Tenderness Language, 2025

Steel, paper, pens, fabric, hanger

I found haiku along the way and then forgot about them. After moving here I started writing them at work on my smoko breaks. I find joy in the counting of syllables and the way the words
look on the paper. So much can be said in such a tiny space. It is fascinating. I find the practice grounding and it keeps me connected to the larger current of consciousness. I hope you find something within them.

My name is Trevor Montgomery. I was born in Los Angeles but lived for most of my life in San Francisco. I moved here to Whakatū Nelson in 2020. I have been a songwriter and musician since I was 18. I briefly attended art school and then started playing in bands.We made some records and started touring all over the world. I continued to move from project to project and eventually started singing and writing my own records. I perform now as Young Moon. I found poetry by accident through a gift I bought for a friend - The complete poems of EE Cummings. It did not work out with the friend and the book lived with me until one magical summer in Austin Tx when I read it. Around the same time, I read Grapefruit by Yoko Ono. These two coincided to change my brain and my relationship with language. I am forever grateful for that.

Follow Trevor here

Under one Sun, Under one Moon, 2024

Wood, plaster, paint, aluminium, lights, wire, motors, plastic, concrete, copper, fabric.

Much of our lives is dictated by our work and requires us to be in movement, away from friends, family, and community. Our connections have moved into digital spaces that can only offer an ephemeral and non-nourishing substitute for in-person relationships. The online platforms for these kinds of connections are mediated and manipulated by corporations that extract from our need for interconnectivity.  They do not have our best interests at heart but often they are all we have so we acquiesce to communicate in these ghostly realms. Our emotional and physical capacities are spent on systems that do not care about us, our connections or the planet we belong to. We are sold the idea that we should always look outwards, that being in constant movement is to be a successful individual, but where does that leave our roots? The demands of the modern experience leave us little time to spend time in closeness with others, to relish the human dignity of meaningful connection without transactional expectations. 

As we go about our lives in opposite time zones we are able to align a couple of times a day, sharing a conversation or a sunrise/sunset. For the majority of the day these works spin separately from one another, but twice a day they will align and connect, illuminating one another. Though the currents of modern life carry us away from each other, distancing us from the connections that give our lives meaning, we find hope and solace in remembering that we live under one Sun, under one Moon.

About the artists:

John Harris began work as an electrician, and moved into mechanical and electrical design through his company Johnny Electric Ltd, specialising in designing and building record cutting devices and record cutting machines. Other projects have included mechanical prop design and building but he has recently been applying his approach to artworks in collaboration with his partner Steven. His process is iterative and focussed on re-designing and recreating older technology with modern manufacturing processes.

Steven Junil Parkis a multi-disciplinary artist based in Ōtautahi, working under the name 6x4. Under this label he produces all manner of functional objects with a focus on clothing and textiles. These one-off pieces feature recycled, repurposed, or vintage materials; valuing resourcefulness and the memory of materials. His practice is heavily process-based, where materials come alive while being worked to create a language to commune with the intangible. He sees the tacit knowledge that comes from the practice of craft as a way to understand what it means to be a human being.

The Garage Project: Beneath the surface, 2024

Photographs on board

For her final Bachelor work, Emma-Leigh Perrin writes: When presented with a blank canvas, with no rules or regulations, what do we do?  We splash it with paint, each stroke of a brush representing a small piece of ourselves. The colours and the shapes are all pieces of us.  A garage is much like this.  An empty room without the societal expectations of the household. It is a space without rules, a space to fill with pieces of ourselves. Through this project, I have documented the small details we are able to learn about a person through the things that they own. Although, anonymity is a very vital part of the images to allow the viewer complete freedom to analyse the contents, to give the viewer utmost permission to be nosey.  The owners of these garages have used these spaces to provide an inner look into their lives, to put their personalities on show.  You, as a viewer, are invited to visually enter these spaces and see what hidden symbols you can find. Consider it a “Where’s Wally” except “Wally” is the owner and you must build him yourself using tiny puzzle pieces you find within the image.  Wally – The Frankenstein version.

Emmie-Leigh Perrin is a photographer and videographer recently graudated from the Bachelor of Arts and Media programme at Nelson Marlborough Institute of Technology (NMIT).   The Garage Project is part of her final work and illustrates her interest in art, illuminating societal constructs manifesting in everyday life.

Follow her work here:

Instagram: @emmieslens

Facebook: @Emmie’s Lens

www.emmieslens.nz

He Kura Taiao e Hokia, 2024

A treasured home will always be revisited.

Ano me he Whare Puungawerewere, 2021

Alas a beautifully weaved carved house, intricate like a spiders web or, behold a beautifully carved weaved house, collecting spiders webs.

Me aro koe ki te haa o hineahuone, 2024

Pay heed to the dignity of women.

Object 1: Carved native timber ( Kauri), Stain and varnish

Object 2: Weaved adornment for the neck and upper torso. Weaved Nylon and synthetic cords, upcycled chandelier pendants/ buttons and black chain.

Ano me he Whare Puungawerewere, 2021 began as a lament for a place, I long for, and as I returned to Aotearoa a mother, in search for the place that raised me, I drew inspiration from an old waiata ‘ Te Moemoea o Whakatu’, a composed by Hone Nuku-Tarawhiti, that speaks of the whakapapa of Whakatū Marae, and the intentions of the time. Ano me he Whare Puungawerewere, asks us to revisit the Marae, the purpose and function of Marae, not only for whanau but within a community. Alas, a beautifully carved and weaved house, intricate like a spiders web, or behold, a beautifully carved weaved house, collecting spiders webs.

