Photography by Cheska Brown

Drapery, 2019
Cotton and silk thread embroidery on 80% linen/20% cellulose textile.

Ionic, 2021
Cotton thread hand embroidery on muslin handkerchief.

Threshold, 2021
Pearlised polychrome Czech glass beads
[spatial intervention with concrete flooring.]

Telemachus, 2021
Cotton thread hand embroidery on muslin handkerchief.

Trojan, 2021
Cotton thread hand embroidery on muslin handkerchief.

Photography by John Collie

Lot. 5, 2020
Beaded tapestry fragments with Czech glass beads and mercerised cotton thread.

Lot. 1, 2018 – 2021 [framed]
Beaded tapestry fragments with Czech glass beads and mercerised cotton thread.

Lot. 3, 2020
Beaded tapestry fragments with Czech glass beads and mercerised cotton thread.

Lot. 10, 2020
Beaded tapestry fragments with Czech glass beads and mercerised cotton thread.

Sympathetic Qualities, 2020
Cotton thread hand-embroidery on handwoven ikat cloth. 300mm H x 300mm W

Helpful Thoughts, 2020
Cotton thread hand-embroidery on handwoven ikat cloth. 300mm H x 300mm W

Grasping (three anachronisms), 2020
Cotton thread hand-embroidery on handwoven ikat cloth. 810mm H x 360mm W

He Asked About the Quality, 2019
Cotton and silk thread hand embroidery on repurposed linen handkerchief. 160mm H x 170mm W

Original Recipe with Tubular Saucepan Handle, 2020
Cotton thread hand embroidery over windowpane check handwoven khadi. 385mm H x 385mm W

For Thirty Thousand Years
(Panels I – II), 2019
Cotton thread hand embroidery over 60% silk x 40% cotton hand-loomed khadi.
900mm H x 950mm W

Eleven Thoughts Form
(conflation of mischief and pleasure), 2020
Cotton thread hand embroidery over handwoven khadi cloth. 420mm H x 840mm W

Four Bars (transcending asceticism), 2020
Cotton thread hand embroidery over crème handwoven silk fragment. 385mm H x 385mm W

21 Bars, 2018
Cotton thread hand embroidery on hand-loomed khatka textile. 450mm H x 350mm W

9 Bars, 2018
Cotton thread hand embroidery on hand-loomed khatka textile. 450mm H x 350mm W

Ishtar Gate Residue, 2019
Cotton hand embroidery over taupe khadi handkerchief. 450mm H x 450mm W

Simpleton No. 1, 2019
Cotton hand embroidery over taupe khadi handkerchief. 450mm H x 450mm W

Ax – Ex, 2020
Cotton thread hand embroidery on pyjama striped handwoven khadi. 385mm H x 385mm W

i. A squall unto Yasmin’s Friday shrine, 2020
Cotton thread hand embroidery over repurposed green windowpane check printed Bombay Dyeing cotton dust cloth c. 1980. 600 x 450mm

ii. He will not be attending the conference, 2020
Cotton thread hand embroidery over repurposed striped hand-loomed Turkish cotton tea towel c. 1940. 970 x 545mm

i. Body, Remember, 2019.
Watercolour & graphite on hot pressed archival cotton paper.

i. August (Novelli's poetry reading tour), 2019
Cotton thread hand embroidery over found khadi handkerchief.

Photography by Ardit Hoxha

On the occasion of Frances Hodgkins: European Journeys, we have reworked London Art Dealer, Sydney Burney’s concept of the 34 Gallery. In 1934, Burney commissioned a range of leading British modernist artists to create small scale works for a miniature gallery, to raise money for the Fund for the Blind. This model gallery became known as the 34 Gallery, symbolising both the year when it was created and the number of artworks featured in the display.

Cotton thread hand embroidery applied over hand-loomed cotton Khatka textile.

Cotton thread hand embroidery applied over hand-loomed cotton Khatka textile.

Cotton thread hand embroidery applied over hand-loomed cotton Khatka textile.

Czech glass beads tapestry-woven with mercerised cotton thread.

Cotton thread hand embroidery applied over repurposed hand-loomed tea towel.

Cotton thread hand embroidery on repurposed Bombay Dyeing tote bag with ‘1990’ calendar print on textile.

Cotton thread hand embroidery applied over flat-woven indigo dyed cotton runner rug.

