Cloth 2023
22 July – 12 August 2023
Alice Alva
Alice Alva
1. Supermarket flowers #1 Cotton, wool and metallic thread on plastic canvas; Dia300 x D30mm $790
Alice Alva
Alice Alva
2. Supermarket flowers #2 Cotton, wool and metallic thread on plastic canvas; Dia300 x D30mm $790
Alice Alva
Alice Alva
3. Cosmos Cotton, wool and acrylic thread on plastic canvas; Dia300 x D30mm $790
Sulieti Fieme'a Burrows (Tongan)
4. Heilala kupesi, 2023 Tu’aniu, pandanus, kaka, kavele’ipulu and bamboo cotton; 210 x 210mm $595
This poi is inspired by the proverb "Ko te awa, ko au" or "I am the river." This is a statement of identity and connection to the natural world, we use whakatauki or proverbs like these to express our deep relationship with the land, our rivers and the natural world around us.
There is an interconnectedness between us and the taiao, nature. It highlights how the well-being of the people is intrinsically linked to the well-being of the natural environment. By saying "Ko te awa, ko au," an individual is proclaiming their unity with the river, acknowledging that they are part of its life force and that their identity is intertwined with its existence. I was raised on the banks of the Uawa-nui-o-ruamatua River in Tolaga Bay, Uawa where I spent many days and nights. Our waterways throughout the years providing sustenance and nourishment for my family and generations that came before me.
Whiauna Fiona Collis (Te Aitanga-a-Hauiti, Te Whānau a Apanui, Ngāi Tūhoe) Identity & Connection
5 Ko Au Ko Te Awa, 2022 Muka and artificial sinew; 140 x Dia75mm, full L1910mm $4450
This poi was created in celebration of Matariki 2022 which is our first public holiday that celebrates Te Ao Maori.
Matariki refers to the Māori New Year, which is marked by the rising of the Pleiades star cluster in the pre-dawn sky during the winter months in New Zealand Aotearoa.
Matariki holds significant cultural and spiritual importance for Māori. Traditionally, it was a time to acknowledge the end of one agricultural year and the beginning of the next, to pay respects to ancestors and the dead, heralds a time of joy and peace and to celebrate new beginnings. It is seen as a time of reflection, connection, and renewal.
Whiauna Fiona Collis (Te Aitanga-a-Hauiti, Te Whānau a Apanui, Ngāi Tūhoe)
6. Mānawatia a Matariki, 2022 Muka and artificial sinew; 140 x Dia75mm, full L1845mm $4450
Thriving! This artwork represents the powerful resurgence of indigenous peoples reclaiming their language, arts, and education. Across our land, the vibrant voices of our indigenous communities echo through revitalized languages, spoken, sung and taught with pride. Through intricate artistic expressions, our cultural heritage blooms, connecting past, present, and future. Education becomes a catalyst, empowering our people to embrace their whakapapa and ignite a flame of resilience and self-determination. Witnessing the strength and vibrancy of our people as we reclaim our identity, reclaim our voice, and thrive!
Whiauna Fiona Collis (Te Aitanga-a-Hauiti, Te Whānau a Apanui, Ngāi Tūhoe)
7. Thriving! 2022
Muka and artificial sinew; poi 135 x Dia70mm, full L1845mm $4450
Christopher Duncan
Christopher Duncan
Christopher Duncan 8. Elephant Bag, 2023 Handwoven cotton, tencel and silk
$450 410 x 260mm (with tassels), H955mm with handle
Finn Ferrier
Finn Ferrier
Finn Ferrier
Finn Ferrier
32. Blastoid Garland, 2022 cotton rope, steel rod, cotton velvet; work 400 x 750mm $1100 overall 500 x 1000mm
Tui Emma Gillies (Tongan, Pakeha)
Tui Emma Gillies (Tongan, Pakeha)
Tui Emma Gillies (Tongan, Pakeha)
Tui Emma Gillies (Tongan, Pakeha)
9. Ancient Octopus of the Ocean, 2023 $895
Tongan Tapa cloth, kupesi, dye and red earth (umea) and ink; H380 x L360mm
Jane Groufsky
Jane Groufsky
10. Daisy Chain cushion Hand painted textile ink on dupion silk with feather cushion inner $350 380 x 380 x 150mm
Jane Groufsky
Jane Groufsky
11. Lawn Flowers cushion Hand painted textile ink on dupion silk with feather cushion inner $350 380 x 380 x 150mm
