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After seven and a half years of operation, Sumer has made the difficult decision to close.

Since founding the gallery in Tauranga in 2018, and later establishing our programme in Tāmaki Makaurau, it has been a privilege to work with such an extraordinary group of artists and to contribute, in our own way, to the wider contemporary art landscape.

We sincerely thank all of you—artists, collectors, institutional colleagues, and supporters—for your engagement and belief in what we were building. It has meant a great deal.

While the gallery itself is closing, the relationships and conversations that have shaped Sumer will continue to carry forward.

Thank you again for your support over the years.

Ngā manaakitanga,
Dan du Bern
Director, Sumer Fine Art

After seven and a half years of operation, Sumer has made the difficult decision to close.

Since founding the gallery in Tauranga in 2018, and later establishing our programme in Tāmaki Makaurau, it has been a privilege to work with such an extraordinary group of artists and to contribute, in our own way, to the wider contemporary art landscape.

We sincerely thank all of you—artists, collectors, institutional colleagues, and supporters—for your engagement and belief in what we were building. It has meant a great deal.

While the gallery itself is closing, the relationships and conversations that have shaped Sumer will continue to carry forward.

Thank you again for your support over the years.

Ngā manaakitanga,
Dan du Bern
Director, Sumer Fine Art

CINDY HUANGLandings

Gertrude Contemporary
Melbourne, Australia
7 February - 21 March 2026

Sumer is thrilled to congratulate Cindy Huang on her first international solo exhibition. Landings is currently on view at Gertrude Contemporary, Naarm Melbourne, Australia, curated by Mark Feary.

For this exhibition, Cindy Huang presents and extends her work Tracing a Gilded Trail (2023–26), an expansive floor-based installation composed of 1,000 hand-painted porcelain lily flowers. Lilies were reportedly brought by Chinese sojourners working in the Victorian-era gold rushes in Aotearoa New Zealand and are often connected to processes of mourning today. Through this poetic gesture, the artist evokes what it means for bodies to pass, to be buried within, and to be connected to land as Tangata Tiriti — people of the Treaty.

Alongside Huang presents a new installation of handmade ceramic tiles embedded with pāua shells, a species of abalone unique to New Zealand. Through this work, the artist connects the lands and waters of Aotearoa with her family’s small-town fish-and-chip and Chinese restaurant.
Across her practice, Cindy Huang continues to explore and interpret her lived experience as tauiwi — a New Zealander of Chinese descent — entangling the traditions of both cultures and lands. And Sumer is proud to support Cindy in this significant journey.

This project is supported by Creative New Zealand.

@cindyhuang.studio
@gertrudecontemporary
@markfeary
@creativenz
@sumer.nz
@drivingcreekpottery

Images:
1. Ceramic tiles with pāua shells, 2026 (detail)
2. Tracing a gilded trail, 2023-26
3. Tracing a gilded trail (detail)
4. Ceramic tiles with pāua shells (detail)
5. Cindy Huang in coversation with curator Mark Feary

Photographers:
Christian Capurro
Machiko Abe

CINDY HUANGLandings

Gertrude Contemporary
Melbourne, Australia
7 February - 21 March 2026

Sumer is thrilled to congratulate Cindy Huang on her first international solo exhibition. Landings is currently on view at Gertrude Contemporary, Naarm Melbourne, Australia, curated by Mark Feary.

For this exhibition, Cindy Huang presents and extends her work Tracing a Gilded Trail (2023–26), an expansive floor-based installation composed of 1,000 hand-painted porcelain lily flowers. Lilies were reportedly brought by Chinese sojourners working in the Victorian-era gold rushes in Aotearoa New Zealand and are often connected to processes of mourning today. Through this poetic gesture, the artist evokes what it means for bodies to pass, to be buried within, and to be connected to land as Tangata Tiriti — people of the Treaty.

Alongside Huang presents a new installation of handmade ceramic tiles embedded with pāua shells, a species of abalone unique to New Zealand. Through this work, the artist connects the lands and waters of Aotearoa with her family’s small-town fish-and-chip and Chinese restaurant.
Across her practice, Cindy Huang continues to explore and interpret her lived experience as tauiwi — a New Zealander of Chinese descent — entangling the traditions of both cultures and lands. And Sumer is proud to support Cindy in this significant journey.

This project is supported by Creative New Zealand.

@cindyhuang.studio
@gertrudecontemporary
@markfeary
@creativenz
@sumer.nz
@drivingcreekpottery

Images:
1. Ceramic tiles with pāua shells, 2026 (detail)
2. Tracing a gilded trail, 2023-26
3. Tracing a gilded trail (detail)
4. Ceramic tiles with pāua shells (detail)
5. Cindy Huang in coversation with curator Mark Feary

Photographers:
Christian Capurro
Machiko Abe

CINDY HUANGLandings

Gertrude Contemporary
Melbourne, Australia
7 February - 21 March 2026

Sumer is thrilled to congratulate Cindy Huang on her first international solo exhibition. Landings is currently on view at Gertrude Contemporary, Naarm Melbourne, Australia, curated by Mark Feary.

For this exhibition, Cindy Huang presents and extends her work Tracing a Gilded Trail (2023–26), an expansive floor-based installation composed of 1,000 hand-painted porcelain lily flowers. Lilies were reportedly brought by Chinese sojourners working in the Victorian-era gold rushes in Aotearoa New Zealand and are often connected to processes of mourning today. Through this poetic gesture, the artist evokes what it means for bodies to pass, to be buried within, and to be connected to land as Tangata Tiriti — people of the Treaty.

Alongside Huang presents a new installation of handmade ceramic tiles embedded with pāua shells, a species of abalone unique to New Zealand. Through this work, the artist connects the lands and waters of Aotearoa with her family’s small-town fish-and-chip and Chinese restaurant.
Across her practice, Cindy Huang continues to explore and interpret her lived experience as tauiwi — a New Zealander of Chinese descent — entangling the traditions of both cultures and lands. And Sumer is proud to support Cindy in this significant journey.

This project is supported by Creative New Zealand.

@cindyhuang.studio
@gertrudecontemporary
@markfeary
@creativenz
@sumer.nz
@drivingcreekpottery

Images:
1. Ceramic tiles with pāua shells, 2026 (detail)
2. Tracing a gilded trail, 2023-26
3. Tracing a gilded trail (detail)
4. Ceramic tiles with pāua shells (detail)
5. Cindy Huang in coversation with curator Mark Feary

Photographers:
Christian Capurro
Machiko Abe

CINDY HUANGLandings

Gertrude Contemporary
Melbourne, Australia
7 February - 21 March 2026

Sumer is thrilled to congratulate Cindy Huang on her first international solo exhibition. Landings is currently on view at Gertrude Contemporary, Naarm Melbourne, Australia, curated by Mark Feary.

