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Welcome
'Homegrown' is the first group exhibition dedicated to bringing together New Zealand artists living in the Northern Hemisphere. Featuring one of the largest gatherings of New Zealand artists in London, the exhibition also welcomes guest artists from our Australian community based in the city.
We hope you enjoy this exhibition, made possible through the generous support of New Zealand-owned company ZURU, who have kindly hosted Homegrown at Ten Four LDN in Angel.
At ZURU, creativity, innovation, and play are at the heart of everything they do. We are proud to partner with a company that champions bold ideas and shares our passion for creative expression and community.
We’d love you to join us for the private view on Thursday 24 September, 6–9pm, at Ten Four LDN, 10–4 Pentonville Road, Angel, London.
Come and enjoy a showcase of sculpture, painting, printmaking, and photography, along with a glass of Kiwi wine and some good Kiwi conversation.
We hope to see you there!
Sarah Jane Moon
Sarah Jane Moon (b.1982, Wellington, New Zealand) is a British New Zealand figurative painter based in London. Her work explores identity, gender and the performative aspects of self, often depicting figures against gestural fields of vibrant, saturated colour. She is known for her energetic mark making and rich impasto, which give her paintings a distinctive vitality and communicate the admiration she has for those she paints.
Raised in New Zealand, Moon studied Art History and Theory, and Curatorial Practice in New Zealand and Australia before training in painting at The Heatherley School of Fine Art, Chelsea. She now regularly teaches at Heatherleys and has also taught portraiture and fine art at degree level.
She has exhibited widely, including at the National Portrait Gallery, the Royal Society of Portrait Painters and the New Zealand Portrait Gallery. Her work has been selected for the National Portrait Gallery’s Portrait Award several times, and her portrait of Peter Tatchell was acquired for the NPG Collection in 2024. Her portrait of Georgina Beyer was acquired for the New Zealand national collection, housed in the Alexander Turnbull Library, in 2025. Other notable achievements include winning the Madame F Queer Britain Art Award and the Rudolph Blume Foundation Award in 2025, alongside accolades such as the Arts Charitable Trust Award the Bulldog Bursary for Portraiture.
Raised in New Zealand, Moon studied Art History and Theory, and Curatorial Practice in New Zealand and Australia before training in painting at The Heatherley School of Fine Art, Chelsea. She now regularly teaches at Heatherleys and has also taught portraiture and fine art at degree level.
She has exhibited widely, including at the National Portrait Gallery, the Royal Society of Portrait Painters and the New Zealand Portrait Gallery. Her work has been selected for the National Portrait Gallery’s Portrait Award several times, and her portrait of Peter Tatchell was acquired for the NPG Collection in 2024. Her portrait of Georgina Beyer was acquired for the New Zealand national collection, housed in the Alexander Turnbull Library, in 2025. Other notable achievements include winning the Madame F Queer Britain Art Award and the Rudolph Blume Foundation Award in 2025, alongside accolades such as the Arts Charitable Trust Award the Bulldog Bursary for Portraiture.
Stacey Gledhill
Stacey Gledhill is a New Zealand-born painter based in Oxford, UK. Working with modest, tactile materials - oils on wood, paper, canvas - her paintings inhabit landscape, light, gardens, and the quiet rhythms of daily life. Central to her work is noticing: beauty and stillness discovered through sustained attention. Beginning from observation, Gledhill often allows her paintings to shift into invention and willingness to follow where the looking leads. She came to painting because it was the place she felt most fully herself - and has never stopped believing that this quality of presence, in the maker and the viewer both, is what painting is ultimately for.
Gledhill moved to the UK in 2010. She studied painting and drawing for four years at London Fine Art Studios, an atelier grounded in close observation and the figurative tradition. She has exhibited at The Mall Galleries, Leighton House Museum, and with The Federation of British Artists and Hampstead Art Society. In 2019 she was shortlisted for the Lynn Painter-Stainers Prize, and she has been featured in Artists and Illustrators and other publications . Since 2021 she has taught oil painting through her own teaching practice, Studio Gledhill - offering painting as genuine creative experience and respite, primarily for non-artists. Her students have included Oxford University students seeking a break from academic life, as well as practising artists looking to deepen their practice - finding in teaching another expression of the same attention her work demands.
Gledhill moved to the UK in 2010. She studied painting and drawing for four years at London Fine Art Studios, an atelier grounded in close observation and the figurative tradition. She has exhibited at The Mall Galleries, Leighton House Museum, and with The Federation of British Artists and Hampstead Art Society. In 2019 she was shortlisted for the Lynn Painter-Stainers Prize, and she has been featured in Artists and Illustrators and other publications . Since 2021 she has taught oil painting through her own teaching practice, Studio Gledhill - offering painting as genuine creative experience and respite, primarily for non-artists. Her students have included Oxford University students seeking a break from academic life, as well as practising artists looking to deepen their practice - finding in teaching another expression of the same attention her work demands.
Robyn Litchfield
Robyn Litchfield’s paintings are representations of sublime encounters with pristine and untouched landscapes. Drawing from archival material and personal documents relating to the early exploration and colonisation of New Zealand, Litchfield aims to reimagine and examine the experience of forays into a hitherto unknown space. She is interested in the idea of wilderness and the unknown as a terrain of the mind and as a place that induces reflexivity. Landscape becomes a ubiquitous template for exploring personal history, notions of cultural identity, alienation and a sense of belonging.
Most of her sources are photographs; archival images of early New Zealand and contemporary photographs of primeval landscape taken by herself. She applies transparent paint in expressive brushstrokes and works back into it using various implements and processes such as scraping, layering and erasure to reveal the luminous ground below. The paint mimics the emulsion on the glass plates of early photographs whose images were revealed by light shining through them. She thinks of the ground as a screen where images are projected and perceived.
