Blood from Stone by Josh Olley

The work depicts a man’s hand endeavouring to squeeze blood from stone — a metaphor for  perseverance and tenacity. “As an artist, the challenge of raising my family through stone sculpture has, at times, felt impossible — yet I feel I have achieved this. This work is  an encouragement to others to tackle the seemingly impossible.” – Josh Olley. 2025  The hand is sculpted true to form, embodying strength, tenacity, and determination. The sculpture is carved from a single stone block, ensuring unity of material and form.

Josh Olley was born in New Plymouth and works full-time from his studio in Luggate, Central Otago. Self-taught, he began carving in bone in 1997 while living in Wanaka, quickly gaining recognition for his meticulous attention to detail. As his practice developed, Olley transitioned into large-scale stone sculpture, particularly favouring argillite for its durability and ability to hold fine detail. In 2025 his work Hand Down won the People’s Choice Award at Sculpture in the Gardens and was acquired for permanent display at the Auckland Botanic Gardens.

DETAILS

Josh Olley
Blood from Stone, 2026
NZ Argillite
1660 × 700 × 600mm
Presented by ARTIS Gallery
$85,000

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Overture by James Rogers

Ethereal in essence yet solid in materiality, James Rogers is preoccupied with capturing the movements of nature through his twisting steel piping. His ability with a welding gun is akin to a Chinese ink master and his brush. Each form is inherently delicate, accentuated by solid ribbons of metal that anchor the work in space. Rogers juxtaposes the synthesis of nature’s rhythms within an implausible material. His vertical steel structures stand perfectly balanced. One work informs the next. His compositional power is built on a sculptor’s universal truth: the fight against gravitational pull.

Walcha based artist, James Rogers, is one of Australia’s most respected sculptors. He is a nineteen-time finalist in Sculpture by the Sea (NSW), four-time Wynne Prize finalist (AGNSW), and winner of the 2023 Cottesloe Sculpture by the Sea (WA). His practice represents three decades of public commissions and exhibiting history with some of the most respected galleries in the country.

DETAILS

James Rogers
Overture, 2024
Waxed red steel
2500 x 1300 x 1300 mm
Presented by Nanda\Hobbs
$65,000

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Koro by Reuben Paterson

Koro is a sculptural work from 2023. Crafted from cast aluminium, painted with automotive lacquer, and encrusted with glass crystals, it showcases Paterson’s ability to create sensational works across a diverse range of media. It was included in Paterson’s acclaimed 2023 exhibition The Only Dream Left held at City Gallery Wellington.

Through a diverse range of media, Reuben Paterson (Ngāti Rangitihi, Ngāi Tūhoe, Tūhourangi, Scottish) has been dazzling viewers for the past two and a half decades. His visually hypnotic and conceptually nuanced artwork has become widely known and celebrated, and he is now considered one of New Zealand’s pre-eminent contemporary artists.

DETAILS

Reuben Paterson
Koro, 2023
Cast aluminium with automotive paint and cut-glass crystals
739 x 679 x 1352mm
Presented by Gow Langsford Gallery
POA

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Healing a Busy World by Dibble Studio

Healing a Busy World acknowledges the return of native birds into the built environments of our cities. In this work we see Paul Dibble’s trademark use of flattened volume, references to building outlines and modern architecture interspersed by rectangular windows filled with light and hope. We also see for the first time a new rich green patina and the emblematic, symbolic sticks of healing kawakawa reclaiming the city. Plural metaphors abound; narrative messages and images of optimism emerge.

Conceived by Paul and Fran Dibble in 2012, Dibble Studio works were first released in 2013 with a small suite of applied artworks. That earlier foundation of Dibble Studio culminated in, nearly two years after Paul Dibble’s death, the first solo exhibition being held at Milford Galleries, Queenstown (in September 2025). Staffed by the very same technicians and as before with all foundry activity overseen by Fran Dibble, Dibble Studio continues as previously: and Paul remains in spirit.

