Daniel Malone’s conceptually-driven but wide-ranging practice has frequently been characterised by a keen engagement with context. For Titirangi Apocrypha, Malone returns to New Zealand from Poland with the productive distance of his recent travels to mine both the art practice and the subsequent art historicisation of renowned artist Colin McCahon. Malone’s approach embraces the tangential and contradictory aspects of McCahon’s practice, including his iconography, methodology, materials and existential concerns. These new works, developed and produced during Malone’s three-month residency at McCahon House, thus form a type of apocryphya, an un-canonised addition to mythology that exists around McCahon and his work.