"Boundaries in interior architecture have often been thought as physical, manifesting themselves in the form of walls or immovable structures. Yet an active dynamic boundary enables whoever moves through the boundary to define it.

By setting the camera to a slow shutter speed, I began to paint with light through the camera lens. This method arose from the frustrations and consequences of not having a tripod and wanting to capture light that may have been somehow obscured. For example, the light emitting from a room I could not get into because it was locked. From these frustrations I developed a set of elaborate physical actions, gesturing with my arms through the air, jumping and crouching in painful contortions. By capturing found light in space with the camera and these physical actions I was able to create immaterial boundaries.

By taking photos of light that could never be captured in the same way again, a moment in time was recorded, as well as a trace of human action."

Sophie Rzepecky in a recent graduate of Massey University's Textile Design program and will be undertaking her Masters in Social Design at the Design Academy Eindhoven in September.

When the container ship The Rena hit a reef off Tauranga last year, it spilt around 350 tonnes of oil.

An art collective made up of creatives from Publicis Mojo and Greenpeace volunteers came up with the concept of making 'oil prints' with two of the birds that died. These were conceived both as a memorial to all the marine life killed as a result of the incident, and as a warning of what might happen in the event of a deep sea oil spill ... the prospect of which is becoming more real by the day, as exploratory drilling is set to begin off the Otago and Taranaki coasts later this year.

Ten of the prints on display were made on canvas; another 20 were used as A3 posters.

The two birds were found dead and covered in oil on Matakana Island by Greenpeace volunteers while they were helping the local iwi, Nga Hapu o te Moutere o Matakana, clean oil off their beaches following the spill. The birds have since been returned to the iwi.

My latest series of drawings explores the relationship of chaos and flow, with inspiration from the rhythms and patterns that occur within water.

Everything within the universe requires a balance of contrast to survive - sharp-soft, light-dark. I question whether within our own society, do we have the right balances occuring?

Willow charcoal on 300gsm watercolour card.

danwilkinson.carbonmade.com

An exhibition of installation art, music, drawings and photography. The Translucent Landscapes exhibition will pop-up on 1 March at 75 Ghuznee Street, and 26 February at the Thistle Hall Lightbox. The work moves across, through or beyond landscapes infused with light or marked by clarity. The landscapes are real (landscapes of liquids, gaseous landscapes and crystalline landscapes) or imaginary environments where the land and (semi) natural elements are ascendant.

Including work by: Margaret Elliot, Iain Gordon, Katherine Joyce-Kellaway, Tony Kellaway, Poppy Lekner, Doris Lindstrom, Mary McCallum, Helen Reynolds (curator), Molly Samsell, Mike Ting and Nathan Young.

For more information visit
translucent-landscapes.blogspot.co.nz

Rowan Panther developed an interest in lacemaking as an artistic endeavour while studying at Auckland's Elam School of Fine Arts. While her lacework began as an exploration of the constructed distinction between art and craft and the role of women within that dynamic, it has since developed to encompass elements of multiculturalism. Reprising the old-world charm of lace patterns and figures with flax, a singularly unique New Zealand material, as the medium, Rowan's current work looks at both the past and present culture of New Zealand. It simultaneously harks back to a colonial idealism and supplies a contemporary variation. In this context, one might wonder which culture is being appropriated, and whether such concerns are really relevant in a multicultural society.

For more info: www.facebook.com/rowanpantherlace

Pam Brabants' comic strip entitled Juju's Big Night Out documents a madcap escapade experienced by one of her friends in Brighton, England. To find out what happened to Juju take a stroll by The Lightbox in Arthur St.

Pam's pencil drawings have been described as cartoon observations. She takes the perspective of narrator and throws the viewer into the trivial details, secret lives and phobias of various sub-cultures, social misfits and ordinary people. All of Pam's drawings are based on real events and she often translates these into comic strips.

For more of Pam's work go to: www.freewebs.com/pamelabrabants/

Juju's Big Night Out (detail), pencil on paper, 510 x 620mm.

