logo
Well-Heeled: Shoes With Personality; An Exhibition At The Dowse That Puts Its Best Foot Forward

Well-Heeled: Shoes With Personality; An Exhibition At The Dowse That Puts Its Best Foot Forward

Scoop05-05-2025
The Dowse Art Museum is proud to present Well-Heeled: Shoes with Personality, a vibrant and revealing new exhibition opening on 17 May 2025. Celebrating the artistry, personal expression, and cultural significance of footwear, this show invites visitors to consider what our shoes say about us — and the stories they carry with every step.
From the comfort to fashion, the everyday to the extraordinary, Well-Heeled showcases selections from the private collections of three remarkable New Zealanders: internationally acclaimed artist Lisa Reihana, leading Māori art curator and artist Nigel Borell, and executive leader and cultural advocate Karepa Wall.
Together, their collections span global fashion, streetwear culture, and bespoke craftsmanship — highlighting the personal, political and aesthetic decisions that go into every pair.
'Shoes have always been more than just something practical,' says Dowse Director and exhibition curator Karl Chitham. 'They're cultural signifiers, symbols of status or rebellion, expressions of gender, identity, and place. For some, they're carefully curated collections. For others they are personal talismans that carry memories and stories from their lives.'
Lisa Reihana: Artistry beneath every step
Lisa Reihana is known for her boundary-pushing multi-media contemporary art practice — and her shoe collection is no less dynamic. A lifelong lover of fashion, her collection reflects her evolving creative sensibility and deep appreciation for design. It includes covetable names like Rick Owens and Maison Margiela, alongside unique and conceptual pieces by Zaha Hadid and United Nude. Included in the exhibition are two pairs of shoes gifted to her personally by celebrated shoe designer Christian Louboutin whose famous red soles have become a celebrity staple.
'These shoes are more than fashion statements — they are artefacts of an amazing career that has reshaped contemporary Māori art on the international stage,' says Chitham. 'Lisa, who represented New Zealand at the Venice Biennale with her acclaimed work In Pursuit of Venus, has been exploring the intersections of identity, history and visual culture for decades. Her collection in Well-Healed continues this narrative in a more intimate and unexpected medium; marking those special moments that have punctuated her life.'
Nigel Borell: A curator's eye for cool
As the visionary behind Toi Tū Toi Ora: Contemporary Māori Art the landmark exhibition at Auckland Art Gallery in 2021, Nigel Borell redefined how Māori art is understood and celebrated in Aotearoa. Beyond the gallery, Borell is also a passionate footwear collector — particularly drawn to sneakers that balance colour, comfort and making a statement. Included in the exhibition are a pair of brigh green and pink Nike high-tops bought on the day Auckland went into its longest lockdown in 2021. With no big events, Borell only got to wear them a year and a half later.
'His collection, which includes unusual releases from Nike, Supra and Clae Thompson, speaks to his sharp eye for design and his ability to tell stories through curation and his personal style — whether on a gallery wall or in a shoebox,' says Chitham. 'Nigel's shoes reflect a personality that blends thoughtfulness with a flair for the unexpected, much like his career.'
Karepa Wall: Where style meets significance
With over 250 pairs of shoes, Karepa Wall's collection is a striking expression of his approach to leadership, culture, and style. The collection features everything from sequins and studs to fish-skin leather and kōwhaiwhai-embossed designs — each pair chosen with care and purpose and for its ability to match one of his equally impressive suits. One of his earliest are a pair of MaherX purple imitation snakeskin shoes with kōwhaiwhai details that Wall purchased to match a purple tuxedo with matching top hat.
'Karepa's collection is a testament to how fashion can be more than just a one-off, but can become part of your everyday life' says Chitham. 'As Chief Māori Officer at Wellington City Council, he brings a wealth of experience in Māori education, governance, and strategy. His shoes have become a statement as markers of identity, aspiration, and self-expression in both personal and professional spaces.'
Reflecting on the exhibition, Chitham says, 'At The Dowse, we're always looking for unique ways to connect contemporary art and design to the everyday experience. Well-Healed does just that — inviting audiences to explore personal stories through something as universal, and as expressive, as shoes. This is an exhibition full of colour, character and connection. It's about the people behind the pairs, and the meaning behind the materials.'
Well-Heeled: Shoes with Personality will run at The Dowse Art Museum from 17 May to 6 October 2025. Entry is free.
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Toi Tū Toi Ora reframed: Doco reveals Auckland Art Gallery politics of landmark Māori exhibition
Toi Tū Toi Ora reframed: Doco reveals Auckland Art Gallery politics of landmark Māori exhibition