For this exhibition, Cindy Huang presents and extends her work Tracing a Gilded Trail (2023–26), an expansive floor-based installation composed of 1,000 hand-painted porcelain lily flowers. Lilies were reportedly brought by Chinese sojourners working in the Victorian-era gold rushes in Aotearoa New Zealand and are often connected to processes of mourning today. Through this poetic gesture, the artist evokes what it means for bodies to pass, to be buried within, and to be connected to land as Tangata Tiriti — people of the Treaty.

Alongside Huang presents a new installation of handmade ceramic tiles embedded with pāua shells, a species of abalone unique to New Zealand. Through this work, the artist connects the lands and waters of Aotearoa with her family’s small-town fish-and-chip and Chinese restaurant.
Across her practice, Cindy Huang continues to explore and interpret her lived experience as tauiwi — a New Zealander of Chinese descent — entangling the traditions of both cultures and lands. And Sumer is proud to support Cindy in this significant journey.

This project is supported by Creative New Zealand.

@cindyhuang.studio
@gertrudecontemporary
@markfeary
@creativenz
@sumer.nz
@drivingcreekpottery

Images:
1. Ceramic tiles with pāua shells, 2026 (detail)
2. Tracing a gilded trail, 2023-26
3. Tracing a gilded trail (detail)
4. Ceramic tiles with pāua shells (detail)
5. Cindy Huang in coversation with curator Mark Feary

Photographers:
Christian Capurro
Machiko Abe

CINDY HUANGLandings

Gertrude Contemporary
Melbourne, Australia
7 February - 21 March 2026

Sumer is thrilled to congratulate Cindy Huang on her first international solo exhibition. Landings is currently on view at Gertrude Contemporary, Naarm Melbourne, Australia, curated by Mark Feary.

For this exhibition, Cindy Huang presents and extends her work Tracing a Gilded Trail (2023–26), an expansive floor-based installation composed of 1,000 hand-painted porcelain lily flowers. Lilies were reportedly brought by Chinese sojourners working in the Victorian-era gold rushes in Aotearoa New Zealand and are often connected to processes of mourning today. Through this poetic gesture, the artist evokes what it means for bodies to pass, to be buried within, and to be connected to land as Tangata Tiriti — people of the Treaty.

Alongside Huang presents a new installation of handmade ceramic tiles embedded with pāua shells, a species of abalone unique to New Zealand. Through this work, the artist connects the lands and waters of Aotearoa with her family’s small-town fish-and-chip and Chinese restaurant.
Across her practice, Cindy Huang continues to explore and interpret her lived experience as tauiwi — a New Zealander of Chinese descent — entangling the traditions of both cultures and lands. And Sumer is proud to support Cindy in this significant journey.

This project is supported by Creative New Zealand.

@cindyhuang.studio
@gertrudecontemporary
@markfeary
@creativenz
@sumer.nz
@drivingcreekpottery

Images:
1. Ceramic tiles with pāua shells, 2026 (detail)
2. Tracing a gilded trail, 2023-26
3. Tracing a gilded trail (detail)
4. Ceramic tiles with pāua shells (detail)
5. Cindy Huang in coversation with curator Mark Feary

Photographers:
Christian Capurro
Machiko Abe

CINDY HUANG

Pleasure Garden
Objectspace at Sir Miles Warren Gallery
Ōtautahi Christchurch
8 November — 14 December 2025

Curated by Zoë Black and Jordan Davey-Emms

Featuring works by Georgia Arnold, Vanessa Arthur, Mitchell Coll, Amelia Fagence, Turumeke Harrington, Georgia Tikaputini Douglas Hood, Cindy Huang, Lizzy Leckie, Neke Moa, Emma Wallbanks

“Within my practice I consider the relationships between tauiwi and mana whenua — whether they are private accounts of solidarity, conflict or negotiation. Tauiwi labour has historically, and still is, closely associated with extraction and cultivation, with wealth and livelihood being dependent on land.” — Cindy Huang

Image:
Cindy Huang, Offering, 2024
Bronze and incense
Displayed on an Emile Drescher shelf
Photo: Natalie Bascand

CINDY HUANG

Pleasure Garden
Objectspace at Sir Miles Warren Gallery
Ōtautahi Christchurch
8 November — 14 December 2025

Curated by Zoë Black and Jordan Davey-Emms

Featuring works by Georgia Arnold, Vanessa Arthur, Mitchell Coll, Amelia Fagence, Turumeke Harrington, Georgia Tikaputini Douglas Hood, Cindy Huang, Lizzy Leckie, Neke Moa, Emma Wallbanks

“Within my practice I consider the relationships between tauiwi and mana whenua — whether they are private accounts of solidarity, conflict or negotiation. Tauiwi labour has historically, and still is, closely associated with extraction and cultivation, with wealth and livelihood being dependent on land.” — Cindy Huang

Image:
Cindy Huang, Offering, 2024
Bronze and incense
Displayed on an Emile Drescher shelf
Photo: Natalie Bascand

CINDY HUANG

Pleasure Garden
Objectspace at Sir Miles Warren Gallery
Ōtautahi Christchurch
8 November — 14 December 2025

Curated by Zoë Black and Jordan Davey-Emms

Featuring works by Georgia Arnold, Vanessa Arthur, Mitchell Coll, Amelia Fagence, Turumeke Harrington, Georgia Tikaputini Douglas Hood, Cindy Huang, Lizzy Leckie, Neke Moa, Emma Wallbanks

“Within my practice I consider the relationships between tauiwi and mana whenua — whether they are private accounts of solidarity, conflict or negotiation. Tauiwi labour has historically, and still is, closely associated with extraction and cultivation, with wealth and livelihood being dependent on land.” — Cindy Huang

Image:
Cindy Huang, Offering, 2024
Bronze and incense
Displayed on an Emile Drescher shelf
Photo: Natalie Bascand

Show extended another week

MATTHEW GALLOWAY
WATCH HISTORY

SUMER, TĀMAKI MAKAURAU
16 OCTOBER– 22 NOVEMBER 2025

Presented in collaboration with Matisse @matisse_nz @matisse.international

The exhibition, a sculptural installation, comprises some seventy iPhone 16 handsets arranged across a large modular sofa—Mario Bellini’s Camaleonda (1970) for B&B Italia. Like the furniture upon which they rest, each handset is showroom new.

The various components of Bellini’s furniture system occupy the main area of the gallery floor, obliging visitors to move amongst them. Their lozenge-like upholstered forms echo Jony Ive’s Apple design language—equally iconic, though far more ubiquitous. While the furniture is arranged neatly, the phones are scattered seemingly at random, as if dropped in haste, abandoned, forgotten.

