Contemporary jewellery artists Fran Carter and Caroline Thomas will be setting up headquarters in the Project 100 gallery space with their evolving project Moments of Jewelleryness. Visit them during their residency as they explore their ideas around ‘jewelleryness’ and research new ‘moments’ to be found around Whakatū.

Fran & Caroline met whilst studying contemporary jewellery at Whitireia NZ, and since 2017 have been engaged in this collaboration together that has seen them exhibit nationally and abroad. The pair share a collective understanding of ‘jewelleryness’ whilst exhibiting a distinctly individual approach to their making, transforming inspirational moments into objects.

“Our evolving project explores the mysteries of the creative process, celebrating the idea that inspiration often lurks in the most unlikely places.”

Project 100 is thrilled to present CINEMA BIANCHINI / A Waking Dream by Marco Maculan & Vanessa Carlesso Bortignon.

Vanessa and Marco are two artists with distinct practices who, while not working explicitly as a collective, share both their daily lives and a common vision of the artistic process.

Through their work, the two aim to extrapolate what humans attempt to suppress during the day—only for it to reemerge in our dreams. It is our irrational side that speaks the language of symbols, creating a dreamlike atmosphere that we often try to evade.  Natural elements, imperfect geometries, body parts, and the objects that adorn them converge in their works.

Using ceramics, wood, and fabric, they explore the dual aspects of reality. Fascinated by the 'rite of creation,' in which time is marked by repetitive movements, they connect with their spiritual side, drawing inspiration from the archetypal world.

This exhibition centres on a series of evolving works, created since September 2024 while the artists have been travelling throughout Aotearoa New Zealand.

'Gathering' is a series of paintings that explore the act of ‘gathering’ in both subject matter and in process of creation.

To ‘gather’ is to bring together. We gather materials, food and objects, we gather ourselves through ritual and routine, and we gather with others through meals and spaces.

These works are an exploration of materials collected over time, exploring the nature of ‘gathering’ in various forms. While the subject matter consists of gathered objects, references to ritual and routine, and places to gather with others, the name also refers to the gathering of materials to create from. A diverse variety of materials have been used to create these pieces. Including that which has been found, collected, harvested, gifted, won, sourced and purchased.

CJ Ghatt is a multidisciplinary artist based in Tāmaki Makaurau. CJ uses pigment and thread to create paintings that often bring together unexpected materials in a harmonious way.

Placing value and emphasis on work done by hand, CJ’s process involves, collecting, repurposing, painting, stitching, weaving and collaging, with her own interpretation of traditional crafts.

CJ is a graduate of Whitecliffe College of Arts & Design where she completed a Bachelor of Fine Arts and a Master of Fine Arts in Fashion and Sustainability.

Please join us for the opening: 5PM, THURSDAY 05th FEB

Night and Day in the Era Errors of the Anthropocene brings together the diverse works of Pennie Jagiello in her debut New Zealand exhibition. This collection narrates an ongoing journey deeply invested in the unsustainable materiality of societal existence. Many pieces openly communicate wearability, while others explore scale, and confront themes of personal and collective discomfort, burden, and anxiety. Amidst these tensions, the works hold on to hope and incite change, embodying the ‘wearing’ of accountability itself.

The carving process is a profound presence in Jagiello’s work, as she etches not only her mark in time but also a lasting symbol for all. Her pieces embody a dedicated journey toward environmental responsibility. Through wearable narratives as social markers of our era, Jagiello highlights the relentless cycle of consumption driven by global society—day and night, night and day—a continuous, eternal loop reflecting the rhythms of our conscious and unconscious actions.

The exhibition also features existing works that incorporate sections of artefacts transformed from their original designs and purposes. Some remain in a semi-complete state, yet Jagiello curates these discarded objects into a cohesive collection. This gathering of fragments unites old and new works, demonstrating both the Anthropocene’s state of destruction and humanity’s resilience, hope, and will to create sustainable, shared futures.

In Jagiello’s creations, the body is at once present, absent, and present again, as her works invite collaboration and participation. Throughout the exhibition, she welcomes visitors to unwind emotionally and physically, encouraging conversations, interactive creative processes, and the shared experience of collaboration.

About the Artist

Pennie Jagiello is a transdisciplinary artist with over 25 years of experience, actively exhibiting and facilitating workshops both internationally and across Australia. She is a Lecturer in the Bachelor of Fashion (Design) program at RMIT University in Melbourne, where she specialises in creating inclusive and accessible creative environments.

Jagiello’s practice embraces diversity and inclusivity, catering to participants of all ages, including neurodiverse individuals and those who are non-verbal or multilingual. Her approach fosters hands-on engagement through touch and material exploration, allowing participants to engage with creativity in ways that feel natural to them.

