Glen Howey

Glen discovered photography at the age of 15, and from that moment he has seen it as a vehicle to understanding and appreciating the world around him.

After completing his photographic studies in Wellington, Glen spent 4 years working as a press photographer. He then travelled and photographed around the world for 8 years before returning to Wellington and becoming a photography tutor at The Photo School.

For Glen, photography is about capturing a point in time through the purest lens, with prophecy, honesty and passion.

Artist Statement

Talking with an old photographer friend he asked, “Why do we take photos?” My answer was to reveal not just what we see but what we feel. Leading on from that he asked, “What is it that the camera can see that the human eye can not?”

The question seemed to snowball in my mind and a huge number of things that had been floating about my head came together almost instantly.

Very long exposures reveal what the naked eye can’t see. They turn night into day. That almost meditative process of accumulation light seemed to resonate with me. Making images has always been for me a form of meditation.

“Light is time thinking about itself” Octavio Paz.

Untitled Digital image

Untitled Digital image



Rachael Gannaway

The 18th Century social commentator and historian, Thomas Carlyle, said, “It is through symbols that man consciously or unconsciously lives, works and has his being.”

I have a long standing love of the Self Portrait: Still life paintings of Frances Hodgkins.  She took items imbued with personal meaning and used them to create a portrait of herself – that doesn’t contain her actual visage.  In this series of work, I have combined pictorial elements that express abstract and invisible ideas, with a focus on home, family and domesticity.

Using motif, colour and the common domestic materials, wallpaper and fabric, I have created a portrait.

The Printmaker

Ink on fabric

Surface and Symbol 1

Paint and ink on wallpaper

2400mm h x 1500mm w

Surface and Symbol 2

Paint and Ink on Wallpaper

2400mm h x 1500mm w

Kerry Reddy

Kerry Reddy is a graduating Visual Arts student majoring in textiles. Kerry works mainly with silks and transparent fabrics as she likes to show fragility, layers and an in-between space. Kerry is interested in exploring ways to make connections and to show a sense of belonging. Kerry is also a quilter/printmaker.

She was the 2012 recipient of the Julie Obren Scholarship for a returning Visual Arts student whose work showed great promise for continued success.

Pillars of Belonging

“Connection is why we are here, it gives purpose and meaning to our lives”.

Brene Brown

Pillars of Belonging reference my location as a New Zealander, my turangawaewae: the place where I stand tall and feel connected.

I use silk and transparent fabrics to show the vulnerability and the fragility of our relationships and how we must not take for granted our connections to others but appreciate and nurture how truly precious they are. 

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Pillars of Belonging 1

Silk, cotton, silk tissue, silk organza. Screen printed

200cm h x 31cm in diameter

Pillars of Belonging 2

Silk, cotton, silk tissue, silk organza. Screen printed

200cm h x 31cm in diameter

Pillars of Belonging 3

Silk, cotton, silk tissue, silk organza. Screen printed

200cm h x 31cm in diameter


Camille Walton

My work never really starts with a clear concept but rather comes from a process of play; I find by starting with a concept often works can feel contrived. I work instinctively with materials that excite me, this is one of the reasons I enjoy using soft wax as I can respond quickly and spontaneously to the piece I am working on. I let my influences, which I have gained over many years, naturally emerge in my work. I am attracted to the organic forms of nature and also derive a lot of inspiration from painters, such as Richard Diebenkorn, Monet, Joan Mitchell, and Robert Rauschenberg, with their use of colour, line, and structure. I come from a painting background, and like the idea of turning paintings and sculptures into wearable work which the owner can bring with them where ever they go.

The idea of finding lost treasure is another idea which has always fascinated me. Through the effects and colours I am achieving on the metal and the combination of other materials my pieces look as though they have been discovered in the ground where flowers, weeds, and gems have started growing onto them. I also like the idea of my work to look like it could be ancient pirate treasure, which could have a romantic or adventure story attached.

1.Untitled, Ring (2012)

Oxidized sterling silver, enamel

2.Untitled, Brooch Pin (2012)

Oxidized bronze, enamel, enamel paint

3.Untitled, Ring (2012)

Oxidized bronze, enamel, enamel paint

4.Untitled, Brooch (2012)

Oxidized bronze, enamel, enamel paint

Keri-Mei Zagrobelna

‘Ko taku reo taku ohooho, ko taku reo taku mapihi mauria’.

‘My language is my awakening, my language is the window to my soul’

(Maori proverb)

I use jewellery as my language and speak through my hands.

My eyes hear my thoughts and translate


bronze, brass, copper, patina and cotton.

height:60mm  width:66mm  depth:25mm


bronze, brass, copper and patina.

height:39mm  width:66mm  depth:20mm


Patricia Nurchandra

Patricia offers a vision of art that is culturally engaged and morally aware.

She dedicates much of her time to using art as a vehicle for advocating animal liberation movement and to celebrate the many and challenging differences between the East and the West by presenting bi/trans cultural perspectives.

Artist Statement

Hang On There

The veterinary profession is uniquely embroiled with moral & ethical dilemmas because animals are legally defined as ‘property’ in the practice – which can be contra to the veterinarians’ personal beliefs. Divided between what ought to be done and what the vet actually does.

This work offers trans-cultural translation of the conflicts they face on the job through the two opposing scrubs. The repeat pattern designs are derived from the traditional Indonesian cloud pattern which interprets freedom, whereas the other is formed from an ancient Javanese script that created a chain-like pattern conveying moral entrapment.

Which one to wear?

Installation of digital surface design

Polycotton, polypropylene, chrome, rubber

Hang On There 1

71cm x 59cm


Hang On There 2

71cm x 59cm


Amelia Pascoe

Originally trained in the sciences, and with a long and varied career working in science-based organisations, Amelia has over the years been making an active transition into the visual arts. Working on a small scale, and using jewellery techniques Amelia’s work straddles the boundaries of object and adornment. Amelia was the 2011 recipient of a New Zealand Jewellery Manufacturers Federation Student Award of Excellence, and the 2010 recipient of the Julie Obren Scholarship for a returning Visual Arts student whose work and work ethic showed great promise for continued success.  

Artist Statement: Post-conception, pre-completion: From A to B via D

Untitled: Necklace & Stand

Necklace: Brass, paint, hand-plaited silk cord [115 x 45 x 10mm]

Stand: Mixed woods, brass [440 x 140 x 70mm]

Untitled: Scaffold Stand

Brass [580 x 280 x 65mm]

Amelia Pascoe