Serene Hodgman (Samoan)
12. ‘Aua le fefe pepe keke’ (Don’t be afraid baby cake), 2023
$2800 embroidered silk ribbon on purchased plastic mats; L H600 x W405 x D35mm
Jay Hutchinson
Jay Hutchinson
Jay Hutchinson
Jay Hutchinson
Jay Hutchinson
13. Black electrical box with graffiti Hand embroidery on cotton drill, with painted mount $3550 H605 x W260 x D210mm
Abigail Aroha Jensen
Abigail Aroha Jensen
(Ngāi Tāmanuhiri - Rangiwaho, Ngāti Porou, Te whānau-a Ruataupare, Te whānau-a Tūwhakairiora, Ballyclare, Count Antrim and Belfast)
14. Agnes’ daydream, 2023 Hand-painted silk scarf; L1450 x W930mm
$255
Michelle Hinekura Kerr (Te Aitanga a Hauiti)
Michelle Hinekura Kerr (Te Aitanga a Hauiti)
Michelle Hinekura Kerr (Te Aitanga a Hauiti)
Michelle Hinekura Kerr (Te Aitanga a Hauiti)
Michelle Hinekura Kerr (Te Aitanga a Hauiti)
$2500
Harakeke, Muka, Teri dye & Liquid gold leaf; H940 x variable width
The net of Taramainuku is a constellation of stars. Taramainuku casts his net down to earth daily to gather the souls of the people who have died. During Matariki Taramainuku take all the souls he has gathered during the luna year and throws them into the sky to forever become stars. This is the origins of the saying "kua wheturangihia koe" you have now become a star.
Michelle Hinekura Kerr (Te Aitanga a Hauiti)
15. Te Kupenga a Taramainuku (the net of Taramainuku), 2023
Cora-Allan Lafaiki-Twiss (Maori, Niuean - Ngapuhi, Tainui/ Alofi, Liku)
Cora-Allan Lafaiki-Twiss (Maori, Niuean - Ngapuhi, Tainui/ Alofi, Liku)
Cora-Allan Lafaiki-Twiss (Maori, Niuean - Ngapuhi, Tainui/ Alofi, Liku)
16. Matariki whetu II, 2023 Whenua Pigments and Kāpia ink on Hiapo; 320 x 490mm $3200
Cora-Allan Lafaiki-Twiss (Maori, Niuean - Ngapuhi, Tainui/ Alofi, Liku)
Cora-Allan Lafaiki-Twiss (Maori, Niuean - Ngapuhi, Tainui/ Alofi, Liku)
Cora-Allan Lafaiki-Twiss (Maori, Niuean - Ngapuhi, Tainui/ Alofi, Liku)
17. Matariki whetu III, 2023 Whenua Pigments and Kāpia ink on Hiapo; 390 x 490mm $3200
Cora-Allan Lafaiki-Twiss (Maori, Niuean - Ngapuhi, Tainui/ Alofi, Liku)
Cora-Allan Lafaiki-Twiss (Maori, Niuean - Ngapuhi, Tainui/ Alofi, Liku)
Cora-Allan Lafaiki-Twiss (Maori, Niuean - Ngapuhi, Tainui/ Alofi, Liku)
Cora-Allan Lafaiki-Twiss (Maori, Niuean - Ngapuhi, Tainui/ Alofi, Liku) 18 Matariki whetu VI, 2023 Whenua Pigments and Kāpia ink on Hiapo; 370 x 490mm $3200
Cora-Allan Lafaiki-Twiss (Maori, Niuean - Ngapuhi, Tainui/ Alofi, Liku)
Cora-Allan Lafaiki-Twiss (Maori, Niuean - Ngapuhi, Tainui/ Alofi, Liku)
Cora-Allan Lafaiki-Twiss (Maori, Niuean - Ngapuhi, Tainui/ Alofi, Liku)
19. The last sunset, 2023 Whenua Pigments and Kāpia ink on Hiapo; 690 x 480mm $4000
Cora-Allan Lafaiki-Twiss (Maori, Niuean - Ngapuhi, Tainui/ Alofi, Liku)
Cora-Allan Lafaiki-Twiss (Maori, Niuean - Ngapuhi, Tainui/ Alofi, Liku)
20. The harvests in between, 2023 Whenua Pigments and Kāpia ink on Hiapo; 550 x 620mm $4000
Cora-Allan Lafaiki-Twiss (Maori, Niuean - Ngapuhi, Tainui/ Alofi, Liku)
Cora-Allan Lafaiki-Twiss (Maori, Niuean - Ngapuhi, Tainui/ Alofi, Liku) 21 plate of fish bones, 2023 Whenua pigments and Kāpai ink on Hiapo; 485 x 325mm $3200
Alison Leauanae (Samoan, Scottish)
Alison Leauanae (Samoan, Scottish)
Alison Leauanae (Samoan, Scottish)
22. Pasese - Echoes of Home, 2023 $3500
Cotton hand-stitched on paper; 775mm x 620mm Stained Tasmanian oak frame, with anti-reflective glass
The ‘Pasese’ (Samoan for ‘fare’ or ‘passage’) series, references the hole punch shapes punched into tickets by bus drivers each with a unique identity and mark - providing proof of interaction with that individual as part of the commute. In the latest development to the series these shapes become motif representative of migration stories speaking of passage and journeys of people from a place of origin or homeland to a destination or land of promise. The motif in this work reminiscent of the thistle flower references the artist’s Scottish heritage and the migration journey of her great grandparents to Te Whanganui-a-Tara Wellington, New Zealand.
