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Fiona Pardingtons ‘Davis Kea Wings (above)’ (2015), in her current solo show ‘Greatest Misses’. A concise survey of key bodies of work that have shaped her singular photographic practice over three decades.

The exhbition continues this week, until 6 June.

Starkwhite is open Tuesday - Friday 10am-5pm,Saturday 11am-3pm.

Image Credits:
Fiona Pardington,
Davis Kea Wings (above)’ (2015)
Archival inkjet print on Hahnemuhle paper

#fionapardington #starkwhite @fionapardington @hinakehe

Fiona Pardingtons ‘Davis Kea Wings (above)’ (2015), in her current solo show ‘Greatest Misses’. A concise survey of key bodies of work that have shaped her singular photographic practice over three decades.

The exhbition continues this week, until 6 June.

Starkwhite is open Tuesday - Friday 10am-5pm,Saturday 11am-3pm.

Image Credits:
Fiona Pardington,
Davis Kea Wings (above)’ (2015)
Archival inkjet print on Hahnemuhle paper

#fionapardington #starkwhite @fionapardington @hinakehe

Fiona Pardingtons ‘Davis Kea Wings (above)’ (2015), in her current solo show ‘Greatest Misses’. A concise survey of key bodies of work that have shaped her singular photographic practice over three decades.

The exhbition continues this week, until 6 June.

Starkwhite is open Tuesday - Friday 10am-5pm,Saturday 11am-3pm.

Image Credits:
Fiona Pardington,
Davis Kea Wings (above)’ (2015)
Archival inkjet print on Hahnemuhle paper

#fionapardington #starkwhite @fionapardington @hinakehe

Now open at 1301SW Melbourne, a two-person presentation of Sydney-based painter Luke Brennan and Aotearoa’s pioneer of the Modernist era, Len Lye.

An exhibition of abstractionists, illuminating their own take nearly 100 years apart, where each call on “cues”, to signal stages, separations and synchronisation.

Both the paintings of Brennan and the films of Lye take cues from gestures, both as a signal and action. Lye, with his “direct” camera-less animations created by painting directly onto celluloid to the cue of Cuban dance music (signal), and Brennan, with his ever-evolving layers of medium, waiting for their own cues — to dry, to warp, to combine — to then allow for the next process (action).

Within both the films and sculptures of Lye, we find the artist’s commitment to the ‘art of movement’. Films like ‘A Colour Box’ (1935), stimulate the senses through rhythmic cinematography, in an effort to affect viewers physically and emotionally with light, movement and sound. The audience methodically falls into the cues set by Lye. In this exhibition, ‘Cheaper parcel post and paintings’, the physical movement found on the screen and the orchestrated beguine it emits absorbs into Luke Brennan’s paintings. Composed of inquisitive surfaces, presenting a combination of candy-floss craquelure and damp slimy squalid baseness, the endless actions Brennan builds and compartmentalises within the works makes them feel living, as if they are in a form of ongoing mutation.

‘Cheaper parcel post and paintings’ — a nod to a proposed title of Lye’s film, and to Brennan’s sustained pictorial practice — calls upon cues of its own. Spaced out and staged, this is the second exhibition of 2026 where 1301SW has presented a pairing of both a historic and a contemporary figure (with Rose Nolan and Gordon Walters), to both call on their similarities, but to more-so focus on the overarching commonalities of art and the consideration of exhibition making.

This exhibition runs until 27 June 2026.

Images: Luke Brennan ‘Untitled’ (2026)
‘Cheaper parcel post and paintings’, 2026 (installation view)

#starkwhite #1301SW #1301SWau #LukeBrennan #LenLye@lbbbbsoffice @lenlyefoundation

Now open at 1301SW Melbourne, a two-person presentation of Sydney-based painter Luke Brennan and Aotearoa’s pioneer of the Modernist era, Len Lye.

