• Shane Hansen's latest collection of work contains many personal references to the artist's own background and cultural identity.
Reflecting his Maori, Chinese and European heritage, many of these works combine a number of stylistic and thematic influences.
While the title of Red Taniwha suggests a Maori motif, for example, Hansen's taniwha is presented as a striking gold-on-red Chinese dragon.
Hansen gives the viewer a private glimpse into his childhood with three large plywood cut-out images of himself and his siblings.
These works are also coupled with evocative poems which both provide context for each cut-out and highlight their very personal nature.
In Acting The Goat, a sullen-looking young Hansen stands arm in arm with his grinning sister, the accompanying text providing a light-hearted account of how they would act up and fight.
The work Urban Taniwha Blue visually represents the movement of Maori into pockets of urban settlements.
Here Hansen contrasts a taniwha figure - symbolic of Maori peoples - with long, stylised koru that embody both the lure and the challenges of urban living.
Through this and other works Hansen highlights the importance of the land to the formation of his own identity; an identity which is celebrated throughout this exhibition.
• The 134th annual exhibition of work from the Otago Art Society is dominated by representations of the landscape, both local and otherwise.
The work of guest artist June Harris consists of scenes broken down to their basic elements.
Harris relies on colour and line, applied in a painterly manner, to distinguish the forms of her landscapes.
Autumn Drift, for example, is a cluster of warm and earthy shades which not only give the impression of a landscape but also evoke the fallen leaves and distinct colours of the autumn months.
Even more pared down is Naili Lin's work simply titled Landscape.
With the subtle use of monochrome Lin has created an ambiguous form that hovers between representing a cloud or a mountain, its edges indistinct so as to give the impression that it is expanding and shifting.
The Moeraki boulders feature in Susan Pronk's ink drawing Born of the Land.
Building up tone using small marks, Pronk presents a stylised view of the Moeraki landscape which incorporates Maori patterns into the shape of birds, hillsides and the incoming tide.
As indicated by these three works, this exhibition contains work in a range of styles and approaches, and showcases the talents of many local artists.
• In this collection of new sculpture New Zealand-born artist Alicia Frankovich combines a variety of materials, from eggs to a T-shirt, to create works which are both fascinating and visually appealing.
Immediately inside the gallery door stands Orpheus, an aluminium door frame barely supporting a large tray of eggs on top.
The sides of the tray bend precariously downwards, threatening to spill the eggs on to the floor.
This work is humorous while also creating a sense of anxiety, causing the viewer to tread carefully in fear of disturbing the tray's delicate balance.
For Demi-Mortal Frankovich has installed a small nozzle into the gallery wall which emits a short burst of compressed air when the viewer passes a sensor.
Thus this work relies on the close presence and action of the viewer; without them it remains unactivated, an almost unnoticeable small hole in the wall.
The most striking piece in this exhibition consists of a large, shallow pool of water contained in black plastic, with two chains suspended into it from the ceiling.
Like the other works in the exhibition, Frankovich's pool invites speculation, bringing unexpected elements into the gallery space which create tensions and encourage multiple readings.
