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Past Exhibitions

CEAC has had a consistent programme of exhibitions since September 2002. Choose a year from the menu to browse our previous exhibitions:

2002 | 2003 | 2004 | 2005 | 2006 | 2007 | 2008 | 2009 | 2010 | 2011 | 2012 | 2013 | 2014 | 2015


17 February to 9 April 2017

Opening: Thursday 16 February, 6 - 8pm

Charlotte Graham, 'Kaitiakitanga' (2015), detail. Photograph by Sam Hartnett.


Charlotte Graham Waikato (Ngati Mahuta, Ngati Tamaoho, Ngati Whanaunga, Ngati Paoa)

Charlotte Graham is a prolific painter who draws on her Maori ancestry to address critical issues that affect New Zealand society and indigenous land rights. In this new series of work Graham addresses overconsumption and ocean acidification, focusing on the impact and effects on her tribal lands and seas.


Artists talk: Sat 1 April, 2pm (as part of Open Arts Day 2017)

Natasha Matila-Smith, 'It's all over now' (2012) installation view. Photograph courtesy of Artspace.

This sky, too, is folding under you

Natasha Matila-Smith

Auckland based artist Natasha Matila-Smith’s practice addresses the restrictive representation and exoticisation of contemporary Pacific culture. In This sky, too, is folding under you she investigates these ideas through a process of considered visual decisions and the use of nostalgic materials, drawing inspiration from pop-culture as well as familiar and romanticised iconography.


Panel Discussion, Saturday 25 February, 11am

A. D. Schierning, 'Glossopteris' (2016)

At a Loss

A. D. Schierning

Although the impact of humanity on the natural world is undeniable, the Earth has been in an ever-shifting and self-evolving process for millions of years, as is evident by the long history of extinct plants and animals not related to human presence.

At a Loss explores progress, loss and meaning through artist A. D. Schierning’s painted biological accounts of extinct and endangered plant species on native wood samples. Schierning questions our ability to both create and disturb balance, whilst paying homage to the natural world and its mysterious powers.


Saturday Gallery Club, 18 March, 10:30am – 12pm

Artists talk: Sat 1 April, 2pm (as part of Open Arts Day 2017)

Artist Charlotte Graham presenting at the Manukau Harbour Forum Symposium from Manukau Harbour Forum Symposium on Vimeo.


Reappraisal: a pots and vessels show

Artists include: Bronwynne Cornish and Denys Watkins, Finn Ferrier, Peter Gibson Smith, Julia Holderness, Nate Savill, Florence Weir, Lauren Winstone and the Wednesday Night Pottery Group.

Fri 4 December 2915 – Sun 7 February 2016

Knitting, blacksmithing, paper construction and ceramics are some of the methods used to create this curious survey of pots and vase forms made by contemporary artists. In surprising ways the traditional form and function of this classical object are re-examined.

Image credit: Bronwynne Cornish Denys Watkins 'Liberty cap'


Tiffany Singh

Fri 4 December 2915 – Sun 7 February 2016

Enshrine, the latest meditative and multi-sensory installation by Tiffany Singh is influenced by the teachings of Anicca, or impermanence and the repeating cycle of life, death and rebirth. This is played out literally and metaphorically within the work with concepts and mediums recycled, refreshed and reformatted from past installations and exhibitions. Echoing the continuous rejuvenating state of nature, natural materials sourced and harvested locally from Corban Estate Arts Centre will be incorporated into the hanging offerings and regularly revitalise the domestic sized shrine works.

Image caption: Tiffany Singh, samsara temple (2013), detail. Courtesy of Melanie Roger Gallery
Photo credit Laura Forest.

Plastic Gods, Currents of Concern and Drift are part of a series of projects that make up TEMP, a programme of public art science experiences contributing to the conversation about climate change.


