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Te Waipounamu (2017)

Te Waipounamu (2017)


  • Sat 10 Jun, 10:00am – 6:00pm
  • Sun 11 Jun, 10:00am – 6:00pm
  • Tue 13 Jun, 10:00am – 6:00pm
  • Wed 14 Jun, 10:00am – 6:00pm
  • Thu 15 Jun, 10:00am – 6:00pm
  • Fri 16 Jun, 10:00am – 6:00pm
  • Sat 17 Jun, 10:00am – 6:00pm
  • Sun 18 Jun, 10:00am – 6:00pm
  • Mon 19 Jun, 10:00am – 6:00pm
  • Tue 20 Jun, 10:00am – 6:00pm
  • Wed 21 Jun, 10:00am – 6:00pm
  • Thu 22 Jun, 10:00am – 6:00pm
  • Fri 23 Jun, 10:00am – 6:00pm
  • Sat 24 Jun, 10:00am – 6:00pm
  • Sun 25 Jun, 10:00am – 6:00pm
  • Mon 26 Jun, 10:00am – 6:00pm
  • Tue 27 Jun, 10:00am – 6:00pm
  • Wed 28 Jun, 10:00am – 6:00pm
  • Thu 29 Jun, 10:00am – 6:00pm
  • Fri 30 Jun, 10:00am – 6:00pm
  • Sat 1 Jul, 10:00am – 6:00pm
  • Sun 2 Jul, 10:00am – 6:00pm
  • Mon 3 Jul, 10:00am – 6:00pm
  • Tue 4 Jul, 10:00am – 6:00pm
  • Wed 5 Jul, 10:00am – 6:00pm
  • Thu 6 Jul, 10:00am – 6:00pm
  • Fri 7 Jul, 10:00am – 6:00pm
  • Sat 8 Jul, 10:00am – 6:00pm
  • Sun 9 Jul, 10:00am – 6:00pm
  • Mon 10 Jul, 10:00am – 6:00pm
  • Tue 11 Jul, 10:00am – 6:00pm
  • Wed 12 Jul, 10:00am – 6:00pm
  • Thu 13 Jul, 10:00am – 6:00pm
  • Fri 14 Jul, 10:00am – 6:00pm
  • Sat 15 Jul, 10:00am – 6:00pm
  • Sun 16 Jul, 10:00am – 6:00pm
  • Mon 17 Jul, 10:00am – 6:00pm
  • Tue 18 Jul, 10:00am – 6:00pm
  • Wed 19 Jul, 10:00am – 6:00pm
  • Thu 20 Jul, 10:00am – 6:00pm
  • Fri 21 Jul, 10:00am – 6:00pm
  • Sat 22 Jul, 10:00am – 6:00pm
  • Sun 23 Jul, 10:00am – 6:00pm
  • Mon 24 Jul, 10:00am – 6:00pm
  • Tue 25 Jul, 10:00am – 6:00pm
  • Wed 26 Jul, 10:00am – 6:00pm
  • Thu 27 Jul, 10:00am – 6:00pm
  • Fri 28 Jul, 10:00am – 6:00pm
  • Sat 29 Jul, 10:00am – 6:00pm
  • Sun 30 Jul, 10:00am – 6:00pm
  • Mon 31 Jul, 10:00am – 6:00pm
  • Tue 1 Aug, 10:00am – 6:00pm
  • Wed 2 Aug, 10:00am – 6:00pm
  • View all sessions


Milford Galleries Queenstown, 9a Earl Street, Queenstown Show map


All Ages

Ticket Information:

  • Free Admission

Te Waipounamu is the Maori name for the South Island. It also means greenstone. This exhibition explores the South Island, water, the nuances and numerous colours of greenstone.

Wayne Barrar’s remarkable photographs of Oamaru-found diatom fossils and single-celled algae take us into the world we cannot ordinarily see. He reveals a hidden world of abstracted patterns, where events are suggested and life presented as frozen in time. In his black and white landscape works, Barrar delivers moments of splendour and sublime beauty.

Ann Robinson’s Geometric Vase (Pale Uranium) is a masterwork. Space seems suspended, to hover. Colour alters completely, abruptly and - at times – seems to dissolve. Tone mutates back and forth. Shining Spleenwort – on the Faultline resolutely develops a fluid, rising, formal, visual narrative about the environment and threats faced.

Joanna Braithwaite’s Go for Gold poses numerous questions: is the endangered Otago skink more valuable to collectors than a nugget of gold? Is that rarity its ultimate burden? Jenna Packer sites the vanity of our times in the Otago landscape in two major works, Ringside and Strongman, presenting time travelling narratives with a dramatic discourse concerning the morality and behaviours of the financial world.

Simon Edwards and Neil Frazer, in quite different ways, take us into the alpine landscape: Edwards to its moods and atmospheric fluctuations; Frazer to its physicality and menace. Galia Amsel evokes a season in Cirrus 3. Garry Currin’s Lilburn’s Retreat is a poetic layering of hidden reveals which acknowledges that great New Zealand composer’s South Island hideaway.

Israel Birch’s majestic, reverential Tai Aroha (Red) uses pattern and texture, building, hiding and revealing astonishing spatial depth, optical rhythms, spiritual and narrative complexity: it ebbs and flows, like water itself.

Of Nga Tahu descent, Chris Heaphy uses a distinctive silhouetting technique and symbolic language where scale is altered and time is collapsed. In From Beginning to End Heaphy presents cultural signifiers which become plural and general but remain particular and specific too.

John Edgar’s aptly-named Bomb uses the air-pocketed Mt Horrible basalt, spat out into South Canterbury when the volcano erupted and destroyed itself. Shane Woolridge’s A Drop of Water utilising slate from homes damaged in the Christchurch earthquakes is a triumph of form and motion captured. Neil Dawson remembers the earthquakes in the radiating patterns of the Pulse Disks.

Te Waipounamu also features major works by Dick Frizzell (Shaded Track); Layla Walter (Emily’s Hydrangea 2); Peter James Smith’s evocative Wind Across Dusky Bay; a suite of Stephen Bradbourne’s murine cane cylinders and vases along with Neal Palmer’s restrained, decisive West Coast II.

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