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Transcripts:

Stephen Lawrie, Fishermen - The painter and his sons, 2026. Acrylic on unstretched canvas.

Subjects: Matthew Lawrie, Benjamin Lawrie, Stephen Lawrie

Height: 1168 Width: 1727 Unframed

This black and white acrylic painting shows three men in the wheelhouse of a fishing boat, all looking out at the viewer. On the right of the painting is an older manwith white shoulder length hair and a neat white beard. He’s in a dark kersey and leans an arm on a surface beside the wooden wheel. To the left are two smiling younger men with similar features, both have faint stubble beards and wear raincoats over dark woollen jerseys. The one on the left has a cap. There’s a clear bag of little fish spilling out across the rounded table in front of them and three metal fish lures hanging by their hooks from the raised table edge. Above their heads are radios and tannoys, there’s a big screen behind the wheel that’s blank, and outside the windows behind them, grey could scud across the seascape and distant islands.

Carol Bucknell, Rita in the Winter Gardens, 2025. Oil and cold wax medium on ply panel.

Subject: Rita Forde

Height: 800 Width: 600 Unframed

This portrait in oil and cold wax medium on ply panel shows a young woman gazing intently to the left, her pale face with pink cheeks framed by long hair that’s black over her shoulders and has a white and pinkish tinges at the parting and to ear length. She wears a short pink sleeveless dress, her pale slender legs and arms have a scattering of tattoos. Her shiny black boots have thick soles and lace up to the ankle. She’s surrounded by raised flowerbeds. The plants at the left are blue and lilac, those at the back and right side have pea green leaves that seem to cascade down from the neat beds, their stems tipped with pink and blue flowers. There’s writing etched into the edge of the raised beds with just a few words visible ‘nothing’ ‘be’ ‘loveless’ and the faint suggestion of obscured words between them. Another plant with ‘s’ shaped tendrils of green leaves and white flowers flows down the back wall.

The light enters the scene from the right as we view it so the garden beds and the young woman casts shadows to the left of the portrait. There’s a suggestion that much of the right wall is glass, tall trees faintly evident beyond, subtly turquoise against a blue sky.

Ian Caddy, You’re not just a transitional object to me, 2025. Acrylic on canvas.

Subject: Daisy Caddy

Height: 760 Width: 1000 Unframed

This acrylic portrait is of a ten year old girl, lying down with her head pointing to the top right hand corner. She’s surrounded by a multitude of ty brand soft toys, most with the red heart-shaped tag visible. The girl has pale skin, long brown hair wept back from her face, arched eyebrows and full red lips. She gazes out to the left. Her arms poke out from the toys that fully surround her. They are all small toys around the size of a kitten and in multiple colours and shapes including a black and white penguin with an orange beak, a blue and white unicorn dog with a silver horn, a pink and lilac kitten, a black and brown dog, a pink and white rabbit and many more.

Duncan Pepe Long, Solomon Tāmehana. 2026. Oil on wood.    

Subject: Solomon Tāmehana  

Height: 570 Width: 430 Framed

A person stands in front of a wall of artworks. They peer out at us with a quizzical expression from the side of clear rimmed glasses. They have shoulder length mousy hair greying at the temples and a ring through both nostrils.  They wear a white t-shirt with a pale blue rectangle across the chest containing dark blue writing and a dark blue bird.  Their arms are full tattoo sleeves, but the details aren’t visible as their arms are down by their sides. On the wall behind are two carved masks with paua shell eyes, one wood the other painted red. Above them is a framed image of stylised mermaids and cupids drawn in black, some black and white strips of photo booth images, a negative image where the person’s hair glows bright white bears the word ‘distracted’ and a pot plant curves high at the top left hand corner.    

Amīria Gentry-Tuck, Before t Blurs/ Held, 2026. Oil on canvas.      

Subjects: Wayne Tuck, Amīria Gentry-Tuck      

Height: 420 Width: 297 Unframed

A bald man holds a red headed toddler on his knee, his large left hand with a wedding band on the ring finger is clasped protectively around the child’s torso. They sit on a seat by a window, lighting them from the right. The man’s pink face has strong features, eyes that look directly at us, his lips closed in a straight line. His other hand rests on his right knee. He wears a dark leather jacket over a black skivvy and black pants. The child’s chubby cheeks are pink and he wears a baggy white jumper, grey pants and white socks.