DETAILS

Dibble Studio
Healing a Busy World, 2025
Cast bronze
2190  x 1370 x 820 mm
Presented by Milford Galleries
Edition of 2 + 1 AP
POA

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ARLOS, SILK & RYOS by Ben Pearce

Ben Pearce’s large-scale sculptures celebrate nature, its strength, and its delicate balance. The boulder-like sections of his towering forms seem tethered to the firmament yet soar into the air like the supports of some natural colonnade, the deep earthy sienna seeming to weep at the maltreatment of the environment. At first seeming to be a stacked collation of objects, as viewing positions change the works undergo quite extraordinary metamorphosis: noticeably figurative aspects and character emerge giving them a sense of animated presence. Shapes and concepts emerge and disappear as the forms interact with the space around them.

Ben Pearce is a sculptor working primarily in bronze, and corten steel. Born in Palmerston North in 1982, he holds a BFA from the Whanganui Quay School of Fine Arts. He exhibits regularly in New Zealand, with works in the Sargeant Gallery collection and private collections internationally. He is working on his show internationally in Canada.

DETAILS

Ben Pearce
Corten Steel
Presented by Milford Galleries
POA

ARLOS, 2025
3040 x 1200 x 1200 mm

SILK, 2026
2150 x 900 x 900 mm

RYOS, 2026
2200 x 900 x 900 mm

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milfordgalleries.co.nz

Benthic Lungs by Caitlin Devoy

Benthic Lung reframes the diver’s tank as an interface within a liquid economy of objects, images, and bodies. Semi-translucent and loaded with everyday artefacts, it resembles what Steyerl calls “circuits of junk”—flows in which desire, waste, and identity collapse into one another. The tank becomes a container for circulating debris rather than air, exposing the unstable infrastructures that mediate contemporary life. In this suspended interior, Benthic Lung gestures toward a submerged condition where bodies, technologies, and cultural residues drift in perpetual, uncertain motion.

Caitlin Devoy lives and works in Whanganui-a-Tara (Wellington), Aotearoa (New Zealand). She holds an MFA with Distinction from Massey University. Her practice examines sculptural materiality in relation to the body. Her focus is on the tactile, seductive and kinaesthetic potential of materials, and their potential to engage the viewer in an embodied, rather than predominantly visual, experience.

DETAILS

Caitlin Devoy
Benthic Lungs, 2026
Silicone, rubber, polyurethane, PVC, steel, and found objects
250 x 300 x 1380 mm
Presented by Jhana Millers Gallery
$25,000

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Act of Suppression – Forced Union by Braddon Snape

This work is from the series of works titled Acts of Suppression. These inflated bodies of powder coated stainless steel are forced and formed by high pressured air. The materiality of the stainless steel throughout the inflation process captures the evidence of the pressure imposed – the steel under duress is witnessed. Simultaneously, rigid stainless steel bars bind the inflating bodies in an act of suppression. Suppression is imposed upon the freedom of the inflating form. 

Braddon Snape is a Newcastle-based sculptor whose practice spans sculpture and installation across galleries and public spaces in Australia and internationally. Central to his practice is a distinctive inflated steel process that transforms rigid material into subtle, organic forms. Over 25 years, he has built a reputation for conceptually driven, minimal works that explore place, history, and the natural world through a refined sensitivity to materials. 

DETAILS

Braddon Snape
Act of Suppression – Forced Union, 2026
Welded, inflated and powder-coated stainless steel, polished stainless steel hardware.
2200 x 1700 x 1500mm
Presented by Nanda\Hobbs
$60,000

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Indeterminate Line by Bernar Venet

Indeterminate Line is a steel form where bending and twisting balance control with chance. Loops coil and unravel, reflecting Venet’s decades-long exploration of lines, geometry, and the interplay of order, chaos, and material presence.

