October 2026. In a new interview for Vitrine, writer and curator Nadine Rubin Nathan speaks with Gill Gatfield following her artist residency in Italy and 2026 National Small Sculpture Prize. From Carrara’s marble traditions, Etruscan inscriptions and classical mythology to pressing questions of AI, embodiment and sovereignty, the conversation explores how ancient forms and contemporary technologies inform new sculptural possibilities. Gatfield’s emerging Computational Sculpture and ongoing Ephemeral Monuments enquiry are situated within a nearly three-decade experimental practice, tracing an arc from early robotic painting in 2002 to the interplay of ancient intelligence, beauty and digital systems today.

“What can sculpture tell us about the world we are becoming? ... the answer lies where ancient stone encounters artificial intelligence and histories embedded in objects open onto uncertain futures.” – Nadine Rubin Nathan

View

Oct. 2026. Futura Art Gallery presents the award-winning Tablet at ArtVerona 2026 – Fiera d’arte moderna e contemporanea a Verona XXI edizione – in a curated selection of works that journey through 60 years of research on movement, perception and interaction: from Toni Costa, Eduardo Landi and Garcia Rossi to the contemporary digital and transmedia practices of Beatrice Gallori, Gill Gatfield, Matteo Mandelli, Owen McAteer and Nicola Villa.

Sept 2026. For Segno, a forum for Italian and international contemporary art critique, Dr. Sara Buoso considers Tablet (2026) within the frame of Gill Gatfield’s sculptural practice, reflecting on neo-avant-garde experiments and robotic stone carving. Her 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

PDF

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.

July 2026. Cultivate Projects presented Gill Gatfield's In Absentia in Piazza Matteotti, the historic heart of Montegiovi, Tuscany, during the 2026 La Baldi Artist Residency as part of its public programme. Against the silhouette of Monte Amiata, the virtual sculpture's translucent glass figures and codified Acropolis marble met the time-worn stones of the village square. This juxtaposition brought ancient Greek origins into dialogue with the Etruscan, Roman and medieval histories embedded in this landscape. Activated within the village commons, viewers co-created encounters with the virtual sculpture, exploring thresholds between presence and absence, tangible and perceptual worlds.

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

View

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

... 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, 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

View