Each phone displays a short engraved line of text: closed captions lifted from television and film. Some are dialogue; others, bracketed audio descriptions. The screens are otherwise blank, black and mirror-like. This effect results from the anti-piracy controls built into Netflix’s iOS app, which allow only captions to appear when screenshots are taken. The fragments’ original sources have been deliberately left unidentified; even the artist admits he has forgotten many. While he notes they are drawn from a diverse range of genres—drama, comedy, action, documentary, reality TV—reflecting the everyday viewing habits of his family, their specific provenance is largely beside the point.

Stripped of their original contexts, the captions accumulate into a loose, Dada-like script that veers between the banal, comic and poetic. Pathos and bathos intertwine. This incongruous chorus emerges from objects typically designed for a single user—the personal device, bonded to one hand, one gaze. Here, their massed presence—dark, inert, numbering in the dozens—suggests excess, obsolescence and alienation.

Show extended another week

MATTHEW GALLOWAY
WATCH HISTORY

SUMER, TĀMAKI MAKAURAU
16 OCTOBER– 22 NOVEMBER 2025

Presented in collaboration with Matisse @matisse_nz @matisse.international

The exhibition, a sculptural installation, comprises some seventy iPhone 16 handsets arranged across a large modular sofa—Mario Bellini’s Camaleonda (1970) for B&B Italia. Like the furniture upon which they rest, each handset is showroom new.

The various components of Bellini’s furniture system occupy the main area of the gallery floor, obliging visitors to move amongst them. Their lozenge-like upholstered forms echo Jony Ive’s Apple design language—equally iconic, though far more ubiquitous. While the furniture is arranged neatly, the phones are scattered seemingly at random, as if dropped in haste, abandoned, forgotten.

Each phone displays a short engraved line of text: closed captions lifted from television and film. Some are dialogue; others, bracketed audio descriptions. The screens are otherwise blank, black and mirror-like. This effect results from the anti-piracy controls built into Netflix’s iOS app, which allow only captions to appear when screenshots are taken. The fragments’ original sources have been deliberately left unidentified; even the artist admits he has forgotten many. While he notes they are drawn from a diverse range of genres—drama, comedy, action, documentary, reality TV—reflecting the everyday viewing habits of his family, their specific provenance is largely beside the point.

Stripped of their original contexts, the captions accumulate into a loose, Dada-like script that veers between the banal, comic and poetic. Pathos and bathos intertwine. This incongruous chorus emerges from objects typically designed for a single user—the personal device, bonded to one hand, one gaze. Here, their massed presence—dark, inert, numbering in the dozens—suggests excess, obsolescence and alienation.

Show extended another week

MATTHEW GALLOWAY
WATCH HISTORY

SUMER, TĀMAKI MAKAURAU
16 OCTOBER– 22 NOVEMBER 2025

Presented in collaboration with Matisse @matisse_nz @matisse.international

The exhibition, a sculptural installation, comprises some seventy iPhone 16 handsets arranged across a large modular sofa—Mario Bellini’s Camaleonda (1970) for B&B Italia. Like the furniture upon which they rest, each handset is showroom new.

The various components of Bellini’s furniture system occupy the main area of the gallery floor, obliging visitors to move amongst them. Their lozenge-like upholstered forms echo Jony Ive’s Apple design language—equally iconic, though far more ubiquitous. While the furniture is arranged neatly, the phones are scattered seemingly at random, as if dropped in haste, abandoned, forgotten.

Each phone displays a short engraved line of text: closed captions lifted from television and film. Some are dialogue; others, bracketed audio descriptions. The screens are otherwise blank, black and mirror-like. This effect results from the anti-piracy controls built into Netflix’s iOS app, which allow only captions to appear when screenshots are taken. The fragments’ original sources have been deliberately left unidentified; even the artist admits he has forgotten many. While he notes they are drawn from a diverse range of genres—drama, comedy, action, documentary, reality TV—reflecting the everyday viewing habits of his family, their specific provenance is largely beside the point.

Stripped of their original contexts, the captions accumulate into a loose, Dada-like script that veers between the banal, comic and poetic. Pathos and bathos intertwine. This incongruous chorus emerges from objects typically designed for a single user—the personal device, bonded to one hand, one gaze. Here, their massed presence—dark, inert, numbering in the dozens—suggests excess, obsolescence and alienation.

Show extended another week

MATTHEW GALLOWAY
WATCH HISTORY

SUMER, TĀMAKI MAKAURAU
16 OCTOBER– 22 NOVEMBER 2025

Presented in collaboration with Matisse @matisse_nz @matisse.international

The exhibition, a sculptural installation, comprises some seventy iPhone 16 handsets arranged across a large modular sofa—Mario Bellini’s Camaleonda (1970) for B&B Italia. Like the furniture upon which they rest, each handset is showroom new.

The various components of Bellini’s furniture system occupy the main area of the gallery floor, obliging visitors to move amongst them. Their lozenge-like upholstered forms echo Jony Ive’s Apple design language—equally iconic, though far more ubiquitous. While the furniture is arranged neatly, the phones are scattered seemingly at random, as if dropped in haste, abandoned, forgotten.

Each phone displays a short engraved line of text: closed captions lifted from television and film. Some are dialogue; others, bracketed audio descriptions. The screens are otherwise blank, black and mirror-like. This effect results from the anti-piracy controls built into Netflix’s iOS app, which allow only captions to appear when screenshots are taken. The fragments’ original sources have been deliberately left unidentified; even the artist admits he has forgotten many. While he notes they are drawn from a diverse range of genres—drama, comedy, action, documentary, reality TV—reflecting the everyday viewing habits of his family, their specific provenance is largely beside the point.

Stripped of their original contexts, the captions accumulate into a loose, Dada-like script that veers between the banal, comic and poetic. Pathos and bathos intertwine. This incongruous chorus emerges from objects typically designed for a single user—the personal device, bonded to one hand, one gaze. Here, their massed presence—dark, inert, numbering in the dozens—suggests excess, obsolescence and alienation.

Show extended another week

MATTHEW GALLOWAY
WATCH HISTORY

SUMER, TĀMAKI MAKAURAU
16 OCTOBER– 22 NOVEMBER 2025

Presented in collaboration with Matisse @matisse_nz @matisse.international

The exhibition, a sculptural installation, comprises some seventy iPhone 16 handsets arranged across a large modular sofa—Mario Bellini’s Camaleonda (1970) for B&B Italia. Like the furniture upon which they rest, each handset is showroom new.

The various components of Bellini’s furniture system occupy the main area of the gallery floor, obliging visitors to move amongst them. Their lozenge-like upholstered forms echo Jony Ive’s Apple design language—equally iconic, though far more ubiquitous. While the furniture is arranged neatly, the phones are scattered seemingly at random, as if dropped in haste, abandoned, forgotten.