An exhibition of abstractionists, illuminating their own take nearly 100 years apart, where each call on “cues”, to signal stages, separations and synchronisation.

Both the paintings of Brennan and the films of Lye take cues from gestures, both as a signal and action. Lye, with his “direct” camera-less animations created by painting directly onto celluloid to the cue of Cuban dance music (signal), and Brennan, with his ever-evolving layers of medium, waiting for their own cues — to dry, to warp, to combine — to then allow for the next process (action).

Within both the films and sculptures of Lye, we find the artist’s commitment to the ‘art of movement’. Films like ‘A Colour Box’ (1935), stimulate the senses through rhythmic cinematography, in an effort to affect viewers physically and emotionally with light, movement and sound. The audience methodically falls into the cues set by Lye. In this exhibition, ‘Cheaper parcel post and paintings’, the physical movement found on the screen and the orchestrated beguine it emits absorbs into Luke Brennan’s paintings. Composed of inquisitive surfaces, presenting a combination of candy-floss craquelure and damp slimy squalid baseness, the endless actions Brennan builds and compartmentalises within the works makes them feel living, as if they are in a form of ongoing mutation.

‘Cheaper parcel post and paintings’ — a nod to a proposed title of Lye’s film, and to Brennan’s sustained pictorial practice — calls upon cues of its own. Spaced out and staged, this is the second exhibition of 2026 where 1301SW has presented a pairing of both a historic and a contemporary figure (with Rose Nolan and Gordon Walters), to both call on their similarities, but to more-so focus on the overarching commonalities of art and the consideration of exhibition making.

This exhibition runs until 27 June 2026.

Images: Luke Brennan ‘Untitled’ (2026)
‘Cheaper parcel post and paintings’, 2026 (installation view)

#starkwhite #1301SW #1301SWau #LukeBrennan #LenLye@lbbbbsoffice @lenlyefoundation

Now open at 1301SW Melbourne, a two-person presentation of Sydney-based painter Luke Brennan and Aotearoa’s pioneer of the Modernist era, Len Lye.

An exhibition of abstractionists, illuminating their own take nearly 100 years apart, where each call on “cues”, to signal stages, separations and synchronisation.

Both the paintings of Brennan and the films of Lye take cues from gestures, both as a signal and action. Lye, with his “direct” camera-less animations created by painting directly onto celluloid to the cue of Cuban dance music (signal), and Brennan, with his ever-evolving layers of medium, waiting for their own cues — to dry, to warp, to combine — to then allow for the next process (action).

Within both the films and sculptures of Lye, we find the artist’s commitment to the ‘art of movement’. Films like ‘A Colour Box’ (1935), stimulate the senses through rhythmic cinematography, in an effort to affect viewers physically and emotionally with light, movement and sound. The audience methodically falls into the cues set by Lye. In this exhibition, ‘Cheaper parcel post and paintings’, the physical movement found on the screen and the orchestrated beguine it emits absorbs into Luke Brennan’s paintings. Composed of inquisitive surfaces, presenting a combination of candy-floss craquelure and damp slimy squalid baseness, the endless actions Brennan builds and compartmentalises within the works makes them feel living, as if they are in a form of ongoing mutation.

‘Cheaper parcel post and paintings’ — a nod to a proposed title of Lye’s film, and to Brennan’s sustained pictorial practice — calls upon cues of its own. Spaced out and staged, this is the second exhibition of 2026 where 1301SW has presented a pairing of both a historic and a contemporary figure (with Rose Nolan and Gordon Walters), to both call on their similarities, but to more-so focus on the overarching commonalities of art and the consideration of exhibition making.

This exhibition runs until 27 June 2026.

