stool, seemingly within their private sanctuary. A casement fosters a voyeuristic tension between the viewer and Frank, prompting introspection on the essence of monstrosity and its origins.

Titirangi-born Elizabeth Thomson (born 1955) has devoted much of her career as a sculptor/visual artist to exploring both the order and randomness she finds not only in the physical world but in the fabric of human life and thought. As a special encore for the recent exhibition, Cellular memory, three works are exhibited in Te Uru’s distinctive spiral staircase and highlight three very different approaches to art-making, each of them bringing together elements from the methodology of sculpture, painting, photography and applied arts. Thomson’s works take the forms, colours and textures of the world around us and translate them into a visual language which is, at once, mysterious yet strangely familiar.

The title of this exhibition by Auckland-based artist Rozana Lee comes from an Indonesian saying, which means ‘once an immigrant, always an immigrant’. Lee’s project draws from personal histories to consider the journeys and status of migrant communities in society globally, and particularly in relation to her own Chinese-Indonesian heritage.

Te Uru presents a major new film commission by London-based filmmaker and artist Ufuoma Essi. Is my living in vain is a meditation on the continuing history and emancipatory potential of the Black church as a space of belonging, affirmation and community organising. Weaving together the lived experiences and transgenerational histories of Black women.

During 12 weeks of workshops and photo walks, InSight photographers experimented with processes, techniques, and subject matter to reveal their own visual pathways captured by photography. Communities often struggle to make space for young people as they transition into adulthood, but in the hands of these students, the camera becomes a tool of connection; each image showing how they relate to the physical and social spaces where they live and move. 

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.

In Te Uru's window space, we unveil an arresting installation featuring Frank, a figure seated on a stool, seemingly within their private sanctuary. A casement fosters a voyeuristic tension between the viewer and Frank, prompting introspection on the essence of monstrosity and its origins.

Titirangi-born Elizabeth Thomson (born 1955) has devoted much of her career as a sculptor/visual artist to exploring both the order and randomness she finds not only in the physical world but in the fabric of human life and thought. As a special encore for the recent exhibition, Cellular memory, three works are exhibited in Te Uru’s distinctive spiral staircase and highlight three very different approaches to art-making, each of them bringing together elements from the methodology of sculpture, painting, photography and applied arts. Thomson’s works take the forms, colours and textures of the world around us and translate them into a visual language which is, at once, mysterious yet strangely familiar.

The title of this exhibition by Auckland-based artist Rozana Lee comes from an Indonesian saying, which means ‘once an immigrant, always an immigrant’. Lee’s project draws from personal histories to consider the journeys and status of migrant communities in society globally, and particularly in relation to her own Chinese-Indonesian heritage.

Te Uru presents a major new film commission by London-based filmmaker and artist Ufuoma Essi. Is my living in vain is a meditation on the continuing history and emancipatory potential of the Black church as a space of belonging, affirmation and community organising. Weaving together the lived experiences and transgenerational histories of Black women.

During 12 weeks of workshops and photo walks, InSight photographers experimented with processes, techniques, and subject matter to reveal their own visual pathways captured by photography. Communities often struggle to make space for young people as they transition into adulthood, but in the hands of these students, the camera becomes a tool of connection; each image showing how they relate to the physical and social spaces where they live and move. 

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.

In Te Uru's window space, we unveil an arresting installation featuring Frank, a figure seated on a stool, seemingly within their private sanctuary. A casement fosters a voyeuristic tension between the viewer and Frank, prompting introspection on the essence of monstrosity and its origins.

Titirangi-born Elizabeth Thomson (born 1955) has devoted much of her career as a sculptor/visual artist to exploring both the order and randomness she finds not only in the physical world but in the fabric of human life and thought. As a special encore for the recent exhibition, Cellular memory, three works are exhibited in Te Uru’s distinctive spiral staircase and highlight three very different approaches to art-making, each of them bringing together elements from the methodology of sculpture, painting, photography and applied arts. Thomson’s works take the forms, colours and textures of the world around us and translate them into a visual language which is, at once, mysterious yet strangely familiar.

The title of this exhibition by Auckland-based artist Rozana Lee comes from an Indonesian saying, which means ‘once an immigrant, always an immigrant’. Lee’s project draws from personal histories to consider the journeys and status of migrant communities in society globally, and particularly in relation to her own Chinese-Indonesian heritage.