Each phone displays a short engraved line of text: closed captions lifted from television and film. Some are dialogue; others, bracketed audio descriptions. The screens are otherwise blank, black and mirror-like. This effect results from the anti-piracy controls built into Netflix’s iOS app, which allow only captions to appear when screenshots are taken. The fragments’ original sources have been deliberately left unidentified; even the artist admits he has forgotten many. While he notes they are drawn from a diverse range of genres—drama, comedy, action, documentary, reality TV—reflecting the everyday viewing habits of his family, their specific provenance is largely beside the point.

Stripped of their original contexts, the captions accumulate into a loose, Dada-like script that veers between the banal, comic and poetic. Pathos and bathos intertwine. This incongruous chorus emerges from objects typically designed for a single user—the personal device, bonded to one hand, one gaze. Here, their massed presence—dark, inert, numbering in the dozens—suggests excess, obsolescence and alienation.

Show extended another week

MATTHEW GALLOWAY
WATCH HISTORY

SUMER, TĀMAKI MAKAURAU
16 OCTOBER– 22 NOVEMBER 2025

Presented in collaboration with Matisse @matisse_nz @matisse.international

The exhibition, a sculptural installation, comprises some seventy iPhone 16 handsets arranged across a large modular sofa—Mario Bellini’s Camaleonda (1970) for B&B Italia. Like the furniture upon which they rest, each handset is showroom new.

The various components of Bellini’s furniture system occupy the main area of the gallery floor, obliging visitors to move amongst them. Their lozenge-like upholstered forms echo Jony Ive’s Apple design language—equally iconic, though far more ubiquitous. While the furniture is arranged neatly, the phones are scattered seemingly at random, as if dropped in haste, abandoned, forgotten.

Each phone displays a short engraved line of text: closed captions lifted from television and film. Some are dialogue; others, bracketed audio descriptions. The screens are otherwise blank, black and mirror-like. This effect results from the anti-piracy controls built into Netflix’s iOS app, which allow only captions to appear when screenshots are taken. The fragments’ original sources have been deliberately left unidentified; even the artist admits he has forgotten many. While he notes they are drawn from a diverse range of genres—drama, comedy, action, documentary, reality TV—reflecting the everyday viewing habits of his family, their specific provenance is largely beside the point.

Stripped of their original contexts, the captions accumulate into a loose, Dada-like script that veers between the banal, comic and poetic. Pathos and bathos intertwine. This incongruous chorus emerges from objects typically designed for a single user—the personal device, bonded to one hand, one gaze. Here, their massed presence—dark, inert, numbering in the dozens—suggests excess, obsolescence and alienation.

Show extended another week

MATTHEW GALLOWAY
WATCH HISTORY

SUMER, TĀMAKI MAKAURAU
16 OCTOBER– 22 NOVEMBER 2025

Presented in collaboration with Matisse @matisse_nz @matisse.international

The exhibition, a sculptural installation, comprises some seventy iPhone 16 handsets arranged across a large modular sofa—Mario Bellini’s Camaleonda (1970) for B&B Italia. Like the furniture upon which they rest, each handset is showroom new.

The various components of Bellini’s furniture system occupy the main area of the gallery floor, obliging visitors to move amongst them. Their lozenge-like upholstered forms echo Jony Ive’s Apple design language—equally iconic, though far more ubiquitous. While the furniture is arranged neatly, the phones are scattered seemingly at random, as if dropped in haste, abandoned, forgotten.

Each phone displays a short engraved line of text: closed captions lifted from television and film. Some are dialogue; others, bracketed audio descriptions. The screens are otherwise blank, black and mirror-like. This effect results from the anti-piracy controls built into Netflix’s iOS app, which allow only captions to appear when screenshots are taken. The fragments’ original sources have been deliberately left unidentified; even the artist admits he has forgotten many. While he notes they are drawn from a diverse range of genres—drama, comedy, action, documentary, reality TV—reflecting the everyday viewing habits of his family, their specific provenance is largely beside the point.

Stripped of their original contexts, the captions accumulate into a loose, Dada-like script that veers between the banal, comic and poetic. Pathos and bathos intertwine. This incongruous chorus emerges from objects typically designed for a single user—the personal device, bonded to one hand, one gaze. Here, their massed presence—dark, inert, numbering in the dozens—suggests excess, obsolescence and alienation.

Show extended another week

MATTHEW GALLOWAY
WATCH HISTORY

SUMER, TĀMAKI MAKAURAU
16 OCTOBER– 22 NOVEMBER 2025

Presented in collaboration with Matisse @matisse_nz @matisse.international

The exhibition, a sculptural installation, comprises some seventy iPhone 16 handsets arranged across a large modular sofa—Mario Bellini’s Camaleonda (1970) for B&B Italia. Like the furniture upon which they rest, each handset is showroom new.

The various components of Bellini’s furniture system occupy the main area of the gallery floor, obliging visitors to move amongst them. Their lozenge-like upholstered forms echo Jony Ive’s Apple design language—equally iconic, though far more ubiquitous. While the furniture is arranged neatly, the phones are scattered seemingly at random, as if dropped in haste, abandoned, forgotten.

Each phone displays a short engraved line of text: closed captions lifted from television and film. Some are dialogue; others, bracketed audio descriptions. The screens are otherwise blank, black and mirror-like. This effect results from the anti-piracy controls built into Netflix’s iOS app, which allow only captions to appear when screenshots are taken. The fragments’ original sources have been deliberately left unidentified; even the artist admits he has forgotten many. While he notes they are drawn from a diverse range of genres—drama, comedy, action, documentary, reality TV—reflecting the everyday viewing habits of his family, their specific provenance is largely beside the point.

Stripped of their original contexts, the captions accumulate into a loose, Dada-like script that veers between the banal, comic and poetic. Pathos and bathos intertwine. This incongruous chorus emerges from objects typically designed for a single user—the personal device, bonded to one hand, one gaze. Here, their massed presence—dark, inert, numbering in the dozens—suggests excess, obsolescence and alienation.

Thanks to everyone who joined us last Thursday evening for the opening of Matthew Galloway’s exhibition, ‘Watch History’.

MATTHEW GALLOWAY
WATCH HISTORY

SUMER, TĀMAKI MAKAURAU
16 OCTOBER– 15 NOVEMBER 2025

Presented in collaboration with Matisse @matisse_nz @matisse.international

The gallery and artist also wish to acknowledge the significant support that both McCahon House and the Office of Contemporary Art Aotearoa (OCAA) have provided to Matthew over recent months.
@mccahonhouse @ocaa_nz

‎ 📷 @anna_heraskina

@matthewcgalloway @sumer.nz

Thanks to everyone who joined us last Thursday evening for the opening of Matthew Galloway’s exhibition, ‘Watch History’.

