Curator
What thrives on these soils
Abigail Aroha Jensen, Yuki Kihara, Darcy Lange, Jimmy Ma’ia’i, George Watson, Daegan WellsTe Whare Toi o Heretaunga Hastings Art Gallery, 2025
Curated by Sophie Davis
The exhibition was developed in Te Matau-a-Māui Hawke’s Bay, where the regional tagline “Great things grow here” promotes an abundance of opportunities for investment, industry, and personal success. Yet the artists in this exhibition complicated this narrative. They examine the realities of working the land—including cycles of economic growth and decline in food and fibre production—and asking who truly reaps the benefits. Their works interrogate global systems of exchange that shape markets for labour and produce, as well as entrenched settler-colonial perspectives that frame the land asa site for individual profit. What thrives on these soils foregrounded lived experiences and histories, and moments of collective resilience—gestures that might, in turn, seed new possibilities.
All images from What thrives on these soils, 2025, installation views at Te Whare Toi o Heretaunga Hastings Art Gallery. Photos by Brian Culy.
Vital Machinery
Conor Clarke, Selina Ershadi, Janet Lilo, Louise Menzies, Meg PorteousDunedin Public Art Gallery, 2022-23 & Te Whare Toi o Heretaunga Hastings Art Gallery, 2023-24
Curated by Sophie Davis and Lucy Hammonds
Speaking to the histories of lens-based practices, the artists in Vital Machinery interrogate the consumption, agency, and stability of the image in a digital age. Present throughout the exhibition were the power dynamics and ambiguities of the camera, exploited to consider women’s experiences of the lens; the entanglement of lived experience and creative practice; and the implications of image capture within histories of colonisation. Navigating the networked world, this exhibition reached inside the mechanisms at play in the processes of representing and recording ourselves within the contemporary moment.
First presented in 2022-23 in Ōtepoti at Dunedin Public Art Gallery, the exhibition was revisited and extended with the same group of artists a year later at Te Whare Toi o Heretaunga Hastings Art Gallery with new and commissioned works.
Central projection: Selina Ershadi, Amator,2019, digital video with audio,35:07 mins.
Central projection: Selina Ershadi, Amator,2019, digital video with audio,35:07 mins.
A selection of photographs by Conor Clarke.
Left: Conor Clarke, Objects in mirror are closer than they appear
(Tapuae-o-Uenuku), 2021.
Right: Conor Clarke, Telly Photo, 2022.
Right: Conor Clarke, Telly Photo, 2022.
Left: Conor Clarke, Landfill (cataract), 2023.
Right: Conor Clarke, Landfall (hourglass), 2023.
Right: Conor Clarke, Landfall (hourglass), 2023.
Left: Conor Clarke, Veil of the soul, 2018.
Right: Conor Clarke, Angle of repose, 2015.
Right: Conor Clarke, Angle of repose, 2015.
A selection of photographs by Meg Porteous.
Foreground: Louise Menzies, March, 2022, September, 2022, and November, 2023, Just so you know, 2022, digital prints on silk, wood.
Janet Lilo, Stolen Time II, 2023, photographic installation.
All images from Vital Machinery, 2023, installation views at Te Whare Toi o Heretaunga Hastings Art Gallery. Photography by Thomas Teutenberg.
On the table
et al., Nick Austin, Ruth Buchanan, Yona Lee, Marie ShannonDunedin Public Art Gallery, 2022
Curated by Sophie Davis
et al., Nick Austin, Ruth Buchanan, Yona Lee and Marie Shannon were invited to ‘talk back’ to the collection they are a part of by determining the selection and presentation of artworks in this exhibition. In doing so, these artists begin to explore the relationships that have shaped the collection, and the agency of the artist within public and private contexts. These are lively conversations, thinking about intimacy, care, power, and what it means to live with (or around) artworks over time.
The Estate of L. Budd, Michael Parekōwhai, et al.
Michael Parekōwhai, Canis Minor, 2016, (detail), bronze parts, paint, carpet, golf balls.
Yona Lee with et al. Untitled (no human trafficking), undated, spraypaint on wool blanket. Courtesy of Michael Lett.
The Estate of L. Budd, Untitled (pleasure) and Untitled (blind), books, thermometers, both undated.
The Estate of L. Budd, Forgive Descartes, 1996 (detail), blind, suitcase and book.
Patrick Pound, Other Peoples’ Messages, 1992, stamps on canvas board.
Ruth Buchanan, Splits, split, splitting, 2019, pongee wild silk curtains.
