Past projects

Previous Courtenay Place light boxes exhibitions.

Stan Chan, Dragon, 2020 (left) ; Kerry Ann Lee, Half Heaven - Half Heartache, 2021 (right)
Stan Chan 仕丹 陳, Dragon, 2020 (left) ; Kerry Ann Lee 鄺南燕, Half Heaven - Half Heartache, 2021 (right)

Ho Sun Nian 賀新年

Artists: Kerry Ann Lee 鄺南燕, Stan Chan 仕丹 陳
Curator:
Asian Events Trust 

1 February – 23 May 2021

Ho Sun Nian is inspired by Wellington’s Chinese New Year celebrations and community. Wellington-based Chinese artists Stan Chan and Kerry Ann Lee respond to the annual celebration by bringing their unique perspectives and expressions of Chinese culture to Courtenay Place.

New Year is the most important date in the Chinese calendar. The exhibition’s title Ho Sun Nian refers to the Cantonese phrase ‘celebrating New Year’ and references the language of the Chinese community who first settled in Wellington. The community’s new year festivals created an opportunity for new Chinese residents to bring their culture out into the streets of Wellington, and to feel more at home in New Zealand.

Chinese brush painter and calligrapher Stan Chan has been involved with the new year festival for 20 years. In Ho Sun Nian, his Chinese brush paintings capture moments from photographs of Wellington’s Chinese New Year celebrations in years gone by – a Chinese lion parading through the streets, an East meets West fashion show from the 1980s.  Chan’s expressive paintings portray the lively atmosphere of the cultural events.

Kerry Ann Lee shows a personal perspective of Chinese culture and celebrations. Her work has been described as exploring cultural intersections in the space between private moments and public locations. Well known for her hand-made and digital collages, Lee’s new work in the light boxes also overlays a playful ‘pop’ aesthetic to scenes of remembrance and celebration. Fascinated by the role food and ritual plays in bringing communities together, Lee shows Cantonese Chinese placemaking in all its guises from family meals, restaurants and local sites of significance.  

Ho Sun Nian is part of the 20th anniversary of Chinese New Year festival celebrations, 13-14 February 2021.

About the artists

Stan Chan has practised and taught traditional Chinese brush painting and calligraphy, as well as western oil and watercolour techniques from his studio inkLink in Left Bank, Cuba Mall, Wellington since 2000. Chan studied art in Hong Kong and has participated in both group and solo exhibitions throughout New Zealand.

Kerry Ann Lee is a visual artist, designer, and scholar from Te Whanganui-a-tara of Seypi Cantonese Chinese descent. Lee has undertaken international residencies in China, Taiwan, US, Mexico and Australia and exhibits regularly in New Zealand and overseas. Exhibitions include, Fruits in the Backwater at Pātaka Art + Museum (2017) and Return to Skyland (2018), an installation within the Terracotta Warriors: Guardians of Immortality exhibition at Te Papa. 

To Turn Night Into Day, Martin Awa Clarke Langdon
‘Celestial Bodies’, Martin Awa Clarke Langdon

To Turn Night Into Day

Courtenay Place Park Light Boxes
Martin Awa Clarke Langdon

27 May – 27 September

Wellington-based, Auckland-born artist Martin Awa Clarke Langdon (Waikato-Tainui, Ngāti Whāwhākia, Ngāti Hikairo, Kāi Tahu) presents a new photographic series in the Courtenay Place Park Light Boxes for the months leading into and through Matariki 2020, Pipiri – Whiringa-ā-nuku.

Langdon plays on the transient and changeable nature of this site, allowing passers-by to observe and interact with his artwork during the day and night. The exhibition consciously embraces the constant state of natural change from Pipiri to Whiringa-ā-nuku.

To Turn Night Into Day observes Matariki as a time of reflection, realignment and reconnection for all. Langdon’s visual imagery explores duality and connections within the culturally entangled Māori and Pākehā worldviews he experienced growing up. Personal moments with whānau, urban observations and abstractions of whakapapa highlight the importance of whānau and shared knowledge through the generations.

