With its cascading eroded rivulets and slopes lit by raking light, Conor Clarke’s majestic photographic composition pays tribute to notions of the picturesque and the sublime, like the painted landscapes in this room. However, as the title reveals, the origins of this work are in industrial Germany, where Clarke spent ten years from 2009. As she explained at the time, “I photograph piles of sand and dirt from the streets and construction sites of Berlin. I then select and re-combine these objects into landscape compositions based on [the] picturesque ideal.” This work is from her Scenic Potential series, a collection she described as “landscapes of contradiction”, which was awarded best series at the London-based Renaissance Photography Prize in 2015.

He Kapuka Oneone – A Handful of Soil (from August 2024)

In Untitled (malady), Shannon Te Ao layers multiple historical references to create a poignant work that considers contemporary intimacy, politics and the human condition. Firstly, it is a reimagining of a scene from Charles Burnett’s 1978 film Killer of Sheep, in which a husband and wife dance to Dinah Washington’s rendition of the song ‘This Bitter Earth’. However, Shannon replaces the soundtrack with the dancers’ breathing and the gentle shuffling of their feet. The title Untitled (malady) gives the viewer another reference: ‘A Song for a Leprous Malady’ is a mid-1800s waiata written by Te Rohu of Ngāti Tūwharetoa about contracting leprosy from her lover and the traumatic death of her father, Te Heuheu, in a landslide. These references are grounded in intimate relationships, yet speak to the social politics of their times. With this work Shannon makes space for us to imagine the complexities of our own personal relationships and ways of relating to each other.

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