MATTHEW GALLOWAY
WATCH HISTORY

SUMER, TĀMAKI MAKAURAU
16 OCTOBER– 15 NOVEMBER 2025

Presented in collaboration with Matisse @matisse_nz @matisse.international

The gallery and artist also wish to acknowledge the significant support that both McCahon House and the Office of Contemporary Art Aotearoa (OCAA) have provided to Matthew over recent months.
@mccahonhouse @ocaa_nz

‎ 📷 @anna_heraskina

@matthewcgalloway @sumer.nz

Thanks to everyone who joined us last Thursday evening for the opening of Matthew Galloway’s exhibition, ‘Watch History’.

MATTHEW GALLOWAY
WATCH HISTORY

SUMER, TĀMAKI MAKAURAU
16 OCTOBER– 15 NOVEMBER 2025

Presented in collaboration with Matisse @matisse_nz @matisse.international

The gallery and artist also wish to acknowledge the significant support that both McCahon House and the Office of Contemporary Art Aotearoa (OCAA) have provided to Matthew over recent months.
@mccahonhouse @ocaa_nz

‎ 📷 @anna_heraskina

@matthewcgalloway @sumer.nz

Thanks to everyone who joined us last Thursday evening for the opening of Matthew Galloway’s exhibition, ‘Watch History’.

MATTHEW GALLOWAY
WATCH HISTORY

SUMER, TĀMAKI MAKAURAU
16 OCTOBER– 15 NOVEMBER 2025

Presented in collaboration with Matisse @matisse_nz @matisse.international

The gallery and artist also wish to acknowledge the significant support that both McCahon House and the Office of Contemporary Art Aotearoa (OCAA) have provided to Matthew over recent months.
@mccahonhouse @ocaa_nz

‎ 📷 @anna_heraskina

@matthewcgalloway @sumer.nz

Thanks to everyone who joined us last Thursday evening for the opening of Matthew Galloway’s exhibition, ‘Watch History’.

MATTHEW GALLOWAY
WATCH HISTORY

SUMER, TĀMAKI MAKAURAU
16 OCTOBER– 15 NOVEMBER 2025

Presented in collaboration with Matisse @matisse_nz @matisse.international

The gallery and artist also wish to acknowledge the significant support that both McCahon House and the Office of Contemporary Art Aotearoa (OCAA) have provided to Matthew over recent months.
@mccahonhouse @ocaa_nz

‎ 📷 @anna_heraskina

@matthewcgalloway @sumer.nz

Thanks to everyone who joined us last Thursday evening for the opening of Matthew Galloway’s exhibition, ‘Watch History’.

MATTHEW GALLOWAY
WATCH HISTORY

SUMER, TĀMAKI MAKAURAU
16 OCTOBER– 15 NOVEMBER 2025

Presented in collaboration with Matisse @matisse_nz @matisse.international

The gallery and artist also wish to acknowledge the significant support that both McCahon House and the Office of Contemporary Art Aotearoa (OCAA) have provided to Matthew over recent months.
@mccahonhouse @ocaa_nz

‎ 📷 @anna_heraskina

@matthewcgalloway @sumer.nz

Thanks to everyone who joined us last Thursday evening for the opening of Matthew Galloway’s exhibition, ‘Watch History’.

MATTHEW GALLOWAY
WATCH HISTORY

SUMER, TĀMAKI MAKAURAU
16 OCTOBER– 15 NOVEMBER 2025

Presented in collaboration with Matisse @matisse_nz @matisse.international

The gallery and artist also wish to acknowledge the significant support that both McCahon House and the Office of Contemporary Art Aotearoa (OCAA) have provided to Matthew over recent months.
@mccahonhouse @ocaa_nz

‎ 📷 @anna_heraskina

@matthewcgalloway @sumer.nz

Thanks to everyone who joined us last Thursday evening for the opening of Matthew Galloway’s exhibition, ‘Watch History’.

MATTHEW GALLOWAY
WATCH HISTORY

SUMER, TĀMAKI MAKAURAU
16 OCTOBER– 15 NOVEMBER 2025

Presented in collaboration with Matisse @matisse_nz @matisse.international

The gallery and artist also wish to acknowledge the significant support that both McCahon House and the Office of Contemporary Art Aotearoa (OCAA) have provided to Matthew over recent months.
@mccahonhouse @ocaa_nz

‎ 📷 @anna_heraskina

@matthewcgalloway @sumer.nz

Join Matthew Galloway (@matthewcgalloway) as he speaks about his current exhibition 𝙒𝙖𝙩𝙘𝙝 𝙃𝙞𝙨𝙩𝙤𝙧𝙮 at Sumer (@sumer.nz) in Tāmaki Makaurau

On view through 15 November ★

Sofa c/o @matisse_nz

Join us this evening, 5:30–7:30 pm, for the opening of Watch History, Matthew Galloway’s first solo exhibition at Sumer.

Reframing the textual residue of streaming culture and manipulating a set of very specific found objects, Galloway exposes the systems that govern value, perception and experience in the contemporary moment.

MATTHEW GALLOWAY
WATCH HISTORY

SUMER, TĀMAKI MAKAURAU
16 OCTOBER - 15 NOVEMBER 2025

Presented in collaboration with Matisse
@matisse_nz @matisse.international
‎
The gallery and artist also wish to acknowledge the significant support that both McCahon House and the Office of Contemporary Art Aotearoa (OCAA) have provided to Matthew over recent months. @mccahonhouse @ocaa_nz

#matthewgalloway #sumerfineart

Join us this evening, 5:30–7:30 pm, for the opening of Watch History, Matthew Galloway’s first solo exhibition at Sumer.

Reframing the textual residue of streaming culture and manipulating a set of very specific found objects, Galloway exposes the systems that govern value, perception and experience in the contemporary moment.

MATTHEW GALLOWAY
WATCH HISTORY

SUMER, TĀMAKI MAKAURAU
16 OCTOBER - 15 NOVEMBER 2025

Presented in collaboration with Matisse
@matisse_nz @matisse.international
‎
The gallery and artist also wish to acknowledge the significant support that both McCahon House and the Office of Contemporary Art Aotearoa (OCAA) have provided to Matthew over recent months. @mccahonhouse @ocaa_nz

#matthewgalloway #sumerfineart

Join us this evening, 5:30–7:30 pm, for the opening of Watch History, Matthew Galloway’s first solo exhibition at Sumer.

Reframing the textual residue of streaming culture and manipulating a set of very specific found objects, Galloway exposes the systems that govern value, perception and experience in the contemporary moment.