Bronwyn Lloyd
Needlepoint Imperative: CURVE
Teal Tray
23. Glasses Case (pink vase) wool, tapestry canvas, linen; L175 x W60mm $350
24. Gasses Case (maroon jug) wool, tapestry canvas, linen; L175 x W65mm $350
25. Glasses Case (yellow vase) wool, tapestry canvas, linen; L170 x W65mm $350
Bronwyn Lloyd
29. Cuff (foliage and flowers) wool, tapestry canvas, silk, dome fastening; L232 x W50mm $350
27. Cuff (blue arches) wool, tapestry canvas, silk, dome fastening; L234 x W48mm $350
28. Cuff (scallop shells) wool, tapestry canvas, silk, dome fastening; L235 x W52mm $350
Bronwyn Lloyd
29. Cuff (foliage and flowers) wool, tapestry canvas, silk, dome fastening; L232 x W50mm $350
27. Cuff (blue arches) wool, tapestry canvas, silk, dome fastening; L234 x W48mm $350
28. Cuff (scallop shells) wool, tapestry canvas, silk, dome fastening; L235 x W52mm $350
‘Warwick Freeman once produced an exhibition of jewellery around a single imperative: CARVE. Later, he developed this exercise into a workshop for jewellery students at Unitec, issuing the class with the imperative WHITTLE. The idea of the exercise, Freeman explained, “is to engage in a making activity with no reason, no mind, no story,” and to keep the hands moving so that the mind can be free. This allows the “narrative to get made in the making.”
I thought it might be fun to apply Freeman’s imperatives exercise to the handcraft of needlepoint, so I came up with a list of imperatives that I felt had potential to expand the possibilities of this craft form in interesting ways: randomise, scatter, festoon, curve, shape, foliate, tuft, pierce, stack. I wrote the nine imperatives on cards, put them in a box, and drew one out: CURVE.
A curve is a form that needs to be imposed on the grid structure of the needlepoint canvas. It is not a natural fit. I embraced my chosen imperative by incorporating curved jugs and vases into the designs for the colourful group of cuffs and glasses cases. Circles and semi-circles abound, along with a stack of scallop shells, arches, foliage, and flowers.
The nine pieces in Needlepoint Imperative: CURVE, are displayed on vintage mahogany trays, upcycled by designer Katy Wallace [Insta: wallacemckinnon_nz].” Bronwyn Lloyd, 2023
Victoria McIntosh
Victoria McIntosh
Victoria McIntosh
33. The Desserts of Discontent: Cake #1, 2023
$1200
Found silverware, secondhand spanx, vintage baking utencils, knicker elastic, fresh water cultured pearls, paint; 190 x 225 x 225mm.
Victoria McIntosh
Victoria McIntosh
33. The Desserts of Discontent: Cake #2, 2023
$1200
Found silverware, secondhand spanx, vintage baking utencils, lace, fresh water cultured pearls, paint; 270 x 145 x 145mm.
