After a long absence from the land where she grew up, Teresa Lane has reacquainted herself with the rural, relocating from central Auckland to a small corner of a retired sheep farm in Te Tai Tokerau. Here Lane’s practice has dramatically shifted, taking in a new landscape inspired by the absent Kauri, the silent birdcall and a land now naked, covered with nothing but livestock. Aspiring to present a visual equality by disrupting our comfortable gaze, Lane’s familiar use of the nude morphs with native birds, shifting into this new landscape; questioning her relationship and responsibility to the land. She begins to examine the state of this visual paradise that is not only physically scarred, but also seeped in a complex history of misunderstanding and unresolved conflict between Māori and Pākehā. Lane continues to confound our expectations of the figurative and the landscape, by dismembering and reassembling it all with an intricate photographic mixed media collage practice she describes as ‘painting with paper’ and ‘drawing with scissors’.