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‘He Ao Āpōpō He Ao Tea: Māori Futures’ - featuring mana whenua artists Eugene Kara (with neph Kahu Hunt), Maioha Kara, Tia Ranginui, Siobhan Wooding, Paeheretia Collective -Billy van Uitregt (with Shea Rogan & Tim Booth), & extending to a further all star lineup: John Walsh, Kereama Taepa, Kauri Hawkins, James Ormsby, Peata Larkin, Saffronn Te Ratana, Tyrone Te Waa, Nephi Tupaea & Tiopira McDowell aka Mokotron & the divine Ron Te Kawa. Thanks to you all for a special exhibition.
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Tapping away at a secret sculpture with the arm of a chair. Just another day at the office.
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Step into the @parkhyattauckland filled to the brim with art, beautiful spaces, experiences and gastronomy. Curated by ARTTFORM this piece by @peatalarkin greets visitors on entry to the main foyer #art #architecture #hotel #luxury #interior
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What a wonderful way to spend a Sunday evening. Last night, Paul Ubana Jones played an intimate concert at @theartshousetrust , surrounded by Sefton Rani’s Clear My Throat. The gallery space felt was quite magical, with the artworks and the music occupying the same space and somehow changing the way you experience both. And that version of Norwegian Wood was probably one of the best I’ve ever heard. Thank you, @peatalarkin , for such a thoughtful gift. A beautiful setting, beautiful music and a lovely evening with friends. Art and music worlds colliding in the best possible way ♥️✨
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What an absolute treat to spend an afternoon at Brick Bay Sculpture Park, hosted by the wonderful @rachaelelovelace , with my darling friend @peatalarkin ✨✨✨ The landscape is extraordinary: carefully planted gardens, native bush, winding paths and that particular feeling of being properly out in the world for a few hours. Time vanished! ✨✨✨ It was such a treat to bump into some works by my favourite artist friends while we were there. Feeling completely energised, inspired and very lucky to be part of this little art ecosystem. If you’re heading towards Matakana, or coming back from up north, put @brick_bay on your list. Give yourself an hour or two, or better yet, give yourself the afternoon. Spring is here and the food is exceptional. Such a good day ♥️
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Joseph / Larkin 5 Sept - 5 Oct 2026 Milford Galleries Dunedin Peata Larkin (Te Arawa, Tūhourangi, Ngāti Whakaue and Ngāti Tūwharetoa) and Miranda Joseph use paint as both material and image to explore multiple ways of seeing and experiencing nature, time, place and ourselves. 🎨 Peata Larkin - Hōngongoi (July) (2025) acrylic on embroidered silk, frame: 1146 x 744 x 60 mm 🎨Miranda Joseph - Bronze Blossom (2026) acrylic on canvas, stretcher: 1000 x 1000 x 35 mm Vist us in the Gallery or click the link in bio to view all the works in this exhibition.
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If you’re in Wellington a trip to the Dowse Art Museum @thedowse should always be on your list. This time it was a treat to visit the gallery in the company of @hiraani.himona Director of Te Tuhi (SLIDE 2), writer-academic-activist-national treasure (and whanaunga I am proud to say) Ngāhuia Te Awekōtuku (SLIDE 3) and artist @ngaroma_riley and whanau (SLIDE 4) I was glad to catch the exhibition “Things We Don’t Talk About”, partly because it included so many TMG artists and friends … among them Hiria Anderson-Mita @painterhiria (SLIDE 5) Ngaroma Riley (SLIDE 6) Russ Flatt @russflatt (SLIDE 7) Maureen Lander @landermaureen and Ngahuia Harrison @ngahuiaharrison (SLIDE 8), Kereama Taepa @kereamataepa (SLIDE 9) Peata Larkin (SLIDE 10) Wayne Youle (SLIDE 11) Zena Elliott (SLIDE 12) and Rangi Kipa (SLIDE 13) As well … the spectacular pātaka whakairo, ‘Nuku Tewhatewha’, is on permanent display and has a fascinating history (SLIDES 1 + 16-19) On September 27 1839, Te Āti Awa rangatira signed a piece of parchment that supposedly “sold” the entire Wellington region to the British-owned ‘New Zealand Company’. It was soon clear that the rangatira had been deceived. Wiremu Tako Ngātata was one of them. He and his iwi had had no intention of selling. Rather, they thought they were giving anchorage rights to the ship ’Tory’. The deed of sale was later declared invalid but the damage was done. Surveyors forced iwi out of (what is now) central Wellington and Wiremu Tako Ngātata made it his life’s work to help his people reclaim their whenua. In the 1850s, as physical symbols of support for the Kingitanga Māori king movement, seven new buildings were created. ‘Nuku Tewhatewha’ was one of the seven. Commissioned by Wiremu Tako Ngātata in 1856 it was built under the guidance of Ngāti Tuwharetoa carver Te Heuheu Tukino IV … and two years later Pōtatau Te Wherowhero of Waikato was declared the first Māori king. ‘Nuku Tewhatewha’ is a symbol of the fight for traditional authority that continues today and is the only one of the seven original buildings to survive fully intact. SLIDE 20 shows the locations and dates of the buildings that have been lost.