Most of her sources are photographs; archival images of early New Zealand and contemporary photographs of primeval landscape taken by herself. She applies transparent paint in expressive brushstrokes and works back into it using various implements and processes such as scraping, layering and erasure to reveal the luminous ground below. The paint mimics the emulsion on the glass plates of early photographs whose images were revealed by light shining through them. She thinks of the ground as a screen where images are projected and perceived.
Luana Asiata
Originally from New Zealand, London-based artist Luana Asiata embarked on a remarkable journey back to her artistic roots amidst the tumultuous landscape of the 2020 pandemic. After dedicating precious years to nurturing her young family, Asiata rekindled her passion for art, unveiling a debut collection of fine art prints inspired by nature at Design Led trade show ‘Top Drawer’ in 2020 where she won runner-up in the New Designer to Watch category. She was shortlisted twice for the prestigious Royal Academy London Summer Exhibition in 2021 and 2022, respectively. The year 2023 earned her accolades such as being shortlisted for the Women in Art prize and winning the Merit Award at the esteemed Hampstead Summer Art Fair.
Luana Asiata works primarily in a semi abstract expressionist style, she employs gestural brushstrokes, utilising oils and acrylics to convey her innermost emotions onto the canvas, taking inspiration from nature, architecture, travels and memories of her home in New Zealand.
Luana Asiata works primarily in a semi abstract expressionist style, she employs gestural brushstrokes, utilising oils and acrylics to convey her innermost emotions onto the canvas, taking inspiration from nature, architecture, travels and memories of her home in New Zealand.
Gwenyth Fugard
Gwenyth Fugard’s approach to painting lies somewhere between archaeologist and pattern cutter. Taking a process-led, yet spontaneous approach to her materials, she explores the act of painting with oil on a range of assembled textiles. She employs skills acquired through her time working in fashion and textile design and these have greatly informed the way Fugard approaches her practice. A process of measuring, tearing, cutting, and layering of textiles as she constructs the surface with methods of assemblage, folding, stitching, and painting.
Her paintings emphasize the construction of the painting and at times the excavation of the surface. Oscillating between excess and restraint, hesitancy and assertion, privacy, and disclosure, she applies the paint with various tools onto the prepared substrate. With minimalist restraint and led by the intention of a duality of forces uniting, she explores the notions of opposites and differing components working together. This is often suggested by imposing vertical or horizontal divisions through the surface of the canvas, so that contrasts sit side by side, giving each other strength and support.
It is on the periphery of the painting that her signature details are found and where light is encouraged in or shut out. This notion is an unavoidable consideration in her work and integral to Fugard’s compositions. The indeterminate surfaces with shifting tones of colour and surface contrasts, suggest landscape, not an identifiable landscape, but a sense of territory being navigated. The paintings are atmospheric and evocative, suggesting a landscape of emotion for the viewer to inhabit.
With Fugard’s reflexive and spontaneous approach, the painting’s full identity is not realized until the work is fully underway. Moments are captured in texture and paint where subtle interruptions emerge through her use of materials to create a palpable sense of a living, ‘breathing’ thing – they require the viewer to take the time to contemplate the deeper resonances of her works.
Her paintings emphasize the construction of the painting and at times the excavation of the surface. Oscillating between excess and restraint, hesitancy and assertion, privacy, and disclosure, she applies the paint with various tools onto the prepared substrate. With minimalist restraint and led by the intention of a duality of forces uniting, she explores the notions of opposites and differing components working together. This is often suggested by imposing vertical or horizontal divisions through the surface of the canvas, so that contrasts sit side by side, giving each other strength and support.
It is on the periphery of the painting that her signature details are found and where light is encouraged in or shut out. This notion is an unavoidable consideration in her work and integral to Fugard’s compositions. The indeterminate surfaces with shifting tones of colour and surface contrasts, suggest landscape, not an identifiable landscape, but a sense of territory being navigated. The paintings are atmospheric and evocative, suggesting a landscape of emotion for the viewer to inhabit.
With Fugard’s reflexive and spontaneous approach, the painting’s full identity is not realized until the work is fully underway. Moments are captured in texture and paint where subtle interruptions emerge through her use of materials to create a palpable sense of a living, ‘breathing’ thing – they require the viewer to take the time to contemplate the deeper resonances of her works.
Kate Birss
Growing up in Aotearoa New Zealand, I was constantly inspired by the surrounding coastal landscape. After many years working in the marketing and events industry in London, I felt an overwhelming desire to live again, close to the sea. On reflection, this is where I feel the most grounded and connected to my homeland.
Subsequently, inspiration for my sculptural work has been centred around my dual experience of and the importance of connection to place, landmarks from my childhood, objects holding memory, and the landscapes that surround me now - where much of my material is sourced.
For me, wood holds a primitive familiarity, a warmth. It’s reassuring that every piece I work with already has its own life and narrative; we have an immediate dialogue. I believe we are collaborators.
Using research findings, along with traditional and contemporary tools and processes, I aim to communicate through material, form, texture and finish.
Of primary focus within my making process is hand carving. Using hand tools enables a greater connection to my material, it is a tactile and intuitive process where you engage in a physical conversation with the wood. You need to listen with your body to understand how the tool interacts with the material. When your movements and interactions become instinctive, it becomes a wonderfully meditative process which I find incredibly therapeutic.
Subsequently, inspiration for my sculptural work has been centred around my dual experience of and the importance of connection to place, landmarks from my childhood, objects holding memory, and the landscapes that surround me now - where much of my material is sourced.