Samara Davis is a multi-media artist based in Whakatū who pushes the envelope of tradition in her work that explores themes of identity, biculturalism, colonisation, connection and disconnection through intrinsically made objects exploring the marae and the whāriki (woven mat) as places for connection, understanding and the sharing of knowledge. This installation also celebrates Changing Threads, The National Contemporary Fibre Arts awards which celebrates 15years, 2024, two successful works submitted by Samara Davis.

Mata-onerua, 2024

2024, Onerua collected from home in Tāmaki Makaurau, plywood, tanalised glass

Mata-onerua speaks to the process of composting in an art context. Onerua or compost is a soil enhancer that aids in the reciprocal nature of giving back to the whenua. As a reiteration of a previous kaupapa Hei whare onerua, this work presents another cycle of life. The onerua containers were informed by windows of a whare to view onerua as a cultural landscape. Mata as translated to eyes or face, that reflects tangata and whenua. As a gift of onerua to Whakatu, Mata-onerua presents the cyclic transformations of life and foundations of whakapapa.

Sculptural installation artist Java Bentley, speaks to hangarua as a way of connecting to the cyclic nature of all things and thus whakapapa. Acknowledging the natural world as interconnected and that is constantly evolving gives an opportunity for tangata to also change and adapt as kaitiaki. Focusing on hangarua materials, Bentley visually presents the whakapapa of materials to discuss the relationships tangata have with our everyday landscape.

As a site-specific artist, she is informed by the environment and community. Recently completing her Masters in Māori Visual Arts at Toioho ki Āpiti in Palmerston North in 2024, she continues to give back her mentors Karangawai Marsh and Kura Te Waru Rewiri.

Java Bentley (Ngāti Kahu, Ngāpuhi, Samoa, Pākehā)

Website javabentley.com

Instagram @javabentley

The Genius, 2023

Embroidery cotton thread and linen

In about 1986 our family bought our first microwave. We made a long family trip from the North Shore out to East Auckland to buy it second-hand. It was massive by today's standards and had wood grain sides, The National Genius. When we got home it was plugged in and we cooked something, my brother and I stood in front of the display counting down out loud from 5 minutes until we were bored.

Pretty soon we started to cook almost everything in it - whole chickens, circular trays of muffins, chocolate cakes and Milos. For years we used the timer function for various tasks around the house that were not microwave related. In the same sort of sense that you can preserve your family memories through a sampler, I have been inspired to preserve my family history by creating a long stitch embroidery of this key part of my childhood.

Erica van Zon (b. 1979) currently lives and works in Wellington. Since completing her Masters at the Elam School of Fine Arts, University of Auckland in 2007 she has exhibited in artist-run spaces, private galleries and public institutions. Solo exhibitions include: Salad (Melanie Roger Gallery, Auckland 2023), Deep Deep Icy Blue (Jhana Millers Gallery, Wellington, 2022), Peppermint Twist (Jhana Millers Gallery, Wellington, 2018), Verdant Geometry (Scape, Christchurch, 2018), Opal Moon, Local Lime (Sarjeant Gallery and Objectspace 2017-2018), Coffee Perhaps (The Dowse Art Museum, 2016), Dogwood Days (Dunedin Public Art Gallery, 2014-2015); The Light on the Dock (City Gallery Wellington, 2013-2014).

Erica van Zon is represented by Jhana Millers Gallery, Wellington and Melanie Roger Gallery, Auckland.

Portrait of an artist as mouldy bed, 2023

Various textiles, stuffing, thread, metal fixtures and MDF.

Bio/blurb:

Writing about Portrait of the artist as mouldy bed is, as they say, like dancing about architecture (cool!)

But seriously folks

Bio/blurb:

You are an artist and writer from Te Whanganui-a-Tara, now living in Mawhera where you work (goddammit!) on your immersive queer sculpture project Gloria of Greymouth. You are represented by Bowen fucken Galleries.

(hmm, feels too much like "I will sell this house today" from American Beauty).

Third option:

Bio/blurb

Sam Duckor-Jones is speaking in the third person. He is always self-referential in his work & thinks very highly of his-self. Sam Duckor-Jones has many wise observations regarding his own practice Sam Duckor-Jones Sam Duckor Jones SmDucorJonnesSamDuckerrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr

Will somebody please clean up this mess!!!!!!!?

Please clean it up & put it in a reusable bag & think about what you have done.

Well what I have done is this: a self portrait of the artist(me!!) as a mouldy bed #votegreen

Hey no politics!!!!

Well what I have done is this: a self portrait as a very glamorous bed which I am calling:

PORTRAIT OF THE ARTIST AS MOULDY BED

We all hope you like it very much :)

Sam Ducker-Jones

Gloria of Greymouth

Humanoid AI is a type of artificial intelligence that is designed to resemble humans in appearance and behaviour. Humanoid AI is still in its early stages of development, but it is likely to take over our lives the way mobile phones have done.

We need to ask ourselves if we really need all this technology. Could it be time to unplug ourselves and imagine the future in a different light?

Klaasz Breukel was born in Amsterdam, the Netherlands (1973)and moved to Nelson, New Zealand with his family in 2009. Besides running a graphic design studio and working as a design and media tutor, Klaasz continues to explore printmaking, installation art and projection in his art practice.

For an impression of his work, visit www.thisisthem.com