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Applications are now open for Works in Progress 2026, our programme pairing six early-career artists with six Parehuia alumni mentors for five months of one-to-one mentoring, critique, and professional development.

We’d love to hear from artists who graduated within the last five years and are ready to take the next step in their practice.

Applications close 4pm Wednesday 17 June 2026. Link in bio to find out more and apply.

#mccahonhouse #worksinprogres

We are calling for applications for the 2027 McCahon House Parehuia artist residencies, taking place in the first half of 2027.

The Parehuia residency programme supports artists at pivotal moments in their careers by providing dedicated time, space, and support to develop their practice. Each year, the residency is awarded to outstanding mid-career artists, offering a sustained period of research, reflection, and development within the unique setting of Parehuia in Titirangi.

Applications close: 1 July 2026

Find out more and apply via our website.

Link in bio 🔗

We are calling for applications for the 2027 McCahon House Parehuia artist residencies, taking place in the first half of 2027.

The Parehuia residency programme supports artists at pivotal moments in their careers by providing dedicated time, space, and support to develop their practice. Each year, the residency is awarded to outstanding mid-career artists, offering a sustained period of research, reflection, and development within the unique setting of Parehuia in Titirangi.

Applications close: 1 July 2026

Find out more and apply via our website.

Link in bio 🔗

We are calling for applications for the 2027 McCahon House Parehuia artist residencies, taking place in the first half of 2027.

The Parehuia residency programme supports artists at pivotal moments in their careers by providing dedicated time, space, and support to develop their practice. Each year, the residency is awarded to outstanding mid-career artists, offering a sustained period of research, reflection, and development within the unique setting of Parehuia in Titirangi.

Applications close: 1 July 2026

Find out more and apply via our website.

Link in bio 🔗

We are calling for applications for the 2027 McCahon House Parehuia artist residencies, taking place in the first half of 2027.

The Parehuia residency programme supports artists at pivotal moments in their careers by providing dedicated time, space, and support to develop their practice. Each year, the residency is awarded to outstanding mid-career artists, offering a sustained period of research, reflection, and development within the unique setting of Parehuia in Titirangi.

Applications close: 1 July 2026

Find out more and apply via our website.

Link in bio 🔗

We are calling for applications for the 2027 McCahon House Parehuia artist residencies, taking place in the first half of 2027.

The Parehuia residency programme supports artists at pivotal moments in their careers by providing dedicated time, space, and support to develop their practice. Each year, the residency is awarded to outstanding mid-career artists, offering a sustained period of research, reflection, and development within the unique setting of Parehuia in Titirangi.

Applications close: 1 July 2026

Find out more and apply via our website.

Link in bio 🔗

Passionate arts advocates and founders of My ART, Sonja and Glenn Hawkins, were among the first to champion our bold new initiatives, stepping forward as founding members of The Tomorrow Group.

Their belief in our vision has helped fuel our international partnerships; creating career-expanding opportunities for artists and ensuring artists remain at the heart of everything we do.

Sonja and Glenn, thank you for your generous unwavering support and for your foresight and guidance.

To learn more about The Tomorrow Group, see link in bio.

Image credits:

1: Sonja and Glenn Hawkins, Image courtesy of My ART and David Straight 2020

2:Tomorrow Group Patrons tour to Japan 2025, supporting Sarah Hudson during her Naoshima Artist Residency and Setouchi Triennale 2025 exhibition. L-R Glenn Hawkins, Sonja Hawkins, guide: Hiroko Ando, Katrina Todd, Sarah Hudson, Jude Chambers.

Passionate arts advocates and founders of My ART, Sonja and Glenn Hawkins, were among the first to champion our bold new initiatives, stepping forward as founding members of The Tomorrow Group.

Their belief in our vision has helped fuel our international partnerships; creating career-expanding opportunities for artists and ensuring artists remain at the heart of everything we do.

Sonja and Glenn, thank you for your generous unwavering support and for your foresight and guidance.

To learn more about The Tomorrow Group, see link in bio.

Image credits:

1: Sonja and Glenn Hawkins, Image courtesy of My ART and David Straight 2020

2:Tomorrow Group Patrons tour to Japan 2025, supporting Sarah Hudson during her Naoshima Artist Residency and Setouchi Triennale 2025 exhibition. L-R Glenn Hawkins, Sonja Hawkins, guide: Hiroko Ando, Katrina Todd, Sarah Hudson, Jude Chambers.

Passionate arts advocates and founders of My ART, Sonja and Glenn Hawkins, were among the first to champion our bold new initiatives, stepping forward as founding members of The Tomorrow Group.

Their belief in our vision has helped fuel our international partnerships; creating career-expanding opportunities for artists and ensuring artists remain at the heart of everything we do.

Sonja and Glenn, thank you for your generous unwavering support and for your foresight and guidance.

To learn more about The Tomorrow Group, see link in bio.

Image credits:

1: Sonja and Glenn Hawkins, Image courtesy of My ART and David Straight 2020

2:Tomorrow Group Patrons tour to Japan 2025, supporting Sarah Hudson during her Naoshima Artist Residency and Setouchi Triennale 2025 exhibition. L-R Glenn Hawkins, Sonja Hawkins, guide: Hiroko Ando, Katrina Todd, Sarah Hudson, Jude Chambers.

Passionate arts advocates and founders of My ART, Sonja and Glenn Hawkins, were among the first to champion our bold new initiatives, stepping forward as founding members of The Tomorrow Group.

Their belief in our vision has helped fuel our international partnerships; creating career-expanding opportunities for artists and ensuring artists remain at the heart of everything we do.

Sonja and Glenn, thank you for your generous unwavering support and for your foresight and guidance.

To learn more about The Tomorrow Group, see link in bio.

Image credits:

1: Sonja and Glenn Hawkins, Image courtesy of My ART and David Straight 2020

2:Tomorrow Group Patrons tour to Japan 2025, supporting Sarah Hudson during her Naoshima Artist Residency and Setouchi Triennale 2025 exhibition. L-R Glenn Hawkins, Sonja Hawkins, guide: Hiroko Ando, Katrina Todd, Sarah Hudson, Jude Chambers.

Postscript at @trishclarkgallery marks Sefton Rani’s first solo exhibition with the gallery, unfolding in the wake of his McCahon House Artist Residency and anchored by the monumental six panel work Gabrielle. The exhibition moves between scale and intimacy: large immersive works command the space, drawing viewers into surfaces that blister, harden, and crack, before smaller works pull attention toward detail, texture, and process.

Rani’s practice increasingly leans into sculpture, where paint skins, wood, canvas, and industrial materials are burned, fused and reworked into what he describes as “industrial tapa.” Across the works, surfaces begin to resemble ceramic glaze or weathered patina, carrying traces of heat and erosion.

The title Postscript feels especially precise. A postscript adds what was left unsaid. Rani’s works perform this gesture by drawing on the visual and material languages of tapa, tattoo, weaving, and carving, situating these forms within the complexities of contemporary Pacificness and diaspora.