MAKE FURNITURE is committed to crafting spaces and pieces that bring ease into everyday life. Each design reflects a keen eye for detail, a dedication to functionality, and an appreciation for beauty, resulting in furniture that centres around functionality with the human touch.

"Mothercake" reflects the translation from Sam's mother tongue of the word Mutterkuchen, meaning placenta. This biological metaphor and often unacknowledged organ has become central to her artistic practice. Through her work, Sam explores the overlooked connections between self and other, investigating both physical and philosophical boundaries. Her drawings and paintings emerge from a deeply physical process, creating conversations between inner and outer worlds - evoking new organic body forms that exist somewhere between figuration and abstraction.

Sam completed her Post-graduate Diploma at the Dunedin School of Art this year having originally studied Fine Art and Contemporary Critical Theory at Goldsmiths College in London in the mid 90's. She has returned to her art practice with gusto in the last few years, finding ways to readdress and recalibrate the balance between finding meaning from the making and making from the meaning.

Please join us for the opening evening at 5pm, Wed 04 December

Black Porte is a pop-up shop showcasing a special collection of one-off garments, jewellery, objects, and bags from six independent NZ makers who share a deep connection to their respective mediums. This unique offering in Whakatu features an exquisite collection of predominantly wearable one-of-a-kind pieces.

Works include a new collection of leather bags from Louise Leggat (Kohl & co), Objects and hand painted clothing from Josephine Cachemaille, Garments made with hand fabricated, dyed, and repurposed textiles from Brooke Georgia, Emma Wallbanks (FBPD) & Ella van Beynen (Evan Beijen) as well as finely crafted Danish modern inspired jewellery from Alexis Gundry

This is a unique opportunity in Whakatu to see some highly technical and finely crafted pieces from these makers working at the cutting edge of their crafts.

Please join us for the opening evening at 5pm Wed 6 Nov 2024

THE SEA INSIDE HER is an exhibition of paintings, poetry and a short film. It is an immersive experience about the fragility of staying in control of oneself. The work is a playful contemplation of Western society's relationship with nature – how we are affected by nature and our influence on it, while holding onto the idea that we are somehow separate.

The pieces depict an older woman’s response to a wild animal encroaching on her domestic space and lean into movement and the fantastical within the mundane to connect with people on a visceral body-brain level. The artists aim to create a lyricism within the space - utilising paint, text and -- in the moving image work -- performers, puppets and household objects.

The concept was initiated and produced by Pākehā artists and filmmakers Alyx Duncan and Michele Powles, with collaboration with editor Adam-Luka Turjak. The moving image work is produced by Lani-Rain Feltham, shot by Gin Loane, with art direction by Robin Rawstorne. The music is composed and performed by Francesca Mountfort with sound design and mix by Vedat Kiyici. Compositing is by OhuFX and colour grade by Alana Cotton. Puppets are designed by Paul Lewis and performed by him, Alex Leonhartbserger and Michele Powles. The work features contemporary dance icon Kilda Northcott as Grandmother and Mateo Cruz as Child. Poetry is by Michele Powles and paintings are by Alyx Duncan.

Project 100 is thrilled to present Thomas Baker for our inaugural exhibition. Lite cracks gleaming bricks is a continued look into motion, standards, and things that shouldn’t.  

Thomas is nationally known for his work with clay, with his creations often being a dialogue between the tactile and the transcendent—where the interplay of impact and gravity reveals the poetry in imperfection. After spending some time training under Seppo Iida Sensei in Kanazawa, Japan, Thomas's work embodies the meticulous precision of traditional Japanese forms and techniques. Yet, somewhere sitting slumped on the edge of function and failure, he seeks to capture tension through the organic shapes born from impact. By embracing techniques that involve throwing, pushing, and dropping, he allows movement itself to shape the clay, striving to strip away the presence of the maker's hand. The result is a raw exposure of force and motion, amplifying the softness of the clay, seemingly mid-motion.

Thomas is also the co-founder of ceramic studio Kiln where he currently tutors and practices, and is a creative director for Nelson Clay Week

“Somewhere wobbling on the edge of function and failure, I search for tension in my work. Working within traditional pottery forms and techniques, pushing these familiar relationships into unfamiliar states. This is often found through the capturing of movement. By using techniques where force is involved, I rely on the action of throwing, pushing and dropping to achieve the organic shapes caused by impact. Removing as much of my makers hand as possible through the process of in-forming, means the force of movement itself becomes clear.  Amplifying the softness of the clay, seemingly mid-movement.”