Te Uru presents a major new film commission by London-based filmmaker and artist Ufuoma Essi. Is my living in vain is a meditation on the continuing history and emancipatory potential of the Black church as a space of belonging, affirmation and community organising. Weaving together the lived experiences and transgenerational histories of Black women.

During 12 weeks of workshops and photo walks, InSight photographers experimented with processes, techniques, and subject matter to reveal their own visual pathways captured by photography. Communities often struggle to make space for young people as they transition into adulthood, but in the hands of these students, the camera becomes a tool of connection; each image showing how they relate to the physical and social spaces where they live and move. 

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.

In Te Uru's window space, we unveil an arresting installation featuring Frank, a figure seated on a stool, seemingly within their private sanctuary. A casement fosters a voyeuristic tension between the viewer and Frank, prompting introspection on the essence of monstrosity and its origins.

Titirangi-born Elizabeth Thomson (born 1955) has devoted much of her career as a sculptor/visual artist to exploring both the order and randomness she finds not only in the physical world but in the fabric of human life and thought. As a special encore for the recent exhibition, Cellular memory, three works are exhibited in Te Uru’s distinctive spiral staircase and highlight three very different approaches to art-making, each of them bringing together elements from the methodology of sculpture, painting, photography and applied arts. Thomson’s works take the forms, colours and textures of the world around us and translate them into a visual language which is, at once, mysterious yet strangely familiar.

The title of this exhibition by Auckland-based artist Rozana Lee comes from an Indonesian saying, which means ‘once an immigrant, always an immigrant’. Lee’s project draws from personal histories to consider the journeys and status of migrant communities in society globally, and particularly in relation to her own Chinese-Indonesian heritage.

Te Uru presents a major new film commission by London-based filmmaker and artist Ufuoma Essi. Is my living in vain is a meditation on the continuing history and emancipatory potential of the Black church as a space of belonging, affirmation and community organising. Weaving together the lived experiences and transgenerational histories of Black women.

During 12 weeks of workshops and photo walks, InSight photographers experimented with processes, techniques, and subject matter to reveal their own visual pathways captured by photography. Communities often struggle to make space for young people as they transition into adulthood, but in the hands of these students, the camera becomes a tool of connection; each image showing how they relate to the physical and social spaces where they live and move. 

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.

In Te Uru's window space, we unveil an arresting installation featuring Frank, a figure seated on a stool, seemingly within their private sanctuary. A casement fosters a voyeuristic tension between the viewer and Frank, prompting introspection on the essence of monstrosity and its origins.

Titirangi-born Elizabeth Thomson (born 1955) has devoted much of her career as a sculptor/visual artist to exploring both the order and randomness she finds not only in the physical world but in the fabric of human life and thought. As a special encore for the recent exhibition, Cellular memory, three works are exhibited in Te Uru’s distinctive spiral staircase and highlight three very different approaches to art-making, each of them bringing together elements from the methodology of sculpture, painting, photography and applied arts. Thomson’s works take the forms, colours and textures of the world around us and translate them into a visual language which is, at once, mysterious yet strangely familiar.

The title of this exhibition by Auckland-based artist Rozana Lee comes from an Indonesian saying, which means ‘once an immigrant, always an immigrant’. Lee’s project draws from personal histories to consider the journeys and status of migrant communities in society globally, and particularly in relation to her own Chinese-Indonesian heritage.

Te Uru presents a major new film commission by London-based filmmaker and artist Ufuoma Essi. Is my living in vain is a meditation on the continuing history and emancipatory potential of the Black church as a space of belonging, affirmation and community organising. Weaving together the lived experiences and transgenerational histories of Black women.

During 12 weeks of workshops and photo walks, InSight photographers experimented with processes, techniques, and subject matter to reveal their own visual pathways captured by photography. Communities often struggle to make space for young people as they transition into adulthood, but in the hands of these students, the camera becomes a tool of connection; each image showing how they relate to the physical and social spaces where they live and move. 

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.

In Te Uru's window space, we unveil an arresting installation featuring Frank, a figure seated on a stool, seemingly within their private sanctuary. A casement fosters a voyeuristic tension between the viewer and Frank, prompting introspection on the essence of monstrosity and its origins.

Titirangi-born Elizabeth Thomson (born 1955) has devoted much of her career as a sculptor/visual artist to exploring both the order and randomness she finds not only in the physical world but in the fabric of human life and thought. As a special encore for the recent exhibition, Cellular memory, three works are exhibited in Te Uru’s distinctive spiral staircase and highlight three very different approaches to art-making, each of them bringing together elements from the methodology of sculpture, painting, photography and applied arts. Thomson’s works take the forms, colours and textures of the world around us and translate them into a visual language which is, at once, mysterious yet strangely familiar.

