This exhibition has been created during Georgia Arnold's residency at Driving Creek, Coromandel that was split over two, two-week sessions between May and August this year.
Making work like a brainstorming map, Arnold's process is intuitive and develops naturally which for this body of work has seen her produce clay creatures, chunky drawings and ceramic bowls thrown on a wheel. These separate strands of exploration are all modes of processing experiences during her time at Driving Creek.

Blue Nylon stems from a study of the iconic Parnell Baths and the elegant swimmers that adorn their walls in James Turkington’s untitled 1958 mosaic—and extends on Max Fleury and Bena Jackson’s interest in the ways that communities craft, use, care for, and maintain public spaces. From the historic role of fountains in the earliest cities, to the bright eyes of Burt Lancaster in the 1968 film The Swimmer, and the infamous leaking pipes and splashing fountains in Te Whanganui-a-Tara, these urban waters form the basis of Max and Bena’s mosaic and moving image works.

"Kia ora" is not just a greeting, an acknowledgment of someone's presence, a hello, or a thank you. More deeply, it acknowledges one's well-being and, through that, their mana and the tapu that surrounds them.

This exhibition explores connections between Briana Duffy’s whakapapa to the Cook Islands and Aotearoa drawing upon personal ancestry and historical ties as she makes visual connections between both.

In the exploration of colonial influences on the representation of Indigenous peoples, Matt Tini scrutinises the colonial gaze directed at Tangata Whenua through a series of photography and moving image works. By reclaiming and disrupting the visual codes that have homogenised and essentialised Indigenous identities, Matt challenges the limiting paradigms upheld by both colonisers and the colonised.

'in our spring garden' explores the complexities of photographing queer gendered experiences outside of binary frameworks. Image based artist Samson Dell explores the challenges of capturing the fluidity of their collaborators’ identities in static images.

"Talking Earth" presents a collection of pottery by Rebecca Steedman, incorporating locally sourced materials, primarily of volcanic origin. Intentionally embracing irregularities that mirror the natural environment, Rebecca prompts reflection on the relationship between the landscape and contemporary dinnerware.

‘yahaan’, a Hindi/Urdu term meaning to be here, present and close, is the provisional study of departing on a journey and asking, ‘which way?’. Drawing from their personal experiences and observations, eight multidisciplinary artists speculate on the transient nature of being here.

Rozana Lee extends her research on global histories of encounter and exchange, establishing connections between her Indonesian cultural heritage, Pasifika culture, and Central Asia. The exhibition spotlights the migration of cultural motifs, with a particular focus on the kawung (or suwung).

Landmarks for the landless examines the increasing presence of pouwhenua, symbolic boundary markers, as public art installations that reflect Aotearoa's rich heritage and position as a central Polynesian hub.

'She is a Country' is an exhibition featuring acrylic paint and soft pastel works by Leena Kheir, paying homage to Sudanese women and their centrality to nostalgic conceptions of home and family, as embodied by the Sudanese tobe.

This Raw Material pays tribute to wool as a regenerative, sustainable, non-allergenic, biodegradable, versatile, abundant, creative, and life-enhancing raw material.

In tandem with the Corbans Estate Heritage commemorations, 'Al Balad Alam: the land we rest upon' presents a series of works lead by Nicola Fraser, with accompanying makers Meg Mahy, Scarlett Kean, Karlene Groves and Tonina Ngatai.

All-at-once-ness is the result of an ongoing fascination with Colin McCahon’s 1971 Series of works on paper, produced from his studio at Muriwai.

In 'Be Here Now', Tāmaki-based Cindy Leong's paintings become a site of inquiry and transformation, inviting the viewer to join her on the path of self-discovery and self-actualisation.

'BLUE DUCK' is an exhibition of new paintings by Pōneke-based artists Christian Dimick and Ruby Wilkinson. Being partners in life, their works engage in a continuous and intimate dialogue.

While some herald the Māori New Year with the Matariki star cluster, others are unable to see Matariki from their rohe (region) and celebrate a star named Puanga instead.

In 'Dal', Auckland-based ceramicist Jino Jeong embraces the wonderful irregularities of the moon jar whilst also experimenting beyond the traditional technique.

