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Sea of Things",[],{"id":33,"type":34,"tags":878,"lang":17,"slug":36,"first_publication_date":37,"last_publication_date":38,"uid":36,"url":39,"data":879,"link_type":60,"key":889,"isBroken":62},[10],{"name":880,"profile_image":883,"biography":886},[881],{"type":24,"text":10,"spans":882,"direction":26},[],{"dimensions":884,"alt":20,"copyright":20,"url":48,"id":49,"edit":885},{"width":46,"height":47},{"x":51,"y":52,"zoom":53,"background":54},[887],{"type":57,"text":58,"spans":888,"direction":26},[],"76137dcf-bbd6-427f-a193-328bacb2dcee","6b60c401-1400-4fa8-af5a-7b12112fa1aa",[892,895,898,901,904],{"type":57,"text":893,"spans":894,"direction":26},"Time moves differently in Hannah Ireland’s paintings. Faces surface, dissolve, and re-form, held in a continual state of becoming. In this new body of oil paintings on canvas, Ireland works within a consistent portrait format—head and shoulders—establishing a shared structure through which each figure can unfold. Within these parameters, she draws on a personal vocabulary of marks, symbols, and gestures: an evolving visual shorthand through which memory, emotion, and sensation are translated into paint.",[],{"type":57,"text":896,"spans":897,"direction":26},"Ireland approaches portraiture not as a means of recording likeness, but as a way of navigating emotional and psychological terrain. Her figures exist in tension between concealment and revelation, distortion and clarity, emerging through processes of layering, revision, and intuitive response to material. Recognition is partial and unstable. At times the faces press forward toward the viewer; at others, they recede into fields of colour and gesture. The act of looking becomes reciprocal and unsettled—the viewer observes the painting, while simultaneously becoming aware of being held within its gaze. The body shifts from subject to landscape: a space to move through rather than simply observe.",[],{"type":57,"text":899,"spans":900,"direction":26},"Working across a sequence of similarly scaled canvases, Ireland embraces painting as a site of accumulation and discovery, allowing gesture and material to guide each composition. Acts of selection, flattening, and revision echo processes of cutting and pasting—revealing some elements while withholding others, and allowing each figure to remain in flux.",[],{"type":57,"text":902,"spans":903,"direction":26},"A single large-scale painting interrupts this measured rhythm. Operating as a structural and emotional axis within the exhibition, it gathers and expands the concerns of the surrounding works—shifting the encounter from the intimacy of the individual portrait toward something more collective, porous, and spatial. Here, portraiture opens outward, becoming not only an image of presence, but a field through which presence moves.",[],{"type":57,"text":905,"spans":906,"direction":26},"A poem by Ada Duffy accompanies the show.",[],"small fortunes\nAda Duffy",[909,912,915,918,921,924,927,930,932,935,938,941,944,947,950,953,955,958,961,964,966,969,972,974,977,980,982,985,988,991,993,996,999,1001,1004,1006,1009,1012,1015,1018,1021,1024,1027,1030,1032,1035,1037,1040,1043,1046,1048,1051,1054,1056,1059,1062,1064,1067,1070,1072,1075,1078,1080,1083,1086,1088,1091],{"type":57,"text":910,"spans":911,"direction":26},"I run without moving",[],{"type":57,"text":913,"spans":914,"direction":26},"fixated on symmetry. my tattooed tears,",[],{"type":57,"text":916,"spans":917,"direction":26},"my birthmarks darken in Hineraumati’s breath.",[],{"type":57,"text":919,"spans":920,"direction":26}," ",[],{"type":57,"text":922,"spans":923,"direction":26},"I draw ink blue curtains in the lounge",[],{"type":57,"text":925,"spans":926,"direction":26},"and watch them blend into night,",[],{"type":57,"text":928,"spans":929,"direction":26},"then recede from the sepia and faded pink",[],{"type":57,"text":919,"spans":931,"direction":26},[],{"type":57,"text":933,"spans":934,"direction":26},"before dawn, scratching at my dry wrists",[],{"type":57,"text":936,"spans":937,"direction":26},"I picture burnt bridges,",[],{"type":57,"text":939,"spans":940,"direction":26},"their faces tactile in