The title of this exhibition by Auckland-based artist Rozana Lee comes from an Indonesian saying, which means ‘once an immigrant, always an immigrant’. Lee’s project draws from personal histories to consider the journeys and status of migrant communities in society globally, and particularly in relation to her own Chinese-Indonesian heritage.

Te Uru presents a major new film commission by London-based filmmaker and artist Ufuoma Essi. Is my living in vain is a meditation on the continuing history and emancipatory potential of the Black church as a space of belonging, affirmation and community organising. Weaving together the lived experiences and transgenerational histories of Black women.

During 12 weeks of workshops and photo walks, InSight photographers experimented with processes, techniques, and subject matter to reveal their own visual pathways captured by photography. Communities often struggle to make space for young people as they transition into adulthood, but in the hands of these students, the camera becomes a tool of connection; each image showing how they relate to the physical and social spaces where they live and move. 

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.

In Te Uru's window space, we unveil an arresting installation featuring Frank, a figure seated on a stool, seemingly within their private sanctuary. A casement fosters a voyeuristic tension between the viewer and Frank, prompting introspection on the essence of monstrosity and its origins.

Titirangi-born Elizabeth Thomson (born 1955) has devoted much of her career as a sculptor/visual artist to exploring both the order and randomness she finds not only in the physical world but in the fabric of human life and thought. As a special encore for the recent exhibition, Cellular memory, three works are exhibited in Te Uru’s distinctive spiral staircase and highlight three very different approaches to art-making, each of them bringing together elements from the methodology of sculpture, painting, photography and applied arts. Thomson’s works take the forms, colours and textures of the world around us and translate them into a visual language which is, at once, mysterious yet strangely familiar.

The title of this exhibition by Auckland-based artist Rozana Lee comes from an Indonesian saying, which means ‘once an immigrant, always an immigrant’. Lee’s project draws from personal histories to consider the journeys and status of migrant communities in society globally, and particularly in relation to her own Chinese-Indonesian heritage.

Te Uru presents a major new film commission by London-based filmmaker and artist Ufuoma Essi. Is my living in vain is a meditation on the continuing history and emancipatory potential of the Black church as a space of belonging, affirmation and community organising. Weaving together the lived experiences and transgenerational histories of Black women.

During 12 weeks of workshops and photo walks, InSight photographers experimented with processes, techniques, and subject matter to reveal their own visual pathways captured by photography. Communities often struggle to make space for young people as they transition into adulthood, but in the hands of these students, the camera becomes a tool of connection; each image showing how they relate to the physical and social spaces where they live and move. 

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.

In Te Uru's window space, we unveil an arresting installation featuring Frank, a figure seated on a stool, seemingly within their private sanctuary. A casement fosters a voyeuristic tension between the viewer and Frank, prompting introspection on the essence of monstrosity and its origins.

Titirangi-born Elizabeth Thomson (born 1955) has devoted much of her career as a sculptor/visual artist to exploring both the order and randomness she finds not only in the physical world but in the fabric of human life and thought. As a special encore for the recent exhibition, Cellular memory, three works are exhibited in Te Uru’s distinctive spiral staircase and highlight three very different approaches to art-making, each of them bringing together elements from the methodology of sculpture, painting, photography and applied arts. Thomson’s works take the forms, colours and textures of the world around us and translate them into a visual language which is, at once, mysterious yet strangely familiar.

The title of this exhibition by Auckland-based artist Rozana Lee comes from an Indonesian saying, which means ‘once an immigrant, always an immigrant’. Lee’s project draws from personal histories to consider the journeys and status of migrant communities in society globally, and particularly in relation to her own Chinese-Indonesian heritage.

Te Uru presents a major new film commission by London-based filmmaker and artist Ufuoma Essi. Is my living in vain is a meditation on the continuing history and emancipatory potential of the Black church as a space of belonging, affirmation and community organising. Weaving together the lived experiences and transgenerational histories of Black women.

During 12 weeks of workshops and photo walks, InSight photographers experimented with processes, techniques, and subject matter to reveal their own visual pathways captured by photography. Communities often struggle to make space for young people as they transition into adulthood, but in the hands of these students, the camera becomes a tool of connection; each image showing how they relate to the physical and social spaces where they live and move. 

