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.

Students from Kelston Intermediate explore connection to whenua and rangatiratanga through making with uku (clay), a medium with a long history of use in the Kelston area. In this collaborative exhibition, they present a collection of hand-coiled kaitiaki forms, and sculpted pūtangitangi (flute) instruments.  This project has been supported by leading ceramic artist Carla Ruka through the Ministry of Education’s Creatives in Schools programme.

Te Uru is delighted to present the Portage Ceramic Awards 2022. This annual award provides a vital platform to showcase the diversity of contemporary clay practices in Aotearoa. The awards are open to all New Zealand artists both established and emerging whose work spans sculptural and domestic clay traditions as well as other disciplines, including photography and videography.

Sometimes described as Māori fairy folk, patupaiarehe were said to live in the mountains and forests, cleaving to darkness, and building their homes from swirling mists. They had pale skin and red or fair hair, and bewitched people, especially young women, luring them away. Redhead and albino Māori were sometimes said to be the result of interbreeding. Today, some speculate that patupaiarehe descended from early Europeans who arrived here before Polynesians.

These new works by Ayesha Green (Ngāti Kahungunu, Kāi Tahu) were produced during her recent residency at Parehuia-McCahon House. They mark a shift into still-life painting and the negotiation of the complex conventions of this historic genre. As with all of Green’s work, these new paintings are layered with references and are mindful of the formats and genres they utilise, prompting us to consider the history and politics of representation. Many are juxtaposed with painted tributes to important texts that present various frameworks for unpacking our national narratives.

In response to being artist-in-residence at Parehuia-McCahon House in 2021, jeweller Moniek Schrijer presents an exhibition influenced by the ecology of the McCahon House garden, local climate, lunar events, and the distinctive light at this famously forested historic residency. These works document shifts in atmospheric conditions, contrasting perspectives and details from the landscape, streetscape and built environment with zoomed-in close-ups of liquids, changing shadows and observations of the play of light as time passes.

Earth posters is the first presentation of a collaboration between writer Courtney Sina Meredith and artist Fiona Jack. The result is a merging of text and clay that captures an exchange between friends, and a moment in time. 

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.

Students from Kelston Intermediate explore connection to whenua and rangatiratanga through making with uku (clay), a medium with a long history of use in the Kelston area. In this collaborative exhibition, they present a collection of hand-coiled kaitiaki forms, and sculpted pūtangitangi (flute) instruments.  This project has been supported by leading ceramic artist Carla Ruka through the Ministry of Education’s Creatives in Schools programme.

Te Uru is delighted to present the Portage Ceramic Awards 2022. This annual award provides a vital platform to showcase the diversity of contemporary clay practices in Aotearoa. The awards are open to all New Zealand artists both established and emerging whose work spans sculptural and domestic clay traditions as well as other disciplines, including photography and videography.

Sometimes described as Māori fairy folk, patupaiarehe were said to live in the mountains and forests, cleaving to darkness, and building their homes from swirling mists. They had pale skin and red or fair hair, and bewitched people, especially young women, luring them away. Redhead and albino Māori were sometimes said to be the result of interbreeding. Today, some speculate that patupaiarehe descended from early Europeans who arrived here before Polynesians.

These new works by Ayesha Green (Ngāti Kahungunu, Kāi Tahu) were produced during her recent residency at Parehuia-McCahon House. They mark a shift into still-life painting and the negotiation of the complex conventions of this historic genre. As with all of Green’s work, these new paintings are layered with references and are mindful of the formats and genres they utilise, prompting us to consider the history and politics of representation. Many are juxtaposed with painted tributes to important texts that present various frameworks for unpacking our national narratives.

In response to being artist-in-residence at Parehuia-McCahon House in 2021, jeweller Moniek Schrijer presents an exhibition influenced by the ecology of the McCahon House garden, local climate, lunar events, and the distinctive light at this famously forested historic residency. These works document shifts in atmospheric conditions, contrasting perspectives and details from the landscape, streetscape and built environment with zoomed-in close-ups of liquids, changing shadows and observations of the play of light as time passes.

Earth posters is the first presentation of a collaboration between writer Courtney Sina Meredith and artist Fiona Jack. The result is a merging of text and clay that captures an exchange between friends, and a moment in time. 

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.

Students from Kelston Intermediate explore connection to whenua and rangatiratanga through making with uku (clay), a medium with a long history of use in the Kelston area. In this collaborative exhibition, they present a collection of hand-coiled kaitiaki forms, and sculpted pūtangitangi (flute) instruments.  This project has been supported by leading ceramic artist Carla Ruka through the Ministry of Education’s Creatives in Schools programme.

Te Uru is delighted to present the Portage Ceramic Awards 2022. This annual award provides a vital platform to showcase the diversity of contemporary clay practices in Aotearoa. The awards are open to all New Zealand artists both established and emerging whose work spans sculptural and domestic clay traditions as well as other disciplines, including photography and videography.

Sometimes described as Māori fairy folk, patupaiarehe were said to live in the mountains and forests, cleaving to darkness, and building their homes from swirling mists. They had pale skin and red or fair hair, and bewitched people, especially young women, luring them away. Redhead and albino Māori were sometimes said to be the result of interbreeding. Today, some speculate that patupaiarehe descended from early Europeans who arrived here before Polynesians.

These new works by Ayesha Green (Ngāti Kahungunu, Kāi Tahu) were produced during her recent residency at Parehuia-McCahon House. They mark a shift into still-life painting and the negotiation of the complex conventions of this historic genre. As with all of Green’s work, these new paintings are layered with references and are mindful of the formats and genres they utilise, prompting us to consider the history and politics of representation. Many are juxtaposed with painted tributes to important texts that present various frameworks for unpacking our national narratives.

In response to being artist-in-residence at Parehuia-McCahon House in 2021, jeweller Moniek Schrijer presents an exhibition influenced by the ecology of the McCahon House garden, local climate, lunar events, and the distinctive light at this famously forested historic residency. These works document shifts in atmospheric conditions, contrasting perspectives and details from the landscape, streetscape and built environment with zoomed-in close-ups of liquids, changing shadows and observations of the play of light as time passes.

Earth posters is the first presentation of a collaboration between writer Courtney Sina Meredith and artist Fiona Jack. The result is a merging of text and clay that captures an exchange between friends, and a moment in time. 

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.

Students from Kelston Intermediate explore connection to whenua and rangatiratanga through making with uku (clay), a medium with a long history of use in the Kelston area. In this collaborative exhibition, they present a collection of hand-coiled kaitiaki forms, and sculpted pūtangitangi (flute) instruments.  This project has been supported by leading ceramic artist Carla Ruka through the Ministry of Education’s Creatives in Schools programme.

Te Uru is delighted to present the Portage Ceramic Awards 2022. This annual award provides a vital platform to showcase the diversity of contemporary clay practices in Aotearoa. The awards are open to all New Zealand artists both established and emerging whose work spans sculptural and domestic clay traditions as well as other disciplines, including photography and videography.

Sometimes described as Māori fairy folk, patupaiarehe were said to live in the mountains and forests, cleaving to darkness, and building their homes from swirling mists. They had pale skin and red or fair hair, and bewitched people, especially young women, luring them away. Redhead and albino Māori were sometimes said to be the result of interbreeding. Today, some speculate that patupaiarehe descended from early Europeans who arrived here before Polynesians.

These new works by Ayesha Green (Ngāti Kahungunu, Kāi Tahu) were produced during her recent residency at Parehuia-McCahon House. They mark a shift into still-life painting and the negotiation of the complex conventions of this historic genre. As with all of Green’s work, these new paintings are layered with references and are mindful of the formats and genres they utilise, prompting us to consider the history and politics of representation. Many are juxtaposed with painted tributes to important texts that present various frameworks for unpacking our national narratives.

In response to being artist-in-residence at Parehuia-McCahon House in 2021, jeweller Moniek Schrijer presents an exhibition influenced by the ecology of the McCahon House garden, local climate, lunar events, and the distinctive light at this famously forested historic residency. These works document shifts in atmospheric conditions, contrasting perspectives and details from the landscape, streetscape and built environment with zoomed-in close-ups of liquids, changing shadows and observations of the play of light as time passes.