Wellington artists Christine Brimer, Bernadette Casey and Barbara Wheeler present their domestic tableaux of artisan homewares that showcase creative solutions to the textile waste dimension of climate change.

As part of the Proud Centres programming for the 2023 Auckland Pride Festival, 'Oasis/Respite 2.0' hosts a selection of works by artists, and creatives from the trans community, the wider LGBTQIA+ communities and their friends, families and allies.

Through a varied new body of work, a r a p e t a presents a passageway into the revival of Aute (paper mulberry, Broussonetia papyifera), from their ringaringa (creative hands) in woodwork and performance.

The multi-faceted medium of sculpture has long played a dynamic role in Corban Estate’s story, placing the site as a significant hub in Aotearoa that champions the art form in its various methods and mediums.

Before Corban Estate became an Arts Centre, there stood an iconic site in Henderson and an idea that arrived in an envelope.

'Her heirlooms in my garden' includes works by a group of contemporary artists who explore gardens specifically as spaces for maternal connection and the sharing of intergenerational knowledge with their Mothers, Aunts, Nanas and Grandmothers.

Through a collection of intuitive landscape paintings, multi-disciplinary artist Dr Leonie Ngahuia Mansbridge (Ngāti Maniapoto) explores her connection to whenua as intertwined with her own whakapapa.

Nature’s Gentleman (Numa Mackenzie) and Sistar S’pacific (Rosanna Raymond) have collaborated countless times over the past decade as part of the renowned SaVĀge K’lub.

Bodies of Woven Code presents an intricate dialogue between a diverse group of multi-disciplinary artists, who blur the lines between mediums and dwell amid many forms of language and storytelling.

Over a year-long process, artists Cora-Allan and Marita Hewitt embarked on a wānanga exchange.

Through a mysterious suite of portraits and carefully staged group compositions, photographer Russ Flatt (Ngāti Kahungunu) explores the delicate complexities of youth and adolescence.

Through harakeke, light and uku (clay), Ashlee Tawhiti (Ngāti Porou, Ngāi Te Rangi) creates an immersive space for meditative thought and contemplation.

Only the strongest / no stars above meditates on love, loneliness, ritual repetitiveness, and the ambient dread of the past two years.

Tāmaki Makaurau-based ceramic artist Yeonjae Choi explores ideas around femininity and race in a new suite of figurative clay vessels.

A Dim, Purple Kind Of Smell presents a new body of work by Theresa Waugh, exploring how encounters with daily movements can be translated into mark making.

The Handweavers and Spinners Guild was established in 1954 and remains the oldest regional guild in Aotearoa.

Part of Auckland Arts Festival 2022, Someplace Else: A Travel Archive speaks to anyone who has ever travelled and negotiated an inescapable pull between two places. Through accumulated travel ephemera and intimate drawings, this long-running project grapples with poignant shifts in time, culture and geo-political landscapes; between a Moana island and an Eastern-European nation.

The Maximum Dose (TMD) was founded as a graffiti crew in West Auckland during 1997. Their mission was to steer local youth away from painting illegally, introducing them instead to alternatives and the potential for creative career paths.

1924 presents a dynamic group of contemporary textile artists in Aotearoa who each nod to the domestic nature of both the Homestead Galleries and their considered practices in embroidery, weaving, crochet, quilt and tuftrug.

Inspired by her experience as Tauiwi in Aotearoa, Cindy Huang uses object-based installation to recreate a market garden within the gallery space that reflects the sites where many historic Chinese and Māori relationships were cultivated around Aotearoa.

This exhibition explores the ways in which we use our hands to translate our inner lives - to touch, hold, make and soothe.

Thought-Forms comprises a suite of tactile, woollen works by multidisciplinary artist Paula Friis.

Penny Howard’s practice explores narratives about finding her own cultural identity, being of Māori (Te Mahurehure, Ngāpuhi) Irish and Scottish descent. Her works centre around memories, stories and a longing of, and for, whanau, whakapapa and tūrangawaewae within her Māori and European ancestry.