Selection of light box images from To Turn Night Into Day:

The lightboxes installed at Courtenay Place.
If these walls could talk, they'd tell you my name, Jasmine Togo-Brisby

If these walls could talk, they'd tell you my name

Courtenay Place Park Light Boxes
Jasmine Togo-Brisby

16 December 2019 – May 2020

Wellington-based, South Sea Islander artist Jasmine Togo-Brisby presents a new photographic series in the Courtenay Place Park Lightboxes – titled, If these walls could talk, they'd tell you my name.

This new body of work responds to two concurrent events; the artist's recent discovery of records confirming her great-great-grandparents' existence as house slaves, acquired in 1899 by the Sydney-based Wunderlich family, and the current restoration of the Wunderlich ceiling panels in Wellington's Town Hall. 

The photographic series continues Togo-Brisby's interest in histories of the Pacific Slave Trade embedded within contemporary material culture. Wunderlich ceiling panels, distinctive for their ornate pressed designs, can be found across many buildings across Australia and Aotearoa and are now carefully preserved as heritage materials. 

The overly visible Wunderlich family legacy bears remarkable contrast to paucity of historical records available for South Sea Islanders. Across Togo-Brisby's photographs, inter-generational portraits force a consideration of who is and isn't visible within the archives and narratives of history.

Essay about this work by Ioana Gordon-Smith (23KB PDF)

Image displayed on one of the light boxes in Courtenay Place.
Lost in the air 2019, Gregory Kan, Sarah Maxey

Lost in the air

Courtenay Place Park Light Boxes
Ana Iti, Ellyse Randrup, Gregory Kan and Sarah Maxey

Curated by Chloe Geoghegan

10 June 2019 – 2 September 2019

Four local and independent artists with complex, new and enduring relationships to Te Whanganui-a-Tara Wellington have collaborated to create two encounters or readings of the urban nature of Te Aro, central city Wellington.

Chloe Geoghegan asked these four creative practitioners to collaborate, creating dual readings of the city, and new ways for Wellingtonians to navigate the creative fabric of the city. Ana Iti often brings text into her work as a visual artist to explore narrative. For one side of the light boxes, she tells the story of Waimapihi, a bubbling stream / awa buried below Wellington — lost but not forgotten. Currently based in Europe, young Wellington designer Ellyse Randrup delicately illuminates this story with a new typeface based on Iti's text. She imagines this text being gradually etched away under the street surface as a misty memory of the stream.

On the other side of the lightboxes, Gregory Kan's prose about Wellington emotively captures this complicated, bustling and populated urban environment. Kan's text imagines people passing each other by on the street, the wind whipping up around them, capturing their many thoughts and feelings, to be lost in the air and in the moment. Designer Sarah Maxey overlays Kan's texts on her photographic interventions - cyanotypes taken just around the corner on Cuba Street, illustrating a place for Kan's words to live within.

Iti, Randrup, Kan, and Maxey find ways to seek and disrupt moments of ambiguity and familiarity through the minutiae of life, bringing these imaginative, everyday and random encounters of the street to reveal the city's own graphic language.

Black and white picture of a star.
Tangaroa ā mua by Angela Kilford

Te Māra Tautāne

Angela Kilford
10 June 2019 – 2 September 2019

In Māori cosmology, the rising of the Matariki constellation, and the star Puanga, marks the beginning of the new year. Artist and textile designer Angela Kilford's (Te Whanau A Kai, Ngāti Porou, Ngāti Kahungunu) exhibition Te Māra Tautāne explores and celebrates invisible whakapapa connections between the earthly and celestial realms at Matariki.