Images: Luke Brennan ‘Untitled’ (2026)
‘Cheaper parcel post and paintings’, 2026 (installation view)

#starkwhite #1301SW #1301SWau #LukeBrennan #LenLye@lbbbbsoffice @lenlyefoundation

Installation images of ‘Sun Shifts ‘by Andrew Beck.A residential project in Wānaka, Te Wāhipounamu

‘This work maps the movement of the celestial body across the horizon, as well as the transit of the spirit through stages of maturity. Birth of the new day and birth of new awareness’

Art consultancy & project management: @d_n__m_ssm_n
Framing and fabrication: @elliot_creative
Documentation: @biddirowley
This project was made in collaboration with @sumichchaplinarchitects @triplestarnz

-

Image credits :
Sun Shifts, 2025
11 panels acrylic, enamel, photographic prints
2.4m x 9.6m
Photos by: @biddirowley

#andrewbeck #starkwhite

Installation images of ‘Sun Shifts ‘by Andrew Beck.A residential project in Wānaka, Te Wāhipounamu

‘This work maps the movement of the celestial body across the horizon, as well as the transit of the spirit through stages of maturity. Birth of the new day and birth of new awareness’

Art consultancy & project management: @d_n__m_ssm_n
Framing and fabrication: @elliot_creative
Documentation: @biddirowley
This project was made in collaboration with @sumichchaplinarchitects @triplestarnz

-

Image credits :
Sun Shifts, 2025
11 panels acrylic, enamel, photographic prints
2.4m x 9.6m
Photos by: @biddirowley

#andrewbeck #starkwhite

Installation images of ‘Sun Shifts ‘by Andrew Beck.A residential project in Wānaka, Te Wāhipounamu

‘This work maps the movement of the celestial body across the horizon, as well as the transit of the spirit through stages of maturity. Birth of the new day and birth of new awareness’

Art consultancy & project management: @d_n__m_ssm_n
Framing and fabrication: @elliot_creative
Documentation: @biddirowley
This project was made in collaboration with @sumichchaplinarchitects @triplestarnz

-

Image credits :
Sun Shifts, 2025
11 panels acrylic, enamel, photographic prints
2.4m x 9.6m
Photos by: @biddirowley

#andrewbeck #starkwhite

Installation images of ‘Sun Shifts ‘by Andrew Beck.A residential project in Wānaka, Te Wāhipounamu

‘This work maps the movement of the celestial body across the horizon, as well as the transit of the spirit through stages of maturity. Birth of the new day and birth of new awareness’

Art consultancy & project management: @d_n__m_ssm_n
Framing and fabrication: @elliot_creative
Documentation: @biddirowley
This project was made in collaboration with @sumichchaplinarchitects @triplestarnz

-

Image credits :
Sun Shifts, 2025
11 panels acrylic, enamel, photographic prints
2.4m x 9.6m
Photos by: @biddirowley

#andrewbeck #starkwhite

Fiona Pardington’s Greatest Misses continues this week at Starkwhite.

A concise survey of the key bodies of work that have shaped her singular photographic practice over the past three decades, coinciding with the major milestone of Pardington’s presentation of Taharaki Skyside as Aotearoa New Zealand’s official representative exhibition at the 2026 Venice Biennale.

This exhibition is open until 6 June 2026.

Image Credits:
Fiona Pardington, Greatest Misses, 2026
Installation view, Starkwhite, Auckland

#fionapardington #starkwhite @fionapardington @hinakehe

Fiona Pardington’s Greatest Misses continues this week at Starkwhite.

A concise survey of the key bodies of work that have shaped her singular photographic practice over the past three decades, coinciding with the major milestone of Pardington’s presentation of Taharaki Skyside as Aotearoa New Zealand’s official representative exhibition at the 2026 Venice Biennale.

This exhibition is open until 6 June 2026.

Image Credits:
Fiona Pardington, Greatest Misses, 2026
Installation view, Starkwhite, Auckland

#fionapardington #starkwhite @fionapardington @hinakehe

Fiona Pardington’s Greatest Misses continues this week at Starkwhite.

