Shaper
Kate Newby’s YES TOMORROW is infused with context and rich in collaboration, finds Lachlan Taylor.
Kate Newby’s YES TOMORROW is infused with context and rich in collaboration, finds Lachlan Taylor.
Erin Harrington considers the visceral humour and subversive expression of Marianna Simnett’s video stories.
Lara Strongman, Ian Wedde and Robert Leonard pay tribute to a singular, beloved artist and the stimulating vision of his paintings.
The world-building strategies of Jess Johnson were particularly tested last year as normal existence was upended by Covid-19. Serena Bentley reports on the changes Johnson made to her art and life.
Connie Brown speaks to newly returned expatriate artist Martin Basher about the present dislocated moment and the fresh opportunities it presents for cultural production in Aotearoa.
Lucy Jackson thinks through the web of connections and symbolism in a new installation by Chiharu Shiota.
Over five decades of art-making, Graham Bennett has explored navigation and experimentation, measurement and balance. Increasingly, his speculative works in stone, wood and steel convey the artist’s anger about environmental degradation. Sally Blundell reports.
Daegan Wells has been tracing the story of a quintessentially New Zealand material: wool. Lucy Jackson spoke to him over his loom.
Hanahiva Rose contextualises the histories, prophecies and revisitations in Graham’s work.
Ayesha Green’s portraits upend the usual power dynamics between painter and painted, promoting the personal and reclaiming what’s important.