What drives your passion for working with artists and curating exhibitions?
It is the artists themselves [that drives me] – their capacity and courage to tell stories, to translate emotion and experience into form, giving a shape to what is often intangible. I’ve always been drawn to storytelling; curating is a way of honouring that. It’s about creating space for those stories to be seen, heard, and felt.
How do you balance the business side of being a gallerist with the creative soul of the work?
I feel there is a creativity in the business side – the balancing act, lateral thinking, the problem solving and a general desire to do things differently. I think of it like weaving, the business side is the warp, it holds structure and tension. The creativity is the weft, bringing colour, texture, and movement. You need both for a textile.
What motivates you when the art market or audience feels unpredictable?
Unpredictability is part of life, and a considerable factor in the art world. In those moments, I return to the artists. No matter the external environment, they continue to create, to speak their truths. That steadiness and conviction is deeply motivating and a reminder that the real value of the work is in how and what it seeks to communicate, rather than the fluctuations of the market and the value that it dictates.
Has there been a defining moment in your career that pushed you to keep going?
I could point to several moments of significance [in my career]. It hasn’t been one singular event, but rather a series of perpetual pivots – some are quiet, while others feel seismic. Each time, there is a choice to return. That is the defining thread.
How do you stay open to discovery while remaining discerning in your curation?
Curiosity is the compass of discovery. I try to stay attuned to what moves me, even when I can’t immediately name why. Discernment is about sensing when something has resonance, when it holds weight. I try to follow the hum of that frequency.
What’s the most challenging part of your work that most people wouldn’t see?
There is a lot of physical labour and long hours with installations, sanding and painting. However, I think it would be the emotional labour and holding space for artists while holding deadlines, budgets and expectations, [that is challenging]. There is a lot to it, most of which is invisible.
Then there is the empathy, and a sense of shared vulnerability with the artists who are more like family than colleagues. They are putting themselves out there, open to critique and at the mercy of the invisible hand and volatility of the market. You carry that with you… It is a kind of stewardship that demands more than most realise.
What does ‘drive’ look like in a creative business like yours? And what drives you in your work?
To me, drive means staying with the kaupapa – the purpose… even when the outcomes are not clear. It is sustained by the artists: their brilliance, their stories, their inventive ways of meeting the world. Dialogue is essential, it is how we stay open, exchange perspectives, and learn to listen. It happens in conversation with artists, audiences, and with the work itself. Without dialogue, purpose can become static. With it, purpose stays alive.
We live in a society largely driven by commerce and while I understand its necessity, I think we underestimate the value of beauty – not in its conventional or commodified form, but beauty for its own sake. It is everywhere if we choose to see it. As Matisse said: “There are always flowers for those who want to see them”. In that sense – beauty is purpose and dialogue is how we keep returning to it.
How do you stay grounded?
I’m not sure I am grounded! I feel more like I’m in cosmic orbit. But, nature reminds me of my scale in the world. The ocean, especially, is my greatest teacher of perspective. When in doubt, I return to her.
What’s one artist or exhibition that deeply moved you – and why?
Israel Tangaroa Birch. An amazing person and that truth lives in his work. There is a dance, a depth and something unmistakably sacred. I’ve seen it reach out beyond the surface and invite participation, as though the viewer becomes part of the work itself. To me, his work is a portal to another realm. It reminds me that art can be a site of ceremony. Look him up!
What’s the legacy you hope to create through your work?
I did not set out to create a legacy… though if one exists, I would hope that someone, somewhere, sees value in charting an unconventional path. That there’s worth in honouring the curve rather than the straight line.
FQ Lets Talk: What Drives You?
Join Fashion Quarterly and Lexus on July 2nd for an intimate evening of powerful conversation as we ask: What drives you? Hosted by FQ editor-in-chief Sarah Murray at The Hotel Britomart, this thought-provoking event brings together a powerhouse panel of women, including iconic fashion designer Karen Walker, gallerist Elle Föenander and Auckland Design Week founder Jen Jones.
From navigating setbacks to staying grounded in fast-paced environments, these women will share what fuels their passion, and how they continue to move forward with clarity and conviction. Through candid stories and reflective insights, our speakers will explore the pivotal moments, mindset shifts and lessons that have shaped their journeys.
Whether you’re building something new or seeking a renewed sense of purpose in your current chapter, this is your invitation to gather, reflect, and be recharged by real stories of passion, leadership and resilience.
This article originally appeared in Fashion Quarterly‘s Winter 2025 issue.
Photography: Holly Sarah Burgess
Creative Direction: Georgia Bramley
