About what I do and why I do it . . .
As a maker and weaver, I explore the material world through manual methods of making, and curiosity about a world that lies beyond my sense perception drives an intra-active installation practice. Through the textile's responsiveness to minute environmental cues, these combined interests form a creative practice that explores the notion of a material life force.
My practice draws on ancient human practices that have evolved through attention to the natural world. Universal methods of weaving, knotting, twining and binding are slow, repetitive and time-intensive processes that inform and drive my making and conceptual outcomes. Working primarily with Harakeke (New Zealand flax, Phormium tenax), finger-weavings incorporate found materials at hand, such as stone and wood. Processes of gathering and making are underpinned by weaving tikanga (right actions) to respect and uphold cultural values embedded within the traditional weaving practices of Māori, the Indigenous people of Aotearoa, New Zealand. These small-scale sculptural weavings evoke a sense of time and place.
Ephemeral installations utilise elements such as light, air currents, gravitational force and tension. The fibre, activated through these unseen phenomena, manifests the notion of a lively and vibrant material world.
Michelle Mayn born and based in Auckland Tāmaki Makaurau, regularly exhibits in solo and group shows in New Zealand and internationally. Recent key exhibitions include; Unifying Threads, Te Atamira, Tāhuna Queenstown (2025); Onepū - shifting sands/shifting time, Franklin Art Centre, Auckland - Tāmaki Makaurau (2025); breathing space/space breathing, St Paul Street Gallery, Auckland (2023); CONTEXTILE, Contemporary Textile Art Biennial, Portugal (2022); Sculpture in the Garden, Outdoor Garden Trail, Auckland (2021-22). Mayn's education includes a Masters of Visual Arts with Honours (First Class), Auckland University of Technology (2020); Traditional and Contemporary Māori Weaving, Unitec (2011) and Mixed Media at The Art Students League of New York (2017). Mayn's works are held in private collections including the Corina and David Silich collection.
As a maker and weaver, I explore the material world through manual methods of making, and curiosity about a world that lies beyond my sense perception drives an intra-active installation practice. Through the textile's responsiveness to minute environmental cues, these combined interests form a creative practice that explores the notion of a material life force.
My practice draws on ancient human practices that have evolved through attention to the natural world. Universal methods of weaving, knotting, twining and binding are slow, repetitive and time-intensive processes that inform and drive my making and conceptual outcomes. Working primarily with Harakeke (New Zealand flax, Phormium tenax), finger-weavings incorporate found materials at hand, such as stone and wood. Processes of gathering and making are underpinned by weaving tikanga (right actions) to respect and uphold cultural values embedded within the traditional weaving practices of Māori, the Indigenous people of Aotearoa, New Zealand. These small-scale sculptural weavings evoke a sense of time and place.
Ephemeral installations utilise elements such as light, air currents, gravitational force and tension. The fibre, activated through these unseen phenomena, manifests the notion of a lively and vibrant material world.
Michelle Mayn born and based in Auckland Tāmaki Makaurau, regularly exhibits in solo and group shows in New Zealand and internationally. Recent key exhibitions include; Unifying Threads, Te Atamira, Tāhuna Queenstown (2025); Onepū - shifting sands/shifting time, Franklin Art Centre, Auckland - Tāmaki Makaurau (2025); breathing space/space breathing, St Paul Street Gallery, Auckland (2023); CONTEXTILE, Contemporary Textile Art Biennial, Portugal (2022); Sculpture in the Garden, Outdoor Garden Trail, Auckland (2021-22). Mayn's education includes a Masters of Visual Arts with Honours (First Class), Auckland University of Technology (2020); Traditional and Contemporary Māori Weaving, Unitec (2011) and Mixed Media at The Art Students League of New York (2017). Mayn's works are held in private collections including the Corina and David Silich collection.
