Aotearoa Art Fair

Gallery Sally Dan-Cuthbert is pleased to present solo exhibitions by two significant women artists, Marion Borgelt from Australia and Lisa Reihana from New Zealand.

Both artists will show work across series that demonstrate the depth of their practices in their respective mediums and areas of research. This will mark Marion Borgelt’s first solo presentation in New Zealand, a significant occasion given her work is already held in collections across the country. The gallery’s presentation will also include two major installations by Lisa Reihana: a new iteration of ANZAC debuting as a large-scale outdoor installation framing the fair entrance, and the Auckland debut of in Pursuit of Venus [infected], first presented at the Venice Biennale in 2017, to be screened adjacent to our booth. A new photograph from each series will also be presented within our booth.

Marion Borgelt

Recognised as one of Australia's most significant and enduring contemporary artists, Borgelt's works are represented in all major Australian museum collections and important private collections internationally. In 1996, Borgelt was the first Australian recipient of the prestigious Pollock-Krasner Foundation Award. She was also awarded a two-year Australia Council Fellowship and the Muswellbrook Art Award.

Renowned for her innovative and multidisciplinary practice across scale, form, and medium, Borgelt’s work transforms public spaces. Major commissions include: Musical Spheres (2020), 123 Pitt Street, Sydney; Lift Lobbies Morpheus (2019) Macau, China; Cascadence (2018), Tower One, Barangaroo, Sydney; Candescent Moon (2011), 101 Collins Street, Melbourne; Time and Tide (wait for no man) (2004), J P Morgan, Sydney.

Lisa Reihana

In 2017, Reihana represented New Zealand at the Venice Biennale with her large-scale video installation in Pursuit of Venus [infected] (2015-17), a seminal work in Aotearoa New Zealand's art history canon, which has since been shown around the world and garnered widespread critical acclaim. Reihana’s ambitious video work, GROUNDLOOP (2022), was commissioned by the Art Gallery of New South Wales for the launch of the much-anticipated Sydney Modern. More recently, Reihana unveiled DigiRadiance: GOLD_LEAD_WOOD_COAL (2024), commissioned by Tai Kwun in Hong Kong, and Māramatanga, a six-metre-tall video installation and the first major digital work to be commissioned by the University of Auckland Art Collection.

In 2014, Reihana was awarded an Arts Laureate Award by the Arts Foundation of New Zealand. She was subsequently awarded the Te Tohu Toi Ke Te Waka Toi Maori Arts Innovation Award from Creative New Zealand and was made a Member of the New Zealand Order of Merit.

Marion Borgelt (b. 1954) is one of Australia’s leading contemporary artists, renowned for her innovative and multidisciplinary practice across scale, form, and medium. With a career spanning over forty years, Borgelt has developed a distinctive artistic language inspired by universal themes such as cosmology, the cycles of nature, time, optics, and phenomenology.

Borgelt creates highly crafted, visually spectacular works connecting human culture and nature, the constructed and organic worlds, micro and macrocosms and the ever-present duality of light and dark. Drawing on her extensive experience with materials, including bees-wax, linen, felt, glass, pigment, stainless steel, wood, bronze, stone and organic matter, Borgelt mediates a creative intervention with originality and sensitivity.

As Borgelt states: “Mutation, morphology, light, impermanence and incessant change are at the crux of much of my work. As human knowledge shifts, so does the material world, with matter constantly engaged in a process of change on every scale: growth, evolution and entropy.” Recognised as one of Australia’s most significant and enduring contemporary artists, Borgelt’s works are represented in all major Australian museum collections and important private collections internationally. In 1996, Borgelt was the first Australian recipient of the prestigious Pollock-Krasner Foundation Award. She was also awarded a Visual Arts and Crafts Australia Fellowship, and in 2020 won the Muswellbrook Art Award.

Major commissions include: Musical Spheres (2020), 123 Pitt Street, Sydney; Lift Lobbies Morpheus (2019) Macau, China; Cascadence (2018), Tower One, Barangaroo, Sydney; Candescent Moon (2011), 101 Collins Street, Melbourne; Time and Tide (wait for no man) (2004), J P Morgan, Sydney.

Lisa Reihana has worked for over four decades as an artist, producer and cultural interlocutor across film, costume, text and photography. A key proponent in the development of Maori art since the 1990s, Reihana’s cinematic language counters the bias of recorded histories to re-centre non-western cultural identity, redefining how histories of colonisation are represented and remembered.