Brooke Waterson, Graduation Day, 2026. Acrylic.

Subjects: Malaika Hawkins, Sharon Hawkins

Height: 1219 Width: 914 Unframed

A young woman with brown skin sits with her eyes and red lips closed. An older woman with darker skin stands behind her, smiling down at her as she touches the younger woman’s long hair that’s braided into narrow plaits, the ends loose and curling into gentle ‘s’ shapes at her waist.

The young woman’s shoulders are bare, a colourful lavalava is wrapped around her torso in shades of green and deep pink and she wears a large Hei tiki on a cord around her neck and narrow pounamu teardrop earrings. The older woman is in a loose white top, her chin length black hair braided in thick twists. Behind them are the large green leaves of a monstera or fruit salad plant and big creamy yellow flowers.

Toni Armstrong, George, 2026. Oil on board.

Subject: George Andrews

Height: 510 Width: 510 Framed

This framed square oil painting on board shows a close up of an older man, both hands pushed up to his face. His piercing blue eyes stare directly at us, crinkled skin around them give an indication of expressive features. His fair skin is weather beaten, with red and brown marks on his nose, cheeks, upper lip and forehead suggesting longterm exposure to the sun. His dark eyebrows flecked with white hairs are neatly trimmed. His hands are well worn, fingernails uneven and jagged. The gap where his pinkies almost touch reveals a slight smirk playing across his lips.

Andrew Hunt, Ella, 2026. Oil.

Subject: Ella Eketone

Height: 762 Width: 864 Unframed

A side on painting of a dark haired girl on a hotel bed hugging a doll to her chest and pointing a tv remote in front of her. Her back is propped up on a blue pillow and the bed is made – it looks like a hotel bed with its fresh white linen neatly made. The blue pillow matched the blue curtains pushed open, a net covering the large window with just a hint of scenery behind it – a dark green hill. The girl wears a grey and white t-shirt and grey leggings. Her toes are pointed and she has a rapt expression as she seems to peer at a screen beyond the right hand edge of the picture.

Henrietta Harris, Chris, Twice, 2026. Oil on Linen.

Subject: Chris Parker

Height: 760 Width: 660 Unframed

The face and shoulders of recognisable New Zealand comedian Chris Parker, a young man with pale skin and blonde hair are reflected in a mirror that’s streaked with drips and condensation. His brown eyes gaze up and right, his lips are pursed and his nostrils seem slightly flared. He’s wearing a white t-shirt under a pink zip top. There’s a window behind his shoulder to the left. Chris’s right ear and shoulder are just visible in the foreground of the painting as he faces the mirror.

David Owain Jones, Esther reading, 2026. Oil on ACM (Aluminium Composite Material) panel. 

Subject: Esther Deans

Height: 455 Width: 601 Framed

A brown-haired woman lies on a reddish-brown sofa, a bright orange book in her hands. The book is closed, resting on her bent knees. Her legs are fully covered by the peach fabric of her high waisted dress with puffed sleeves. Her feet aren’t visible as they extend past the left hand side of the painting. Her head rests against a yellow-brown cushion. Her blue eyes look past the left shoulder of the viewer gazing into the distance as if she’s thinking about what she’s been reading. The left hand back cushion of the sofa has a white cloth draped over it and faintly behind the sofa there’s a table with two wooden chairs, a brown mug, colourful bowl and red flowers in a vase. In the back centre there’s a window letting bright yellow sunlight into the space. 

Barry Smith, Fledgling, 2026. Oil on canvas.

Subject: Aurora Rose Amber Smith

Height: 1160 Width: 1160 Unframed

A young woman in her late teens sits in a wide stripey armchair surrounded by four cats, a little green and white silver eye bird perched on her left hand. The woman has pink skin, red hair that hangs loose over her shoulders with a shaggy fringe, and grey eyes that look directly at us. She wears a thin black net jacket over a floor length silky turquoise gown, big white trainers on her feet.

None of the cats is looking at the bird. There’s a fluffy white and ginger cat on the floorboards by her right foot, looking left, a black cat by her left foot that is cleaning itself, head tucked behind a paw that’s pointing straight up. Another black cat with a white flash on its chest sits by her on the right of the chair cushion, looking out at us. The last cat, a big tabby with a white chest and nose sits on the right arm of the chair peering out right.

Dita Angeles, Citizen, 2026. Oil on board.

