The Review 2016 includes Layla Walter’s cast glass. Her works demonstrate the precision of simplicity, the co-joined powers of restraint and single-focus emphasis. Her techniques vary from work to work - surface patterning, engraving and embossing techniques, carved surfaces. In the superb Kokako 10 (2015) for example, Walter uses the translucency of pale colour and the fugitive qualities of light transmission to build a ghostly, compelling presence.

Dick Frizzell’s visual virtuosity is critically acknowledged and acclaimed. A Lad Insane (2016) is a sensitive, celebratory homage to David Bowie, delicately combining this with a reprise of his legendary Four Square Man. Masterful large-scale screen prints - First Kiss (2015), Big Bunch (2013) and The Long Ride Home (2014) – further demonstrate an array of extraordinary skills and Frizzell’s acute pop sensibilities.

Jenna Packer’s beautiful, unnerving The Seduction of Zealandia (2013/14) is filled with humour, satiric bite, and layered with multiple narratives about behaviour, the morality of the financial world and how our environment is being strip-mined in the guise of progress.

Nigel Brown’s Korimako (2015) and Pied Stilt (2015) are redolent with tenderness, contemporary environmental dialogues and protective sentiments. Paul Dibble’s haunting Huia and Geometry (2014) is a metaphoric symbol of loss.

Karl Maughan’s Beaumont (2015) is filled with suggestion and promise. Joanna Braithwaite’s Time will Tell (2013) and Gold Trail (2013/4) are visual parables, where animals are presented with human characteristics and attributes, where humour, irony, symbol and Victorian painting traditions progressively extend and complicate what at first appears simple.

Darryn George uses lettering, words and abstract pattern as cultural signifiers. In key works, Notes on Isaiah 6 (2013) and Tribute – A Yeoman (2007), significant religious dialogues emerge.

Woman between Past and Future (2014) is an astonishing work, where Terry Stringer’s transformative three-sided sculptural technique morphs from image to image and in that manner progressively reveals a story told in the round. There are also important new works by Neil Dawson, Christine Thacker, Mike Petre and John Parker.

The Review 2016 includes Layla Walter’s cast glass. Her works demonstrate the precision of simplicity, the co-joined powers of restraint and single-focus emphasis. Her techniques vary from work to work - surface patterning, engraving and embossing techniques, carved surfaces. In the superb Kokako 10 (2015) for example, Walter uses the translucency of pale colour and the fugitive qualities of light transmission to build a ghostly, compelling presence.

Dick Frizzell’s visual virtuosity is critically acknowledged and acclaimed. A Lad Insane (2016) is a sensitive, celebratory homage to David Bowie, delicately combining this with a reprise of his legendary Four Square Man. Masterful large-scale screen prints - First Kiss (2015), Big Bunch (2013) and The Long Ride Home (2014) – further demonstrate an array of extraordinary skills and Frizzell’s acute pop sensibilities.

Jenna Packer’s beautiful, unnerving The Seduction of Zealandia (2013/14) is filled with humour, satiric bite, and layered with multiple narratives about behaviour, the morality of the financial world and how our environment is being strip-mined in the guise of progress.

Nigel Brown’s Korimako (2015) and Pied Stilt (2015) are redolent with tenderness, contemporary environmental dialogues and protective sentiments. Paul Dibble’s haunting Huia and Geometry (2014) is a metaphoric symbol of loss.

Karl Maughan’s Beaumont (2015) is filled with suggestion and promise. Joanna Braithwaite’s Time will Tell (2013) and Gold Trail (2013/4) are visual parables, where animals are presented with human characteristics and attributes, where humour, irony, symbol and Victorian painting traditions progressively extend and complicate what at first appears simple.

Darryn George uses lettering, words and abstract pattern as cultural signifiers. In key works, Notes on Isaiah 6 (2013) and Tribute – A Yeoman (2007), significant religious dialogues emerge.

Woman between Past and Future (2014) is an astonishing work, where Terry Stringer’s transformative three-sided sculptural technique morphs from image to image and in that manner progressively reveals a story told in the round. There are also important new works by Neil Dawson, Christine Thacker, Mike Petre and John Parker.