Micheal Do is a curator, programmer and writer working across Australia, New Zealand and Asia. His curatorial focus lies in developing thematic and immersive exhibitions that extrapolate research and artistic practices into contemporary contexts. He is curator of contemporary art at the Sydney Opera House, Australia and a curator of Projects at Aotearoa Art Fair, New Zealand.

His exhibition Soft Core, exploring soft and inflatable sculptures developed for Casula Powerhouse Arts Centre, Sydney, recently concluded its tour of twelve regional and rural galleries throughout New South Wales, Victoria and Queensland from 2016 – 2019. Micheal has curated Not Niwe, Not Nieuw, Not Neu (2017) and The Invisible Hand (2019) for 4A Centre for Contemporary Asian Art and among other exhibitions curated 5X5: The Artist and The Patron (2018), a survey of 5 artist/collector relationships for Penrith Regional Gallery & The Lewers Bequest. He was the 2018 recipient of The Freedman Foundation’s Travelling Scholarship for Curators and the recipient Museums and Galleries NSW Artist and Curator Residency Grant in 2016. His writing appears in publications including 4A Papers; Art Collector Australia; Art Monthly, Australasia; Art Review Asia, Artist Profile Magazine, S+S Magazine, VAULT Magazine, and 10 Magazine, along with artists’ catalogues.


Xander Dixon (b. 1994, Christchurch, New Zealand) is an artist based in Wellington whose practice explores discourse around natural conservation and landscape representation. A recent exhibition at Artspace Aotearoa, Sharing Directions (2019), considered the inherent contradictions of built objects within the conservation estate, where economic, ecological and scenic values clash with cultural histories. Xander has also shown at Enjoy Contemporary Art Space and the Wellington Museum. He graduated from Massey University in Wellington with a BDes (First Class Hons) in Photography and Journalism in 2017.


Rozana Lee is a multidisciplinary New Zealand artist, of Indonesian-Chinese heritage who centres her research and practice on the creation of contemplative space where cultural dynamism can be felt as togetherness or belonging, without being grounded in homogeneity. She holds an MFA with First Class Honours from Elam School of Fine Arts and a BVA from AUT. Recent exhibitions include Te Wheke: Pathways Across Oceania, Christchurch Art Gallery (2020-2022), Home is Anywhere in the World, Meanwhile, Wellington (2020), New Work, Melanie Roger Gallery, Auckland (2020), Project 2020: Space as Substance, Auckland Art Fair (2020), Future Flowering, Play_Station, Wellington (2020), Reconfigure(d), Guangzhou, China (2019), Belonging, Window Gallery, Auckland (2019) and Two Oceans at Once, St Paul St Gallery, Auckland (2019).
Lee has been a finalist in a number of New Zealand art awards; Wallace Art Awards (2019, 2018), Parkin Prize Drawing Award (2019, 2016), Molly Morpeth Canaday Award: Painting & Drawing (2017, 2015), Estuary Art and Ecology Prize Awards (2018, 2017) and Walker & Hall Waiheke Art Award (2017, 2016). She was the joint-winner of People’s Choice Award, Estuary Art and Ecology Prize Awards 2018 and Runner-up for Henrietta and Lola Anne Tunbridge Water Colour Awards 2018. Lee attended two artist residencies in Asia: Instinc Singapore (2016) and Making Space, Guangzhou, China (2019). She is part of the current curatorial team of Window Gallery, The University of Auckland. Her works are held in private collections overseas and in New Zealand, including the Wallace Arts Trust and Christchurch Art Gallery Te Puna o Waiwhetū.
Recent Reviews, Interviews and Publications:

Home is Anywhere in the World, exhibition review, Art New Zealand, Summer 2020- 2021, pg. 42.







Website: www.rozanalee.com


Peng Jiheng (b. 1994, China. Lives and works in Auckland, New Zealand) is an artist working to unpack the complex nuances of Chinese identity through sculpture and digital artworks. Drawing references to the internet, computer gaming, stereotypical tropes of Chinese identity, Jiheng creates wry situations and contexts that test audience understandings of identity, memory, association and cultural understandings. Jiheng has previously exhibited at Northart, Auckland (2019), Meanwhile Gallery, Wellington (2018), George Frasser Gallery, Auckland (2017) and Q Theatre, Auckland (2017).


