Artwork by Kate Serebrianskaia With Eyes Wide Open, 2026. Acrylic fluid and ink on canvas.
Vintage Omann Jun Rosewood Sideboard from Mr. Bigglesworthy at Good Form, Romy Table Lamp by Cam Barrett from Good Form,Bokk Bottle Opener by Nedre Foss from Good Form.
Art and design in conversation
The collaboration grew from Good Form’s relationship with Föenander Galleries, whose artists’ works have formed part of the presentation at our own gallery over several years. For this exhibition, the dialogue moved to Föenander’s venue at 1 Faraday Street, Parnell.
Elle invited Emma to co-curate Kate Serebrianskaia’s debut show. Together, they selected and arranged furniture, lighting and objects in response to the paintings’ scale, colour and atmosphere. Vintage pieces from Mr. Bigglesworthy sat alongside contemporary designs from Good Form, creating a setting in which artwork and object could be experienced together.
Past exhibition
5–30 March 2026
Hosted by Föenander Galleries
1 Faraday Street, Parnell, Auckland
Artwork by Kate Serebrianskaia Flare, 2026, Acrylic fluid and ink on canvas.
Vintage Rare And Iconic Stephane Rondel Cane Peanut Chairs By Rondel Design from Mr. Bigglesworthy at Good Form, Vintage Rare Ernst Plischke Modernist Light Shades for St Martin's Church from Mr. Bigglesworthy at Good Form, Måne Wooden Bowl by Nedre Foss from Good Form, Vintage John Crichton Pan-Pacific Modernist Kauri Bowl with Salad Servers from Mr. Bigglesworthy at Good Form.
We embraced contrast as a curatorial gesture, drawing attention to unexpected duotones and subtle tensions.
Colour, scale and contrast
Kate’s paintings explore colour and form through staining paint into canvas. Translucent fields bleed into one another, creating a sense of depth and illumination across the surface.
Emma and Elle’s selection of objects responded to this chromatic language. The installation used contrasts of material, tone and silhouette to draw attention to relationships between the paintings and the design pieces, allowing visitors to move between two-dimensional and three-dimensional work.
Kate Serebrianskaia, Something to believe in, 2025. Acrylic fluid and ink on canvas.
Artwork by Kate Serebrianskaia 'Magnified', 2026.
Pair of Sharp Henning Kjaernulf 'Razorblade' Armchairs by Nyrup Møbelfabrik from Mr. Bigglesworthy at Good Form.
Kate Serebrianskaia, Things are changing but I am still here, 2026. Acrylic fluid and ink on canvas.
Cell Candle Holder by Zaha Hadid Design, from Good Form.
Kate Serebrianskaia, There is a place where we belong and See how it shines, 2026. Acrylic fluid and ink on canvas, framed.
Rabarbra Vase by Nedre Foss, from Good Form.
Curator’s notes
By Emma Eagle
Across the space, spectrums unfold: of paint, of material, of tone. As we developed the exhibition, we found ourselves searching for ways to articulate the experience of the works: how to describe colour that feels immersive, how to give language to surface, depth, and subtle changes. Spending time with Kate’s paintings prompted a reflection on how words, too, might create a spectrum; how language could echo the same shifts, bleeds, and transitions found within her canvases.
Kate Serebrianskaia, Things are changing but I am still here, 2026. Acrylic fluid and ink on canvas.
CC Stool by Rex Kralj, from Good Form.
Exhibition archive
Explore the Föenander Galleries exhibition archive for the host gallery’s overview, artworks and installation views.
Our original journal article documents the collaboration and the vintage and contemporary design pieces selected for the exhibition.
Artwork by Kate Serebrianskaia.
Monoblokk Vase by Nedre Foss from Good Form.
Kate Serebrianskaia with co-curator Emma Eagle of Good Form, pictured with Something to believe in, 2025. Acrylic fluid and ink on canvas.
