Detail – Metamorfosi, 2021, Chiara Rubino (Matera, Italy) and Cathy Carter (Auckland, NZ)
Archival pigment ink photographic print on Hahnemuhle photo rag 306gsm. 140 x 90 cm.
Two more works in the main gallery. More photos on artsdiary.co.nz
Left of doorway: Planetscape by Lloyd Lawrence (NYC, USA) and Sonja van Kerkhoff,
The Shaman and the Healing Tree (with mirror) by Jessy Rahman (NL) and Sonja van Kerkhoff.
Metro Manila, photo-print by Nawruz Paguidopon
Above: A Paradox of Place by Sonja van Kerkhoff. Acrylic on wood, 61 x 84 cm. Wood from the Netherlands with a view of Matariki (The Seven Sisters constellation) as above Aotearoa.
Earthscape I, II, III, by Lloyd Lawrence (NYC, USA) with Sonja van Kerkhoff, 3 laser prints on transparency. Limited Edition of 5. Approx 29 x 20 cm. Lloyd emailed photos of his colleges made out of Art Catalogues, giving Sonja freedom to print them in any manner.
Diary of Dust, 2016, Animated, Produced, and Directed by Dave Brown. 2 min 53 sec animation featuring Jumaadi’s, 2014, 7 metre drawing made during a residency at the Halsey Institute of Contemporary Art, College of Charleston School of the Arts, South Carolina, U.S.A. The Halsey Institute commissioned San Francisco-based filmmaker Dave Brown to make this video animation with original gamelan music, composed and performed by Nathan Koc.

selfies from the other side – Aodhán Floyd, Chiara Rubino, Emma Papadopoulos, Jessy Rahman, Jumaadi, Lloyd Lawrence, Martin Wohlwend, Masud Olufani, Nawruz Paguidopon, Pietertje van Splunter, Robert Hamilton, Shaeron Caton Rose and Xiaojie Zheng

The Wealth of the Nation, 2021, by Masud Olufani (Atalant, USA)
and Ursula Christel (Warkworth, NZ).
4-minute video, with accompanying text and a wall installation in the main gallery. Repurposed metal birdcage and brass bell, 2 framed digital prints, NZ native timber, cut and burnt copy of Adam Smith’s The Wealth of Nations (first published in 1776), twine, shellac. POA. The installation is a reinterpretation of The Wealth of the Nation (2019) by Masud Olufani; re-framed in New Zealand by Ursula Christel, in consultation with Masud.

Global Pandemic, 2021, by Robert Hamilton and Bev Goodwin 1 minute, 35 second video. Lightbox by Cathy Carter. Aus dem Gleichgewicht (Out of Balance), 2021, by Martin R. Wohlwend (Triesen, Liechtenstein) and Naomi Roche (Hamilton, NZ). Mats and carpets from artists’ homes. Windowsill sculptures: Kete I + Kete II by Ashleigh Taupaki (Auckland, NZ) and Shaeron Caton Rose (North Yorkshire, U.K). Mind That Māori suspended crochet vest by Lissy & Rudi Robinson. They are Minding their own Business, silkscreen on cloth by Sonja van Kerkhoff. Toro Mai Tō Ringa / Reach Out Your Hand, animation + wall sculpture by Nawruz Bernado Paguidopon (Manila, The Philippines) and Lissy & Rudi Robinson-Cole (Auckland, NZ).
The Wealth of the Nation, 2021, by Masud Olufani and Ursula Christel.

Detail: Rigenerazione by Chiara Rubino (Matera, Italy) and Cathy Carter (Auckland). Global Pandemic, 2021, by Robert Hamilton and Bev Goodwin 1 minute, 35 second video. Lightbox by Cathy Carter. Aus dem Gleichgewicht (Out of Balance) by Martin R. Wohlwend and Naomi Roche. Mats and carpets. Windowsill sculptures: Kete I + Kete II by Ashleigh Taupaki and Shaeron Caton Rose.

Transformazione, 2021, by Chiara Rubino (Italy) and Cathy Carter (Auckland). Archival pigment ink photographic print on Hahnemuhle photo rag 306gsm. 140cm x 90cm. Rigenerazione by Chiara Rubino and Cathy Carter. Global Pandemic by Robert Hamilton and Bev Goodwin. Lightbox by Cathy Carter. Aus dem Gleichgewicht (Out of Balance) by Martin R. Wohlwend and Naomi Roche. Windowsill: Kete I + Kete II by Ashleigh Taupaki and Shaeron Caton Rose.