Give a Kid a Blanket started in 2015 as a grassroots response to help kids and families living in cold and damp conditions in Aotearoa. As part of the Auckland Festival of Photography, this exhibition presents the community activated art action lead and documented by West Auckland based artists Bernie Harfleet and Donna Turtle Sarten.

Influenced by Kantian philosophical ideas on how compositional elements of painting can engage the mind in an aesthetic play, Krystie Wade’s suite of abstract landscape paintings draw the viewer into an imaginative space.

Inspired by her grandmother’s collection of flowers, Debbie Harris’ practice considers the garden and object-based installation as like-minded systems of composition that are representative of one another.

Cats, Dogs and Madonna explores Mangere-based artist Aasha-Samara Nimo’s experience of living with her grandmother, ‘Nannan’, enabling an intimate observation into Nannan’s postwar, silent generation-isms.

Initially shown at the New Zealand Portrait Gallery, Wellington (2019), Edith and George: in our sea of islands is recontextualised in the Homestead Galleries.

In Unthought, Shelley Simpson uses electroforming to release copper from human made shapes, allowing the copper atoms to reform into their own configuration.

Plastic Age is a visually festive show that draws attention to colourful yet environmentally toxic plastic debris.

Soft and Gentle Workings is a show that reflects upon change and loss by artist Louise Keen.

An exhibition of new works by artist Kairava Gullatz.

As the tides sigh a deep breath out, the aute unfolds parched and porous. Ready. Orokohanga explores the essence of the beginning.

Te Koretētāmaua SETTLE, PETAL imagines the unstable void as a condensed collection of parts poised to become more and unknown.

The sea eats away at the whenua. Her sturdy defender Rakahore of rock and stone eventually merges with Parawhenuamea of silt and sediment.

The practice of husband and wife duo Lissy and Rudi Robinson-Cole is full of extraordinary colour, energy and life.

This exhibition celebrates historical connections and the relationships between people and their cultures through the mediums of textile and wood. The makers’ works are created from carefully sourced materials, gifted and accumulated, repurposed and recycled.

Paint etc. features the work of artists who challenge the notion of traditional painting. Using new mediums, techniques and objects to explore the extensive possibilities of contemporary painting, this show celebrates the multi-faceted potential of painting as a medium.

Taking inspiration from her surrealist collage practice, Megan Archer’s succulent paintings depict photo-montages of human bodies digitally manipulated into near-abstract forms.

This exhibition conveys journeys of connection, revival, sustaining and celebrating culture through the perspective of Niuean artists living in both Aotearoa and Niue.

The ubiquity of the alphabet assumes a particular character and purpose in Michel Tuffery’s Poly Fonts, a visual diary of stories told during the first years of his granddaughter’s life.

“My love for patterns stems from learning more about my culture. Patterns are some of the first things you notice as a child. Patterns reflect and tie you directly to your culture and the environment; Tapa and Tatau are the fabrics of our collective society which I explore in this exhibition focusing on unique patterns and motifs through print, paint and stencil techniques.”

Robert George’s work is typified by his love of surrealist cinema, the materiality of film and a constant exploration of the human condition. George’s deliberate multi-perspective approach works against the
binary logic of what is real or imagined, privileging a plurality of events unfolding at any one moment to destabilise the idea of a single logic.

The nine artists in this exhibition each interrogate the wide spectrum of human emotions and the many anxieties and concerns we express as people living in the modern age.

“1995 was a major turning point in my life. It was a time where changes needed to be made if I was to move forward in life as I had been stuck in a rut for as long as I could remember. One of the biggest things for me was to set my pride aside as I reached out for help, and today due to the changes made in my life I feel a wholeness and worthiness within. Alongside this, my art practice helps to explore and depict my sense of Māoritanga and how I celebrate the Māori blood running through my veins.” - Tony Brown.

Capturing Liberty is a new series of paintings by artist Laura Williams.

Labour of Body takes into account the many different narratives of artists who work with textiles.

Invoking Tāne te Waiora, the atua Tāne representative of life, light and physical welfare, The Kauri Project collective offer a call for collaboration – suggesting that health and prosperity for Kauri, and for the people of Kauri, will be found in collective action.

Through photographs Re-generation investigates the relationship between people and the Aotearoa environment.

