Published in CLOT Magazine, that explores experimental intersections of art, science, and technology, an in-depth review by neuroaesthetics scholar Tamar Torrance examines Gill Gatfield’s New York installation Habeas Corpus at the NARS Foundation. The review traces how the work merges deep time and ancestral consciousness with AI and AR systems to foreground the body as both subject and sensor—mapping Gatfield’s choreography of minimalism and code where matter, memory, and machine interlock in an inseparable world-self.

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Sept. 2025. Presenting Habeas Corpus and the artistic framework AI²AR at CODAsummit Art + Tech + Place 2025 in Washington DC, hosted by CODAworx and the DC Commission on the Arts and Humanities. This international gathering of artists, curators, commissioners, and technologists brings sharp focus to art and technology innovation and the transformation of public space. Gill Gatfield’s presentation situated Habeas Corpus within the dynamic framework of AI²AR – a bold reimagining of sculpture through Ancestral Intelligence–AI–Augmented Reality. This direction centres instincts, memories, and senses as conduits between past and future, creating digital-physical art encounters that empower people to participate. On stage at the Kogood Cradle, Arena Stage D.C., the Artist Showcase was sponsored by GCI General Glass International.

Sept 2025. Sculpture magazine – an international journal dedicated to the critique of contemporary sculpture – features a review of Gill Gatfield’s New York installation HABEAS CORPUS by art critic Dina Jezdic. Reflecting on the artist’s site-responsive work, the review explores how the material, ephemeral and temporal dimensions of her digital-physical practice develop tensions that stir empathy, memory, and resistance.

‘Set against the collapsing tides of the Anthropocene, Aotearoa New Zealand artist Gill Gatfield’s current installation brings the urgency of habeas corpus to New York City, a place long mythologized as a refuge, but also pulsing at the crossroads of data, capital, and control. ...' 

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Aug-Sept 2025. At NARS Foundation in Brooklyn New York, Habeas Corpus posits the ancient writ “you have the body” as scaffold and allegory, transforming a white room into a contested space of confinement and liberty. Woven diaper walls, storied stones and ancient woods engage real and virtual bodies which vacillate as totem and text-figure, spirit and human, object and code; binding viewer and spectacle. This standalone site-responsive installation is presented by NARS Foundation in the International Residency Exhibition Season III curated by Daniela Mayer.

Sept. 2025. "It’s Prudenter – to Dream – A Conversation on Sociopolitical Art in a Post-Woke Landscape" explores how engaged artistic practices continue to resist, adapt, and thrive under contemporary conditions where being 'awake' is in the balance. Featuring artists Doreen Chan, Elizabeth Chang, Gill Gatfield, and Maya Smira, and moderated by curator Daniela Mayer, this panel is presented in conjunction with the exhibition It would hurt us – were we awake – at NARS Foundation.

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August 2025. The New York Art Residency & Studios (NARS) Foundation presents It would hurt us – were we awake –, a group exhibition curated by NARS Curatorial Fellow Daniela Mayer, featuring Season III 2025 International Residency Artists: Jayden Ashley, Doreen Chan, Elizabeth Chang, Alessandro Di Lorenzo, Gill Gatfield, Kimin Kim, Shivani Mithbaokar, Maya Smira, Cass Yao, Giorgia Volpe, Kay Yoon, and Tony Zhao,.

Developed in coversation during the three month residency, artworks by 12 international artists navigate the mutable edge of sleep and waking life, where inner sanctuaries are unsettled by invisible architectures of external power. Shaped by today’s pervasive climate of ambient anxiety, the exhibition reflects on how sites of rest and refuge—mental, bodily, or built—are rendered precarious by elusive, often existential forces. Across media, the artists explore these fragile barriers, navigating the tension between safety, vulnerability, and the subconscious.

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July–September 2025. Announcing the Season III artists at the New York Artist Resdencies and Studios (NARS) Foundation in Brooklyn! This curated program brings New York and international curators, writers and critics to visit the artist studios and culminates in an exhibition organised by NARS curatorial fellow Daniela Mayer.

"Gill Gatfield’s practice spans sculpture, land art, installation, extended reality, and AI. Locating speculative futures within ancestral knowledge, she transforms ancient materials into poetic first-forms – carving matter, code, and text to elicit generative systems and permeable borders. Gatfield holds Bachelor of Laws and MFA (Hons), University of Auckland, NZ. Her work is presented in Oceania, America and Europe, in museums, biennales, and public space."

Image: Not I, 2011-2021, column, moleanos limestone, sunlight

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August 2025. HALO makes the Top 10 projects for highest audience engagement on CODAworx international platform over the Northern Hemisphere Summer 2025! "From monumental sculptures that celebrate local culture to modest installations that spark neighborhood conversations, these projects reflect the vibrant pulse of public art today. In celebrating these standout creations, we’re not just highlighting aesthetic achievements, but also the cultural dialogues and diverse offerings of our community." CODAzine August 2025 

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May 2025. Led by artist and AI researcher Gill Gatfield, a powerhouse panel debated the “AI-Equity Revolution” at the 2025 New Zealand Global Women annual convention at Te Puia, Rotorua. Joined by trailblazers Kathryn Kerner (NZ SuperFund), Alison Mau (founder Tika), and Zoe Lawton (barrister and Tika co-founder), the panel addressed AI’s break-through potential for gender equity and the role of leaders in creating AI solutions for diverse communities. Global Women draws from a wide community of thought-leadership to advance economic and social justice in Aotearoa New Zealand.

December 2024. Final touches are underway for unveiling of Asterisk, a new land art commission that looks to the stars. Created as part of a major NSW Government Westconnex transport infrastructure project, the work stands at the threshold of new parklands on the traditional lands of the Gadigal and Kameygal peoples. Its name comes from the Ancient Greek asteriskos – "little star" – and invokes ancient celestial knowledge systems and ancestral journeys guided by the stars across the land and sea. Its circular stone formations draw on diverse cultural traditions and the enduring connection between Earth and Sky. Each stone carries the deep time stories of the world's oldest continent: rock from the far West and East corners of Australia intersect a composite stone formed by the artistfrom rock recovered during tunnelling far below the site for new super-highways. On this reshaped ground, Asterisk charts a new direction in the decolonisation of space, being orientated towards Ginan – the brightest small star in the Southern Cross, recently restored on international star maps under its ancient Aboriginal star-name. A geometry of shadows echo star-maps and trace the passing of time within an open circle of setttler-heritage stone. Dating to the Triassic period and hand-hewn from local quarries for Sydney's nineteenth-century roads, these rocks now frame a celestial compass, binding past, present, and future in light and stone.

Asterisk 2020-2024
Pilbara Marble, Chillagoe Marble, Sydney Tunnel-Stone, Heritage Sandstone
11m Dia.
Public Art Project Sydney NSW