John Pule examines the complex experience of leaving one’s homeland and arriving in another – a reflection on his own migration from Niue to Aotearoa New Zealand. Using the grid-like composition of hiapo, he has developed a symbolic language of spears, migratory birds, sea creatures and geometric patterning that speaks to personal and shared histories of cross-cultural exchange. Here, he also reproduces an eighteenth-century drawing by Raiatean navigator Tupaia, depicting Captain Cook’s botanist Joseph Banks trading with a rakatira from Uawa. It’s an image that complicates our understanding of the dynamics involved in this encounter, and asks us to consider our own place in Aotearoa.

hiapo ~ barkcloth from Niue

rakatira ~ person of high rank, chief, leader

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

“I came from the South Island, and the South Island I must mention! Yes your mountains still pile up in my thoughts! Your shorelines still run round the edges of the same. Big canoe of Maui, my little paddle will always be at your side.” —Tony Fomison, 1979 Te Waipounamu South Island always loomed large in Tony Fomison’s psyche, even after he made the shift north to Tāmaki Makaurau Auckland from his hometown of Ōtautahi Christchurch in 1973. Drawn from memory and past experiences, the Waitaha Canterbury landscape continued as the subject of many of his paintings, including ‘Night Time, Amuri Bluff’. Fomison had developed a strong sense of the history of the land through his work as an assistant archaeologist for Canterbury Museum, where he researched early Māori settlements and whaling stations near Kaikōura and Horomaka Banks Peninsula – including the Māori settlement site Haumuri, also known as Amuri Bluff, on the Kaikōura coastline.

(He Kapuka Oneone – A Handful of Soil, 2025)

Louis Auguste de Sainson was the official artist aboard Captain Dumont d’Urville’s Astrolabe. He spent three months in New Zealand in 1827 on a maritime mapping survey between Tasman Bay and the Bay of Islands, followed by a month in Tonga. A substantial publication on d’Urville’s 1826–29 voyages through Asia and the Pacific was published in Paris in 1833, profusely illustrated by lithographic prints after de Sainson’s drawings.

D’Urville and his crew had close contact with people they met, including the Totaranui chief Tehinui (or Tehi-Noui) and his travelling companion Kokiore (or Koki-Hore) depicted in print 2, who were sketched by de Sainson after coming aboard at Palliser Bay (near present-day Wellington). Tehinui and Kokiore at first both intended to reach Europe, but instead disembarked at Tolaga Bay, later finding their own way home. In summarising his portrait sketching process, de Sainson later recalled: “What I was doing caused a lot of laughter; every minute they tried to escape me.” (Kā Honoka, 18 December 2015 – 28 August 2016)

Louis Auguste de Sainson was the official artist aboard Captain Dumont d’Urville’s Astrolabe. He spent three months in New Zealand in 1827 on a maritime mapping survey between Tasman Bay and the Bay of Islands, followed by a month in Tonga. A substantial publication on d’Urville’s 1826–29 voyages through Asia and the Pacific was published in Paris in 1833, profusely illustrated by lithographic prints after de Sainson’s drawings.

D’Urville and his crew had close contact with people they met, including the Totaranui chief Tehinui (or Tehi-Noui) and his travelling companion Kokiore (or Koki-Hore) depicted in print 2, who were sketched by de Sainson after coming aboard at Palliser Bay (near present-day Wellington). Tehinui and Kokiore at first both intended to reach Europe, but instead disembarked at Tolaga Bay, later finding their own way home. In summarising his portrait sketching process, de Sainson later recalled: “What I was doing caused a lot of laughter; every minute they tried to escape me.” (Kā Honoka, 18 December 2015 – 28 August 2016)

Louis Auguste de Sainson was the official artist aboard Captain Dumont d’Urville’s Astrolabe. He spent three months in New Zealand in 1827 on a maritime mapping survey between Tasman Bay and the Bay of Islands, followed by a month in Tonga. A substantial publication on d’Urville’s 1826–29 voyages through Asia and the Pacific was published in Paris in 1833, profusely illustrated by lithographic prints after de Sainson’s drawings.

D’Urville and his crew had close contact with people they met, including the Totaranui chief Tehinui (or Tehi-Noui) and his travelling companion Kokiore (or Koki-Hore) depicted in print 2, who were sketched by de Sainson after coming aboard at Palliser Bay (near present-day Wellington). Tehinui and Kokiore at first both intended to reach Europe, but instead disembarked at Tolaga Bay, later finding their own way home. In summarising his portrait sketching process, de Sainson later recalled: “What I was doing caused a lot of laughter; every minute they tried to escape me.” (Kā Honoka, 18 December 2015 – 28 August 2016)

Aged just twenty when he joined Dumont d’Urville’s 1826–29 Pacific survey, François-Edmond Pâris created a comprehensive visual record of ships and boats encountered. In 1827 he recorded vessels he saw at Ūawa Tolaga Bay and Paepae-o-Tū Bream Bay, and Te Tai-o-Aorere Tasman Bay and Tāmaki Strait, Auckland.

(Out of Time, 23 September 2023 – 28 April 2024)

Conrad Martens left England for Rio de Janeiro in 1833. By December had reached Montevideo, Uruguay, where he joined Captain FitzRoy and Charles Darwin on the HMS Beagle, becoming ship’s artist on a survey of South American coasts. In 1835, Martens settled in Sydney and became an admired landscape painter who also produced popular hand-coloured lithographs.

(Out of Time, 23 September 2023 – 28 April 2024)