Mark Schroder (b. 1980, Auckland, New Zealand) lives and works in Auckland. Mark Schroder holds an MFA from Auckland University of Technology (2015). He creates montage-spaces of aspiration and disappointment, riffing on malls, storage facilities, corporate foyers, waiting rooms, motels, parking buildings, and locker rooms, as well as banking and finance structures. His recent exhibitions include; Adjacent Industries (Rainfades), Fuzzy Vibes (2015), Swimming the 109, Glovebox (2016); The Hive Hums With Many Minds (group) and Te Tuhi offsite (2016).


Inga Fillary’s unrealised contribution to the 2020 Projects section “Space as Substance,” a per-formative installation designed to evolve over the course of the fair, was intended to offer an experience of dirt as deliberated mayhem, to undermine and question systems of social order. By bringing mud and dirt into the gallery space, it becomes displaced and traverses the divide between form, order and the materially anarchic. Dirt falls between the gaps in the social framework, it is formless, outside categorisation and as such has the power to destabilise social structures. Fillary’s recent works represent attempts to operationalise the highly abstract theories found in modern philosophy. Low hierarchy substances, and materials disturbed from their former authority are the cornerstone of Fillary’s practice. When utility is removed, objects are freed to become something other, images can be drawn away from fine art media to subtly reposition the way ‘messages’ can be transmitted, the material is very important. Deeper realities that lie beneath the per-ceivable surfaces emerge and a material ‘life’ is uncovered. The medium is the message. Fillary experiments with the onslaught of time on material, she addresses the burden of humankind upon the earth and the possibility of aesthetic experience to provide an oblique approach to a veiled reality.


“Fillary explores speculative realism and the darkly weird in her sculpture, painting and per-formance practices. Materially oriented, her work examines abjection, the periphery of social codes of normativity and the exhilaration of destruction. She holds a PGDipFA (Distinction) from Elam School of Fine Arts.”

– Micheal Do, Curator Space as Substance, Auckland Art Fair 2020

“Fillary’s architectonically layered images and corresponding installation mimicking the ma-terials used in her oeuvre effectively extend and question the notion of painting. The aesthetic experience itself, not the artwork, is the allegory. Using random materials (human air, clay, soil, rust, dirt,…) as building blocks in her mark making result in an exhilarating tension. All these components of breathing form are transformed into formless paintings accentuating the battle between sanitary, order and despicable anarchy. This stylistic symbolism … and limited colour pallet based on earth hues act as temporal signifiers of utter destruction. Fillary is an alchemist showcasing materials in their natural form and the fragile honesty of her work contrasts with the stark subject matter in her paintings. The textural and visually tactile work alludes to the heavy burden of sorrow and corroding dialectic between the spiritual formless and anarchic material. In the end it offer us an allegorical reading related to biology and breaking down social taboos around destruction and death.”

– Arthur Buerms, Curator Death, The Nomadic Art Gallery 2020


Selected exhibitions include: Auckland Virtual Art Fair, Projects “Space as Substance” (2020), The Nomadic Art Gallery “Death” (2020), JB Contemporary “Art to Match the Curtains” (2020), Mothermother (2019), Allpress Studio “Fine Threads Thick Colour” (2019), Uxbridge Arts and Culture “Showcase” (2019), Green Street Projects “New Paintings” (2019), Elam Project Space “Goofer Dust” (2019), Elam Graduate Show “Dirt” (2018), George Fraser Galleries “Inlookout” (2018).






Kirsty McNeil lives and works in Auckland, New Zealand. Kirsty McNeil works in sculpture, photography and moving image. Her research uses everyday urban mobility, such as walking and public transport, as a model to critique the built environment. Current works are the result of an engagement with walking as a spatial practice. Surfaces of footpaths that are sites of urban mobility and other everyday urban textures are photographed then abstracted using processes of photocopying and collage. After layering over papier-mâché armatures, the forms created offer possible alternative recordings and moulded impressions for place.


Hōhua Thompson (b. 1996 Wellington, New Zealand) lives and works in Wellington, New Zealand. Hōhua Thompson is an artist of proud Māori whakapapa and pākehā. Working with cultural heritage and material gained from his tūpuna, Thompson creates installation, sculpture and performance works that address the cultural hybridity experienced by Māori people in contemporary culture, with the aim to de-colonize the space in which I work and normalise this experience for others. He is currently undertaking a Masters of Fine Art at the Whitecliff College of Arts and Design, Auckland. His key exhibition history include Kirihou, Toi Māori Gallery, Wellington (2018) and Whitecliff Graduate Exhibition, Auckland (2018).