Subject: Tanea Heke

Height: 1700 Width: 1900 Unframed

This is a series of 12 separate oil paintings on thick board all of the same Māori woman against a dark grey background with lighter shades around her outline. They have the look of black and white photos, the woman’s features, hair and skin picked out in detail. She wears a black singlet and has shoulder length brown hair brushed back from her face. She leans slightly forwards, shoulders hunched, clasped hands and forearms resting on a white table. She portrays the various personas through subtle changes to her facial expressions – eyebrows raised or lowered, a softening of the eyes, staring straight ahead or glancing to the side, thumbs crossed or pointing upwards.

Matthew Palmer, Noelle McCarthy at home in the Wairarapa, 2026. Acrylic and Oil on board.

Subject: Noelle McCarthy

Height: 1100 Width: 1100 Framed

A woman sits on a wicker chair at a table on a covered outdoor deck, a pen in her left hand poised over a thick sheaf of papers, a cup by her left elbow. She looks straight at us, mouth closed. Her dark curly hair is piled up on her head, curls tumbling down the right side of her face and visible at the nape of her neck. She’s in a long-sleeved floral V-neck top in bright red and orange tones that echo the skins of the four apples on the table in the foreground. The sides of the deck are open, with leaves and pink flowers poking through the vertical posts on the sides and the space above the handrail. A sparrow perches on a long leafy stem that curves just above the left of the woman’s head.

Rodney Fisher, Senses (self portrait), 2026. Watercolours, acrylic pen, charcoal, pencil.

Subject: Rodney Fisher              

Height: 220 Width: 220 Framed               

This small portrait of a man’s head shows him side on,  looking to the right. He’s wearing a baseball capo with a green brim over his short hair. He has a short slightly messy beard and his features are partly obscured by hectic lines and white paint that cover most of his face, ears, and neck. There’s a dark shadow to the right that serves to highlight the outer contours of his face seeming to lift it off the page.

Rianda De Roe, Portrait of My Son, 2025. Soft Pastel.

Subject: Harlu De Roe

Height: 360 Width: 420 Framed               

This pastel portrait is a close up of the face of a baby with blue eyes that look straight at the viewer, red lips slightly parted. The baby’s blonde hair catches the light with an angelic glow. The baby’s bare shoulders blur out into the abstract background of angular shapes in cool blue tones, contrasting with the warm soft contours of the baby’s round face.

Vicki Mangan, The Albatross Resting in Our Garden, 2026. Oil on board.

Subject: Colin Hollister              

Height: 345 Width: 345 Framed              

An old man with a white goatee dozes in a wooden garden chair, his hands resting on the back of his bald head, eyes firmly closed. His white hat lies on his right knee. He has a blue cardigan over a light shirt, grey pants and brown slippers. Beside him to the right is a small round table with some shards of something white on its black surface. Behind him to the left there’s a round bin with a lid and the background is a blue fence with bright green plants trailing up it.

Nina Morris, Temi, 2025. Acrylic on Board.    

Subject: Temilayo Deborah Olusina     

Height: 400 Width: 350 Framed              

A young black woman smiles broadly revealing white teeth and pink gums as she holds a half-eaten ice-cream cone in her right hand. Her shoulder length brown hair is braided in multiple striped plaits. She wears square wire rimmed glasses and has a small silver ring through her nose. She wears a pale blue jacket over a pale blue round necked top. The background is a mottled rust colour.

Belinda Wilson, Portrait of Christopher, 2024. Oil on canvas

Subject: Christopher Vine

Height: 360 Width: 250 Unframed

This portrait shows a white haired, pale skinned older man, eyes fixed on something to the right of the painting. His lips are pursed, turned down slightly at the corners and his chin juts slightly forwards giving him a determine air. Wrinkles on his forehead, neck and around his mouth and eyes give a sense of his age. He wears large aviator style glasses with wire frames and teardrop shaped lenses that seem to have a faint golden tint.

His blue jacket, decorated with snowscape images and with a dark blue lining is open at the neck revealing a blue jersey and the top of a white skivvy beneath.  Behind is a swirling background of blues and greens as if he’s standing in front of a large painting.

Jane Sheridan, Courage, 2026. Acrylic paint.              

