Resident
Artists

Anton Parsons’ practice embraces a broad range of media encompassing industrial materials, readymade objects, photography and installation. Concepts are realised with seemingly insignificant ephemera that often accrue new meanings independent of the artist’s original vision when redefined, reconstructed and re-presented.  

Parsons graduated from University of Canterbury School of Fine Arts, Christchurch in 1990. His works are held in numerous public and private collections including, Chartwell Collection, Auckland, Govett Brewster Art Gallery, New Plymouth, Christchurch City Council Art Gallery, Christchurch. Anton Parsons established his shared studio at Corban Estate Arts Centre in 2015. 

Chris Van Doren is of Niuean,  Samoan and Dutch descent, and is  based at the Pacific art Centre. Chris has a background in panel beating and uses the skills of his trade to sculpt a variety of mediums such as copper, stainless steel, wood and  stone. 

He has participated in exhibitions, sculpture symposiums and workshops across the country and abroad. Chris has also been a finalist in the Wearable Arts Show from 2010 - 2012. 

His sculptures are regularly displayed in galleries throughout New Zealand from Just Imagine Russell, Parua Bay in Whangarei, to Lesa Gallery in Petone, Lochmara Lodge in the Marlborough Sounds and Kapa Gallery in Queenstown.

In November 2009, Chris was invited to take part in the Taitung Austronesian Cultural Festival, in Taiwan.  He collaborated with indigenous artists from tribes of Taiwan, and other islands of the pacific such as Fiji, Samoa, Tonga and New Caledonia.

SOLO EXHIBITIONS INCLUDE:

2009 Foutoa Niue, Lesa Gallery, Petone, Wellington.

2016  Foutapu, Auckland 

GROUP EXHIBITIONS:

2003    Ak03 Tautai Trust Sculpture Symposium 

2004    Ellerslie Flower Show Pacifica

2005    Ellerslie Flower Show

Womad (Festival of World Music) 

2005    Matakana Sculpture Symposium

Grey Lynn Festival

2006    Animals from A to Z, Waiheke Island Gallery

2007    Womad (Festival of World Music)

2008    Longitude Rarotonga, Artist Studio, Cook Islands

All Things Bright and Digital, Lesa Gallery, Wellington

Affordable Art Show, Wellington                    

2009    Affordable Art Show, Wellington

Scent, Tairawhiti Museum, Gisborne

2009    Niuean Arts Festival

Affordable Art Show

2010 Small Works Show, Lesa Gallery, Wellington

2010  Tau malaga folau he pasifika – The Navigators of the Pacific,    

Salamander Gallery, Christchurch Arts Centre, Christchurch

2010    World of Wearable Arts Show, Light section Wellington

2011    World of Wearable Arts Show, Open section Wellington

2012    World of Wearable Arts Show,  Open section Wellington (Honorable mention)

2018    Art out west

SCULPTURE SYMPOSIUMS;    

2003   Ak03 Tautai Trust Sculpture Symposium

2005  Ak05 Tautai Trust Sculpture Symposium  

2005    Matakana Elemental Alchemy Sculpture Symposium 

2006    Rock to Stone 2 Albany 

2007    Lochmara Lodge Eco-Artist Retreat, Marlborough Sounds

2007    Soft as Stone sculpture symposium, Wellington

2008    Whakatane Sculpture Symposium, Whakatane

2008    Fresh Horizons, Whitireia Polytechnic, Porirua

2008    Lochmara Lodge Eco-Artist Retreat, Marlborough Sounds

2009    Fresh Horizons, Springhill Prison, Te 

2009    Eggcentric Cafe Sculpture Symposium, Cooks beach

2010    Taitung Austronesia Cultural Festival, Taitung, Taiwan

2012    Whangarei sculpture Symposiums, wood and stone carving.

2013    Takapuna lake house sculpture symposium                   

2016    Te kupenga Stone Symposium

David McCracken’s sculptures elevate humble objects into memorable artefacts. He is interested in the role of performance in the production and reception of sculptured artworks. The completed sculpture is in itself a type of drama for McCracken in that it manifests various sensory inputs and personal responses. It is not merely an object, but is an artwork enriched with layers of interpretation acquired through the viewer’s gaze.