Karl Fritsch, Untitled Candlesticks,2012, metal, wax.
Left: Peter Black, Motel Entrance, Napier, 1981.
Right: Marie Shannon, Untitled (American Gothic),1989.
Right: Marie Shannon, Untitled (American Gothic),1989.
All images from On the table: Artists in the Jim Barr and Mary Barr collection, 2022. Installation views at Dunedin Public Art Gallery. Photography by Justin Spiers.
Nature danger revenge
Alexis Hunter, Evangeline Riddiford Graham, Deborah Rundle, Sorawit SongsatayaDunedin Public Art Gallery, 2022
Curated by Sophie Davis
Born in Aotearoa New Zealand, Hunter spent much of her career in London. From the mid-1970s, she became internationally recognised for her photo-narratives that appropriated the language of commercial film and advertising to challenge gender and power relations. In the 1980s, she moved away from photography towards neo-expressionist painting. This remained Hunter’s primary artistic medium for the rest of her working life. In this exhibition, Graham, Rundle and Songsataya consider the agencies between expression and environment in dialogue with Hunter’s works that follow this shift.
All images from Nature danger revenge, 2022, installation views at Dunedin Public Art Gallery. Photography by Justin Spiers.
Fire-lit kettle
Annie Mackenzie, Ashleigh Taupaki, Georgette Brown, Imogen Taylor & Sue Hillery, Li-Ming Hu, Salote TawaleEnjoy Contemporary Art Space, 2020
Curated by Sophie Davis
Fire-lit kettle took this language as a starting point to engage a group of artists, motivated by the desire to explore its affective and critical potential. The works included offer different perspectives on how to sustain and understand creative practice, gravitating to what is raw over what is resolved.
Georgette Brown, And Holds Us At The Center While the Spiral Unwinds, 2020, acrylic paint, mediums and rope on canvas.
Li-Ming Hu, Three interviews, 2020, digital video, 10:20 mins.
Imogen Taylor and Sue Hillery, Sluice, 2020, acrylic paint.
Salote Tawale, Creep, 2014, digital video, 03:11 mins.
Annie Mackenzie, Saved Message, 2020 (detail), fruit loaf and voicemail recording.
Ashleigh Taupaki, Toro, piko, 2020 (detail), copper wire, harakeke, natural dye, māta, plaster, found rocks, pink spiral shells, pupu shells, melted glass, aluminium.
Ashleigh Taupaki, Toro, piko, 2020 (detail), copper wire, harakeke, natural dye, māta, plaster, found rocks, pink spiral shells, pupu shells, melted glass, aluminium.
All images from Fire-lit kettle, 2020, installation views at Enjoy Contemporary Art Space.
Photography by Cheska Brown.
I digress
David Bennewith, Gregory Kan, Matilda Fraser, Victor & HesterEnjoy Contemporary Art Space, 2017
Curated by Sophie Davis
All images from I digress, 2017, installation views at Enjoy Contemporary Art Space.
Photography by Shaun Matthews.
Beyond Exhausted
Matthew Galloway, 3-ply and Caitlin PataneFeaturing text works and publications by: Stephen Bram; Hank Bull, Shi Yong, Ding Yi, Shen Fan, Zhou Tiehai et. al; and Mladen Stilinovic
The Physics Room, 2016
Curated by Sophie Davis
The artists involved in this exhibition revisit and re-present existing printed documents. In doing so, they question what it is to make something public; negotiating geopolitics, the attribution of authorship and the archiving and dissemination of knowledge— embracing trans-generational, trans-geographical collaboration between artists and introducing multiple layers of ‘re-printing’ through oration, recording and restaging.
Plywood shelf with 3-ply publications, 2016.
Selected reproductions from Reprint #2: Shanghai Fax, collated by Fayen d’Evie
and Caitlin Patane.
and Caitlin Patane.
Selected reproductions from Reprint #2: Shanghai Fax, collated by Fayen d’Evie
and Caitlin Patane.
and Caitlin Patane.
Annotated text works selected by Fayen d’Evie and Caitlin Patane, 2016.
Installation by Matthew Galloway.
Matthew Galloway, Out of the Shadows, 2016 (detail), map derived from the CCDU Blueprint, designed by Warren and Mahoney for the Christchurch City Council in 2012.
Matthew Galloway, Art over nature, 2013, and plywood shelf with Silver Bulletin reprints.
All images from Beyond Exhausted, installation view at The Physics Room.
Photography by Daegan Wells.