Victoria McIntosh
Found silverware, secondhand spanx, knicker elastic, fresh water cultured pearls,
Victoria McIntosh
35. The Desserts of Discontent: Cake #3, 2023
$1200
paint; 285 x 165 x 165mm
Liz Mitchell
Natural, undyed strong Romney wool, wet- and needle-felting techniques; 1200 x 1400mm
A bespoke, limited-edition rug created using the ancient textile-making technique of felting, a process of binding which formulates raw wool fibres into a textile, through a combination of water, soap, and friction.
Liz Mitchell
36. Furrowed Cross, 2023
$9500
Isaac Te Awa (Ngāpuhi, Kāti Māmoe, Kai Tahu, Waitaha)
Isaac Te Awa (Ngāpuhi, Kāti Māmoe, Kai Tahu, Waitaha)
Isaac Te Awa (Ngāpuhi, Kāti Māmoe, Kai Tahu, Waitaha) 37. Feathered Hei, 2023 Weka, peacock, muka beech, pebble; L720mm $2120
Isaac Te Awa (Ngāpuhi, Kāti Māmoe, Kai Tahu, Waitaha)
Isaac Te Awa (Ngāpuhi, Kāti Māmoe, Kai Tahu, Waitaha) 38. Feathered Hei, 2023 Titi, Toroa, muka, beach pebble; L840mm $2475
Isaac Te Awa (Ngāpuhi, Kāti Māmoe, Kai Tahu, Waitaha)
Isaac Te Awa (Ngāpuhi, Kāti Māmoe, Kai Tahu, Waitaha)
39. Feathered Hei, 2023 Weka, Rakiraki, Muka, Pebble; L800mm $2120
Jude Te Punga Nelson (Te Āti Awa)
Jude Te Punga Nelson (Te Āti Awa)
Jude Te Punga Nelson (Te Āti Awa)
Jude Te Punga Nelson (Te Āti Awa)
Jude Te Punga Nelson (Te Āti Awa)
40. Rerehua, 2023
Muka, Pheasant feathers; Paru (iron mud dye), Teri dye; 340 x 230mm w handle H405mm D15mm
A finely woven muka kete with three panels of pheasant neck feathers enclosing two rows of Taniko.
$4000
May Trubuhovich
May Trubuhovich
May Trubuhovich
41. Portal III, 2022/23 cotton hand embroidery, acrylic ink on cotton table napkin; 430 x 430mm $2500
May Trubuhovich
May Trubuhovich
42. Waterfall, 2022 cotton hand embroidery, acrylic ink on cotton table napkin; 430 x 430mm
$2500
May Trubuhovich
May Trubuhovich
May Trubuhovich
43. Metamorphosis, 2022/23 cotton hand embroidery and acrylic ink on cotton table napkin; $2500 430 x 430mm
“This trio of works from the Portals series describes a soul’s journey of transformation. Even times of chaos and uncertainty hold their own mysterious kind of beauty. The works incorporate ink painting and intricately layered hand embroidery. Many crisscrossing threads creating a swirling current that enmeshes the central figure, drawing them towards a mysterious, transformative void. As we view the works from different angles, the subtle changes in available light reveal a use of shallow relief. While working I listened to a lot of piano music, and thought a lot about lines, curves, the pen tool in Photoshop and Illustrator, and the amusing similarities with my long-ago freelance work as an inbetweener in animation. Partway through making these works, I started reading Kurangaituku by Whiti Hereaka; I found her depiction of the other-worldly incredibly inspiring. The phrase “A hum of recognition”, which is repeated frequently throughout the book, particularly resonated for me.” May Trubuhovich, 2023
Kathryn Tsui
Kathryn Tsui
44. Meander on Houndstooth, 2023
$1650 glass beads, mercerised cotton, waxed thread, framed; W235mm x H290mm x D38mm
Kathryn Tsui
Kathryn Tsui
45 Checkerboard Damask on Tweed, 2023
$1650 816 glass beads, mercerised cotton, waxed thread, framed; W235mm x H290mm x D38mm
Reworking and combining a set of patterns to consider the spaces textiles and patterns occupy in society. Houndstooth relates to both high end fashion and traditional functional camouflage and is combined with the Cloud and Thunder pattern (yunwen and leiwen) or the Meander pattern as it is known in the West. Meanders are common decorative elements in Greek architecture and Roman art. It occurs in Chinese art from Neolithic time and appears in prehistoric Mayan design motifs in the western hemisphere, centuries before any European contacts.