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.

In Te Uru's window space, we unveil an arresting installation featuring Frank, a figure seated on a stool, seemingly within their private sanctuary. A casement fosters a voyeuristic tension between the viewer and Frank, prompting introspection on the essence of monstrosity and its origins.

Titirangi-born Elizabeth Thomson (born 1955) has devoted much of her career as a sculptor/visual artist to exploring both the order and randomness she finds not only in the physical world but in the fabric of human life and thought. As a special encore for the recent exhibition, Cellular memory, three works are exhibited in Te Uru’s distinctive spiral staircase and highlight three very different approaches to art-making, each of them bringing together elements from the methodology of sculpture, painting, photography and applied arts. Thomson’s works take the forms, colours and textures of the world around us and translate them into a visual language which is, at once, mysterious yet strangely familiar.

The title of this exhibition by Auckland-based artist Rozana Lee comes from an Indonesian saying, which means ‘once an immigrant, always an immigrant’. Lee’s project draws from personal histories to consider the journeys and status of migrant communities in society globally, and particularly in relation to her own Chinese-Indonesian heritage.

Te Uru presents a major new film commission by London-based filmmaker and artist Ufuoma Essi. Is my living in vain is a meditation on the continuing history and emancipatory potential of the Black church as a space of belonging, affirmation and community organising. Weaving together the lived experiences and transgenerational histories of Black women.

During 12 weeks of workshops and photo walks, InSight photographers experimented with processes, techniques, and subject matter to reveal their own visual pathways captured by photography. Communities often struggle to make space for young people as they transition into adulthood, but in the hands of these students, the camera becomes a tool of connection; each image showing how they relate to the physical and social spaces where they live and move. 

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.

In Te Uru's window space, we unveil an arresting installation featuring Frank, a figure seated on a stool, seemingly within their private sanctuary. A casement fosters a voyeuristic tension between the viewer and Frank, prompting introspection on the essence of monstrosity and its origins.

Titirangi-born Elizabeth Thomson (born 1955) has devoted much of her career as a sculptor/visual artist to exploring both the order and randomness she finds not only in the physical world but in the fabric of human life and thought. As a special encore for the recent exhibition, Cellular memory, three works are exhibited in Te Uru’s distinctive spiral staircase and highlight three very different approaches to art-making, each of them bringing together elements from the methodology of sculpture, painting, photography and applied arts. Thomson’s works take the forms, colours and textures of the world around us and translate them into a visual language which is, at once, mysterious yet strangely familiar.

The title of this exhibition by Auckland-based artist Rozana Lee comes from an Indonesian saying, which means ‘once an immigrant, always an immigrant’. Lee’s project draws from personal histories to consider the journeys and status of migrant communities in society globally, and particularly in relation to her own Chinese-Indonesian heritage.

Te Uru presents a major new film commission by London-based filmmaker and artist Ufuoma Essi. Is my living in vain is a meditation on the continuing history and emancipatory potential of the Black church as a space of belonging, affirmation and community organising. Weaving together the lived experiences and transgenerational histories of Black women.

During 12 weeks of workshops and photo walks, InSight photographers experimented with processes, techniques, and subject matter to reveal their own visual pathways captured by photography. Communities often struggle to make space for young people as they transition into adulthood, but in the hands of these students, the camera becomes a tool of connection; each image showing how they relate to the physical and social spaces where they live and move. 

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.

In Te Uru's window space, we unveil an arresting installation featuring Frank, a figure seated on a stool, seemingly within their private sanctuary. A casement fosters a voyeuristic tension between the viewer and Frank, prompting introspection on the essence of monstrosity and its origins.

Titirangi-born Elizabeth Thomson (born 1955) has devoted much of her career as a sculptor/visual artist to exploring both the order and randomness she finds not only in the physical world but in the fabric of human life and thought. As a special encore for the recent exhibition, Cellular memory, three works are exhibited in Te Uru’s distinctive spiral staircase and highlight three very different approaches to art-making, each of them bringing together elements from the methodology of sculpture, painting, photography and applied arts. Thomson’s works take the forms, colours and textures of the world around us and translate them into a visual language which is, at once, mysterious yet strangely familiar.

The title of this exhibition by Auckland-based artist Rozana Lee comes from an Indonesian saying, which means ‘once an immigrant, always an immigrant’. Lee’s project draws from personal histories to consider the journeys and status of migrant communities in society globally, and particularly in relation to her own Chinese-Indonesian heritage.