Subject: Kerry Cooper 

Height: 400 Width: 300 Unframed         

A man sits on the steps outside a low timber clad house. He wears a red dress with side splits and spaghetti straps, sheer black stockings with think black hold up tops, black doc marten boots, a necklace of large dark green beads and a grey pork pie hat. He had a black dog collar bracelet on his left wrist and sports a grey goatee and moustache. The l shaped house behind him has big windows and brown painted wood cladding. Behind are trees and in the background to the left a mountain points towards the blue sky with scudding white and grey clouds.

Yan Zhang, Silent Strength: A Portrait, 2025. Oil.

Subject: John Burnett

Height: 900 Width: 450 Framed

This painting shows a head and shoulders of an older man in a bright blue t-shirt with grey hair and neat goatee and moustache. The folds on his t-shirt and lines on his skins are picked out in detail. His grey eyes look straight out at us through metal rimmed square glasses. His lips are pursed and his brown slightly furrowed. His skin is pale, his cheeks pink. His arms are folded on the table in front of him, a black support covering his left forearm from just below his elbow to his thumb joint. He wears a thin gold wedding band on his left ring finger. The background is a faintly mottled cream.

Nyle Major, Jett and the Tirpitz, 2025. Oil on Canvas.

Subject: Jett Major

Height: 600 Width: 450 Unframed

This oil painting of a child with short dark hair and dark eyes focused on building a plastic model of a battleship has an almost photographic level of detail. The child’s skin, the back wall and table are in warm honey and brown tones, but the rest of the details are blue and grey. The child’s t-shirt is pale blue with a white outline of a gaming console on the front, the board beneath is left arm and the tool he’s holding are both dark blue and the model pieces are grey. His hands seem large as they’re in the foreground, every detail of the lines on his fingers picked out to show the force he is applying to the tool as he uses it on the model. The pieces are neatly arranged on the table – the hull of the boat to his left, the remaining kit to his right and the piece he is working on right in front of him with pliers, paint and tools all within arm’s reach.

Daniel Phillips, Self Portrait - Seat F plane to Auckland, 2025. Acrylic paints and paint pens.

Subject: Daniel Phillips

Height: 1300 Width: 880 Unframed

This cartoon like image shows a close up of the side of a mans head with blue sky and green grass visible through an aeroplane window in the background. The man has short brown hair, beard and moustache with a round patch on top of his head surrounded by a black line that could represent a bald patch. His brown eye is surrounded by a thick black line and echoed by a thick black arched eyebrow. Is nose seems to flatten down towards his bright red lips.

Katie Blundell, Judy Millar - Long Reach, 2025. Flashe and acrylic paint on carved board.

Subject: Judy Millar

Height: 1550 Width: 1150 Unframed

This painting has a cartoon like quality to it, depicting a pale skinned woman kneeling with her right arm extended across the floor holding a grey cloth. Beside her are two pots which suggest that she is adding to the colours on the floor which is already decorated with swirling green, red, orange, black, brown and white. Her eyes focus on her hand, her back is hunched and her blonde hair falls across the sides of her face. She’s in blue trousers and a navy jumper with the sleeves pushed up, the folds picked out in white. Behind her on the left are some loose papers and boards.

Emma Hercus, Home, 2026. Acrylic and oil on wood panel.

Subjects: Emma Hercus, Stewart Hercus, Ivy Hercus, Peter Hercus, Frederick Hercus

Height: 930 Width: 1230 Framed

This busy painting shows five people engaged in different activities within a single room.

On the left there’s a woman standing at an easel with their back to us, painting a picture of a person in a blue singlet. The artist wears grey trousers, a white long sleeves top with a black and white horizontally striped vest over the top, her shoulder length brown hair loose. Beside her to the left is a blue trolley with pots of paintbrushes on the top shelf and smaller pots of paint on the second shelf, a brown case on the bottom shelf. A small brown dog sits by the right leg of the easel.

In the centre a man in blue jeans and a white shirt lies on a green sofa with three yellow drawers beneath reading a book with a red cover. There’s a rugby ball behind him and on the shelves above him are a globe, baskets, books, a pot plant and a blue jug.

A boy in a red t-shirt and white shorts sits with their knees up on another green sofa on the right, next to an orange and black stripes tiger-like cat. Behind them there’s a window out to a coastal scene, a boat float past on the water followed by seagulls, with green and yellow hills in the distance.

In the foreground there’s a boy in a yellow t-shirt and dark shorts standing on a colourful rug, his harms swinging left as if he’s dancing. Just left of centre a red-haired girl with a side ponytail sits at the table with her phone in her hands. There are three tomatoes on the table in front of her and strawberries on a white plate.

