Born in New Zealand, Callum Pankhurst completed his Diploma in Craft Design (now BCH. Visual Arts) at Christchurch Polytechnic in the mid-1990s. An enduring strength of the programme is how strongly it provides students with an all-encompassing understanding of design principles, coupled with hands-on working across a wide spectrum of materials. This experience and appreciation has played an essential role in Callum’s design prowess, his keen knowledge of materials, their potential application, and indeed their limitations.
Recognition came within one year of graduation, when Callum gained a Queen Elizabeth II Arts Council grant.
For the past 28 years Callum has created an entity that collaborates and cross-pollinates to produce the concept-driven brand of “integrated design” for which he is recognised. In the past two years Pankhurst has devoted endless hours creating his passion, a full craft design environment that produces unique quality Crafted works


Ben Reid


Jacob Yikes 





Ben Reid
Two Day Woodcut Print Workshop


Wed 9 December & Thurs 10 December 2020

Ben Reid graduated from Christchurch Polytechnic School of Art and design ( now Ara ) in 2005, majoring in printmaking. Ben regularly exhibits at Chambers and resides in Hanmer Springs.
His aim to is make the workshop an enriching and enjoyable experience.

Open to all levels, including absolute beginners. The workshop will focus on a hands on printmaking experience. You will be working with woodcut relief methods, making your own woodcut plates, using colour and monochromatic inks and learning quality printing methods.

Participants will make their own plates under the guidance of Ben and will explore the finer qualities of printed colour and rich blacks, texture, line and papers.
All technical equipment supplied.


Cost per person $350.00 Non-refundable but can be transferred.
Bookings and payment to be made through Chambers Art Gallery. Enrolments are only confirmed upon payment.


Wednesday 9 and Thursday 10 December 2019, 11am to 4pm


Chambers Art Gallery, 241 Moorhouse Ave, Christchurch 8011. Call Julie Williams 022 677 2810 during gallery hours (please don’t leave a message) or email


Maximum: 10 people Minimum: 8 people.
Grab a friend and be prepared for a productive and enjoyable workshop.


Woodcutting tools if you have them. Ideas and drawings you may wish to work from. Some resource materials will be provided. Please bring along your own pencils pens etc, ie things you feel comfortable with.


small mercies. 2020.


Peter Cleverley?2020

The title for my show. REMEMBER to FORGET. are words I ripped off from Bob Dylan?s song. HAS ANYONE SEEN MY LOVE. from EMPIRE BURLESQUE 1983. Remember & Forget are words opposite in meaning, then Dylan simply puts the word. TO in the middle and they have a variety of meanings. I think he was referring to forgiveness? remember to forgive. otherwise one?s baggage can get too heavy. I?ve written it on a couple of paintings and it always fits the imagery somehow. I like it?s ambiguity.

I saw the band. CREAM. in London 1975ish. They were superb. Ginger Baker?s drumming performance unforgettable. I remember his kit was very simple, the sound he got from it seemed impossible. Ginger Baker died October 2019. I remembered him in my painting GINGER BAKER in the MANIOTOTO. a great musician implanted into a wonderful landscape. I?m not reinformed by any imagery like photography, I just compose the image from memory. Manipulating the paint into something that sustains my intrigue is what is most important to me, what I try for each painting.




The shaka is a hand gesture employed by surfers, predominantly, as a form of acknowledged ritual participation. Bobbing in the briny, primordial soup; riding deep-formed pulses of aquatic energy and embracing the general feeling of stoke, the spirit of aloha.

The shaka originated in Hawaii. Legend has it a sugar cane processing worker lost the index, middle and ring finger on his hand in a workplace accident. Employed post dismembering as a train guard, he would use his hand to wave off the local kids from jumping the train. The kids would in turn use the wave, clenched fist with thumb and pinky extended, as a sign the coast was clear to jump the train. Kids. . .bloody ingenious, really.

Images in this exhibition were sourced from anatomical illustrations, mainly the book of Vesalius, with the anatomised pictured having more to do with the land of the living than the dead. The flayed, eviscerated corpses posturing, striding, flexing in idealised landscapes. History has proven the anatomical inaccuracies in these illustrations, but these exercises in ?wrongness? are what have financed my long-held obsession.