For me, wood holds a primitive familiarity, a warmth. It’s reassuring that every piece I work with already has its own life and narrative; we have an immediate dialogue. I believe we are collaborators.
Using research findings, along with traditional and contemporary tools and processes, I aim to communicate through material, form, texture and finish.
Of primary focus within my making process is hand carving. Using hand tools enables a greater connection to my material, it is a tactile and intuitive process where you engage in a physical conversation with the wood. You need to listen with your body to understand how the tool interacts with the material. When your movements and interactions become instinctive, it becomes a wonderfully meditative process which I find incredibly therapeutic.
Joanne Cope
Joanne Cope is a New Zealand-born realist oil painter whose work explores the presence, dignity and individual character of cattle. Growing up in Aotearoa, she spent much of her childhood on family farms and in the countryside, where a deep appreciation for animals and the rhythms of rural life first took root. Those early experiences continue to shape her work today.
Now based in Bath, England, Joanne creates large-scale oil paintings that reveal the individuality and quiet strength of each animal. Using subtle colour palettes, atmospheric light, and meticulous attention to detail, she seeks to capture not only their physical form but also something of their inner presence, inviting viewers to pause and connect more deeply with the living world.
Originally trained in Visual Communications and Design, Joanne later became a full-time artist. Her paintings are held in private collections across the UK, Europe, North America, Asia, the Middle East, and Australasia. She is a member of the Society of Equestrian Artists, and her work has been accepted for exhibition by the Royal Society of Oil Painters.
Through her paintings, Joanne hopes to bring a sense of calm, presence, and a lasting connection to nature into the spaces we call home.
Now based in Bath, England, Joanne creates large-scale oil paintings that reveal the individuality and quiet strength of each animal. Using subtle colour palettes, atmospheric light, and meticulous attention to detail, she seeks to capture not only their physical form but also something of their inner presence, inviting viewers to pause and connect more deeply with the living world.
Originally trained in Visual Communications and Design, Joanne later became a full-time artist. Her paintings are held in private collections across the UK, Europe, North America, Asia, the Middle East, and Australasia. She is a member of the Society of Equestrian Artists, and her work has been accepted for exhibition by the Royal Society of Oil Painters.
Through her paintings, Joanne hopes to bring a sense of calm, presence, and a lasting connection to nature into the spaces we call home.
David Whyte
David Whytes artworks are a direct reflection of his life experiences, the places he has lived, the development of a personal visual literacy, and the craft skills acquired through decades of working as a commercial photographer.
The first true peace of mind he ever experienced came from being in places far removed from the built environment and the crush of other human beings. He was not taking photographs then, but those landscapes and moments have continued to influence and inform the images he seeks to create today.
His work invites the viewer into a moment of being there, exploring and documenting fecundity, mortality, and the quiet narratives he observes as life unfolds.
He arrived at Heathrow at 2:30 pm on 20 January 1976 from his birth country of New Zealand, following three months in South Africa. Finding his feet in the strange, unfamiliar, and at times hostile city of London, he began assisting photographers, surviving on subsistence wages while working in the demanding world of high-end fashion photography.
After several years, he established his own client base, photographing editorial assignments, reportage, and public relations commissions, initially working exclusively with 35mm film.
An opportunity then arose to base himself in a large commercial studio in Clapham. Before long, he was working with large-format film cameras on advertising campaigns for design groups and commercial clients. As the business environment changed, the studio was forced to close, prompting a move to a shared studio in the emerging creative district of Clerkenwell. Commercial studio space proved increasingly unstable, leading him to establish his own studio in Brick Lane, E2, then one of London's most fashionable and edgy neighbourhoods. In 1988, however, some clients considered it too far from central London.
Rather than pursuing only prestigious advertising campaigns, he made the conscious decision to focus on building a sustainable commercial photography practice. His ambition was to spend his time making photographs rather than chasing a handful of high-profile commissions. It proved to be a sound and pragmatic business decision. Within a few years, his business was thriving, while he continued to undertake selected high-end retail campaigns. During this period, he also developed a distinctive photographic style and an innovative photo-compositing technique, attracting a broader and more diverse range of clients.
His passion for photography naturally extended into other visual disciplines, leading him to undertake a self-directed education in visual culture and what he came to understand as the psychology of vision.
The first true peace of mind he ever experienced came from being in places far removed from the built environment and the crush of other human beings. He was not taking photographs then, but those landscapes and moments have continued to influence and inform the images he seeks to create today.
His work invites the viewer into a moment of being there, exploring and documenting fecundity, mortality, and the quiet narratives he observes as life unfolds.
He arrived at Heathrow at 2:30 pm on 20 January 1976 from his birth country of New Zealand, following three months in South Africa. Finding his feet in the strange, unfamiliar, and at times hostile city of London, he began assisting photographers, surviving on subsistence wages while working in the demanding world of high-end fashion photography.
After several years, he established his own client base, photographing editorial assignments, reportage, and public relations commissions, initially working exclusively with 35mm film.
An opportunity then arose to base himself in a large commercial studio in Clapham. Before long, he was working with large-format film cameras on advertising campaigns for design groups and commercial clients. As the business environment changed, the studio was forced to close, prompting a move to a shared studio in the emerging creative district of Clerkenwell. Commercial studio space proved increasingly unstable, leading him to establish his own studio in Brick Lane, E2, then one of London's most fashionable and edgy neighbourhoods. In 1988, however, some clients considered it too far from central London.
