We are pleased to announce the eight artists that form the second phase of When The Dust Settles —

Mary-Louise Browne
Joyce Campbell
Judy Darragh
Claudia Kogachi
Julia Morison
Ann Shelton
Ella Sutherland
Yvonne Todd

When The Dust Settles has and will continue to be adapted to unfold digitally. We look forward to sharing a full catalogue of the works included with you soon, and hopefully, to inviting you back to our space to encounter them in person ahead of the fundraising auction planned for 19 October 2021.

The artists included in The have made significant contributions to our programme from our establishment in 1987 until today. We are extremely grateful for their tautoko and for the stories and knowledge they have brought to this initiative.

These artists have contributed notable works towards When The Dust Settles — some new, and some with storied exhibition and publication histories. These works will join the catalogue of a fundraising auction planned to generate the last necessary funds to complete three newly designed spaces in the Artspace Aotearoa basement.

Read more about the artists included in The and their relationships to Artspace Aotearoa below:

Ella Sutherland

Ella Sutherland (b. 1987, Tāmaki Makaurau Auckland) works across the fields of visual art and publishing. Sutherland utilizes printing, painting, and installation to analyse and activate complex reading systems across built and digital environments. Her most recent work has drawn on extensive research periods spent in specialist archives, through which she continues to explore the relationship between language and social history and the evolving role of technology in disseminating thought.

Ella Sutherland graduated with a Master of Fine Arts from Ilam School of Fine Arts, University of Canterbury, Ōtautahi Christchurch (2012). Since graduating her work has been shown widely throughout Aotearoa New Zealand and international venues. Recent exhibition highlights include Every Artist, City Gallery, Te Whanganui-a-Tara Wellington (2021); Whether the Weather, ANKLES at Carriageworks, Land of the Gadigal peoples of the Eora Nation Sydney (2021); FOLDS, Sumer, Tauranga (2020); Letters, Auckland Art Fair 2020 Virtual Fair (2020); Friendship as a Way of Life, UNSW Gallery, Land of the Bidjigal and Gadigal peoples of the Eora Nation Sydney (2020); Bookworks, Monash Museum of Art, Land of the Wurundjeri and the Boonwurrung peoples of the Kulin Nation Melbourne (2020); Returns, 12th Gwangju Biennale, Gwangju (2019). Sutherland has been awarded residencies with Banff Centre for Arts, Banff; International Art Space, Land of the the Whadjuk Nyoongar peoples Perth; Art Gallery of New South Wales Studio, Land of the Bidjigal and Gadigal peoples of the Eora Nation; Cité Internationale des Arts, Paris. In 2022, Sutherland will be an artist-in-residence for 12 months at the Künstlerhaus Bethanien, Berlin.

Ella Sutherland is represented by Sumer, Tauranga.

Ella Sutherland at Artspace Aotearoa

Exhibited:
New Artists Show part I (group), 18 October — 17 November 2012

Published:
On the occasion of the 2012 New Artists Show, Artspace supported the production of Sutherland’s Popular Brands to Steal, a risograph printed publication released in an edition of 200.

Judy Darragh

Judy Darragh (b. Ōtautahi Christchurch, Aotearoa New Zealand) is renowned for her brightly coloured sculptural assemblages, video, collage, photography and poster art. Her practice came to prominence during the 1980s, when her trademark eclectic iconoclasm and wit was seen as a fleet-footed critical response to the rampant materialism and free-market reforms that characterised this period. In 2004 the Museum of New Zealand Te Papa Tongarewa mounted the major survey exhibition Judy Darragh: So … you made it? which was accompanied by a major catalogue published by Te Papa Press. Darragh lives and works in Tāmaki Makaurau Auckland, where she has played a significant role in the development of Artspace Aotearoa and artist-run spaces such as Teststrip, and Cuckoo, and has acted as mentor for a wide range of artists. She is currently a co-editor of Femisphere, a publication supporting women’s art practices in Aotearoa New Zealand.

Darragh continues to exhibit extensively throughout Aotearoa New Zealand and her works are held in numerous public collections, including Christchurch Art Gallery Te Puna o Waiwhetū, Museum of New Zealand Te Papa Tongarewa, Whanganui-a-Tara Wellington, Auckland Art Gallery Toi o Tāmaki, and the Govett-Brewster Art Gallery, Ngāmotu New Plymouth. Recent exhibitions include Foil, Montalvo Arts Centre, San Francisco, USA (2017), Girls on Hope, The Physics Room, Ōtautahi Christchurch (2017), and the major sculptural commission, Limbo, North Atrium Sculpture Commission, Auckland Art Gallery Toi o Tāmaki (2015/2018).

Judy Darragh is represented by Two Rooms, Tāmaki Makaurau Auckland.