These ?figures of wrongness? are co-opted to walk along blackened beaches; surrounded by paint; become lost in impenetrable, inky voids; subjected to external forces. . .throw shapes with their bony, sinewy appendages.





Rebecca Stewart

To say Aloha is to give love, make peace, show affection, feel compassion and demonstrate mercy.? In Hawaiian culture this is used as a simple greeting. It?s older meaning is to define a force that holds a mother to a child and a heart to a hand.

Julie Ross

The drawing and paintings in this show continue to reflect my diverse response as an artist to a range of tools and media. My passion for figure and animal themes continues to inspire the subject matter.

The drawings and water-colours are inspired by vintage images of people in costume. I am interested in ideas around the meaning of performance: whether it is to dress up and play a character for a party or a show, or to perform/present a version of yourself in response to an audience, be it your colleagues, your students, your friends etc.

When I draw, I love the experience of lead pencil on paper to create contour lines, and fine textures.

When I paint in water-colour, I enjoy creating watery brush-strokes, to reflect the

light-hearted subject matter.

I continue to enjoy sculpting: Either creating works in wax and having them cast in bronze, or hand building in porcelain, glazing or painting.



Siene de Vries

?More Paintings from the Misty Peaks of Horomaka? 2020

Since my last show at Chambers Art Gallery in 2018 I have, among other subject matter, continued to work on still lives. Sometimes these have previously explored ?meaningful? themes like life and death, growth and decay and other times they are without specific meaning and just of ?paintable? and more or less ?beautiful? subjects or objects. I always find it important to convey a distinct mood or atmosphere through the use of light and colour whether I work on still lives, portraits, figures or landscapes.


Sam Walker

Liminal 2020



Padraic Ryan

Lustre 2020

These works come from the artist?s obsession with the otherworldly nature of nocturnal life under incandescent streetlights. It started with 3am drives home from his studio, and the discovery of a complete colour change in the world touched by the brilliance of these streetlights. Purples in the shadows of trees, that did not belong there. A rich, warm orange tone painting everything the light reached. The disappointment felt when he would come across a blue- toned LED lamp that would whitewash away the magical colours. The paintings display simple scenes that many of us take for granted, a lustrous feeling that the night could live forever, and help transport you to that world; evoking a nostalgic feeling for all of the times we have wandered the streets at night, perhaps after a few lemonades.



Andrew Craig

?Geo ? vanitas ?2020

The New Zealand landscape is particularly active where tectonic forces continually shape the land as do the erosive effects of a boisterous climate. The land is constantly rising and falling which is evident everywhere particularly in areas where erosion strips away the land surface exposing its underlying geo ? musculature. It is this interface which is of interest not only because it tells of our country?s origins, but also that of contest generally. The raw rock face further underpins the inherent contradiction between what is apparently solid and hard while harbouring the propensity to dissolve due to the unrelenting onslaught of what is liquid and soft ? namely wind, water, snow and ice. Comprising oil, acrylic or other mediums all paintings are of course essentially liquid in origin, as was the depicted rock at some long dim distant point in geological time. It?s as if the rock is made of paint and the paint made of rock, which has the effect of conveying apparent plasticity. Indeed, many paint pigments are sourced from rock. So in this regard the paintings record the mineral origin of paint.

In a sense we as individuals are faced with similar contests arising from the simultaneous effects of growth and inevitable decay ? that is, inescapable entropy being one of the fundamental laws of the universe. Similarly we, like the earth, are subject to these very forces which are beyond our control. And often where these are exposed a terrible confronting beauty finds expression. The Wikipedia entry on entropy perhaps best sums this up as:

?The increase in entropy accounts for the irreversibility of natural processes, and the asymmetry between future and past.? That is essentially what?s on show.



LOCKDOWN SERIES 25320201159?is an exhibition of works created during the unprecedented Covid-19 lockdown of 2020. An existing line of work begun prior to lockdown, for this exhibition, was abandoned in favour of new thinking, adjusted life and different inspiration.