Ole Maiava and Paula Schaafhausen

Exhibitions open Thurs 18 February, 6pm – 8pm
Shows run from Fri 12 February – Sun 3 April 2016

Plastic Gods is the latest collaborative exhibition by mixed media artists Paula Schaafhausen and Ole Maiava. Together they explore the impact of rising sea levels on the Asia Pacific region from global warming through sculpture, photography and poetry. Tagaloa the Polynesian god of the Pacific Ocean is a central figure in the exhibition. The Tagaloa sculptures by Schaafhausen are created with sand and plastic debris collected from local West coast beaches, cocoa and coconut oil sourced from Samoa. Highly changeable the coconut oil sculptures will melt and morph with temperature fluctuations in the gallery over time, symbolising for the artist her concerns about the effect of rising sea levels on low lying islands and their resident communities.

As well as sculpture and photography, Maiava incorporates plastic in his works to comment on contemporary consumer society’s dependence on it and the impact this has on the environment. In addition to this he questions “why does Tagaloa do nothing about it, is he just another plastic God?”

Image credit: Paula Schaafhausen, Ebbing Tagaloa (2014) collected sand, shells, stones and coconut oil.


Phil Dadson

Exhibitions open Thurs 18 February, 6pm – 8pm
Shows run from Fri 12 February – Sun 3 April 2016

Phil Dadson’s latest exhibition Currents of Concern features a selection of water themed sound and video works. As an estuary dweller and keen observer of tidal variations, Dadson's audio visual meditations on waterways reveal a multi-layered perception of fragile ecosystems. His latest video Anatomia Sonora da Camera (2015) tracks his journey through a network of Venezian back water canals, sounding the tidal gaps under a sequence of iconic bridges from the perspective of a kayak. Dadson describes the work as “a sounding of the under-bridge acoustics where resonance is affected by tidal changes.” Venice is regularly threatened by flood tides and has become an important case study for the effects of rising sea levels resulting from climate change. Also showing for the first time together will be a new three screen configuration of Dadson’s earlier interrelated video works Deep Water (2011) and Between Worlds (2011) alongside selected works on paper.

Image credit: Phil Dadson, still from Anatomia Sonora da Camera, 2015. Courtesy of the artist and Trish Clark Gallery.


Bruce Foster

Exhibitions open Thurs 18 February, 6pm – 8pm
Shows run from Fri 12 February – Sun 3 April 2016

Bruce Foster photographs the New Zealand coastline in an on going study of human histories intersecting with the environment. In his latest photographic series Drift he returns to the sand spit at the mouth of the Mangawhai estuary he first photographed in the late 1970s to research environmental changes that have taken place over the last 800 years. Geological, archaeological and ecological histories all merge in Foster’s poignant post-apocalyptic images. In which plastic waste from the 20th and 21st centuries blend with extensive pre European midden sites, exposed charcoal remnants of native forests and prehistoric volcanic rock.

Image credit: Bruce Foster, Intertidal 12 (2015), pigment print on Hahnemühle paper.


Featuring the work of:

Chiara Corbelletto
Laura Marsh
David McCracken
Kevin Osmond
Anton Parsons
Martin Selman
Stephen Woodward
And guest artist Chris Van Doren

Exhibition runs from Fri 8 April until Sun 29 May 2016

Corban Estate Arts Centre’s latest sculpture exhibition will be located in the gallery and on the estate grounds. This diverse sculptural experience features seven artists based at Corban Estate Arts Centre: Chiara Corbelletto, Laura Marsh, David McCracken, Kevin Osmond, Anton Parsons, Martin Selman and Stephen Woodward and opens on 7 April.

These renowned resident sculptors engage with a wide range of methods and mediums, from metal fabrication, marble carving, and computerised production through to craft-based techniques; and the work they make is generally made using common or industrial materials. Though united by sculptural means, they each have their own unique focus, whether it be political and social issues, the representation and significance of a given object, or the fundamental nature of space and mass.

Showing onsite near his studio, as well as in the gallery, David McCracken presents two distinct types of steel work layered with visual puns; with oxidising industrial Corten steel he portrays principles of solidity and friction (what he terms his ‘heavy metal’ works) along with a new series of highly-polished World War Two inspired bombs created with self-engineered hydroforming techniques that typically make these solid objects look as if they are light weight inflatables.