Colour wheel, 2021, by Pietertje van Splunter. Acrylic paint on wood. Te Ara ki Rangihoua: The Way to Rangihoua (2018), by Yllwbro (NZ) and participating artists, five scallop shells. Care of the artists and Mokopopaki. Transformazione by Chiara Rubino and Cathy Carter.

Te Ara ki Rangihoua: The Way to Rangihoua by Yllwbro (NZ) and participating artists.

Lissy writes Nawruz’s name. Te Ara ki Rangihoua: The Way to Rangihoua (2018) by Yllwbro (NZ) and participating artists.
– a scallop shell for each person, hung at their heart-height. With accompanying text elsewhere in the gallery. Lloyd Lawrence, NYC, U.S.A (153 cm), Shaeron Caton Rose, North Yorkshire, U.K (120 cm), Nawruz Paguidopon, Manila, The Philippines (127 cm), Xiaojie Zheng, San Francisco U.S.A. / Wenzhou, China (120 cm),
Robert Hamilton, Ontario, Canada, (150 cm).
Scallop shells, brown string, moko adhesive. Care of the artists and Mokopōpaki.

E-Motion (Kinetic series #1), 2021 by Phil Dadson, a response to Colour wheel, 2021, by Pietertje van Splunter (The Hague, The Netherlands, acrylic on wood -tree ring).
Acrylic on wood, motor/Arduino module, steel stand. The E-motion series is a spin-off from the June Music concept (2019), where ratios of frequency, rhythm and colour are conjured up from imagined lines of sonic shape and form in the material world. Like a breathing mandala, this first of the E–Motion series animates this idea from the 3rd to the 4th dimension.
(With thanks to James Charlton for motor/Arduino assistance).

Left to Right: “HearSay,” soundpiece, 2018, recording of a generated audio work, by Jonathan Reus.
“Enduring Freedom” and “‘Axis’ ONE” Oils on board by Roger Morris.

“Trope,” 2018, oil on canvas, 190 x 75 cm, by Raewyn Turner. Ceramic works by Jess Paraone.

“Vaat” (Washing Up) 2014, stop motion animation, 7 minutes, 11 seconds, and “Cleaning the Air,” 2014, video, 43 seconds by Pieterje van Splunter, The Hague.
“Cleaning the Air” is a film of a sculpture by Pietertje which rotated diverse household items.

“Tomorrow will never be the same” interactive work by Jian Yiwei and Sonja van Kerkhoff, 2 video loops by Pieterje van Splunter.

“Outer Mantel 4” by Yair Callender, “Tomorrow will never be the same” interactive work by Jian Yiwei and Sonja van Kerkhoff

Detail of “Trope” (in the third gallery beyond) by Raewyn Turner and ceramic sculpture by Jess Paraone, “Outer Mantel 4” by Yair Callender, “Tomorrow will never be the same” interactive work by Jian Yiwei and Sonja van Kerkhoff

“Bird of Prey” video by Sanne Maes, latex light boxes by Yair Callender
Back gallery: “Your Honour” + “Eva was hier” (Eve was here) by Sonja van Kerkhoff, “Pandora’s Box” suspended panels by Alexis Hunter.

Detail: “Bird of Prey” video by Sanne Maes, latex light boxes by Yair Callender. Two videos by Pieterje van Splunter

Detail: “Bird of Prey” video by Sanne Maes.

The woman slowly turns her head away and then when she looks ahead her eyes match that of the hawk.

The latex boxes by Yair Callender on the left light up when approached. Monoprint by Roger Morris. Suspended sheet metal and lamp by Sonja van Kerkhoff. Videos by Channa Boon, by Jonathan Reus + Sissel Marie Tonn, and by Raewyn Turner and Brian Harris. Four etchings by Virgina Guy.

“Plastic Play,” video by Pietertje van Splunter
Middle Gallery: “Outer Mantel 1 + 2” responsive light latex light boxes by Yair Callender. “Road to JerUSAlem,” monoprint on paper by Roger Morris.

Responsive light latex light boxes by Yair Callender. Monoprint on paper by Roger Morris. “Fain would they put out God’s light,” cut out text sheet steel, nylon and lamp by Sonja van Kerkhoff. “Et in Arcadia ego” 29 min video by Channa Boon, “Sensory Cartographies,” 7 min video by Jonathan Reus + Sissel Marie Tonn. “Finding Flight,” photo intaglio with gold leaf by Virginia Guy.

Left: “Et in Arcadia ego,” 2016, 29 minute video by Channa Boon.

Above: two etchings by Virginia Guy. “Et in Arcadia ego” 29 min video by Channa Boon. “Sensory Cartographies,” 7 min video by Jonathan Reus + Sissel Marie Tonn. “Fallible,” 3 min video by Raewyn Turner and Brian Harris.