Within the exhibition’s shifting rhythm between macro and micro, identity emerges as layered, inherited, and continually remade. 🛢️🛢️🛢️🧯🧯🧯

Postscript at @trishclarkgallery marks Sefton Rani’s first solo exhibition with the gallery, unfolding in the wake of his McCahon House Artist Residency and anchored by the monumental six panel work Gabrielle. The exhibition moves between scale and intimacy: large immersive works command the space, drawing viewers into surfaces that blister, harden, and crack, before smaller works pull attention toward detail, texture, and process.

Rani’s practice increasingly leans into sculpture, where paint skins, wood, canvas, and industrial materials are burned, fused and reworked into what he describes as “industrial tapa.” Across the works, surfaces begin to resemble ceramic glaze or weathered patina, carrying traces of heat and erosion.

The title Postscript feels especially precise. A postscript adds what was left unsaid. Rani’s works perform this gesture by drawing on the visual and material languages of tapa, tattoo, weaving, and carving, situating these forms within the complexities of contemporary Pacificness and diaspora.

Within the exhibition’s shifting rhythm between macro and micro, identity emerges as layered, inherited, and continually remade. 🛢️🛢️🛢️🧯🧯🧯

Postscript at @trishclarkgallery marks Sefton Rani’s first solo exhibition with the gallery, unfolding in the wake of his McCahon House Artist Residency and anchored by the monumental six panel work Gabrielle. The exhibition moves between scale and intimacy: large immersive works command the space, drawing viewers into surfaces that blister, harden, and crack, before smaller works pull attention toward detail, texture, and process.

Rani’s practice increasingly leans into sculpture, where paint skins, wood, canvas, and industrial materials are burned, fused and reworked into what he describes as “industrial tapa.” Across the works, surfaces begin to resemble ceramic glaze or weathered patina, carrying traces of heat and erosion.

The title Postscript feels especially precise. A postscript adds what was left unsaid. Rani’s works perform this gesture by drawing on the visual and material languages of tapa, tattoo, weaving, and carving, situating these forms within the complexities of contemporary Pacificness and diaspora.

Within the exhibition’s shifting rhythm between macro and micro, identity emerges as layered, inherited, and continually remade. 🛢️🛢️🛢️🧯🧯🧯

Postscript at @trishclarkgallery marks Sefton Rani’s first solo exhibition with the gallery, unfolding in the wake of his McCahon House Artist Residency and anchored by the monumental six panel work Gabrielle. The exhibition moves between scale and intimacy: large immersive works command the space, drawing viewers into surfaces that blister, harden, and crack, before smaller works pull attention toward detail, texture, and process.

Rani’s practice increasingly leans into sculpture, where paint skins, wood, canvas, and industrial materials are burned, fused and reworked into what he describes as “industrial tapa.” Across the works, surfaces begin to resemble ceramic glaze or weathered patina, carrying traces of heat and erosion.

The title Postscript feels especially precise. A postscript adds what was left unsaid. Rani’s works perform this gesture by drawing on the visual and material languages of tapa, tattoo, weaving, and carving, situating these forms within the complexities of contemporary Pacificness and diaspora.

Within the exhibition’s shifting rhythm between macro and micro, identity emerges as layered, inherited, and continually remade. 🛢️🛢️🛢️🧯🧯🧯

Postscript at @trishclarkgallery marks Sefton Rani’s first solo exhibition with the gallery, unfolding in the wake of his McCahon House Artist Residency and anchored by the monumental six panel work Gabrielle. The exhibition moves between scale and intimacy: large immersive works command the space, drawing viewers into surfaces that blister, harden, and crack, before smaller works pull attention toward detail, texture, and process.

Rani’s practice increasingly leans into sculpture, where paint skins, wood, canvas, and industrial materials are burned, fused and reworked into what he describes as “industrial tapa.” Across the works, surfaces begin to resemble ceramic glaze or weathered patina, carrying traces of heat and erosion.

The title Postscript feels especially precise. A postscript adds what was left unsaid. Rani’s works perform this gesture by drawing on the visual and material languages of tapa, tattoo, weaving, and carving, situating these forms within the complexities of contemporary Pacificness and diaspora.

Within the exhibition’s shifting rhythm between macro and micro, identity emerges as layered, inherited, and continually remade. 🛢️🛢️🛢️🧯🧯🧯

Postscript at @trishclarkgallery marks Sefton Rani’s first solo exhibition with the gallery, unfolding in the wake of his McCahon House Artist Residency and anchored by the monumental six panel work Gabrielle. The exhibition moves between scale and intimacy: large immersive works command the space, drawing viewers into surfaces that blister, harden, and crack, before smaller works pull attention toward detail, texture, and process.

Rani’s practice increasingly leans into sculpture, where paint skins, wood, canvas, and industrial materials are burned, fused and reworked into what he describes as “industrial tapa.” Across the works, surfaces begin to resemble ceramic glaze or weathered patina, carrying traces of heat and erosion.

The title Postscript feels especially precise. A postscript adds what was left unsaid. Rani’s works perform this gesture by drawing on the visual and material languages of tapa, tattoo, weaving, and carving, situating these forms within the complexities of contemporary Pacificness and diaspora.

Within the exhibition’s shifting rhythm between macro and micro, identity emerges as layered, inherited, and continually remade. 🛢️🛢️🛢️🧯🧯🧯

Postscript at @trishclarkgallery marks Sefton Rani’s first solo exhibition with the gallery, unfolding in the wake of his McCahon House Artist Residency and anchored by the monumental six panel work Gabrielle. The exhibition moves between scale and intimacy: large immersive works command the space, drawing viewers into surfaces that blister, harden, and crack, before smaller works pull attention toward detail, texture, and process.

Rani’s practice increasingly leans into sculpture, where paint skins, wood, canvas, and industrial materials are burned, fused and reworked into what he describes as “industrial tapa.” Across the works, surfaces begin to resemble ceramic glaze or weathered patina, carrying traces of heat and erosion.

The title Postscript feels especially precise. A postscript adds what was left unsaid. Rani’s works perform this gesture by drawing on the visual and material languages of tapa, tattoo, weaving, and carving, situating these forms within the complexities of contemporary Pacificness and diaspora.

Within the exhibition’s shifting rhythm between macro and micro, identity emerges as layered, inherited, and continually remade. 🛢️🛢️🛢️🧯🧯🧯

Postscript at @trishclarkgallery marks Sefton Rani’s first solo exhibition with the gallery, unfolding in the wake of his McCahon House Artist Residency and anchored by the monumental six panel work Gabrielle. The exhibition moves between scale and intimacy: large immersive works command the space, drawing viewers into surfaces that blister, harden, and crack, before smaller works pull attention toward detail, texture, and process.

Rani’s practice increasingly leans into sculpture, where paint skins, wood, canvas, and industrial materials are burned, fused and reworked into what he describes as “industrial tapa.” Across the works, surfaces begin to resemble ceramic glaze or weathered patina, carrying traces of heat and erosion.

The title Postscript feels especially precise. A postscript adds what was left unsaid. Rani’s works perform this gesture by drawing on the visual and material languages of tapa, tattoo, weaving, and carving, situating these forms within the complexities of contemporary Pacificness and diaspora.

