Graphic Design by Erin Broughton developed in conversation and using imagery supplied by Jemma Woolmore.

Not standing still curated by Raewyn Martyn

8 August 2018 - 1 September 2018

Katie Breckon, Dana Carter, Scott Flanagan, Jenny Gillam, Hope Ginsburg, Eugene Hansen, Motoko Kikkawa, Geoff Martyn, Melissa Martyn, Raewyn Martyn, William Henry Meung, Murdabike, Anet Neutze, Aroha Novak, Maria O’Toole, Charlotte Parallel, Kim Pieters, Deano Shirriffs and Jemma Woolmore.

Energy sustains live order through a kind of agitation, a little faster and a little hotter. Lack or loss of new energy leads to breakdown of order; perhaps into a collapse, or static equilibrium.

Biophilia means love of living systems. Artists have long used artworks as testing space for new and idiosyncratic systems, systems that do not stand still. Systems that confront reality, systems that emerge in daily life and look toward the future. Our understanding of what is ‘living’ has expanded through appreciation of interrelations within geological and biological systems. Not standing still brings together artists and works that involve visual and embodied systems, along with phenomena of changing conditions.

This exhibition is accompanied by a new online publication designed by Katie Kerr with new writing by Gregory Kan, Raewyn Martyn and Rachel O’Neill which will be launched concurrently via our website.


Katie Breckon makes photographic, print and installation based work that continuously seeks the intersection between place, time, image and memory. Breckon completed a Bachelor of Fine Art, majoring in Drawing in New Zealand and earned a Post Graduate Diploma from Victorian College of the Arts in Melbourne where she developed the award winning photographic series Set This House In Order. Her images have been published in Art Collector, Ampersand Magazine. She has won a number of awards, including the 2018 Kimberley Art Prize, 2017 Deakin University Photographic Award at the Centre For Contemporary Photography (CCP) Salon, 2013 American Aperture Awards for best still life series in the entered category. Currently living in the West Kimberley outback, Breckon works simultaneously as an artist, educator and remote community arts worker, managing the community collection and media centre at Mowanjum Aboriginal Art & Culture Centre. The experience of living in the isolated and unfamiliar landscape of the Kimberley is infused into Breckon’s works.

Dana Carter is an artist who works across media often using ephemeral processes that convey the passage of time. In her work, constellations of fabric, light, and video elements come together as installations that deal with the subjectivity of visual perception. In 2018 Carter will complete a permanent installation for the City of Chicago. Recent exhibitions include: MassArt, Boston; Elmhurst Art Museum, IL; American Institute of Architecture, New Orleans; Iceberg Projects, Chicago; Devening Projects, Chicago; Center for Print Studies, Columbia University, NY; Vox Populi, Philadelphia; Western Exhibitions, Chicago; Glass Curtain Gallery, Chicago; Cleve Carney Art Gallery, IL; Hyde Park Art Center, Chicago; The Bioscope for Independent Cinema, Johannesburg, South Africa; Fabrica de Arte, Havana Biennial, Cuba. In 2012, Shadow Velocities: on the work of Dana Carter was published by the College of DuPage funded in part with an award from the Illinois Arts Council. Carter is a recent awardee of the Percent for Art fund for public art in addition to a fellowship at the Spertus Institute for Jewish Learning & Leadership. Dana Carter was born in Washington D.C. and lives and works in Chicago. She received a BFA from Washington University in St. Louis and MFA from University of Illinois School of Art and Architecture in Chicago and is an Adjunct Assistant Professor at the School of The Art Institute of Chicago.

Originally from Christchurch, Scott Flanagan lives in Port Chalmers. A recipient of awards and residencies, including an Asia New Zealand Foundation Arts Residency Exchange, with work collected by institutional and private collectors, S.Flanagan maintains a disciplined practise on the boundaries of experimental/commercial art.

Each of Hope Ginsburg’s projects build community around learning. Her work is by turns collaborative, cooperative, and participatory. These artworks are made with peers, students, scientists, members of the public, and experts with knowledge from outside of the field. Rooted in first-hand experience, Ginsburg’s projects are invested in the socially transformative potential of knowledge exchange. Hope Ginsburg has exhibited nationally and internationally at venues such as MoMA PS1, MASS MoCA, Wexner Center for the Arts, Institute for Contemporary Art at VCU, Kunst-Werke Berlin, Contemporary Art Center Vilnius, Baltimore Museum of Art and SculptureCenter. She is the recipient of an Art Matters Foundation Grant and a Virginia Museum of Fine Arts Fellowship and has attended residencies such as the Robert Rauschenberg Residency, the Skowhegan School of Painting and Sculpture, and The Harbor at Beta Local. Her work has appeared in the New York Times, the Wall Street Journal, Artforum, and Hyperallergic.