Te Uru presents a major new film commission by London-based filmmaker and artist Ufuoma Essi. Is my living in vain is a meditation on the continuing history and emancipatory potential of the Black church as a space of belonging, affirmation and community organising. Weaving together the lived experiences and transgenerational histories of Black women.

During 12 weeks of workshops and photo walks, InSight photographers experimented with processes, techniques, and subject matter to reveal their own visual pathways captured by photography. Communities often struggle to make space for young people as they transition into adulthood, but in the hands of these students, the camera becomes a tool of connection; each image showing how they relate to the physical and social spaces where they live and move. 

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.

In Te Uru's window space, we unveil an arresting installation featuring Frank, a figure seated on a stool, seemingly within their private sanctuary. A casement fosters a voyeuristic tension between the viewer and Frank, prompting introspection on the essence of monstrosity and its origins.

Titirangi-born Elizabeth Thomson (born 1955) has devoted much of her career as a sculptor/visual artist to exploring both the order and randomness she finds not only in the physical world but in the fabric of human life and thought. As a special encore for the recent exhibition, Cellular memory, three works are exhibited in Te Uru’s distinctive spiral staircase and highlight three very different approaches to art-making, each of them bringing together elements from the methodology of sculpture, painting, photography and applied arts. Thomson’s works take the forms, colours and textures of the world around us and translate them into a visual language which is, at once, mysterious yet strangely familiar.

The title of this exhibition by Auckland-based artist Rozana Lee comes from an Indonesian saying, which means ‘once an immigrant, always an immigrant’. Lee’s project draws from personal histories to consider the journeys and status of migrant communities in society globally, and particularly in relation to her own Chinese-Indonesian heritage.

Te Uru presents a major new film commission by London-based filmmaker and artist Ufuoma Essi. Is my living in vain is a meditation on the continuing history and emancipatory potential of the Black church as a space of belonging, affirmation and community organising. Weaving together the lived experiences and transgenerational histories of Black women.

During 12 weeks of workshops and photo walks, InSight photographers experimented with processes, techniques, and subject matter to reveal their own visual pathways captured by photography. Communities often struggle to make space for young people as they transition into adulthood, but in the hands of these students, the camera becomes a tool of connection; each image showing how they relate to the physical and social spaces where they live and move. 

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.

In Te Uru's window space, we unveil an arresting installation featuring Frank, a figure seated on a stool, seemingly within their private sanctuary. A casement fosters a voyeuristic tension between the viewer and Frank, prompting introspection on the essence of monstrosity and its origins.

Titirangi-born Elizabeth Thomson (born 1955) has devoted much of her career as a sculptor/visual artist to exploring both the order and randomness she finds not only in the physical world but in the fabric of human life and thought. As a special encore for the recent exhibition, Cellular memory, three works are exhibited in Te Uru’s distinctive spiral staircase and highlight three very different approaches to art-making, each of them bringing together elements from the methodology of sculpture, painting, photography and applied arts. Thomson’s works take the forms, colours and textures of the world around us and translate them into a visual language which is, at once, mysterious yet strangely familiar.

The title of this exhibition by Auckland-based artist Rozana Lee comes from an Indonesian saying, which means ‘once an immigrant, always an immigrant’. Lee’s project draws from personal histories to consider the journeys and status of migrant communities in society globally, and particularly in relation to her own Chinese-Indonesian heritage.

Te Uru presents a major new film commission by London-based filmmaker and artist Ufuoma Essi. Is my living in vain is a meditation on the continuing history and emancipatory potential of the Black church as a space of belonging, affirmation and community organising. Weaving together the lived experiences and transgenerational histories of Black women.

During 12 weeks of workshops and photo walks, InSight photographers experimented with processes, techniques, and subject matter to reveal their own visual pathways captured by photography. Communities often struggle to make space for young people as they transition into adulthood, but in the hands of these students, the camera becomes a tool of connection; each image showing how they relate to the physical and social spaces where they live and move. 

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.

In Te Uru's window space, we unveil an arresting installation featuring Frank, a figure seated on a stool, seemingly within their private sanctuary. A casement fosters a voyeuristic tension between the viewer and Frank, prompting introspection on the essence of monstrosity and its origins.