Within the exhibition’s shifting rhythm between macro and micro, identity emerges as layered, inherited, and continually remade. 🛢️🛢️🛢️🧯🧯🧯

Postscript at @trishclarkgallery marks Sefton Rani’s first solo exhibition with the gallery, unfolding in the wake of his McCahon House Artist Residency and anchored by the monumental six panel work Gabrielle. The exhibition moves between scale and intimacy: large immersive works command the space, drawing viewers into surfaces that blister, harden, and crack, before smaller works pull attention toward detail, texture, and process.

Rani’s practice increasingly leans into sculpture, where paint skins, wood, canvas, and industrial materials are burned, fused and reworked into what he describes as “industrial tapa.” Across the works, surfaces begin to resemble ceramic glaze or weathered patina, carrying traces of heat and erosion.

The title Postscript feels especially precise. A postscript adds what was left unsaid. Rani’s works perform this gesture by drawing on the visual and material languages of tapa, tattoo, weaving, and carving, situating these forms within the complexities of contemporary Pacificness and diaspora.

Within the exhibition’s shifting rhythm between macro and micro, identity emerges as layered, inherited, and continually remade. 🛢️🛢️🛢️🧯🧯🧯

Postscript at @trishclarkgallery marks Sefton Rani’s first solo exhibition with the gallery, unfolding in the wake of his McCahon House Artist Residency and anchored by the monumental six panel work Gabrielle. The exhibition moves between scale and intimacy: large immersive works command the space, drawing viewers into surfaces that blister, harden, and crack, before smaller works pull attention toward detail, texture, and process.

Rani’s practice increasingly leans into sculpture, where paint skins, wood, canvas, and industrial materials are burned, fused and reworked into what he describes as “industrial tapa.” Across the works, surfaces begin to resemble ceramic glaze or weathered patina, carrying traces of heat and erosion.

The title Postscript feels especially precise. A postscript adds what was left unsaid. Rani’s works perform this gesture by drawing on the visual and material languages of tapa, tattoo, weaving, and carving, situating these forms within the complexities of contemporary Pacificness and diaspora.

Within the exhibition’s shifting rhythm between macro and micro, identity emerges as layered, inherited, and continually remade. 🛢️🛢️🛢️🧯🧯🧯

Postscript at @trishclarkgallery marks Sefton Rani’s first solo exhibition with the gallery, unfolding in the wake of his McCahon House Artist Residency and anchored by the monumental six panel work Gabrielle. The exhibition moves between scale and intimacy: large immersive works command the space, drawing viewers into surfaces that blister, harden, and crack, before smaller works pull attention toward detail, texture, and process.

Rani’s practice increasingly leans into sculpture, where paint skins, wood, canvas, and industrial materials are burned, fused and reworked into what he describes as “industrial tapa.” Across the works, surfaces begin to resemble ceramic glaze or weathered patina, carrying traces of heat and erosion.

The title Postscript feels especially precise. A postscript adds what was left unsaid. Rani’s works perform this gesture by drawing on the visual and material languages of tapa, tattoo, weaving, and carving, situating these forms within the complexities of contemporary Pacificness and diaspora.

Within the exhibition’s shifting rhythm between macro and micro, identity emerges as layered, inherited, and continually remade. 🛢️🛢️🛢️🧯🧯🧯

Postscript at @trishclarkgallery marks Sefton Rani’s first solo exhibition with the gallery, unfolding in the wake of his McCahon House Artist Residency and anchored by the monumental six panel work Gabrielle. The exhibition moves between scale and intimacy: large immersive works command the space, drawing viewers into surfaces that blister, harden, and crack, before smaller works pull attention toward detail, texture, and process.

Rani’s practice increasingly leans into sculpture, where paint skins, wood, canvas, and industrial materials are burned, fused and reworked into what he describes as “industrial tapa.” Across the works, surfaces begin to resemble ceramic glaze or weathered patina, carrying traces of heat and erosion.

The title Postscript feels especially precise. A postscript adds what was left unsaid. Rani’s works perform this gesture by drawing on the visual and material languages of tapa, tattoo, weaving, and carving, situating these forms within the complexities of contemporary Pacificness and diaspora.

Within the exhibition’s shifting rhythm between macro and micro, identity emerges as layered, inherited, and continually remade. 🛢️🛢️🛢️🧯🧯🧯

Postscript at @trishclarkgallery marks Sefton Rani’s first solo exhibition with the gallery, unfolding in the wake of his McCahon House Artist Residency and anchored by the monumental six panel work Gabrielle. The exhibition moves between scale and intimacy: large immersive works command the space, drawing viewers into surfaces that blister, harden, and crack, before smaller works pull attention toward detail, texture, and process.

Rani’s practice increasingly leans into sculpture, where paint skins, wood, canvas, and industrial materials are burned, fused and reworked into what he describes as “industrial tapa.” Across the works, surfaces begin to resemble ceramic glaze or weathered patina, carrying traces of heat and erosion.

The title Postscript feels especially precise. A postscript adds what was left unsaid. Rani’s works perform this gesture by drawing on the visual and material languages of tapa, tattoo, weaving, and carving, situating these forms within the complexities of contemporary Pacificness and diaspora.

Within the exhibition’s shifting rhythm between macro and micro, identity emerges as layered, inherited, and continually remade. 🛢️🛢️🛢️🧯🧯🧯

Postscript at @trishclarkgallery marks Sefton Rani’s first solo exhibition with the gallery, unfolding in the wake of his McCahon House Artist Residency and anchored by the monumental six panel work Gabrielle. The exhibition moves between scale and intimacy: large immersive works command the space, drawing viewers into surfaces that blister, harden, and crack, before smaller works pull attention toward detail, texture, and process.

Rani’s practice increasingly leans into sculpture, where paint skins, wood, canvas, and industrial materials are burned, fused and reworked into what he describes as “industrial tapa.” Across the works, surfaces begin to resemble ceramic glaze or weathered patina, carrying traces of heat and erosion.

The title Postscript feels especially precise. A postscript adds what was left unsaid. Rani’s works perform this gesture by drawing on the visual and material languages of tapa, tattoo, weaving, and carving, situating these forms within the complexities of contemporary Pacificness and diaspora.

Within the exhibition’s shifting rhythm between macro and micro, identity emerges as layered, inherited, and continually remade. 🛢️🛢️🛢️🧯🧯🧯

Postscript at @trishclarkgallery marks Sefton Rani’s first solo exhibition with the gallery, unfolding in the wake of his McCahon House Artist Residency and anchored by the monumental six panel work Gabrielle. The exhibition moves between scale and intimacy: large immersive works command the space, drawing viewers into surfaces that blister, harden, and crack, before smaller works pull attention toward detail, texture, and process.

Rani’s practice increasingly leans into sculpture, where paint skins, wood, canvas, and industrial materials are burned, fused and reworked into what he describes as “industrial tapa.” Across the works, surfaces begin to resemble ceramic glaze or weathered patina, carrying traces of heat and erosion.

The title Postscript feels especially precise. A postscript adds what was left unsaid. Rani’s works perform this gesture by drawing on the visual and material languages of tapa, tattoo, weaving, and carving, situating these forms within the complexities of contemporary Pacificness and diaspora.