Earth posters is the first presentation of a collaboration between writer Courtney Sina Meredith and artist Fiona Jack. The result is a merging of text and clay that captures an exchange between friends, and a moment in time. 

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.

Students from Kelston Intermediate explore connection to whenua and rangatiratanga through making with uku (clay), a medium with a long history of use in the Kelston area. In this collaborative exhibition, they present a collection of hand-coiled kaitiaki forms, and sculpted pūtangitangi (flute) instruments.  This project has been supported by leading ceramic artist Carla Ruka through the Ministry of Education’s Creatives in Schools programme.

Te Uru is delighted to present the Portage Ceramic Awards 2022. This annual award provides a vital platform to showcase the diversity of contemporary clay practices in Aotearoa. The awards are open to all New Zealand artists both established and emerging whose work spans sculptural and domestic clay traditions as well as other disciplines, including photography and videography.

Sometimes described as Māori fairy folk, patupaiarehe were said to live in the mountains and forests, cleaving to darkness, and building their homes from swirling mists. They had pale skin and red or fair hair, and bewitched people, especially young women, luring them away. Redhead and albino Māori were sometimes said to be the result of interbreeding. Today, some speculate that patupaiarehe descended from early Europeans who arrived here before Polynesians.

These new works by Ayesha Green (Ngāti Kahungunu, Kāi Tahu) were produced during her recent residency at Parehuia-McCahon House. They mark a shift into still-life painting and the negotiation of the complex conventions of this historic genre. As with all of Green’s work, these new paintings are layered with references and are mindful of the formats and genres they utilise, prompting us to consider the history and politics of representation. Many are juxtaposed with painted tributes to important texts that present various frameworks for unpacking our national narratives.

In response to being artist-in-residence at Parehuia-McCahon House in 2021, jeweller Moniek Schrijer presents an exhibition influenced by the ecology of the McCahon House garden, local climate, lunar events, and the distinctive light at this famously forested historic residency. These works document shifts in atmospheric conditions, contrasting perspectives and details from the landscape, streetscape and built environment with zoomed-in close-ups of liquids, changing shadows and observations of the play of light as time passes.

Earth posters is the first presentation of a collaboration between writer Courtney Sina Meredith and artist Fiona Jack. The result is a merging of text and clay that captures an exchange between friends, and a moment in time. 

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.

Students from Kelston Intermediate explore connection to whenua and rangatiratanga through making with uku (clay), a medium with a long history of use in the Kelston area. In this collaborative exhibition, they present a collection of hand-coiled kaitiaki forms, and sculpted pūtangitangi (flute) instruments.  This project has been supported by leading ceramic artist Carla Ruka through the Ministry of Education’s Creatives in Schools programme.

Te Uru is delighted to present the Portage Ceramic Awards 2022. This annual award provides a vital platform to showcase the diversity of contemporary clay practices in Aotearoa. The awards are open to all New Zealand artists both established and emerging whose work spans sculptural and domestic clay traditions as well as other disciplines, including photography and videography.

Sometimes described as Māori fairy folk, patupaiarehe were said to live in the mountains and forests, cleaving to darkness, and building their homes from swirling mists. They had pale skin and red or fair hair, and bewitched people, especially young women, luring them away. Redhead and albino Māori were sometimes said to be the result of interbreeding. Today, some speculate that patupaiarehe descended from early Europeans who arrived here before Polynesians.

These new works by Ayesha Green (Ngāti Kahungunu, Kāi Tahu) were produced during her recent residency at Parehuia-McCahon House. They mark a shift into still-life painting and the negotiation of the complex conventions of this historic genre. As with all of Green’s work, these new paintings are layered with references and are mindful of the formats and genres they utilise, prompting us to consider the history and politics of representation. Many are juxtaposed with painted tributes to important texts that present various frameworks for unpacking our national narratives.

In response to being artist-in-residence at Parehuia-McCahon House in 2021, jeweller Moniek Schrijer presents an exhibition influenced by the ecology of the McCahon House garden, local climate, lunar events, and the distinctive light at this famously forested historic residency. These works document shifts in atmospheric conditions, contrasting perspectives and details from the landscape, streetscape and built environment with zoomed-in close-ups of liquids, changing shadows and observations of the play of light as time passes.

Earth posters is the first presentation of a collaboration between writer Courtney Sina Meredith and artist Fiona Jack. The result is a merging of text and clay that captures an exchange between friends, and a moment in time. 

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.

Students from Kelston Intermediate explore connection to whenua and rangatiratanga through making with uku (clay), a medium with a long history of use in the Kelston area. In this collaborative exhibition, they present a collection of hand-coiled kaitiaki forms, and sculpted pūtangitangi (flute) instruments.  This project has been supported by leading ceramic artist Carla Ruka through the Ministry of Education’s Creatives in Schools programme.

Te Uru is delighted to present the Portage Ceramic Awards 2022. This annual award provides a vital platform to showcase the diversity of contemporary clay practices in Aotearoa. The awards are open to all New Zealand artists both established and emerging whose work spans sculptural and domestic clay traditions as well as other disciplines, including photography and videography.

Sometimes described as Māori fairy folk, patupaiarehe were said to live in the mountains and forests, cleaving to darkness, and building their homes from swirling mists. They had pale skin and red or fair hair, and bewitched people, especially young women, luring them away. Redhead and albino Māori were sometimes said to be the result of interbreeding. Today, some speculate that patupaiarehe descended from early Europeans who arrived here before Polynesians.

These new works by Ayesha Green (Ngāti Kahungunu, Kāi Tahu) were produced during her recent residency at Parehuia-McCahon House. They mark a shift into still-life painting and the negotiation of the complex conventions of this historic genre. As with all of Green’s work, these new paintings are layered with references and are mindful of the formats and genres they utilise, prompting us to consider the history and politics of representation. Many are juxtaposed with painted tributes to important texts that present various frameworks for unpacking our national narratives.

In response to being artist-in-residence at Parehuia-McCahon House in 2021, jeweller Moniek Schrijer presents an exhibition influenced by the ecology of the McCahon House garden, local climate, lunar events, and the distinctive light at this famously forested historic residency. These works document shifts in atmospheric conditions, contrasting perspectives and details from the landscape, streetscape and built environment with zoomed-in close-ups of liquids, changing shadows and observations of the play of light as time passes.

Earth posters is the first presentation of a collaboration between writer Courtney Sina Meredith and artist Fiona Jack. The result is a merging of text and clay that captures an exchange between friends, and a moment in time. 

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.

Students from Kelston Intermediate explore connection to whenua and rangatiratanga through making with uku (clay), a medium with a long history of use in the Kelston area. In this collaborative exhibition, they present a collection of hand-coiled kaitiaki forms, and sculpted pūtangitangi (flute) instruments.  This project has been supported by leading ceramic artist Carla Ruka through the Ministry of Education’s Creatives in Schools programme.

Te Uru is delighted to present the Portage Ceramic Awards 2022. This annual award provides a vital platform to showcase the diversity of contemporary clay practices in Aotearoa. The awards are open to all New Zealand artists both established and emerging whose work spans sculptural and domestic clay traditions as well as other disciplines, including photography and videography.

Sometimes described as Māori fairy folk, patupaiarehe were said to live in the mountains and forests, cleaving to darkness, and building their homes from swirling mists. They had pale skin and red or fair hair, and bewitched people, especially young women, luring them away. Redhead and albino Māori were sometimes said to be the result of interbreeding. Today, some speculate that patupaiarehe descended from early Europeans who arrived here before Polynesians.

These new works by Ayesha Green (Ngāti Kahungunu, Kāi Tahu) were produced during her recent residency at Parehuia-McCahon House. They mark a shift into still-life painting and the negotiation of the complex conventions of this historic genre. As with all of Green’s work, these new paintings are layered with references and are mindful of the formats and genres they utilise, prompting us to consider the history and politics of representation. Many are juxtaposed with painted tributes to important texts that present various frameworks for unpacking our national narratives.