A concise survey of the key bodies of work that have shaped her singular photographic practice over the past three decades, coinciding with the major milestone of Pardington’s presentation of Taharaki Skyside as Aotearoa New Zealand’s official representative exhibition at the 2026 Venice Biennale.

This exhibition is open until 6 June 2026.

Image Credits:
Fiona Pardington, Greatest Misses, 2026
Installation view, Starkwhite, Auckland

#fionapardington #starkwhite @fionapardington @hinakehe

Now open at 1301SW Sydney: an exhibition combining two distinct voices whose engagement with the legacy of Modernism sees both crossovers and counterpoints. Acclaimed Australian artist Rose Nolan and Aotearoa’s formidable son of Minimalist Abstraction Gordon Walters, is the first major presentation of each artist in Sydney in some years, and their first time showing together.

Both known for their characteristically selective palette, each artist has explored and expanded the discourse in the Pacific region on form, space, and reduction. Nolan with her ever expanding repertoire, incorporating the formal and linguistic qualities of words, using language to transform space, be it architectural or confined to a hand-crafted object. While for Walters, the later part of his career saw him butting up rigid elemental forms against one another within the defined confines of the canvas, powerfully claiming their place with a delicacy of vision achieved with structural shifts.

Utilising their own takes on language, Nolan the literal (albeit stretched, squashed and reduced), and Walters’ mise en abyme of transparencies, stripes, spirals and numerous other forms combine into its own unique abstract language. This exhibition explores geometry, abstraction, structural shifts, and both the elemental and conceptual sides of art making to touch on ideas of culture, language, and narrative.

This exhibition runs until 30 May 2026.

Images: Rose Nolan and Gordon Walters, 2026 (installation view 1301SW Sydney)

Now open at 1301SW Sydney: an exhibition combining two distinct voices whose engagement with the legacy of Modernism sees both crossovers and counterpoints. Acclaimed Australian artist Rose Nolan and Aotearoa’s formidable son of Minimalist Abstraction Gordon Walters, is the first major presentation of each artist in Sydney in some years, and their first time showing together.

Both known for their characteristically selective palette, each artist has explored and expanded the discourse in the Pacific region on form, space, and reduction. Nolan with her ever expanding repertoire, incorporating the formal and linguistic qualities of words, using language to transform space, be it architectural or confined to a hand-crafted object. While for Walters, the later part of his career saw him butting up rigid elemental forms against one another within the defined confines of the canvas, powerfully claiming their place with a delicacy of vision achieved with structural shifts.

Utilising their own takes on language, Nolan the literal (albeit stretched, squashed and reduced), and Walters’ mise en abyme of transparencies, stripes, spirals and numerous other forms combine into its own unique abstract language. This exhibition explores geometry, abstraction, structural shifts, and both the elemental and conceptual sides of art making to touch on ideas of culture, language, and narrative.

This exhibition runs until 30 May 2026.

Images: Rose Nolan and Gordon Walters, 2026 (installation view 1301SW Sydney)

Now open at 1301SW Sydney: an exhibition combining two distinct voices whose engagement with the legacy of Modernism sees both crossovers and counterpoints. Acclaimed Australian artist Rose Nolan and Aotearoa’s formidable son of Minimalist Abstraction Gordon Walters, is the first major presentation of each artist in Sydney in some years, and their first time showing together.

Both known for their characteristically selective palette, each artist has explored and expanded the discourse in the Pacific region on form, space, and reduction. Nolan with her ever expanding repertoire, incorporating the formal and linguistic qualities of words, using language to transform space, be it architectural or confined to a hand-crafted object. While for Walters, the later part of his career saw him butting up rigid elemental forms against one another within the defined confines of the canvas, powerfully claiming their place with a delicacy of vision achieved with structural shifts.

Utilising their own takes on language, Nolan the literal (albeit stretched, squashed and reduced), and Walters’ mise en abyme of transparencies, stripes, spirals and numerous other forms combine into its own unique abstract language. This exhibition explores geometry, abstraction, structural shifts, and both the elemental and conceptual sides of art making to touch on ideas of culture, language, and narrative.