NZ Herald

time9 hours ago

  • NZ Herald

Toi Tū Toi Ora reframed: Doco reveals Auckland Art Gallery politics of landmark Māori exhibition

The artists are all here tonight. The always-too-small foyer of SkyCity Theatre is bursting with a sold-out crowd for the premiere of Toi Tū: Visual Sovereignty, Chelsea Winstanley's documentary about what happened five years ago and a kilometre away at Auckland City Art Gallery Toi o Tāmaki. There had been a crowd back in 2020, too, with many of the same people in it, for the opening of Toi Tū Toi Ora, which was not only the largest show in the gallery's history, but also the largest exhibition of contemporary Māori art there had ever been. Yet, amid the celebration, there was a whisper that something had gone wrong, that even as Toi Tū opened its doors, its curator, Nigel Borell, had resigned. A cover story in the NZ Herald's Canvas magazine a few weeks later finally told the public what the artists knew – that Borell and the gallery's director, Kirsten Lacy, had fallen out over what he described as 'different ways of viewing aspirations for Māori'. Winstanley had been on the inside of it all, filming what she had imagined would be a celebratory film that would accompany Toi Tū as it toured internationally. The show never toured, and she wound up with a different story to tell. Curator Nigel Borell: 'You have a moment to make some change.' Photo / Auckland Art Gallery Toi o Tāmaki This is an audience that knows the story. It's also an extraordinarily engaged crowd. The next 100 minutes are dotted with swirls of applause, knowing laughter and even cheers as one artist or another comes up in the tale. What had originally seemed like an obstacle to the production – the pandemic – turned out to be something of a gift. The lockdown Zoom meetings with Borell, the gallery's longstanding artists' advisory board Haerewa, and Lacy and the gallery's senior management, all tiled across the screen, are rich documents in retrospect. There are murmurs and an audible gasp when Lacy, an Australian appointed to run the gallery in 2019, just as Borell's five-year dream for the exhibition was becoming a reality, is shown announcing her intention to go off on her own to conduct 'informal meet and greets' with iwi about how they would like to engage with the exhibition – effectively over the heads of Borell and Haerewa. Borell, sitting at home on Zoom, simply gets up and leaves the frame, to laughter from the audience. 'She's got to go with someone,' says painter and Haerewa's chair and founding member Elizabeth Ellis at a follow-up hui without Lacy. 'She's going to be discussing Māori stuff. We can't send her off, this young Australian woman, to carry our message.' Ellis and five other Haerewa members would eventually follow Borell in resigning. The film turns on an understanding of mana – translated on screen as 'authority to lead' – that will be familiar to many New Zealanders, but was not evident to Lacy. The gallery director arrived with an admirable record of working with indigenous artists in Australia but, it seems, an incomplete sense of the moment she was entering here. 'You have a moment to make some change,' says Borell at one point in the film. 'And if you don't use it in that way, then you're just taking up space.' Winstanley has gone out of her way not to be inflammatory, to the extent that some viewers could even wonder what all the fuss was about. She's after a teachable moment rather than a pile-on. Former Auckland Art Gallery Toi o Tāmaki director Kirsten Lacy. Photo / Auckland City Art Gallery Toi o Tāmaki 'I don't think she's a villain,' Winstanley says of Lacy the following morning. 'I think she is someone who … She's not Māori, she doesn't have the experience of having lived in this country, she doesn't understand or know that, and I think that's what comes across. And there's an opportunity, I think, for people in these positions. You can do what the beautiful Dr Maya Angelou says: 'Do the best you can until you know better – and when you know better, do better.'' Winstanley's original, more celebratory film survives through the twists of the story. We're taken straight from a troubled Zoom meeting to Reuben Paterson working out the lighting for Guide Kaiārahi, the crystalline waka taua that was Toi Tū Toi Ora's most prominent commissioned work, by virtue of its position at the gallery entrance. As commissions from Shane Cotton and Mataaho Collective take shape, we get a glimpse of the artists as purposeful engineers. The film, also commissioned by the gallery, provides an enriching context for the exhibition that will make viewers wish for a chance to see the art again with it all in mind. Indeed, that was the role it would have played had the exhibition toured as planned. Those plans were let go after Borell's departure – but the artists travelled even if the show did not. Eight New Zealand artists were invited to present at the Venice Biennale last year; all were Māori and all had been part of Toi Tū Toi Ora. An investment from the barrister Kahungunu Barron-Afeaki allowed Winstanley to fly there to capture the event, where Mataaho Collective claimed the Biennale's Golden Lion prize. Mataaho Collective won the Golden Lion award at the 60th Venice Biennale for their installation