Robert Jahnke’s neon light panels openly declare and use the making process as structural components. Both implying and creating spatial depth, the works are beguiling, transformative experiences where pattern is built both by repeated lines of colours and the spaces between.

Leanne Morrison also establishes illusory spaces, using a remarkable command of hue and tone as key devices. Her technical mastery and subtle variations create wondrous conversations between perception and abstract structure.

Chris Heaphy conflates space, using the rhythm and panorama of line to elicit profound sensations of movement, location and place.

Jenna Packer mixes up time. Are we looking at the past or seeing the future? In a suite of new works on aluminium panel, Packer with singular delicacy establishes the Victorian garden maze as a political metaphor.

Israel Birch’s Mauri (Circle) 2018 is an astonishing visceral experience. While clearly an open conversation about cultural essence, and spirituality, Birch’s mastery of radiating form, etched pattern and fluxing light is breathtaking, and as you look, ever-altering.

Peata Larkin, recipient of the 2019 Wallace Award residency in Switzerland has built a distinct visual language, referencing traditional Maori woven textile patterns. There exists a literal duality in her work – its binary construction, negative space nuances and structural patterns become visual windows between now and then.