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Whether it’s a wedding, party, or formal dinner, the act of introducing someone to your personal or creative sphere can feel exciting, strangely intimate, or occasionally awkward. Sometimes the plus-one blends in effortlessly; other times, they’re an amusingly misplaced puzzle piece. Either way, the choice often reveals more about the host than the guest—highlighting tastes, friendships, aspirations, or even quiet anxieties.",[],{"type":53,"text":532,"spans":533,"direction":22},"'Plus 1' takes this social phenomenon and applies it to exhibition-making. Each gallery artist was invited to bring along someone else—another artist they admire, have long wanted to work with, or feel a creative connection to. Some of the pairings are surprising; others feel inevitable. 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Many of the artist relationships are grounded in friendship, mentorship, or mutual respect, underscoring the importance of community in creative life.",[],{"type":53,"text":544,"spans":545,"direction":22},"Together, these pairings offer a snapshot of contemporary art as a social act: bold, responsive, and deeply invested in making space for others.",[],{"type":53,"text":547,"spans":548,"direction":22},"\nArtists included in the exhibition are:\nAlan Ibell + Esther Deans\nAnn Shelton + Kirsty Lillico\nCaitlin Devoy + Nat Tozer\nCaroline McQuarrie + Marci Tackett\nClaudia Kogachi + Emma Jing\nDenys Watkins + Garth Steeper\nElisabeth Pointon + Deborah Rundle\nEmily Hartley-Skudder + Georgina May Young\nErica van Zon + Kate Woods\nHannah Ireland + Reece King\nHarry Culy + Michael Mahne Lamb\nJaime Jenkins + Karl Fritsch\nKāryn Taylor + Madeline Hansen\nKereama Taepa + Nikau Hindin\nPriscilla Rose Howe + Casey James Latimer\nRuby Wilkinson + Rose Pickernell\nTyne Gordon + Sam Norton\n\nCuratorial Plus 1\nMilly Mitchell-Anyon (Curator at The Dowse Art Museum)",[],[],[551,1136,1704,2102,2562,3200,3781,4345,4915,5491,6091,6589,7127,7806,8378,8909],{"id":27,"uid":31,"url":34,"type":28,"href":552,"tags":553,"first_publication_date":32,"last_publication_date":33,"slugs":554,"linked_documents":555,"lang":13,"alternate_languages":556,"data":557},"https:\u002F\u002Fjhanamillers.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=ajx04BIAACkA_SUP&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22af1SPBEAACgAmilo%22%29+%5D%5D",[30],[31],[],[],{"meta_title":30,"meta_description":558,"meta_image":559,"guest_artist":58,"profile_image":560,"name":563,"iwi":566,"biography":567,"cv_pdf":582,"thumbnail_gallery":590,"slices":632,"curated_works":633,"install_shots":1068,"featured_video":1135},"Priscilla Rose Howe is a contemporary artist based in Ōtepoti, Dunedin. Priscilla is represented by Jhana Millers Gallery Te Whanganui-a-Tara Wellington",{},{"dimensions":561,"alt":43,"copyright":43,"url":44,"id":45,"edit":562},{"width":41,"height":42},{"x":47,"y":48,"zoom":49,"background":50},[564],{"type":20,"text":30,"spans":565,"direction":22},[],[],[568,570,573,576,579],{"type":53,"text":54,"spans":569,"direction":22},[],{"type":53,"text":571,"spans":572,"direction":22},"Howe is the kind of whimsically accented storyteller that's as comfortable referencing the pencil drawings of modernist greats as she is pulling gleeful lewdness from subversive and provocative cult films.",[],{"type":53,"text":574,"spans":575,"direction":22},"Close to the surface of Howe's compositions is the idea of villainy. For whatever reason, it's only in the last few centuries that female sexuality has been taken seriously, where previously the right to pleasure was exclusively active and male. The artist arguably works out of some of this prejudicial residue, dashing the idea of appropriate femme horniness, which fluctuating beauty standards police more scrupulously than male counterparts. In another time, women taking charge of their own bodies would have found their sexcapades coming to grisly ends, by burning at the stake or drowning or some other horror in an inventory of religious bloodlust. Howe's figures, with their big-dick energy and elongated noses, are either those same women in underground refuges, or modern iterations grown into the permissions of the age. Either version is compelling: period villains basking in their own natural audacity.",[],{"type":53,"text":577,"spans":578,"direction":22},"Howe's figures might be deliberately exaggerated but you couldn't call them ugly. If anything they are natives of an elsewhere steeped in grubby erotics, born of a utopian longing for the kinds of sexual community internet-fuelled self-consciousness makes difficult, if not impossible. They're obviously queer, not so much preaching queerness as nonchalantly feasting. Beyond this, Howe's carnivals appeal to the animal intelligence of bodies, the appetites and practices polite society either persecutes or tolerates with rhetorical reluctance.",[],{"type":53,"text":580,"spans":581,"direction":22},"More recently, Howe's pencil drawings have pushed this sensibility into darker, more ritualistic territory. Ribcages open like altars, meat hangs like a relic, and matriarchs preside over butchered pigs in domestic scenes warped into sites of ceremony and rupture. 