Judy Darragh at Artspace Aotearoa:

Judy Darragh was a member of the Artspace Aotearoa Board between 1989 — 1991, 1994 — 1995 and 2005 — 2013. Judy has been a generous supporter of Artspace Aotearoa over the last 34 years, contributing in multifarious ways across numerous projects.

Exhibited:
Sunspots (solo), 14 September — 2 October 1999
Oestrogen Rising! (group performance), November 24 1996, coordinated by Tessa Laird
Floral Sculptures Installation, The Letting Space Project (solo), 1995
Uno Momento Mas as part of Sound/ Watch (group performance), 1994
One Hundred and Fifty Ways of Loving, 22 February — 11 March 1994, curated by Ann Shelton, Paul Booth and Kirsty Cameron
Cross Pollination (group), 1991
Rock and Rose Bed Occupied Zone (group), 1989
New Zeal (group), 1987, exhibited at George Fraser when the gallery was being used as a satellite-site by Artspace

Published:
Judy Darragh was included in Speculation, a publication produced in 2007 as Aotearoa New Zealand’s contribution towards the 52nd Venice Biennale at a time when Government funding for New Zealand at Venice was under review. Speculation was edited by Brian Butler, then director of Artspace.

Claudia Kogachi

Claudia Kogachi was born in Awaji-shima, Japan, in 1995. She holds a Bachelor of Fine Arts from Elam School of Fine Arts, University of Auckland. In 2019, she won the New Zealand Painting and Printmaking Award. Recent exhibitions include: There’s No I In Team, 2021, The Dowse Art Museum, Te Awakairangi Lower Hutt; New Artists Show 2020, Artspace Aotearoa, Tāmaki Makaurau Auckland; Obaachan during the lockdown, Wahiawā, Hawaiʻi, Te Tuhi, Tāmaki Makaurau Auckland; Uncle Gagi, play_station, Te Whanganui-a-Tara Wellington; and Everyone Has a Horse Phase, Sanderson Contemporary, Tāmaki Makaurau Auckland (all 2020).

Claudia Kogachi is represented by Visions, Tāmaki Makaurau Auckland.

Claudia Kogachi at Artspace Aotearoa:

Exhibited:
New Artists Show 2020 (group), 8 August — 17 October 2020

Yvonne Todd

“Photography has always appealed to me because it allows for such interesting convergences of the artificial and real. Familiar photographic tropes are embedded in the work, but nothing is definitive.”

Yvonne Todd (b. 1973) uses large format analogue film cameras to create images that combine glamour and perversity, constantly pushing the viewer to question what hidden narratives lie just beneath the surface. Exhibiting since 1997, Todd has work in the collections of all major Australasian public art galleries and has been included in numerous major public-gallery exhibitions. The breadth of her work was showcased in a major survey exhibition, Creamy Psychology, at City Gallery Wellington in 2015. It was the first time City Gallery gave the entire gallery space to one artist. Recent exhibitions include Garden Variety: Photography, Politics and the Picturesque, a commission by the Royal Botanic Gardens Melbourne as part of the PHOTO 2021 International Festival of Photography, Clonclave and Friends at Ivan Anthony Gallery, Tāmaki Makaurau Auckland and Act Natural at McLeavey Gallery Te Whanganui-a-Tara Wellington.

In 2002, Todd won the inaugural Walters Prize, New Zealand’s most prestigious art award. In 2019, she received an Arts Foundation of New Zealand Laureate Award. Yvonne Todd has a Bachelor of Fine Arts from the University of Auckland and lives and works in Tāmaki Makaurau Auckland.

Yvonne Todd is represented by Ivan Anthony, Tāmaki Makaurau Auckland.

Yvonne Todd Artspace Aotearoa:

Exhibited:
Free New Zealand Art (group), 16 March — 16 April 2005
After Killeen: Social Observation in Recent Art (group), 13 November — 15 December 2001, curated by Anna Miles

Published:
Yvonne Todd was included in Speculation, a publication produced in 2007 as Aotearoa New Zealand’s contribution towards the 52nd Venice Biennale at a time when Government funding for New Zealand at Venice was under review. Speculation was edited by Brian Butler, then director of Artspace.

Joyce Campbell

Joyce Campbell (b. Aotearoa New Zealand) is an interdisciplinary artist based in Auckland, Aotearoa New Zealand. She has a BFA from the School of Fine Arts, University of Canterbury (1992), a MFA (1999) and a PhD (2021) from Elam School of Fine Arts, University of Auckland. She has lived, taught, and worked in Southern California and in Tāmaki Makaurau Auckland, and has undertaken residencies in Aotearoa New Zealand (2001) and Antarctica (2006). Her recent work utilizes anachronistic photographic techniques, such as the daguerreotype and ambrotype, as well as conventional analogue and digital photography, video, film, and sculpture to examine the collision of natural and cultural systems.