In response to being artist-in-residence at Parehuia-McCahon House in 2021, jeweller Moniek Schrijer presents an exhibition influenced by the ecology of the McCahon House garden, local climate, lunar events, and the distinctive light at this famously forested historic residency. These works document shifts in atmospheric conditions, contrasting perspectives and details from the landscape, streetscape and built environment with zoomed-in close-ups of liquids, changing shadows and observations of the play of light as time passes.

Earth posters is the first presentation of a collaboration between writer Courtney Sina Meredith and artist Fiona Jack. The result is a merging of text and clay that captures an exchange between friends, and a moment in time. 

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.

Students from Kelston Intermediate explore connection to whenua and rangatiratanga through making with uku (clay), a medium with a long history of use in the Kelston area. In this collaborative exhibition, they present a collection of hand-coiled kaitiaki forms, and sculpted pūtangitangi (flute) instruments.  This project has been supported by leading ceramic artist Carla Ruka through the Ministry of Education’s Creatives in Schools programme.

Te Uru is delighted to present the Portage Ceramic Awards 2022. This annual award provides a vital platform to showcase the diversity of contemporary clay practices in Aotearoa. The awards are open to all New Zealand artists both established and emerging whose work spans sculptural and domestic clay traditions as well as other disciplines, including photography and videography.

Sometimes described as Māori fairy folk, patupaiarehe were said to live in the mountains and forests, cleaving to darkness, and building their homes from swirling mists. They had pale skin and red or fair hair, and bewitched people, especially young women, luring them away. Redhead and albino Māori were sometimes said to be the result of interbreeding. Today, some speculate that patupaiarehe descended from early Europeans who arrived here before Polynesians.

These new works by Ayesha Green (Ngāti Kahungunu, Kāi Tahu) were produced during her recent residency at Parehuia-McCahon House. They mark a shift into still-life painting and the negotiation of the complex conventions of this historic genre. As with all of Green’s work, these new paintings are layered with references and are mindful of the formats and genres they utilise, prompting us to consider the history and politics of representation. Many are juxtaposed with painted tributes to important texts that present various frameworks for unpacking our national narratives.

In response to being artist-in-residence at Parehuia-McCahon House in 2021, jeweller Moniek Schrijer presents an exhibition influenced by the ecology of the McCahon House garden, local climate, lunar events, and the distinctive light at this famously forested historic residency. These works document shifts in atmospheric conditions, contrasting perspectives and details from the landscape, streetscape and built environment with zoomed-in close-ups of liquids, changing shadows and observations of the play of light as time passes.

Earth posters is the first presentation of a collaboration between writer Courtney Sina Meredith and artist Fiona Jack. The result is a merging of text and clay that captures an exchange between friends, and a moment in time. 

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.

Students from Kelston Intermediate explore connection to whenua and rangatiratanga through making with uku (clay), a medium with a long history of use in the Kelston area. In this collaborative exhibition, they present a collection of hand-coiled kaitiaki forms, and sculpted pūtangitangi (flute) instruments.  This project has been supported by leading ceramic artist Carla Ruka through the Ministry of Education’s Creatives in Schools programme.

Te Uru is delighted to present the Portage Ceramic Awards 2022. This annual award provides a vital platform to showcase the diversity of contemporary clay practices in Aotearoa. The awards are open to all New Zealand artists both established and emerging whose work spans sculptural and domestic clay traditions as well as other disciplines, including photography and videography.

Sometimes described as Māori fairy folk, patupaiarehe were said to live in the mountains and forests, cleaving to darkness, and building their homes from swirling mists. They had pale skin and red or fair hair, and bewitched people, especially young women, luring them away. Redhead and albino Māori were sometimes said to be the result of interbreeding. Today, some speculate that patupaiarehe descended from early Europeans who arrived here before Polynesians.

These new works by Ayesha Green (Ngāti Kahungunu, Kāi Tahu) were produced during her recent residency at Parehuia-McCahon House. They mark a shift into still-life painting and the negotiation of the complex conventions of this historic genre. As with all of Green’s work, these new paintings are layered with references and are mindful of the formats and genres they utilise, prompting us to consider the history and politics of representation. Many are juxtaposed with painted tributes to important texts that present various frameworks for unpacking our national narratives.

In response to being artist-in-residence at Parehuia-McCahon House in 2021, jeweller Moniek Schrijer presents an exhibition influenced by the ecology of the McCahon House garden, local climate, lunar events, and the distinctive light at this famously forested historic residency. These works document shifts in atmospheric conditions, contrasting perspectives and details from the landscape, streetscape and built environment with zoomed-in close-ups of liquids, changing shadows and observations of the play of light as time passes.

Earth posters is the first presentation of a collaboration between writer Courtney Sina Meredith and artist Fiona Jack. The result is a merging of text and clay that captures an exchange between friends, and a moment in time. 

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.

Students from Kelston Intermediate explore connection to whenua and rangatiratanga through making with uku (clay), a medium with a long history of use in the Kelston area. In this collaborative exhibition, they present a collection of hand-coiled kaitiaki forms, and sculpted pūtangitangi (flute) instruments.  This project has been supported by leading ceramic artist Carla Ruka through the Ministry of Education’s Creatives in Schools programme.

Te Uru is delighted to present the Portage Ceramic Awards 2022. This annual award provides a vital platform to showcase the diversity of contemporary clay practices in Aotearoa. The awards are open to all New Zealand artists both established and emerging whose work spans sculptural and domestic clay traditions as well as other disciplines, including photography and videography.

Sometimes described as Māori fairy folk, patupaiarehe were said to live in the mountains and forests, cleaving to darkness, and building their homes from swirling mists. They had pale skin and red or fair hair, and bewitched people, especially young women, luring them away. Redhead and albino Māori were sometimes said to be the result of interbreeding. Today, some speculate that patupaiarehe descended from early Europeans who arrived here before Polynesians.

These new works by Ayesha Green (Ngāti Kahungunu, Kāi Tahu) were produced during her recent residency at Parehuia-McCahon House. They mark a shift into still-life painting and the negotiation of the complex conventions of this historic genre. As with all of Green’s work, these new paintings are layered with references and are mindful of the formats and genres they utilise, prompting us to consider the history and politics of representation. Many are juxtaposed with painted tributes to important texts that present various frameworks for unpacking our national narratives.

In response to being artist-in-residence at Parehuia-McCahon House in 2021, jeweller Moniek Schrijer presents an exhibition influenced by the ecology of the McCahon House garden, local climate, lunar events, and the distinctive light at this famously forested historic residency. These works document shifts in atmospheric conditions, contrasting perspectives and details from the landscape, streetscape and built environment with zoomed-in close-ups of liquids, changing shadows and observations of the play of light as time passes.

Earth posters is the first presentation of a collaboration between writer Courtney Sina Meredith and artist Fiona Jack. The result is a merging of text and clay that captures an exchange between friends, and a moment in time. 

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.

Students from Kelston Intermediate explore connection to whenua and rangatiratanga through making with uku (clay), a medium with a long history of use in the Kelston area. In this collaborative exhibition, they present a collection of hand-coiled kaitiaki forms, and sculpted pūtangitangi (flute) instruments.  This project has been supported by leading ceramic artist Carla Ruka through the Ministry of Education’s Creatives in Schools programme.

Te Uru is delighted to present the Portage Ceramic Awards 2022. This annual award provides a vital platform to showcase the diversity of contemporary clay practices in Aotearoa. The awards are open to all New Zealand artists both established and emerging whose work spans sculptural and domestic clay traditions as well as other disciplines, including photography and videography.

Sometimes described as Māori fairy folk, patupaiarehe were said to live in the mountains and forests, cleaving to darkness, and building their homes from swirling mists. They had pale skin and red or fair hair, and bewitched people, especially young women, luring them away. Redhead and albino Māori were sometimes said to be the result of interbreeding. Today, some speculate that patupaiarehe descended from early Europeans who arrived here before Polynesians.

These new works by Ayesha Green (Ngāti Kahungunu, Kāi Tahu) were produced during her recent residency at Parehuia-McCahon House. They mark a shift into still-life painting and the negotiation of the complex conventions of this historic genre. As with all of Green’s work, these new paintings are layered with references and are mindful of the formats and genres they utilise, prompting us to consider the history and politics of representation. Many are juxtaposed with painted tributes to important texts that present various frameworks for unpacking our national narratives.

