From vibrant murals to thought-provoking sculptures, Newmarket is a neighbourhood that positively brims with public artworks. Verve chats with artists behind three of them.
Seung Yul Oh
Visitors to Newmarket will be familiar with the colourful cluster of tilting eggs positioned around Teed and Osborne Streets. Known as Knocknock, the quirky creation – commissioned by the Newmarket Arts Trust in 2010 with the support of the Newmarket Business Association – is the work of Seung Yul Oh. “Playfulness and interaction were at its core,” the artist tells Verve. “Its immediate appeal invites touch and exploration, often leading to hugs and climbing. Knocknock challenges the boundary between art and an object of curiosity.”
Do you feel that art should always have a message, and if so, is there a message that you hope people take away from your works?
There are no boundaries defining what art should be – only varying degrees of feeling and lingering memory. I hope people can expand their acceptance and broaden their perception to embrace the periphery.
What are your proudest career moments to date?
I must say this project was very special to me, as it was my first public sculpture. This experience allowed me to further develop my practice and explore new opportunities for creating sculptures in public spaces.
Any favourite Newmarket memories or hangouts?
Olympic Pool and Rialto Cinema have been my longtime favourites, especially during the film festival season. Recently, the Architecture and Design Film Festival has been a highlight. One of our family’s go-to dining combos is enjoying a meal at the Korean restaurant, Dweji, followed by ice cream at Duck Island.
Any upcoming projects that you’d like to share?
I have a solo exhibition in Sydney with 1301SW, and in Auckland with Starkwhite. Additionally, I have a public sculpture commission with the Wellington Sculpture Trust, which we have been working on for five years and will be unveiled later this year.
FLOX
Hayley King, aka FLOX, is renowned in both the mural and contemporary art scenes for her distinctive stencil technique and incorporation of New Zealand’s natural world. “My work is particularly inspired by the beautiful flora and fauna of Aotearoa,” she says. “My collections – in both art and products – are created with the idea that people will feel more connected to this beautiful place we call home, whether it’s hanging a piece on their wall, or heading off overseas adorned with a FLOX luxury travel bag.”
Her latest 2025 collection, Ahi (meaning fire), symbolises the driving force behind FLOX, igniting two decades of artistry, innovation, and evolution. This collection celebrates that journey, with a palette of fiery autumnal tones, evoking FLOX’s signature warmth and energy.
Do you have a favourite work in Newmarket?
I’m all about those pillars in the Newmarket Westfield food court. I always enjoy working to a brief, so the pillars were an incredible opportunity to really connect back to their context and enhance this indoor space. The artworks are made up of food-based botanicals and repeat patterns, and work to tie into the interior, which is composed of an array of textures, greenery, and living walls.
How is street art perceived today compared to when you started out?
There has been a major shift in the public perception of what ‘street art’ is, and the benefits it brings to communities, schools and businesses. When I first picked up an aerosol can back in 2004, the medium was perceived as nothing short of negative, but nowadays it’s more embraced and even incorporated into some school curriculums. I believe that this shift is because of the enormous effort that our generation of spray paint artists put into the medium, driving home time and time again that it could be used for good, and positive gain.
Any favourite Newmarket memories?
I remember back during my flatting days, I spent a lot of time at the Rialto Cinema – back when I had time to watch movies! Always fond memories there. Finally, any upcoming projects or exhibitions that you’d like to share?We co-run a newish artist-run space next to Haus Of FLOX in Grey Lynn called Eyes On Fire Gallery. The space is for up-and-coming artists to exhibit their work in the heart of central Auckland without disincentivising gallery commission fees. So, reach out, or come say hi – we’re always looking for new artists to showcase, and at ways we can expand the EOF community.
Instagram: @eyesonfire.nz
gallery@eyesonfire.nz
flox.co.nz
Reuben Paterson
Now based in New York, revered Kiwi artist Reuben Paterson (Ngāti Rangitihi, Ngāi Tūhoe, Tūhourangi, Scottish) is the creative brain behind Ándale, Ándale! (“Come on, let’s go!”), the vibrant, giant mural that adorns the front of Newmarket Train Station.
“The work acts as a cape and curtain, allowing people to exit the station onto the stage of Newmarket for work or play, and then retreat backstage into the wings once the theatrical work of day, is done,” the artist tells Verve. “As a transport hub, it has a place of purpose, and this curtain acts as the threshold behind, between and in front of the actions and events that can occur when you interact with your city.”
Is there a story behind the name?
It’s interesting that no one has questioned the title before, because it carries so much weight. The name comes from my favourite Looney Tunes cartoon, and there’s a subtle nod to Speedy Gonzales in the large yellow flowers. Speedy Gonzales is a problematic cultural representation, and the title acknowledges the way we encounter ethnic and cultural stereotypes in everyday life.
When the title is placed in front of the curtain, censorship reshapes how we perceive these stereotypes, altering accepted truths. When placed behind the curtain, the characters are recognised as both complex and problematic, highlighting the tension between nostalgia and critique.
How does life in New York compare to New Zealand? Is it a permanent move?
I’d love to think of it as permanent move. When I decided to relocate, it was entirely for my art practice. I had been fortunate to see many artistic dreams come true, but I wasn’t sure how much further my practice could grow at home. I want my work to have the fullest life possible, and the inspiration and experiences here give it freedom, courage, and bravery.
Is there growing interest in Māori art, and do feel a responsibility in helping to promote it?
Big changes are coming with The Metropolitan Museum of Art’s Oceania wing reopening this May. There’s still work to do, but I do believe this world is finally ready for us. Our stories are sacred, yet they are universally shared. Being here to help shape this moment is an honour. I can’t represent all of Māoridom, but I’m one vehicle helping to drive many others forward.
Any upcoming projects or exhibitions you’d like to share?
It’s a busy start to the year! My show Taniwha opens at Page Galleries from March 26 to April 26 and feels like a special show for me, connecting the northern hemisphere, to the south. I’m also part of a Rarotongan Pride show at Bergman Gallery, with smaller works at their Auckland Art Fair stand, plus a group show curated by Chantel Mathews.
In NYC, I have works in a Chelsea gallery group show and the Spring Break Art Fair with Mathew Couper, invited by Ross Brown of Art Frontier Advisory.
Later this year, my work will be featured in group shows at Page Galleries and Gow Langsford Gallery, honouring Matariki, leading up to a solo exhibition in October at Gow Langsford Gallery, Auckland.