Campbell has participated in numerous exhibitions both in Aotearoa New Zealand and abroad, including The Future is already here- it’s just not evenly distributed: The 20th Biennale of Sydney, Cockatoo Island & Gallery of New South Wales, Land of the Gadigal peoples of the Eora Nation Sydney, Australia (2016), Heavenly Bodies, Santa Barbara Museum of Art (2014), Che Mondo: What a World, curated by Carole Ann Klonarides, Los Angeles Municipal Art Gallery, Los Angeles, USA (2013), Te Taniwha/Crown Coach, Nichols Gallery, Pitzer College, Claremont, CA September (2012), The Liquid Archive, curated by Geraldine Barlow, Monash University Museum of Art, Land of the Wurundjeri and the Boonwurrung peoples of the Kulin Nation Melbourne, Australia (2012), Altogether Elsewhere, curated by Rob Tufnell for the Zoo Art Fair, London, Great Britain (2009), and every day: The 11th Biennale of Sydney, Land of the Gadigal peoples of the Eora Nation Sydney, Australia (1998). In 2016, she was nominated for the Walters Prize for Flightdream, exhibited at Two Rooms, Tāmaki Makaurau Auckland (2015). In 2019 the major survey exhibition On The Last Afternoon: Disrupted Ecologies and the work of Joyce Campbell curated by John Welchman opened at The Adam Art Gallery in Te Whanganui-a-Tara Wellington. Since 2010, Campbell has produced bodies of work in collaboration with Richard Niania (Ngai Kohatu) that consider the mythology, history and ecology of Te Reinga and the Ruakituri Valley west of Wairoa.

Joyce Campbell is represented by Two Rooms, Tāmaki Makaurau Auckland.

Joyce Campbell at Artspace Aotearoa

Exhibited:
Dirty Pixels (group), 12 August – 14 September 2002, subsequently toured to Adam Art Gallery, Dunedin Public Art Gallery and Waikato Museum of Art and History, curated by Stella Brennan
Terminal (solo), 1995
Screen, The Letting Space Project (solo), 1995
Gaining Interest (group), 1993
Light Sensitive (group), 1992

Published:
Joyce Campbell was included in Dirty Pixels, a catalogue published on the occasion of an exhibition of the same name, curated by Stella Brennan and exhibited at Artspace from 12 August to 14 September 2002. Dirty Pixels was designed by Jo Clements, and includes texts by Stella Brennan and Chris Barker.

Ann Shelton

Ann Shelton (b. 1967, Aotearoa New Zealand) received her MFA from the University of British Columbia, Vancouver, Canada. She lives in Te Whanganui-a-Tara Wellington, Aotearoa New Zealand and exhibits internationally. Her most recent museum survey, Dark Matter, curated by Zara Stanhope (Director, Govett-Brewster Art Gallery, Ngāmotu New Plymouth, Aotearoa New Zealand), was hosted by Auckland Art Gallery Toi o Tāmaki in 2016 and toured to Christchurch Art Gallery Te Puna o Waiwhetū in 2017. The catalogue accompanying the exhibition included essays by Abigail Solomon-Godeau, Ulrich Bauer, Donna West Brett, Dorita Hannah and John Di Stefano, and Stanhope. Her recent body of work, jane says, has been exhibited internationally and the accompanying performance The physical garden, has been performed numerous times. Shelton’s work has been extensively written about and reviewed in publications including Artforum, Hyperallergic, Journal of New Zealand & Pacific Studies, artnet news, The Art Newspaper, and The Evergreen Review. Her works are included in public and private collections throughout Aotearoa New Zealand and in the United States. Shelton’s most recent research engages with plants and plant narratives; in particular the intersection of plant histories with human knowledge and belief systems. Shelton is a Honorary Research Fellow in Photography at Whiti o Rehua, School of Art Massey University. Her latest book mother lode was published in 2020 by Bad News Books, Te Whanganui-a-Tara Wellington.

Ann Shelton is represented by Two Rooms, Tāmaki Makaurau Auckland.

Ann Shelton at Artspace Aotearoa

Exhibited:
Kiosk: Modes of Multiplication (group), 25 March — 29 April 2006, a travelling archive of independent publishing projects on contemporary art compiled since 2001 and organised by Christoph Keller
Starving Artists Fund Art Auction (group), 2005
Folklore: The New Zealanders (group), 8 July — 1 August 1998, subsequently toured to Sarjeant Gallery, Wanganui, 10 October — 22 November 1998
Redeye (Book launch and exhibition), 26 — 29 June 1997, subsequently toured to The Manawatu Art Gallery, Te Papa-i-Oea Palmerston North, The Art Annex, Ōtautahi Christchurch, and Dunedin Public Art Gallery, Ōtepoti Dunedin, The Dowse Art Gallery, Te Awakairangi Lower Hutt, and was exhibited as part of Fotofeis at The Arches, Glasgow, Scotland.
Oestrogen Rising! (group performance), November 24 1996, coordinated by Tessa Laird
Laying it On Thick (group), 31 January — 23 February 1996
One Hundred and Fifty Ways of Loving (group), 22 February — 11 March 1994, curated by Ann Shelton, Paul Booth and Kirsty Cameron
Gift of the Artist (group), 1993