Rather than pursuing only prestigious advertising campaigns, he made the conscious decision to focus on building a sustainable commercial photography practice. His ambition was to spend his time making photographs rather than chasing a handful of high-profile commissions. It proved to be a sound and pragmatic business decision. Within a few years, his business was thriving, while he continued to undertake selected high-end retail campaigns. During this period, he also developed a distinctive photographic style and an innovative photo-compositing technique, attracting a broader and more diverse range of clients.
His passion for photography naturally extended into other visual disciplines, leading him to undertake a self-directed education in visual culture and what he came to understand as the psychology of vision.
Jennifer Jokhoo
Jennifer Jokhoo is a Kiwi Artist | printmaker | teacher.
Art and creativity have been part of her life since she was a little girl. She spent nearly all my waking hours drawing and painting and was encouraged by her two Aunties who taught Art. In 1994 she discovered a passion for Printmaking at Canterbury University School of Fine Arts in Christchurch, New Zealand. She loved the process orientated nature of the subject, primarily zinc plate etching and relief printing. She completed a 4 year Bachelor of Fine Arts majoring in Printmaking/Painting and studied History of Art as a minor subject. Teachers college seemed like a natural progression. In 1998 she completed a Post-graduate Teaching diploma at Christchurch college of Education.
In 2001 she came to the UK for what was only supposed to be 6 weeks! With the UK as her base she taught Art and design in Secondary Schools in Cambridge, London & Spain.
She has always loved Japanese woodblock prints and early Railway poster art. Living in London, like most artists she was heavily influenced by her local environment. East Dulwich, London Bridge and the magnificent river Thames inspired her work. She drew and cut lino at the kitchen table in her small flat and then used London Print Studio to print small editions of the Architectural prints.
She began exhibiting in London and was elected a member of the Greenwich Printmakers association in 2012. A small architectural print ‘Borough Nightfall’ was selected for the 2013 RA Summer exhibition. By 2014 she had decided to take the plunge and work full time as a freelance Artist .
Around this time her work shifted towards the depiction of more rural landscape - following her move to the Surrey Hills!
Art and creativity have been part of her life since she was a little girl. She spent nearly all my waking hours drawing and painting and was encouraged by her two Aunties who taught Art. In 1994 she discovered a passion for Printmaking at Canterbury University School of Fine Arts in Christchurch, New Zealand. She loved the process orientated nature of the subject, primarily zinc plate etching and relief printing. She completed a 4 year Bachelor of Fine Arts majoring in Printmaking/Painting and studied History of Art as a minor subject. Teachers college seemed like a natural progression. In 1998 she completed a Post-graduate Teaching diploma at Christchurch college of Education.
In 2001 she came to the UK for what was only supposed to be 6 weeks! With the UK as her base she taught Art and design in Secondary Schools in Cambridge, London & Spain.
She has always loved Japanese woodblock prints and early Railway poster art. Living in London, like most artists she was heavily influenced by her local environment. East Dulwich, London Bridge and the magnificent river Thames inspired her work. She drew and cut lino at the kitchen table in her small flat and then used London Print Studio to print small editions of the Architectural prints.
She began exhibiting in London and was elected a member of the Greenwich Printmakers association in 2012. A small architectural print ‘Borough Nightfall’ was selected for the 2013 RA Summer exhibition. By 2014 she had decided to take the plunge and work full time as a freelance Artist .
Around this time her work shifted towards the depiction of more rural landscape - following her move to the Surrey Hills!
Dawn Conn
Dawn Conn discovered her passion for sculpture later in life, finding in the human figure a powerful language for storytelling, connection, and shared experience. Inspired by a childhood spent on a farm in New Zealand, her work celebrates the energy, freedom, and joy of living life to the fullest, while also embracing quieter moments of reflection and belonging. Through figures that seem to look both back and forward in time, she explores themes of memory, home, companionship, and the passage of life. Her sculptures invite viewers to pause, reconnect with their own stories, and cherish the people, places, and moments that give life meaning.
Susan Wilson
Susan Wilson is a painter and teacher, born in Dunedin, New Zealand. She was expelled from teacher training college for radical political views, studied nursing and worked for two years in a neurosurgical unit. After travels in South America she arrived in England and studied at Camberwell School of Arts and Crafts, 1978–82, then Royal Academy Schools, 1982–6. In the following year she was painting fellow at Cheltenham and Gloucester College of Art and Technology, going on to lecture at Wolverhampton Polytechnic and Royal Academy Schools as a visiting tutor, then becoming a tutor at Chelsea School of Art. Among awards was an Italian Government Scholarship to Venice, 1984; Richard Ford Scholarship to Spain, 1985; and a Spectator Competition commendation in 1991.
Alistair Oldham
Alistair began painting seriously in the past year, following a career in teaching documentary film production in Bristol, UK. As a filmmaker he made a series of short documentaries about subjects including recycled bicycles and political asylum (The Bristol Bike Project), the squatting scene in London in the 1980’s (Bonnington Square) and the reclamation of anti-monuments on the Thames Estuary (Wrecked on the Intertidal Zone).
As a painter, he is developing an abstract style that combines architectural composition, mixed-media collage, layered surfaces and gestural mark-making. Although he has lived most of his life in the UK, Alistair has dual nationality and maintains a strong connection with his New Zealand heritage.
As a painter, he is developing an abstract style that combines architectural composition, mixed-media collage, layered surfaces and gestural mark-making. Although he has lived most of his life in the UK, Alistair has dual nationality and maintains a strong connection with his New Zealand heritage.
Sharon King-Chai
Sharon King-Chai is an award-winning designer and illustrator.