Within the exhibition’s shifting rhythm between macro and micro, identity emerges as layered, inherited, and continually remade. 🛢️🛢️🛢️🧯🧯🧯

Postscript at @trishclarkgallery marks Sefton Rani’s first solo exhibition with the gallery, unfolding in the wake of his McCahon House Artist Residency and anchored by the monumental six panel work Gabrielle. The exhibition moves between scale and intimacy: large immersive works command the space, drawing viewers into surfaces that blister, harden, and crack, before smaller works pull attention toward detail, texture, and process.

Rani’s practice increasingly leans into sculpture, where paint skins, wood, canvas, and industrial materials are burned, fused and reworked into what he describes as “industrial tapa.” Across the works, surfaces begin to resemble ceramic glaze or weathered patina, carrying traces of heat and erosion.

The title Postscript feels especially precise. A postscript adds what was left unsaid. Rani’s works perform this gesture by drawing on the visual and material languages of tapa, tattoo, weaving, and carving, situating these forms within the complexities of contemporary Pacificness and diaspora.

Within the exhibition’s shifting rhythm between macro and micro, identity emerges as layered, inherited, and continually remade. 🛢️🛢️🛢️🧯🧯🧯

Upcoming event: THE TITIRANGI YEARS 1953-59 with DR PETER SIMPSON

Join Dr Peter Simpson at the McCahon House Museum to learn about Colin McCahon’s time in Titirangi. Youll hear about this important phase of McCahon’s practice, with particular emphasis on the significance of the Waitākere Ranges and Manukau Harbour to his work. Spaces for this event are limited.

Event details: Saturday 6 June, 10 am - 11 am, McCahon House Museum, 67 Otitori Bay Road, Titirangi

See link in bio to learn more about this event and secure your place.

*This event is now sold out. To join the waitlist, email mccahon@mccahonhouse.org.nz*

Upcoming event: ABSTRACT MOTIF WORKSHOP with Parehuia artist in residence Linda Va'aelua

Join Parehuia Artist in Residence Linda Va’aelua in her studio as she shares an insight into her practice and guides you through an abstract motif workshop.

Event details:
Saturday 6 June, 12 pm - 1:30 pm, Parehuia Studio.
Spaces are limited. To learn more about this event and RSVP, see link in bio.

Image: Linda Va’aelua

In this episode, I visit @nekemoa at her home and studio in Ōtaki on the Kāpiti Coast.

This episode is part of the McCahon House Parehuia Residency 20th Anniversary series, where I’m volunteering the services of The Good Oil to highlight the wonderful and important work they do, and some of their very impressive alumni, which includes Neke Moa.

You’ll hear Neke explain that her practice is always a collaborative one, even when she is in the studio by herself, how and why her work is sometimes respected more overseas than it is in Aotearoa, the role of activism in the practice and works, how the historical pakeha definition of art and value systems devalued Māori practices and therefore excluded the preservation of some taonga, and how toi Māori is in a new evolutionary phase.

Images of Works

1. Ngāto Pūkana
2. Owner
3. Unceded
4. Kai a te rangatira
5. Tū mai Whaiwheke!

List of te reo Māori in the episode to English

Tāura - Trainee, student
Mauri - Life force
Wairua - Spirit, soul
Tohunga - Chosen expert
Whakairo - Carving
Atua - A god, or ancestor with continuing influence
Hōanga - Sandstone
Uku - Clay
Ahua - To form or make
Rākau - Challenger baton, timber

In this episode, I visit @nekemoa at her home and studio in Ōtaki on the Kāpiti Coast.

This episode is part of the McCahon House Parehuia Residency 20th Anniversary series, where I’m volunteering the services of The Good Oil to highlight the wonderful and important work they do, and some of their very impressive alumni, which includes Neke Moa.

You’ll hear Neke explain that her practice is always a collaborative one, even when she is in the studio by herself, how and why her work is sometimes respected more overseas than it is in Aotearoa, the role of activism in the practice and works, how the historical pakeha definition of art and value systems devalued Māori practices and therefore excluded the preservation of some taonga, and how toi Māori is in a new evolutionary phase.

Images of Works

1. Ngāto Pūkana
2. Owner
3. Unceded
4. Kai a te rangatira
5. Tū mai Whaiwheke!

List of te reo Māori in the episode to English

Tāura - Trainee, student
Mauri - Life force
Wairua - Spirit, soul
Tohunga - Chosen expert
Whakairo - Carving
Atua - A god, or ancestor with continuing influence
Hōanga - Sandstone
Uku - Clay
Ahua - To form or make
Rākau - Challenger baton, timber

In this episode, I visit @nekemoa at her home and studio in Ōtaki on the Kāpiti Coast.

This episode is part of the McCahon House Parehuia Residency 20th Anniversary series, where I’m volunteering the services of The Good Oil to highlight the wonderful and important work they do, and some of their very impressive alumni, which includes Neke Moa.

You’ll hear Neke explain that her practice is always a collaborative one, even when she is in the studio by herself, how and why her work is sometimes respected more overseas than it is in Aotearoa, the role of activism in the practice and works, how the historical pakeha definition of art and value systems devalued Māori practices and therefore excluded the preservation of some taonga, and how toi Māori is in a new evolutionary phase.

Images of Works

1. Ngāto Pūkana
2. Owner
3. Unceded
4. Kai a te rangatira
5. Tū mai Whaiwheke!

List of te reo Māori in the episode to English

Tāura - Trainee, student
Mauri - Life force
Wairua - Spirit, soul
Tohunga - Chosen expert
Whakairo - Carving
Atua - A god, or ancestor with continuing influence
Hōanga - Sandstone
Uku - Clay
Ahua - To form or make
Rākau - Challenger baton, timber

In this episode, I visit @nekemoa at her home and studio in Ōtaki on the Kāpiti Coast.

This episode is part of the McCahon House Parehuia Residency 20th Anniversary series, where I’m volunteering the services of The Good Oil to highlight the wonderful and important work they do, and some of their very impressive alumni, which includes Neke Moa.

You’ll hear Neke explain that her practice is always a collaborative one, even when she is in the studio by herself, how and why her work is sometimes respected more overseas than it is in Aotearoa, the role of activism in the practice and works, how the historical pakeha definition of art and value systems devalued Māori practices and therefore excluded the preservation of some taonga, and how toi Māori is in a new evolutionary phase.

Images of Works

1. Ngāto Pūkana
2. Owner
3. Unceded
4. Kai a te rangatira
5. Tū mai Whaiwheke!

List of te reo Māori in the episode to English

Tāura - Trainee, student
Mauri - Life force
Wairua - Spirit, soul
Tohunga - Chosen expert
Whakairo - Carving
Atua - A god, or ancestor with continuing influence
Hōanga - Sandstone
Uku - Clay
Ahua - To form or make
Rākau - Challenger baton, timber

In this episode, I visit @nekemoa at her home and studio in Ōtaki on the Kāpiti Coast.

This episode is part of the McCahon House Parehuia Residency 20th Anniversary series, where I’m volunteering the services of The Good Oil to highlight the wonderful and important work they do, and some of their very impressive alumni, which includes Neke Moa.