Curated:
One Hundred and Fifty Ways of Loving, 22 February — 11 March 1994, curated by Ann Shelton, Paul Booth and Kirsty Cameron

Published:
Works by Shelton were illustrated in Nostalgia for the Future, a catalogue published in 1999 on the occasion of an exhibition of the same name, curated by Stella Brennan and exhibited at Artspace from 5 November to 27 November 1999.

Mary-Louise Browne

Mary-Louise Browne works with wit to explore the metaphoric, material and visual qualities of language, with her conceptual purposes dictating her selection of medium. Her work contains a commentary on contemporary life, culture and politics.

Browne graduated with a Master of Fine Arts from the Elam School of Fine Arts, University of Auckland in 1982. Since then she has exhibited widely throughout Aotearoa New Zealand and overseas, is represented in both public and private collections, and has produced several major public art commissions including the monumental stone staircase Body to Soul (1996) in Wellington’s Botanical Gardens, and the granite bench work Byword (2007) which runs the length of Lorne Street, Tāmaki Makaurau​​ Auckland.

Mary-Louise Browne is represented by Bartley & Company Art, Te Whanganui-a-Tara Wellington.

Mary-Louise Brown Artspace Aotearoa

Mary-Louise Browne was the inaugural Director of Artspace, a position that she shaped and held between 1986 — 1989. Her vision and efforts were fundamental to the conception of our organisation. The programme that was delivered under her leadership established the mandate that Artspace Aotearoa continues to strive towards: to advocate for innovation and increased opportunities within the field of contemporary art in Aotearoa. Mary-Louise has been a generous supporter of Artspace Aotearoa over the last 34 years, contributing in multifarious ways across numerous projects.

Julia Morison

Julia Morison (ONZM) has a prestigious career spanning four decades. She has built a significant body of work across a wide range of media, including painting, photography, sculpture and installation. At the heart of her practice is an interest in investigating, reimagining and recoding a range of existing systems of ordering. She has previously drawn inspiration from the Jewish Kabbalah, number symbolism, Hermeticism and surrealism.

Julia Morison (b. 1952, Pahiatua, Aotearoa New Zealand) lives and works in Ōtautahi Christchurch, Aotearoa New Zealand. She has exhibited nationally and internationally and been awarded numerous grants and awards, including the Frances Hodgkins Fellowship (1989), and the prestigious New Zealand Moët & Chandon Fellowship (1990), which allowed her to travel to France for a year’s residency. She made France her base for the next decade, returning to Aotearoa New Zealand to take up an appointment as senior lecturer of painting at the University of Canterbury (1999 – 2007). She became a New Zealand Arts Foundation Laureate in 2005, and in 2018 she was made an Officer of the New Zealand Order of Merit (ONZM).

Julia Morison is represented by Sumer, Tauranga.

Julia Morison at Artspace Aotearoa

Exhibited:
Mediatrix: New work by seven women artists (group), 17 August — 17 September 1993, subsequently toured to The Govett-Brewster Art Gallery, Ngāmotu New Plymouth
Decan: A work in 10 parts (solo), 1990, previously exhibited at CSA Gallery, Ōtautahi Christchurch and Hocken Library, Ōtepoti Dunedin
In the Forest of Dream (included Exchange #1 and Exchange #2) (group), 1990, also exhibited at The Dunedin Public Art Gallery, Ōtepoti Dunedin and Suter Gallery, Whakatū Nelson
Exhibits: The Museum Display and the Encyclopaedia Plate (group), 6 September — 28 October 1988, curated by Robert Leonard and Priscilla Pitts and produced in collaboration with the National Art Gallery, Te Whanganui-a-Tara Wellington
Sex and Sign (group), 6 October — 6 November 1987, curated by Wystan Curnow and organised in collaboration with The Govett-Brewster Art Gallery, Ngāmotu New Plymouth. Sex and Sign subsequently toured to Manawatu Art Gallery, Hawkes Bay Art Gallery and Museum, Dunedin Public Art Gallery, Robert McDougall Art Gallery, and Sarjeant Gallery.

Published:
Gloria Zelenka wrote on Morison’s work in Love philtres and melting moments, a text published in the catalogue produced to accompany Mediatrix: New Work by Seven Women Artists. This catalogue was published in 1993, and was edited by Priscilla Pitts, then Director of Artspace. Morison also featured in the catalogues produced to accompany the exhibitions Exhibits: The Museum Display and the Encyclopedia Plate and Sex and Sign.