All of the work created is repetitious, it is reminiscent of the repetitive thought patterns of my head. With thoughts slowed and headspace created, my mind moved to a blank canvas, a palette of grey and whites, a return to basics.

The neutrality signifying a de-cluttering of both mind and practice.

With mark-making at the forefront, white panels were etched and drawn into using multiple layers of plaster which were sanded and etched back to reveal a history of marks. A lot of the marks are repetitious, vertical lines, fence-like, contained, hiding behind them, markings as well as thoughts created during time imprisoned inside home and head.

The vertical lineage was carried through to wooden works. Wanting to make use of existing reclaimed materials from my garage, I cut and assembled creations using the same neutral white tones but accenting with colours seen from the deck of my house every day, in particular, the sunrises. They are variations of each other, referencing off one another.

The sombre grey images are abstract but more representational of my thought patterns. They are a balance of shapes and soft neutrals, sombre yet calming, reflective of my mood in the lockdown period. Being apart from the city, it was always close to my mind and an early morning escape to capture the emptiness of it was well rewarded by the presence of fog which perfectly created a haze or barrier to the images that was so apt.







Brett a’Court

I have been a painter for twenty years, I live in Northland and exhibit regularly in New Zealand.

The intention of my work is to reveal some aspect of what I see as the dazzling darkness of Divine light. I have been increasingly interested in low art religious imagery, with it’s emphasis on emotion and sincerity to communicate devotion and belief. Catholic images derived principally from the Baroque, have always had a powerful impact on me personally. My own work deals with these images, dissecting the imagery to unveil the fight within, aware also of my place in an Aotearoa, with it’s foundations soaked in Maori and Christian spirituality.

With my own work I have wanted to transcend metaphors and symbols. The eyes of the viewer, with the faith of the artist, combine to birth a reality that incorporates a metaphysical reality, beyond the surface of materials.

This is my exploration and intention, using the narratives from the Bible, Catholic prayer, Maori mythology, and my own personal faith .

Brett a Court, 2020

Exhibition History

2002  Lectio Devina solo show Letham Gallery Auckland

2002-7 showing at Grantham gallery Auckland

2006  Lingua Sacra solo show Art-Artz Parnell Auckland
2008′ Theology and Art group show Salisbury house Dunedin
2008′ Do not Fear’ solo show Wallace Gallery Auckland
2008 Wallace Art award finalist show
2009’Pathos’ solo show Satellitte Gallery Auckland
2009 Joint show with Ewan McDougall Thermostat Gallery Palmerston North
2010 ‘Crucifixion’ Group show with David Sarich and Barry Squire, Hangar Gallery Whangarei
2010 Group show Village Arts Gallery, Kohukohu Hokianga
2011 ‘Credo and Quest’ group show Whangarei Art Museum
2013 ‘Several Artists’ Group show with James Robinson,Jane Zusters,Alistair Nisbet -Smith, Geoff Tune.Art-Artz.
2013 ‘Fabrications’ group show with Allie Eagle, Jeff Thompson, Jessica Crothall.3rd space, Auckland.
2013 ‘Visions of reality’ solo show Museum of the Vernacular Auckland
2013 ‘Grottos,Shrines and Sacred spaces’ with Karl Maughan,J.K Russ,Siren Delux, Peter Ireland.Thermostat Gallery Palmerston North.
2015 ‘Exhibition of selected works from the collection’.Whangarei art Museum .
2015 ‘House of Cards’ group show The Incubator, Tauranga
2015-2016 ‘Flesh and Spirit’ solo show, Pah Homestead,TSB Bank Wallace Arts Centre.Auckland.

2017 ‘Printing & Paint Atelier’ group show, with Russell G shaw, Scott McFarlane,Megan Corbett,Chris Wilkie.Hangar art gallery

2018 ‘Sheep, goats and other introduced spirits’, solo show Hangar art Gallery

2020 MD(Megan Dickinson gallery) gallery group exhibition

2020 ‘Mugshots” Hangar Gallery’ group exhibition

Collections and Awards
The Whangarei Art Museum collection
The James Wallace Arts Trust Collection
Art-Artz collection
2008 Wallace art award finalist
Whakatane National ceramics Finalist 2003



? ?

