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Kim Meredith Gallery

@kimmeredithgallery

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247 Symonds St, Eden Tce
Wed to Fri 3pm - 6pm
Sat 12 noon - 4pm

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Congratulations Kim @kimmeredithgallery on Traces of Aotearoa: Poetry, Prose & Visual Art Book 📖 and also @courtney.s.meredith I’ve missed hearing you speak 🗣️

Happy to see my sister @faameleetuale feature in this book and the other contributors.

This family continues to open doors for others and have given so much to the arts. I was so happy to witness this today.

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“These are not the easiest conditions to create within, at all—but they might just be the perfect conditions to find out what we are really made of as artists from Aotearoa New Zealand.
Traces of Aotearoa emerges from a world in flux—global, local, personal, political. These voices annex a timeless talanoa of women: visually, literally, forcefully—a searing, tangible hymn of the messy, yearning, beautiful, and fraught miracle of daily life.” - @courtney.s.meredith

Traces of Aotearoa is a multidisciplinary anthology of poetry, prose, and visual art by women writers and artists responding to contemporary life in Aotearoa New Zealand. The collection reflects on the ongoing impacts of the pandemic, environmental uncertainty, and shifting identities, offering a thoughtful archive of women’s creative practice at the southern edge of the Pacific.
Contributors include Commonwealth Poet Laureate Selina Tusitala Marsh @selinatusitalamarsh; leading visual artists Janet Lilo, Ayesha Green @ayeshagreen, Alex Scott @alexscott.studio, Fa‘amele Etuale @faameleetuale , Penny Howard @pennyhowardart, and the intergenerational Tongan mother and daughter duo Sulieti Fieme‘a Burrows and Tui Emma Gillies @tuiemmagillies ; acclaimed Pacific writer Courtney Sina Meredith; writer and gallerist Kim Meredith; emerging Rotuman/Pākehā voice Jane Lowe @hellojanelowe; Aotearoa born diaspora writer Shannon Huse Caldwell @shannon_huse_caldwell, based in Houston, Texas; and artist, designer and publisher Sally Greer @sallygreer.studio, whose return to studio practice marks a powerful creative homecoming.
Edited by Kim Meredith and Courtney Sina Meredith, Traces of Aotearoa brings together leading and emerging women writers and visual artists to document a period of profound social and cultural change in Aotearoa New Zealand. Spanning poetry, essays, and visual work, the anthology reflects on care, disruption, and continuity in the wake of the pandemic, while centring Māori, Pacific, queer, and diaspora perspectives. The collection serves as both creative reflection and cultural record.

RRP $40
Published by @auckland_libs
ISBN 978-1-0670502-9-0
Format Hardcover
Size 190 x 240 mm Book cover of ‘Traces of Aotearoa: Poetry, Prose & Visual Art’ over a black and white image of the sea and clouds.

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Just a wee reminder that the group show “Handmade Intelligence” at the Kim Meredith Gallery ends at 4pm this afternoon. If you’re quick you can still view all and purchase some of the works there. You might even meet me there today 🤗 Also, many thanks to the buyer - may the painting bring you much joy!

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In July, I had the great pleasure of being part of Wai Whetū, the 2026 Matariki show at @kimmeredithgallery.

My piece was called Moment(o)/(s) and was a reflection of what the time Matariki means to me. Someone once said to me “life is just made of moments, it’s all you’ve got” and it couldn’t be more true. Matariki as a time of reflection so this piece represents all of the moments and memories that make up the previous year.

I hand blended, carded and spun the yarn from NZ Merino wool, knitting in fairy lights from the @thefairylightshop. Shoutout to @kingsleyspargo and his technical skills in hanging this one up in the window!

It’s such a privilege to be part of this amazing community that @kimmeredithgallery has built and to be able to be one of the “locals” represented is something I never would have thought possible before. It has also been a privelege to still be able to create, make and share over this last year as priorities have shifted a bit 🐥 I’m excited to see where this reset and realignment takes me creatively.