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Shelton is one of Aotearoa New Zealand's foremost photographic artists. Ann lives in Titirangi, Tāmaki Makaurau Auckland and is represented by Jhana Millers Gallery Te Whanganui-a-Tara Wellington",{},{"dimensions":1714,"alt":43,"copyright":43,"url":100,"id":101,"edit":1715},{"width":41,"height":42},{"x":103,"y":47,"zoom":104,"background":50},[1717],{"type":20,"text":89,"spans":1718,"direction":22},[],[],[1721,1723,1726],{"type":53,"text":107,"spans":1722,"direction":22},[],{"type":53,"text":1724,"spans":1725,"direction":22},"Shelton’s recent photographic series have investigated the intersection of plant knowledge, reproductive politics, and the suppression of botanical histories. In jane says (2015–ongoing), she carefully arranges plants historically used for fertility regulation, contraception, and abortion into meticulously constructed ikebana compositions. These works highlight the knowledge systems that have long been held and shared by women, yet have been systematically erased, dismissed, or criminalized. Her ongoing project i am an old phenomenon expands on these inquiries, exploring how the professionalization of botany and the rise of Western medical institutions displaced traditional understandings of plant medicine.",[],{"type":53,"text":1727,"spans":1728,"direction":22},"Shelton’s photographic practice engages with what scholar Donna West Brett describes as an “aesthetics of displacement,” working within a feminist methodology that examines the power structures embedded in knowledge production. Her lush, highly detailed images challenge the historical suppression of plant-based medicine and the cultural frameworks that have shaped contemporary reproductive politics. By revisiting and reactivating these histories, Shelton’s work provides an urgent and poetic meditation on the relationship between people, plants, and power.",[],{"link_type":583,"key":1730,"kind":585,"id":1731,"url":1732,"name":1733,"size":1734},"0698d9ab-ca5a-4dd2-919c-599d0fb77237","af1VE6YofJOwG-AA","https:\u002F\u002Fjhanamillers.cdn.prismic.io\u002Fjhanamillers\u002Faf1VE6YofJOwG-AA_jhanamillersartgallery_annsheltoncv.pdf","jhanamillersartgallery_annsheltoncv.pdf","126219",[1736,1743,1750,1758,1765],{"image":1737},{"dimensions":1738,"alt":1739,"copyright":43,"url":1740,"id":1741,"edit":1742},{"width":41,"height":42},"Ann Shelton Jhana Millers 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the blue flowers follow the sun (chicory, succory, blue sailors, coffeeweed, wild succory, blue daisy, blue dandelion, blue sailors, blueweed, bunk, coffeeweed, cornflower, hendibeh, horseweed, ragged sailors, succory, wild bachelor's buttons, and wild endive)",[],{"dimensions":1788,"alt":1789,"copyright":43,"url":1790,"id":1741,"edit":1791},{"width":42,"height":398},"All the blue flowers follow the sun (chicory, succory, blue sailors, coffeeweed, wild succory, blue daisy, blue dandelion, blue sailors, blueweed, bunk, coffeeweed, cornflower, hendibeh, horseweed, ragged sailors, succory, wild bachelor's buttons, and wild endive) by Ann 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and cleansing (chilli pepper, aji, axi, achi, hot pepper, cayenne pepper, bird's eye chilli, and bird pepper)",[],{"dimensions":1807,"alt":1809,"copyright":43,"url":1810,"id":1811,"edit":1812},{"width":1808,"height":1122},1875,"Burning and cleansing (chilli pepper, aji, axi, achi, hot pepper, cayenne pepper, bird's eye chilli, and bird pepper) by Ann 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appearance of a Lion (Siberian motherwort, honeyweed and marihuanilla, little marijuana, or sibirisches herzgespann - German for Siberian heart's delight, lion's ear, Siberian lion's tail)",[],{"dimensions":1828,"alt":1830,"copyright":43,"url":1831,"id":1832,"edit":1833},{"width":1829,"height":398},1501,"The appearance of a Lion (Siberian motherwort, honeyweed and marihuanilla, little marijuana, or sibirisches herzgespann - German for Siberian heart's delight, lion's ear, Siberian lion's tail) by Ann 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queen excluder (bergamot, bergamont, bee balm, wild bergamot, number six, oswego tea, horsemint)",[],{"dimensions":1849,"alt":1850,"copyright":43,"url":1851,"id":1852,"edit":1853},{"width":42,"height":398},"The queen excluder (bergamot, bergamont, bee balm, wild bergamot, number six, oswego tea, horsemint) by Ann 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Taylor is a Contemporary Artist based in Tasman Aotearoa New Zealand and represented by Jhana Millers Gallery",{},{"dimensions":2112,"alt":125,"copyright":43,"url":126,"id":127,"edit":2113},{"width":41,"height":42},{"x":47,"y":129,"zoom":104,"background":50},[2115],{"type":20,"text":114,"spans":2116,"direction":22},[],[],[2119,2121,2124],{"type":53,"text":132,"spans":2120,"direction":22},[],{"type":53,"text":2122,"spans":2123,"direction":22},"Kāryn manipulates materials, light, form and shadow to challenge our perception of the structures that ground our reality. 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