Jane Barry – Songs about rain

This body of work is comprised of inkworks on paper with the inclusion of one large painting on canvas.

They are largely inspired by water and abstracted aspects of landscape.

I like the idea that water is symbolic and a subconcious metaphor for change and the stream of life. Flowing, constantly shifting and taking any course.

Our relationships like rivers, like storms, like waves.

The colour palette I have chosen is not wholly representative of belonging to what our association of water is. Rather the images are depicted for compositional value, the aesthetic mood and emotional qualities they might portray. Be it the scent of soft falling rain or the sound of the ocean, frantic and looming.

I?ve tried to convey through both media, mark-making, texture and movement derivitive of a nod to Mother Nature.

?Upon us all, a little rain must fall?

-Led Zeppelin


? ?

Kim Lowe – If Tao is a River…?

If Tao is a River… it’s good to know where the rocks are…?is a variation on a quote by contemporary Asian American taoist Deng Ming Dao, and is related to philosopher Lao Tzu (6th C BCE) who proposed the idea of life being like a river.

Olivia Spencer Bower set up her award to let artists follow their creative practice without any humbug and that is how I approached my year of painting. I began with aspects of Chinese aesthetics and traditional brush but just went with the flow in terms of subject. I was influenced by Olivia’s approach of painting portraits and landscapes of the people and land around her.?

In this selection of Te Waipounamu ink and acrylic paintings there is something about tourism here too, familiar landforms that get photographed and shared by hundreds of thousands of visitors (but maybe not anymore now that the borders are closed). I have been attempting to paint them from a historical/faux historical point if view and maybe also attempting to fill the gap of NZ Chinese painters from Olivia’s era.?Tupuna / Chinese Blue Lady?is a composite portrait from a found image of an unnamed NZ Chinese woman in the 1930s with family features from my wh?nau.?










Cast of Twelve?- a selection of bronzes

Tony O’Grady

The sculptural mediums I work in are stone, wood, clay, plaster, concrete, wax and bronze. I enjoy the physicality of making sculpture especially ?carving?.

Over the last 5 or so years I have been spending most of my time exploring the medium of bronze and producing smaller works, with a large concrete ?commission? thrown in the mix.

For me the human figure has always been a fascinating subject to apply sculptural ideas of mass, weight and balance, positive and negative space etc

On a personal, spiritual level to work out a vision and meaning. Throughout that process my hope is to discover new and vital ideas. I try to create powerful, monumental feeling work, (no matter what size) I hope my work shows those that view it, something unique, individual and even uplifting.

Youth – a selection of works

Leah Marshall?

Working originally in bronze sculpture,? I have always studied,

sculptured,? painted and been totally fascinated by the human fig-

ure.? My endeavour was to capture not only form and character, but

to use imagination to link these through the creative process to

more universal themes.

At a point in my practice I discerned a need to divorce form from

colour, to enable me to work on refinement and fluidity in form.

Around this same period I responded to an urgent and growing

need to document and celebrate my son’s ever changing childhood.

The concept was born to link this need to a wider theme of human

youth,? honouring both the innocent glowing litheness of the young

body, and its rich nobility of imagination. As the series developed,

and? 12 years passed, a rich extra dimension emerged: that of

recording the impermanence of youth;? its mutability;? its evanescent

-? and therefore priceless? -? rarity.

As with the boast ot Shakespeare that through the lines of his poem

his love’s eternal summer shall not fade, but rather:

“So long as men can breathe, or eyes can see

?? ? ? ? ? ? ? ? ? ? ? ? ? ? So long lives this, and this gives life to thee”

so too this series attempts to preserve moments of time, and the

associated feelings and fancies of that time; elevated upon a

pedestal, out or the flow of time.

Rather than painting in highly worked layers of oil colour, as with

other threads of my work, in this series I restricted my palette to

two transparent earth tones. The distraction and concerns of colour

were removed, leaving me free to concentrate on tnbe pure image.

