Daegan Wells, 'Because of where I live', 2025. Courtesy of the artist.
Photo Credit
“Early in 2024, while walking, I found a Pakohe Toki half-buried and only visible in the rocky coastal soil of the rural Southland farm where I live with my partner. I took the Toki to the local rūnaka for advice on what to do with such a precious artefact. This led to a serendipitous encounter with a kaumātua from Ōraka-Aparima, who blessed the toki with a karakia in the car park of our tiny local Supervalue. The discovery of this long buried taonga and its repatriation has led me to reflect deeply upon the history of this place that I call home and the events that have shaped and defined it.” – Daegan Wells
Daegan Wells’ presentation in The Changing Room explores aspects of domestic rural life from his Southland home. For this new body of work, his partner’s family farm at Colac Bay near Riverton becomes a case study for gaining insight into the people, industry and processes of the area. Since the 1800s, the farm and surrounding whenua have undergone many stages of evolution, including being the site of one of Aotearoa’s earliest gold excavations, home to a large Chinese settlement in the 1870s, and supporting various sawmilling operations. In conducting research for this project, Wells has connected with his partner’s extended family, interviewing and gathering archives from whānau who grew up on the farm, including residents of the farmhouse from the 1930s and his partner’s great-aunt.
Because of where I live brings the materiality of the artists’ Southland surroundings into the gallery. Wells’ utilisation of wool, timber and handwoven fabrics provides a reflection of rural life and the artist’s own interest in site and the politics of place. Drawing on fine craft skills learned locally from rural weavers, Wells has created a collection of household objects inspired by handmade furniture once found in the original 19th century farm cottage. This includes a series of daybeds, a handwoven curtain and a hand-made sheepskin rug, which required the artist to learn how to tan and process leather for the first time. A video drawing on existing stories, oral histories, photographs and fragmented archival documents extends the artist’s research into the area where he lives, offering insight into the intersecting histories, persons, places and events that make up the place he calls home.
Opening Hours
- Tuesday – Friday, 10am – 5pm
- Saturday, 10am – 4pm
- Monday & Sunday closed
Location
- Level 4, The Kenneth Myers Centre
- 74 Shortland St
- Auckland, 1010
“Early in 2024, while walking, I found a Pakohe Toki half-buried and only visible in the rocky coastal soil of the rural Southland farm where I live with my partner. I took the Toki to the local rūnaka for advice on what to do with such a precious artefact. This led to a serendipitous encounter with a kaumātua from Ōraka-Aparima, who blessed the toki with a karakia in the car park of our tiny local Supervalue. The discovery of this long buried taonga and its repatriation has led me to reflect deeply upon the history of this place that I call home and the events that have shaped and defined it.” – Daegan Wells
Daegan Wells’ presentation in The Changing Room explores aspects of domestic rural life from his Southland home. For this new body of work, his partner’s family farm at Colac Bay near Riverton becomes a case study for gaining insight into the people, industry and processes of the area. Since the 1800s, the farm and surrounding whenua have undergone many stages of evolution, including being the site of one of Aotearoa’s earliest gold excavations, home to a large Chinese settlement in the 1870s, and supporting various sawmilling operations. In conducting research for this project, Wells has connected with his partner’s extended family, interviewing and gathering archives from whānau who grew up on the farm, including residents of the farmhouse from the 1930s and his partner’s great-aunt.
Because of where I live brings the materiality of the artists’ Southland surroundings into the gallery. Wells’ utilisation of wool, timber and handwoven fabrics provides a reflection of rural life and the artist’s own interest in site and the politics of place. Drawing on fine craft skills learned locally from rural weavers, Wells has created a collection of household objects inspired by handmade furniture once found in the original 19th century farm cottage. This includes a series of daybeds, a handwoven curtain and a hand-made sheepskin rug, which required the artist to learn how to tan and process leather for the first time. A video drawing on existing stories, oral histories, photographs and fragmented archival documents extends the artist’s research into the area where he lives, offering insight into the intersecting histories, persons, places and events that make up the place he calls home.
