Dick Frizzell is a prominent member of the New Zealand art scene, notable for his wide range of subjects and styles. Represented by a series of four strong landscapes in which the eye is drawn in by a central line of road, the folds and rhythms of the land cut deeply by human action. The action is not one-sided, however; the old paper road in the work of the same name being slowly encroached upon and reclaimed by nature.

Chris Heaphy’s personal language of symbol and sign reflect a hidden history of New Zealand. The robin, a symbol both of native New Zealand wildlife and of European folklore is presented bisected by colour, the black plumage of the local bird and the red breast of the European. The urn and vase, symbols with as many meanings as there are cultures that have used them, also forms a worldwide link. Heaphy's backdrop to these sigils is a realm of painterly dynamic strokes, adding apparent motion to the images.

Natchez Hudson's work is familiar in Milford Galleries Queenstown but makes a striking appearance in Dunedin with a series of four intriguing landscapes. While the artist has long paired meticulous, photorealistic mountainscapes with abstract forms, these works mark a new direction in the artist's practice. Whereas previous paintings have combined the landforms with rigid geometric forms, the new works replace the squares and blocks with dynamic gestural sweeps. The fluidity encompassed in this approach draw attention to the tectonic fluidity of the land, as well as speaking to the history and creative process of art itself.

Miranda Joseph is a newcomer to Milford Galleries’ line-up of artists. Her work draws inspiration from her time in Japan with a series of rhythmic, almost pointillistic marks. While these appear almost random in close-up, the forms and impressions of cherry blossom become evident when viewed from a distance. Combined with the concentrated patterning, there is something of the feel of fin de siècle Europe's interest in Japanese art tradition. The liberal use of metallic paints adds both depth and motion to the images which appear to move and pulse.

Russell Moses’ wall installations present the land as a series of discrete coloured forms. Air, water, and earth are implied by the artist's abstract slices of life, moments of time and image captured in a way which implies rather than spelling out the land's story. Using southern landscapes, from Port Chalmers to Milford Sound, as his starting point, Moses has created matrices of art, individual surfaces shimmering with pearlescent paint. We imagine the light playing on bush and water as we face art that is an evocation of and karakia for the land as much as a deliberate, solid representation of it.