Suspended from the ceiling on the left is a drying rack with a t-shirt and socks hanging from it, on the right a domed light, and in the centre a large seagull appears to fly through.

Ilya Volykhine, Brett in a Blanket, 2026. Oil & mixed media on 360gsm Hahnemuhle paper.

Subject: Brett A'Court

Height: 2000 Width: 1100 Framed

This fullsize portrait depicts a man with an orange plaid blanket hanging off his hunched shoulders like a floor length cape. He’s holding a white mug in his right hand, the pale skin on his left forearm which is crossed over his torso is decorated with stripes of black, grey and brown which are echoed in vertical stripes down the centre of his long face and nose. His eyes are narrowed but his lips are parted wide enough to reveal white teeth. His white hair hangs down to his shoulders like strands of string. He’s wearing a pale blue t-shirt over cream shorts, black ankle socks with a narrow white band at the top and brown shoes with white soles. A black stripe around one knee resembles sports tape. He stands on a small square of floor that’s apple green and surrounded by a blue background that’s lighter at the bottom and darker at the top.

Jessie Rawcliffe, Cheena, 2026. Oil.

Subject: Cheena Rae   

Height: 1220 Width: 925 Unframed       

This enormous painting is a close up of a young woman’s face, depicted in photographic detail with a slight grey tinge. Her face rests on the back of her right hand which has a rounded silver ring on the middle finger, fingernails cut short. The hand lies on a frozen stone surface and where her cheek meets the ice it looks as if the surface of her skin is starting to melt away to reveal a mottled grey stone beneath. Her dark eyes gaze at us, her pink lips are slightly parted almost showing her teeth. She has brown freckles on her creamy pink skin, strands of her black hair flop over her forehead and she has a ring through her nose.

Xinyi Zhu, Grandma in the Days of Yore, 2026. Oil on canvas.

Subject: Shuqin An

Height: 594   Width: 420  Unframed     

An old Chinese woman sits in a wooden chair dressed in a smart red jacket over a white t-shirt. Her grey hair is swept back from her lined face, her eyes look down, her lips pushed together. She leans against a pale silk cushion – ripples in its surface seem to echo the lines on her left hand that rests in front of her.

Geoffrey Williams, Polly, 2026. Acrylic.          

Subject: Pollyanna Arabella Riddell      

Height: 1100 Width: 780 Unframed       

A young woman sits on a chair, brown eyes looking towards us, hands resting on the front edge of the chair, legs to left and right. Her purple hair is piled on top of her head in a messy top knot, strands curling down either side of her face which is framed by a short blunt cut fringe. Her red lips part slightly, lines at the sides suggesting the start of a smile. She’s wearing a red dress with narrow black stripes that fastens by a siler hook at the waist, the lacy purple camisole underneath showing the top of her creamy coloured cleavage. Her legs are covered in leggings that look like they are full leg tattoos with swirling purple and red designs.  There’s a real tattoo on her right upper arm and both forearms are covered with black fishnet fingerless gloves. She has bangles on both wrists – one with big red round beads on her right wrist and three on her left wrist: one with red and white stripes, one green one and one with navy and white stripes.

Marion Vialade-Worch, Self-portrait - Day 27, 2024. Oil pastels on paper.  

Subject: Marion WORCH           

Height: 335 Width: 260 Framed               

A woman stares intensely at us through the thick black rims of her round glasses. Her brown hair is tied up on top of her head in a messy bun, tendrils escaping around her ears. She has wide blue earrings with tassels and her neck appears long as it protrudes from the textured neckline of a black jumper. The effect is not naturalistic as all of the strokes of the pastels remain visible in her features and the yellow background.

Tony Guo, Xin reading a book, 2025. Oil on linen.

Subject: Xin Ji

Height 1000 Width 500 Unframed

A bald-headed man of Asian appearance lies on his back on a Persian-style rug that’s decorated with red and blue geometric patterns. He’s reading, the blue book open in his hands, his eyes focused on the pages. His legs are in full splits, his right toe pointing downwards, his left leg pointing upwards, held by his left arm that curves around his calf and holds the top of the book open.

He’s wearing a white sleeveless high-necked t-shirt and three-quarter length leggings in tones of yellow and navy blue. In places the leggings have red tinges that make his legs seem to blend into the rug and his right foot is a cold blue like the floor under it, his left foot a warm yellow matching the floor at the top of the painting.

