{"title":"Archive 2026","description":"","products":[{"product_id":"kalisolaite-uhil-koe-tenga-tete-to-tete-utu-pe-koia","title":"Kalisolaite ‘Uhila | Koe tenga tete to tete utu pe koia","description":"\u003cp class=\"p1\"\u003eLast year, almost 30 years after he was sent to Mildura to live with extended family and work in an orange orchard, Kalisolaite ‘Uhila (b.1981, Kingdom of Tonga) returned to the Australian city for an art residency. When he first arrived, in 1997, Mildura marked a decisive shift in his life. Instead of fruit picking and experiencing the hardship of manual labour, his aunt and uncle, who were ministers at the Methodist Church, re-enrolled him in school. Within this school ‘Uhila and his cousins were, in his own words, the only brown kids. It was here that he had to carve out a new identity between adolescence and adulthood, between different – at times clashing – cultures and personal dreams and ambitions. With \u003ci\u003eKoe tenga tete to tete utu pe koia \u003c\/i\u003e(the seed you\u003cbr\u003esow, you will reap), ‘Uhila revisits a formative period in his life, after returning to the city not as a seasonal worker but as an artist with an established international practice. He reconsiders how acts of labour, masculinity, and care continue to shape his performances and overall artistic practice over nearly three decades.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eMildura is also the place, where ‘Uhila encountered \u003cspan class=\"s1\"\u003ethe freedom and joy of subcultures, such as \u003c\/span\u003eskateboarders and punks, and crucially where he first connected with art, in the classroom and beyond. The city’s public artworks, remnants of the Mildura Sculpture Triennial (1961-88), formed part of this early awareness, embedding contemporary art into the everyday landscape of the town. These experiences echo throughout the exhibition. Everyday gestures and objects are transformed and repositioned within the space, carrying with them the textures of labour, kinship, and youth.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIn the smaller, more intimate gallery space, ‘Uhila gathers a collection of letters from his cousins, who reflect on their own memories of growing up in Mildura – stories marked by hardship, as well as resilience and gratitude. Written from different\u003cbr\u003evantage points, the letters form a chorus of voices \u003cspan class=\"s1\"\u003ethat expands the exhibition beyond a single \u003c\/span\u003eautobiography. Instead, the gallery space becomes a site of exchange, a sharing of words, objects and mutual yet distinct experiences. ‘Uhila marks the opening event through peeling and offering oranges to visitors in a durational performance. For the remainder of the exhibition, he extends a quieter invitation: a place to sit, to rest, and to share an orange in one’s own time. The orchard returns\u003cbr\u003ehere not as backdrop, but as gesture of community – fruit passing from hand to hand.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eA trio of skateboarding ramps occupies the larger exhibition space. Their presence recalls both improvisational architectures and the playful non-conformities of youth, as well as Mildura’s sculptural \u003cspan class=\"s1\"\u003ehistory. Scaled to the proportions of the gallery, the ramps operate simultaneously as functional structures and sculptural forms. Upon entering, \u003c\/span\u003esound starts taking hold of our attention, it binds the metallic drag of a chain to the rolling cadence of a \u003cspan class=\"s2\"\u003eskateboard. Movement and restraint unfold through the gallery: the weight of metal, the gliding of wheels, \u003c\/span\u003eone representing inherited weight and control, the other carrying freedom, youth and survival. Without resolving into narrative, these elements register as fragments of ‘Uhila’s lived experience, navigating cultural responsibility while still pushing forward.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eThe proverb “\u003ci\u003ethe seed you sow, you will reap\u003c\/i\u003e” resonates throughout the exhibition and across \u003c\/span\u003ematerials, actions, and reciprocity. In Mildura’s orchards, \u003cspan class=\"s1\"\u003ethe phrase holds literal meaning; in ‘Uhila’s practice, it becomes a philosophy of care, persistence, and \u003c\/span\u003etransformation. The scent of citrus and the rhythm of wheels on concrete reverberate in the space, recalling a history carried forward. \u003ci\u003eKoe tenga tete to tete utu pe koia\u003c\/i\u003e is an invitation into an intimate moment of growing up, where memory, labour, resilience and tenderness intertwine, reflecting how the seeds of our past continue to bear fruit in unexpected ways.