You’ll hear Neke explain that her practice is always a collaborative one, even when she is in the studio by herself, how and why her work is sometimes respected more overseas than it is in Aotearoa, the role of activism in the practice and works, how the historical pakeha definition of art and value systems devalued Māori practices and therefore excluded the preservation of some taonga, and how toi Māori is in a new evolutionary phase.

Images of Works

1. Ngāto Pūkana
2. Owner
3. Unceded
4. Kai a te rangatira
5. Tū mai Whaiwheke!

List of te reo Māori in the episode to English

Tāura - Trainee, student
Mauri - Life force
Wairua - Spirit, soul
Tohunga - Chosen expert
Whakairo - Carving
Atua - A god, or ancestor with continuing influence
Hōanga - Sandstone
Uku - Clay
Ahua - To form or make
Rākau - Challenger baton, timber

In this episode, I visit @nekemoa at her home and studio in Ōtaki on the Kāpiti Coast.

This episode is part of the McCahon House Parehuia Residency 20th Anniversary series, where I’m volunteering the services of The Good Oil to highlight the wonderful and important work they do, and some of their very impressive alumni, which includes Neke Moa.

You’ll hear Neke explain that her practice is always a collaborative one, even when she is in the studio by herself, how and why her work is sometimes respected more overseas than it is in Aotearoa, the role of activism in the practice and works, how the historical pakeha definition of art and value systems devalued Māori practices and therefore excluded the preservation of some taonga, and how toi Māori is in a new evolutionary phase.

Images of Works

1. Ngāto Pūkana
2. Owner
3. Unceded
4. Kai a te rangatira
5. Tū mai Whaiwheke!

List of te reo Māori in the episode to English

Tāura - Trainee, student
Mauri - Life force
Wairua - Spirit, soul
Tohunga - Chosen expert
Whakairo - Carving
Atua - A god, or ancestor with continuing influence
Hōanga - Sandstone
Uku - Clay
Ahua - To form or make
Rākau - Challenger baton, timber

In this episode, I visit @nekemoa at her home and studio in Ōtaki on the Kāpiti Coast.

This episode is part of the McCahon House Parehuia Residency 20th Anniversary series, where I’m volunteering the services of The Good Oil to highlight the wonderful and important work they do, and some of their very impressive alumni, which includes Neke Moa.

You’ll hear Neke explain that her practice is always a collaborative one, even when she is in the studio by herself, how and why her work is sometimes respected more overseas than it is in Aotearoa, the role of activism in the practice and works, how the historical pakeha definition of art and value systems devalued Māori practices and therefore excluded the preservation of some taonga, and how toi Māori is in a new evolutionary phase.

Images of Works

1. Ngāto Pūkana
2. Owner
3. Unceded
4. Kai a te rangatira
5. Tū mai Whaiwheke!

List of te reo Māori in the episode to English

Tāura - Trainee, student
Mauri - Life force
Wairua - Spirit, soul
Tohunga - Chosen expert
Whakairo - Carving
Atua - A god, or ancestor with continuing influence
Hōanga - Sandstone
Uku - Clay
Ahua - To form or make
Rākau - Challenger baton, timber

In this episode, I visit @nekemoa at her home and studio in Ōtaki on the Kāpiti Coast.

This episode is part of the McCahon House Parehuia Residency 20th Anniversary series, where I’m volunteering the services of The Good Oil to highlight the wonderful and important work they do, and some of their very impressive alumni, which includes Neke Moa.

You’ll hear Neke explain that her practice is always a collaborative one, even when she is in the studio by herself, how and why her work is sometimes respected more overseas than it is in Aotearoa, the role of activism in the practice and works, how the historical pakeha definition of art and value systems devalued Māori practices and therefore excluded the preservation of some taonga, and how toi Māori is in a new evolutionary phase.

Images of Works

1. Ngāto Pūkana
2. Owner
3. Unceded
4. Kai a te rangatira
5. Tū mai Whaiwheke!

List of te reo Māori in the episode to English

Tāura - Trainee, student
Mauri - Life force
Wairua - Spirit, soul
Tohunga - Chosen expert
Whakairo - Carving
Atua - A god, or ancestor with continuing influence
Hōanga - Sandstone
Uku - Clay
Ahua - To form or make
Rākau - Challenger baton, timber

We’re extremely proud to acknowledge our 2013 Parehuia alumni Dr Fiona Pardington (Kāi Tahu, Kāti Māmoe, Ngāti Kahungunu, Clan Cameron of Erracht) ONZM and her striking body of work Taharaki Skyside, which opens today to the public at the 61st International Art Exhibition - La Biennale di Venezia.

Huge congrats to Fiona, her creative team, Christchurch Art Gallery Te Puna o Waiwhetū, Creative New Zealand Toi Aotearoa and NZatVenice patrons.

We look forward to cerebrating Fiona and this exceptional body of work later in the year.

@fionapardington @nzatvenice

Images - Leigh Melville

We’re extremely proud to acknowledge our 2013 Parehuia alumni Dr Fiona Pardington (Kāi Tahu, Kāti Māmoe, Ngāti Kahungunu, Clan Cameron of Erracht) ONZM and her striking body of work Taharaki Skyside, which opens today to the public at the 61st International Art Exhibition - La Biennale di Venezia.

Huge congrats to Fiona, her creative team, Christchurch Art Gallery Te Puna o Waiwhetū, Creative New Zealand Toi Aotearoa and NZatVenice patrons.

We look forward to cerebrating Fiona and this exceptional body of work later in the year.

@fionapardington @nzatvenice

Images - Leigh Melville

We’re extremely proud to acknowledge our 2013 Parehuia alumni Dr Fiona Pardington (Kāi Tahu, Kāti Māmoe, Ngāti Kahungunu, Clan Cameron of Erracht) ONZM and her striking body of work Taharaki Skyside, which opens today to the public at the 61st International Art Exhibition - La Biennale di Venezia.

Huge congrats to Fiona, her creative team, Christchurch Art Gallery Te Puna o Waiwhetū, Creative New Zealand Toi Aotearoa and NZatVenice patrons.

We look forward to cerebrating Fiona and this exceptional body of work later in the year.

@fionapardington @nzatvenice

Images - Leigh Melville

We’re extremely proud to acknowledge our 2013 Parehuia alumni Dr Fiona Pardington (Kāi Tahu, Kāti Māmoe, Ngāti Kahungunu, Clan Cameron of Erracht) ONZM and her striking body of work Taharaki Skyside, which opens today to the public at the 61st International Art Exhibition - La Biennale di Venezia.

Huge congrats to Fiona, her creative team, Christchurch Art Gallery Te Puna o Waiwhetū, Creative New Zealand Toi Aotearoa and NZatVenice patrons.

We look forward to cerebrating Fiona and this exceptional body of work later in the year.

@fionapardington @nzatvenice

Images - Leigh Melville

We’re extremely proud to acknowledge our 2013 Parehuia alumni Dr Fiona Pardington (Kāi Tahu, Kāti Māmoe, Ngāti Kahungunu, Clan Cameron of Erracht) ONZM and her striking body of work Taharaki Skyside, which opens today to the public at the 61st International Art Exhibition - La Biennale di Venezia.

