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Breath Spectrum is a solo exhibition by Nick Austin currently on at Coastal Signs Gallery. 

Through an assemblage of found objects, sculpture, and archive, Austin invites the viewer into a space by which they are confronted with his material contemplation of ageing, life, legacy, and the afterlife. Bringing together intersections of labour, the domestic, artistic, recreational, and industrial, the line between art and archive is blurred. 

With transistor radios, chewing gum, ovens, eggs, tennis rackets and balls, and crosswords each present in the space, Austin summons curiosity and inquiry into these objects that may first appear random, but really mask the seriousness of his exploration. In this space, we are asked to question where our things go when we’re finished with them, where we go when we’re finished, and how we will be remembered.  

Sofia had a kōrero with Nick Austin about Breath Spectrum and his overall practice.

Hiria Anderson-Mita (Rereahu, Ngāti Maniapoto, Ngāti Apakura) is an Ōtorohanga-based painter whose practice depicts the everyday lives of the people of her community – often portraying landscapes or these tender, intimate moments in domestic and communal environments, but also the political and social environment of today that shapes contemporary Māori life.

In her current solo exhibition, PĀ - Te Huarahi ki te Kāinga - Finding My Way Home, on at Tim Melville Gallery, each painting locates and portrays a site of history and connection within the rohe of Ōtewa, Rangitoto Tuhua and the surrounding pā of Ngāti Maniapoto and Rereahu. Tracing the footprints of her tūpuna, Anderson-Mita’s inquiry sees her painting the pā tuna, the kohatu, the maunga, and the awa that were once sources of sustenance for entire communities – bringing these subjects into light as an avenue to share her knowledge of this area with others. 

Sofia had a kōrero with Hiria about the show and her overall practice

Featuring Lawrence Arabia on Your Gig Is Showing chatting about his solo shows and Demo Gods latest project.

Heidi Brickell (Te Hika o Pāpāuma, Ngāti Kahungunu ki Tāmaki-nui-ā-Rua, Rongomaiwahine, Rangitāne, Ngāi Tara, Ngāti Apakura, Airihi, Kōtimana, Ingarangi, Tiamana) is an Ōtaki-based multidisciplinary artist. 

Her current solo exhibition at the Arts House Trust at Pah Homestead, Wā Dividends, takes pieces from its larger body, which was originally commissioned by Director Sophie Davis at Te Whare Toi o Heretaunga | Hastings Art Gallery for the exhibition, Wā We Can’t Afford, having been developed in a six-week residency in Heretaunga as the gallery’s inaugural visiting artist. 

Bringing this body of work into a new space and context, and retitled as Wā Dividends, here Brickell places these fluent ‘exploded paintings’ in conversation with rimurapa (native bull kelp) sculptural pieces as gathered from the shores of Ōtaki and Te Raekaihau in one space – questioning the value of our time in relation to matauranga Māori, capitalism, and our worsening climate crisis; opening up her practice to fluctuate between the spiritual, relational, and existential. 

Sofia caught up with Heidi Brickell about Wā Dividends, beginning their kōrero by asking Heidi about the origins of this body of work and her experience during her artist residency in Heretaunga at the end of last year.