New memories and moments abound 💫

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❤️Thank you so much to everyone who came to the artist talk today, your support really means the world to me and you’ve all contributed to making this a very special event. It was wonderful to hear Jordan and Zach speak about their work, too; it really brought to life the conversation that is happening between the art works themselves in the beautiful space that is the Kim Meredith Gallery. ♥️

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Thank you @courtney.s.meredith and Ziggy for making me gorgeous soup to kick this cold! Love you to the moon and beyond! ❤️😘

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Loved the Matariki Markets at Avondale, stocked up on my DAMs and gorgeous flowers from @lylsteezy. 🌺❤️

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Introducing our new tapa painting titled, 'Guides of the Twilight'. It was started recently in Taiwan and just completed in Aotearoa after our return. Sulieti Fieme'a Burrows and I are excited to celebrate Matariki & have this piece included in a new group exhibition 'Wai Whetū,' co-curated by two talented wāhine, @pennyhowardart and Kim Meredith. Wai Whetū opens today, Saturday, July 4th, from 2 PM to 3 PM at @kimmeredithgallery.

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New Painting ✨Waitī ✨

For me, the star Waitī reminds us that the health of our rivers reflects the health of our people.

In this new painting for the upcoming Matariki group exhibition Wai Whetū, I focused on the gorgeous giant kōkopu. It is a native galaxiid whose spotted skin mirrors the stars of Matariki navigating dark currents. Right now, our fragile freshwater ecosystems mirror the displacement and loss of our taonga tūturu.

Through this work, I am bringing a lost ancestor home to the safety of our waters—offering a deep blessing and spiritual repatriation. It’s my way of demanding both the urgent healing of our streams and the reclamation of our lost and stolen taonga. 🌿❤️

Join us for the opening this weekend!
📍 Wai Whetū @kimmeredithgallery
📅 This Saturday, 4th July
🕑 2:00 PM – 3:00 PM

#Matariki2026 #Waitī #WaiWhetū #kōkopu #heitiki

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Congratulations on a beautiful solo performance Pele! So proud seeing you on the stage standing in your light? ❤️

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Always, except for now

This brush is for this colour (only).

I use brushes by colour, this one for yellow, this one for white,

But sometimes I use them by object.

This yellow one is for the kōwhai flowers and this one is for the ropes,

But the rope is both black and white so that’s an issue…

But either way I use only fine liners.

Even though bigger brushes make me paint faster.

I might need bigger fine liners.

The fine liner is only to be used for stems,

Or I get bogged down making a painting entirely of fine lines.

Hog brushes for getting paint on the board.

Only.

But then there’s big fat lines in the paint.

Directional brush lines make my flat style more multidimensional,

so hog, sable, weasel and potato it is.

I bought new brushes in Japan and Translate told me that some are weasel and that others are potato hair.

Anyway…

Light only from a realistic light source.

Light from everywhere.

Light from nowhere in particular.

But definitely a limited colour palette.

Always.

Never use green, red and blue in the same painting.

Pretty much never use green.

Unless it’s only green.

Brown and grey are boring and expressionless.

But I love brown,

and flat black is too harsh so grey is good but yellow is my favourite.

And pink, but only if it’s with red or orange.

If I leave a little colour on my brush it adds to the magic of the next colour.

But white must be unadulterated.

Unless it’s bone white,

which is my favourite.

White must be adulterated.

Always,

Except for now.

This painting “More” is available at @kimmeredithgallery until June 6th.
You can also pick up a free zine with these words. Gone when they’re gone.

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Laura Shallcrass⁠
Looking Into the Sun⁠
09 May – 06 Jun @kimmeredithgallery⁠
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‘Looking Into the Sun’ began as a search for connection — a summoning. Connection to people, places, rituals, and things; connection to the self and to other beings; connection as an act of remembering, questioning, and becoming.⁠
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This body of work also marks a shift within the artist’s practice. Once rigid and tightly controlled, the making of ‘Looking Into the Sun’ has required a loosening — moving from the bound to the unbound, from precision to vulnerability. At times painful, always forward-moving. An act of looking directly — into the sun.⁠
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@laurashallcrass⁠
⁠
Imaage: ‘Unravel’ by Laura Shallcrass. 600x500mm oil on board, framed.

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