His sculptures have been included in outdoor exhibitions including Headland Sculpture on the Gulf, Shapeshifter and Sculpture in the Gardens. In 2013, he was recipient of the Parsons and Brinckerhoff Award for Excellence in Engineering at Headland Sculpture on the Gulf and winner of the Wallace Arts Trust NZ Sculpture Award. 

David McCracken is represented by Gow Langsford Gallery, Auckland.

Eliza Donald is an Auckland based multimedia artist, specialising in applied art. Born in London, raised and educated in New Zealand, Eliza spent a number of years living in Europe and Australia, working in theatre, television and art teaching. She has exhibited her work in New Zealand, Zurich, London and Barcelona. On returning to New Zealand Eliza established “Learning Landscapes” where she works on the redesign of outdoor learning and play environments in schools and parks. Key themes in her recent artistic work examine the representation of women throughout history through sculpture and mixed media.

Eloiza Montaña was born in Uruguay and grew up in Barcelona. She is an a interdisciplinary artist who over the years has worked in theater, dance, performance, video and craft. Her art is often integrated into social projects and vice versa. Communities and local environments are very important to her. Wherever she has lived and worked, whether this be in her home country, Barcelona or Auckland, she enjoys being a part of the local community. Her work both feeds and is fed by the geo-social environment that surrounds her, and develops and evolves as a result of the symbiotic relationship that emerges. Since 2017 Eloiza has been living in and around Te Henga and the Waitakere Ranges. She is fascinated by our native bush and her most recent project ´The Fallen Leaf´, sees her making pieces of jewelry from native leaves and seeds.

For more info:

www.eloizamontana.com

www.thefallenleaf.co.nz

"My art practice is a process of un-learning and re-learning. That’s the best way I can describe it. I work mainly with textiles that are indigenous to Sāmoa, but my work is also inspired by other practices such as tātatau and Sāmoan oratory and mythology.

Growing up in Aotearoa, gagana Sāmoa and aganu’u fa’asāmoa were both encouraged at home- my parents and grandparents were raised in Sāmoa, so most of my work stems from that foundation. My identity is very much rooted in who I come from, so when I look to my tuaa/ancestors, I’m very humbled to see that they too were makers, but most of all, I am empowered by their courage- they didn’t spend a lot of time overthinking the process, they just made things.

Art is the bridge which connects me forward in time to my ancestors. Forward, because their legacies serve as both compass and blueprint, so when I paint or when I weave, I’m learning to navigate reality through an ancestral lens. A lot of the time though, my vision is blurry- which is why this is an art practice lol.

At the moment, I am working on an indigenous Sāmoan installation. It has been a long process- lots of behind the scenes mahi, but also one that I am almost always in awe of. I am so humbled and grateful to the lineage of Oceanian makers who have paved the way for me. Thank you."

- Florence Ulutunu, 2020. 

Gabriel Tiongson's practice embodies the influence of colonization, emigration, and confusion of identity and culture. These factors are synthesized along with his affinities: cartoonish forms, bright colors, and graphic shapes onto canvas to produce a visual expression of how he experiences and navigates the hybrid world.
 
He started out doodling on anything in school at a young age. This started a love for art and visual stimulation. Pen on paper was the starting point of his practice. Eventually, he decided to pursue formal study in New Zealand in 2014. He finished his bachelor's degree in design and visuals arts as well as his masters in creative practice at Unitec Institute of Technology.
 
website: gabrieltiongson.com
instagram: diko_art
 
Listed are some of the exhibitions he has partaken in:
 