In response to being artist-in-residence at Parehuia-McCahon House in 2021, jeweller Moniek Schrijer presents an exhibition influenced by the ecology of the McCahon House garden, local climate, lunar events, and the distinctive light at this famously forested historic residency. These works document shifts in atmospheric conditions, contrasting perspectives and details from the landscape, streetscape and built environment with zoomed-in close-ups of liquids, changing shadows and observations of the play of light as time passes.

Earth posters is the first presentation of a collaboration between writer Courtney Sina Meredith and artist Fiona Jack. The result is a merging of text and clay that captures an exchange between friends, and a moment in time. 

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.

Students from Kelston Intermediate explore connection to whenua and rangatiratanga through making with uku (clay), a medium with a long history of use in the Kelston area. In this collaborative exhibition, they present a collection of hand-coiled kaitiaki forms, and sculpted pūtangitangi (flute) instruments.  This project has been supported by leading ceramic artist Carla Ruka through the Ministry of Education’s Creatives in Schools programme.

Te Uru is delighted to present the Portage Ceramic Awards 2022. This annual award provides a vital platform to showcase the diversity of contemporary clay practices in Aotearoa. The awards are open to all New Zealand artists both established and emerging whose work spans sculptural and domestic clay traditions as well as other disciplines, including photography and videography.

Sometimes described as Māori fairy folk, patupaiarehe were said to live in the mountains and forests, cleaving to darkness, and building their homes from swirling mists. They had pale skin and red or fair hair, and bewitched people, especially young women, luring them away. Redhead and albino Māori were sometimes said to be the result of interbreeding. Today, some speculate that patupaiarehe descended from early Europeans who arrived here before Polynesians.

These new works by Ayesha Green (Ngāti Kahungunu, Kāi Tahu) were produced during her recent residency at Parehuia-McCahon House. They mark a shift into still-life painting and the negotiation of the complex conventions of this historic genre. As with all of Green’s work, these new paintings are layered with references and are mindful of the formats and genres they utilise, prompting us to consider the history and politics of representation. Many are juxtaposed with painted tributes to important texts that present various frameworks for unpacking our national narratives.

In response to being artist-in-residence at Parehuia-McCahon House in 2021, jeweller Moniek Schrijer presents an exhibition influenced by the ecology of the McCahon House garden, local climate, lunar events, and the distinctive light at this famously forested historic residency. These works document shifts in atmospheric conditions, contrasting perspectives and details from the landscape, streetscape and built environment with zoomed-in close-ups of liquids, changing shadows and observations of the play of light as time passes.

Earth posters is the first presentation of a collaboration between writer Courtney Sina Meredith and artist Fiona Jack. The result is a merging of text and clay that captures an exchange between friends, and a moment in time. 

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.

Students from Kelston Intermediate explore connection to whenua and rangatiratanga through making with uku (clay), a medium with a long history of use in the Kelston area. In this collaborative exhibition, they present a collection of hand-coiled kaitiaki forms, and sculpted pūtangitangi (flute) instruments.  This project has been supported by leading ceramic artist Carla Ruka through the Ministry of Education’s Creatives in Schools programme.

Te Uru is delighted to present the Portage Ceramic Awards 2022. This annual award provides a vital platform to showcase the diversity of contemporary clay practices in Aotearoa. The awards are open to all New Zealand artists both established and emerging whose work spans sculptural and domestic clay traditions as well as other disciplines, including photography and videography.

Sometimes described as Māori fairy folk, patupaiarehe were said to live in the mountains and forests, cleaving to darkness, and building their homes from swirling mists. They had pale skin and red or fair hair, and bewitched people, especially young women, luring them away. Redhead and albino Māori were sometimes said to be the result of interbreeding. Today, some speculate that patupaiarehe descended from early Europeans who arrived here before Polynesians.

These new works by Ayesha Green (Ngāti Kahungunu, Kāi Tahu) were produced during her recent residency at Parehuia-McCahon House. They mark a shift into still-life painting and the negotiation of the complex conventions of this historic genre. As with all of Green’s work, these new paintings are layered with references and are mindful of the formats and genres they utilise, prompting us to consider the history and politics of representation. Many are juxtaposed with painted tributes to important texts that present various frameworks for unpacking our national narratives.

In response to being artist-in-residence at Parehuia-McCahon House in 2021, jeweller Moniek Schrijer presents an exhibition influenced by the ecology of the McCahon House garden, local climate, lunar events, and the distinctive light at this famously forested historic residency. These works document shifts in atmospheric conditions, contrasting perspectives and details from the landscape, streetscape and built environment with zoomed-in close-ups of liquids, changing shadows and observations of the play of light as time passes.

Earth posters is the first presentation of a collaboration between writer Courtney Sina Meredith and artist Fiona Jack. The result is a merging of text and clay that captures an exchange between friends, and a moment in time. 

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.

Students from Kelston Intermediate explore connection to whenua and rangatiratanga through making with uku (clay), a medium with a long history of use in the Kelston area. In this collaborative exhibition, they present a collection of hand-coiled kaitiaki forms, and sculpted pūtangitangi (flute) instruments.  This project has been supported by leading ceramic artist Carla Ruka through the Ministry of Education’s Creatives in Schools programme.

Te Uru is delighted to present the Portage Ceramic Awards 2022. This annual award provides a vital platform to showcase the diversity of contemporary clay practices in Aotearoa. The awards are open to all New Zealand artists both established and emerging whose work spans sculptural and domestic clay traditions as well as other disciplines, including photography and videography.

Sometimes described as Māori fairy folk, patupaiarehe were said to live in the mountains and forests, cleaving to darkness, and building their homes from swirling mists. They had pale skin and red or fair hair, and bewitched people, especially young women, luring them away. Redhead and albino Māori were sometimes said to be the result of interbreeding. Today, some speculate that patupaiarehe descended from early Europeans who arrived here before Polynesians.

These new works by Ayesha Green (Ngāti Kahungunu, Kāi Tahu) were produced during her recent residency at Parehuia-McCahon House. They mark a shift into still-life painting and the negotiation of the complex conventions of this historic genre. As with all of Green’s work, these new paintings are layered with references and are mindful of the formats and genres they utilise, prompting us to consider the history and politics of representation. Many are juxtaposed with painted tributes to important texts that present various frameworks for unpacking our national narratives.

In response to being artist-in-residence at Parehuia-McCahon House in 2021, jeweller Moniek Schrijer presents an exhibition influenced by the ecology of the McCahon House garden, local climate, lunar events, and the distinctive light at this famously forested historic residency. These works document shifts in atmospheric conditions, contrasting perspectives and details from the landscape, streetscape and built environment with zoomed-in close-ups of liquids, changing shadows and observations of the play of light as time passes.

Earth posters is the first presentation of a collaboration between writer Courtney Sina Meredith and artist Fiona Jack. The result is a merging of text and clay that captures an exchange between friends, and a moment in time. 

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.

Students from Kelston Intermediate explore connection to whenua and rangatiratanga through making with uku (clay), a medium with a long history of use in the Kelston area. In this collaborative exhibition, they present a collection of hand-coiled kaitiaki forms, and sculpted pūtangitangi (flute) instruments.  This project has been supported by leading ceramic artist Carla Ruka through the Ministry of Education’s Creatives in Schools programme.

Te Uru is delighted to present the Portage Ceramic Awards 2022. This annual award provides a vital platform to showcase the diversity of contemporary clay practices in Aotearoa. The awards are open to all New Zealand artists both established and emerging whose work spans sculptural and domestic clay traditions as well as other disciplines, including photography and videography.

Sometimes described as Māori fairy folk, patupaiarehe were said to live in the mountains and forests, cleaving to darkness, and building their homes from swirling mists. They had pale skin and red or fair hair, and bewitched people, especially young women, luring them away. Redhead and albino Māori were sometimes said to be the result of interbreeding. Today, some speculate that patupaiarehe descended from early Europeans who arrived here before Polynesians.

