The photographs that Jane Zusters made during the 1970s assert the presence and visibility of queer relationships, particularly in Ōtautahi. Jane often took photographs of her friends and loved ones, spontaneously capturing intimate moments. In this image, the humid environment of the Begonia House is a setting for a breathy embrace, but there is much we don’t know about these two people. Instead, Jane uses her camera to frame the simplicity of a close connection to someone else, embracing bodies and hands wrapping around each other.

(Perilous: Unheard Stories from the Collection, 6 August 2022- 21 July 2024)

Ōtautahi artist Jane Zusters works across painting, photography and ceramics. These recently acquired photographs capture Jane’s bohemian life and friends in Christchurch in the late-1970s, and precede a period when she was mainly painting. Tender and intimate, they give us a sense of warm friendships and a supportive community, despite the conservatism of Christchurch at the time, and they address queer histories, gender and identity. Portrait of a woman marrying herself challenges the expectation that women should marry, presenting instead a ceremony of self-care and respect. We see a truncated nude figure in the pool, staying afloat through curling her toes under the handrail; her friend breastfeeding her child; and another friend dressing up. While these works share the formal elements of her painting, such as strong composition, contrast or colour, they are also an important social record of the times.

(Perilous: Unheard Stories from the Collection, 6 August 2022- )

Ōtautahi artist Jane Zusters works across painting, photography and ceramics. These recently acquired photographs capture Jane’s bohemian life and friends in Christchurch in the late-1970s, and precede a period when she was mainly painting. Tender and intimate, they give us a sense of warm friendships and a supportive community, despite the conservatism of Christchurch at the time, and they address queer histories, gender and identity. Portrait of a woman marrying herself challenges the expectation that women should marry, presenting instead a ceremony of self-care and respect. We see a truncated nude figure in the pool, staying afloat through curling her toes under the handrail; her friend breastfeeding her child; and another friend dressing up. While these works share the formal elements of her painting, such as strong composition, contrast or colour, they are also an important social record of the times.

(Perilous: Unheard Stories from the Collection, 6 August 2022- )

Aotearoa’s best-known and respected printmaker working during the twentieth century, Mervyn Taylor produced at least 239 wood-engravings over the course of his career, and many more linocuts as well. He initially worked as a jeweller, for which his training included engraving. Unlike his contemporaries who trained at art schools throughout the country and abroad, Mervyn was self-taught. His prints focused on subjects that were unique to Aotearoa at a time when a national identity was at the forefront of Pākehā art, including elements from Māori culture as well as landscapes and native flora and fauna. His wood-engravings remain popular and are highly sought after.

Ink on Paper: Aotearoa New Zealand Printmakers of the Modern Era, 11 February – 28 May 2023

The Catholic Church of Saint Werenfried, Waihi.