Chance Wilson, aroha atu, aroha mai, 2026. Oil on Canvas Panel.

Subject: Sione Tuívailala Monū                                            

Height: 279 Width: 200 Unframed

A brown skinned man with a full beard peers at his mobile phone, lips pursed. His eyes are almost completed concealed beneath his khaki bucket hat. He holds his phone in both hands, resting on left thumb and forefinger and supported by more fingers on his right hand. The phones case and his shirt are both in pale lilac tones. The background is creamy white with a low white fence with thin vertical bars behind his shoulder on the left of the painting.

Steph Jowett, Self Portrait, 2026. Oil on board.

Subject: Steph Jowett                 

Height: 500 Width: 500 Unframed          

A woman with black curly hair in a black hoodie holds a mobile phone in a black case in front of her face, peering intently at it with brown eyes. Her black eyebrows are neatly arched, shoulder length hair pushed back behind one ear which has a silver ring in it. Faint freckles dot the light brown skin on her nose and forehead. Her mouth is not visible behind the phone.        

Benjamin Dellabarca, George, 2026. Oil paint.          

Subject: George Baz                   

Height: 1500 Width: 1000 Unframed      

A takatāpui tāne Māori stares out at us as he stands tall in a loose brown robe with wide sleeves, painted in textures that hints at a feathered korowai. His right hand is on his hip, a narrow dark band around his wrist. His left hand is placed at his chest, just below with pounamu toki, his red knuckles catch the light. His brown hair is piled high on top of his head. The background is grey with hints of floral patters in tines of yellow, brown and white.

Clark Roworth, Zeir, 2026. Oil on linen.          

Subject: Zeir Matenga  

Height: 730 Width: 630 Framed

This is a portrait of a young man with a shaved head, his neck, cheeks and scalp covered with black and red tattoos appearing like spiders webs, letters, skulls and flames. His dark eyes are cast down to the bottom left, his face emotionless, lips pursed. He has small silver rings through each nostril and a small silver cylinder on a loop from his left ear lobe. The background is black and his top is black with a patch on the left breast that has a picture of a dragon and the words Roger’s TATTOOART in white.

Nicholas Fields, I am Memorial, 2026. Oil Paint.       

Subject: Nicholas Fields            

Height: 253 Width: 253 Framed               

A bare chested man gazes downwards towards the bottom left corner. The view is from above the left side of his shaved head. Light shines from the right of the person so his head casts a strong shadow over his left shoulder and that whole side of his head is in darkness, only the ear visible. His skin is pale except for the pink of his ear, his slightly pointed nose, pursed lips and his right nipple. The background is mottled grey.

Kylie King-Hazel, She is witness and vessel, archive and ancestor, 2026. Oil.        

Subject: Ivy Parata        

Height: 1220 Width: 920 Framed

An old woman with a colourful floral walking stick looks out into the distance against a white background, captured in photographic detail. Her white hair curls around her forehead and over her ears. She wears wire rimmed glasses with decorative arms, her lips are pursed and the lines around her eyes suggest a lifetime of animated facial expressions. An oval carved bone necklace hangs low over her breast on a long brown cord. She wears a long navy cardigan over a pale blue top covered with blue floral designs.

Bronwyn Copeland, Facing Behavioural Variant Fronto temporal Dementia, 2026. Oil on canvas glued to folded aluminium.                    

Subjects: Kevin and Jacqui Sawford     

Height: 1200 Width: 1610         

This piece seems like three portraits in one. It has been constructed with the canvas glued to folded aluminium which is concertinaed in regular strips left to right. Viewed from the front it seems to be a confused picture of two faces made in vertical stripes, one with a grey moustache and the other without, both against a dark background, but it’s not possible to view a single face. Viewed from the right side, the image resolves into the face of a middle aged woman with shoulder length brown hair, friendly brown eyes and a warm smile. From the left, the image is of a man with bushy grey chin hair swept back from his face revealing a high forehead. He’s got a bushy grey beard and a toothy grin. He wears a green hoody with the hood down.

Sam Tyson, Cousins, 2026. Oil.