These new works by Ayesha Green (Ngāti Kahungunu, Kāi Tahu) were produced during her recent residency at Parehuia-McCahon House. They mark a shift into still-life painting and the negotiation of the complex conventions of this historic genre. As with all of Green’s work, these new paintings are layered with references and are mindful of the formats and genres they utilise, prompting us to consider the history and politics of representation. Many are juxtaposed with painted tributes to important texts that present various frameworks for unpacking our national narratives.

In response to being artist-in-residence at Parehuia-McCahon House in 2021, jeweller Moniek Schrijer presents an exhibition influenced by the ecology of the McCahon House garden, local climate, lunar events, and the distinctive light at this famously forested historic residency. These works document shifts in atmospheric conditions, contrasting perspectives and details from the landscape, streetscape and built environment with zoomed-in close-ups of liquids, changing shadows and observations of the play of light as time passes.

Earth posters is the first presentation of a collaboration between writer Courtney Sina Meredith and artist Fiona Jack. The result is a merging of text and clay that captures an exchange between friends, and a moment in time. 

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.

Students from Kelston Intermediate explore connection to whenua and rangatiratanga through making with uku (clay), a medium with a long history of use in the Kelston area. In this collaborative exhibition, they present a collection of hand-coiled kaitiaki forms, and sculpted pūtangitangi (flute) instruments.  This project has been supported by leading ceramic artist Carla Ruka through the Ministry of Education’s Creatives in Schools programme.

Te Uru is delighted to present the Portage Ceramic Awards 2022. This annual award provides a vital platform to showcase the diversity of contemporary clay practices in Aotearoa. The awards are open to all New Zealand artists both established and emerging whose work spans sculptural and domestic clay traditions as well as other disciplines, including photography and videography.

Sometimes described as Māori fairy folk, patupaiarehe were said to live in the mountains and forests, cleaving to darkness, and building their homes from swirling mists. They had pale skin and red or fair hair, and bewitched people, especially young women, luring them away. Redhead and albino Māori were sometimes said to be the result of interbreeding. Today, some speculate that patupaiarehe descended from early Europeans who arrived here before Polynesians.

These new works by Ayesha Green (Ngāti Kahungunu, Kāi Tahu) were produced during her recent residency at Parehuia-McCahon House. They mark a shift into still-life painting and the negotiation of the complex conventions of this historic genre. As with all of Green’s work, these new paintings are layered with references and are mindful of the formats and genres they utilise, prompting us to consider the history and politics of representation. Many are juxtaposed with painted tributes to important texts that present various frameworks for unpacking our national narratives.

In response to being artist-in-residence at Parehuia-McCahon House in 2021, jeweller Moniek Schrijer presents an exhibition influenced by the ecology of the McCahon House garden, local climate, lunar events, and the distinctive light at this famously forested historic residency. These works document shifts in atmospheric conditions, contrasting perspectives and details from the landscape, streetscape and built environment with zoomed-in close-ups of liquids, changing shadows and observations of the play of light as time passes.

Earth posters is the first presentation of a collaboration between writer Courtney Sina Meredith and artist Fiona Jack. The result is a merging of text and clay that captures an exchange between friends, and a moment in time. 

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.

Students from Kelston Intermediate explore connection to whenua and rangatiratanga through making with uku (clay), a medium with a long history of use in the Kelston area. In this collaborative exhibition, they present a collection of hand-coiled kaitiaki forms, and sculpted pūtangitangi (flute) instruments.  This project has been supported by leading ceramic artist Carla Ruka through the Ministry of Education’s Creatives in Schools programme.

Te Uru is delighted to present the Portage Ceramic Awards 2022. This annual award provides a vital platform to showcase the diversity of contemporary clay practices in Aotearoa. The awards are open to all New Zealand artists both established and emerging whose work spans sculptural and domestic clay traditions as well as other disciplines, including photography and videography.

Sometimes described as Māori fairy folk, patupaiarehe were said to live in the mountains and forests, cleaving to darkness, and building their homes from swirling mists. They had pale skin and red or fair hair, and bewitched people, especially young women, luring them away. Redhead and albino Māori were sometimes said to be the result of interbreeding. Today, some speculate that patupaiarehe descended from early Europeans who arrived here before Polynesians.

These new works by Ayesha Green (Ngāti Kahungunu, Kāi Tahu) were produced during her recent residency at Parehuia-McCahon House. They mark a shift into still-life painting and the negotiation of the complex conventions of this historic genre. As with all of Green’s work, these new paintings are layered with references and are mindful of the formats and genres they utilise, prompting us to consider the history and politics of representation. Many are juxtaposed with painted tributes to important texts that present various frameworks for unpacking our national narratives.

In response to being artist-in-residence at Parehuia-McCahon House in 2021, jeweller Moniek Schrijer presents an exhibition influenced by the ecology of the McCahon House garden, local climate, lunar events, and the distinctive light at this famously forested historic residency. These works document shifts in atmospheric conditions, contrasting perspectives and details from the landscape, streetscape and built environment with zoomed-in close-ups of liquids, changing shadows and observations of the play of light as time passes.

Earth posters is the first presentation of a collaboration between writer Courtney Sina Meredith and artist Fiona Jack. The result is a merging of text and clay that captures an exchange between friends, and a moment in time. 

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.

Students from Kelston Intermediate explore connection to whenua and rangatiratanga through making with uku (clay), a medium with a long history of use in the Kelston area. In this collaborative exhibition, they present a collection of hand-coiled kaitiaki forms, and sculpted pūtangitangi (flute) instruments.  This project has been supported by leading ceramic artist Carla Ruka through the Ministry of Education’s Creatives in Schools programme.

Te Uru is delighted to present the Portage Ceramic Awards 2022. This annual award provides a vital platform to showcase the diversity of contemporary clay practices in Aotearoa. The awards are open to all New Zealand artists both established and emerging whose work spans sculptural and domestic clay traditions as well as other disciplines, including photography and videography.

Sometimes described as Māori fairy folk, patupaiarehe were said to live in the mountains and forests, cleaving to darkness, and building their homes from swirling mists. They had pale skin and red or fair hair, and bewitched people, especially young women, luring them away. Redhead and albino Māori were sometimes said to be the result of interbreeding. Today, some speculate that patupaiarehe descended from early Europeans who arrived here before Polynesians.

These new works by Ayesha Green (Ngāti Kahungunu, Kāi Tahu) were produced during her recent residency at Parehuia-McCahon House. They mark a shift into still-life painting and the negotiation of the complex conventions of this historic genre. As with all of Green’s work, these new paintings are layered with references and are mindful of the formats and genres they utilise, prompting us to consider the history and politics of representation. Many are juxtaposed with painted tributes to important texts that present various frameworks for unpacking our national narratives.

In response to being artist-in-residence at Parehuia-McCahon House in 2021, jeweller Moniek Schrijer presents an exhibition influenced by the ecology of the McCahon House garden, local climate, lunar events, and the distinctive light at this famously forested historic residency. These works document shifts in atmospheric conditions, contrasting perspectives and details from the landscape, streetscape and built environment with zoomed-in close-ups of liquids, changing shadows and observations of the play of light as time passes.

Earth posters is the first presentation of a collaboration between writer Courtney Sina Meredith and artist Fiona Jack. The result is a merging of text and clay that captures an exchange between friends, and a moment in time. 

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.

Students from Kelston Intermediate explore connection to whenua and rangatiratanga through making with uku (clay), a medium with a long history of use in the Kelston area. In this collaborative exhibition, they present a collection of hand-coiled kaitiaki forms, and sculpted pūtangitangi (flute) instruments.  This project has been supported by leading ceramic artist Carla Ruka through the Ministry of Education’s Creatives in Schools programme.

Te Uru is delighted to present the Portage Ceramic Awards 2022. This annual award provides a vital platform to showcase the diversity of contemporary clay practices in Aotearoa. The awards are open to all New Zealand artists both established and emerging whose work spans sculptural and domestic clay traditions as well as other disciplines, including photography and videography.