Cotton thread hand embroidery applied over repurposed Bombay Dyeing tea towels (c. 1940) with applied 19th Century hand loomed cotton Mul fragments.

Cotton thread hand embroidery on hand-loomed cotton Khatka textile.

Cotton thread hand embroidery on hand-loomed 60% Silk x 40% Cotton Khadi (Moss). Framed on pinewood structure designed in collaboration with Bombay Atelier.

Cotton thread hand embroidery applied over hand-loomed Khadi cotton handkerchiefs.

Cotton thread hand embroidery on repurposed Bombay Dyeing floral printed coaster (c. 1950)

Sudreh Series: Article i
Cotton thread hand embroidery applied over hand-loomed West Bengali cotton Mul.

Sudreh Series: Article ii
Cotton thread hand embroidery applied over hand-loomed West Bengali cotton Mul.

Cotton thread hand embroidery on repurposed cotton canvas ‘Duke’ money pouches (c. 1930).

Czech glass beads tapestry-woven with mercerised cotton thread.

Cotton thread hand embroidery applied over hand-loomed cotton Khatka textile.

Cotton thread hand embroidery applied over hand-loomed cotton Khatka textile.

Cotton thread hand embroidery applied over hand-loomed cotton Khatka textile.

Cotton thread hand embroidery on repurposed green paisley woodblock printed cotton tablecloth.

Cotton thread hand embroidery on hand-loomed 60% Silk x 40% Cotton Khadi (Dove Grey). Framed on pinewood structure designed in collaboration with Bombay Atelier.

Cotton thread hand embroidery applied over hand-woven green windowpane check cotton tea towel.

Cotton thread hand embroidery on repurposed green gingham dust cloth (c. 1990).

Cotton thread hand embroidery applied over hand-loomed cotton Khatka textile.

In March 2018 Areez Katki set off from his East Auckland home for Mumbai on a carefully conceived quest to trace his creative inheritance as the son of a Parsi Indian family with ancient Persian roots. Katki’s ruminations on what it means to be Parsi are inclusive of small acts of kindness and the razed ramparts of civilisations.

Marabar Caves was an exhibition that took its title from the caves featured in E.M. Forster’s 1924 novel 'Passage to India.' This is the first exhibition in a series of three entitled ‘Resources of the Social Imagination’ by Victoria Wynne-Jones, which will look at the relationships between narrative pleasure and contemporary art. Narratives that are cosmological, geological and mythical combine to describe a space that is highly sculptural, one that becomes psychosexual with the aid of a colonial gaze.

Areez Katki described his 5-metre-drop of hand-embroidered silk hanging in the Ball Room of Vanished Delft, as a synaesthesic response to the score of Maurice Ravel’s Daphnis et Chloe, a ballet based on the ancient Greek Longus’ novel of the same name. It was performed by the Ballet Russes in Paris in 1912, with sets designed by Leon Bakst. Katki discovered the music when he was traveling in the Basque Country of Spain, the region where Ravel was born.

Cotton, Silk & Linen fibres / Mounting on pinewood dowels.

Sources: Turkey, Lebanon & India.

Treatments: Indigo, Madder, Tea (Ceylon) and Wine (NZ Merlot)

Hand knitted using intarsia colour-blocking and fair isle techniques.

A series of hand-embroidered scarves on narrow hand-loomed silk noil. Annual edition of six scarves from the Vienna Series have been crafted by Areez each year since 2014, each numbered and dated.

Limited series of decorative domestic objects: Hand-embroidered upholstered cushions and bolsters.

Outer: French cotton thread on a selection of hand-woven cotton, linen and silk textiles that were sourced from India, Turkey and France.

Inner: Bamboo fibre and cotton wadding.

At a recent talk for Objectspace’s National Symposium on Craft, Applied Arts and Design at the Auckland War Memorial Museum, Areez Katki described himself as a practitioner of the applied arts with a specific interest in textiles and apparel. He made a distinction between the craftsperson couturier and the contemporary fashion designer, who encourages consumption.

The colour planes of these handmade textile panels explore synaesthesia based on experiences recollected from the Katki’s time in Istanbul. Thrace and Anatolia are two continental land masses on either side of the Bospherous River, separating Asia from Europe. Living and working in Istanbul resulted in daily ferry trips between two continents and experiencing vivid juxtapositions of coexisting cultures.

A series of linear architectural studies on repurposed Spanish upholstery textiles.