Titirangi-born Elizabeth Thomson (born 1955) has devoted much of her career as a sculptor/visual artist to exploring both the order and randomness she finds not only in the physical world but in the fabric of human life and thought. As a special encore for the recent exhibition, Cellular memory, three works are exhibited in Te Uru’s distinctive spiral staircase and highlight three very different approaches to art-making, each of them bringing together elements from the methodology of sculpture, painting, photography and applied arts. Thomson’s works take the forms, colours and textures of the world around us and translate them into a visual language which is, at once, mysterious yet strangely familiar.

The title of this exhibition by Auckland-based artist Rozana Lee comes from an Indonesian saying, which means ‘once an immigrant, always an immigrant’. Lee’s project draws from personal histories to consider the journeys and status of migrant communities in society globally, and particularly in relation to her own Chinese-Indonesian heritage.

Te Uru presents a major new film commission by London-based filmmaker and artist Ufuoma Essi. Is my living in vain is a meditation on the continuing history and emancipatory potential of the Black church as a space of belonging, affirmation and community organising. Weaving together the lived experiences and transgenerational histories of Black women.

During 12 weeks of workshops and photo walks, InSight photographers experimented with processes, techniques, and subject matter to reveal their own visual pathways captured by photography. Communities often struggle to make space for young people as they transition into adulthood, but in the hands of these students, the camera becomes a tool of connection; each image showing how they relate to the physical and social spaces where they live and move. 

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.

In Te Uru's window space, we unveil an arresting installation featuring Frank, a figure seated on a stool, seemingly within their private sanctuary. A casement fosters a voyeuristic tension between the viewer and Frank, prompting introspection on the essence of monstrosity and its origins.

Titirangi-born Elizabeth Thomson (born 1955) has devoted much of her career as a sculptor/visual artist to exploring both the order and randomness she finds not only in the physical world but in the fabric of human life and thought. As a special encore for the recent exhibition, Cellular memory, three works are exhibited in Te Uru’s distinctive spiral staircase and highlight three very different approaches to art-making, each of them bringing together elements from the methodology of sculpture, painting, photography and applied arts. Thomson’s works take the forms, colours and textures of the world around us and translate them into a visual language which is, at once, mysterious yet strangely familiar.

The title of this exhibition by Auckland-based artist Rozana Lee comes from an Indonesian saying, which means ‘once an immigrant, always an immigrant’. Lee’s project draws from personal histories to consider the journeys and status of migrant communities in society globally, and particularly in relation to her own Chinese-Indonesian heritage.

Te Uru presents a major new film commission by London-based filmmaker and artist Ufuoma Essi. Is my living in vain is a meditation on the continuing history and emancipatory potential of the Black church as a space of belonging, affirmation and community organising. Weaving together the lived experiences and transgenerational histories of Black women.

During 12 weeks of workshops and photo walks, InSight photographers experimented with processes, techniques, and subject matter to reveal their own visual pathways captured by photography. Communities often struggle to make space for young people as they transition into adulthood, but in the hands of these students, the camera becomes a tool of connection; each image showing how they relate to the physical and social spaces where they live and move. 

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.

In Te Uru's window space, we unveil an arresting installation featuring Frank, a figure seated on a stool, seemingly within their private sanctuary. A casement fosters a voyeuristic tension between the viewer and Frank, prompting introspection on the essence of monstrosity and its origins.

Titirangi-born Elizabeth Thomson (born 1955) has devoted much of her career as a sculptor/visual artist to exploring both the order and randomness she finds not only in the physical world but in the fabric of human life and thought. As a special encore for the recent exhibition, Cellular memory, three works are exhibited in Te Uru’s distinctive spiral staircase and highlight three very different approaches to art-making, each of them bringing together elements from the methodology of sculpture, painting, photography and applied arts. Thomson’s works take the forms, colours and textures of the world around us and translate them into a visual language which is, at once, mysterious yet strangely familiar.

The title of this exhibition by Auckland-based artist Rozana Lee comes from an Indonesian saying, which means ‘once an immigrant, always an immigrant’. Lee’s project draws from personal histories to consider the journeys and status of migrant communities in society globally, and particularly in relation to her own Chinese-Indonesian heritage.

Te Uru presents a major new film commission by London-based filmmaker and artist Ufuoma Essi. Is my living in vain is a meditation on the continuing history and emancipatory potential of the Black church as a space of belonging, affirmation and community organising. Weaving together the lived experiences and transgenerational histories of Black women.

