Selected from thousands of photographs taken over a period of two years, the work documents Auckland's art scene and its gallery openings, performances and underground events, especially those taking place around the artist-run space Teststrip.

[12] The artist took as her subject over 3,500 volumes of media clippings and handwritten transcriptions pasted into notebooks and hardback books by amateur historian Frederick B. Butler over a period of 60 years.

[13][14] The works have been shown in solo presentations and also as part of group exhibitions examining the nature of the archives, such as Collect/Project at the Adam Art Gallery and Unpacking my library at Te Tuhi.

[6] Doublet (after Heavenly Creatures), Parker/Hulme crime scene, Port Hills, Christchurch, New Zealand (from 2001) from her Public Spaces series (2001–2003) for example is a diptych made up of a single image of a curve of a forest path, one moving to the left and one to the right.

The seemingly banal image draws its power from the site it documents, the location of the murder of Honorah Parker, later dramatised in Peter Jackson's film Heavenly Creatures.

[17] In another work, Wintering, after a Van der Velden study, Otira Gorge from 2008, Shelton works from a preparatory sketch by Dutch-born artist Petrus van der Velden held in the collection of the Hocken Library at the University of Otago, choosing the rough drawing over the artist's dramatic oil paintings of the same topic.

[18][19] A recent series, jane says, created for her 2016 exhibition at Auckland Art Gallery Dark Matter, features plants traditionally associated with treatments for women's fertility placed in ikebana-like arrangements against vibrant coloured backgrounds.