Attitude towards encountering nature provides insight into artist Sena Park’s time in Mongolia based artist residency in 2018.

Shifting landscapes features work by four Aotearoa artists who explore current social and political themes, including the need for social justice, resistance, occupation, and advocacy for the visibility of local perspectives.

As a young child on the island of Moce, artist Railala Gade was brought up surrounded by the making of Masi (Fijian barkcloth).

Ulumate or ‘Dead Head’ was the ancient practice of wig making by indigenous Fijians, over 200 years ago. Normally practised during the time of mourning, the drau-ni-ulu (hair) is cut and made into
a wig then worn until the hair beneath grows back

Masi in my Blood contains a show of contemporary artworks that tell the story of how Masi and Masi designs were woven into the practice of New Zealand born Fijian artist Rowena Rooney.

Under the Same La’ā is a collaborative exhibition by mother- daughter team Sulieti Fieme’a-Burrows and Tui Emma Gillies.

Julian Hooper and Tevita Latu have come together as peers to create a drawing installation that spans the Pacific Ocean.

Finding and making connections to whakapapa has led these artists to investigate imagery, materials and themes from their Samoan heritage.

Through film, archival material and sculpture Melissa Laing tells the story of a unique intersection of science, technology and social history in New Zealand.

This exhibition features art from Ōtautahi artist Caitlin Clarke our 2018 Tui ceramics Artist in Residence. She shares with us an installation of new work which includes ceramics, textiles and found objects.

Through large-scale drawings Jacqui Colley contemplates new ideas about place and the dichotomy of what we see and what we know of our environment.

Twelve artists from the Handshake project occupy two rooms at CEAC’s Homestead Gallery.

Adopting its title from the Dutch still-life paintings of the Seventeenth century, Still Life with Flowers presents artists in contemporary New Zealand, who adopt the centuries old tradition of depicting a floral still life arrangement as the subject of their composition.

Give me space explores ways to articulate and emphasise the physical area of the gallery spaces at Corban Estate Arts Centre.

Through textile production techniques passed down from Quishile Charan's aaji (grandmother), the artist recontextualises the role of female Girmityas, bringing to light the significance of their roles and the indentured labour they endured.

Storytelling as koha: consolidating community memories draws from decades of artist Tuafale Tanoa’i’s career as an interdisciplinary artist, community documenter and independent archivist. Tanoa’i’s practice works to provide visibility to communities and people that are often misrepresented in mainstream society. This is done through generating a living archive of recorded interviews, photographs and sound recordings, which are then presented within a performative installation framework. The scope of this archive ranges from the political to personal, pertaining to Pacific, Māori, and LGBTQI communities.

Traditionally, the sighting of Matariki was greeted with expressions of grief for those who had died since its last appearance. Some said the stars housed their spirits. Others made small hāngī and believed when the oven was uncovered, the smells rose to strengthen the stars. Held by Stars is an exhibition that explores the narratives of two artists and their journey of finding new rhythms after losing loved ones.

This exhibition was influenced by curatorial research into contemporary Asian art practices combined with our vision to provide a platform for diverse artistic perspectives. #UPDATE features a collection of Te Whanganui a Tara and Tāmaki Makaurau based artists who work with media such as painting, carving, sculpture, ceramics and light.

When Yukari Kaihori’s grandmother passed away in 2016, she left behind a book of handwritten poems featuring tanka and haiku (forms of Japanese short poetry). Surviving through WWII and a tough upbringing, these bittersweet poems explore a deep sense of longing. Beauty and sorrow co-exist in her grandmother’s poems, and Kaihori uses this relationship as a starting point for this project. Sweet Dreams explores the process of dreaming and encourages people to embrace when their dream worlds merge with reality.

“It has been stated that because of my affinity with the natural world, I tend to use a symbolic visual knowledge that transcends cultural boundaries. I agree totally. That affinity pervades my prints, paintings, installations, cloaks, architectural works, storytelling, public speaking, and writing whether prose or poetry.” - Toi Te Rito Maihi.