To achieve the desired effect, these two hues are laid down togeth-

er, one area? (eg. the torso), needing to be completed in one ses-

sion. Once an area has dried it is never reworked.

Although working in a disciplined and structured fashion from full

sized charcoal sketches, this technique forced me to work at speed

in a vehicle pared down to the basic elements needed to convey the

spirit of the moment, the idea, and the individual.


I am 59 years old, married to Pamela and we have one daughter. Born in Christchurch.
We live in South Brighton, Christchurch.
I have been making sculpture and painting for over 25 years.

The sculptural mediums I work in are stone, wood, clay, plaster, concrete, wax and bronze. I enjoy the physicality of making sculpture especially ?carving?.

Over the last 5 or so years I have been spending most of my time exploring the medium of bronze and producing smaller works, with a large concrete ?commission? thrown in the mix.

For me the human figure has always been a fascinating subject to apply sculptural ideas of mass, weight and balance, positive and negative space etc to.

Then on a personal , spiritual level to work out your vision and meaning. And through that struggle to discover something new and vital.

I am always wanting to create powerful, monumental feeling work (no matter what size) I hope my work shows something unique, individual and even uplifting.

Galleries I have exhibited in group shows include:


Form Gallery, Chch

Tai Tapu Sculpture Garden annual Exhibition (4 yrs)

York St. Timaru
C.S.A. (as it was then)
Port Gallery, Lyttleton.

Arts Centre, Chch. Wanaka.
Canterbury Gallery, Chch. Salamander Gallery, Chch. Bealey Gallery, Chch. ?Classic Interiors?.

Applied Art NZ.

Little River Gallery. Solo exhibitions:

Painting: Lyttleton Coffee Company, Lyttleton; Chamber gallery, Rangiora

Two Rivers Gallery, Cheviot.

Christchurch City Council, a wooden sculpture (hand in hand), gifted to a ?sister city? in Japan. Public sculpture @ Ilam Medical Centre.
Numerous private commissions.

Tutored at a summer workshop on stone sculpture at the ?Arts Centre?.



An exhibition of paintings by Ewan McDougall with Virtual Reality by Claire Hughes

Unreal! is a touring exhibition of twelve oil paintings by the Dunedin neo-expressionist painter Ewan McDougall, with figures and motifs ?brought to life? by the Virtual Reality phenomenon created by multi- media artist Claire Hughes.

The five city New Zealand tour opens on Friday 21 February, 2020, in Exhibitions Gallery in Wellington coinciding with the Opening of The NZ Festival of Arts before travelling to Chambers Gallery in Christchurch Opening Tuesday 24 March. Ewan and Claire are very excited to be working with Julie and team in Chambers gallery in this unique, boundary crossing, creative venture.

Christchurch-based Hughes has recently completed a PhD in digital art at Massey University and when she suggested a collaboration, McDougall was immediately enthusiastic.

McDougall has collaborated with poet and playwright Sarah McDougall, with NZ musicians Greg Johnson and Barry Saunders, with the African American Jazz Composer Harold Anderson and with Bluesman Darren Watson, but he has never before collaborated with a Virtual Reality expert.

Hughes? most recent exhibition, Entangled (2018), at Toi P?neke Art Gallery in Wellington, was a solo exhibition with sound collaboration. This work featured an original 8 minute virtual reality experience which linked the virtual with the physical gallery space. Her 3D modelled animation, Matter matters (2017), was projected onto the water screen in Wellington Harbour for the Lux Festival with an estimated 100,000 -150,000 viewers.

Hughes has also elicited the sound expert, Isaac Lundy, who is doing a degree in music at Massey and who has worked with Claire on her previous projects. She describes her work with McDougall as ?more than a 3-D reproduction of an artwork, it will use McDougall?s characters to create a new interactive experience.? Viewers will see the paintings and don a VR Headset and become immersed in the vibrant world of the figures as they cavort in virtual space.

