Charrette van Eekelen
FALI-LAA
Living in New Zealand for the past twenty years has shaped how I see and
feel home. I came here from elsewhere, and over time, found home first in
people, then in the land. Looking at architecture as the physicality of home,
this crosses my mind. I walk by the Taylor’s Mistake baches often—watching
how they sit gently or sometimes a little uncomfortably in the landscape,
weathered but full of presence. I learn from them, observing their resilience,
their impermanence, and how they seem to breathe alongside nature. I use
fabric, paint, and thread to explore memory, care, and continuity—materials
that feel honest, informative and familiar. New Zealand wool blankets, in
particular, carry a sense of comfort and history; they remind me of the layered
meanings we give to our favourite things. I work layering, painting, stitching
and sometimes unpicking. My work is a way of contemplating what was,
welcoming what’s next, and finding beauty in what is shaped by time.

Olivia Isabel Smith
Held

“What shall we use to fill the empty spaces

Where we used to talk?
How should I fill the final places?
How should I complete the wall?”
— Roger Waters, Empty Spaces

Held is a collection of works inspired by oyster shells and their various forms—objects
found, gathered, and observed. In these shapes, I see more than remnants: I see shelter,
memory, and worth. Shaped by tides and time, each shell once held something fragile inside.

This work reflects on how we, too, create layers of protection—quiet architectures around
our softest parts. These forms are meditations on what we carry, what we keep hidden,

and how we protect ourselves. Containment and care.
Whether it serves us or not, we build a wall.
As the oyster has its shell.

Padraic Ryan
VEILED

VEILED is a series of semi-abstract paintings, exploring the tension between
concealment and revelation. Bold, black shapes on pale backgrounds appear
abstract and minimal at first, but under shifting light, carved faces emerge
from within the forms.
These hidden figures invite quiet attention and a deeper look beyond the
surface. The works balance strong shapes with delicate, hidden detail, using
the dark forms as a mask to both hide and reveal what lies beneath.

.

Micaela Irvine
‘To Be Held’
To Be Held is a manifestation of tenderness, intimacy of memory and the
warmth of connection. Drawing from film stills of personal moments with
family and friends, these small, glowing fragments preserve fleeting instances
of quiet comfort. These paintings aim to capture the gentle, in-between times:
dimly lit scenes, soft laughter and blurred gestures.
This body of work stems from celebrating a womb-like sense of comfort. It
honours the unremarkable moments that become sacred in hindsight, the
ones where we felt safe, connected, and held by the spaces and people we
love.