Spectre Echo Landfall follows the two-channel format that is a feature of many of Nathan Pōhio’s works. In this instance, each part is made from a photograph being moved by hand while filming. The two eighteenth-century ships appear to rock and bounce on the sea, an exaggerated movement that emphasises how film and video are always created from still images in motion. The two sides are out of sync, though, highlighting that they are from different perspectives or points in time and the potential gap between experiences. Literally embodying filmmaker Barry Barclay’s (Ngāti Apa) positioning of the camera on the shore, Nathan invites us to imagine seeing the arrival of these ships, taking control of the narrative.

Ka whai tā Nathan Pōhio toi, Spectre Echo Landfall, i te tikanga aro-rua. He tikanga e kaha kitea ana i āna nei mahi. I tēnei o ngā wā, ka whakanekenekehia e ia tētahi whakaahua i a ia e rikoata ana. Ka kitea ngā waka e rua mai i te rautau 18 e tīkoki haere ana i te moana. He nekehanga tahupera e whakamiramira ana, e kī ake ana ko ngā kiriata me ngā whitiāhua katoa he mea i takea mai i te āhua e whiti rere ana. Kāore ngā taha e rua i te haere takitahi. Hei whakaatu tēnei āhua i te aronga kē, i ngā wā rerekē, i ngā wheako kē. E whakatinana ana tēnei i tā Barry Barclay (Ngāti Apa) whakarite i te kāmera ki tātahi, ā, e akiaki ana a Nathan i ō tātou pōhewa hei whakapae waka ki uta. Koia rā te hāpainga o te kōrero.

(Māori Moving Image ki Te Puna o Waiwhetū, 4 June 2022– 16 October 2022)

In its capacity to be experimental territory, drawing offers a space where different states of mind can be explored. Each of the artists here has taken the practice eyond the realm of obvious observation or recording into something more internal, psychological and uncertain.

Shannon Williamson describes her drawing as “navigating this very intimate and personal space that we can’t access – our internal self.” Here, she uses different kinds of mark making – scientific notations, anatomical drawings, erasures and urgent scribbles resembling biometric readouts – to show how psychological experiences and anxiety are expressed through the body.

(Die Cuts and Derivations, 11 March – 2 July 2023)

Shannon Williamson is an artist who trained as a sleep scientist. Her drawings begin with the data she gets from recording sleep. In the ‘Continuous Positive’ works, she includes medical notes and translates records of sensory experience into specific colours and reoccurring motifs like rainbows and circles. The drawings are like maps of the circadian rhythms of the body, the natural processes of regulation and repair that occur within sleep and intimately affect the way people function and how they feel about themselves. The title refers to the form of sleep therapy Williamson works with, Continuous Positive Airway Pressure. It also suggests the state of mind necessary to keep going through difficulty. “I needed money to make art, but I needed time to make art, which was hard with a day job—I had to be continually positive about my practice,” she says.

(Now, Then, Next: Time and the Contemporary, 15 June 2019 – 8 March 2020)