This exhibition runs until 30 May 2026.

Images: Rose Nolan and Gordon Walters, 2026 (installation view 1301SW Sydney)

Fiona Pardington’s solo exhibition ‘Greatest Misses’ continues this week at Starkwhite.

A concise survey of the key bodies of work that have shaped her singular photographic practice over the past three decades, coinciding with the major milestone of Pardington’s presentation of Taharaki Skyside as Aotearoa New Zealand’s official representative exhibition at the 2026 Venice Biennale.

This exhibition is open until 6 June 2026.

Image Credits:
Fiona Pardington, Greatest Misses, 2026
Installation view, Starkwhite, Auckland

#fionapardington #starkwhite @fionapardington @hinakehe

Fiona Pardington’s solo exhibition ‘Greatest Misses’ continues this week at Starkwhite.

A concise survey of the key bodies of work that have shaped her singular photographic practice over the past three decades, coinciding with the major milestone of Pardington’s presentation of Taharaki Skyside as Aotearoa New Zealand’s official representative exhibition at the 2026 Venice Biennale.

This exhibition is open until 6 June 2026.

Image Credits:
Fiona Pardington, Greatest Misses, 2026
Installation view, Starkwhite, Auckland

#fionapardington #starkwhite @fionapardington @hinakehe

Fiona Pardington’s solo exhibition ‘Greatest Misses’ continues this week at Starkwhite.

A concise survey of the key bodies of work that have shaped her singular photographic practice over the past three decades, coinciding with the major milestone of Pardington’s presentation of Taharaki Skyside as Aotearoa New Zealand’s official representative exhibition at the 2026 Venice Biennale.

This exhibition is open until 6 June 2026.

Image Credits:
Fiona Pardington, Greatest Misses, 2026
Installation view, Starkwhite, Auckland

#fionapardington #starkwhite @fionapardington @hinakehe

Fiona Pardington’s solo exhibition ‘Greatest Misses’ continues this week at Starkwhite.

A concise survey of the key bodies of work that have shaped her singular photographic practice over the past three decades, coinciding with the major milestone of Pardington’s presentation of Taharaki Skyside as Aotearoa New Zealand’s official representative exhibition at the 2026 Venice Biennale.

This exhibition is open until 6 June 2026.

Image Credits:
Fiona Pardington, Greatest Misses, 2026
Installation view, Starkwhite, Auckland

#fionapardington #starkwhite @fionapardington @hinakehe

Fiona Pardington’s solo exhibition ‘Greatest Misses’ continues this week at Starkwhite.

A concise survey of the key bodies of work that have shaped her singular photographic practice over the past three decades, coinciding with the major milestone of Pardington’s presentation of Taharaki Skyside as Aotearoa New Zealand’s official representative exhibition at the 2026 Venice Biennale.

This exhibition is open until 6 June 2026.

Image Credits:
Fiona Pardington, Greatest Misses, 2026
Installation view, Starkwhite, Auckland

#fionapardington #starkwhite @fionapardington @hinakehe

A first walkthrough of Taharaki Skyside at @labiennale, featuring 17 large-scale portraits of taxidermied manu from Aotearoa and Australia.

Puamiria Parata-Goodall (Ngāi Tahu, Kāti Māmoe, Waitaha, Ngāti Kahungunu), Arts Council member and Venice Kaihautū, says Ngāi Tahu acknowledges with pride Fiona’s presence at the Venice Biennale.

“Her work elevates our manu as taonga, treasured reminders of our past, present and future. These are not simply images; they are acts of remembrance and recognition, calling attention to what has been lost, what endures, and our shared responsibility to the natural world and each other.”