Reihana has exhibited widely both in museums and biennales around the world and is found in important private and museum collections in New Zealand and internationally, including Brooklyn Museum (USA), Plug In ICA (Canada), Royal Academy (UK), Quai Branly Museum (France), Museo Laboratorio di Arte Contemporanea (Italy), Museum of New Zealand Te Papa Tongarewa (New Zealand), and QAGOMA (Australia).

In 2017, Reihana represented New Zealand at the Venice Biennale with her large-scale video installation in Pursuit of Venus [infected] (2015-17), a seminal work in Aotearoa New Zealand’s art history canon, which has since been shown around the world and garnered widespread critical acclaim.

Reihana’s ambitious video work, GROUNDLOOP (2022), was commissioned by the Art Gallery of New South Wales for the launch of the much-anticipated Sydney Modern. More recently, Reihana unveiled DigiRadiance: GOLD_LEAD_WOOD_COAL (2024), commissioned by Tai Kwun in Hong Kong, and Māramatanga, a six-metre-tall video installation and the first major digital work to be commissioned by the University of Auckland Art Collection.

In 2014, Reihana was awarded an Arts Laureate Award by the Arts Foundation of New Zealand. She was subsequently awarded the Te Tohu Toi Ke Te Waka Toi Maori Arts Innovation Award from Creative New Zealand in 2015, and in 2018 was made a Member of the New Zealand Order of Merit.

Other notable solo exhibitions include Voyager, Ngununggula, Australia (2025),Extracts, Gallery Sally Dan-Cuthbert, Sydney (2023), Nomads of the Sea, Gallery Sally Dan-Cuthbert, Sydney (2020), Cinemania, Campbelltown Art Centre, Australia (2018), Mai i te aroha, ko te aroha, Museum of New Zealand Te Papa Tongarewa, Wellington, New Zealand (2008); Lisa Reihana: Digital Marae, Govett-Brewster Art Gallery, New Plymouth, New Zealand (2007); and Native Portraits n.19897, Museo Laboratorio di Arte Contemporanea, Rome, Italy (2007).

Her work has featured in important exhibitions nationally and internationally including Bangkok Art Biennale (2024), Tai Kwun, Hong Kong (2024), National Gallery Singapore (2024); Te Wheke-a-Muturangi: The Adversary, Sydney Festival (2023); NIRIN, 22nd Biennale of Sydney (2020); Oceania, Royal Academy, London (2018); Pacific Sisters: Fashion Activists, Te Papa Tongarewa: Wellington, NZ (2018); Tai Whetuki – House of Death Redux, The Walters Prize (2016), Auckland Art Gallery Toi o Tāmaki (2016); Suspended Histories, Museum Van Loon, Amsterdam, Netherlands (2013); Close Encounters: The Next 500 Years, Plug In ICA, Winnipeg, Canada (2011); Global Feminisms, Brooklyn Museum, New York (2007); and Paradise Now? Contemporary Art from the Pacific, Asia Society Museum, New York (2004).

Edward Waring is a New Zealand born, Sydney based artist whose practice centres around discussions of memory.

Striving to prompt a shift in how we perceive particular objects, Waring repurposes abandoned, albeit ornamental and once treasured objects, and breathes new life into them. His work recalls the crystal pieces of his mother and her friends, reserved for special occasions, sometimes hidden, sometimes displayed, but often never used. Working with vintage crystal and glass, he creates colourful assemblages that surprise with their dynamism and playfulness. In doing so, Waring creates a tribute to the strong women who raised his generation, celebrating their secret and fabulous histories that are now, if ever, rarely narrated or acknowledged.

Through a complex engagement with how we employ objects and how their associated meanings shift over time, Waring creates a radical transformation of the function and appearance of crystal pieces. By bringing something from the past and placing it sharply in the contemporary world, he invites us to defy our expectations of existing things, but also people, and encourages us to seek out the hidden beauty and excitement in what we now consider mundane or prosaic. Waring’s work can be found in important private collections both nationally and internationally, as well as being presented in public collections such as The Powerhouse Museum and The Art Gallery of New South Wales. His work has been exhibited at art fairs such as Sydney Contemporary (2024) and Aotearoa Art Fair (2025). Waring has also been a finalist in prize exhibitions including Reimagine Art Prize and Woollahra Small Sculpture Art Prize. As an artist whose work understandably captures viewers’ intrigue and holds their gaze, Waring has been featured in The Press/Te Matatika, Art Monthly, and Habitas Living.

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MARION BORGELT

LISA REIHANA

Lisa Reihana

EDWARD WARING

Edward Waring

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