Kauae Raro Research Collective

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Wien
Kauae Raro Research Collective

our pursuits are made possible through the fruits of Papatūānuku, Hinetūparimaunga, Hineukurangi and

11/04/2026

Kauae Raro be like, “we really needed this” - and it’s literally just prehistoric painting techniques 4 leisure in the wharekai.

Hope your Pātaka is stocked for the cyclone x

05/04/2026

lives Yállabirrang Naarm, (Melbourne) is an artist of mixed Koorie and European descent.

His recent paintings bring together minimal serial abstraction with familial narrative and institutional critique especially as are conveyed by materials and material histories.

We loved the use of ochre in these pieces, the colours (lilac earth?!) and textures on unconventional materials they lay upon. These works are currently being exhibited at as a part of ‘Essential Oils’ with Tyrone Te Waa.

Only You 2025
ochre and acrylic binder on removalist felt
610 x 820mm

Kissy 2025
ochre and acrylic binder on Brucks Wangaratta jellybean camouflage
1020 x 1980mm

Untitled 2025
ochre and acrylic binder on riot shield
660mm diameter

17/02/2026

Lehuauakea is a Native Hawaiian (Kanaka ʻŌiwi) interdisciplinary artist and barkcloth-maker who works with ancestral organic materials in contemporary ways to highlight narratives of Indigenous environmental stewardship, an evolving Kanaka ʻŌiwi identity, and the teachings held in cultural mythologies and cosmologies. By building a personal relationship with traditional techniques and materiality, Lehuauakea breathes new life into pattern symbolism used for generations and preserves cultural memory rooted in place-based practices.

Grounded by ancestral modality while advancing the medium to unconventional, innovative, and tactile forms, including hand-stitched mixed-media textiles, large-scale installation, and earth pigment paintings on kapa, Lehuauakea builds on these cultural knowledge systems, ensuring the perpetuation of these modes of Indigenous storytelling.

Since 2018, Lehuauakea has apprenticed under well-known barkcloth maker Wesley Sen, who trained in barkcloth-making alongside practitioners including Puanani Van Dorpe, Beatrice Krauss, Malia Solomon, Carla Freitas, Dennis Kanaʻe, and Mary Pritchard.

30/01/2026

Artists with their hands in the earth from Lima, Peru:

Ofrenda receives us with Altar para Return (2025), a collaborative work by Aileen Gavonel and Irazema Vera. The piece moves the altar from the home realm into the gallery space, reclaiming popular spiritual traditions and remembering how handmade objects have historically accompanied rituals of care and memory.

Altar to Return is made up of small sculptures that refer to utility pottery, but which here become mysterious: duplicate female figures arranged in mirror, which seem to communicate telepathically, and a vase in the shape of a womb. Both pieces honor the feminine as a creative and container force. This is not, however, an essentialist gesture, but an acknowledgement that life is born and transformed into caring spaces.

At the center of the altar is a small vase called Encanto. From within them emerge voices that whisper and sing: “come back, come back.” This choral invocation brings together different beloved artists. The idea was born from the exercise Cantemos Juntxs: Voice Stretches to Treat Fear, developed within the framework of the project Habitables Worlds by Susie Quillinan. In that workshop space voice was used as a tool to heal fear. In Ofrenda it works like sound medicine: a call back that doesn’t pressurize, but accompanies… »

Florencia Portocarrero

and at .galeria

Cantemos juntxs y Vuelve
2024
Ceramic stoneware
37 × 27 × 12 cm

Container organ and return
2024
Ceramic stoneware
26 × 43 × 7 cm

Telepathy and come back
2024
Ceramic stoneware
38 × 27.5 × 11.5 cm

Charm remedy and coming back
2024
Ceramic stoneware
Sound on 4’ 59” loop
12.5 × 10 cm

25/01/2026

I don’t usually mix different pigments, but when do, it’s for a purpose.

Who is mixing with where and why?

Here’s a quick pic of my tino fave earths coming together to travel with me. A protective bunch that I reach for when I’m far away from home.

x Sarah

20/01/2026

Ashleigh Zimmerman (Kai Tahu) - Is an artist and art educator based in Whangārei. Ashleigh’s lens-based practice intersects with whenua and uku, exploring her relationship to Papatūānuku and her identity as a wahine Māori.

Through light painting and elemental imagery, her mahi sits within Te Kore, holding space for vulnerability, mamae, and tinana sovereignty. Developed during her Master of Māori Visual Art at (Massey University), Ashleigh’s work engages whakapapa, whare ngaro, and infertility as lived experience - working to whakanoa wāhine narratives often left unspoken.

In Ngā Whakaahua o Te Whare Ngaro, kōkōwai from Kurawaka becomes a powerful red chromatic language - dust, lava, blood, sacred waters - speaking to broken lineage, absence, and the voids where whakapapa cannot continue. These images act as arapaki, forming a whare without poupou, without tūpuna, yet heavy with ihi and meaning.

We’re so grateful to for sharing this deeply considered and generous kaupapa with our Kauae Raro whānau.

17/01/2026

Girls be like “I needed this” and it’s literally just embodying their ancestors 💅🏽

06/01/2026

Kauae Raro Research Collective was founded on the protection, promotion and retention of Māori earth pigment practices. This Open Call aims to share our platform with a diverse range of Indigenous practitioners to encourage interconnectedness and innovation in our chosen medium.

In a time where it feels like AI generated content is everywhere, we’re actively choosing to champion those with their hands in the earth.

02/01/2026

Pukepoto (vivianite) is an iron phosphate mineral. A blue earth found in estuaries, repo, decaying logs and sometimes on kōiwi, both human and animal. Our tīpuna used pukepoto as a body adornment in life and in death, as a paint, and within ceremony.

There is something different about working with this pigment? Maybe it is pukepoto’s close association with death that is present both in its creation and in its use.

In The Book of Earth, describes its transformation from a co**se like colour into a deep, vibrant blue. In the right conditions, this shift can occur in minutes?!!

This could be why pukepoto carries such presence. It is a colour born of death.

26/12/2025

This summer I’ve been tending to my archive.

Every small container holds a fragment of a wider landscape, carrying people, stories, and relationships. Some are gifted, others harvested from our special places.

29/11/2025

A few weeks ago while I was in the UK, I briefly caught up with where we frantically shared links and earths and so much in common.

I love pigment practitioners so much, the connection with the land is like a cheat code to having a deep and meaningful conversation as soon as we meet!

If someone is asking “what should I buy you?” this month, I highly recommend Lucy’s new book ‘The Natural Pigment Handbook’ - it’s a great one!

Pictured: gifts of exchanged earth and the front cover of Lucy’s book 🌀

Adresse

Maria-Theresien-Platz (barrierefreier Zugang: Burgring 7, Seiteneingang)
Wien
1010

Webseite

https://linktr.ee/Kauae.raro

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