Video credit: @timstonerrock

#FionaPardington #AotearoaNewZealandatVenice #NZatVenice

Now open at Starkwhite, Fiona Pardington’s Greatest Misses is a concise survey of the key bodies of work that have shaped her singular photographic practice over the past three decades, coinciding with the major milestone of Pardington’s presentation of Taharaki Skyside as Aotearoa New Zealand’s official representative exhibition at the 2026 Venice Biennale.

Long recognised for her ability to reawaken the stories and mauri of museum-held taonga, specimens, and historical artefacts, Pardington (Kāi Tahu, Kāti Māmoe, Ngāti Kahungunu, Clan Cameron of Erracht) continues to work at the intersection of history, memory, museology, environmental humanities, and affective cultural repair.

Core to Pardington’s practice is the desire to restore human, natural and spiritual equilibrium, and create serious engagement with cultural and environmental concerns by cloaking them in a seductively beautiful aesthetic sensibility. Her use of lighting is pure dramaturgy. She uses deep chiaroscuro to draw her subjects out of darkness as if they are surfacing from another world, luminous with the aura of mana.

Works range from photographs of phrenological busts made of Pacific peoples from D’Urville’s third Pacific voyage (1837-1840) from Pardington’s The Pressure of Sunlight Falling series (2011), to the familiar still life images, highly magnified pictures of butterfly scales from Nabokov’s Blues: The Charmed Circle (2017),and the delicate portraits of taxidermic bird specimens from museum collections taken in 2024.

This exhibition is open until 6 June 2026.

Image Credits:
Fiona Pardington, Greatest Misses, 2026
Installation view, Starkwhite, Auckland

#fionapardington #starkwhite @fionapardington @hinakehe

Now open at Starkwhite, Fiona Pardington’s Greatest Misses is a concise survey of the key bodies of work that have shaped her singular photographic practice over the past three decades, coinciding with the major milestone of Pardington’s presentation of Taharaki Skyside as Aotearoa New Zealand’s official representative exhibition at the 2026 Venice Biennale.

Long recognised for her ability to reawaken the stories and mauri of museum-held taonga, specimens, and historical artefacts, Pardington (Kāi Tahu, Kāti Māmoe, Ngāti Kahungunu, Clan Cameron of Erracht) continues to work at the intersection of history, memory, museology, environmental humanities, and affective cultural repair.

Core to Pardington’s practice is the desire to restore human, natural and spiritual equilibrium, and create serious engagement with cultural and environmental concerns by cloaking them in a seductively beautiful aesthetic sensibility. Her use of lighting is pure dramaturgy. She uses deep chiaroscuro to draw her subjects out of darkness as if they are surfacing from another world, luminous with the aura of mana.

Works range from photographs of phrenological busts made of Pacific peoples from D’Urville’s third Pacific voyage (1837-1840) from Pardington’s The Pressure of Sunlight Falling series (2011), to the familiar still life images, highly magnified pictures of butterfly scales from Nabokov’s Blues: The Charmed Circle (2017),and the delicate portraits of taxidermic bird specimens from museum collections taken in 2024.

This exhibition is open until 6 June 2026.

Image Credits:
Fiona Pardington, Greatest Misses, 2026
Installation view, Starkwhite, Auckland

#fionapardington #starkwhite @fionapardington @hinakehe

Now open at Starkwhite, Fiona Pardington’s Greatest Misses is a concise survey of the key bodies of work that have shaped her singular photographic practice over the past three decades, coinciding with the major milestone of Pardington’s presentation of Taharaki Skyside as Aotearoa New Zealand’s official representative exhibition at the 2026 Venice Biennale.

Long recognised for her ability to reawaken the stories and mauri of museum-held taonga, specimens, and historical artefacts, Pardington (Kāi Tahu, Kāti Māmoe, Ngāti Kahungunu, Clan Cameron of Erracht) continues to work at the intersection of history, memory, museology, environmental humanities, and affective cultural repair.