Photographing and manipulating images of Aotearoa New Zealand's natural environment; flower blossoms, tree bark, and tuatara skin, the artist seeks to express the ecosystems and multiple ancestries these living beings share. Tangaroa ā mua, the first moon phase of Matariki, is depicted by the small white flowers of the Ngaio tree, evoking the whakapapa story of Rona and the moon, where Rona is plucked from earth, and taken to the moon whilst holding onto a Ngaio tree. 

Kilford sees these lightbox images as a contemporary urban māra tautāne, which is a traditional, ceremonial garden, planted in offering to Matariki.

Greywacke love poems piece of art by Raewyn Martyn.

Greywacke Love Poems

Raewyn Martyn
8 April 2019 – 9 June 2019

Wellington artist Raewyn Martyn explores processes of transformation within human-made forms and geological landscapes. Greywacke Love Poems have developed through experimentation with mineral pigments, plant-based polymers and photography, re-positioning Wellington's South Coast in the city's urban centre.

A group of people in Courtenay Place, next to light boxes displaying artwork by Chevron Hassett.
A Place TŪ Be by Chevron Hassett

A Place TŪ Be

Chevron Hassett
17 December 2018 – 24 March 2019

As Aotearoa’s population becomes more diverse, the concept of cultural identity also shifts and evolves. Chevron Hassett’s exhibition in the Courtenay Place Park Lightboxes presents large-scale portraits of his peers, young urban Māori as digital pouwhenua, situating them within the heart of the city they live in, and creating a temporary public marae ātea in Courtenay Place.

Chevron Hassett graduated with a Bachelor of Design with Honours from Massey University in 2017, winning the Creative New Zealand Te Waka Toi award – Ngā Manu Pīrere in the same year. He has worked on a variety of community projects with the Hutt City Council and was awarded the Hutt City Certificate of Achievement for Art in 2017. Most recently, his work was included in the group show Nowhere to Somewhere at Paul Nache Gallery, Gisborne. In 2019, his solo exhibition The Children of Māui will show at artist-run space Meanwhile and at Wharewaka in Wellington.

Visit Chevron's website for more information.

A yellow and red surface with liquid dripping down it.
Laura Duffy, Garden of Purity

Garden of Purity

Laura Duffy
31 August - 9 December 2018

Garden of Purity considers how we read and ingest imagery, drawing links through history from art history to advertising. Duffy sees the works as being a layered conversation about Catholicism, advertising, abjection, and queerness. She uses edible materials as a starting point for the series of digitally manipulated photographs in the light boxes and online video works. The series intends to prompt questions about traditional notions of beauty and divinity by blurring the lines between repulsion and desire.

Brooch made from New Zealand 10 cent coin by Matthew McIntyre Wilson.
Matthew McIntyre Wilson, 'The Price of Change'

Whetū Whitu

Matthew McIntyre Wilson (Taranaki, Ngā Māhanga and Titahi)
1 June - 20 Augus
t

Tērā Matariki ka rewa i te pae
Nau mai, haramai te hua o te tau hou…

Whetū Whitu is a series of  brooches that reflect the stories of Puanga and Matariki. The brooches are part of McIntyre Wilson’s ongoing Price of Change Series which feature re-purposed imagery cut from New Zealand, Cook Island and British coins. Brooches are normally pinned to the wearer, but for this exhibition they adorned light boxes as large-scale prints.

Find out more in Nikki Hessell’s essay on Whetū Whitu (612KB PDF)

Llight boxes in Courtenay Place displaying photographs by Suzanne Tamaki.

Native Eye

Artist: SuzanneTamaki (curated by Reuben Friend)
2 February–late May 2018

Courtenay Place became the latest runway venue for Māori fashion designer and artist Suzanne Tamaki. Renowned in art circles as a social provocateur, her politically charged garments and fashion shoots merged indigenous New Zealand Māori textiles and designs with modern business attire, creating a unique style of adornment that goes far beyond fashion. Each of the art-fashion garments and fashion photographs featured in the light boxes drew inspiration from Māori interpretations of Western concepts such as feminism, or mana wāhine.

Lightshades.