Huge congrats to Fiona, her creative team, Christchurch Art Gallery Te Puna o Waiwhetū, Creative New Zealand Toi Aotearoa and NZatVenice patrons.

We look forward to cerebrating Fiona and this exceptional body of work later in the year.

@fionapardington @nzatvenice

Images - Leigh Melville

We’re extremely proud to acknowledge our 2013 Parehuia alumni Dr Fiona Pardington (Kāi Tahu, Kāti Māmoe, Ngāti Kahungunu, Clan Cameron of Erracht) ONZM and her striking body of work Taharaki Skyside, which opens today to the public at the 61st International Art Exhibition - La Biennale di Venezia.

Huge congrats to Fiona, her creative team, Christchurch Art Gallery Te Puna o Waiwhetū, Creative New Zealand Toi Aotearoa and NZatVenice patrons.

We look forward to cerebrating Fiona and this exceptional body of work later in the year.

@fionapardington @nzatvenice

Images - Leigh Melville

We’re extremely proud to acknowledge our 2013 Parehuia alumni Dr Fiona Pardington (Kāi Tahu, Kāti Māmoe, Ngāti Kahungunu, Clan Cameron of Erracht) ONZM and her striking body of work Taharaki Skyside, which opens today to the public at the 61st International Art Exhibition - La Biennale di Venezia.

Huge congrats to Fiona, her creative team, Christchurch Art Gallery Te Puna o Waiwhetū, Creative New Zealand Toi Aotearoa and NZatVenice patrons.

We look forward to cerebrating Fiona and this exceptional body of work later in the year.

@fionapardington @nzatvenice

Images - Leigh Melville

We are delighted to announce that Sena Park has been selected as the 2026 McCahon House X Bundanon artist in residence.

“At Bundanon, I am looking forward to working directly within the landscape, where the site itself becomes my workspace. I aim to undertake site-responsive research exploring the shifting relationship between natural forms and human intervention. I will test ideas around scale, temporality, and hybrid materials that combine organic and human-made elements, working with uncontrolled forces such as wind, light, and flowing water. This process will allow me to assess how these elements can be meaningfully integrated into my practice and reshape how I approach material and spatial conditions.”

Park is the second artist from Aotearoa to undertake this exchange. She will spend four weeks in New South Wales, Australia in August.

This exchange has been generously supported by Brigit and David Kirk, our Tomorrow Group patrons and residency host partner Bundanon.

Images:
Sena Park in ‘ When the Shelter is needed...’ at Blue Oyster (Photo credit : Sena Park)
‘I touch the surface, we draw wild beauty’ 2026 (Photo credit : Samson Dell and Enjoy) 
‘Standing in the air blown once, We weave now’ 2025 (Photo credit : Sayoko Suwabe)

We are delighted to announce that Sena Park has been selected as the 2026 McCahon House X Bundanon artist in residence.

“At Bundanon, I am looking forward to working directly within the landscape, where the site itself becomes my workspace. I aim to undertake site-responsive research exploring the shifting relationship between natural forms and human intervention. I will test ideas around scale, temporality, and hybrid materials that combine organic and human-made elements, working with uncontrolled forces such as wind, light, and flowing water. This process will allow me to assess how these elements can be meaningfully integrated into my practice and reshape how I approach material and spatial conditions.”

Park is the second artist from Aotearoa to undertake this exchange. She will spend four weeks in New South Wales, Australia in August.

This exchange has been generously supported by Brigit and David Kirk, our Tomorrow Group patrons and residency host partner Bundanon.

Images:
Sena Park in ‘ When the Shelter is needed...’ at Blue Oyster (Photo credit : Sena Park)
‘I touch the surface, we draw wild beauty’ 2026 (Photo credit : Samson Dell and Enjoy) 
‘Standing in the air blown once, We weave now’ 2025 (Photo credit : Sayoko Suwabe)

We are delighted to announce that Sena Park has been selected as the 2026 McCahon House X Bundanon artist in residence.

“At Bundanon, I am looking forward to working directly within the landscape, where the site itself becomes my workspace. I aim to undertake site-responsive research exploring the shifting relationship between natural forms and human intervention. I will test ideas around scale, temporality, and hybrid materials that combine organic and human-made elements, working with uncontrolled forces such as wind, light, and flowing water. This process will allow me to assess how these elements can be meaningfully integrated into my practice and reshape how I approach material and spatial conditions.”

Park is the second artist from Aotearoa to undertake this exchange. She will spend four weeks in New South Wales, Australia in August.

This exchange has been generously supported by Brigit and David Kirk, our Tomorrow Group patrons and residency host partner Bundanon.

Images:
Sena Park in ‘ When the Shelter is needed...’ at Blue Oyster (Photo credit : Sena Park)
‘I touch the surface, we draw wild beauty’ 2026 (Photo credit : Samson Dell and Enjoy) 
‘Standing in the air blown once, We weave now’ 2025 (Photo credit : Sayoko Suwabe)

Awake in Tree Time

2016 - a full decade ago - I devoted 3 months to Kauri suffering dieback at @mccahonhouse. Part of this involved singing to them everyday in Sanskrit as part of Agnihotra and using the ash every two weeks to paint one of 5 selected trees with a healing poultice.

I took a number of seedlings out of the ground and put them through a sacred process, then bought them home in a pot where I continued to care for them for 3 years. Eventually I was given permission to plant them out and today they stand proudly in the land where we live.

My brother, who died just over a month ago, helped us plant the first kauri on this land 16 years ago. This year we harvested our first cones from them and the day he passed I planted the first seeds.

Today 12 have emerged from their seed slumber into the world and already I can feel their life force. A mighty spirit in each one.

I can feel them nudging themselves into new work that is emerging.

I am in such awe of the soul of kauri.

I am so glad to have spent 10 years listening to them, and feel the wonder of being able to be part of nurturing 12 more into the world to stand firm for a thousand years.

Photos are of our seedlings today, seedlings from McCahon 2016, those seedling as young trees in pots, those same young trees as bigger trees today, and trees in 2016 at McCahon with the healing poultice.

This listening to trees continues to teach me how to live and informs the painting and singing formationsemerging alongside them in the studio.

#awakeintreetime
#awake
#syntropicsystemsthinking
#listeningtotrees
#treeteacher

Awake in Tree Time

2016 - a full decade ago - I devoted 3 months to Kauri suffering dieback at @mccahonhouse. Part of this involved singing to them everyday in Sanskrit as part of Agnihotra and using the ash every two weeks to paint one of 5 selected trees with a healing poultice.

I took a number of seedlings out of the ground and put them through a sacred process, then bought them home in a pot where I continued to care for them for 3 years. Eventually I was given permission to plant them out and today they stand proudly in the land where we live.

My brother, who died just over a month ago, helped us plant the first kauri on this land 16 years ago. This year we harvested our first cones from them and the day he passed I planted the first seeds.

Today 12 have emerged from their seed slumber into the world and already I can feel their life force. A mighty spirit in each one.

