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 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 Greco-Roman stone traditions. Across these sites, the project positions sculpture as an act of re-inscription, where inherited forms encounter future protocols. 

View

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. 

View

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

27 March–17 May 2026. Waiheke Art Gallery NZ

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

View

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.

View

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.

Sept 2025. Sculpture magazine – an international journal dedicated to the critique of contemporary sculpture – features a review of Gill Gatfield’s New York installation HABEAS CORPUS by art critic Dina Jezdic. Reflecting on the artist’s site-responsive work, the review explores how the material, ephemeral and temporal dimensions of her digital-physical practice develop tensions that stir empathy, memory, and resistance.

‘Set against the collapsing tides of the Anthropocene, Aotearoa New Zealand artist Gill Gatfield’s current installation brings the urgency of habeas corpus to New York City, a place long mythologized as a refuge, but also pulsing at the crossroads of data, capital, and control. ...' 

View

Aug-Sept 2025. At NARS Foundation in Brooklyn New York, Habeas Corpus posits the ancient writ “you have the body” as scaffold and allegory, transforming a white room into a contested space of confinement and liberty. Woven diaper walls, storied stones and ancient woods engage real and virtual bodies which vacillate as totem and text-figure, spirit and human, object and code; binding viewer and spectacle. This standalone site-responsive installation is presented by NARS Foundation in the International Residency Exhibition Season III curated by Daniela Mayer.