Takapau. Photo / Creative NZ Although Toi Tū Toi Ora had made its case by breaking gallery attendance records – at least since the return of the landmark Te Māori exhibition from New York in 1987, to which it is consciously connected in the film – following the story to Venice meant, says Winstanley, that 'we were able to truly celebrate what having that kind of sovereignty meant and that's what I'd envisioned in the beginning. Because if the whole point of Toi Tū Toi Ora was to enable our art to live and thrive through a Māori lens, it didn't feel like it was able to do that fully, opening the way it did and with what happened.' Lacy, who resigned in April and left in June, saw a rough cut of the film before she departed. By that time, she had received the recommendations of an independent review of the gallery's relationship with Māori and appointed Ngāti Whātua Ōrākei chief executive Tom Irvine as her deputy director. The move had the effect of further stirring debate about Lacy's personal cultivation of mana whenua at the expense of the mana of Haerewa. Ngāti Whātua seems like a missing voice in the film. Irvine is currently acting director. Whoever is permanently appointed to the role will find plenty to think about and much to respond to in Toi Tū: Visual Sovereignty. A day after the premiere, the friends I went with were still exchanging messages about what it meant. Perhaps that's what teachable moments are meant to do. After selling out its screenings at the Auckland leg of the NZ International Film Festival, Toi Tū: Visual Sovereignty has screenings in Wellington (Aug 17, 23), Dunedin (Aug 24) and Christchurch (Aug 17, 21), see for more. Plans are underway for screenings beyond the festival. To request a screening go to Director Chelsea Winstanley: 'I'm not putting words in people's mouths.' Photo / Supplied Things Fall Apart Chelsea Winstanley on filming in a crisis. For film-maker Chelsea Winstanley, Toi Tū: Visual Sovereignty represents her most serious film in years. Her recent producer duties have been on former husband Taika Waititi's Oscar-winning Jojo Rabbit and before that What We Do in the Shadows and giving Disney's animated hits te reo makeovers. But TT:VS is also her debut feature as a director. Her career began with directing Whakangahau, a documentary short about cousins from her Paparoa marae running a tourism venture. It was her 2003 graduating film from the Auckland University of Technology and won a Media Peace Award. Her feature directing debut also focuses on another relation with Ngāti Ranginui iwi roots – Nigel Borell. Toi Tū: Visual Sovereignty started out of conversations she had with Borell in the years running up to the exhibition about what it took to stage an event of its size and ambition. When you spoke at the premiere, you seemed quite nervous about how the film would be received. For a few reasons, I suppose. This is my directorial debut – I've done enough producing in my life – and you're putting your film out into the world, it's all on you this time. But not only that, it's the community that I love the most. You love them so dearly that you just want to do right by them. Was there a distinct point where you knew that the story was going to be different from what you had thought it would be? Obviously, when Nigel had to make that decision, it really did change then. I was going to follow the whole exhibition and the background to it, because I don't think we ever really understand what goes into putting on something like that. I thought it was going to travel overseas, because that's what I was told. I was like, 'Wow, this is going to be amazing, a celebration from beginning to end.' And then when he made that decision, for himself, I had to go, 'Oh, all right, I have to now rethink how it's going to happen.' Other things were happening, too – everyone went through Covid. Even at that point, I was like, 'Oh, my god, is this show even going to come to fruition?' That was actually a moment, too. A small selection of the art shown as part of Toi Tū Toi Ora (clockwise, from left): Lisa Reihana, Ihi, 2020; Israel Tangaroa Birch Ara-i-te-Uru, 2011; Aimee Ratana, Potiki Series, 2005; and Shane Cotton, Te Puawai, 2020. Photos / Supplied What was the response after the screening for Kirsten Lacy and the gallery staff? Was there a response? It's challenging for anybody to have to observe themselves. But remember, when they watched that edit, it's not like it was a big surprise what happened there, the story was already out. It's about how you have to reflect on your position, so that was up to them. And they knew that I had final cut anyway, and I'm not putting words in people's mouths or anything like that. While I watched the film, I did find myself thinking I'd like to go and see the exhibition again, having absorbed all this context. Yeah, of course, and that's the wonderful thing for people who were fortunate enough to see the show. A lot of people said to me afterwards that it brought back so many memories, both people who were working there and those who had gone to the show and wanted to see it again. And I think, for us as a country, we need to have spaces where we can just see that beautiful, contemporary art all the time, not just these once in 20-year timeframes.

