Sept 2026. Rome-based art critic Sara Buoso considers Tablet (2026) within the frame of Gill Gatfield’s sculptural practice, reflecting on neo-avant-garde experiments and robotic stone carving, for Segno, a forum for Italian and international contemporary art critique. The review traces how Tablet recasts ancient stone, ancestral signs, access protocols and computation into an archaeology of the future:

In Tablet, the golden strokes register as a metrical rhythm … intervals and recurring accents produce an optical pulse across the marble surface. The eye scans before the device scans. Sediment and code correspond: each deposits and preserves traces. … Sacred, commercial and technological functions remain distinct yet active within the sculpture’s coded surface, intensifying the work’s status as lure and cipher. — Sara Buoso

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July-Sept 2026. Futura Art Gallery presents Tablet (2026) in Pietrasanta. Curated by Claudio Francesconi, the current exhibition brings contemporary digital sculpture into conversation with mid-twentieth century minimalism, investigating illumination across a matrix of time, material, sign, and code.

June 2026. Recipient of a 2026 La Baldi Residency Award, Gill Gatfield will attend the Cultivate Projects artist residency in Montegiovi, Tuscany this summer. The multi-disciplinary residency program welcomes international artists, writers, and researchers to explore, experiment and develop projects that address the layered notions of landscape and the commons.

At La Baldi, Gill Gatfield will work within Montegiovi’s olive and earth ecologies as cultural commons shaped by care, language, technology, and myth. Through site-sensitive studies and sculptural encounters, her project examines how landscapes are inscribed across time, material memory, and mythic imagination. Her research extends to Carrara to investigate marble extraction, fabrication cultures, and robotic stone carving, and to Latium, where she reconsiders gendered mythologies embedded in Mediterrean stone traditions. Across these sites, the project positions sculpture as an act of re-inscription, where inherited forms encounter future protocols. – Cultivate Projects

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May 2026. For View Magazine, art critic Roger Wylie reflects on Gill Gatfield's multifacted practice and her trajectory in international art ecosystems:

... Aotearoa New Zealand has produced many artists of force and feeling, but Gatfield’s work occupies a stranger, more charged territory. It is beautiful, certainly. Sometimes almost too beautiful: marble polished into silence, crystal glass holding light like a secret, ancient kauri carrying time in its grain. But beauty, in her hands, is never decorative. It is bait. You move closer, seduced by the elegance of the thing, and then discover it has been thinking about law, gender, ancestry, sovereignty, technology, the body, and the future all along. ... – Roger Wylie, View Mag. 

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17 May 2026. Waiheke Art Gallery / Sculpture on the Gulf

27 March–17 May 2026. Waiheke Art Gallery, Aotearoa New Zealand

March 2026. At the award finalist's exhibition opening event at Waiheke Art Gallery, the 2026 National Small Sculpture Prize was awarded to Gill Gatfield for her work Tablet. The annual awards are presented by Perpetual Guardian and aim to celebrate new directions in sculpture. Announcing the premier award work, juror Deborah McCormick noted:

‘Compact in scale yet architectonic in structure, Gatfield’s work brings stone, metal, code and virtual apparition into a single sculptural system. It's three elements: stone square, copper cube, and gold code unlock ideas around the day-to-day technology of a tablet, archive and screen imbued in the traditional sculptural material of Carrara marble. The inscribed Fibonacci-derived gold barcode lures us to seek out its meaning and decipher its code. The cooper cube beneath it is not just a pedestal but an open space to allow volume to move around the sculpture.’ – Deb McCormick

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February 2026. Tablet, a new miniature sculpture in marble and mixed reality, is a finalist for the 13th Small Sculpture Prize exhibition juried by Deborah McCormick, UAP partner and founding director of SCAPE Public Art. Presented by Waiheke Art Gallery and supported by Perpetual Guardian, the award exhibition showcases the artform of sculpture in small scale, with selected works by artists from across Aotearoa. On view 27 March to 17 May 2026.

An in-depth review of Gill Gatfield’s New York installation Habeas Corpus by neuroaesthetics scholar Tamar Torrance is featured in CLOT Magazine, a hub for critical discourse at intersections of art, science, and technology. Torrance’s review traces how Habeas Corpus merges deep time and ancestral consciousness with AI and AR systems, foregrounding the body as both subject and sensor. Mapping Gatfield’s choreography of minimalism and code, the text reflects on her expanded sculptural field where matter, memory, and machine interlock in an inseparable world-self.

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Sept. 2025. Hosted by CODAworx and the DC Commission on the Arts and Humanities in Washington DC, the international CODAsummit Art+Tech 2025 brought together artists, curators, commissioners, and technologists to discuss art and technology innovation in the public realm. Gill Gatfield presented the framework: AI²AR – combining Ancestral Intelligence and AI (AI²) with Augmented Reality (AR) to test new dimensions in sculpture. This creative direction centres materials, instincts, memories, and senses as conduits between past and future, formulating digital-physical art encounters that empower through participation. Presented in the architecturally renown Kogood Cradle at the Arena Stage D.C., Gatfield's Artist Showcase was sponsored by GCI General Glass International.