Exhibiting alongside McCracken’s bomb series will be Kevin Osmond’s kinetic sculptures, which explore the nature of imploding stars and the space-time theory of wormholes. As a sculptor Osmond transforms seemingly mundane components and methods through meticulous repetition, offering the viewer a chance to escape from everyday life and into a mesmerising and idyllic universe.

Also exploring the intersection of art and science is artist Chiara Corbelletto. Her immersive large scale installation of three dimensional geometrical structures incorporates both systems of irregularity and symmetry. This multipart installation is configured in ways that reflect how complexity can arise from simplicity, and how minor modifications can create entirely new variations.

Meanwhile Anton Parsons’ sculptural practice abstracts known systems of information including numbers, letters, and in the work on show, braille. Parsons creates a braille eye chart which paradoxically disrupts our sense of sight; as a language that can be read by touch but not necessarily understood by sighted people. His interactive work Jamb is an outdoor door frame and curtain sited near the centre’s car park entrance, a doorway through which visitors might pass, encouraging engagement simply by being used. The artist intends for the viewer to find their own meaning in their experience of the work, “the work’s function is to allow interpretation.”

Meanwhile Martin Selman works in Carrara marble, he challenges classical sculpture traditions by meticulously carving everyday objects from the 21st century such as crushed cans and plastic bottles. In doing so he combines classical carving techniques with contemporary subject matter.

Stephen Woodward is also a skilled marble and granite sculptor, his sculptural practice is primarily interested in the political. Refuge (2016) his latest marble work refers to not only political but also psychological refuge. On display outdoors will be Woodward’s kinetic bronze sculpture Spinning Tiers, which visitors will be able to activate by turning. The work is a memorial to our threatened world, as well as a monument in celebration of life. The forms in his sculpture refer to the Japanese Gorinto, a tower made up of five shapes symbolic of the Five Elements.

Mounted outside the gallery will be a new protest banner by Laura Marsh, titled Some of my best friends are activists. The banner acknowledges that as much as we can be passionate and opinionated about the political and climate issues facing us today, most of our thoughts and time are affected by more personal and direct experiences.

Bridget Reweti, detail of a work in progress (2016)


Bridget Reweti (Ngati Ranginui, Ngai Te Rangi)

Fri 3 June until Sun 17 July 2016

Exhibition celebration: Saturday 18 June, 11am
Artist panel talk: Saturday 18 June, 1pm

Bridget Reweti’s photographic and moving image practice has explored the representation of New Zealand’s iconic landscapes. Informed by customary knowledge of Maori names and narratives and employing traditional photographic techniques Reweti has critiqued perceptions of the landscape. In this new series of hand coloured photographs produced whilst participating in the 2016 Indigenous Visual and Digital Arts Residency at The Banff Centre in Canada, Reweti comments on tourism producing photographs that question what it means to stay and make work in a place that is not your own.

Robert Jahnke, 'Tuku Iho' (2015). Courtesy of the artist and Bath Street Gallery

Ngā aho tāruarua

Robert Jahnke (Te Whanau a Rakairoa, Te Whanau a Iritekura, Ngai Taharora, Ngati Porou)
Matthew McIntyre-Wilson (Nga Mahanga, Titahi)
Alexis Neal (Te Ati Awa, Ngati Awa)
Martin Awa Clarke Langdon (Tainui, Ngai Tahu)
Peata Larkin (Tuhourangi, Tuwharetoa)

Fri 3 June until Sun 17 July 2016

Exhibition celebration: Saturday 18 June, 11am
Artist panel talk: Saturday 18 June, 1pm

Ngā aho tāruarua in Te Reo Maori references the repetitive or repeating thread, implying an anchoring in customary practice. As an exhibition it brings together the interrelated art practices of five artists that work within the traditions and format of repetition. Repetitive references found in raranga whakairo (weaving patterns), kowhaiwhai designs, geometry and text sequencing are some of the influences. Interconnected these art practices reflect a physical, genealogical and generational link between past knowledge and the present.

Kerry Ann Lee, 'Dream Emblem I' (2014) (Detail) Courtesy of Whitespace Contemporary Art.


