HomeBound is Amrit Kaur’s ode to memory, migration, and the delicate threads of belonging. Rooted in her Sikh-Punjabi heritage, the works draw upon motifs such as phulkari and bagh, honouring the craftsmanship of unknown artisans of Punjab while reimagining these traditions through contemporary forms.

Using beads, impasto, and acrylics, Amrit creates textured paintings, vases, and installations that are both tactile and immersive. Her works invite viewers to pause, notice small details, and reflect on how journeys continually reshape the meaning of home.

Presented in association with Te Ahurei Toi o Tāmaki Auckland Arts Festival 2026.

At Close Range presents work by a group of artists who regard printmaking as a methodology, a means to investigate the world that surrounds us. The exhibition explores printmaking as a malleable visual language; something that can be shared by all and continues to change. The artists in At Close Range prioritize the gathering and transmission of information over the reproductive functions of printed images and texts.

Combining the Greek words kolla: glue, and graph: drawing, Collagraph is a method of printmaking which gives expression to found objects.In Secret garden, impressions of urban natural and unnatural debris are used to depict surreal yet familiar scenes of central Tāmaki Makaurau, where infrastructure and plant life intertwine. These prints remove the line between what is organic and what is not, critiquing illusions of distance from ‘the environment’ as Brie searches for a sense of belonging in the big city.

This contradiction of organic and manmade environments mirrors Tove’s relationship with her external world, reimagining it through a space of therapy and transformation.

Mark Alister Raymer and James S Watson have collaborated to bring this less-than-pristine pile of prints to Studio One Toi Tū’s walls in the hope of developing connections, driving discussions, and pondering the perplexity of everything printmaking. They asked printmakers from across the world to send in prints that were less than their best, or what could be called failures. What is presented is the entirety of those submissions, the only criterion was the willingness and bravery to send a print.

Isla Thomson is a multidisciplinary artist who focuses on recreating historical processes. She uses experimental archaeology to discover techniques of past craftspeople, replicating the techniques in her works to revive forgotten methods. Isla’s practice examines decoration, and why people across the globe have adorned their bodies and homes. She uses traditional printmaking conventions, such as repetition and reflection, as well as incorporating elaborate detail into her works. Her works celebrate these traditional handicrafts, and the women who made them.

Tōfā Mamao explores the intricate landscape of diaspora grief, focusing on how Samoans in Aotearoa navigate loss within a modern urban context. The work examines the tension between demanding cultural traditions, which often consume the immediate period of mourning, and the pressure to quickly return to daily life. Through large-format photographic portraits, video, and evocative poetry and music, the exhibition captures the resilience of those whose farewells must travel across oceans. Drawing from personal experience and community dialogue, the artists reflect on how heritage both anchors and complicates healing when there is little space to truly grieve.

This exhibition explores the quiet, intimate act of writing letters to the people we love. Sitting down with a pen in hand, we express what we often struggle to say aloud; how much we miss someone, when we hope to see them again, or simply how life is unfolding. Fa’amele invites you to consider when the last time was you wrote a letter to someone, or even to yourself. During the show, you are welcome to write your own letter and place it in a pre‑paid envelope to be posted at the end of the exhibition.

Gaps of Silence moves through the liminal spaces between reverence and forgetting, tracing the presence of the old gods of Oceania and the echoes left by colonisation's silencing. These works listen to what lingers in the hush between worship and erasure, where the divine waits to be remembered. Through gesture, colour, and form, art becomes both invocation and archive, a space where ancestral voices are remembered, not as myth, but as enduring presence. In this silence, memory transforms into ceremony; absence into knowing.

White Blood is a multi-channel installation exploring the intimate legacies of migrant labourers within imperial structures. Weaving together diasporic memories of rubber plantations in Malaysia, camphor extraction in Taiwan and the history of Manila Hemp in the Philippines, the work reflects on migratory labour, colonial economies, and the inherited systems that shape bodies and memory. Through everyday objects, White Blood examines how imperial power operates beyond territorial conquest, embedding itself in domestic and bodily rituals, manifesting in routine acts of surveillance.

Yin Chi is a recipient of the Emerging Artist Residency at Studio One Toi Tū. This exhibition is the celebration of the end of the residency.

Ritualists are those who hold their hand closest to the fire, those that perform a sacred duty to be the connection between worlds, as our eyes can only settle upon the humanoid. The chosen volunteers that bear the understanding of a language never spoken. To see a message of truth in the stars above or earth below, a power that flows unaffected by time or threats of oblivion. Dedicated to those who take the plunge, who evoke and light the candles. Taking part in the act of creation. These are not artefacts of the past but blueprints for a liveable future.

Draunikau is a recipient of the Emerging Artist Residency at Studio One Toi Tū. This exhibition is the celebration of the end of the residency.

He Taonga Ānō te Hau: Treasures That Still Breathe weaves together new and earlier works by multidisciplinary artist Siniva Mokaraka. Working through a Māori and Pasifika lens, Mokaraka reimagines still life to honour taonga as living carriers of mauri, memory, and spirit. Each fine art digital print is composed from taonga of personal significance, printed on archival Hahnemühle paper, and framed in handcarved rimu. Created for Matariki, the works speak to remembrance, renewal, and ancestral connection, encouraging reflection on the taonga, stories, and relationships that continue to shape whānau and whakapapa.

He Taniwha, He Tipua explores narratives of taniwha in Te Ao Māori. This exhibition brings together a collective of three Toi Māori practitioners; Madison Redman (Ngāti Kahu ki Whangaroa/Ngāpuhi), Fern Ngatai (Ngāti Porou/Tainui) and Tristan Marler (Te Rarawa/Te Aupōuri) to express the diverse representations and symbolic significance of taniwha across Aotearoa. Through the lens of pūrākau and Toi Māori He Taniwha, He Tipua examines the origins, guardianship roles, and relationships of taniwha with different iwi, hapū, and landscapes across the motu. These themes will be explored through paint, print, raranga and sculpture.

Haerenga by noa hāmana (Ngāpuhi, Ngāti Kura, Ngāti Toa) explores Māori migration and its continuation in the 21st century. Waves of dispersal across Moana-nui-a-Kiwa brought interludes of radical cultural adaptation, generating ancestral stories that hold mana and connect tangata Māori to whakapapa. Migration holds a paradox of possibility and loss, raising questions of choice, push, and pull—echoed today in movement from Aotearoa to Australia. Rooted in colonial economic histories, these cross-colony pathways have long carried the weight of displacement. Haerenga returns to submerged dreams and forgotten stories, revealing culture as fluid, interconnected, and continually redefined. 

Terms of Endearment considers how intimacy is shaped through language that both reveals and avoids. Using clay and text, the work explores emotional residue, repetition, and the labour of holding what cannot be resolved. Connected forms share one body, offering a physical logic to emotional experience—shared, fluid, difficult to contain. Text appears as declaration, deflection and confession. Memory is carried through touch and material presence, allowing vulnerability to surface without explanation.

This Matariki mā Puanga exhibition is a rangatahi-led exploration of intention - what is meant, what we carry forward, and what is chosen.

Rangatahi reflect on what they choose to nurture, and how they locate themselves within whānau, hapori, and whakapapa. Through visual art, installation, and written expression, they respond to lived experience with truth and care.