The central concern of Rozana Lee's ongoing research and practice is how to create a contemplative space where cultural dynamism can be felt as togetherness or belonging. Drawing from multigenerational family history of migration and displacement, Lee seeks different rhythms, contours, and experiences as coexisting, sympathetic, and reconfigured.

'Sekali pendatang, tetap pendatang' (Once an immigrant, always an immigrant), 2023. Installation view. Photo: Sam Hartnett. Courtesy of Te Uru Waitākere Contemporary Gallery, Tāmaki Makaurau Auckland.

'Sekali pendatang, tetap pendatang', high definition single-channel video, 15.14 mins, colour, sound, and text, rear-projected onto 2004 tsunami-soiled fabric screen on powder-coated steel posts. Photo by Sam Hartnett. Courtesy of Te Uru Waitākere Contemporary Gallery.

'Several degrees of attention', 2022. Installation view, Govett-Brewster Gallery, Ngāmotu New Plymouth. Photo: Bryan James

Kate Coolahan and Rozana Lee, 'This hand that is every stone' curated by Amy Weng in 'Several degrees of attention', 2022. Installation view, Govett-Brewster Gallery. Photo: Bryan James

'Adzan' 2018, single channel video, sound, 5 min 21 sec, projected onto tsunami soiled fabric, stainless steel posts, sandbags, 1500x1800mm (screen). Photo courtesy & collection of Christchurch Art Gallery, Ōtautahi Christchurch.