New nightclub for Courtenay Place

Susana Torre and Raphaela Rose
1 August 2017 – 26 January 2018

Collaborative arts duo Lightreading worked with architects Susana Torre and Raphaela Rose to design a fictitious, new, and socially progressive nightclub complex for Courtenay Place.Their designs are based on interviews with a range of women who’ve helped shape Wellington’s nightlife over the past 50 years.

New nightclub interviews (507KB PDF) - This document contains content that may offend.

Photo showing one of the lightboxes installed in Courtenay Place, reading

Magical Māori Mystery Tour of Wellington

Designed by: Johnson Witehira and Kemi Niko
Curated by: Tina Makereti
Written by: Debbie Broughton and guests

1 April – 30 July 2018

This textual light box project engages elements of poetry, pastiche and parody to both explore a personal history of Wellington and critique the way Māori histories are represented.

Detail of Modulation by Shannon Novak - a bright pink background with tonal, geometric forms over top.

Modulation

2016
Artist: Shannon Novak (curated by Andrew Clifford)

Shannon Novak’s Courtenay Place Park light box project Modulation demonstrates his ongoing interest in the ways we perceive shape, space, colour, rhythm, energy and sound. He creates chromatic and compositional relationships that respond to both visual references and the energy of an object, site or body.

This project creates a dynamic experience that is engaging and interactive. Through the use of mobile technology, it encourages new audiences to experience traditional forms of art. It activates another dimension of the light boxes, extending their reach into virtual space. The light boxes build awareness of the phenomenon of synaesthesia and its potential for creative exploration, as well as (re)connecting the disciplines of visual art, music and moving image/animation.

Read Curator Andrew Clifford's essay about Modulation (173KB PDF) to find out more.

We don't have to be the building

12 August–5 December 2016
Artist: Sian Torrington

Artist Sian Torrington’s project We Don’t Have to be the Building featured in the Courtenay Place light boxes from August to December in 2016. The assemblage works photographed for the light boxes are the result of an extensive, interactive, community-based project exploring queer activism around Homosexual Law Reform 30 years ago, and asking what queer activism is today.

“Art helps us to find ways to tell our stories. I'm looking at the coming-out process – telling our personal stories as a form of activism. That includes stories about our sexuality. I’ve been searching for my own and our community whakapapa of sexuality and protest. I'm focusing on lesbian, bi-sexual, queer, trans*, mana wahine, takataapui and female-identified activists,” says Sian. 

We Don’t Have to be Building was supported by the Wellington City Council Public Art Fund, Creative New Zealand, Rainbow Wellington and a successful Boosted campaign.

From the Eather exhibition

From the Aether

7 April–31 July 2016
Curator: Caroline McQuarrie

From the Aether showcased Wellington artists whose interest in amateur science was brought together into a ‘cabinet of curiosities’. From the Aether featured artists: Jonathan Kay, Shaun Matthews and Bonny Stewart-MacDonald. The exhibition's aim was to celebrate exploring the world around us through easily accessible science.

Two light boxes with images by Richard Shepherd.

Romance

December 2015–April 2016
Artist: Richard Shepherd

Richard Shepherd's light box exhibition Romance is made from pictures photographed live from broadcast television. It reflects and illuminates our pixel-blasted lives, providing a daydream-like backdrop to the drift and jostle of the city.

Sculpture of a face made out of stiffened wool that was cast into a resin, fibreglass and iron powder mix by artist Des Hughes

The Visitors

August–December 2015
Artist: Des Hughes (curated by Katharine Allard)

British artist Des Hughes created new work especially for the light boxes, translating his quasi-humanoid sculptures into photographic form.

To make the sculptures, Hughes used sheets of wool cut from jerseys to create individual faces and bodies. He stiffened the wool and cast it into a resin, fibreglass and iron powder mix that was rusted and fettled. The work was then carefully photographed and the sculptures sent in digital form from the UK where Hughes is currently living.