MATTHEW GALLOWAY
WATCH HISTORY

SUMER, TĀMAKI MAKAURAU
16 OCTOBER - 15 NOVEMBER 2025

Presented in collaboration with Matisse
@matisse_nz @matisse.international
‎
The gallery and artist also wish to acknowledge the significant support that both McCahon House and the Office of Contemporary Art Aotearoa (OCAA) have provided to Matthew over recent months. @mccahonhouse @ocaa_nz

#matthewgalloway #sumerfineart

Join us this evening, 5:30–7:30 pm, for the opening of Watch History, Matthew Galloway’s first solo exhibition at Sumer.

Reframing the textual residue of streaming culture and manipulating a set of very specific found objects, Galloway exposes the systems that govern value, perception and experience in the contemporary moment.

MATTHEW GALLOWAY
WATCH HISTORY

SUMER, TĀMAKI MAKAURAU
16 OCTOBER - 15 NOVEMBER 2025

Presented in collaboration with Matisse
@matisse_nz @matisse.international
‎
The gallery and artist also wish to acknowledge the significant support that both McCahon House and the Office of Contemporary Art Aotearoa (OCAA) have provided to Matthew over recent months. @mccahonhouse @ocaa_nz

#matthewgalloway #sumerfineart

Join us this evening, 5:30–7:30 pm, for the opening of Watch History, Matthew Galloway’s first solo exhibition at Sumer.

Reframing the textual residue of streaming culture and manipulating a set of very specific found objects, Galloway exposes the systems that govern value, perception and experience in the contemporary moment.

MATTHEW GALLOWAY
WATCH HISTORY

SUMER, TĀMAKI MAKAURAU
16 OCTOBER - 15 NOVEMBER 2025

Presented in collaboration with Matisse
@matisse_nz @matisse.international
‎
The gallery and artist also wish to acknowledge the significant support that both McCahon House and the Office of Contemporary Art Aotearoa (OCAA) have provided to Matthew over recent months. @mccahonhouse @ocaa_nz

#matthewgalloway #sumerfineart

Join us this evening, 5:30–7:30 pm, for the opening of Watch History, Matthew Galloway’s first solo exhibition at Sumer.

Reframing the textual residue of streaming culture and manipulating a set of very specific found objects, Galloway exposes the systems that govern value, perception and experience in the contemporary moment.

MATTHEW GALLOWAY
WATCH HISTORY

SUMER, TĀMAKI MAKAURAU
16 OCTOBER - 15 NOVEMBER 2025

Presented in collaboration with Matisse
@matisse_nz @matisse.international
‎
The gallery and artist also wish to acknowledge the significant support that both McCahon House and the Office of Contemporary Art Aotearoa (OCAA) have provided to Matthew over recent months. @mccahonhouse @ocaa_nz

#matthewgalloway #sumerfineart

Join us this evening, 5:30–7:30 pm, for the opening of Watch History, Matthew Galloway’s first solo exhibition at Sumer.

Reframing the textual residue of streaming culture and manipulating a set of very specific found objects, Galloway exposes the systems that govern value, perception and experience in the contemporary moment.

MATTHEW GALLOWAY
WATCH HISTORY

SUMER, TĀMAKI MAKAURAU
16 OCTOBER - 15 NOVEMBER 2025

Presented in collaboration with Matisse
@matisse_nz @matisse.international
‎
The gallery and artist also wish to acknowledge the significant support that both McCahon House and the Office of Contemporary Art Aotearoa (OCAA) have provided to Matthew over recent months. @mccahonhouse @ocaa_nz

#matthewgalloway #sumerfineart

Join us this evening, 5:30–7:30 pm, for the opening of Watch History, Matthew Galloway’s first solo exhibition at Sumer.

Reframing the textual residue of streaming culture and manipulating a set of very specific found objects, Galloway exposes the systems that govern value, perception and experience in the contemporary moment.

MATTHEW GALLOWAY
WATCH HISTORY

SUMER, TĀMAKI MAKAURAU
16 OCTOBER - 15 NOVEMBER 2025

Presented in collaboration with Matisse
@matisse_nz @matisse.international
‎
The gallery and artist also wish to acknowledge the significant support that both McCahon House and the Office of Contemporary Art Aotearoa (OCAA) have provided to Matthew over recent months. @mccahonhouse @ocaa_nz

#matthewgalloway #sumerfineart

Opening next Thursday:
Matthew Galloway — 𝑊𝑎𝑡𝑐ℎ 𝐻𝑖𝑠𝑡𝑜𝑟𝑦

Sumer, Tāmaki Makaurau
16 October – 15 November 2025

Opening: Thursday 16 October, 5:30–7:30pm
All welcome. The artist will be in attendance.

‎
In his first solo exhibition at the gallery, Te Whanganui-a-Tara Wellington–based artist Matthew Galloway presents a major new installation work. Developed during his time as McCahon House Parehuia resident earlier this year, 𝑊𝑎𝑡𝑐ℎ 𝐻𝑖𝑠𝑡𝑜𝑟𝑦 signals a subtle but significant shift in Galloway’s socially minded, research-driven practice.

Considering both design languages and the technologies of our everyday, Galloway’s work examines mass consumerism and the hidden infrastructures—of energy, control and mediation—that shape how we encounter media. By reframing the textual residue of streaming culture and manipulating a set of very specific found objects, Galloway exposes the systems that govern value, perception and experience in the contemporary moment.

‎
Presented in collaboration with Matisse @matisse_nz @matisse.international

‎
The gallery and artist also wish to acknowledge the significant support that both McCahon House @mccahonhouse and the Office of Contemporary Art Aotearoa (OCAA) @ocaa_nz have provided to Matthew over recent months.

‎
Image:
Matthew Galloway, 𝑊𝑎𝑡𝑐ℎ 𝐻𝑖𝑠𝑡𝑜𝑟𝑦, 2025 (detail)
Engraved replica iPhone 16 handsets, B&B Italia Camaleonda® sofa, dimensions variable
photo: Dan du Bern

#matthewgalloway #sumerfineart

Final Days

ZINA SWANSON
THEIR SEEDS ARE WINGED AND BORNE IN PAIRS

SUMER, TĀMAKI MAKAURAU
4 SEPTEMBER - 4 OCTOBER 2025

Image: installation view with the artist

Currently showing at Sumer, Tāmaki Makaurau

ZINA SWANSON
THEIR SEEDS ARE WINGED AND BORNE IN PAIRS

SUMER, TĀMAKI MAKAURAU
4 SEPTEMBER - 4 OCTOBER 2025

Image:
Zina Swanson
Sycamore Tears, 2025
Acrylic on canvas
40 x 30 cm
15 3/4 x 11 3/4 in

Sumer is thrilled to announce that Ruth Cleland’s 𝘊𝘰𝘯𝘤𝘳𝘦𝘵𝘦 𝘍𝘭𝘰𝘰𝘳 1 & 𝘎𝘳𝘪𝘥 (𝘊𝘰𝘯𝘤𝘳𝘦𝘵𝘦 𝘍𝘭𝘰𝘰𝘳 1), 2024–25, has been acquired for the Chartwell Collection, Auckland Art Gallery Toi o Tāmaki, following her recent solo exhibition at the gallery in June of this year.