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003ePresented in partnership with UNSW Galleries, Bidjigal\/Gadigal Country, Sydney, Australia, and in association with Te Ahurei Toi o Tāmaki Auckland Arts Festival 2026.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis exhibition is made possible with generous support of the Chartwell Trust, and the Te Uru Benefactors Collective, T.B.C..\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCurated by Anja Lückenkemper.\u003c\/p\u003e","brand":"Te Uru","offers":[{"title":"Default Title","offer_id":51336212152612,"sku":null,"price":0.0,"currency_code":"NZD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0899\/1637\/5332\/files\/Iti_orange_image.jpg?v=1772501717"},{"product_id":"ammon-ngakuru","title":"Ammon Ngakuru | Telltale (a dog)","description":"\u003cp class=\"p1\"\u003eIn this exhibition, Ammon Ngakuru (b.1993, Ngāti Maniapoto, Te Roroa and Ngāpuhi) creates a space of ambiguity, where clarity and selectivity are purposefully rescinded. The viewer is invited into a constellation of settings that place them at the threshold between a space of safety – the nest – and the ever-present emblems and fragments\u003cbr\u003eof distress and anxiety, which are looming on the periphery. It is intentionally left open whether the state of emergency, which creeps into the safe and relaxed setting of the inner space, is due to a light-hearted affinity for crime shows or a more sinister link to actual and abstract threats or fears. This dynamic tension echoes the artist’s broader interest in how personal and social narratives overlap, blur, and occasionally contradict, but also amplify one another.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eWith the decision to focus on painting for \u003ci\u003eTelltale\u003c\/i\u003e \u003ci\u003e(a dog)\u003c\/i\u003e, Ngakuru challenges his own practice and artistic conventions. Beginning, again, at the very start: how do you get to an image? In a painting process that is intuitive and responsive to emerging forms, shapes and colour themes, the artist remains always perceptible and open to change. The narrative of the newly created works rests in the space in-between that can be defined by its indefinability and contradictions: interiors and exteriors, intimate and personal memories and feelings with outside observations, hidden clues and clear symbols, signs of comfort next to markers of danger populate this new series. Recurring motifs appear and dissolve, suggesting shifting states of attention and, maybe, the instability of meaning (and its production) itself. With \u003ci\u003eTelltale (a dog)\u003c\/i\u003e, Ngakuru purposefully works against an easy readability, inviting viewers to inhabit the uncertainty rather than resolve it. To \u003ci\u003efeel\u003c\/i\u003e rather than \u003ci\u003eunderstand\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCurated by Anja Lückenkemper\u003cbr\u003ePresented in association with Te Ahurei Toi o\u003cbr\u003eTāmaki Auckland Arts Festival 2026.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eI tēnei whakaaturanga a Ammon Ngakuru (b.1993, Ngāti Maniapoto, Te Roroa and Ngāpuhi), ā, ka rite mai i a ia i tētahi wāhi e pā mai ai te rangiruatanga, e āta whakakorea atu ai te māramatanga me te kōwhiringa. Ka whakatauhia te hunga mātakitaki ki roto ki ētahi horopaki e whakanoho ana i a rātou ki te pae, arā, ki te kōhanga, kei waenga i te haumarutanga, me ngā tohu kāore e matara atu o te anipā me te āwangawanga, e whātaretare mai ana i waho. I waiho ai kia puare ana, me kore noa e uru mai te ohotata ki te haumarutanga me te okiokinga o te ngākau, nā te rata atu pea ki tētahi hōtaka hara, ki tētahi atu āhuatanga mōkinokino kē atu rānei e pā nei ki ngā whakawehi me ngā mataku tūrehurehu, tūturu rānei. E whakaatu ana tēnei māharahara i te aronga whānui a te ringatoi ki te āhua o tā te ngā kōrero whaiaro, pāpori hoki whakapapa, whakarehurehu, whakahorihori hoki, tētahi i tētahi.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eI tana whakatau ki te aro pū ki ana mahi peita i \u003ci\u003eTelltale (he kurī)\u003c\/i\u003e, ka wero a Ngakuru i āna ake mahi, me āna tikanga toi.Tīmata atu anō, i te tīmtanga rā anō: me pēhea e puta mai ai he whakaahua? I tētahi tukanga peita e atamai ana, e urupare ana hoki ki ngā āhua me ngā kaupapa ā-tae, e pūmahara ana, e puare ana hoki te ringatoi ki ngā panonitanga. E noho ana ngā kōrero mō ngā mahi hou nei i te wāhi kei waenganui i tērā me uaua ka whakamāramatia me ngā whakahorihoringa, arā, kei\u003cbr\u003etēnei kohinga ngā mea o roto, o waho hoki, ngā maharatanga taupiri, whaiaro hoki, me ngā kare ā-roto e pā nei ki tā te rāwaho i kite ai, ngā tīwhiri me ngā tohu\u003cbr\u003ee huna ana, ngā tohu o te hāneaneatanga kei te taha o ngā tohu o te mōrearea. Puta mai ai, nunumi atu ai hoki ngā tauira auau, e tohu ana i ngā āhuatanga e huri nei o\u003cbr\u003ete aronga, ko te pāhekeheke pea tēnei o te tikanga tonu (me tana whakaputanga mai). I \u003ci\u003eTelltale (he kurī)\u003c\/i\u003e, e ātete ana a Ngakuru i tētahi māramatanga wawe, ka tonoa kētia\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003ee kaimātakitaki ki te noho ki roto i te rangiruatanga, tē whai kē ai ki te wewete noa. He āki nāna ki te āta \u003ci\u003erongo \u003c\/i\u003eatu, kaua ki te \u003ci\u003ewhakamārama\u003c\/i\u003e noa.