sleep.",[],{"type":57,"text":942,"spans":943,"direction":26},"\u002F",[],{"type":57,"text":945,"spans":946,"direction":26},"these afternoons I run",[],{"type":57,"text":948,"spans":949,"direction":26},"my mouse along the Pacific.",[],{"type":57,"text":951,"spans":952,"direction":26},"noses of land breach the surface.",[],{"type":57,"text":919,"spans":954,"direction":26},[],{"type":57,"text":956,"spans":957,"direction":26},"my eyes bring the contrast of islands 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Moko,",[],{"type":57,"text":919,"spans":1087,"direction":26},[],{"type":57,"text":1089,"spans":1090,"direction":26},"then rest my nose in the corner",[],{"type":57,"text":1092,"spans":1093,"direction":26},"of my love’s eye.",[],[1095],{"id":33,"uid":36,"url":39,"type":34,"href":1096,"tags":1097,"first_publication_date":37,"last_publication_date":38,"slugs":1098,"linked_documents":1099,"lang":17,"alternate_languages":1100,"data":1101},"https:\u002F\u002Fjhanamillers.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=ajx04BIAACkA_SUP&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22af1S_xEAACgAmiqw%22%29+%5D%5D",[10],[36],[],[],{"meta_title":10,"meta_description":1102,"meta_image":1103,"guest_artist":62,"profile_image":1104,"name":1107,"iwi":1110,"biography":1114,"cv_pdf":1129,"thumbnail_gallery":1137,"slices":1179,"curated_works":1180,"install_shots":1483,"featured_video":1611},"Hannah Ireland is a contemporary Artist and painter based in Tāmaki Makaurau Auckland Aotearoa New Zealand and represented by Jhana Millers Gallery",{},{"dimensions":1105,"alt":20,"copyright":20,"url":48,"id":49,"edit":1106},{"width":46,"height":47},{"x":51,"y":52,"zoom":53,"background":54},[1108],{"type":24,"text":10,"spans":1109,"direction":26},[],[1111],{"type":57,"text":1112,"spans":1113,"direction":26},"Ngāti Hine, Ngāpuhi",[],[1115,1117,1120,1123,1126],{"type":57,"text":58,"spans":1116,"direction":26},[],{"type":57,"text":1118,"spans":1119,"direction":26},"Her practice is rooted in psychological observation, relational experience, and the subtle intricacies of everyday life. Working primarily through painting and drawing, Ireland creates expressionistic portraits and abstracted forms that engage with whakapapa, cultural memory, and the emotional landscapes of lived experience. These elements often emerge as intuitive impressions reflecting the harmonies and frictions of being in relation: to people, place, time, and history. In recent years this has included a more direct engagement with whakapapa, with symbols and references drawn from her Māori heritage recurring through her paintings as a way of linking past, present, and future.",[],{"type":57,"text":1121,"spans":1122,"direction":26},"At the heart of her work is a negotiation between visibility and concealment, control and instinct. Figures develop through layering, reworking, and disruption, resulting in images that feel both intentional and provisional. Some are boldly reductive, others barely there; some solitary, others leaning toward each other in quiet, tender ways.",[],{"type":57,"text":1124,"spans":1125,"direction":26},"Ireland's practice shifts materially from show to show: glass and salvaged windows, silk worked with fabric dye, stitched and cut canvas, acrylic and oil. This embrace of improvisation and material responsiveness allows for distortion, fragmentation, and uncertainty, producing figures that hover between clarity and ambiguity, half-formed, smudged, and suggestive. Ambiguity remains central to her work, inviting viewers to interpret, project, and reassemble meaning within the layered, tactile space of her paintings.",[],{"type":57,"text":1127,"spans":1128,"direction":26},"Ireland holds a Bachelor of Arts in psychology and a Bachelor of Fine Arts (Hons) from the University of Auckland. She received the Molly Morpeth Canaday Trust Major Award in 2021 and the National Contemporary Art Award in 2023, and her work was included in Aotearoa Contemporary at Auckland Art Gallery Toi o Tāmaki in 2024. Her work is held in the collections of Auckland Art Gallery Toi o Tāmaki, The Dowse Art Museum, and Christchurch Art Gallery Te Puna o 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