- Amy Howden-Chapman2014
- Ana Iti2020
- Andrew McLeod2007
- Andy Leleisi’uao2010
- Anoushka Akel2024
- Ava Seymour2009
- Ayesha Green2022
- Ben Cauchi2011
- Benjamin Work2024
- Bepen Bhana2016
- Campbell Patterson2015
- Cora-Allan Lafaiki Twiss2021
- Dan Arps2014
- Daniel Malone2014
- Emily Karaka2021
- Emma Fitts2018
- Eve Armstrong2009
- Fiona Pardington2013
- Gavin Hipkins2007
- George Watson2024
- Glen Hayward2011
- Imogen Taylor2017
- James Robinson2007
- Jess Johnson2019
- Jim Speers2010
- Judy Millar2006
- Kathy Barry2012
- Lisa Reihana2009
- Liyen Chong2012
- Louise Menzies2016
- Luise Fong2008
- Martin Basher2010
- Matthew Galloway2025
- Michael Stevenson2023
- Moniek Schrijer2021
- NELL2023
- Neke Moa2023
- Nicola Farquhar2018
- Oliver Perkins2017
- Owen Connors2023
- Regan Gentry2012
- Richard Frater2020
- Richard Lewer2008
- Rohan Wealleans2008
- Rowan Panther2025
- Ruth Buchanan2013
- Sarah Smuts-Kennedy2016
- Sefton Rani2025
- Sorawit Songsataya2018
- Steve Carr2020
- Suji Park2015
- Tanu Gago2022
- Taro Shinoda2017
- Tiffany Singh2013
- Tim Wagg2019
- Wayne Youle2019
- Zac Langdon-Pole2022
Rowan Panther
YEAR OF RESIDENCY
September - December 2025
Rowan Panther lives and works in Kaitaia. She completed a Diploma in Contemporary Photography from Unitec in 2002 and a Bachelor of Fine Arts from Elam in 2008. She has exhibited in Aotearoa, Australia, the UK and Europe.
Her work is held in the collections of Tāmaki Paenga Hira Auckland War Memorial Museum, Museum of New Zealand Te Papa Tongarewa, Pātaka Art + Museum and the British Museum. In 2021, Panther was a recipient of the Blumhardt Foundation Dame Doreen’s Gift and in 2024 was selected for Schmuck.
Panther’s practice weaves together diverse European and Oceanic textile traditions, responding to the complexities of colonisation and to her mixed Irish, English, German and Samoan ancestry. The bobbin lace pieces she creates reference patterns of European collars worn by nobility and incorporate objects that draw upon Pacific cultural forms such as ceremonial breast plates.
Rowan’s time at Parehuia will mark a return to Titirangi, the place in which she first learnt the craft of lace-making fifteen years ago. Being located back in Tāmaki will afford Rowan an opportunity to explore and extend on the research she is currently undertaking at Auckland Museum and engage with the collection on a deeper level.
Rowan Panther, A triad of safekeeping, 2021