Core to Pardington’s practice is the desire to restore human, natural and spiritual equilibrium, and create serious engagement with cultural and environmental concerns by cloaking them in a seductively beautiful aesthetic sensibility. Her use of lighting is pure dramaturgy. She uses deep chiaroscuro to draw her subjects out of darkness as if they are surfacing from another world, luminous with the aura of mana.

Works range from photographs of phrenological busts made of Pacific peoples from D’Urville’s third Pacific voyage (1837-1840) from Pardington’s The Pressure of Sunlight Falling series (2011), to the familiar still life images, highly magnified pictures of butterfly scales from Nabokov’s Blues: The Charmed Circle (2017),and the delicate portraits of taxidermic bird specimens from museum collections taken in 2024.

This exhibition is open until 6 June 2026.

Image Credits:
Fiona Pardington, Greatest Misses, 2026
Installation view, Starkwhite, Auckland

#fionapardington #starkwhite @fionapardington @hinakehe

Now open at Starkwhite, Fiona Pardington’s Greatest Misses is a concise survey of the key bodies of work that have shaped her singular photographic practice over the past three decades, coinciding with the major milestone of Pardington’s presentation of Taharaki Skyside as Aotearoa New Zealand’s official representative exhibition at the 2026 Venice Biennale.

Long recognised for her ability to reawaken the stories and mauri of museum-held taonga, specimens, and historical artefacts, Pardington (Kāi Tahu, Kāti Māmoe, Ngāti Kahungunu, Clan Cameron of Erracht) continues to work at the intersection of history, memory, museology, environmental humanities, and affective cultural repair.

Core to Pardington’s practice is the desire to restore human, natural and spiritual equilibrium, and create serious engagement with cultural and environmental concerns by cloaking them in a seductively beautiful aesthetic sensibility. Her use of lighting is pure dramaturgy. She uses deep chiaroscuro to draw her subjects out of darkness as if they are surfacing from another world, luminous with the aura of mana.

Works range from photographs of phrenological busts made of Pacific peoples from D’Urville’s third Pacific voyage (1837-1840) from Pardington’s The Pressure of Sunlight Falling series (2011), to the familiar still life images, highly magnified pictures of butterfly scales from Nabokov’s Blues: The Charmed Circle (2017),and the delicate portraits of taxidermic bird specimens from museum collections taken in 2024.

This exhibition is open until 6 June 2026.

Image Credits:
Fiona Pardington, Greatest Misses, 2026
Installation view, Starkwhite, Auckland

#fionapardington #starkwhite @fionapardington @hinakehe

A quick tour around Venice and the Aotearoa New Zealand pavilion, and footage from the Ngāi Tahu blessing of Taharaki Skyside, celebrating the opening week of the 61st Venice Biennale.

Video credit: @timstonerrock

#FionaPardington #AotearoaNewZealandatVenice #NZatVenice

Wednesday saw the official opening of Taharaki Skyside. Fiona Pardington’s portraits of Aotearoa New Zealand’s manu: extinct, endangered, remembered. On view at La Pietà, Venice, until 22 November 2026.

#FionaPardington #AotearoaNewZealandatVenice #NZatVenice

Photography by @wahacreative

Wednesday saw the official opening of Taharaki Skyside. Fiona Pardington’s portraits of Aotearoa New Zealand’s manu: extinct, endangered, remembered. On view at La Pietà, Venice, until 22 November 2026.

#FionaPardington #AotearoaNewZealandatVenice #NZatVenice

Photography by @wahacreative

Wednesday saw the official opening of Taharaki Skyside. Fiona Pardington’s portraits of Aotearoa New Zealand’s manu: extinct, endangered, remembered. On view at La Pietà, Venice, until 22 November 2026.

#FionaPardington #AotearoaNewZealandatVenice #NZatVenice

Photography by @wahacreative

Wednesday saw the official opening of Taharaki Skyside. Fiona Pardington’s portraits of Aotearoa New Zealand’s manu: extinct, endangered, remembered. On view at La Pietà, Venice, until 22 November 2026.