Sometimes described as Māori fairy folk, patupaiarehe were said to live in the mountains and forests, cleaving to darkness, and building their homes from swirling mists. They had pale skin and red or fair hair, and bewitched people, especially young women, luring them away. Redhead and albino Māori were sometimes said to be the result of interbreeding. Today, some speculate that patupaiarehe descended from early Europeans who arrived here before Polynesians.

These new works by Ayesha Green (Ngāti Kahungunu, Kāi Tahu) were produced during her recent residency at Parehuia-McCahon House. They mark a shift into still-life painting and the negotiation of the complex conventions of this historic genre. As with all of Green’s work, these new paintings are layered with references and are mindful of the formats and genres they utilise, prompting us to consider the history and politics of representation. Many are juxtaposed with painted tributes to important texts that present various frameworks for unpacking our national narratives.

In response to being artist-in-residence at Parehuia-McCahon House in 2021, jeweller Moniek Schrijer presents an exhibition influenced by the ecology of the McCahon House garden, local climate, lunar events, and the distinctive light at this famously forested historic residency. These works document shifts in atmospheric conditions, contrasting perspectives and details from the landscape, streetscape and built environment with zoomed-in close-ups of liquids, changing shadows and observations of the play of light as time passes.

Earth posters is the first presentation of a collaboration between writer Courtney Sina Meredith and artist Fiona Jack. The result is a merging of text and clay that captures an exchange between friends, and a moment in time. 

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.

Students from Kelston Intermediate explore connection to whenua and rangatiratanga through making with uku (clay), a medium with a long history of use in the Kelston area. In this collaborative exhibition, they present a collection of hand-coiled kaitiaki forms, and sculpted pūtangitangi (flute) instruments.  This project has been supported by leading ceramic artist Carla Ruka through the Ministry of Education’s Creatives in Schools programme.

Te Uru is delighted to present the Portage Ceramic Awards 2022. This annual award provides a vital platform to showcase the diversity of contemporary clay practices in Aotearoa. The awards are open to all New Zealand artists both established and emerging whose work spans sculptural and domestic clay traditions as well as other disciplines, including photography and videography.

Sometimes described as Māori fairy folk, patupaiarehe were said to live in the mountains and forests, cleaving to darkness, and building their homes from swirling mists. They had pale skin and red or fair hair, and bewitched people, especially young women, luring them away. Redhead and albino Māori were sometimes said to be the result of interbreeding. Today, some speculate that patupaiarehe descended from early Europeans who arrived here before Polynesians.

These new works by Ayesha Green (Ngāti Kahungunu, Kāi Tahu) were produced during her recent residency at Parehuia-McCahon House. They mark a shift into still-life painting and the negotiation of the complex conventions of this historic genre. As with all of Green’s work, these new paintings are layered with references and are mindful of the formats and genres they utilise, prompting us to consider the history and politics of representation. Many are juxtaposed with painted tributes to important texts that present various frameworks for unpacking our national narratives.

In response to being artist-in-residence at Parehuia-McCahon House in 2021, jeweller Moniek Schrijer presents an exhibition influenced by the ecology of the McCahon House garden, local climate, lunar events, and the distinctive light at this famously forested historic residency. These works document shifts in atmospheric conditions, contrasting perspectives and details from the landscape, streetscape and built environment with zoomed-in close-ups of liquids, changing shadows and observations of the play of light as time passes.

Earth posters is the first presentation of a collaboration between writer Courtney Sina Meredith and artist Fiona Jack. The result is a merging of text and clay that captures an exchange between friends, and a moment in time. 

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.

Students from Kelston Intermediate explore connection to whenua and rangatiratanga through making with uku (clay), a medium with a long history of use in the Kelston area. In this collaborative exhibition, they present a collection of hand-coiled kaitiaki forms, and sculpted pūtangitangi (flute) instruments.  This project has been supported by leading ceramic artist Carla Ruka through the Ministry of Education’s Creatives in Schools programme.

Te Uru is delighted to present the Portage Ceramic Awards 2022. This annual award provides a vital platform to showcase the diversity of contemporary clay practices in Aotearoa. The awards are open to all New Zealand artists both established and emerging whose work spans sculptural and domestic clay traditions as well as other disciplines, including photography and videography.

Sometimes described as Māori fairy folk, patupaiarehe were said to live in the mountains and forests, cleaving to darkness, and building their homes from swirling mists. They had pale skin and red or fair hair, and bewitched people, especially young women, luring them away. Redhead and albino Māori were sometimes said to be the result of interbreeding. Today, some speculate that patupaiarehe descended from early Europeans who arrived here before Polynesians.

These new works by Ayesha Green (Ngāti Kahungunu, Kāi Tahu) were produced during her recent residency at Parehuia-McCahon House. They mark a shift into still-life painting and the negotiation of the complex conventions of this historic genre. As with all of Green’s work, these new paintings are layered with references and are mindful of the formats and genres they utilise, prompting us to consider the history and politics of representation. Many are juxtaposed with painted tributes to important texts that present various frameworks for unpacking our national narratives.

In response to being artist-in-residence at Parehuia-McCahon House in 2021, jeweller Moniek Schrijer presents an exhibition influenced by the ecology of the McCahon House garden, local climate, lunar events, and the distinctive light at this famously forested historic residency. These works document shifts in atmospheric conditions, contrasting perspectives and details from the landscape, streetscape and built environment with zoomed-in close-ups of liquids, changing shadows and observations of the play of light as time passes.

Earth posters is the first presentation of a collaboration between writer Courtney Sina Meredith and artist Fiona Jack. The result is a merging of text and clay that captures an exchange between friends, and a moment in time. 

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.

Students from Kelston Intermediate explore connection to whenua and rangatiratanga through making with uku (clay), a medium with a long history of use in the Kelston area. In this collaborative exhibition, they present a collection of hand-coiled kaitiaki forms, and sculpted pūtangitangi (flute) instruments.  This project has been supported by leading ceramic artist Carla Ruka through the Ministry of Education’s Creatives in Schools programme.

Te Uru is delighted to present the Portage Ceramic Awards 2022. This annual award provides a vital platform to showcase the diversity of contemporary clay practices in Aotearoa. The awards are open to all New Zealand artists both established and emerging whose work spans sculptural and domestic clay traditions as well as other disciplines, including photography and videography.

Sometimes described as Māori fairy folk, patupaiarehe were said to live in the mountains and forests, cleaving to darkness, and building their homes from swirling mists. They had pale skin and red or fair hair, and bewitched people, especially young women, luring them away. Redhead and albino Māori were sometimes said to be the result of interbreeding. Today, some speculate that patupaiarehe descended from early Europeans who arrived here before Polynesians.

These new works by Ayesha Green (Ngāti Kahungunu, Kāi Tahu) were produced during her recent residency at Parehuia-McCahon House. They mark a shift into still-life painting and the negotiation of the complex conventions of this historic genre. As with all of Green’s work, these new paintings are layered with references and are mindful of the formats and genres they utilise, prompting us to consider the history and politics of representation. Many are juxtaposed with painted tributes to important texts that present various frameworks for unpacking our national narratives.

In response to being artist-in-residence at Parehuia-McCahon House in 2021, jeweller Moniek Schrijer presents an exhibition influenced by the ecology of the McCahon House garden, local climate, lunar events, and the distinctive light at this famously forested historic residency. These works document shifts in atmospheric conditions, contrasting perspectives and details from the landscape, streetscape and built environment with zoomed-in close-ups of liquids, changing shadows and observations of the play of light as time passes.

Earth posters is the first presentation of a collaboration between writer Courtney Sina Meredith and artist Fiona Jack. The result is a merging of text and clay that captures an exchange between friends, and a moment in time. 

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.

Students from Kelston Intermediate explore connection to whenua and rangatiratanga through making with uku (clay), a medium with a long history of use in the Kelston area. In this collaborative exhibition, they present a collection of hand-coiled kaitiaki forms, and sculpted pūtangitangi (flute) instruments.  This project has been supported by leading ceramic artist Carla Ruka through the Ministry of Education’s Creatives in Schools programme.