Subjects: Lucas Knapman, Caden Watts

Height: 872 Width: 625 Framed              

This portrait shows two bare-chested teenaged boys standing back to back, bodies side on but both faces turned so they are looking directly at us, every feature of their faces picked out in details.  They are naked to the hips where the bottom edge of the picture ends. The one on the left is slightly taller with dark hair cut in a shaggy fringe, falling just over his ears at the sides and to the nape of his neck at the back. There are two small studs in his left ear and faint wisps of hair on his upper lip. The second kid’s skin is slightly more brown. His blonde tinted hair is also in a shaggy cut but falls a bit longer over his ears without a fringe. The background is pale white.

Emma Mitchell, Face value, 2026. Gel nail polish.

Subject: Emma Mitchell

Frame dimensions: Height 340 Width 305

Nail dimensions: 30mm by 11mm

Framed

An ornate gilt frame and dark woven background surround a gel nail that’s positioned right in the centre. The gel nail, measuring just 30mm high and 11mm wide shows the face of a woman with bright pink streaks in her long hair. She looks out anxiously, left hand raised to her face, her pinkie resting on her bottom lip. She’s lit from the side so her nose casts a dark shadow over the right of her face, the left as we look at it.

Sarah Botica-Hewlett, Self Portrait, with Kiekie, 2026. Oil on poplar.           

Subject: Sarah Adam   

Height: 300 Width: 300 Unframed          

A person in a white hat with a wide peak and neck flap is faintly visible behind the long curved green fronds of a kiekie plant in the foreground. The person’s face is pale pink with no discernible features and they wear a dark V-necked top. The background has tinges of orange suggesting a building behind.

Andrew Moon, The Gardeners, 2025. Oil on canvas.

Subjects: Bruno (the dog), Tricia Benny (the human)

Height: 1200 Width: 750 Unframed       

This large oil painting is a full length portrait of a woman illuminated from the right with most of the rest of the painting in darkness. Her right hand rests on the haunches of a brown dog and her left hand holds a trug or shallow basket with a sunflower, greenery and gardening tools in it. There’s a green gardening glove on her left hand, and she’s holding a black glove with green edging which seems to be the pair of the glove she’s wearing turned inside out.

She’s wearing blue denim dungarees over a white and yellow stripes shirt and white gumboots. Her brown curly hair hangs loose over her shoulders. The dog’s eyes peer up at her and she’s looking out and up to her left. The background is dark with lush vegetation to the left and a bench with a plant pot and faint suggestions of garden tools to the right, beside floor to ceiling windows indicating that this is a greenhouse. The window frames cast strong diagonal shadows across the floor which is tiled with creamy white square pavers.

Jasmine Middlebrook, Right Here and Now, 2026. Oil On Canvas.  

Subjects: Levi Windsor, Diane Arbuckle, Daisy Windsor, Milo Windsor and Ryan Windsor

Height: 750 Width: 1000 Unframed

A woman holds a baby girl on her knee, surrounded by three blonde haired children. The brown haired woman sits on a chair in the centre, a weary look on her face, eyes downcast. She’s in a navy t-shirt and baggy jeans. The baby on her knee wears a pink dress and gazes directly at us.

The oldest of the children, aged about ten sits on the ground to the left, legs folded to the side, staring out, wearing a Minecraft t-shirt and blue shorts. A younger primary aged kid sits on the other side, gazing down at the toddler who lies between them fast asleep, a pink mark on his chubby cheek. They are surrounded by Buzzy Bee toys. The wall in the background is blue, a cassette radio on a shelf and a monstera plant on the left, a glass fronted cabinet full of swan ornaments on the right.

Sacha Lees, Maid-to-Measure, 2026. Oils on woven tape measures.            

Subject: Sacha Lees

Height: 1200 Width: 780 Unframed       

This portrait is made of woven tape measures coloured with oil paint and shows versions of a young woman’s face in naturalistic colours. Her eyes are a striking shade of blue, her lips pale pink, hair honey blonde and sweeping across her forehead and down the side of her face.

The face has been created to suggest at least two versions of the woman, joined together but with distinct expressions. On the right a serious face, the corners of her mouth turned down. To the left of that, her thumb and forefinger have squeezed her lips sideways, distorting her features. The effect of the horizontal and vertical weaving is to make the picture appear pixilated or like a jigsaw puzzle of pieces in motion. Towards the bottom of the painting the woman’s shoulders are blurred in yellow tones on the left and pink on the right. The background is checkered in tones of red and lilac. The ends of the tape measures hang down the wall beneath the main painting, coloured but with the marks and numbers still visible.