Born in France in 1941, Venet has been active since the 1960s and is widely regarded as a leading figure in conceptual and minimalist sculpture. His practice has consistently explored mathematics, logic, and industrial fabrication as primary subjects. Over decades, he has examined the line in manifold forms — from strict numerical arcs to the open-ended indeterminacy seen here.

DETAILS

Bernar Venet
Indeterminate Line, 2022
Steel
1950 x 2210 x 1300mm
Base: 1800 x 1800mm
Presented by Gow Langsford Gallery
POA

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Machines of loving grace by David McCracken

In this new 2026 work, the weathering corten steel surface has a rich, earthen patina. Corten is heavy and incredibly durable, with a patina meant to age naturally along with time and the elements. Though formally minimal, the circular form carries perceptual complexity. It operates as both object and aperture: a boundary that defines space and an opening that frames it. Light traces its circumference across the day, activating subtle shifts in tone and shadow. Monumental yet restrained, the work reflects McCracken’s enduring interest in balance, repetition, and the tension between solidity and illusion.

Renown New Zealand artist David McCracken (b. 1968) is known for large-scale sculptures that manipulate our perception of materials through process, repetition and proportion. Working primarily in steel, McCracken creates forms that appear to extend beyond their physical limits, drawing the viewer into a quiet contemplation of the processes involved.

DETAILS

David McCracken
Machines of loving grace
2026
corten steel
Presented by Gow Langsford Gallery
Price: POA
1800mm diameter

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Ngā Kura e Whā / The Four Lights by Anton Forde

Four pillars for a work which evokes the presence of guiding forces – treasured sources of knowledge. Each column dissected – creating deliberate fissures through which light is introduced. Light traces the contours of the surface and activates the interior of each form. The work celebrates individuality within a shared structure – illuminating a quiet vitality and reminding us that knowledge, memory and spirit are carried collectively.  The interplay of structure, division and light gestures that these four precious beacons stand in quiet relation to each other. 

Anton Forde (Ngāti Ruanui/Iwi Taranaki/Gaelige/Gaelic/English) is a Waiheke based sculptor with a Master of Māori Visual Arts – First Class Honours, from Toioho ki Āpiti – Massey University.  Grounded in meticulous observation, technical precision and a strong conceptual framework, Forde’s practice often draws from architectural, environmental,  or spatial references. Balancing formal restraint with subtle narrative tension, his work invites reflection on how we navigate and interpret the built and natural world. 

DETAILS

Anton Forde
Ngā Kura e Whā / The Four Lights, 2026
Presented by Föenander Galleries 

Stone 1, $20,000
1800mm. Base 1100 × 1100 mm

Stone 2, $30,000
Size: 2000mm. Base 1100 × 1100 mm

Stone 3, $40,000
Size: 2250mm. Base 1300 × 1300 mm
Price: $40,000

Stone 4, $50,000
Size: 2500 (h) with base 1400 × 1400

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foenandergalleries.co.nz

Kapahaka Queen by Ngaroma Riley

This work is a shout out to all the aspiring Kapahaka Queens — the ones who live and breathe haka, who learn their words on the bus, sing their waiata in the shower, practise their pukana in the mirror and who give their heart and soul to every performance.

Ngaroma Riley is an artist of Te Rarawa, Te Aupōuri, and Pākehā descent. She began her carving journey making Buddhist statues while working in Japan. Her work centres on Māori narratives, with a focus on retelling whānau, hapū and iwi stories through a wahine Māori lens. Ngaroma is known for her karetao (hand-carved puppets) and love of chainsaws.