During 12 weeks of workshops and photo walks, InSight photographers experimented with processes, techniques, and subject matter to reveal their own visual pathways captured by photography. Communities often struggle to make space for young people as they transition into adulthood, but in the hands of these students, the camera becomes a tool of connection; each image showing how they relate to the physical and social spaces where they live and move. 

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.

In Te Uru's window space, we unveil an arresting installation featuring Frank, a figure seated on a stool, seemingly within their private sanctuary. A casement fosters a voyeuristic tension between the viewer and Frank, prompting introspection on the essence of monstrosity and its origins.

Titirangi-born Elizabeth Thomson (born 1955) has devoted much of her career as a sculptor/visual artist to exploring both the order and randomness she finds not only in the physical world but in the fabric of human life and thought. As a special encore for the recent exhibition, Cellular memory, three works are exhibited in Te Uru’s distinctive spiral staircase and highlight three very different approaches to art-making, each of them bringing together elements from the methodology of sculpture, painting, photography and applied arts. Thomson’s works take the forms, colours and textures of the world around us and translate them into a visual language which is, at once, mysterious yet strangely familiar.

The title of this exhibition by Auckland-based artist Rozana Lee comes from an Indonesian saying, which means ‘once an immigrant, always an immigrant’. Lee’s project draws from personal histories to consider the journeys and status of migrant communities in society globally, and particularly in relation to her own Chinese-Indonesian heritage.

Te Uru presents a major new film commission by London-based filmmaker and artist Ufuoma Essi. Is my living in vain is a meditation on the continuing history and emancipatory potential of the Black church as a space of belonging, affirmation and community organising. Weaving together the lived experiences and transgenerational histories of Black women.

During 12 weeks of workshops and photo walks, InSight photographers experimented with processes, techniques, and subject matter to reveal their own visual pathways captured by photography. Communities often struggle to make space for young people as they transition into adulthood, but in the hands of these students, the camera becomes a tool of connection; each image showing how they relate to the physical and social spaces where they live and move. 

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.

In Te Uru's window space, we unveil an arresting installation featuring Frank, a figure seated on a stool, seemingly within their private sanctuary. A casement fosters a voyeuristic tension between the viewer and Frank, prompting introspection on the essence of monstrosity and its origins.

Titirangi-born Elizabeth Thomson (born 1955) has devoted much of her career as a sculptor/visual artist to exploring both the order and randomness she finds not only in the physical world but in the fabric of human life and thought. As a special encore for the recent exhibition, Cellular memory, three works are exhibited in Te Uru’s distinctive spiral staircase and highlight three very different approaches to art-making, each of them bringing together elements from the methodology of sculpture, painting, photography and applied arts. Thomson’s works take the forms, colours and textures of the world around us and translate them into a visual language which is, at once, mysterious yet strangely familiar.

The title of this exhibition by Auckland-based artist Rozana Lee comes from an Indonesian saying, which means ‘once an immigrant, always an immigrant’. Lee’s project draws from personal histories to consider the journeys and status of migrant communities in society globally, and particularly in relation to her own Chinese-Indonesian heritage.

Te Uru presents a major new film commission by London-based filmmaker and artist Ufuoma Essi. Is my living in vain is a meditation on the continuing history and emancipatory potential of the Black church as a space of belonging, affirmation and community organising. Weaving together the lived experiences and transgenerational histories of Black women.

During 12 weeks of workshops and photo walks, InSight photographers experimented with processes, techniques, and subject matter to reveal their own visual pathways captured by photography. Communities often struggle to make space for young people as they transition into adulthood, but in the hands of these students, the camera becomes a tool of connection; each image showing how they relate to the physical and social spaces where they live and move. 

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.

In Te Uru's window space, we unveil an arresting installation featuring Frank, a figure seated on a stool, seemingly within their private sanctuary. A casement fosters a voyeuristic tension between the viewer and Frank, prompting introspection on the essence of monstrosity and its origins.

Titirangi-born Elizabeth Thomson (born 1955) has devoted much of her career as a sculptor/visual artist to exploring both the order and randomness she finds not only in the physical world but in the fabric of human life and thought. As a special encore for the recent exhibition, Cellular memory, three works are exhibited in Te Uru’s distinctive spiral staircase and highlight three very different approaches to art-making, each of them bringing together elements from the methodology of sculpture, painting, photography and applied arts. Thomson’s works take the forms, colours and textures of the world around us and translate them into a visual language which is, at once, mysterious yet strangely familiar.

