Tayla’s practice uses textile processes as a means of contemporary sculpture. Utilising stigmatised craft, these works explore notions of femininity, domesticity, agency and value. Through reflecting on feminine identity, the sculptures challenge intimate/public space, and also speak to the body, both through form and process.

Elana’s practice explores emotion, the senses, memory and different states of mind and body through the mediums of painting and drawing. After having previously explored creating works with participants, her work is now taking on a more personal and individual approach.

Recently, Elana’s research has focused on automatic drawings, meditation, art therapy and emotional and personal expression with a large focus on process. Her works are often large scale, creating an immersive space of gesture and experience.

Charlotte is a photographer who’s practice focuses on the personal and emotional. Having explored a wide range of techniques, her output is often experimental in nature and challenges the audience’s way of looking.

Mariama is a visual artist who’s practice has developed over the years from a painting background into an emotional based style of photography.

Their practice currently explores the range of emotions that develop and can be placed into a work that bares no immediate connection. Working with photography and emotions provides narrative that comes naturally with the subject matter and is often paired with a hidden meaning behind the imagery.

Jess is a sculptural artist interested in conveying a range of emotions into their work through an intuitive art-making process. They let the object's materiality inform the making process and then assimilate that process through multiple modalities within the final installation.

Jess's sculptures are often small - fitting easily in your hand, sculpted with various clays. They give up control of the art-making process and allow the surrounding environment and the object to take up their own agency. They've been investigating the role of entropy in their work but have recently adopted the notion of chance art.

Silby’s works rotate around the idea of textiles as a form of communication. This textile manifestation is often representative of her own personal emotional processing, wellbeing and life experiences. She then applies the technical processes acquired in her time at Toi Rauwhārangi to exhibit in a formalised fashion.

Her recent research has involved an interest in art as therapy and therapy using art. Often, comparing the methods involved in both, and applying these methods within her work as an exploration of technique and personal mindfulness. She has since found this intrinsically connected to her interest in crochet as a medium for art making and expression.

Margaux Febvre-Richards is an autobiographical contemporary artist. Her current mediums being sculpture and instillation. With a focus on craft, the artist puts a high emphasis on every specific detail of her work; from the materials used and what they mean to her, to the people she surrounds herself with to ensure the proper energy and spirit is surrounding her creative process.

Current collections in Margaux's development feature bed sheets in which the artist has slept on since the age of fifteen. “The materials chosen in the making of my artwork are always a main focus; What is the story behind the object? What is the implication through the use of this material? What is my personal relationship to the object? What emotions does it convey? These are all ideas I am wanting to explore, and questions I hope the viewer will ask of the work and of themselves.”

Samson is a visual artist whose practice is grounded in image making through conversation with people and landscape. They use analogue photographic methodologies to enrich the connections between their subject matter and viewership in opposition to the quickness and disposable nature of digital photographic spaces and cultures.

Their practice is intersectional, using alternative developing and printing methods to reduce the chemical footprint of their artwork on the environment. This approach is met with a focus on queerness both within people and the everyday, using the camera to help mediate discussions with viewers on gender identity & expression, perception, and queer intimacy.