I can feel them nudging themselves into new work that is emerging.

I am in such awe of the soul of kauri.

I am so glad to have spent 10 years listening to them, and feel the wonder of being able to be part of nurturing 12 more into the world to stand firm for a thousand years.

Photos are of our seedlings today, seedlings from McCahon 2016, those seedling as young trees in pots, those same young trees as bigger trees today, and trees in 2016 at McCahon with the healing poultice.

This listening to trees continues to teach me how to live and informs the painting and singing formationsemerging alongside them in the studio.

#awakeintreetime
#awake
#syntropicsystemsthinking
#listeningtotrees
#treeteacher

Awake in Tree Time

2016 - a full decade ago - I devoted 3 months to Kauri suffering dieback at @mccahonhouse. Part of this involved singing to them everyday in Sanskrit as part of Agnihotra and using the ash every two weeks to paint one of 5 selected trees with a healing poultice.

I took a number of seedlings out of the ground and put them through a sacred process, then bought them home in a pot where I continued to care for them for 3 years. Eventually I was given permission to plant them out and today they stand proudly in the land where we live.

My brother, who died just over a month ago, helped us plant the first kauri on this land 16 years ago. This year we harvested our first cones from them and the day he passed I planted the first seeds.

Today 12 have emerged from their seed slumber into the world and already I can feel their life force. A mighty spirit in each one.

I can feel them nudging themselves into new work that is emerging.

I am in such awe of the soul of kauri.

I am so glad to have spent 10 years listening to them, and feel the wonder of being able to be part of nurturing 12 more into the world to stand firm for a thousand years.

Photos are of our seedlings today, seedlings from McCahon 2016, those seedling as young trees in pots, those same young trees as bigger trees today, and trees in 2016 at McCahon with the healing poultice.

This listening to trees continues to teach me how to live and informs the painting and singing formationsemerging alongside them in the studio.

#awakeintreetime
#awake
#syntropicsystemsthinking
#listeningtotrees
#treeteacher

Awake in Tree Time

2016 - a full decade ago - I devoted 3 months to Kauri suffering dieback at @mccahonhouse. Part of this involved singing to them everyday in Sanskrit as part of Agnihotra and using the ash every two weeks to paint one of 5 selected trees with a healing poultice.

I took a number of seedlings out of the ground and put them through a sacred process, then bought them home in a pot where I continued to care for them for 3 years. Eventually I was given permission to plant them out and today they stand proudly in the land where we live.

My brother, who died just over a month ago, helped us plant the first kauri on this land 16 years ago. This year we harvested our first cones from them and the day he passed I planted the first seeds.

Today 12 have emerged from their seed slumber into the world and already I can feel their life force. A mighty spirit in each one.

I can feel them nudging themselves into new work that is emerging.

I am in such awe of the soul of kauri.

I am so glad to have spent 10 years listening to them, and feel the wonder of being able to be part of nurturing 12 more into the world to stand firm for a thousand years.

Photos are of our seedlings today, seedlings from McCahon 2016, those seedling as young trees in pots, those same young trees as bigger trees today, and trees in 2016 at McCahon with the healing poultice.

This listening to trees continues to teach me how to live and informs the painting and singing formationsemerging alongside them in the studio.

#awakeintreetime
#awake
#syntropicsystemsthinking
#listeningtotrees
#treeteacher

Awake in Tree Time

2016 - a full decade ago - I devoted 3 months to Kauri suffering dieback at @mccahonhouse. Part of this involved singing to them everyday in Sanskrit as part of Agnihotra and using the ash every two weeks to paint one of 5 selected trees with a healing poultice.

I took a number of seedlings out of the ground and put them through a sacred process, then bought them home in a pot where I continued to care for them for 3 years. Eventually I was given permission to plant them out and today they stand proudly in the land where we live.

My brother, who died just over a month ago, helped us plant the first kauri on this land 16 years ago. This year we harvested our first cones from them and the day he passed I planted the first seeds.

Today 12 have emerged from their seed slumber into the world and already I can feel their life force. A mighty spirit in each one.

I can feel them nudging themselves into new work that is emerging.

I am in such awe of the soul of kauri.

I am so glad to have spent 10 years listening to them, and feel the wonder of being able to be part of nurturing 12 more into the world to stand firm for a thousand years.

Photos are of our seedlings today, seedlings from McCahon 2016, those seedling as young trees in pots, those same young trees as bigger trees today, and trees in 2016 at McCahon with the healing poultice.

This listening to trees continues to teach me how to live and informs the painting and singing formationsemerging alongside them in the studio.

#awakeintreetime
#awake
#syntropicsystemsthinking
#listeningtotrees
#treeteacher

Awake in Tree Time

2016 - a full decade ago - I devoted 3 months to Kauri suffering dieback at @mccahonhouse. Part of this involved singing to them everyday in Sanskrit as part of Agnihotra and using the ash every two weeks to paint one of 5 selected trees with a healing poultice.

I took a number of seedlings out of the ground and put them through a sacred process, then bought them home in a pot where I continued to care for them for 3 years. Eventually I was given permission to plant them out and today they stand proudly in the land where we live.

My brother, who died just over a month ago, helped us plant the first kauri on this land 16 years ago. This year we harvested our first cones from them and the day he passed I planted the first seeds.

Today 12 have emerged from their seed slumber into the world and already I can feel their life force. A mighty spirit in each one.

I can feel them nudging themselves into new work that is emerging.

I am in such awe of the soul of kauri.

I am so glad to have spent 10 years listening to them, and feel the wonder of being able to be part of nurturing 12 more into the world to stand firm for a thousand years.

Photos are of our seedlings today, seedlings from McCahon 2016, those seedling as young trees in pots, those same young trees as bigger trees today, and trees in 2016 at McCahon with the healing poultice.

This listening to trees continues to teach me how to live and informs the painting and singing formationsemerging alongside them in the studio.

#awakeintreetime
#awake
#syntropicsystemsthinking
#listeningtotrees
#treeteacher

Awake in Tree Time

2016 - a full decade ago - I devoted 3 months to Kauri suffering dieback at @mccahonhouse. Part of this involved singing to them everyday in Sanskrit as part of Agnihotra and using the ash every two weeks to paint one of 5 selected trees with a healing poultice.

I took a number of seedlings out of the ground and put them through a sacred process, then bought them home in a pot where I continued to care for them for 3 years. Eventually I was given permission to plant them out and today they stand proudly in the land where we live.

My brother, who died just over a month ago, helped us plant the first kauri on this land 16 years ago. This year we harvested our first cones from them and the day he passed I planted the first seeds.

Today 12 have emerged from their seed slumber into the world and already I can feel their life force. A mighty spirit in each one.

I can feel them nudging themselves into new work that is emerging.

I am in such awe of the soul of kauri.

I am so glad to have spent 10 years listening to them, and feel the wonder of being able to be part of nurturing 12 more into the world to stand firm for a thousand years.

Photos are of our seedlings today, seedlings from McCahon 2016, those seedling as young trees in pots, those same young trees as bigger trees today, and trees in 2016 at McCahon with the healing poultice.

This listening to trees continues to teach me how to live and informs the painting and singing formationsemerging alongside them in the studio.