The pair of drawings is the second acquisition of Cleland’s work for the Chartwell Collection, and it is wonderful to see this important new work find a place in one of Aotearoa New Zealand’s most significant public collections of contemporary art.

——

The works are one of two images drawn from photographs of Sumer’s gallery floor; taken two years earlier, when the gallery was in construction, complete with plaster splashes and temporary markings—ghosts of a transitional state since erased.

Executed with Cleland’s characteristic graphite precision, these drawings elevate the inconsequential, transmuting the overlooked into subjects of quiet focus.

These works signal a subtle but significant development in Cleland’s practice, particularly in the growing clarity with which the grid articulates its relationship to the image. Far from preparatory or instructional, these structures act as interpretive overlays—gestures of analysis, not direction.

As Victoria Wynne-Jones has written, Cleland’s works are “a record of time and attention.” They are not merely representations of concrete, but transcriptions—evidence of the artist’s labour, decision-making, and devotion. It is this quiet, persistent work that lends her surfaces their gravitas, endowing the banal with a presence that is at once elusive and profound.

——

Images:
Ruth Cleland
𝘊𝘰𝘯𝘤𝘳𝘦𝘵𝘦 𝘍𝘭𝘰𝘰𝘳 1 & 𝘎𝘳𝘪𝘥 (𝘊𝘰𝘯𝘤𝘳𝘦𝘵𝘦 𝘍𝘭𝘰𝘰𝘳 1), 2024–25
Pitt graphite matt pencil on Bristol board in artist’s frame; acrylic and graphite pencil on Bristol board in artist’s frame
65 × 46.5 cm each

Sumer is thrilled to announce that Ruth Cleland’s 𝘊𝘰𝘯𝘤𝘳𝘦𝘵𝘦 𝘍𝘭𝘰𝘰𝘳 1 & 𝘎𝘳𝘪𝘥 (𝘊𝘰𝘯𝘤𝘳𝘦𝘵𝘦 𝘍𝘭𝘰𝘰𝘳 1), 2024–25, has been acquired for the Chartwell Collection, Auckland Art Gallery Toi o Tāmaki, following her recent solo exhibition at the gallery in June of this year.

The pair of drawings is the second acquisition of Cleland’s work for the Chartwell Collection, and it is wonderful to see this important new work find a place in one of Aotearoa New Zealand’s most significant public collections of contemporary art.

——

The works are one of two images drawn from photographs of Sumer’s gallery floor; taken two years earlier, when the gallery was in construction, complete with plaster splashes and temporary markings—ghosts of a transitional state since erased.

Executed with Cleland’s characteristic graphite precision, these drawings elevate the inconsequential, transmuting the overlooked into subjects of quiet focus.

These works signal a subtle but significant development in Cleland’s practice, particularly in the growing clarity with which the grid articulates its relationship to the image. Far from preparatory or instructional, these structures act as interpretive overlays—gestures of analysis, not direction.

As Victoria Wynne-Jones has written, Cleland’s works are “a record of time and attention.” They are not merely representations of concrete, but transcriptions—evidence of the artist’s labour, decision-making, and devotion. It is this quiet, persistent work that lends her surfaces their gravitas, endowing the banal with a presence that is at once elusive and profound.

——

Images:
Ruth Cleland
𝘊𝘰𝘯𝘤𝘳𝘦𝘵𝘦 𝘍𝘭𝘰𝘰𝘳 1 & 𝘎𝘳𝘪𝘥 (𝘊𝘰𝘯𝘤𝘳𝘦𝘵𝘦 𝘍𝘭𝘰𝘰𝘳 1), 2024–25
Pitt graphite matt pencil on Bristol board in artist’s frame; acrylic and graphite pencil on Bristol board in artist’s frame
65 × 46.5 cm each

Sumer is thrilled to announce that Ruth Cleland’s 𝘊𝘰𝘯𝘤𝘳𝘦𝘵𝘦 𝘍𝘭𝘰𝘰𝘳 1 & 𝘎𝘳𝘪𝘥 (𝘊𝘰𝘯𝘤𝘳𝘦𝘵𝘦 𝘍𝘭𝘰𝘰𝘳 1), 2024–25, has been acquired for the Chartwell Collection, Auckland Art Gallery Toi o Tāmaki, following her recent solo exhibition at the gallery in June of this year.

The pair of drawings is the second acquisition of Cleland’s work for the Chartwell Collection, and it is wonderful to see this important new work find a place in one of Aotearoa New Zealand’s most significant public collections of contemporary art.

——

The works are one of two images drawn from photographs of Sumer’s gallery floor; taken two years earlier, when the gallery was in construction, complete with plaster splashes and temporary markings—ghosts of a transitional state since erased.

Executed with Cleland’s characteristic graphite precision, these drawings elevate the inconsequential, transmuting the overlooked into subjects of quiet focus.

These works signal a subtle but significant development in Cleland’s practice, particularly in the growing clarity with which the grid articulates its relationship to the image. Far from preparatory or instructional, these structures act as interpretive overlays—gestures of analysis, not direction.

As Victoria Wynne-Jones has written, Cleland’s works are “a record of time and attention.” They are not merely representations of concrete, but transcriptions—evidence of the artist’s labour, decision-making, and devotion. It is this quiet, persistent work that lends her surfaces their gravitas, endowing the banal with a presence that is at once elusive and profound.

——

Images:
Ruth Cleland
𝘊𝘰𝘯𝘤𝘳𝘦𝘵𝘦 𝘍𝘭𝘰𝘰𝘳 1 & 𝘎𝘳𝘪𝘥 (𝘊𝘰𝘯𝘤𝘳𝘦𝘵𝘦 𝘍𝘭𝘰𝘰𝘳 1), 2024–25
Pitt graphite matt pencil on Bristol board in artist’s frame; acrylic and graphite pencil on Bristol board in artist’s frame
65 × 46.5 cm each

What stories unfold when a single seed drifts to the ground?

Zina Swanson’s (@zinaswanson’s) exhibition — 𝘛𝘩𝘦𝘪𝘳 𝘴𝘦𝘦𝘥𝘴 𝘢𝘳𝘦 𝘸𝘪𝘯𝘨𝘦𝘥 𝘢𝘯𝘥 𝘣𝘰𝘳𝘯𝘦 𝘪𝘯 𝘱𝘢𝘪𝘳𝘴 — at Sumer, Tāmaki Makaurau (@sumer.nz) takes a chance encounter with the sycamore (Acer pseudoplatanus) as a starting point to reflect on plant–human relationships, and the delicate tensions between weight and flight, suspension and collapse.