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Yesterday I received the 2026 Kate Edger Foundation Postdoctoral Research Award, which will support me as I continue working on turning my doctoral research into a book. It’s something I’ve really wanted to do, but, like so many long-term projects, it can sometimes feel like you’re just barely chipping away at it between everything else. So to have that work recognised in this way feels incredibly meaningful. Yes, because of the award itself, but also because of what it represents: an acknowledgement of the contribution, the value created and the investement in that journey. It definitely gave me a much-needed push forward. I also loved learning more about Kate Edger, who in 1877 became the first woman in Aotearoa New Zealand to graduate from university, and the second woman in the British Empire to do so. Her graduation was described as representing “unpretending excellence”. It was wonderful to be welcomed into the Kāhui St David’s whānau for the ceremony by kaumātua Tautoko Whitiker, and even more special to be surrounded by the work of two very dear friends, @sara_hughesartist and @peatalarkin . Sara Hughes’ Colour Quartet and Peata Larkin’s Aumārire_Harmony are both part of Kāhui St David’s ongoing Art of Remembrance project, which uses commissioned artworks to help support the restoration and continued life of this beautiful church as a centre for music, arts and community. Seeing their work there felt a little like having them in the room with me …cheering me on. A pretty beautiful place to receive a little bit of encouragement to keep going. 🤍
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𝘓𝘢𝘴𝘵 𝘸𝘦𝘦𝘬 𝘵𝘰 𝘷𝘪𝘴𝘪𝘵 𝗣𝗲𝗮𝘁𝗮 𝗟𝗮𝗿𝗸𝗶𝗻: Silent Kōrero On view at The Arts House Trust until Sunday 16 August. Image: Peata Larkin, Silent Kōrero, 2026 (installation view). Photo by Sam Hartnett. @peatalarkin #TheArtsHouseTrust #PeataLarkin
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Peata Larkin | Silent Kōrero | | The Arts House Trust | On show until 16 August 2026 Silent Kōrero is conceived as a gathering - a quiet hui of conversations that have unfolded in Peata Larkin’s studio over the past two decades. It brings together works created across time, uniting the past to the present. Each artwork carries the memory of the one before it, where the symbolism of tukutuku, tāniko and raranga operate as a personal and collective visual language and acts of reclamation. They embody knowledge and genealogy, and embrace the rhythms of the artist’s tūpuna, who wove, bound, and carved before her. #peatalarkin #theartshousetrust
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Peata Larkin (Ngāti Whakaue, Ngāti Tūwharetoa, Ngāti Tuhourangi) is a painter and sculptor based in Tāmaki Makaurau, Auckland. Her work is held in significant collections nationally and internationally. Peata did not grow up within the foundations of Māoritanga, and that experience of distance and longing became the foundation of her art. "My mahi is deeply rooted in te ao Māori and it's been a way for me to heal. I grew up not knowing anything about my Māori heritage, my mahi toi has been healing but also a learning process." Painting and making became the vessel for reconnecting with whakapapa transforming mamae into a declaration of identity. Her distinctive painted works are built through a precise physical process: paint pushed through mesh or plexiglass to create tactile, sculptural surfaces that read differently at different distances, shifting from individual mark to overall pattern. Her public sculpture extends this intent, "Rauhea" (2024) her 7-metre laser-cut steel sculpture in central Tauranga, is oriented to the rising sun and its shadow casts shifting patterns through the day. Of the work she has said: "It is important that we see contemporary and traditional forms of toi Māori everywhere because that's who we are as a people, whether you're Māori or non-Māori, we're in Aotearoa." As a Toi Iho artist, Peata Larkin transforms whakapapa into form, asserting that te ao Māori is not a destination to be reached but a truth already present, waiting to be uncovered. Toi Iho works alongside artists to uphold authenticity and cultural integrity. See more about Peata Larkin and explore her wider body of work on our website at toiiho.org.nz/artists/peata-larkin. Over the year ahead, we'll continue meeting the Māori artists whose work carries stories from whenua to world. Share this post, follow us to meet them and learn more about the best of Māori arts.
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Looking for your next art fix? These artists are absolutely dominating the Auckland gallery circuit right now! @te_uru_gallery Nikau Hindin @nikaugabrielle Naminapu Maymuru-White Ayesha Green @ayeshagreen Emily Karaka Zheng Bo Anetta Mona Chişa @amonachisa Agnieszka Polska @agniepolska Mathilde Rosier @mathilde_rosier @objectspace Iza Lozano @iza.za.za @gowlangsford Claudia Kogachi @darklordsurfs @tworoomsgallery Ann Shelton @annshelton_ Conor Clarke @conorvonclarks Jo Burzynska @osmicresonance @annamilesgallery Isobel Thom Ellen Thom @gusfishergallery Claude Cahun Marcel Moore Lucy Meyle @lucymeyle @ivan_anthony_gallery Lily McRae @lily.mcrae Tanja Nola @theartshousetrust Peata Larkin @peatalarkin Juliana Durán @_hulianaa_ Birgit Moffatt @birgitmoffattartist Bebay G Millán @shemmakes Sarah Ziessen @sarahziessen Mel Ford @melfordceramics Eva Kerer @e.v.k._art
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