14.2.19  Artist Gill Gatfield presents a talk at Silo Park Auckland on the inspiration behind Glass Ceiling (NZ Aotearoa) and how ideas unfold through interconnections of materials, concept, form, scale and site to create meaning and sensory experiences for viewers.

Feb 2019. National Business Review art critic John Daly-Peoples reviews the multimedia exhibition LIP(S) at Silo Park, including Glass Ceiling (NZ Aotearoa) by Gill Gatfield, "a dramatic and impressive work" made from sixteen tonnes of smashed glass:

“The mass of glass is both beautiful and hazardous, invitingly tactile but dangerous to the touch. The undulating surface of the glass forms a shimmering landscape with the curved folds reminiscent of indentations made by human bodies.”

John Daly-Peoples 'New exhibition looks at the body, feminism, climate change and recycling' NBR 7 Feb 2019

Feb 2019. "Gatfield’s Glass Ceiling (NZ Aotearoa) possesses all the qualities anticipated in her work: an engaging physical experience of materials and site; a visual paradox about light, transparency and darkness; a metaphor about the politics of equality in the 21st century; and a celebration of and open-ended questions about the ideas and values of humanity." Dr Warren Feeney, Glass Ceiling 2019 Catalogue

Glass Ceiling (NZ Aotearoa), concrete silo, 16.5T glass. 6.7mDia. x 30mH. Site-specific monument. Exhibition: LIP(S) Silo Park, Wynyard Quarter, Auckland NZ.

Kickstarting 2019 with monumental new work in the iconic industrial public art space at Silo Park with the group exhibition LIP(S). Highlighting multi-disciplinary practice, works include sculpture, poetry, performance, sound and film installations by a diverse cast of NZ creatives: Carol Brown, Phil Dadson, Gill Gatfield, Peata Larkin, Courtney Sina Meredith, and Sharonagh Montrose, with curator Claire Ulenberg.  At Silo Park, Wynyard Quarter, Auckland 1 Feb. - 1 March.

Oct. 2018.  An evocative essay by Italian scholar Andrea Lombardo, 'Stone-thinking from Zealandia: The art of Gill Gatfield' is published by Academia.edu, a research platform used by academics worldwide. In an allegory of humanity's disconnect with nature, Lombardo writes "Gatfield's sculpture is the break point we need to see with new eyes: it brings us to the panoramic view, where we can feel again the essence of Earth and of human life, in focus." (Abridged article published by Artslife.com 18 Sept. 2018.)

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Sept - Oct. 2018. The International Sculpture Centre selected Zealandia as one of 25 sculptures promoted at the ISC booth during EXPO Chicago and in an online exhibition, through to 11 Oct. Opening the fall art season each September, EXPO Chicago hosts leading international art galleries and arts organisations, presenting global contemporary art and culture.

18 Sept. 2018. The international online arts newspaper Artslife.com features a review by Andrea Lombardo, 'Zealandia - Re-writing Vitruvian Man', reflecting on the crucifix form of the ancient stone sculpture in the context of nature, science and Renaissance ideals. English Translation. Artslife website:

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28 July 2018. 'The Venice Insider' lists Zealandia by NZ artist Gill Gatfield among the art and culture highlights visitors will see when walking on the Venetian waterfront from Palazzo Ducale at Saint Mark's Square to the Venice Biennale Giardini. Zealandia is an 'Insider Tip' on a secret itinerary traversing arched marble bridges and patrician monuments, en route to the sculpture's location in Giardini Marinaressa on the Riva dei Sette Martiri.

August 2018. International Sculpture Centre selected Model X for an exhibition of 30 sculptures on Artsy, an online platform featuring the world’s leading galleries, museum collections, foundations and art fairs. Modelled on the Roman numeral 10, Model X is a perfect 10. Carved from a rare New Zealand stone, approx 100 million years old, the x-figure is a futuristic Muse.

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June 2018. New work Native Tongue AR launched by global public art platform CODAworx at A18 'Blueprint for Better Cities' in New York: "Projecting the past into the present, Gill Gatfield's digital sculpture is the alter-ego of its namesake, her ancient kauri (cd. >45,000 yr) sculpture Native Tongue. Visible through smartphone or tablet camera, a 3D abstract figure is live-projected at 1:1 scale - 3mH, in fully-navigable 3D space, conveying a sense of scale and presence. Viewers can experience the totemic form, internal curves, beautiful grain, and the heart-shakes formed in this prehistoric wood at the end of the last Ice Age." CODAworx at A'18