Above: “Finding Flight,” photo intaglio with gold leaf. Edition 1/1, 23 x 28 cm
“Finding Flight,” photo Intaglio with gold leaf. Edition 1/1, 33 x 33 cm by Virginia Guy.
“Sensory Cartographies,” 7 min video by Jonathan Reus + Sissel Marie Tonn.
“Fallible,” 3 min video by Raewyn Turner and Brian Harris. Unscented flowers rotate above a vase which holds a sensor and the data from the sensor is turned into piano notes.
More: raewynturner.com/projects

Wall on right: “See Nothing,” monoprint on paper, 2017 by Roger Morris,
“Bird of Prey” video in custom frame by Sanne Maes.
Back wall: 4 etchings on paper by Virginia Guy.

“Finding Flight,” photo intaglio Edition 1/1, 75 suspended prints, 84 x 118 cm by Virginia Guy.

“Finding Flight,” photo intaglio on rag paper. Edition 1/10, 23 x 28 cm. “See Nothing,” monoprint on paper. 2017, by Roger Morris [R E M O].

“Outer Mantle 3,” latex, LED lighting + recycled NZ pine, 2018, by Yair Callender. “Tomorrow will never be the same,” interactive projection by Jian Yiwei + Sonja van Kerkhoff. Two videos by Pietertje van Splunter. “A Meditation,” 7 min video loop by Sonja van Kerkhoff. “Several Seas,” laser print on transparency by Sonja van Kerkhoff. “The Experience of Change,” interactive projection by Jian Yiwei + Sonja van Kerkhoff.

“Once our World had Edges” 2017, 3 min, 22 sec., HD video using only NASA International Space Station footage. Music: ‘a distant backdrop’ by sink \ sink, on the album ‘a lone cloudburst’ by Gareth Schott.
“Several Seas,” laser print, edition of 50, by Sonja van Kerkhoff.

Aesthetic explorations of the individual in society
by
artists from The Hague and Aotearoa | New Zealand.
Photographs: Sen McGlinn.

“Hazzard Sheep” by Brit Bunkley (Whanganui),
Still from “Een Rode Citroen” (A red lemon), 9 minute 53 second animation.
Soundtrack Anne Wellmer. Drawings: Geerten Ten Bosch. Animation Harriët van Reek

“A Red Lemon” video by Anne Wellmer, “Vessel 1” + “Vessel 2” ceramic with mixed media by Jess Paraone (Northland), Photo intaglio, Emboss, Chine colle, 1/1, by Virginia Guy (Northland)

Still: Vox Sanguinis (Voice of the blood), 2015 1′ 52”
Video and soundtrack by Anne Wellmer. Camera: Florian Cramer. Voice: Cora Schmeiser. Music: “O rubor sanguinis” by Hildegard of Bingen. Trumpet: Heimo Wallner. Silent performer and stage design: Geerten Ten Bosch.
“Vessel 1” + “Vessel 2” ceramic with mixed media by Jess Paraone
“Rejoice!” PLA plastic and paint by Brit Bunkley”

“Vessel 1” + “Vessel 2” ceramic, engraved sequences of zeros and ones, and nuts and bolts,
by Jess Paraone (Ngāti Kawau, Kaitangata)

Transfusionen (Transfusions), 2015, video with sound, 2′ 43”
Soundtrack: Anne Wellmer. Hands: Geerten Ten Bosch, Voice: Cora Schmeiser. Music fragment from BLAST (2015) by Lukas Simonis. Text fragment from ‘Della Religione Christiana’ by Marsilio Ficino (1433-1499), first published in Italian in 1568. This German translation was published in ‘Das Blut: Symbolik und Magie’ (2004) by Piero Camporesi. The text tells of how witches used the blood of children to make medicine and the various uses (transfusions or transmutations) of this medicine, including the making of wine.
Two Photographic intaglio and embossed prints by Virginia Guy, Ceramic vessels by Jess Paraone, Nine prints by Sonja van Kerkhoff (The Hague / Northland)
Two sculptures by Brit Bunkley

Detail: “Rejoice” 3D plastic print by Brit Bunkley.
“Turangawaewae – Aotearoa – Home,” Photo Intaglio, Emboss, Chine colle, multi-piece etching
by Virginia Guy.
“Child’s Play” photographic prints on dubond by Sonja van Kerkhoff
“Hamlet” 3D plastic print by Brit Bunkley.
“Apple Tree” oil on linen by Marianne Muggeridge (Taranaki).