Te Uru is delighted to present the Portage Ceramic Awards 2022. This annual award provides a vital platform to showcase the diversity of contemporary clay practices in Aotearoa. The awards are open to all New Zealand artists both established and emerging whose work spans sculptural and domestic clay traditions as well as other disciplines, including photography and videography.

Sometimes described as Māori fairy folk, patupaiarehe were said to live in the mountains and forests, cleaving to darkness, and building their homes from swirling mists. They had pale skin and red or fair hair, and bewitched people, especially young women, luring them away. Redhead and albino Māori were sometimes said to be the result of interbreeding. Today, some speculate that patupaiarehe descended from early Europeans who arrived here before Polynesians.

These new works by Ayesha Green (Ngāti Kahungunu, Kāi Tahu) were produced during her recent residency at Parehuia-McCahon House. They mark a shift into still-life painting and the negotiation of the complex conventions of this historic genre. As with all of Green’s work, these new paintings are layered with references and are mindful of the formats and genres they utilise, prompting us to consider the history and politics of representation. Many are juxtaposed with painted tributes to important texts that present various frameworks for unpacking our national narratives.

In response to being artist-in-residence at Parehuia-McCahon House in 2021, jeweller Moniek Schrijer presents an exhibition influenced by the ecology of the McCahon House garden, local climate, lunar events, and the distinctive light at this famously forested historic residency. These works document shifts in atmospheric conditions, contrasting perspectives and details from the landscape, streetscape and built environment with zoomed-in close-ups of liquids, changing shadows and observations of the play of light as time passes.

Earth posters is the first presentation of a collaboration between writer Courtney Sina Meredith and artist Fiona Jack. The result is a merging of text and clay that captures an exchange between friends, and a moment in time. 

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.

Students from Kelston Intermediate explore connection to whenua and rangatiratanga through making with uku (clay), a medium with a long history of use in the Kelston area. In this collaborative exhibition, they present a collection of hand-coiled kaitiaki forms, and sculpted pūtangitangi (flute) instruments.  This project has been supported by leading ceramic artist Carla Ruka through the Ministry of Education’s Creatives in Schools programme.

Te Uru is delighted to present the Portage Ceramic Awards 2022. This annual award provides a vital platform to showcase the diversity of contemporary clay practices in Aotearoa. The awards are open to all New Zealand artists both established and emerging whose work spans sculptural and domestic clay traditions as well as other disciplines, including photography and videography.

Sometimes described as Māori fairy folk, patupaiarehe were said to live in the mountains and forests, cleaving to darkness, and building their homes from swirling mists. They had pale skin and red or fair hair, and bewitched people, especially young women, luring them away. Redhead and albino Māori were sometimes said to be the result of interbreeding. Today, some speculate that patupaiarehe descended from early Europeans who arrived here before Polynesians.

These new works by Ayesha Green (Ngāti Kahungunu, Kāi Tahu) were produced during her recent residency at Parehuia-McCahon House. They mark a shift into still-life painting and the negotiation of the complex conventions of this historic genre. As with all of Green’s work, these new paintings are layered with references and are mindful of the formats and genres they utilise, prompting us to consider the history and politics of representation. Many are juxtaposed with painted tributes to important texts that present various frameworks for unpacking our national narratives.

In response to being artist-in-residence at Parehuia-McCahon House in 2021, jeweller Moniek Schrijer presents an exhibition influenced by the ecology of the McCahon House garden, local climate, lunar events, and the distinctive light at this famously forested historic residency. These works document shifts in atmospheric conditions, contrasting perspectives and details from the landscape, streetscape and built environment with zoomed-in close-ups of liquids, changing shadows and observations of the play of light as time passes.

Earth posters is the first presentation of a collaboration between writer Courtney Sina Meredith and artist Fiona Jack. The result is a merging of text and clay that captures an exchange between friends, and a moment in time. 

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.

Students from Kelston Intermediate explore connection to whenua and rangatiratanga through making with uku (clay), a medium with a long history of use in the Kelston area. In this collaborative exhibition, they present a collection of hand-coiled kaitiaki forms, and sculpted pūtangitangi (flute) instruments.  This project has been supported by leading ceramic artist Carla Ruka through the Ministry of Education’s Creatives in Schools programme.

Te Uru is delighted to present the Portage Ceramic Awards 2022. This annual award provides a vital platform to showcase the diversity of contemporary clay practices in Aotearoa. The awards are open to all New Zealand artists both established and emerging whose work spans sculptural and domestic clay traditions as well as other disciplines, including photography and videography.

Sometimes described as Māori fairy folk, patupaiarehe were said to live in the mountains and forests, cleaving to darkness, and building their homes from swirling mists. They had pale skin and red or fair hair, and bewitched people, especially young women, luring them away. Redhead and albino Māori were sometimes said to be the result of interbreeding. Today, some speculate that patupaiarehe descended from early Europeans who arrived here before Polynesians.

These new works by Ayesha Green (Ngāti Kahungunu, Kāi Tahu) were produced during her recent residency at Parehuia-McCahon House. They mark a shift into still-life painting and the negotiation of the complex conventions of this historic genre. As with all of Green’s work, these new paintings are layered with references and are mindful of the formats and genres they utilise, prompting us to consider the history and politics of representation. Many are juxtaposed with painted tributes to important texts that present various frameworks for unpacking our national narratives.

In response to being artist-in-residence at Parehuia-McCahon House in 2021, jeweller Moniek Schrijer presents an exhibition influenced by the ecology of the McCahon House garden, local climate, lunar events, and the distinctive light at this famously forested historic residency. These works document shifts in atmospheric conditions, contrasting perspectives and details from the landscape, streetscape and built environment with zoomed-in close-ups of liquids, changing shadows and observations of the play of light as time passes.

Earth posters is the first presentation of a collaboration between writer Courtney Sina Meredith and artist Fiona Jack. The result is a merging of text and clay that captures an exchange between friends, and a moment in time. 

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.

Students from Kelston Intermediate explore connection to whenua and rangatiratanga through making with uku (clay), a medium with a long history of use in the Kelston area. In this collaborative exhibition, they present a collection of hand-coiled kaitiaki forms, and sculpted pūtangitangi (flute) instruments.  This project has been supported by leading ceramic artist Carla Ruka through the Ministry of Education’s Creatives in Schools programme.

Te Uru is delighted to present the Portage Ceramic Awards 2022. This annual award provides a vital platform to showcase the diversity of contemporary clay practices in Aotearoa. The awards are open to all New Zealand artists both established and emerging whose work spans sculptural and domestic clay traditions as well as other disciplines, including photography and videography.

Sometimes described as Māori fairy folk, patupaiarehe were said to live in the mountains and forests, cleaving to darkness, and building their homes from swirling mists. They had pale skin and red or fair hair, and bewitched people, especially young women, luring them away. Redhead and albino Māori were sometimes said to be the result of interbreeding. Today, some speculate that patupaiarehe descended from early Europeans who arrived here before Polynesians.

These new works by Ayesha Green (Ngāti Kahungunu, Kāi Tahu) were produced during her recent residency at Parehuia-McCahon House. They mark a shift into still-life painting and the negotiation of the complex conventions of this historic genre. As with all of Green’s work, these new paintings are layered with references and are mindful of the formats and genres they utilise, prompting us to consider the history and politics of representation. Many are juxtaposed with painted tributes to important texts that present various frameworks for unpacking our national narratives.

In response to being artist-in-residence at Parehuia-McCahon House in 2021, jeweller Moniek Schrijer presents an exhibition influenced by the ecology of the McCahon House garden, local climate, lunar events, and the distinctive light at this famously forested historic residency. These works document shifts in atmospheric conditions, contrasting perspectives and details from the landscape, streetscape and built environment with zoomed-in close-ups of liquids, changing shadows and observations of the play of light as time passes.

Earth posters is the first presentation of a collaboration between writer Courtney Sina Meredith and artist Fiona Jack. The result is a merging of text and clay that captures an exchange between friends, and a moment in time. 

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.

Students from Kelston Intermediate explore connection to whenua and rangatiratanga through making with uku (clay), a medium with a long history of use in the Kelston area. In this collaborative exhibition, they present a collection of hand-coiled kaitiaki forms, and sculpted pūtangitangi (flute) instruments.  This project has been supported by leading ceramic artist Carla Ruka through the Ministry of Education’s Creatives in Schools programme.