Born in Australia to Chinese-Malaysian parents, she moved to London in 2003, after studying Visual Communication at University of Technology, Sydney. She fell in love with storytelling through music and books- and found her niche working as a designer in music and publishing industries. This eventually led to her creating her own books and establishing her own card and print range. She illustrates books for the phenomenal Julia Donaldson - including Animalphabet, Counting Creatures and Colours, Colours Everywhere. Their titles have won a range of international awards, including the Chen Bochui award for Best Picture book, and shortlisted for the D&AD awards. Sharon’s recent penned book Starbird, won the Greenaway Shadower’s Choice Award in 2021.
Sharon has a great passion for experimenting and innovation, and loves exploring format, narrative and new characters. She also loves using unusual materials, and references nature a lot in her artwork. Ingredients often include potatoes, blackberries, onions, feathers and sticks.
Born in Australia to Chinese-Malaysian parents, she moved to London in 2003, after studying Visual Communication at University of Technology, Sydney. She fell in love with storytelling through music and books- and found her niche working as a designer in music and publishing industries. This eventually led to her creating her own books and establishing her own card and print range. She illustrates books for the phenomenal Julia Donaldson - including Animalphabet, Counting Creatures and Colours, Colours Everywhere. Their titles have won a range of international awards, including the Chen Bochui award for Best Picture book, and shortlisted for the D&AD awards. Sharon’s recent penned book Starbird, won the Greenaway Shadower’s Choice Award in 2021.
Sharon has a great passion for experimenting and innovation, and loves exploring format, narrative and new characters. She also loves using unusual materials, and references nature a lot in her artwork. Ingredients often include potatoes, blackberries, onions, feathers and sticks.
Mandii Pope
New Zealand born Mandii Pope, settled in the UK since 2004, London-based artist, Mandii Pope works in a variety of styles, from Cityscapes, Beach Landscapes, Airbrushed Portraits, Fantasy Art, Spin Art, Contemporary, Abstract, Kiwiana, Figurative, Illustration, 3D Sculpture and Fluid Art. Over the last 10 years all works are painted on circular canvases, which blend a variety of these styles.
Cityscapes document her travels, Abstract fluid or spin paintings are emotive, The Beach landscapes and Kiwiana works are retrospective and reminiscent, educating overseas cultures with stories from our Maori Ancestors. Airbrushed portraits are the winners of the UK New Zealander of the Year. Public Art Sculptures are for Charity. The Mayfly/Dragonfly/Butterfly series is based on making the most of each moment in life. The Psychedelic Ascension series is based on an ever evolving spiritual ascension of higher self and greater good. Her inspiration comes from internal dialogue and daily experiences.
In 2016 she was a finalist for New Zealander of the Year in the UK for her longstanding contribution of her own art-based charity work. A full time Artist with artworks in private and corporate collections internationally, with solo and group shows in the South Pacific, Europe and UAE. She managed the Landmark Art collection, administering the UAL Degree Show Programme and is Co-Director/Founder of The Dragon Gallery.
Cityscapes document her travels, Abstract fluid or spin paintings are emotive, The Beach landscapes and Kiwiana works are retrospective and reminiscent, educating overseas cultures with stories from our Maori Ancestors. Airbrushed portraits are the winners of the UK New Zealander of the Year. Public Art Sculptures are for Charity. The Mayfly/Dragonfly/Butterfly series is based on making the most of each moment in life. The Psychedelic Ascension series is based on an ever evolving spiritual ascension of higher self and greater good. Her inspiration comes from internal dialogue and daily experiences.
In 2016 she was a finalist for New Zealander of the Year in the UK for her longstanding contribution of her own art-based charity work. A full time Artist with artworks in private and corporate collections internationally, with solo and group shows in the South Pacific, Europe and UAE. She managed the Landmark Art collection, administering the UAL Degree Show Programme and is Co-Director/Founder of The Dragon Gallery.
Anna Cowie
Anna Cowie’s work explores the idea of Love River Swims — love as something carried, shared, and passed through generations. Women swimming recur throughout the work as expressions of movement, presence, and self-possession, held within water as both environment and metaphor.
Her relationship with water is shaped by place and lived experience. Growing up in New Zealand, the sea represented freedom and immersion. Now based in Cambridge, she swims in the River Cam — a slower, quieter current that reflects a different rhythm of life. These landscapes inform the emotional language of the work, connecting memory, place, and time.
Foliage and wildflowers from the Cambridge meadows appear as markers of continuity, grounding the work in lived experience. While rooted in personal narrative, the imagery opens onto shared ideas of relationship, intimacy, and inherited love.
Her approach is also informed by her family heritage connected to William Morris, whose belief in nature, craftsmanship, and meaning embedded in everyday life continues to shape her use of pattern, material, and storytelling.
Her relationship with water is shaped by place and lived experience. Growing up in New Zealand, the sea represented freedom and immersion. Now based in Cambridge, she swims in the River Cam — a slower, quieter current that reflects a different rhythm of life. These landscapes inform the emotional language of the work, connecting memory, place, and time.
Foliage and wildflowers from the Cambridge meadows appear as markers of continuity, grounding the work in lived experience. While rooted in personal narrative, the imagery opens onto shared ideas of relationship, intimacy, and inherited love.
Her approach is also informed by her family heritage connected to William Morris, whose belief in nature, craftsmanship, and meaning embedded in everyday life continues to shape her use of pattern, material, and storytelling.
Tracey Paterson
Tracey Paterson is a British Australian artist, based in London.
Tracey loves the small details of life and the quirky things that not everyone notices. Trying to understand and make sense of these contrasts is something that comes up in her work a lot.
Her colourful palette is bright and vivid and expressive, and she chooses to present her art with bold colours and textures. The colours are chosen not to represent true life, but to express how Tracey feels about the energy and memories evoked by what she is painting.