The works in this exhibition explore the landscape as a site where ideas are both formed and imposed. With imagery of the Aotearoa landscape, used in combination with roman statues, we are invited to tour a historical site of exoticism, investigating the Western gaze before it reached the shores of the South Pacific.

With Anne-Sophie Adelys, Anton Parsons, Andrew Hall, Bernie Harfleet, Chiara Corbelletto, David McCracken, Donna Sarten, Elliot Collins, Evan Woodruffe, Flox, Gabby O'Connor, Giles Smith, Jeff Thomson, Jermaine Reihana, John Edgar, Judy Darragh, Katie Smith, Kathryn Tsui, Kairava Gullatz, Kevin Osmond, Mandy Patmore, Martin Selman, Nate Savill, Pacifica Mamas, Peter Lange, Peata Larkin, Ruth Woodbury, Stephen Woodward and Tony Brown.

In celebration of our 15th year as a creative hub, this group exhibition gathers a sampling of the many artists who have contributed their time and talents to building our whanau. The Estate has become a significant centre for creative learning and engagement, and we look forward to 15 more wonderful years of experiences that strengthen and promote connectedness within our community.

Turou is an exhibition that weaves together stories from the Pacific communities who call the Corban Estate home.

‘Moana Pacific Storytelling’ – a night of storytelling from around the pacific. Storytelling across the pacific is beautiful and unique – each island has its own flavour, each storyteller has their own style. This storytelling night brings it all together for one night. Enjoy a tale from Fiji, Tonga, Samoa and the Cook islands as part of the Pacifica Mamas ‘Turou’ exhibition.

Exploring the realms of supernatural forces, artist Niki Gribble repurposes vintage ceramics, contemplating the former lives of these objects through the reference and use of historically superstitious symbols.

In recent years, there has been an increasing presence of the brown male body in contemporary art. This frequency represents an urgent need to talk about the brown male body in relation to social and political ideas, all the while breaking down expectations and projected stereotypes about how a brown male body, and a brown male artist, should be, act, think and appear.

Note: Some content in this show is of an explicit nature. Viewer discretion advised.

This exhibition takes its title from the street that the Louisa Afoa’s great Aunty and Uncle decided to call home in the ‘50s, after they migrated from Samoa, and which became home for her father later in the ‘70s. I’ll see you at Orion explores the idea of place and home through spaces of personal significance to Afoa.

With contributions from: 281 Anti-nuke, Michael Duffy, MoMA, Tim O’Brien, Pussyhat project, and Spatula&Barcode. A collection of dialogue from American artists and organisations who have responded to events occurring before and after the inauguration of the 45th President of the United States, Donald Trump.

This new exhibition by John Vea critiques Western society’s preoccupation with putting up artificial barriers between people and the natural world. In this video installation John Vea lays a small number of pavements to create a path across a landscape, painstakingly reusing tiles to demonstrate the repetitive actions undertaken by builders and the low wages they receive for these laborious tasks.

In 2001 a Norwegian cargo ship, the Tampa, rescued 438 refugees from a distressed fishing vessel. Refugee artist Sakina Ewazi shares her memories and reflects back on her time living at sea on the Tampa.

Through photographic and video portraiture, Tūrangawaewae gives human faces to elemental aspects of the natural world that surrounds and sustains us. These environmental characters communicate pain, anguish, sorrow and hope as they observe our efforts to either destroy or save the place where we stand, our home, our planet, our mother, Papatuanuku.

This exhibition is part of the Auckland Festival of Photography 2017

From the time we are born, we are each embedded in cloth. So too are memories that we embed into the clothing and textiles we each interact with throughout our lives. Drawing from the maligned medium of fabric, Embedded honours the role of cloth as the very thing that both covers us up, and presents us to the world.

A survey of contemporary textile art curated by Katie Smith and Maddie Gifford

With a new body of ceramic explorations, artist Alma Proença invites us to sit alongside playful compositions of flora, fauna and tattoo-inspired imagery that links her dual Portuguese and New Zealand ancestry.

Fibre installation artist Maureen Lander explores the astronomical phenomenon of ‘wobbling stars’ by referencing scientific research about the star motion that can be seen amid constellations. She has hand-made different sized stars using flax and bracken as part of an installation for Matariki.

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.