Star Gossage
Kerry Ann Lee
Sam Mitchell
Sofia Tekela-Smith
Roberta Thornley

Curated by Madeleine Gifford

Head Trip

John Pusateri

Exhibitions run from Fri 22 July until Sun 4 September 2016

Opening: Thursday 21 July 2016, 6-8pm

Art History Talk on Portraiture with Associate Professor Len Bell (University of Auckland) Saturday 27 August, 11am

In the age of the selfie and the profile photo, it might seem as though we’ve forgotten the political and cultural histories of portraiture. Or perhaps there are a whole new set of socio-political possibilities at play when we make a portrait now? Two new portrait exhibitions open on 21 July at Corban Estate Arts Centre, featuring New Zealand artists exploring portraiture. On display will be Traits, an all-female portraiture show featuring the work ofStar Gossage, Kerry Ann Lee, Sam Mitchell, Sofia Tekela-Smith and Roberta Thornley. This will be accompanied by solo exhibition by John Pusateri.

Portraiture has a long tradition in the history of art, and was the adopted artistic practice for revolutionary female artists in the 18th Century who were not deemed capable of history painting by their male counterparts. In contemporary New Zealand we encounter an array of female artists who have the freedom to reclaim the ‘traditional’ notion of a portrait in painting, photography, digital printing and sculpture. The female artists in Traits demonstrate alternative ways of representing the identity, culture and social standing of themselves and the figures they depict.

Native flora and fauna have frequently featured in the hyper realistic paintings and prints of John Pusateri to investigate environmental preservation and restoration. In Pusateri’s newly developed exhibition, Head Trip the artist shifts his focus towards people, depicting the sitter’s personal and direct relationships with nature and with wildlife.


As part of the exhibition there will be a free art making session for families on Saturday 13 August. Visitors will have the opportunity to create their own 'cameo' selfie by exploring their unique profile.

For those interested in Art History there will be also be a special talk on New Zealand portraiture with guest lecturer Associate Professor Leonard Bell from the University of Auckland, on Saturday 27 August.

Left: John Pusateri, 'Bird Brain' (2015). Courtesy of the artist and Seed Gallery. | Right: Star Gossage, 'Kane Aloha — young man filled with promise' (2016) Courtesy of Tim Melville Gallery.

Chris Charteris, 'Family Heirloom' (1998). Courtesy of the artist and FHE Galleries.

Contemporary Artefacts

Chris Charteris

Fri 9 September – Sun 23 October 2016

Contemporary artefacts by Chris Charteris is a collection of sculptural and adornment pieces that resonate with the old world and the new. Charteris draws on his own diverse ancestry to reflect on the interconnected nature of cultural forms in a time of increasing globalisation. Influenced by Polynesian patterns, tools, ceremonial objects and body adornment, the artist celebrates these traditional art forms and brings them into the present day. Charteris’ practice engages us on multiple levels, from the environmental and the spiritual, the hand-crafted and the natural, in ways that cross time and cultures.

The Glorious Children of Te Tumu

Benjamin Work

Fri 9 September – Sun 23 October 2016

Benjamin Work has developed a bold visual language that relates to historic events and symbolism specific to Oceania. Cross-cultural encounters between European explorers in Tonga and the lasting effect of trade and exchange are examined in this exhibition. Viewing rare 18th and 19th century Tongan artefacts contained in European and British museums has informed Work’s current painting series. His new paintings also reflect his research into historic accounts and prophecies surrounding Captain James Cook’s expeditions to the Pacific.

Kenneth Merrick, 'Foible', (2015) (Detail). Courtesy of the artist and Whitespace Contemporary Art.


Kenneth Merrick

Fri 9 September – Sun 23 October 2016

Kenneth Merrick’s practice forms a basis for broad enquiry into eclectic ideas across a range of media and methods. His latest exhibition, FLWS & AFCT extends from an evolving interest in archetypal imagery, hypothetical spaces, pattern and form. Arising from unlikely unions that occur during the process of making, each work develops in unexpected ways as a flawed variation of the intended object and image.