Tracey loves the small details of life and the quirky things that not everyone notices. Trying to understand and make sense of these contrasts is something that comes up in her work a lot.
Her colourful palette is bright and vivid and expressive, and she chooses to present her art with bold colours and textures. The colours are chosen not to represent true life, but to express how Tracey feels about the energy and memories evoked by what she is painting.
Charlie Round Turner
Charlie is a master at telling emotive stories with visual flair. Whether as a photographer on small productions, or assembling a team for larger video productions, he always aims to make his clients look stunning.
Charlie was born and raised in New Zealand, so, like many Kiwis he's a keen traveller. After living and travelling in Asia, the Americas and Europe, he is now based in Clapham, Wandsworth, London, UK.
He specialises in lifestyle and architecture imagery for advertising – video, photography and fusion imagery such as cinemagraphs & GIFs. He also provides portraits on location (or in studio) for advertising & PR.
He is a fully-qualified member (Associate level) of the BRITISH INSTITUTE OF PROFESSIONAL PHOTOGRAPHY.
You can see him in action crafting a client's story in the blog section. Do get in touch to chat about making your story outstanding or for stock image enquiries.
Charlie was born and raised in New Zealand, so, like many Kiwis he's a keen traveller. After living and travelling in Asia, the Americas and Europe, he is now based in Clapham, Wandsworth, London, UK.
He specialises in lifestyle and architecture imagery for advertising – video, photography and fusion imagery such as cinemagraphs & GIFs. He also provides portraits on location (or in studio) for advertising & PR.
He is a fully-qualified member (Associate level) of the BRITISH INSTITUTE OF PROFESSIONAL PHOTOGRAPHY.
You can see him in action crafting a client's story in the blog section. Do get in touch to chat about making your story outstanding or for stock image enquiries.
Bronwyn Sibley (NZArtUK)
New Zealand born, settled in the UK in 1989, Bronwyn's biggest influences of her art come from her love for nature, natural forms and spiritual awareness.
Growing up in New Zealand gave her a life immersed in nature and symbology which is where her inspiration derives from. She carves a lot of symbols from her New Zealand heritage and brings the meanings of them into her work. She also loves the flow within the music symbols and bringing them to life in the 3D form of sculpture.
Her work expresses the power of the nature and the calmness of the divine underlying all that is by capturing the belief that nature is imperfectly perfect. Believing that this is true to all of life, she represents it in her sculptures by allowing the shape of the stones to form the designs and keeping as much of their natural roughness to keep them as close as possible to their natural states.
The majority of her work is carved out of up-cycled building blocks, therefore repurposing old Ytong blocks destined for landfill into beautiful sculptures for both the home and garden. Working with the broken and discarded blocks reinforces that anything and everything can be perfectly imperfect as she incorporates some of the defects into the sculpture.
Bronwyn loves working on commission pieces and in 2023 she was commissioned a piece which was presented to HRH Prince Edward, Duke of Edinburgh. So a once, abandoned block now stands proud in the home of HRH in the form of a Koru. A symbol representing new beginnings, love, strength and peace as well as moving forward harmoniously into a new phase of life.
Growing up in New Zealand gave her a life immersed in nature and symbology which is where her inspiration derives from. She carves a lot of symbols from her New Zealand heritage and brings the meanings of them into her work. She also loves the flow within the music symbols and bringing them to life in the 3D form of sculpture.
Her work expresses the power of the nature and the calmness of the divine underlying all that is by capturing the belief that nature is imperfectly perfect. Believing that this is true to all of life, she represents it in her sculptures by allowing the shape of the stones to form the designs and keeping as much of their natural roughness to keep them as close as possible to their natural states.
The majority of her work is carved out of up-cycled building blocks, therefore repurposing old Ytong blocks destined for landfill into beautiful sculptures for both the home and garden. Working with the broken and discarded blocks reinforces that anything and everything can be perfectly imperfect as she incorporates some of the defects into the sculpture.
Bronwyn loves working on commission pieces and in 2023 she was commissioned a piece which was presented to HRH Prince Edward, Duke of Edinburgh. So a once, abandoned block now stands proud in the home of HRH in the form of a Koru. A symbol representing new beginnings, love, strength and peace as well as moving forward harmoniously into a new phase of life.
Frederick Worrell
Frederick is a UK-based award-winning Māori artist and designer. He creates contemporary art pieces, graphic design work and photography, as well as commissioned pieces for individuals and businesses direct from his studio in Newcastle upon Tyne.
As an indigenous New Zealander living abroad, Frederick has enjoyed creating and exploring his indigenous heritage from afar in a global context. He does this by using a variety of processes, materials, theories and techniques that add texture and definition to his style of work.
As an indigenous New Zealander living abroad, Frederick has enjoyed creating and exploring his indigenous heritage from afar in a global context. He does this by using a variety of processes, materials, theories and techniques that add texture and definition to his style of work.
Bridget Credland Dey
Bridget hails from New Zealand and has lived in the UK since the end of 2003, and in the borough of Richmond Upon Thames since 2009.
After an extensive international marketing career and a 24 year break in art, Bridget undertook an Art and Design Foundation at Richmond and Hillcroft Adult Community College for which she achieved Distinction and reignited her passion for creating.
Bridget has launched Ānene Art, after taking on home schooling and needing to establish some type of mindful practice. She discovered oils during her Foundation and loves the flexibility of that medium. After some much needed encouragement and inspiration from some amazing friends - here we are.