2019 Glaister Ennor Graduate Art Awards, Sanderson Contemporary, Newmarket, NZ
 
2019 Blurred Familiarity group show, Vinyl on Vinyl Gallery, Makati City, Philippines
 
2018 Erysichthon, Te Po Gallery, Unitec Institute of Technology, Mt. Albert, NZ 
 
2018 State Highway group show, State Gallery, 126 Valley Road Mt. Eden, Auckland, NZ
 
2017 Roundhouse group show, TSB Wallace Arts Centre, 72 Hillborough Rd, Hillborough, Auckland, NZ 
 
2017 Art Fair Philippines via Vinyl on Vinyl Gallery, The Link Carpark, Makati City, Philippines
 
2016 Eden Art Awards, Unitec Institute of Technology, Mt. Albert, Auckland, NZ
 
2015 Clash of Clans Touring Exhibit, Art Toy Culture 2015, Seoul, South Korea
 
2014 Child’s Hood solo show, Vinyl on Vinyl Gallery, Makati City, Philippines
 
2013 Medium Rare, Mazda, Pasig City, Philippines
 
2012 Singapore Toy and Comic Convention guest, Marina Bay Sands, Singapore
 
2011 Neurana solo show, Vinyl on Vinyl Gallery, Makati City, Philippines

Originally from London, Giles Smith studied Fine Art Painting at St Martins School of art and became involved in decorative arts, spending time working for a high end gilding and restoration company. After moving to New Zealand in 1994, he began working in the Film and Television industry, and over 20 years has built a set of unique production skills which has seen him work on films including Crouching Tiger Hidden Dragon 2 (2014), Pete’s Dragon (2015), Yogi Bear (2009) and Narnia: Prince Caspian (2007). 

His ability to work at a large and small scale allows his art practice to remain flexible, where he can employ the skills he has gathered over the years to explore new forms and subject matter of interest. 

Gillian Appleby is a New Zealand artist who works with oil on board, and illustration with graphite. Her body of work often involves using photographs as a starting point, with narratives of the work leading to a blur of fact and fiction.

Appleby’s ongoing practice seeks to create tensions between illustrative and material investigations around the figure, and identity using photographs sourced from the everyday. More often the works come from “fresh air”.

Appleby lived in the United Kingdom and studied art part time in London through College of Fashion and Central Saint Martins. She holds a Bachelor of Art and Design from EIT, New Zealand and currently lives in Auckland.

The artist has contributed to many exhibitions and gallery spaces, including Tennyson Gallery and Red Peach Gallery, both in Napier. Appleby has also exhibited numerous times in the Molly Morpeth Canaday Awards, in 2015, 2017 and 2019 respectively.

You can find out more about Gillian Appleby on her personal website – https://www.gappleby.co.nz/

Jennifer Mason is a figurative painter working with oil paint. She works within the tradition of the female nude as subject matter and her work is distinguished by an alternating sanding and glazing technique.

She is influenced by the tradition of figurative painters such as Euan Uglow, Lucian Freud, Jenny Saville and John Currin.

She studied at Elam School of Fine Arts in 2013 followed by Glasgow School of Art in 2015. Jennifer was born in Auckland and currently resides in Piha.

See more of Jennifer’s work at:

www.jennifermason.co.nz
instagram: jennifer_mason_mason

Ngāti Hine, Hokianga

Auckland-born emerging artist Jermaine Reihana studied Māori Visual Arts in Palmerston North, graduating with honours in 2012. In 2013 he was part of the “Te Atinga” 25 years of Contemporary Māori Art exhibition which has been noted as one of the most comprehensive surveys of Māori Contemporary art, leading to a publication that was released in 2014. 

Jermaine’s work hinges on customary Māori narrative and art conventions to relate with and navigate through the complexities of contemporary society. Jermaine paints native flora and fauna, rendered in a fine illustrative style while re-working traditional Māori narratives with a stylistic re-interpretation of kōwhaiwhai (painted scroll pattern), tukutuku (woven lattice panels), and whakairo (carving) design conventions.  With such adaptations he produces a personalised response to cultural practices, suggesting and interrogating issues relating the current social, political and environmental climate from a Māori perspective. 

In 2015 he held his first solo exhibition Te Matahi at Depot Artspace in Auckland and continues to exhibit nationally.

I am a process driven mutidisciplinary artist gaining much of my inspiration from my coastal environment.

As a child growing up in a small fishing village in Cornwall, England, I had a deep understanding and respect for the power of the sea and the ever changing weather patterns. It was also in Newlyn, my hometown, that I became aware of the dramatic effects of light, as did the many artists that had travelled there in the century before.

The rugged Cornish coastline and the everchanging subtleties of light continue to inform and inspire the shape, form and textures found in my work.

I have an incredibly strong emotional connection to my home for many reasons beyond family ties and familiar sights. Being so far from home is one of the reasons I am sure, but there is also a magical element buried deeply within the many ancient pagan sites, stone circles and burial chambers that has etched its way into my bones, one which I find hard to articulate in words but have a raw and deep seated need to explore through my art.

The content of my work is an introspective conversation, it deals with the ethereal and the non material of this world. The non physical light and dark of our journey through this life.

