Exhibition Openings
jhanamillers.comJoin Jhana Millers Gallery for the openings of Good Citizen by Ayesha Green and Stuck in the mud by Hannah Ireland.
Ayesha Green’s solo exhibition Good Citizen operates at the intersections of culture, religion, whakapapa and nationality. In this new suite of portraits and works on paper, Ayesha asks, what might good citizenship be? Who gets to define what is good and who gets to define what it might mean to be a citizen? Within a nation-building framework, Māori are forced to perform their citizenship through acts of assimilation. In this exhibition, Green specifically explores the interracial family unit and how this process has resulted in her own identity as a citizen of Aotearoa New Zealand.
Hannah Ireland makes faces. As children, we liked making faces too. Although we were told to be careful with the habit, because, if the wind changed, the face would stick! As a cultural value not pulling faces is pretty boring. It doesn’t seem to serve much of a purpose beyond encouraging decorum and conformity. What is interesting, however, is the idea that in transgressing this norm we risk invoking terrible consequences — that there’s a serious cost to letting a cool face slip. In the world of this idiom, Ireland is the wind. Her painting and sculpture freeze the faces that have let loose their tight compositions and become something else, if just for a moment.
Price
- Free
Date
- Thu 13 May
Time
- 5:30 pm
Address
- Level 1 Mibar Building
- 85 Victoria Street, Te Aro
- Te Whanganui-a-Tara, Wellington, 6011
Join Jhana Millers Gallery for the openings of Good Citizen by Ayesha Green and Stuck in the mud by Hannah Ireland.
Ayesha Green’s solo exhibition Good Citizen operates at the intersections of culture, religion, whakapapa and nationality. In this new suite of portraits and works on paper, Ayesha asks, what might good citizenship be? Who gets to define what is good and who gets to define what it might mean to be a citizen? Within a nation-building framework, Māori are forced to perform their citizenship through acts of assimilation. In this exhibition, Green specifically explores the interracial family unit and how this process has resulted in her own identity as a citizen of Aotearoa New Zealand.
Hannah Ireland makes faces. As children, we liked making faces too. Although we were told to be careful with the habit, because, if the wind changed, the face would stick! As a cultural value not pulling faces is pretty boring. It doesn’t seem to serve much of a purpose beyond encouraging decorum and conformity. What is interesting, however, is the idea that in transgressing this norm we risk invoking terrible consequences — that there’s a serious cost to letting a cool face slip. In the world of this idiom, Ireland is the wind. Her painting and sculpture freeze the faces that have let loose their tight compositions and become something else, if just for a moment.