Jenny Gillam and Eugene Hansen are multimedia artists based in Wellington, New Zealand. Both are Senior Lecturers at The School of Art, Massey University and hold MFA’s from RMIT University, Melbourne, Australia. They have a family together and have co-authored or collaborated on numerous art projects (together, with other artists, and with specialists from other fields) while also continuing individual practices.

Gregory Kan is a writer and coder based in Wellington. His poetry has been featured or is forthcoming in literary journals such as the Atlanta Review, Landfall, The Listener, SPORT and Best New Zealand Poems. His poetry and philosophical works have also featured in exhibitions and publications for contemporary art institutions such as the Auckland Art Gallery, Artspace, the Adam Art Gallery, the Dunedin Public Art Gallery and the Physics Room. Auckland University Press published his first book, This Paper Boat, in 2016. This Paper Boat was shortlisted for the Kathleen Grattan Poetry Prize in 2013 and for the New Zealand Book Awards for Best Poetry in 2017. He was a Grimshaw-Sargeson Fellow for 2017. His second poetry collection, Under Glass, is forthcoming with Auckland University Press.

Originally from Tokyo, Motoko Kikkawa has lived in Dunedin since 2004. She has attended Dunedin School of Art and works daily from a studio in Allbell Chambers. Currently, Kikkawa has a solo exhibition, Current Surfer at Dirt Gallery, Wellington. Kikkawa was involved in several solo and group exhibitions in Dunedin, including: Shortsighted Girl’s Very Thick Wall (2017), Unacceptable Archaeologies (2011), Always there is something behind at Inge Doesburg, Dunedin (2010), and Blue Oyster Performance Series (2010). Recent group exhibitions include: Never an Answer – 12 Abstract Painters at The Vivian, Auckland, 2018, Forms of Perception at PG gallery 192, Christchurch, 2018, and Traces at Tacit Gallery, Hamilton, 2018, New Perspectives at Artspace Auckland (2016), (dis)placement at Fresh and Fruity Gallery Dunedin (2015), and iD2K16 at Blue Oyster (2015). Sound-wise, Kikkawa is a past resident of None Gallery and has played solo and in collaboration at The Audio Foundation Auckland, The Auricle Christchurch and regularly at various independent events such as Lines of Flight.

Melissa and Geoff Martyn have recently moved to a rural and coastal location after decades of city living. As makers and crafters who are drawn to the tactile and textural possibilities of materials, the exploration of local shorelines and river mouths presented many such possibilities, while also engaging with the wider context of the health of national waterways and the global situation of plastic in the oceans. The Eggoscopes nestled in found flotsam, invite tactile and reflective interaction. Here, manufactured material is tangled with grown material, a kaleidoscope of elements reflecting light and highlighting patterns and tensions, histories and futures.

Raewyn Martyn grew up in the South Island and lives in Wellington. She creates site-responsive paintings composed during attentive occupation of sites and situations. These works change over time and surfaces often transform into material, decomposing and reproducing as layers become unstuck, material, flexible, or fluid, and other forms are grafted. She thinks a lot about how processes of entropy and empathy are interconnected within experiences and perceptions of change. During the Blue Oyster summer residency at Caselberg Cottage, Broad Bay, she researched cellulosic organisms living in the harbour that interact with geologic and atmospheric processes like land formation and the carbon cycle. For Not standing still she has made new work using a composite cellulose film material that contains marine cultures. Raewyn is currently a PhD student at Massey University in Wellington, has a BFA from Massey University, and an MFA from VCUArts, VA. She was a visiting assistant professor of visual art at Antioch College, OH, and a research participant at the Jan van Eyck Academy in Maastricht, NL.

William Henry Meung is a mixed media artist, concentrating mostly on drawing, painting, small sculpture and experimental music. Living in Otago since 2001, William is largely self-taught and seldom exhibits work outside of a regular live music or sound art context. Occasionally publishing on limited edition physical formats such as the ’Sundrian Editions' sun001 lathe cut released by mf/mp and archaeopteryx does haunt / the stone tapes in collaboration with Campbell James Kneale, released by Celebrate PSI Phenomenon. For William, drawing and music are largely automatic or improvised ways of delving into the subconscious, composition being the method of welding or ordering the wild commodities brought up from that place. By nature, chaotic, William is also fascinated by dynamics, patterns in nature and order, its emergence and dissipation. Most of the sculptural work and many sound works are concerned with graphing these observations.