Art Therapy is something Bridget firmly believes in, as it helped her mother in numerous recoveries from mental health challenges and is has served her well through new challenges in reclaiming her sense of self and inner fire.
After an extensive international marketing career and a 24 year break in art, Bridget undertook an Art and Design Foundation at Richmond and Hillcroft Adult Community College for which she achieved Distinction and reignited her passion for creating.
Bridget has launched Ānene Art, after taking on home schooling and needing to establish some type of mindful practice. She discovered oils during her Foundation and loves the flexibility of that medium. After some much needed encouragement and inspiration from some amazing friends - here we are.
Art Therapy is something Bridget firmly believes in, as it helped her mother in numerous recoveries from mental health challenges and is has served her well through new challenges in reclaiming her sense of self and inner fire.
Chrisie Nimenko
Chrisie Nimenko… a New Zealand born Artist living and working in the UK.
A reoccurring theme in Chrisie’s work is one which thoughtfully explores the transience of life and death as they intertwine with the passing of time. “As time continues to pass and we gracefully age, we become increasingly aware of our own human frailty and the inevitability of death, which stands as the only certainty in life. Each piece delves into the “darkness” of our psyche, a space that starkly counterbalances with our inherent “lightness.”
Chrisie’s collages are intentionally intertwined with rich symbolism, including various forms of flora, fauna, and sometimes even astrological events that influence our existence. She creates beautiful and arresting mixed-media collages, digital and analogue, involving photographic images, hand painting and embellishments with 24-carat gold.
"I always create collections with a specific theme in mind and begin by printing photographs in my studio. Within my creative process, I maintain a digital archive and a physical collection of images as well as drawers and boxes that are full of catalogued images. Often, I start with a single hand-cut object that I have been particularly drawn to using, then gradually add layers of cut-out photographs to enhance the depth of my work. Once these elements begin to resemble a formal composition, encompassing background, foreground, and sky, I further embellish it by incorporating more and more objects. At times, I can work on as many as six collages simultaneously, seamlessly assembling and adding hidden elements and objects, which have become a defining feature of my work."
Chrisie is represented by leading Contemporary Art Galleries and her work is held in collections across the globe. Chrisie also works with a roster of internationally renowned clients and award wining brands to create “eye catching” and “arresting artwork” for a diverse range of both commercial and private clients. Chrisie is also an Associate of Spike Island, Bristol and a member of the entrepreneurial organisation Buy Women Built.
A reoccurring theme in Chrisie’s work is one which thoughtfully explores the transience of life and death as they intertwine with the passing of time. “As time continues to pass and we gracefully age, we become increasingly aware of our own human frailty and the inevitability of death, which stands as the only certainty in life. Each piece delves into the “darkness” of our psyche, a space that starkly counterbalances with our inherent “lightness.”
Chrisie’s collages are intentionally intertwined with rich symbolism, including various forms of flora, fauna, and sometimes even astrological events that influence our existence. She creates beautiful and arresting mixed-media collages, digital and analogue, involving photographic images, hand painting and embellishments with 24-carat gold.
"I always create collections with a specific theme in mind and begin by printing photographs in my studio. Within my creative process, I maintain a digital archive and a physical collection of images as well as drawers and boxes that are full of catalogued images. Often, I start with a single hand-cut object that I have been particularly drawn to using, then gradually add layers of cut-out photographs to enhance the depth of my work. Once these elements begin to resemble a formal composition, encompassing background, foreground, and sky, I further embellish it by incorporating more and more objects. At times, I can work on as many as six collages simultaneously, seamlessly assembling and adding hidden elements and objects, which have become a defining feature of my work."
Chrisie is represented by leading Contemporary Art Galleries and her work is held in collections across the globe. Chrisie also works with a roster of internationally renowned clients and award wining brands to create “eye catching” and “arresting artwork” for a diverse range of both commercial and private clients. Chrisie is also an Associate of Spike Island, Bristol and a member of the entrepreneurial organisation Buy Women Built.
Jane Dickins
Jane is an Australian artist living and working in Kent. She paint fluid silhouettes of animals and people using gestural lines and brushstrokes. Each painting begins with a series of intuitive drawings which help her understand and connect with her subject. She then refines these spontaneous
lines, using calligraphic forms and exuberant strokes to create striking silhouettes.
Jane credits Japan with her understanding of mark making. While living in Japan she practiced calligraphy with a Japanese master. It was a powerful experience, emphasising economy of line and the potential for meaning to be present in a single brushstroke.
Originally an archaeologist, Jane worked with Aboriginal artists from the Central Desert before winning a scholarship to study prehistoric design at the University of Cambridge. This background in ancient and indigenous art is now a rich
resource for her practice.
She draws her inspiration from global mythology, folklore and fables. What is most absorbing for her is the way in which it’s possible to evoke distinctive moods and create meaning using only a handful of lines and a limited palette of
colours.
Jane has shown at Linden Hall Studio and been shortlisted for a number of selected exhibitions, including EmpowerHer 2026, Green & Stone Summer Exhibition 2025, and ING Discerning Eye 2023, 2022, 2020. She was also invited
to show at Australia House by The High Commission of Australia in 2025.
lines, using calligraphic forms and exuberant strokes to create striking silhouettes.
Jane credits Japan with her understanding of mark making. While living in Japan she practiced calligraphy with a Japanese master. It was a powerful experience, emphasising economy of line and the potential for meaning to be present in a single brushstroke.
Originally an archaeologist, Jane worked with Aboriginal artists from the Central Desert before winning a scholarship to study prehistoric design at the University of Cambridge. This background in ancient and indigenous art is now a rich
resource for her practice.