Curator and arts producer, Katharine Allard, holds a Masters of Fine Arts (Hons) from Massey University. Her previous projects include directing The Art Box Project, a series of 10 temporary public artworks in Wellington, and managing artist Gabby O’Connor’s large paper iceberg sculpture, What Lies Beneath, for a theatre foyer in Oxford, England.  

Light boxes in Courtenay Place displaying the artwork by Gary Peters.

The Colour of Courtenay Place

7 April–31 July 2015
Artist: Gary Peters

As colour perception had its 15 minutes of internet fame with that dress, artist Gary Peters launched The Colour of Courtenay Place – a series of 16 bold, urban monochrome works, which encouraged us to look more closely at the space and colour around us.

Unlike that dress, there was no confusing the colours in Wellington’s Courtenay Place.

The Colour of Courtenay Place was the first large-scale public artwork for Peters, taking his colourful work out of the studios and galleries and onto the streets.

Peters encouraged us to look again at our environment, to pause for a moment and notice the details we normally overlook. These slabs of colour, devoid of text and advertising, offered us a visual pause in the busyness of the strip, and invited us to take a moment and be curious about looking at the space we inhabit.

Light boxes in Courtenay Place displaying the artwork by Kemi Niko & Co.

Huts of Welling Town

5 December–29 March 2015
Artist: Kemi Niko & Co.

Artists Kemi & Niko brought everything you love about the backcountry to Courtenay Place.

In tandem with their project Miniature Hikes, these light boxes acted like photographic portals to seven magical miniature huts located across Wellington's diverse backyard.

Hidden in the bush, at the beach and on windy summits, these individually themed, colourful, and interactive miniatures celebrate the honesty and unexpected comfort of the backcountry hut.

Teasing out a love of summer adventure, an intricately hand-drawn map also provides curious passersby with the hut’s locations.

Sarah Jane Parton's light box exhibition in Courtenay Place.

It's love, isn't it?

29 August–30 November 2014
Artist: Sarah Jane Parton (curated by Jessica Scott)

Prominent multimedia artist and writer Sarah Jane Parton’s art work, It’s love, isn’t it? explores the quest for love on Courtenay Place. A series of works that combine images and text, Sarah’s work takes its name from the title of a book of love poems by Alistair Te Ariki Campbell and Meg Campbell.

The visual references for the exhibition came from posters made in the 1980s and 90s, the journey between the moments when her birth parents met in the Courtenay Place McDonald’s when they were 16; and when Sarah started to think about love as sex. Sarah has worked with 15 writers, photographer Matt Grace and graphic designer Alice Clifford.

Together they have created a love story inspired by the possibilities of the inner-city location of the light boxes, and have drawn on the associations of Courtenay Place as a site of potential meetings and the fruitless pursuit of love.

Johnson Witehira's Land of Tara exhibition installed in Courtenay Place lightboxes.

The Land of Tara

10 April –3 August 2014
Artist: Johnson Witehira

Designer and artist Johnson Witehira presents a new and bold series of digital portraits in his light box exhibition The Land of Tara. Standing in each light box are Witehira’s graphic representations of ancestors such as Kupe, Whatonga, and his sons Tautoki and Tara (after whom Wellington harbour, Te-Whanganui-a Tara, is named).

Acting like pou-tāhuhu support pillars found in wharenui, the depicted artworks transformed Courtenay Place Park into a meeting place suggestive of a Marae. Striking and highly visible to Wellingtonians during the city’s Matariki festival, this exhibition further developed the artist’s exploration of Māori and Pacific designs in a contemporary context.

Production Still exhibition installed at Courtenay Place, at night.

Production Stills

6 December 2013–6 April 2014
Artist: Daniel von Sturmer (curated by Rob Garrett)

Production Stills presents a series of works using a collection of found objects and recycled materials to form improbable sculptural stacks. The works defy logical reading, confounding the innate understanding of gravity, friction and balance.

