Nat Tozer
Nat Tozer explores narratives of the underground to unearth objects and knowledge. She attempts to dig, cast, frottage, film, imagine and animate the ground – splicing an expanded geological inquiry with science fiction and mythology. Working across moving image, materiality and social sculpture, she is interested in folk tales, the revision of mythologies into a local ecologies, tunnelling, anarchist anthropology and network theories.
Recent shows include Erotic Geologies Gow Langsford (2024), ABSTRAXT ABSTRAXT Northart (2024), The Metamodern in Literature, Art, Education, and Indigenous Cosmologies: An Interdisciplinary Symposium AUT (2023), Deucalion & Pyrrha, Sluice Biennial, PADA Residency, Lisbon Art Weekend (2022), Māter Mater Silo 6 (2022), Companion Pieces Public Record (2021), National Contemporary Art Award Waikato Museum (2022, 2021), The Table (2023), He Iti (2022) and Piki Mai: Up Here (2021) for mothermother, Aotearoa Art Fair, Femisphere 4 (online), and Salted Earth at Sosage Gallery (2020).
Tozer holds an MFA with first-class honours (2022) and a PGDipFA with Distinction (2020) from the University of Auckland Waipapa Taumata Rau. During her time at Elam she received The Lightship Award which funded the presentation of an open-air 110m video work at The Ports of Auckland, was selected for a summer scholarship, an academic scholarship, the Emerging Artists Show at Sanderson Gallery and represented Elam School of Fine Arts at the Guangzhou Graduate Art Fair.
Tozer is a director at LOT23 Media which specialises in delivering high-production moving image for visual artists. LOT23 is responsible for providing the filming, editing, compositing, VFX and technical direction for some of Aotearoa’s most successful moving image artists. They’ve also been involved in numerous mentoring programs and provide technical support and advice for emerging digital artists.
She is the founder and curator of mothermother ARI which continues to support curatorial activism for underrepresented artists since 2019.