Ewan McDougall?s vibrant and primitive figures, animals and hybrid creatures have been part of his exhibition history for thirty years in Aotearoa/New Zealand galleries, including five Public Art Gallery Exhibitions, and in exhibitions in London, Valencia, Cremona, Sydney, NYC and Shanghai, but he is particularly excited about this innovative venture with Hughes, where psychedelic cave figures will leap into life with cutting-edge technology.

The Unreal! tour commences in Exhibitions Gallery Wellington on Friday 21 February until 15 March, Chambers Gallery in Christchurch on Tuesday 24thMarch, The Quiet Dog Gallery in Nelson on Thursday 23 April, Gallery de Novo in Dunedin on Friday June 5, and 12gallery in Auckland on October 20th, 2020.



Art has been my life, after graduating Dunedin school of Art in the early 90?s I went on to teach art for over two decades. During that time I have also exhibited around NZ in various medium. ?I have awards in drawing, Oils, Photography, Sculptural work and Printmaking. ?I have worked and travelled around NZ, from the Deep south, where I was born, to the Far North, and lots of places in between. ?Over my life time I have grown a deepening understanding and love for our country, our whakaapapa, our connection to our land, a connection that as individuals, we all have. This is the inspiration of my works. I translate my love of Aotearoa through an adapted Japanese style woodblock technique.

Rock Pool

Welcome to the Rock Pool Exhibition
The idea for this exhibition began in 2019, after a long winter.

I went in search of a place, an elephant garden, that would help me shift the cloak that winter had wrapped me in.

Living in a country surrounded by sea I have walked beside water for all of my life. Above, below, and inside water has been an interest and a comfort.

The thing about water is that for a moment you are offered the chance to return to the daydream state of childhood.

Water and the places where water lives became the focus of my work for the last year. I discovered places where water asked me to step forward and rest my hand in the salty warmth of a rock pool. I found places that were quiet with damp grey mud. I gazed into transparent pools where rocks lurked ghostlike beneath the surface, and I felt fear at the churning water lapping around the bottom of blackened jetty poles.

Using paint, ceramic, broken bus stop glass and charcoal, which have been pushed, pulled and heated to 1200C I have created individual works that are bonded together by water.



Ricky T Kaz graduated from Christchurch polytechnic in visual communication in 2000, with two majors in Printmaking and Illustration.

Ricky has ?been painting and drawing for the last 6 years.
Heavily influenced?by Polish poster art. Each of his unique works tell a story and each panel of these five works has a title.
The inspiration for these works comes from his ability/urge, to analyse people, himself, society, fads and trends and put them on display in his art.
Exhibited :2017 at Chamber gallery Rangiora.
? ? ? ? ? ? ? ? ? ?:2018 at Next gallery St Asaph St.




? ?







David Woodings

Commemorating 100 years since WW1 by Christchurch artist David Woodings ?Somme/Silk Road?. The narrative behind these four suites of cards was a soldier sending ?silk? cards home to his Father, his Mother, his Sister, and his girlfriend.

Based on the historical ?silk cards? of WW1 these 12 images would not have been actual cards and

hold a more subversive message about those who for a variety of reasons chose not to serve their country during the WW1 campaign.





? ?

Michael Duncan Smither CNZM is a New Zealand painter and composer. He was born in New Plymouth and was educated at ?New Plymoth Boys High School and Elam School of Fine Arts Auckland.

Born 29 Octber 1939

During his long and prolific career Michael Smither has found continuing inspiration in his immediate environment. This has resulted in a large body of work that is synonymous with the New Zealand landscape and culture. He paints coastal and mountain landscapes, family and children, domestic objects and religious symbols.

Born in New Plymouth, Michael Smither was based there until his move to Auckland to attend Elam School of Fine Arts in 1959. He then returned to New Plymouth and spent the majority of the 1960s in the Taranaki region. Paintings of this period record his family life, his wife and children, the New Plymouth community and the landscape of the region. He has become particularly renowned for his paintings of Mount Taranaki and the Taranaki boulders from this period. Works at this time also draws on religious iconography and religious themes.

Mark Soltero

The Projection Room

Mark Soltero?s practice evolves from his personal history. Working primarily in a monochrome palette as a self-imposed constraint, he makes drawings, prints and paintings that examine relationships between images and memory.