#awakeintreetime
#awake
#syntropicsystemsthinking
#listeningtotrees
#treeteacher

Awake in Tree Time

2016 - a full decade ago - I devoted 3 months to Kauri suffering dieback at @mccahonhouse. Part of this involved singing to them everyday in Sanskrit as part of Agnihotra and using the ash every two weeks to paint one of 5 selected trees with a healing poultice.

I took a number of seedlings out of the ground and put them through a sacred process, then bought them home in a pot where I continued to care for them for 3 years. Eventually I was given permission to plant them out and today they stand proudly in the land where we live.

My brother, who died just over a month ago, helped us plant the first kauri on this land 16 years ago. This year we harvested our first cones from them and the day he passed I planted the first seeds.

Today 12 have emerged from their seed slumber into the world and already I can feel their life force. A mighty spirit in each one.

I can feel them nudging themselves into new work that is emerging.

I am in such awe of the soul of kauri.

I am so glad to have spent 10 years listening to them, and feel the wonder of being able to be part of nurturing 12 more into the world to stand firm for a thousand years.

Photos are of our seedlings today, seedlings from McCahon 2016, those seedling as young trees in pots, those same young trees as bigger trees today, and trees in 2016 at McCahon with the healing poultice.

This listening to trees continues to teach me how to live and informs the painting and singing formationsemerging alongside them in the studio.

#awakeintreetime
#awake
#syntropicsystemsthinking
#listeningtotrees
#treeteacher

Awake in Tree Time

2016 - a full decade ago - I devoted 3 months to Kauri suffering dieback at @mccahonhouse. Part of this involved singing to them everyday in Sanskrit as part of Agnihotra and using the ash every two weeks to paint one of 5 selected trees with a healing poultice.

I took a number of seedlings out of the ground and put them through a sacred process, then bought them home in a pot where I continued to care for them for 3 years. Eventually I was given permission to plant them out and today they stand proudly in the land where we live.

My brother, who died just over a month ago, helped us plant the first kauri on this land 16 years ago. This year we harvested our first cones from them and the day he passed I planted the first seeds.

Today 12 have emerged from their seed slumber into the world and already I can feel their life force. A mighty spirit in each one.

I can feel them nudging themselves into new work that is emerging.

I am in such awe of the soul of kauri.

I am so glad to have spent 10 years listening to them, and feel the wonder of being able to be part of nurturing 12 more into the world to stand firm for a thousand years.

Photos are of our seedlings today, seedlings from McCahon 2016, those seedling as young trees in pots, those same young trees as bigger trees today, and trees in 2016 at McCahon with the healing poultice.

This listening to trees continues to teach me how to live and informs the painting and singing formationsemerging alongside them in the studio.

#awakeintreetime
#awake
#syntropicsystemsthinking
#listeningtotrees
#treeteacher

Awake in Tree Time

2016 - a full decade ago - I devoted 3 months to Kauri suffering dieback at @mccahonhouse. Part of this involved singing to them everyday in Sanskrit as part of Agnihotra and using the ash every two weeks to paint one of 5 selected trees with a healing poultice.

I took a number of seedlings out of the ground and put them through a sacred process, then bought them home in a pot where I continued to care for them for 3 years. Eventually I was given permission to plant them out and today they stand proudly in the land where we live.

My brother, who died just over a month ago, helped us plant the first kauri on this land 16 years ago. This year we harvested our first cones from them and the day he passed I planted the first seeds.

Today 12 have emerged from their seed slumber into the world and already I can feel their life force. A mighty spirit in each one.

I can feel them nudging themselves into new work that is emerging.

I am in such awe of the soul of kauri.

I am so glad to have spent 10 years listening to them, and feel the wonder of being able to be part of nurturing 12 more into the world to stand firm for a thousand years.

Photos are of our seedlings today, seedlings from McCahon 2016, those seedling as young trees in pots, those same young trees as bigger trees today, and trees in 2016 at McCahon with the healing poultice.

This listening to trees continues to teach me how to live and informs the painting and singing formationsemerging alongside them in the studio.

#awakeintreetime
#awake
#syntropicsystemsthinking
#listeningtotrees
#treeteacher

What a weekend!

A huge thank you to everyone who bought a ticket, stopped by our booth, shared the story, admired Hard Epic, and helped us celebrate 20 years of the Parehuia Artist Residency at the Aotearoa Art Fair.

It was a joy to meet so many people, to hear how you discovered the Art Union, and to see such genuine excitement for Judy Millar’s extraordinary gift. Every conversation, every ticket, and every act of support helps sustain the future of this remarkable residency for generations of artists to come.

Special thanks to Sir Bob Harvey and Dr Hinemoa Elder for joining us for the live draw, and to the Aotearoa Art Fair for providing such a wonderful platform.

Most of all, thank you to Judy Millar. Her generosity, vision, and enduring connection to McCahon House have made this milestone celebration truly unforgettable.

We will formally announce the lucky winner in this week’s Herald public notices.

Here’s to the next twenty years 🍾

Image 3 credit: Raymond Sagapolutele

What a weekend!

A huge thank you to everyone who bought a ticket, stopped by our booth, shared the story, admired Hard Epic, and helped us celebrate 20 years of the Parehuia Artist Residency at the Aotearoa Art Fair.

It was a joy to meet so many people, to hear how you discovered the Art Union, and to see such genuine excitement for Judy Millar’s extraordinary gift. Every conversation, every ticket, and every act of support helps sustain the future of this remarkable residency for generations of artists to come.

Special thanks to Sir Bob Harvey and Dr Hinemoa Elder for joining us for the live draw, and to the Aotearoa Art Fair for providing such a wonderful platform.

Most of all, thank you to Judy Millar. Her generosity, vision, and enduring connection to McCahon House have made this milestone celebration truly unforgettable.

We will formally announce the lucky winner in this week’s Herald public notices.

Here’s to the next twenty years 🍾

Image 3 credit: Raymond Sagapolutele

What a weekend!

A huge thank you to everyone who bought a ticket, stopped by our booth, shared the story, admired Hard Epic, and helped us celebrate 20 years of the Parehuia Artist Residency at the Aotearoa Art Fair.

It was a joy to meet so many people, to hear how you discovered the Art Union, and to see such genuine excitement for Judy Millar’s extraordinary gift. Every conversation, every ticket, and every act of support helps sustain the future of this remarkable residency for generations of artists to come.

Special thanks to Sir Bob Harvey and Dr Hinemoa Elder for joining us for the live draw, and to the Aotearoa Art Fair for providing such a wonderful platform.

Most of all, thank you to Judy Millar. Her generosity, vision, and enduring connection to McCahon House have made this milestone celebration truly unforgettable.

We will formally announce the lucky winner in this week’s Herald public notices.

Here’s to the next twenty years 🍾

Image 3 credit: Raymond Sagapolutele

Win Hard Epic (2021), a major painting by Judy Millar, and support the future of the Parehuia Artist Residency.

Online ticket sales close at 11.59pm tomorrow, Saturday 2 May.

1,000 tickets. $100 each.

Purchase via the link in bio. 🔗