DETAILS

Ngaroma Riley
Kapahaka Queen, 2024
Plywood, pāua, acrylic paint, marine ply thread
1600 x 1500 x 1500mm
Presented by Tim Melville
$12, 500

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Ka Mau, Ka Ora by Peata Larkin

Ka Mau, Ka Ora is an architectural expression of weaving that acknowledges and celebrates Hineteiwaiwa, Atua of Te Whare Pora (The house of weaving) and honours the creative and generative strength of wāhine Māori. Ka mau, ka ora speaks to holding fast, to live and endure. It reflects the mana of carrying knowledge forward. The forms repeated evoke Aramoana, the pathway to the sea, encouraging movement towards creativity and renewal and individually as Kaokao, offering safety and protection. Visitors are invited to walk beneath and through the structures, allowing light and shadow to fall across the body so that each person becomes momentarily woven into the work.

Peata Larkin’s work operates in a space between binary constructions – Māori/Pākehā, past/present, art/science, matter/spirit – weaving cultures and spheres of knowledge together. Larkin has created one of the largest ceramic artworks in Australasia that wraps around the side of the New Zealand International Convention Centre spanning 3,360 square mtrs.

DETAILS

Peata Larkin
Ka Mau, Ka Ora, 2026
Laser-cut stainless steel and corten steel
Each: 2400 x 3000 x 472mm
Overall: 2400 x 3000 x 3304mm
Presented by Two Rooms
POA

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Lalava ki he Uho – Connected to the Essence by Sione Faletau

Inspired by the Waitematā Harbour, Sione Faletau recorded its sounds and translated their frequencies into kupesi patterns. Formed through intersecting lines, the sculpture speaks to the DNA strand, symbolising the harbour’s life-giving essence. Lalava – meaning to bind – connects sound, place and identity into a site-specific expression of the harbour’s mauri. This is the first time Faletau has worked on a large-scale sculpture with his earlier works focused on digital and video works.

Dr Sione Faletau b. 1991, Auckland. Lives and works in Ōtara, South Auckland. Tongan multidisciplinary artist working across performance, sculpture, installation, video, and digital art. Faletau’s practice is grounded in Moana knowledge systems, drawing on the Tongan concepts of ongo (sound, feeling, presence) and kupesi (traditional patterns). His roots connect to the villages of Taunga, Vava’u and Lakepa, Tongatapu. Faletau holds a Doctor of Fine Arts from the University of Auckland (Elam School of Fine Arts, 2022).

DETAILS

Sione Faletau
Lalava ki he Uho – Connected to the Essence, 2026
Stainless Steel
2000mm. Base 1000 x 1000mm
$15,000

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ANZAC by Lisa Reihana

ANZAC references the Māori waharoa (gateway) and pare (lintel), traditional thresholds between the living and sacred spaces. Inspired by a family korowai (cloak), this tāniko pattern was made to honour WWII Ngāpuhi soldiers. The shimmering tapestry forms a contemporary gateway welcomes visitors, and commemorates ANZAC connections as it has been shown in both Australia and now Aotearoa.

Lisa Reihana is a leading Māori artist working across film, photography and installation for over four decades. Her work re-centres non-Western perspectives within colonial histories. Internationally exhibited, she represented Aotearoa New Zealand at the 2017 Venice Biennale with in Pursuit of Venus [infected], a landmark work in contemporary art.

DETAILS

Lisa Reihana
ANZAC, 2025
Shimmer-discs with mirror finish
Presented by Gallery Sally Dan-Cuthbert
Price: POA

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Work No.3953 by Martin Creed

Martin Creed’s Work No. 3953 consists of five stacked steel I‑beams, forming part of his Stack series, which orders everyday materials by size. Discarding function for form, the work’s simplicity frames life’s chaos with structure. Using industrial materials and minimalist clarity, Creed transforms ordinary elements into reflections on order, feeling, and the material world.

Martin Creed is an artist, musician, composer and performer. He has worked in film, installation, sculpture, painting, neon, theatre, and recorded music. Although rooted in the historical frameworks of conceptual art, what ties the disparate aspects of Creed’s practice together is an emotive desire to connect with an audience and with the wider world.

DETAILS

Martin Creed
Work No. 3953, 2026
Steel I-beam
1577 x 2248 x 228mm
Presented by Lett Thomas
POA

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lett-thomas.com