Anet Neutze grew up in Mid Canterbury and attended the School of Visual Arts, Nelson Institute of technology (1998-2000). She has exhibited in various group shows, and a solo show at Anteroom, Dunedin (2010), with works held in private collections. Her practice is multidisciplinary, working across various media including painting, photography, film, drawing, embroidery and book-making, moving between indexical or process-based mark making, representation, and documentary processes.

Aroha Novak (Tūhoe, Ngāti Kahungunu and Ngai Te Rangi) grew up in Dunedin, graduated from the Dunedin school of Art with a Bachelor of Fine Arts in 2007, then completed a Master of Fine Arts with Distinction in 2013. Living and working in Dunedin, New Zealand, Novak's work constantly interrogates issues of social, political and economic inequality prevalent in contemporary New Zealand society, often culminating in project based and site specific projects and installations. Her work encompasses sculpture, installation art, painting, sound, drawing and video. Novak has been exhibiting in solo and group shows since 2008.

Rachel O’Neill is a filmmaker, writer and artist based in Te Whanganui-ā-Tara, Aotearoa. He debut book, One Human in Height (Hue & Cry Press) was published in 2013. She is developing several book projects, short films, and is writing a feature film with the assistance of a 2018 SEED Grant (NZWG/NZFC). 'She throws a sheet over her tongue' is a response to Gregory Kan's poem 'Meanwhile, we console ourselves with stones' and the curatorial kaupapa and works in Not standing still.

Maria O’Toole's drawing process engages with a contemporary attitude in drawing that explores resilience, risk and empathy through environmental projects. She creates abstract drawings influenced by sensory experiences of space and observations of the rhythms within them. She then translates her experiences along with collected scientific information into visual maps and scores.Maria lives and works in Wellington, she received a MFA with distinction from CoCA, Massey University in 2014 and is currently a confirmed PhD Candidate. She is a regular finalist in the Parkin Drawing Prize and has participated in both national and international artist in residence programs in recent years.

Kim Pieters (1959) lives and works in Dunedin, New Zealand. Her artistic practice could be described as emergent, adaptive & nonlinear. She is predominantly a nonrepresentational painter and also produces photographs, experimental film, writing and music from her Dunedin studio. Pieters has a tendency to build her work, no matter what genre, around two or more distinct nuclei, using the juxtaposition of these autonomous yet resonant realms to create a clearing of sorts. This clearing allows for thinking itself rather than the mere recognition of thought. Her work is represented in private and public collections including the Chartwell Collection, Auckland Art Gallery, Toi O Tamaki, Christchurch Art Gallery, Te Puna O Waiwhetu, Victoria University Collection and the Dunedin Public Art Gallery.

Deano Shirriffs is an artist based in Whanganui. He completed a BFA at Dunedin School of Art in 2012 and has had numerous exhibitions throughout New Zealand. In 2012 he had artworks selected for the group exhibition '100 drawings for the future' at Ecole Supérieure d'Art du Nord-Pas-de-Calais in Paris. He attempts to see through the veil, presenting the unseen as seen, while also using colour, process, and texture to embed presence of landscape and elements from this Earth. deanoshirriffs@gmail.com
www.instagram.com/deanoshirriffs

Jemma Woolmore is a Berlin based video artist. Blurring the boundaries between real and virtual, Jemma’s work explores the spatial and emotional possibilities of light and image in performative environments. Spanning audio-visual performance, installation and bespoke visual and sculptural design, her work shows a strong sensitivity for combining light, sound and structure. Inspired by natural and artificial systems, and imbued with a sense of science fiction otherworldliness, recurring symbols are used to interrogate the fragile boundary between Utopia and Dystopia. Jemma Woolmore has showcased her work in festivals, clubs and arts institutions internationally. Including: Martin Gropius Bau (DE), MIRA (ES), Node festival (DE), Convergence festival (UK), Sonos Studio (USA), Mapping festival (CH), Krake Festival (DE) and Mutek (MX). Jemma is also a curator and organiser for Scope Sessions Artist media salon and a member of Lacuna Lab in Berlin. www.jemthemisfit.com