Emil McAvoy participated in Projects 2018.


PĀNiA! is so cool. Her chosen anonymity has led to some daring guesswork. PĀNiA! is legendary. She is not a wholesale fiction. She is a real person. She is a mystery. PĀNiA! has a sense of humour and plays games. She intrigues. PĀNiA! achieves critical success and peer recognition without being seen. PĀNiA! is brilliant. She embodies a sentiment urgently applicable to our time – that love and trust go together. PĀNiA! is so cool. PĀNiA! is represented by Mokopōpaki, Auckland.

Image: PĀNiA!, Self Portrait, 2018. Acrylic, tape, wood chip, sand, glue, pāua shell, seaweed, sea sponge on canvas. 24 x 32.5 x 7cm. Courtesy of the artist and Mokopōpaki, Auckland. Photo: Arekahānara.


Jade Parks participated in Projects 2018.


Christina Pataialii’s paintings operate between abstraction and representation, exploring the tensions that arise from merging culturally specific codes and visual languages. Pataialii’s practice moves through a series of spatial and material experimentations, navigating the relationship between proximity and distance as she explores aspects of identity and spaces of belonging.

Pataialii lives and works in Wellington. Recent solo exhibitions include: Home by Dark (2020) and Wouldn’t it be Nice, McLeavey Gallery (2019); Solid Gold, Te Tuhi, Auckland; Debt, RM Gallery, Auckland; Thoughts and Feelings, mother?, Auckland (all 2018). Recent group exhibitions include: A Place Apart, City Gallery Wellington- Te Whare Toi and This is a Library, Enjoy Contemporary Art Space, Wellington (2020).


Karen Rubado is an Auckland artist who is interested in the aggregation and transformation of found materials through hand-making. Her enthusiasm lies in the connections between intention and action, the real and imagined, and the imperfection that often characterises the handmade. Inspired by techniques of extemporising within a structure, her weaving practice encourages the unexpected and allows for spontaneity as a catalyst for discovery. She sees this as a subtle form of opposition to the authorial powers of tradition and the expectations emanating from both craft and contemporary art conventions.


Angela Tiatia
Samoan and Australian, born in 1973 in Auckland, New Zealand. Lives and works in Sydney.

Angela Tiatia explores contemporary culture, drawing attention to its relationship to representation, gender, neo-colonialism and the commodification of the body and place, often through the lenses of history and popular culture.

Tiatia has exhibited extensively both nationally and internationally. Her major solo exhibitions include Narcissus, Sullivan+Strumpf, Sydney (2019); The Fall, Margaret Lawrence Gallery, Melbourne (2019); Tuvalu, The Australian Museum, Sydney (2019); Walking the Wall, GAGPROJECTS, Adelaide (2017): Soft Power, Alaska Projects, Sydney (2016); Survey / Fā’aliga, Māngere Arts Centre – Ngā Tohu o Uenuku, Auckland (2016).

Important institutional group exhibitions, include National Gallery of Victoria Triennal, VIC (2020); Archi-Plus, Art Gallery of New South Wales (2020); Southern Transmissions: Contemporary Video Art From Oceania, Duolun Museum of Modern Art, Shanghai (2020); Paul Gauguin, Why are you angry?, Ny Carlsberg Glyptotek Copenhagen, Denmark (2020); After Us The Deluge, Kunst Haus Wien, Museum Hundertwasser, Vienna, Austria (2020); From all points of the southern sky: photography from Australia and Oceania, Southeast Museum of Photography, Daytona State College, Florida (2020); Refracted Reality, Perth Institute of Contemporary Art, Australia (2020). WATER, Queensland Art Gallery | Gallery of Modern Art, Brisbane (2019/2020); Intercambio, Cuba Biennial, Havana (2019), Tūrangawaewae: Art and New Zealand, Toi Art, Gallery of the Museum of New Zealand Te Papa Tongarewa, Wellington, New Zealand (2018/2020); After the Fall, National Museum of Singapore (2017); Countercurrents, Samstag Museum of Art, Adelaide (2017); Personal Structures, a collateral exhibition of the 57th Venice Biennial (2017); Under the Sun, Australian Centre for Photography, Sydney (2017) and the Eighth Asia Pacific Triennial of Contemporary Art (APT8), Queensland Art Gallery | Gallery of Modern Art, Brisbane (2015/16).

Angela Tiatia’s work is held in numerous public collections including the National Gallery of Victoria, Melbourne; Queensland Art Gallery | Gallery of Modern Art, Brisbane; Museum of New Zealand Te Papa Tongarewa; Australian War Memorial Museum, Canberra; and the Australian Museum, Sydney. She was awarded the prestigious Sidney Myer Creative Fellow (2019); Creative New Zealand Contemporary Pacific Artist Award (2018) and Ravenswood Australian Women’s Art Prize (2018). Tiatia has been a finalist in numerous prestigious awards, including the Edinburgh Short Film Festival, New Orleans Film Festival, Archibald Prize and Sir John Sulman Prize, and the John Fries Art Award.


Hannah Valentine holds a Master of Fine Arts from Elam School of Fine Arts. Her practice explores questions of the body, movement, and participation. Recent exhibitions include: New Perspectives, Artspace, Auckland, 2016; Flex, Te Uru Waitakere Contemporary Gallery, 2017; and Looking in, breathing out, Enjoy Public Art Gallery, 2018.


Tim Wagg (b. 1991, Masterton) is an artist currently based in Auckland, New Zealand. He graduated with with a BFA (Hons) from the University of Auckland’s Elam School of Fine Arts in 2013. Working across various mediums including video, installation, and digital printing, Wagg’s work explores the intersections of politics, identity and technology within the context of New Zealand. More specifically, his work considers the tangibility and intangibility of archives and histories, and examines the visual languages surrounding moments of political upheaval or change.

Selected shows include: Working Towards Meaning, Te Uru Gallery, Auckland (2020); Psychology For a Better World, curated by Victoria Wynne-Jones, Patara Gallery, Georgia (2018); The Order of Things, curated by Andrea Bell, Hocken Collections, Dunedin, (2018); The Tomorrow People, curated by Christina Barton, Stephen Cleland and Simon Gennard, Adam Art Gallery, Wellington, (2017); This Time of Useful Consciousness – Political Ecology Now, curated by Melanie Oliver, The Dowse Art Museum, Lower Hutt, (2017); False Paths, The Engine Room, Wellington, (2017); By the Laws of Chance, curated by Andrea Bell, Dunedin Public Art Gallery, Dunedin, (2016); NEW PERSPECTIVES with Simon Denny, Artspace, Auckland, (2016). Wagg was a Mccahon House Resident in 2019.