#FionaPardington #AotearoaNewZealandatVenice #NZatVenice

Photography by @wahacreative

Wednesday saw the official opening of Taharaki Skyside. Fiona Pardington’s portraits of Aotearoa New Zealand’s manu: extinct, endangered, remembered. On view at La Pietà, Venice, until 22 November 2026.

#FionaPardington #AotearoaNewZealandatVenice #NZatVenice

Photography by @wahacreative

Wednesday saw the official opening of Taharaki Skyside. Fiona Pardington’s portraits of Aotearoa New Zealand’s manu: extinct, endangered, remembered. On view at La Pietà, Venice, until 22 November 2026.

#FionaPardington #AotearoaNewZealandatVenice #NZatVenice

Photography by @wahacreative

Wednesday saw the official opening of Taharaki Skyside. Fiona Pardington’s portraits of Aotearoa New Zealand’s manu: extinct, endangered, remembered. On view at La Pietà, Venice, until 22 November 2026.

#FionaPardington #AotearoaNewZealandatVenice #NZatVenice

Photography by @wahacreative

The final of three install shots of Taharaki Skyside.

“Fiona’s photographs are more than images: they are acts of return. Each bird, each shimmer of feather and darkened horizon, carries presence and absence in equal measure – the breath of life, and the hush that follows it. Her work holds the paradox of beauty and loss with grace and precision, summoning both ancestral memory and contemporary urgency. To stand before these photographs is to feel the gaze of Aotearoa returned, patient and knowing.”

Kent Gardner, Commissioner, Aotearoa New Zealand at the 61st International Art Exhibition – La Biennale di Venezia, 2026 Chair, Arts Council of New Zealand Toi Aotearoa.

#FionaPardington #AotearoaNewZealandatVenice #NZatVenice

Taharaki Skyside centre panel, photography by Neil Pardington

Karakia were offered as Fiona and Neil’s whānau and iwi, Ngāi Tahu, blessed Taharaki Skyside ahead of its opening at La Pietà, Venice. A moment of grounding before the manu took their place on the world stage.

Photography by @wahacreative

#FionaPardington #AotearoaNewZealandatVenice #NZatVenice

Karakia were offered as Fiona and Neil’s whānau and iwi, Ngāi Tahu, blessed Taharaki Skyside ahead of its opening at La Pietà, Venice. A moment of grounding before the manu took their place on the world stage.

Photography by @wahacreative

#FionaPardington #AotearoaNewZealandatVenice #NZatVenice

Karakia were offered as Fiona and Neil’s whānau and iwi, Ngāi Tahu, blessed Taharaki Skyside ahead of its opening at La Pietà, Venice. A moment of grounding before the manu took their place on the world stage.

Photography by @wahacreative

#FionaPardington #AotearoaNewZealandatVenice #NZatVenice

Karakia were offered as Fiona and Neil’s whānau and iwi, Ngāi Tahu, blessed Taharaki Skyside ahead of its opening at La Pietà, Venice. A moment of grounding before the manu took their place on the world stage.

Photography by @wahacreative

#FionaPardington #AotearoaNewZealandatVenice #NZatVenice

Karakia were offered as Fiona and Neil’s whānau and iwi, Ngāi Tahu, blessed Taharaki Skyside ahead of its opening at La Pietà, Venice. A moment of grounding before the manu took their place on the world stage.

Photography by @wahacreative

#FionaPardington #AotearoaNewZealandatVenice #NZatVenice

Karakia were offered as Fiona and Neil’s whānau and iwi, Ngāi Tahu, blessed Taharaki Skyside ahead of its opening at La Pietà, Venice. A moment of grounding before the manu took their place on the world stage.

Photography by @wahacreative

#FionaPardington #AotearoaNewZealandatVenice #NZatVenice