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The mahi doesn’t stop. 😮‍💨Two new works, Up The Line and Down The Line, presented for LAND/MARK with Tim Melville Galler...
02/07/2026

The mahi doesn’t stop. 😮‍💨

Two new works, Up The Line and Down The Line, presented for LAND/MARK with Tim Melville Gallery.

These reclaimed floorboards have kinda become my diary in a sense, where they hold mauri and memory. Up The Line and Down The Line korero about the many journeys in my Grandad Peachey and Nanny Charmaine, travelling between the East Coast and The Hutt.

SPADES hangi stall presented at Horizons .Come down and get the hangi packs while they’re hot!Shout out to for the skux...
29/04/2026

SPADES hangi stall presented at Horizons .

Come down and get the hangi packs while they’re hot!

Shout out to for the skuxx uniforms and thank you to for supporting SPADES.

♠️♠️♠️♠️

The official SPADES uniformWorn by the artists Jimmy Ma’ia’i , Lolani Dalosa, Harrison Freeth and Chevron Hassett during...
20/04/2026

The official SPADES uniform

Worn by the artists Jimmy Ma’ia’i , Lolani Dalosa, Harrison Freeth and Chevron Hassett during their SPADES performance at the Aotearoa Art Fair 2026.

This artwork is screen-printed on an AS colour heavy faded minus tee.

Available for purchase now while stock lasts.

Order through spades.co.nz

Link in bio.

Overtime 2026Commissioned by as part of the Courtyard Plinth, with support from the Jan Warburton Trust.Overtime speaks...
01/04/2026

Overtime 2026

Commissioned by as part of the Courtyard Plinth, with support from the Jan Warburton Trust.

Overtime speaks to cultural labour, putting in the hours and the hard yards. The work takes the form of a waka mahi, drawing from the silhouettes of the waka tētē and sawhorses, both central to the shaping of the New Zealand landscape.

The tauihu and taurapa are carved from reclaimed kauri, tōtara and mataī sourced from local buildings. Set against steel sawhorses, the work reflects histories of migratory labour, the movement of Māori into the city, the shift from waka to worksite, and the ongoing sacrifices made to build a life here.

As descendants of this history, the work also acts as a vessel, carrying us as we rebuild cultural identity in the city, away from kāinga and toward who we aspire to be.

He waka mahi built through many hands, grateful to everyone who helped bring this work into being.

On view until March 2027.

📸 Sam Harnett

Overtime - Chevron HassettNew work opening next Thursday the 26th of March.Commissioned by as part of the Courtyard Pli...
17/03/2026

Overtime - Chevron Hassett

New work opening next Thursday the 26th of March.
Commissioned by as part of the Courtyard Plinth series, Overtime by Chevron Hassett continues the artist’s relationship with urban Indigeneity and narratives of migration and labour within Māori histories. Hassett looks to the roles of native timbers in both building and carving traditions and connects these to signifiers of Māori experience and what has enabled or provoked physical and social transitions around the motu.

Studio photos by

I’m excited to share these new works, which reflect on two homes from my early childhood in Naenae and Taita. Holding bo...
23/02/2026

I’m excited to share these new works, which reflect on two homes from my early childhood in Naenae and Taita. Holding both the warmth and ache of memory and community, and the experience of navigating between houses, spaces, and cultural identities.

Go Home, Stay Home
2026
Totara, kauri,rimu

On The Weekends
2026
Totara

Showing at

📸 Kallan Macleod

Double Shift
25/08/2025

Double Shift

Mahi tonu
04/08/2025

Mahi tonu

Boy, Put Your Shoulders up. 2025“Through everyday suburban architecture, the works explore how space shapes lived experi...
30/04/2025

Boy, Put Your Shoulders up. 2025

“Through everyday suburban architecture, the works explore how space shapes lived experiences, embedding personal and collective memories into the physical environment. The use of familiar structures—symbols of movement between communities and boundaries—reflects the dynamic relationship between place and identity.

These architectural elements subtly invoke traditional Māori ideas, continuing the cultural legacy of thresholds and passageways, while situating them within a contemporary framework. The cyclical nature of life and the transmission of ancestral knowledge is present throughout, allowing the work to reclaim and redefine stereotypes in a more grounded, evolving context.

Ultimately, this body of work serves as a personal self-portrait, reflecting Chevron Hassett’s own upbringing, acknowledging the resilience of his whānau, and honoring his community.”

Over the past six years, I’ve been developing a body of work that integrates my practice of photography, sculpture, and ...
31/03/2025

Over the past six years, I’ve been developing a body of work that integrates my practice of photography, sculpture, and installation. This journey has been a process of accumulation, learning, and personal reflection, all culminating in this final presentation.

Having previously exhibited elements of this body of work at Enjoy Contemporary Art Space in Wellington and Artspace Aotearoa in Auckland, it feels fitting to bring the culmination of this series to Māngere Arts Centre, now that I’m living in South Auckland.

This work has been both a conceptual, cultural and spiritual inquiry, grounded in a desire to reconnect with my loved ones passed and deepen my understanding of the world I navigate. It’s been an opportunity to confront emotions I’ve carried since childhood—emotions I’m only now finding the courage to understand .

As my practice matures, I see this work as a reflection of my evolving self, my identity, and my connection to my whakapapa. This body of work has been a way to honour my whanau, challenge prevailing stereotypes, and redefine my own narrative.

Boy, Put Your Shoulders Up embodies that growth—both as an artist and as an individual coming into greater clarity of who I am and where I belong.

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