It is primarily about the aesthetic form, whilst focussing on the relationship between light and space, the play of light and the presence of shadows. Surface treatment is carefully considered to enhance the inherent qualities of the material, whether it be subtle or of great contrast,

Kelly Reichardt is a born and bred West Aucklander, completing her Art and Creativity Diploma with Honours as a distance student at The Learning Connexion in Wellington. Her preferred mediums are creative photography, watercolour, and mixed media.
 
A survivor of both recent and historic trauma resulting in C-PTSD, Kelly uses artistic expression to make sense of her emotions and inner dialogue.  A strong realism permeates her work and themes of the female form, nature, and beauty are regularly featured.
 
You can see more of Kelly's work on her Instagram page (kellyreichardt_art) or website www.kellyreichardt.co.nz

Born in the UK in 1968, Osmond studied and worked in London for over twenty years. He currently lives and works in Auckland, New Zealand. He is the recipient of a number of high profile awards, among them the second largest sculpture prize in the UK, the Mark Tanner Sculpture Award; the Credit Suisse First Boston Sculpture Prize; and the Penguin Books Sculpture Prize. He has created artworks for a variety of clients including The Royal London Hospital, The Economist and most recently for Massey University’s Auckland campus.

Osmond is represented by Davidson Contemporary based in New York. 

Martin Selman’s works are an exploration of the potent visual and inherent qualities of marble.  Aligned with antiquity, artistic genius, and tradition, marble is, exploited by Martin for its symbolic value and transported into the current age by focusing on the banality of everyday consumption. Mass-produced items like bottles and cans are, canonised for posterity and contemplation.  Carved out of a medium steeped in tradition and history, they are transformed into sublime objects that are simultaneously historic and a-historic; rendered seemingly timeless by virtue of their medium, they are immediately reflective of the nature of our society. In a recent and major shift in subject matter Martin has become focussed on the figurative sculpture tradition, representing the human form with realism. 

Interdisciplinary artist Numangatini Mackenzie works in graf, tatau and mixed media installation. His practice centres on the exploration of urban space and the processes of building connections to his Pacific heritage and people. His research engages with literature on Oceanic art, museum collections as well as collaborations with living practitioners of art forms ranging from tatau, painting and spoken word to voyaging/navigation and street art. Numa often responds to these experiences and sites of investigation through large public graf installations, performance and printmaking. He is actively involved in cultural heritage projects, performative acti.VA.tions, research and community development in New Zealand, where he is now based,  and the Cook Islands.

Numa was born in Canada where his hunger to understand his culture grew, which prompted him to move the Cook Islands in 2009. His move gave Numa the opportunity to grow family ties and his understanding of cultural arts like tapa, tatau and voyaging.

My practice covers a lot of concerns, in which I make sense of through my art making. Some of the concerns I investigate encompass cultural cringe, structure, literalism, gender and identity. These concerns, or rather, search for answers are translated through a range of media in which I use to unpack culture and metaphorically represent this sense of unease and isolation I feel within culture.

The most evident of my concerns is my questioning of cultural structure and how this ‘set’ structure has transformed or rather moulded the lives of 1st generation New Zealand born Pacific Island children. Through my wide-ranging materials I reveal the concerns that I and many other teens and young adults face during our adolescent years as we start to mature and form our own opinions of cultural structure and how we compare our upbringing to those of others.

Quite simply I am deconstructing, simplifying and reconstructing traditional structure in order to make sense of its complexities.

Education:

Bachelor of Fine Arts, Auckland University of Technology (2011)

Masters of Visual Art and Design (2014)

Pita Turei. A creative collaborative practitioner.

Ngai Tai ki Tamaki, Ngati Paoa, Nga Rauru Kiitahi.

think, breathe act.
A career that started with a love of words became an exploration of the stage
through dance and comedy.
Adelaide Ballet, Limbs Dance Company, Theatre Corporate, Slick Stage,
Taiao Dance Theatre, Te Whanau Players. 5 national tours, 1 international.

listen, see, speak.
A lobbyist for art, performance & film. Articulating forgotten voices, took me to
the tables of negotiation. Arbitration Court. Environment Court. Waitangi Tribunal. QE2 Arts Council, Takirua Theatre, Q Theatre etc. Ministry of Economic Development, Dept. of Conservation. Hauraki Forum. Tangata Whenua Commitee Auckland City, Iwi Whanui, Dept Corrections.
CEO Nga Aho Whakaari. Te Taumata member, Auckland Museum. Public Speaker & curator of art.