Daniel von Sturmer’s work uses various media to explore questions about the nature of perception, the embodiment of time and how context and framing shape the meaning and experience of an art-work. Developed from studio based experiments and observations, video and photography is used in the work to reframe common materials and objects as unlikely props from which philosophical questions can arise.

Installation image of Holland Street exhibition.

Holland Street

15 August–1 December 2013
Artists/curators: Sarah Caylor and Ann Shelton)

Taking as its starting point two 19th-century events - London's cholera outbreak of 1854 and Wellington's typhoid epidemic of 1890-2 - Holland Street recalls a world where disease was thought to travel through miasma (noxious air) and bacteria were believed to be as real as 'Hydras, and Gorgons, and Chimeras Dire'.

Holland Street uses differing visual approaches to map critical sites related to these two disease events, one marking the birth of modern epidemiology, and another resulting in the construction of Wellington's sewerage system.

In telling this story, Holland Street places the spectre of human waste at centre stage. The work addresses the cultural, ideological, and medical contexts and consequences of an epidemic that took place in the area of Courtenay Place Park. In imposing a visual interruption of the streetscape, Holland Street encourages us to envisage an otherwise invisible conceptual and material infrastructure, tracing its roots back to the 19th century and forward to the present.

Collisions exhibition installed on Courtenay Place.

Against the Prevailing Winds - The public / Collisions Issue

19 April–5 August 2013
Writers/Artists: Pip Adam, Sarah Jane Barnett, Airini Beautrais, Eleanor Catton, Joan Fleming, Peter Gouge, Amy Howden-Chapman, Lynn Jenner, Chloe Lane, Tina Makereti, Tahi Moore, Bill Nelson, Rachel O’Neill, Lawrence Patchett, Campbell Patterson, John Summers
Curator: Hue & cry
Design: The International Office

The title of this light box exhibition is taken from an issue of the Wellington-based art and literary journal Hue & Cry

Sixteen writers and artists were commissioned to write a text, or make a text-based work, in response to the idea that Hue & Cry and Wellington are both centres of collision. 

Against the Prevailing Winds - The Public / Collisions Issue might be thought of as a collision of voices, mediums, and communities. 

Collisions happen in Wellington too. And here the results are mixed - funny, sad, embarrassing, creepy, productive, wet, and even romantic.

Looking Up to You exhibition installed on Courtenay Place.

Looking Up to You

12 December–8 April 2013
Artists / Curators: Cat Auburn and Fiona Pardington

Looking Up to You uses photography to explore the dynamic between two artists separated by distance and experience. Emerging artist Cat Auburn and established artist Fiona Pardington swap, switch and subvert each others' artistic practices.

Taking Courtenay Place as a starting point, the artists merge contemporary and archival material to reveal an intricate tangle of past, present, and future mythologies for Wellington. A visual feast in the light boxes exploring the intricacies of history and memory, private and public, idolisation and emulation, and narratives of desire.

Installation image of Local Coordinates exhibition.

Local Coordinates

10 August–3 December 2012
Artist: Molly Samsell (curated by Andrea Bell)

Local Coordinates is a series of photographic images by Molly Samsell. These images present a composite of surfaces - from exterior brick walls to decorative interior features. Photographic moments of stillness are presented in contrast to the dynamic urban movement in Courtenay Place, creating a space that disrupts the pace of the everyday.

Ever Green exhibition installed on Courtenay Place, at night.

Ever Green 

3 April–6 August 2012
Artists / Curators: Jenny Gillam and Dieneke Jansen

Ever Green is a photographic project which explores how 'nature' exists in a built environment.

The artists exploit the outdoor location and physical structure of the Courtenay Place light boxes to question the ways urban dwellers experience nature.

Imaginary Geographies exhibition installed on Courtenay Place.