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eHe mea rauhī nā Anja Lückenkemper\u003cbr\u003eE whakaatuhia ana i te taha o Te Ahurei Toi o\u003cbr\u003eTāmaki Makaurau 2026.\u003c\/p\u003e","brand":"Te Uru","offers":[{"title":"Default Title","offer_id":51336214315300,"sku":null,"price":0.0,"currency_code":"NZD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0899\/1637\/5332\/files\/Ammon_Ngakuru_c2d266d6-7287-4bdb-967f-4cc30c759892.jpg?v=1775082995"},{"product_id":"avtar-singh","title":"Avtar Singh | I just like to draw","description":"\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eSince starting at Māpura Studios five years ago, Tāmaki Makaurau based artist Avtar Singh (b.1967, Te Awamutu) has emassed an immense catalogue\u003cbr\u003eof works. Singh’s predominantly drawing based practice is one of commitment and persistance. Often starting with printed media — magazines, cookbooks or art books — \u003c\/span\u003eSingh embarks on a mission to translate these familiar, highly consumed images into her own visual language.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIf you asked her though, Singh says “\u003ci\u003eI just like to draw\u003c\/i\u003e”. This enjoyment of the act of drawing is evident. In her process of translation, Singh follows the shapes and rhythms of the sources, but she does so with a natural looseness. Marks are made freely, often with bold, rich and vibrant colours. Her choice of drawing materials \u003cspan class=\"s1\"\u003eassist in conveying this sense of enjoyment and \u003c\/span\u003efreedom. Primarily working in coloured pencil, crayon and oil pastel, proportions shift, forms tilt, and details emerge according to what catches her eye. Rather than aiming for strict accuracy, she lets the drawing unfold at the pace of her looking. This allows each composition \u003cspan class=\"s1\"\u003eto evolve intuitively, resulting in works that hold familiarity, while sitting firmly in her own vernacular.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eSingh draws inspiration from a multitude of different sources, however we can see clear recurring threads of where she seeks her inspiration. Existing artworks, found either through google image searches or art books, have formed a distinct portion of her practice. She references artists such as Van Gogh and Picasso, as well as artists from a treasured book on outsider art. Cookbooks also serve as a source of artistic sustenance. Alongside illustrations of ingredients in her signature visual language, recipes are transcribed and recorded. Singh’s favoured source materials are National Geographic magazines. Sometimes she chooses individual pages or images to depict. Other times, she undertakes the laborious task of rebuilding entire publications through drawing. Every spread, photograph, headline and corner of layout is carried across meticulously, forming a growing archive of re-made books.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eNot all of Singh’s practice is based on found media, she also draws inspiration directly from the world around her. It is within these works that we see her experiment more with materiality. Along with the familiar coloured pencil illustrations, Singh employs paint to describe how she interprets the world around her. Applied with the same \u003cspan class=\"s1\"\u003elooseness and freedom typical of her way of working, these scenes offer a slightly different weight and \u003c\/span\u003ebrightness to the rest of the works in her practice. Some of these pieces are explorations into the materiality of paint itself. Saturated stripes of colour and overlapping brush strokes on both paper and unstretched canvas show a willingness to branch out into different teritories.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThrough Singh’s sustained, attentive process of translation, we are invited to consider the pace at which we view and consume these kinds of familiar images.Her works reveal the quiet determination involved in turning the everyday into something built slowly through colour, intuition, and a vibrant material sensibility.