Emma Anderson's recent photographic works extend on previous discussions into the photograph's role as a fragmented and abstracted trace of illumination. As light is inversed, diluted and mediated from experience through a camera lens, onto film, then paper - each photograph leaves an isolated trace of what was. This fragmented work, consisting of individually folded, twisted and solarised photogram's, documents Anderson's departure from a lens-based obsession with fleeting abstractions of light and modes of portraiture. Shifting the focus to the photographic process itself, the new works discuss the mediums scientific roots in light and chemistry paired with the photographic act of inversion, both with the images created and the final action of solarisation.

Photographic Print on Fibre Based Silver Gelatin paper, 800 x 1000mm.

This work is about re-constructing the scenery from memory. It is an exercise to re-compose a narrative story. Our surroundings go through metamorphosis: the environment we live in is fragile and ephemeral, it changes and transforms the physicality that we captured with our eyes, becoming the past in a moment.

www.yukarikaihori.com

Antoinette Ratcliffe brings The Plush Room to the Lightbox at Thistle Hall, with 'Goldies zombie kitten, Gray'.

Antoinette chose to use the zombifying process, in conjunction with cute innocent characters to extend the cute and grotesque hybridity that she uses in her installations. Her work explores thematic narrative derived from contemporary animation, horror conventions, banal situations and anthropomorphic association, creating an existentially humorous situation which alludes to B grade horror films.

'Goldies zombie kitten, Gray' has appeared in the book 'The Plush Room: photographic portfolio 2010 -2011' and keep your eyes peeled for Gray's littermates down Cuba Street – they have accompanied him this time.

If you would like to subscribe to The Plush Room monthly email, click here or visit www.theplushroom.com for details.

In response to the 2011 Rugby World Cup I decided to create an artwork that looks back to 1960 - a controversial time in NZ's rugby history, when Maori were not allowed to tour South Africa. The Howard Morrison Quartet's My Old Man's an All Black was a parody of a popular song My Old Man's a Dustman by Lonnie Donnegan, and proved to be a hit due to its humour and also the topicality of the song's controversial subject.

To listen, google 'My Old Man's an All Black mp3'.

Colour inverted digital print, 1000x1050mm.

Slide 22 box 3/5 Chelsea flea markets, New York City, 2011, pigment on archival paper, 900 x 900 mm.

Kate Adolph's recent works extend on an ongoing discussion into what constitutes as a photograph and its function. Here she pushes the medium's traditional constraints as a two-dimensional form through structured geometric folding methods along with her use of found imagery. Slide 22 is derived from negatives the artist acquired at the Chelsea flea markets, New York City in June 2010. Unwanted boxes of personal photographic negatives spilt over the market tables unaware of where or how they may be interpreted, manipulated and displayed. As well as investigating photography's function and the value of the archival document, Adolph's interest also lies in the medium's relationship to the 3D and the results of this integration.

There can be a sort of epiphany coming across an urban tragedy. One we may walk past and not see in the night, which suddenly draws us to the plight of the unseen, sometimes heard snuffling in the shrubbery, scuttling along a path, but one that has a part to play in the urban landscape.

Finding a place amongst giants, constantly altering its landscape. This is but one character having a role that we do not see, whose existence we rarely acknowledge, but who plays its part in the drama of the city. The humble Hedgehog. Respect.

Douglas Crane

Photograph, dead hedgehog foetus, Thompson Street, Wellington, 2009.

In the seamlessly repeating arborescent-style wallpaper, fantastical yet familiar hybridized wildlife (pests and pals) perch simultaneously obliviously, yet menacingly, in branches over a background of traditional pattern – leaving no space unfilled. The work suggests a romanticised, yet uneasy and precarious, cohabitation between the native flora and fauna and introduced species, where to survive is to adapt to the rapidly changing landscape. True to arborescent-style wallpapers of the 1800s, this design is the product of a cultural exchange, and although inhabited by exotic flora and fauna, is firmly grounded within a New Zealand context.

www.genevievepacker.com

Digital print on vinyl (from INFILL exhibition).