Imaginary Geographies

8 December–2 April 2012
Artists: Elaine Campaner (Australia), Alex Dorfsman (Mexico), Jae Hoon Lee (Korea), Kerry Ann Lee (Dunedin), Brian Samuels (Wellington), Gemma Syme (Wellington) and Kate Woods (Wellington)
Curator: Claudia Arozqueta

Artists from New Zealand, Australia, Mexico and Korea draw on real and imagined landscapes to encourage passers-by to take a fresh look at public space.

Pilgrimage

20 August–5 December 2011
Artists: Andy Palmer and David Boyce (curated by Andy Palmer)

Pilgrimage is a collaborative exhibition by photographers Andy Palmer and David Boyce, which explores the essence of rugby and sporting culture in New Zealand.

The photographers move beyond the game itself, to look at the ways rugby permeates our lives, landscapes and national identity.

Image of Bryce Galloway light box exhibition on Courtenay Place.

Bryce Galloway's Light Box Project

5 May–15 August 2011
Artist: Bryce Galloway (curated by Emma Febvre-Richards)

"What would aliens make of Courtenay Place?" was one of many questions artist Bryce Galloway asked passers-by for his Courtenay Place Park Light Box Project. Other questions included "what's the most important thing you did today?" and "have you ever broken anything on Courtenay Place?"

The light box project shows a selection of the responses together with a sketch of the participants.

Installation image of All the Cunning Stunts exhibition.

All the Cunning Stunts

17 December–31 march 2011
Artists: Liz Allan, Clare Noonan, Rachel O'Neill and Marnie Slater(curated by Mary-Jane Duffy)

All the Cunning Stunts is a collaborative exhibition developed to coincide with the second Asia Pacific Outgames.

Installation image of Cloudfold exhibition.

Cloudfold

24 june–December 2010
Artist: Cathryn Monro (curated by Mark Hutchins)

Cloudfold features a series of photographs showing cloudscapes, glimpsed through close folds of material.

As well as providing Wellingtonians with a welcome relief from the grey skies, Cathryn explores how our ideas are viewed through a screen of cultural social and personal perspectives.

Three Stories Up exhibition installed on Courtenay Place.

Three Stories Up

21 December 2009–June 2010
Artist: Gabrielle McKone (curated by James Gilberd)

Three Stories Up featured 48 photographic artworks, stacked three-high in the 16 light boxes.

The images displayed Wellington street scenes captured by a compact digital camera in a 'shoot from the hip' style of photography.

Installation image of Love Notes, showing a photograph of a handwritten note reading

Love Notes (2005)

19 June–19 December 2009
Artist: Marie Shannon (curated by Heather Galbraith, City Gallery)

Love Notes featured 16 private handwritten notes - offering an unexpectedly intimate encounter within this large-scale public display.

The notes expressed love through various shorthand jottings, acronyms and more elaborately drawn compositions.

Shannon's photographs presented tangible evidence of seemingly anonymous intimacy.

Installation image of Give Us a Sign exhibition.

Give Us a Sign

17 December 2008–14 June 2009
Artists: Various (curated by Heather Galbraith, City Gallery Wellington )

Light boxes have been used for a long time in public space for commercial advertising or public service announcements.

Give Us a Sign did not aim to sell products, but rather offered a platform for ideas within a busy retail and entertainment district.

Seven artists and/or graphic designers were invited to each contribute two or three works responding to the call to 'Give us a sign - a message, a proclamation, a warning, a proposition; a way to make things better'.

Installation image of Flanerie and Figments showing NAKED LADY WITH TATTOOS.

Flânerie and Figments

May–December 2008
Artist: Various (curated by Andy Palmer and Simon Bush-King)

Flânerie and Figments was the first light box exhibition. It featured images by eight Wellington-based emerging photographers: Andy Palmer, John Lake, Victoria Birkenshaw, Shaun Lawson, Amelia Handscomb, Steve Rowe, Jessica Silk and Clare Noonan.

Artists were invited to respond to Wellington's urban condition. The outcome was an exhibition that reflected a diversity of photographic techniques and subject matter - from people to landscapes - each with Wellington at its heart.