28 October – 11 December

Opening: Thursday 27 October, 6-8pm

A detail from Sue and Peter Daly-Hughes' Outsider Art Collection. Photo courtesy of Jan Barratt.

Site Unseen

The Daly-Hughes' Outsider Art Collection

On public display for the first time will be Sue and Peter Daly-Hughes' unique outsider art collection comprised of furniture, paintings and a wide range of art objects. Amassed over more than 30 years they have a diverse and significant collection. "We collected things from second hand junk and antique shops but also from people of the Hokianga and beyond, who express their creativity through a direct and intuitive connection with their environment. We were like magpies, collecting things that took our eye."

This exhibition takes place in association with the Outsider Art Fair.

Virginia Leonard, 'Nearly beautiful' (2015) detail. Courtesy of Paul Nache.

Christmas time at Middlemore

Virginia Leonard

Christmas time at Middlemore is the latest solo exhibition of Virginia Leonard’s visceral clay forms that characterise her experience of chronic pain. Emotive in nature, her life-sized sculptural abstractions endeavour to manifest the concealed presence of pain in the typically unresponsive medium of clay. Leonard in 2015 was awarded a Merit in the prestigious Portage Ceramic Awards.

This exhibition is part of the Auckland Festival of Ceramics

like a little sphere of soapsud drifting…

Harriet Stockman and Kelsey Stankovich

Artists Harriet Stockman and Kelsey Stankovich, who also work with clay materials and techniques, respond to the paradoxical relationship between the history of the Corban family homestead and its current use as a gallery. Their collaborative installation titled like a little sphere of soapsud drifting… attempts to capture the sense of a space that is neither one nor the other through the use of materials and objects; from gas to liquid to solid, fired and unfired, soft and hard, rudimentary and complete, almost…

Harriet Stockman lives in Te Atatu Peninsula, Auckland. A full time potter in the early 90s, in 2014 she has returned to making pots for pleasure. She completed a Masters of Art and Design (Visual Arts) from AUT in 2013 and now works at AUT as a technician, where she supports students to realise their ideas through making. Harriet is a member of Public Share and exhibits on a regular basis.

Kelsey Stankovich completed a Masters of Art and Design (Visual Arts) from AUT in 2013. She is a practicing artist who exhibits regularly and works as a tutor and administrator at Hungry Creek Art and Craft School. Kelsey is a co-director of the artist-run space Glovebox, and is a member of Public Share, an artist collective engaged in sharing and production.

This exhibition is part of the Auckland Festival of Ceramics

CEAC has had a consistent programme of exhibitions since September 2002. Choose a year from the menu to browse our previous exhibitions:

2002 | 2003 | 2004 | 2005 | 2006 | 2007 | 2008 | 2009 | 2010 | 2011 | 2012 | 2013 | 2014 | 2015

16 December 2016 – 12 February 2017

Opening: Thursday 15 December, 6-8pm

Rowan Panther, 'placeholder #1' (2016)


An unconventional jewellery showcase

Including the work of

Stephen Bradbourne, Madeleine Child, Judy Darragh, Philip Jarvis, Rowan Panther, Gabby O'Connor, Nate Savill, Emily Siddell, Jasmine Te Hira, and Ruth Woodbury

This eclectic jewellery show comes with a twist. Featuring a selection of contemporary artists and makers who are compelled to make jewellery either within their main art practice or as supplementary to it. Traditional lacemaking and weaving techniques, blacksmithing, glass blowing, ceramics, painting, assemblage and moving image are some of the methods employed in this unconventional jewellery showcase that highlights the scope of the craft and art form.

Serene Timoteo, 'You Weren't Built To Be Build Ups' (2015). Photograph by Sam Hartnett

B is for BFN

Serene Timoteo

Using various inexpensive materials sourced from local two dollar shops and the catchy slang of youth in the area, Henderson-based artist Timoteo examines the complex relationships between language and identity. Whilst contemporising and paying homage to traditional Pacific crafts, Timoteo's vibrant text works also celebrate the often misrepresented voice of today's youth.

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