Christian Dimick and Joshua Taylor
Freeway
Te Marunui Hotene Te pō, 2026 (installation)
Grace presents Freeway, an exhibition by Christian Dimick and Joshua Taylor.
Joshua Taylor (b. 1995) is an interdisciplinary artist from Mt Maunganui, currently based in London. Grounded in ceramic processes, Taylor’s practice is rapid and reiterative, driven by instinctive responses to modes of applied art.
Taylor studied fine arts and industrial design at Massey University. Since moving to London in 2023, Taylor has exhibited across Europe and the United Kingdom, including Piece by Peace with Alex Whitfield (London, 2024) and David Cakes (Systema, Marseille, 2024), alongside commercial presentations at Dover Street Market and Awaykin Showroom. Since 2023, Taylor has been in residence at Troy Town, a ceramic studio based in Hoxton Community Garden.
Christian Dimick (b. 1999) is an artist based in Tāmaki Makaurau who paints and draws.
Dimick graduated with a BFA (First Class Honours) from Massey University, Wellington, in 2022. Since then, he has shown in numerous group and solo exhibitions in both Aotearoa and Australia, including at Kaukau and Paper Anniversary. Most recently, Dimick’s work featured in Three Approaches, Three Rooms (2024) at Gus Fisher Gallery, May Art Fair (2025), These Are Addressed to You (2026) at Enjoy Contemporary Art Gallery, and the Melbourne Art Fair (2026).
In 2024, Dimick became the inaugural artist peer of Grace.
Thom Hinton Smiling Purple, 2026 Oil, charcoal, oil stick on linen 1020 x 1520
Smiling Purple, 2026 (detail)
Taku pōhēhē nui, 2026 (installation)
Te Marunui Hotene Taku pōhēhē nui, 2026 Pencil on paper, burnt Mānuka frame 300 x 400
Te Marunui Hotene Mana wahine, 2016 & Whakaaro nui, 2016
Te Marunui Hotene Mana wahine, 2016 Mixed media on paper 280 x 420
Te Marunui Hotene Whakaaro nui, 2016 Mixed media on paper 280 x 420
Hide (small piece of land), 2026 (installation)
Thom Hinton Hide (small piece of land), 2026 Charcoal, acrylic on linen 200 x 300
Te Marunui Hotene and Thom Hinton Te Ata Pō, 2026 (installation)
Te Marunui Hotene Rangirua, 2026 Pencil on paper, burnt Mānuka frame 300 x 400
Rangirua, 2026 (detail)
Thom Hinton Monday 15th of June (new moon), 2026 Charcoal graphite calico on linen 200 x 300
Thom Hinton Babbling Dun, 2026 Oil, charcoal, graphite, plaster, linen 250 x 300
Babbling Dun, 2026 (detail)
Te Marunui Hotene Te pō, 2026 Burnt Mānuka Dimensions variable
Te pō, 2026 (detail)
Te Marunui Hotene and Thom Hinton Te where kōrero, 2026; Slaking, 2026 (installation)
Te Marunui Hotene Taku where kōrero, 2026 Pencil and ink on paper, burnt Mānuka frame 480 × 570
Taku where kōrero, 2026 (detail)
Thom Hinton Slaking, 2026 Charcoal, oxide, clay, plaster 260 × 340
Slaking, 2026 (detail)
Thom Hinton (b. Worcestershire) is an artist based in Tāmaki Makaurau. Hinton emigrated from the UK in 2005. He holds an MFA from Elam School of Fine Art and established the tattoo studio Bruce in 2022.
Thom Hinton’s work explores archetypal symbols from European cosmology, in the context of a deep sense of time and place. He questions how ancient history has impacted contemporary structures and shapes our understanding of reverence and beauty today. Hinton’s painting takes stage on a threshold, examining how expression is manifested through phenomena such as scale, rhythm and the simulation of somatic processes.
Te Marunui Hotene (Tūhoe and Ngāti Pūkeko) is an artist based in Taneatua, a small town ten kilometres south east of Whakatāne. He holds a Master of Visual Arts from Waikato Institute of Technology.
Te Marunui Hotene’s visual arts practice critically reflects his journey of grounding in his cultural identity. His recent pencil drawings utilise realism in documenting scenes from mau rākau wananga held in the tribal lands of Tuhoe in recent years. His practice of mau rākau has introduced mānuka as both subject and framing device, which he is now exploring through its burning as visual arts practice and tikanga. He is focused towards the cultural development of his whanau and in fostering whanau-led wananga towards original ways of preserving kōrero and whakapapa.
Te Ata Pō is accompanied byOn the margins of language, a commissioned essay by Ruth Minh Ha:
“Eleven centuries later, the rationale of each colour-direction pairing remains a mystery. Sure, the cold northern wind blusters and moans, but what makes the wind a smiling purple, or a babbling dun? I ponder this for days, trying to think of what or who came to the Irish from either direction. Instead of settling on an answer, my mind keeps drifting to a te ao Māori counterpart, Whakataka te hau. It’s a well-known karakia that, like Saltair na Rann, gives character to the directions of the winds – and, quite fittingly, speaks of te ata pō and the first rise of a red dawn piercing the light…”
Full text available here.
Bleak Wolds, 2026 (installation)
Thom Hinton Bleak Wolds, 2026 Charcoal, graphite, oxide, buon fresco 255 x 310
Please contact the gallery here to receive a catalogue for Te Ata Pō.