The Weekend: A tribute to everyone's favourite stranger
The Weekend: A tribute to everyone's favourite stranger

The Spinoff

time9 hours ago

  • The Spinoff

The Weekend: A tribute to everyone's favourite stranger

Madeleine Chapman reflects on the week that was. We had an unlikely hero on The Spinoff this week. The anonymous 23-year-old who featured in Tuesday's Cost of Being described herself as 'broke with expensive taste' and didn't hold back when describing how she spends her, admittedly, little money. Savings? Forget about it. 'Given that the planet seems like it's a couple years away from plunging into a full grim dystopia, I'll be using every dollar I have to assert my vivacity and joie de vivre while I still can.' Grooming and beauty expenditure? Limited, but 'I buy a pair of falsies [lashes] pretty regularly since I'm always crying mine off.' I love this woman, and evidently so did readers. The comments are wholesome, asking for a full column from this anonymous legend (note: she is real, but even we don't know who she really is, she just filled out the form). I personally received two texts from different friends asking for more entries like hers. This is all very wholesome but a little surprising to me. In my four years in this role, it has proven impossible to predict how readers will react to other people's lives. In another year, I would've bet safely on Tuesday's readers scoffing at a young person living at home for free and spending $400 on boots. What was it that so enchanted readers? We've had 'spenders' feature in the series before, and plenty of participants have thrown in pithy one-liners about their situation and the world at large. But there was something beautifully hopeful in this young person's attitude to living her life (despite the dystopian view on saving money). I suspect many readers with full-time jobs and mortgages and responsibilities delighted in knowing that at least one young person was out there making the most of their early 20s. And most importantly, she was funny. Trust me, you can get away with a lot if it's decorated with humour. Nearly 700 New Zealanders have filled out the Cost of Being questionnaire and all are beautifully unique, but the majority inevitably fall into the 'doing my best to be responsible' category. So if you're someone who is living your best fun life and has a story to tell, I invite you to contribute to the series. Maybe you too could be someone's hero. The stories Spinoff readers spent the most time with this week Joel MacManus uses 10 graphs to analyse why homelessness Is worse under this government The cost of being: A retail assistant who's 'broke with expensive taste'​ Alex Casey rounds up all the celebrities* running in local elections around the country this year Former race relations commissioner Joris De Bres responds to the renaming of the Rongotai electorate Chlöe Swarbrick was barred from the House all week – is that even allowed? Andrew Geddis explains Feedback of the week 'As a 19 year old, I don't think education about the internet is enough to prevent harm (because I had internet education). In an ideal world, parents would be able to monitor what their children are doing on the internet, but they can't and most won't. It feels like a significant chunk of the internet is designed to make you feel worse, especially now with the polarised political landscape (see Andrew Tate). I personally think a restriction of the internet for youth is in order, but then the hard part becomes actually doing it without privacy concerns (like giving ID to private corporations who might sell or leak it) or the government caring enough to not half-ass it. I do think a ban is too extreme, but I think people need to consult youth more who actually are growing/ grew up with it.' 'It seems like an important point is being missed that Chloe didn't call anyone spineless, she called for MP's to have a spine. They are very different things, one is an insult, the other is an invocation to show courage. '

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store