She draws her inspiration from global mythology, folklore and fables. What is most absorbing for her is the way in which it’s possible to evoke distinctive moods and create meaning using only a handful of lines and a limited palette of
colours.
Jane has shown at Linden Hall Studio and been shortlisted for a number of selected exhibitions, including EmpowerHer 2026, Green & Stone Summer Exhibition 2025, and ING Discerning Eye 2023, 2022, 2020. She was also invited
to show at Australia House by The High Commission of Australia in 2025.
Donna Riddington
Donna Riddington is a multidisciplinary artist and graphic designer from Aotearoa / New Zealand, based in Ramsgate.
Donna is interested in exploring strands of cultural thinking around interpretations of landscape knowledge – particularly what is framed as nature conservation, sublime appreciation, access/rights and notions of ‘home’.
Archives and letter and image collections, are sources of inspiration. Her art practice is drawing-based. She combines layers of paint, text, pencil and graphite to piece together narrative possibilities from stories, dreams, encounters with nature and shared spaces.
Recent exhibitions include shows in England, Scotland, Aotearoa / New Zealand, Estonia, and Germany.
Donna is interested in exploring strands of cultural thinking around interpretations of landscape knowledge – particularly what is framed as nature conservation, sublime appreciation, access/rights and notions of ‘home’.
Archives and letter and image collections, are sources of inspiration. Her art practice is drawing-based. She combines layers of paint, text, pencil and graphite to piece together narrative possibilities from stories, dreams, encounters with nature and shared spaces.
Recent exhibitions include shows in England, Scotland, Aotearoa / New Zealand, Estonia, and Germany.
Kirk Hendry (Mako)
Kirk Hendry is a BAFTA-nominated director working across feature film and brand campaigns in live-action, VFX and animation.
Mako is an art collective formed by visual effects artists pursuing a more contemplative mode of making. This series approaches marine life through the traditions of portraiture and still life.
Alongside his film work, he has directed award-winning campaigns for ITV, BBC, American Express, WWF and The Guardian.
Born in New Zealand, he is based in London and works internationally.
Mako is an art collective formed by visual effects artists pursuing a more contemplative mode of making. This series approaches marine life through the traditions of portraiture and still life.
Alongside his film work, he has directed award-winning campaigns for ITV, BBC, American Express, WWF and The Guardian.
Born in New Zealand, he is based in London and works internationally.
Heloise Bergman
Héloïse Bergman is a photographer and visual artist. She holds a MFA in photography (UK), and a BA in textile design (NZ). These twin passions have led her to live in Japan, India, Thailand and the UK; initially as a designer working with traditional textiles, then as a photographer documenting the cultures behind the textiles.
Her work has been widely published in books and magazines, and exhibited in galleries and festivals around the world, including New Zealand, Australia, Holland, Mexico, USA, France, Wales and England.
Héloïse’s lens-based projects encompass a wide range of processes, including chlorophyll printing, hand tinting carte de visites, printmaking, photogravures, video, installations and performance. In conjunction with her art practice, she currently leads bookmaking and photography workshops, which explore issues of identity and connecting with society.
Her work has been widely published in books and magazines, and exhibited in galleries and festivals around the world, including New Zealand, Australia, Holland, Mexico, USA, France, Wales and England.
Héloïse’s lens-based projects encompass a wide range of processes, including chlorophyll printing, hand tinting carte de visites, printmaking, photogravures, video, installations and performance. In conjunction with her art practice, she currently leads bookmaking and photography workshops, which explore issues of identity and connecting with society.
Louise Beer
Louise is an artist and curator, born in Aotearoa New Zealand, now working in England. Louise uses installation, moving image, photography, writing, participatory works and sound to explore humanity's evolving understanding of Earth’s environments and the cosmos. Her experience of living under two types of night sky, the first in low level light polluted areas in Aotearoa, and the second in higher level light polluted cities and towns in England, has deeply informed her practice. She explores how living under dark skies, or light polluted skies, can change our perception of grief, the climate crisis and Earth’s deep time history and future. Louise holds an MA Art and Science from Central Saint Martins and a BA (Hons) in Fine Art from Middlesex University London. Louise is currently Artist in Residence from January 2025 - December 2026 at the Institute of Astronomy, University of Cambridge.
Louise has a strong collaborative practice as a director of Lumen, super/collider and Pale Blue Dot Collective. She has co-created 8 residencies in the UK and Europe and co-curated over 100 exhibitions and 100 events focusing on astronomy and/or ecology. She has collaborated with and curated events and workshops at organisations such as the Science Museum, Bompas and Parr, Greenman Festival, British Science Association, Second Home, the Ace Hotel, Floating Cinema, the Collective, Tate Britain, SALT Festival Norway, Soho House Group, Nablus Festival Palestine, Blue Dot Festival, Vivid Projects, Hebrides Dark Sky Festival and the Turner Contemporary.
Louise has been mentored by Ariane Koek, Miranda Lowe and Ellen Mara De Wachter.
Louise has a strong collaborative practice as a director of Lumen, super/collider and Pale Blue Dot Collective. She has co-created 8 residencies in the UK and Europe and co-curated over 100 exhibitions and 100 events focusing on astronomy and/or ecology. She has collaborated with and curated events and workshops at organisations such as the Science Museum, Bompas and Parr, Greenman Festival, British Science Association, Second Home, the Ace Hotel, Floating Cinema, the Collective, Tate Britain, SALT Festival Norway, Soho House Group, Nablus Festival Palestine, Blue Dot Festival, Vivid Projects, Hebrides Dark Sky Festival and the Turner Contemporary.
Louise has been mentored by Ariane Koek, Miranda Lowe and Ellen Mara De Wachter.
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