Tweed originally a practical peasant fabric before it was symbol of wealth and royalty, is paired with a checkerboard Damask draft notation by Anni Albers in her seminal publication ‘On Weaving’. Damask is a luxurious and technical weave that is thought to have originated Tang Dynasty China, circa 300BC and the name is derived after the city of Damascus which was on the Silk Road, and it is one of the five basic weaving techniques from early Middle Ages-era Byzantium and the Middle East.” Kathryn Tsui, 2023
Jasmine Tuia (Sāmoan)
Jasmine Tuia (Sāmoan)
Jasmine Tuia (Sāmoan)
Jasmine Tuia (Sāmoan)
It is what it is series, 2023
47 Tapa vulu yarn, tapa cloth (unlayered) H375 x W305mm
$1160
Jasmine Tuia (Sāmoan)
Jasmine Tuiā (b. 1997), Apia Sāmoa is a tapa maker (paper mulberry, bark cloth) who uses embroidery and stitching to think about Moana cultural memory. From the villages of Matautu Lefaga, Falefa Anoama’a and Malifa Sāmoa, Jasmine explores her familial connections to these places through Sāmoan techniques of storytelling and siapo making. Her curatorial and community facilitation passions involve collective talanoa (conversations) and community collaborations.
Jasmine Tuia (Sāmoan)
Jasmine Tuia (Sāmoan)
Jasmine Tuia (Sāmoan)
Jasmine Tuia (Sāmoan)
It is what it is series, 2023 48. Tapa lavalava yarn, tapa cloth (unlayered) H850 x W1360mm $1510
I have 3 pieces of stitched tapa here. All 3 are framed with hand stitched yarn; two with yarn tassels, imitating the yarn decorations of a falalili’i, Sāmoan sleeping mats, and one with embroidered text. The 2 tasseled tapa works draw inspiration from Sāmoa’s weaving practices of domestic mats and its yarn decorations. The embroidered text “O le ulupo’o ā o le ulupo’o” is a Sāmoan expression (iykyk) “it is what it is” and exudes the essence of Sāmoan sense of humor, honoring the mundane life and everyday interactions within our artistic practices; a lighthearted approach to sharing tapa and siapo stories for me as a Sāmoan artist.
All three pieces of tapa cloth are cut from the same paper mulberry tree bark, highlighting the cloth texture and age; an indication of the bark-life and condition. The stitching technique follows my memory of yarn weaving techniques of falalili’i, taught to me by my great grandma. The yarn in these works are stitched onto tapa rather than woven into it as you would with falalili’i yarn. It means that the stitching technique is unique to tapa and is a new skill I’ve applied in my practice. This body of work is a series of ideas I’ve wanted to explore with tapa, which includes weaving of everyday activities, language, and practices into tapa or siapo making and its representations.
Arielle Walker (Taranaki, Ngāruahine, Ngāpuhi, Pākehā)
Arielle Walker (Taranaki, Ngāruahine, Ngāpuhi, Pākehā)
Arielle Walker (Taranaki, Ngāruahine, Ngāpuhi, Pākehā) 49. distance rewoven across a storm of stars, 2021-2023
$2500 Whatu, māwhitiwhiti, and pulled-threadwork on dye-sublimated hemp print; hand-painted cotton embroidery thread. 415 x 305mm
Joe Yen
Joe Yen
Joe Yen
Joe Yen
Joe Yen
Joe Yen
Joe Yen
Joe Yen
50 Kimono Patchwork Vest
51. Kimono Patchwork Shirt
$1600
$1100
Joe Yen
Old Japanese Kimono cotton, linen and silk. Reversible. Dry clean only. Made in Tāmaki Makaurau
Old Japanese Kimono cotton, linen and silk. Linen.Dry clean only. Made in Tāmaki Makaurau
Georgina May Young (Te Ūpokorehe, Whakatōhea, Irish)
Georgina May Young (Te Ūpokorehe, Whakatōhea, Irish)
Georgina May Young (Te Ūpokorehe, Whakatōhea, Irish)
52. Haeata hari (Dawn dance) 2023
Handwoven linen coloured with rata and kōtukutuku bark, walnut, uku and madder, cotton thread.
$5660
An avid gardener and textile artist, Young’s work is informed by the process of time, weaving literally and figuratively between ancestral knowledge and optimistic futures. Cataloguing and capturing the temporary, creating a life place of dreams, daily ritual, and a slow life, Young's work could be from an ancient civilisation carried close, found on a hillside or dug out of the mud.