On view through 4 October ★

What stories unfold when a single seed drifts to the ground?

Zina Swanson’s (@zinaswanson’s) exhibition — 𝘛𝘩𝘦𝘪𝘳 𝘴𝘦𝘦𝘥𝘴 𝘢𝘳𝘦 𝘸𝘪𝘯𝘨𝘦𝘥 𝘢𝘯𝘥 𝘣𝘰𝘳𝘯𝘦 𝘪𝘯 𝘱𝘢𝘪𝘳𝘴 — at Sumer, Tāmaki Makaurau (@sumer.nz) takes a chance encounter with the sycamore (Acer pseudoplatanus) as a starting point to reflect on plant–human relationships, and the delicate tensions between weight and flight, suspension and collapse.

On view through 4 October ★

What stories unfold when a single seed drifts to the ground?

Zina Swanson’s (@zinaswanson’s) exhibition — 𝘛𝘩𝘦𝘪𝘳 𝘴𝘦𝘦𝘥𝘴 𝘢𝘳𝘦 𝘸𝘪𝘯𝘨𝘦𝘥 𝘢𝘯𝘥 𝘣𝘰𝘳𝘯𝘦 𝘪𝘯 𝘱𝘢𝘪𝘳𝘴 — at Sumer, Tāmaki Makaurau (@sumer.nz) takes a chance encounter with the sycamore (Acer pseudoplatanus) as a starting point to reflect on plant–human relationships, and the delicate tensions between weight and flight, suspension and collapse.

On view through 4 October ★

What stories unfold when a single seed drifts to the ground?

Zina Swanson’s (@zinaswanson’s) exhibition — 𝘛𝘩𝘦𝘪𝘳 𝘴𝘦𝘦𝘥𝘴 𝘢𝘳𝘦 𝘸𝘪𝘯𝘨𝘦𝘥 𝘢𝘯𝘥 𝘣𝘰𝘳𝘯𝘦 𝘪𝘯 𝘱𝘢𝘪𝘳𝘴 — at Sumer, Tāmaki Makaurau (@sumer.nz) takes a chance encounter with the sycamore (Acer pseudoplatanus) as a starting point to reflect on plant–human relationships, and the delicate tensions between weight and flight, suspension and collapse.

On view through 4 October ★

What stories unfold when a single seed drifts to the ground?

Zina Swanson’s (@zinaswanson’s) exhibition — 𝘛𝘩𝘦𝘪𝘳 𝘴𝘦𝘦𝘥𝘴 𝘢𝘳𝘦 𝘸𝘪𝘯𝘨𝘦𝘥 𝘢𝘯𝘥 𝘣𝘰𝘳𝘯𝘦 𝘪𝘯 𝘱𝘢𝘪𝘳𝘴 — at Sumer, Tāmaki Makaurau (@sumer.nz) takes a chance encounter with the sycamore (Acer pseudoplatanus) as a starting point to reflect on plant–human relationships, and the delicate tensions between weight and flight, suspension and collapse.

On view through 4 October ★

What stories unfold when a single seed drifts to the ground?

Zina Swanson’s (@zinaswanson’s) exhibition — 𝘛𝘩𝘦𝘪𝘳 𝘴𝘦𝘦𝘥𝘴 𝘢𝘳𝘦 𝘸𝘪𝘯𝘨𝘦𝘥 𝘢𝘯𝘥 𝘣𝘰𝘳𝘯𝘦 𝘪𝘯 𝘱𝘢𝘪𝘳𝘴 — at Sumer, Tāmaki Makaurau (@sumer.nz) takes a chance encounter with the sycamore (Acer pseudoplatanus) as a starting point to reflect on plant–human relationships, and the delicate tensions between weight and flight, suspension and collapse.

On view through 4 October ★

What stories unfold when a single seed drifts to the ground?

Zina Swanson’s (@zinaswanson’s) exhibition — 𝘛𝘩𝘦𝘪𝘳 𝘴𝘦𝘦𝘥𝘴 𝘢𝘳𝘦 𝘸𝘪𝘯𝘨𝘦𝘥 𝘢𝘯𝘥 𝘣𝘰𝘳𝘯𝘦 𝘪𝘯 𝘱𝘢𝘪𝘳𝘴 — at Sumer, Tāmaki Makaurau (@sumer.nz) takes a chance encounter with the sycamore (Acer pseudoplatanus) as a starting point to reflect on plant–human relationships, and the delicate tensions between weight and flight, suspension and collapse.

On view through 4 October ★

What stories unfold when a single seed drifts to the ground?

Zina Swanson’s (@zinaswanson’s) exhibition — 𝘛𝘩𝘦𝘪𝘳 𝘴𝘦𝘦𝘥𝘴 𝘢𝘳𝘦 𝘸𝘪𝘯𝘨𝘦𝘥 𝘢𝘯𝘥 𝘣𝘰𝘳𝘯𝘦 𝘪𝘯 𝘱𝘢𝘪𝘳𝘴 — at Sumer, Tāmaki Makaurau (@sumer.nz) takes a chance encounter with the sycamore (Acer pseudoplatanus) as a starting point to reflect on plant–human relationships, and the delicate tensions between weight and flight, suspension and collapse.

On view through 4 October ★

What stories unfold when a single seed drifts to the ground?

Zina Swanson’s (@zinaswanson’s) exhibition — 𝘛𝘩𝘦𝘪𝘳 𝘴𝘦𝘦𝘥𝘴 𝘢𝘳𝘦 𝘸𝘪𝘯𝘨𝘦𝘥 𝘢𝘯𝘥 𝘣𝘰𝘳𝘯𝘦 𝘪𝘯 𝘱𝘢𝘪𝘳𝘴 — at Sumer, Tāmaki Makaurau (@sumer.nz) takes a chance encounter with the sycamore (Acer pseudoplatanus) as a starting point to reflect on plant–human relationships, and the delicate tensions between weight and flight, suspension and collapse.

On view through 4 October ★

What stories unfold when a single seed drifts to the ground?

Zina Swanson’s (@zinaswanson’s) exhibition — 𝘛𝘩𝘦𝘪𝘳 𝘴𝘦𝘦𝘥𝘴 𝘢𝘳𝘦 𝘸𝘪𝘯𝘨𝘦𝘥 𝘢𝘯𝘥 𝘣𝘰𝘳𝘯𝘦 𝘪𝘯 𝘱𝘢𝘪𝘳𝘴 — at Sumer, Tāmaki Makaurau (@sumer.nz) takes a chance encounter with the sycamore (Acer pseudoplatanus) as a starting point to reflect on plant–human relationships, and the delicate tensions between weight and flight, suspension and collapse.

On view through 4 October ★