“Turangawaewae – Aotearoa – Home,” Photo Intaglio, Emboss, Chine colle, multi-piece etching by Virginia Guy. “Child’s Play” photographic prints on dubond by Sonja van Kerkhoff

“Apple Tree” oil on linen by Marianne Muggeridge
“Hamlet” 3D plastic print by Brit Bunkley.
“Plastic Play” 3 min stop motion animation by Pietertje van Splunter (The Hague)
“What kind of Idea” print on aluminium by Sonja van Kerkhoff

“Hamlet” 3D plastic print by Brit Bunkley. Detail: print by Virginia Guy.

“Plastic Play” by Pietertje van Splunter, “What kind of Idea” by Sonja van Kerkhoff, “Social Realism” by Brit Bunkley, “The Speed of Dark” by Thom Vink

Two sculptures by Brit Bunkley, stop motion animation by Pietertje van Splunter, Architectural models on shelf by Thom Vink, Floor sculpture by Sanne Maes, Two wall works by Sonja van Kerkhoff

One corner of the front gallery

“Social Realism” by Brit Bunkley
“The Speed of Dark” by Thom Vink

“The Speed of Dark”, 3 cardboard models + shelf by Thom Vink (The Hague)

“Metamorphosis IV” Dutch concrete and Taranaki branch, 40 x 100 x 60 cm,
by Sanne Maes (The Hague)
One of a number self-portrait explorations on the inner and outer in relation to the natural world.

“Metamorphosis IV” by Sanne Maes

“Metamorphosis IV” by Sanne Maes

“A Tangled Tale,” batiked cloth strips bearing texts in Dutch, English and Maori, “Child’s Play” photographic prints by Sonja van Kerkhoff
“Take My Shoes” by Raewyn Turner and Brian Harris, shoebox, electronics and video
“Ungeziefer 2” ASB plastic and paint, by Brit Bunkley
“Dark Perfume with Integrated Circuit” by Raewyn Turner and Brian Harris
“MAP” by Roger Morris [ r e m o ] (Taranaki)
Small paintings by Pietertje van Splunter (The Hague)

“Take My Shoes” by Raewyn Turner and Brian Harris, shoebox, electronics and video. The voice of a retired police officier plays when someone looks into the box.

Detail of “Take My Shoes” by Raewyn Turner and Brian Harris showing a video, reflections of this in mirrors and figurines.

“Ungeziefer 2” ASB plastic and paint, by Brit Bunkley. “Ungeziefer 2” ASB plastic and paint, by Brit Bunkley. Ungeziefer (vermin, pest or unclean) refers to the main character in Kafka’s novel, The Metamorphosis (Die Verwandlung), in which a salesman awakes to find that he has metamorphosed into a monstrous vermin (“ungeheures Ungeziefer”).
“Dark Perfume with Integrated Circuit” by Raewyn Turner and Brian Harris. Perfume with electronics and sensor, Omani Frankincense, costus, cocoa, civet, tea, cepes, heliotrope, pink champaca, black pepper, vetiver, pure alcohol
When the work is approached to sample the sweet perfume sealed in the flask, the electronic circuitry emits a second earthy organic odour.

“Dark Perfume with Integrated Circuit” by Raewyn Turner and Brian Harris

“MAP,” Etching ink on original ‘PHILIPS’ world map by Roger Morris [ r e m o ] (Taranaki)
A map hung in many New Zealand primary schools in the 50-70s printed by the British company, George Philip & Sons, showing the British Empire (in pink), other colonial powers & British shipping lines as they were in the late 1940s.

Acrylic on hardboard votive like paintings by Pietertje van Splunter.
Left to Right: Speldenpop (Pincushion doll), Een Boom (One Tree), Masker (mask), Bandenman (Tyre man), Kater (male cat), Twee Spanen (Two spruce), Blikken Man (Tin man), Langhoefd (Long head)

Far wall: Photographic emulsion on shells from Zeeland by Martje Zandboer (The Hague), Te Maharatanga | The Recollection, diptyph on dubond + “Tulips from Istanbul” (suspended cast resin orange tinted forms) by Sonja van Kerkhoff
Foreground, “Metamorphosis IV” by Sanne Maes.

Photographic emulsion on shells from Zeeland by Martje Zandboer (The Hague)

Photographic emulsion on shells from Zeeland by Martje Zandboer (The Hague)

Photographic emulsion on an oyster shell from Zeeland
by Martje Zandboer.

Te Maharatanga | The Recollection, oils on dubond, diptych by Sonja van Kerkhoff.
Each piece is 30 x 30 cm. Edition of 38.
The fairytale takes a feminine point of view where the garden is a gateway for transcending social conditioning. Translation: Te Toroa Pohatu (Ngāti Apa).