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCurated by Hōhua Thompson.\u003c\/p\u003e","brand":"Te Uru","offers":[{"title":"Default Title","offer_id":51434812408100,"sku":null,"price":0.0,"currency_code":"NZD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0899\/1637\/5332\/files\/Avatar_Singh_s.jpg?v=1766007096"},{"product_id":"kahurangiariki-smith","title":"Kahurangiariki Smith | Kai a te Taniwha","description":"\u003cp class=\"p1\"\u003eKahurangiariki Smith’s (b.1996 Te Arawa, Tainui, Takitimu, Horouta and Mātaatua) practice explores taniwha as relational presences rather than fixed mythological figures. In this exhibition, taniwha are depicted as forms that emerge in response to emotional intensity, pressure and survival. They act as vessels for feelings that are difficult to hold – grief, fear, anger and endurance – shifting depending on circumstance and perspective. Rather than illustrating one historic taniwha directly, Kahurangiariki treats taniwha as living, adaptive forces that respond to contemporary experiences.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eMateriality is central to this exploration. Kahurangiariki employs bedazzled velvet, rhinestones and soft, tactile fabrics, drawing on hyper femme and “Juicy Couture steez” riffing off the popular 1990’s and 2000’s hot-pink and bejewelled velour tracksuits. A multitude of rhinestones glitter starkly against the all-consuming\u003cbr\u003eblack velvet. There is an intentional juxtaposition of aesthetic principals, between the bedazzled surface and the patterns they form, which are typically found in whakairo. Often seen as a masculine art form, whakairo depicted in hyper femme velour presents a potentially challenging pairing. These works attract the viewer through sparkle and texture, while simultaneously confronting them with discomfort, rupture and\u003cbr\u003eintensity. Sparkle functions not only as decoration, but as a strategy masking, holding or amplifying what\u003cbr\u003elies beneath.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe materials Kahurangiariki uses are purposefully accessible and familiar. Rhinestones sourced through everyday online marketplaces, fabrics associated with Juicy Couture serve as a moment of understanding between artist and viewer. These choices resist distinctions between “high” and “low” art materials, asserting that complex emotional and cultural narratives can be carried through materials that are readily available and culturally coded as decorative or excessive. The slow, repetitive labour of bedazzling embeds time, care and endurance into the surface of each work, transforming ornamentation into something weighted and deliberate.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003ePreviously Kahurangiariki had established the taniwha as a nurturing best friend and kai arataki (guide) through a journey of healing. In contrast, this exhibition positions the taniwha as an agent of utu, a concept in Te Ao Māori that that governs cost and reciprocity, and often is associated with revenge. The taniwha thus becomes a proxy capable of holding rage, fear and protective impulse on behalf of the artist, the viewer, and te taiao (the natural world). Violence is externalised and transformed, through the works, allowing it to be confronted, shaped and therefore survived. There is a notedly protective force behind the works – in the same way a taniwha can embody protector and monster, the artworks initially appear as a threat, but belie a promise as well: that all is indeed not right in the world, and we have always had the resources to deal with this.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThroughout \u003ci\u003eKai a te Taniwha\u003c\/i\u003e, taniwha remain resistant to singular interpretation. They are neither purely protective nor purely destructive, but shaped by emotion, necessity and viewpoint. By pairing visceral imagery with softness, humour and iridescent abundance, Kahurangiariki creates a visual language in which glamour and brutality, fantasy and survival all coexist. Viewers are invited to sit with contradiction, recognising taniwha as emotional technologies, forms through which complex feelings, both individual \u0026amp; societal, are made visible.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThrough this combination of material excess and emotional depth. Kahurangiariki’s practice insists on taniwha as living presences: responsive, contemporary and deeply entangled with the realities of feeling, embodiment and endurance.