Te Uru is delighted to present the Portage Ceramic Awards 2022. This annual award provides a vital platform to showcase the diversity of contemporary clay practices in Aotearoa. The awards are open to all New Zealand artists both established and emerging whose work spans sculptural and domestic clay traditions as well as other disciplines, including photography and videography.

Sometimes described as Māori fairy folk, patupaiarehe were said to live in the mountains and forests, cleaving to darkness, and building their homes from swirling mists. They had pale skin and red or fair hair, and bewitched people, especially young women, luring them away. Redhead and albino Māori were sometimes said to be the result of interbreeding. Today, some speculate that patupaiarehe descended from early Europeans who arrived here before Polynesians.

These new works by Ayesha Green (Ngāti Kahungunu, Kāi Tahu) were produced during her recent residency at Parehuia-McCahon House. They mark a shift into still-life painting and the negotiation of the complex conventions of this historic genre. As with all of Green’s work, these new paintings are layered with references and are mindful of the formats and genres they utilise, prompting us to consider the history and politics of representation. Many are juxtaposed with painted tributes to important texts that present various frameworks for unpacking our national narratives.

In response to being artist-in-residence at Parehuia-McCahon House in 2021, jeweller Moniek Schrijer presents an exhibition influenced by the ecology of the McCahon House garden, local climate, lunar events, and the distinctive light at this famously forested historic residency. These works document shifts in atmospheric conditions, contrasting perspectives and details from the landscape, streetscape and built environment with zoomed-in close-ups of liquids, changing shadows and observations of the play of light as time passes.

Earth posters is the first presentation of a collaboration between writer Courtney Sina Meredith and artist Fiona Jack. The result is a merging of text and clay that captures an exchange between friends, and a moment in time. 

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.

Students from Kelston Intermediate explore connection to whenua and rangatiratanga through making with uku (clay), a medium with a long history of use in the Kelston area. In this collaborative exhibition, they present a collection of hand-coiled kaitiaki forms, and sculpted pūtangitangi (flute) instruments.  This project has been supported by leading ceramic artist Carla Ruka through the Ministry of Education’s Creatives in Schools programme.

Te Uru is delighted to present the Portage Ceramic Awards 2022. This annual award provides a vital platform to showcase the diversity of contemporary clay practices in Aotearoa. The awards are open to all New Zealand artists both established and emerging whose work spans sculptural and domestic clay traditions as well as other disciplines, including photography and videography.

Sometimes described as Māori fairy folk, patupaiarehe were said to live in the mountains and forests, cleaving to darkness, and building their homes from swirling mists. They had pale skin and red or fair hair, and bewitched people, especially young women, luring them away. Redhead and albino Māori were sometimes said to be the result of interbreeding. Today, some speculate that patupaiarehe descended from early Europeans who arrived here before Polynesians.

These new works by Ayesha Green (Ngāti Kahungunu, Kāi Tahu) were produced during her recent residency at Parehuia-McCahon House. They mark a shift into still-life painting and the negotiation of the complex conventions of this historic genre. As with all of Green’s work, these new paintings are layered with references and are mindful of the formats and genres they utilise, prompting us to consider the history and politics of representation. Many are juxtaposed with painted tributes to important texts that present various frameworks for unpacking our national narratives.

In response to being artist-in-residence at Parehuia-McCahon House in 2021, jeweller Moniek Schrijer presents an exhibition influenced by the ecology of the McCahon House garden, local climate, lunar events, and the distinctive light at this famously forested historic residency. These works document shifts in atmospheric conditions, contrasting perspectives and details from the landscape, streetscape and built environment with zoomed-in close-ups of liquids, changing shadows and observations of the play of light as time passes.

Earth posters is the first presentation of a collaboration between writer Courtney Sina Meredith and artist Fiona Jack. The result is a merging of text and clay that captures an exchange between friends, and a moment in time. 

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.

Students from Kelston Intermediate explore connection to whenua and rangatiratanga through making with uku (clay), a medium with a long history of use in the Kelston area. In this collaborative exhibition, they present a collection of hand-coiled kaitiaki forms, and sculpted pūtangitangi (flute) instruments.  This project has been supported by leading ceramic artist Carla Ruka through the Ministry of Education’s Creatives in Schools programme.

Te Uru is delighted to present the Portage Ceramic Awards 2022. This annual award provides a vital platform to showcase the diversity of contemporary clay practices in Aotearoa. The awards are open to all New Zealand artists both established and emerging whose work spans sculptural and domestic clay traditions as well as other disciplines, including photography and videography.

Sometimes described as Māori fairy folk, patupaiarehe were said to live in the mountains and forests, cleaving to darkness, and building their homes from swirling mists. They had pale skin and red or fair hair, and bewitched people, especially young women, luring them away. Redhead and albino Māori were sometimes said to be the result of interbreeding. Today, some speculate that patupaiarehe descended from early Europeans who arrived here before Polynesians.

These new works by Ayesha Green (Ngāti Kahungunu, Kāi Tahu) were produced during her recent residency at Parehuia-McCahon House. They mark a shift into still-life painting and the negotiation of the complex conventions of this historic genre. As with all of Green’s work, these new paintings are layered with references and are mindful of the formats and genres they utilise, prompting us to consider the history and politics of representation. Many are juxtaposed with painted tributes to important texts that present various frameworks for unpacking our national narratives.

In response to being artist-in-residence at Parehuia-McCahon House in 2021, jeweller Moniek Schrijer presents an exhibition influenced by the ecology of the McCahon House garden, local climate, lunar events, and the distinctive light at this famously forested historic residency. These works document shifts in atmospheric conditions, contrasting perspectives and details from the landscape, streetscape and built environment with zoomed-in close-ups of liquids, changing shadows and observations of the play of light as time passes.

Earth posters is the first presentation of a collaboration between writer Courtney Sina Meredith and artist Fiona Jack. The result is a merging of text and clay that captures an exchange between friends, and a moment in time. 

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.

Students from Kelston Intermediate explore connection to whenua and rangatiratanga through making with uku (clay), a medium with a long history of use in the Kelston area. In this collaborative exhibition, they present a collection of hand-coiled kaitiaki forms, and sculpted pūtangitangi (flute) instruments.  This project has been supported by leading ceramic artist Carla Ruka through the Ministry of Education’s Creatives in Schools programme.

Te Uru is delighted to present the Portage Ceramic Awards 2022. This annual award provides a vital platform to showcase the diversity of contemporary clay practices in Aotearoa. The awards are open to all New Zealand artists both established and emerging whose work spans sculptural and domestic clay traditions as well as other disciplines, including photography and videography.

Sometimes described as Māori fairy folk, patupaiarehe were said to live in the mountains and forests, cleaving to darkness, and building their homes from swirling mists. They had pale skin and red or fair hair, and bewitched people, especially young women, luring them away. Redhead and albino Māori were sometimes said to be the result of interbreeding. Today, some speculate that patupaiarehe descended from early Europeans who arrived here before Polynesians.

These new works by Ayesha Green (Ngāti Kahungunu, Kāi Tahu) were produced during her recent residency at Parehuia-McCahon House. They mark a shift into still-life painting and the negotiation of the complex conventions of this historic genre. As with all of Green’s work, these new paintings are layered with references and are mindful of the formats and genres they utilise, prompting us to consider the history and politics of representation. Many are juxtaposed with painted tributes to important texts that present various frameworks for unpacking our national narratives.

In response to being artist-in-residence at Parehuia-McCahon House in 2021, jeweller Moniek Schrijer presents an exhibition influenced by the ecology of the McCahon House garden, local climate, lunar events, and the distinctive light at this famously forested historic residency. These works document shifts in atmospheric conditions, contrasting perspectives and details from the landscape, streetscape and built environment with zoomed-in close-ups of liquids, changing shadows and observations of the play of light as time passes.

Earth posters is the first presentation of a collaboration between writer Courtney Sina Meredith and artist Fiona Jack. The result is a merging of text and clay that captures an exchange between friends, and a moment in time.