The title of this exhibition by Auckland-based artist Rozana Lee comes from an Indonesian saying, which means ‘once an immigrant, always an immigrant’. Lee’s project draws from personal histories to consider the journeys and status of migrant communities in society globally, and particularly in relation to her own Chinese-Indonesian heritage.

Te Uru presents a major new film commission by London-based filmmaker and artist Ufuoma Essi. Is my living in vain is a meditation on the continuing history and emancipatory potential of the Black church as a space of belonging, affirmation and community organising. Weaving together the lived experiences and transgenerational histories of Black women.

During 12 weeks of workshops and photo walks, InSight photographers experimented with processes, techniques, and subject matter to reveal their own visual pathways captured by photography. Communities often struggle to make space for young people as they transition into adulthood, but in the hands of these students, the camera becomes a tool of connection; each image showing how they relate to the physical and social spaces where they live and move. 

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.

In Te Uru's window space, we unveil an arresting installation featuring Frank, a figure seated on a stool, seemingly within their private sanctuary. A casement fosters a voyeuristic tension between the viewer and Frank, prompting introspection on the essence of monstrosity and its origins.

Titirangi-born Elizabeth Thomson (born 1955) has devoted much of her career as a sculptor/visual artist to exploring both the order and randomness she finds not only in the physical world but in the fabric of human life and thought. As a special encore for the recent exhibition, Cellular memory, three works are exhibited in Te Uru’s distinctive spiral staircase and highlight three very different approaches to art-making, each of them bringing together elements from the methodology of sculpture, painting, photography and applied arts. Thomson’s works take the forms, colours and textures of the world around us and translate them into a visual language which is, at once, mysterious yet strangely familiar.

The title of this exhibition by Auckland-based artist Rozana Lee comes from an Indonesian saying, which means ‘once an immigrant, always an immigrant’. Lee’s project draws from personal histories to consider the journeys and status of migrant communities in society globally, and particularly in relation to her own Chinese-Indonesian heritage.

Te Uru presents a major new film commission by London-based filmmaker and artist Ufuoma Essi. Is my living in vain is a meditation on the continuing history and emancipatory potential of the Black church as a space of belonging, affirmation and community organising. Weaving together the lived experiences and transgenerational histories of Black women.

During 12 weeks of workshops and photo walks, InSight photographers experimented with processes, techniques, and subject matter to reveal their own visual pathways captured by photography. Communities often struggle to make space for young people as they transition into adulthood, but in the hands of these students, the camera becomes a tool of connection; each image showing how they relate to the physical and social spaces where they live and move. 

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.

In Te Uru's window space, we unveil an arresting installation featuring Frank, a figure seated on a stool, seemingly within their private sanctuary. A casement fosters a voyeuristic tension between the viewer and Frank, prompting introspection on the essence of monstrosity and its origins.

Titirangi-born Elizabeth Thomson (born 1955) has devoted much of her career as a sculptor/visual artist to exploring both the order and randomness she finds not only in the physical world but in the fabric of human life and thought. As a special encore for the recent exhibition, Cellular memory, three works are exhibited in Te Uru’s distinctive spiral staircase and highlight three very different approaches to art-making, each of them bringing together elements from the methodology of sculpture, painting, photography and applied arts. Thomson’s works take the forms, colours and textures of the world around us and translate them into a visual language which is, at once, mysterious yet strangely familiar.

The title of this exhibition by Auckland-based artist Rozana Lee comes from an Indonesian saying, which means ‘once an immigrant, always an immigrant’. Lee’s project draws from personal histories to consider the journeys and status of migrant communities in society globally, and particularly in relation to her own Chinese-Indonesian heritage.

Te Uru presents a major new film commission by London-based filmmaker and artist Ufuoma Essi. Is my living in vain is a meditation on the continuing history and emancipatory potential of the Black church as a space of belonging, affirmation and community organising. Weaving together the lived experiences and transgenerational histories of Black women.

During 12 weeks of workshops and photo walks, InSight photographers experimented with processes, techniques, and subject matter to reveal their own visual pathways captured by photography. Communities often struggle to make space for young people as they transition into adulthood, but in the hands of these students, the camera becomes a tool of connection; each image showing how they relate to the physical and social spaces where they live and move. 

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.

In Te Uru's window space, we unveil an arresting installation featuring Frank, a figure seated on a stool, seemingly within their private sanctuary. A casement fosters a voyeuristic tension between the viewer and Frank, prompting introspection on the essence of monstrosity and its origins.