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eKo te mahi toi a Kahurangiariki Smith (i whānau mai i te tau 1996, nō Te Arawa, Tainui, Takitimu, Horouta me Mātaatua) e tūhura ana i te taniwha hei mea ora, kaua hei mea pohewa noa iho. I tēnei whakaaturanga, ka whakakitea te taniwha hei hanga ka puta ake i te kaha o ngā kare ā-roto, te pēhanga, me te whai kia ora tonu. Ko te taniwha hei waka kawe i ngā kare ā-roto uaua te pupuri, pēnei i te pōuri, te mataku, te riri, me te manawanui, ā, ka huri ēnei i te āhua tonu o te horopaki me te tirohanga. Kāore a Kahurangiariki e whakaahua ana i te hanga o tētahi taniwha kotahi, ka whakaarohia kēhia te taniwha hei mea ora, hei mea kaha e whakahāngaihia ana ki ō te wā nei wheako.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eKo te whakakikotanga te pūtake o tēnei tūhuratanga. Ka whakamahi a Kahurangiariki i te papamōnehu, ngā kōhatu karakara, me ngā papanga ngohengohe, ā, ka whāia ngā āhuatanga tino wahine nei, me te “Juicy Couture steez”, e rite ana ki ngā kahu hākinakina māwhero i whakarākeihia, nō ngā tau 1990 me ngā tau 2000. Kanapa mai ana ngā kōhatu karakara i te papamōnehu pango. Kei te kitea tētahi karapitinga o ngā mātāpono rerehua i waenga i te mata whakarākei me ngā tauira whakairo. I te kitenga o te whakairo hei toi tāne, ka werohia te hinengaro i te kitenga atu e takoto mai ana i te papamōnehu tino wahine nei. Mā te kanapa me te kakano e whakawai te kaimātakitaki ki ngā mahi toi nei, ā, ka pā mai te auhi, te motunga, me te toimahatanga. He whakarākei te mea kanapa, ā, he rautaki huna hoki, hei pupuri, hei whakapiki rānei i ngā mea kei muri e takoto ana.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eHe māmā te whai, ā, e mōhiotia ana hoki ngā rawa e whakamahia ana e Kahurangiariki. Ka taea te hoko ngā kōhatu karakara i ngā pae ipurangi, ā, ko ngā papanga e pā ana ki a Juicy Couture hei tūtakitanga mō te ringatoi me te kaimātakitaki. Ka whakahē ēnei kōwhiringa i ngā wehenga o te rawa toi “tiketike” me te rawa toi “hahaka”, ā, he whakapūmau i te whakaaro mā ngā rawa whānui, mā ngā rawa whakarākei noa hoki e kawe ngā kōrero hōhonu mō ngā kare ā-roto, me te ahurea. Mā te āta whakapiripiri anō i ngā kōhatu karakara e kitea ai te nui o te wā, te manaaki, me te manawanui i te mata o ia mahi, me te aha, ka huri te whakarākei hei mea taumaha, hei mea whai tikanga hoki.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eI mua, i whakatūria e Kahurangiariki te taniwha hei hoa aroha, hei kaiārahi hoki i tētahi haerenga whakaora. I tēnei whakaaturanga, ka huri kē te taniwha hei kanohi mō te utu, ā, he ariā nō te ao Māori e whakahaere ana i te utu me te tauutuutu, ā, e hāngai ana, i te nui o te wā, ki te rānakitanga o te mate. Kua noho te taniwha hei waka pupuri i te riri, te mataku, me te wairua tiaki mō te ringatoi, te kaimātakitaki, me te taiao hoki. Ka panonitia, ka hurihia hoki te haupatu, ā, mā ngā mahi nei e kitea atu ai, e auahatia ai, e ora tonu ai anō hoki.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eKei muri i ēnei mahi tētahi wairua tiaki e noho ana, pēnei i te taniwha ka noho nei hei kaitiaki, hei tipua weriweri hoki, ā, ka puta tuatahi ngā mahi nei hei mea whakamataku, engari kei roto anō he kupu whakatūpato e mea ana, kāore i te tika ngā mea katoa i te ao nei, engari kei a tātou tonu ngā rauemi hei whakatikatika i tēnei.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eI Kai a te Taniwha, kāore te taniwha e herea ki tētahi whakamāramatanga kotahi. Kāore te taniwha e tiaki kau, e turaki kau rānei i te aha noa iho, engari ka auahatia mai te taniwha e ngā kare ā-roto, te hiahiatanga, me te tirohanga. Mā te whakakotahi i ngā whakaahua kiko me te ngāwaritanga, te pukuhohe, me te nui o te kanapa e rite mai ai i a Kahurangiariki tētahi reo ataata e noho tahi ai te waiwaiā, te ngākau whakawiri, te pohewatanga, me te oranga tonutanga. Ka tonoa te kaimātakitaki kia aro ki ēnei taupatupatu, kia kitea ai te taniwha hei hanga kare ā-roto, hei āhuatanga e kitea ai ngā kare ā-roto uaua o te takitahi, o te hapori anō hoki.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eMā tēnei whakakotahitanga o ngā rawa maha, o tēnei hōhonutanga hoki o ngā kare ā-roto, ka whakaū a Kahurangiariki i te whakaaro, e ora ana te taniwha, arā, he mea urupare, nō nāianei, ā, he mea e hono pū ana ki te whakatinanatanga o ngā kare ā-roto, o te wheako, me te manawanui\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eNā Hēmi Kelly i whakamāori\u003cbr\u003eHe mea rauhī nā\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eHōhua Thompson\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eCurated by Hōhua Thompson\u003c\/p\u003e","brand":"Te Uru","offers":[{"title":"Default Title","offer_id":51434949411108,"sku":null,"price":0.0,"currency_code":"NZD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0899\/1637\/5332\/files\/Taniwha_Cover_Image.jpg?v=1774411235"}],"url":"https:\/\/teuru.org.nz\/collections\/archive-2026.oembed","provider":"Te Uru","version":"1.0","type":"link"}