receive, value, give.
Film opened opportunities to work with magicians and scientists and follow ancient trails.
12 feature films, UTU Redux. 6 independent documentaries.
Actor, stuntman, photographer, director.
Festivals: Amsterdam, Dream Speakers Canada, Amiens, Hawaii, Tahiti.
Media Peace Prize.

the land always remains.
Public Art : Victoria Park Playground, Auckland Waterfront, Grafton Gully, Spaghetti Junction, Puketapapa Mt Roskill, SH20 Landscape design award, Te Wao Nui Auckland Zoo, Victoria Park Tunnel and environs, Te Tuhi Gallery. Te Wero Bridge design competition finalist.

Proud to have known :
Betty Wark, Merata Mita, Sonny Waru, Eva Rickard, Sophie, Sir John Turei, Te Miiringa Hohaia, Peta Rutter, Rangi Chadwick, Wi Kuki Kaa, Jim Viviaeri, Te Kauhoe Wano, Terry Firkin, Glen Jowit & others.

Sistar S’pacific, aka Rosanna Raymond, is an innovator of the contemporary Pasifika art scene as a long-standing member of the art collective the Pacific Sisters, and founding member of the SaVAge K’lub. Over the past twenty years, Raymond's activities have made her a notable producer of — and commentator on — contemporary Pacific Island culture, in Aotearoa New Zealand, the UK, and the USA.

She specialises in working within museums and higher education institutions as an artist, performer, curator, guest speaker, poet and workshop leader. Raymond is an Honorary Research Associate at the Department of Anthropology and Institute of Archaeology at University College London and has been awarded a Chester Dale Fellowship at the Metropolitan Museum in NYC this year.

Sculptor Stephen Woodwards practice is primarily interested in the political. “I present landscape and landforms as images to critique human nature; our need to overlay everything with notions of identity, or productivity or settlement. The consequences are environmental and these consequences issue from nationalism, greed, ignorance and also sometimes from culture or love.” explains the artist.  Working with an eclectic range of media ranging from ceramics, bronze, stone and volcanic basalt, Woodward’s sculptures are subtly integrated into, rather than being starkly imposed onto, the landscape.

Born in Quebec, Canada. He began marble carving in Italy by working alongside artisans tasked to scale up sculptures for artists including César Baldaccini, Barry Flanagan, Helaine Blumenfeld and Michelangelo Pistoletto. He moved to New Zealand in 1984 and since then has produced numerous public stone sculpture commissions in China and New Zealand.

Ko Kohukohunui ko Maungaroa ko Pūhanga Tohorānga Maunga
Ko Wairoa ko Waikato ko Mangatawa nga Awa
Ko Ngātokimatawhaorua ko Tainui nga Waka
Ko Ngāi Tai ko Waikato ko Nga Puhi nga Iwi
Ko Ngāti Te Raukohekohe ko Ngāti Tamaoho ko Ngai Tuteauru nga Hapū
Ko Umupuia ko Whatapaka ko Pukerata nga Marae
 
Tessa Harris holds a Bachelor of Maori Visual Arts - Whakairo from Te Waananga o Aotearoa and has been weaving for over 12 years.  Tessa currently works with various mediums including stone, glass, wood and NZ natural fibres.  Her stonework has been under the guidance of New Zealand Artist Rossi McCabe.  Tessa’s stonework features hand finishing with sandstone and her designs, patterns and styles are based off traditional Mahi Kohatu (Maori stonework). Tessa been involved in various exhibitions and displays, her work is sold throughout Aotearoa. 

Throughout Tony Brown’s practice, the artist has used his Māori heritage alongside a keen interest in photography, particularly of Māori people at work and leisure in our society. Tony currently combines photo-realism with references to traditional Māori art forms including, whakairo (carving) and tā moko (traditional Maori tattoo) in his practice, which typically culminate as highly rendered drawings or paintings. 

Tony Brown (Te Aupouri) gained a Bachelor of Visual Arts from the University of Auckland, Manukau School of Visual Arts in 2005. Recent shows include: Swims On (2016), Upstairs Art Gallery, Auckland; Huahua Manu (2015), Corban Estate Arts Centre; Shadows of Legends (2014), Upstairs Art Gallery, Auckland; Mo Tenei Wa (2011) Upstairs Art Gallery, Auckland; and In Ya Face (2009) Bruce Mason Centre, Auckland.