We have created performative video portraits on government purchased land for social housing. Exploring through indigenous methodologies, we have incorporated traditional grass dancing from Daniels culture (Lakota, Sioux) and as he moves through the landscape each step is considered a prayer for the whenua and people.
In Swirling Dream-Wreck Chung and Thomas look at the concept of fantasy with equally diverse approaches, using their shared medium of painting to expand and evolve elements of a shared unknown.
Big Sacred Technologies seeks to consecrate objects and technologies that predict the future (or futures). All the while encompassing the sacredness of the aesthetic, affect and use of contemporary surveillances within technological and cyber networks.
A Shelter for Amnesic Relatives considers the safe room, a space common in American survivalist culture and online discourse.
Looking Forwards and Backwards playfully tests collaborative ways of looking and listening in exhibition making and practice.
Thinking toward roundness. To watch, with your mind’s eye, the world floating quiet, a solo exhibition by Auckland based artist, Becky Richards, presents a contemplative exploration of roundness; whole, full and complete.
The first solo exhibition by Wellington based artist Faith Wilson. Exploring her afakasi Samoan/Palagi body a decade after her eating disorder began, Wilson turns the Gallery into a room of her past, reclaiming her story.
Shortsighted Girl's Very Thick Wall takes its cue from Kikkawa’s current interest in creating delicate, small scale drawings with watercolour and ink on paper. For this exhibition however, one new large scale installation will be presented alongside Blind Jams — paying tribute to her long relationship with Dunedin sound.
Seeking to problematise familiar objects and processes, Stone Cold Cuts is an exhibition that delves into the basic functions performed within barbershops/hair salons.