?His methods often involve the production of detailed layers of hand-cut stencils. Working in an intense and repetitive process deconstructing and mining images to see what they contain, looking through the layers, drawing and re-drawing outlines and shapes, resulting in a kind of physical tracing of cinemas as containers of images, memory and history.


Tim Main?

The Foothills

For me the pleasure of the aesthetic experience lies in finding a balance between a guiding structure and a variety of embellishments; a harmony of order and movement. I like the idea that we can observe the medley of forms in a plant and take from that a few expressive elements that once crafted/constructed will function as a symbol for all nature. There is a yearning for perpetuity embodied in pattern, and a desire to understand nature?s sublime secret of creation.






Born in England, Graham has lived in New Zealand since 1982. Originally trained as a photolithographer, he had a long career in the design and print industry, which also included running his own design and prepress studio.? Graham returned to concentrate on his first love of oil painting in the early 2000s.

Using vibrant colour and detail he has built a reputation for creating realistic paintings that capture the familiar, yet often overlooked scenes found throughout New Zealand. His work represents snapshots of the laid back Kiwi lifestyle from coastal beach to suburban and rural scenes. He also focuses on signposts of the past with the old vehicles and caravans that have given pleasurable memories to our lives as they get swept away by the rate of modern progress. The human imprint on the landscape is a vital part of his work.

He has exhibited widely in New Zealand with his paintings gaining recognition, making their way into collections both here and overseas, including Australia, USA and the UK, with his adopted home remaining his primary inspiration.


Neville Campbell – Imaginations of Divine Mother?

‘Imaginations of Divine Mother’ draws freely on an artistic interpretation of who the Divine Mother is, removed from any limited knowledge as to who she might be. It is a process of finding my way by moonlight before the sun has come up. A light so often pretended away and ignored because it exists as the most painful kind of hope there is, blurring desire and dream.
Neville Campbel

“Do you want deliverance from the bonds of the world?
Then, weeping profusely, you will have to cry out from
the bottom of your heart. Deliver me, Great Mother of
the World, deliver me!”
~ Anandamayi Ma

These words of Anandamayi Ma are living milk of the Mother, disturbing my complacency and stagnant idealisation of who she is or how she might appear.

In reality I have no idea who ‘Divine Mother’ might be, or believe in any overarching deity, masculine or feminine. It seems beyond reason therefore, I have been drawn to depict awareness of known and unknown as a voluptuous woman.

The Feminine, as a psychic force reaches far beyond biological sex, and thus cannot be wholly claimed by the female voice (tempting as this might be after centuries of inequality and abuse).

Stuart Clook – Precious Landscapes

My photography and print making are influenced by the pictoralists and tonalist movements of the late?19th century where I use contemporary materials to make landscape prints of platinum, cyanotype and gumbichromate in muted colours of dreamy and painterly imagery. These historical processes renowned for their subtle tonal range, luminosity and inherent permanence are labour and time intensive yet rewarding and addictive with endless creative possibilities that help me use the full photographic syntax to make prints with personality that will stand the test of time.

Like a small but growing number of photographers I?m exploring analogue and alternative photographic processes to help me express my thoughts and feelings about the land that we live, work and play in. These processes help me make my prints in a uniquely personal way and where I can use my hands in today?s digital and machine centric world.

I love the fact that the outcome is not guaranteed and that sometimes serendipity can play her part in making for a truly unique and handmade photographic print.

My goal is to inspire those who see my work to look more carefully around them and to discover how precious our world is.

Stuart Clook


The Platinum & Palladium print

The exquisite quality of platinum and palladium prints are unique and renowned for their delicate tonal scale of luminous mid tones, rich shadows, and delicate highlights. Made from the salts of platinum and palladium the process was discovered during the 19th centrury and patented and commercialised by William Willis in 1873.

It gained popularity to become the most popular photographic medium at the time until it became difficult to source platinum as a result of its uses for World War 1 ammunitions manufacture. As a result, commercial papers became unavailable and photographers started to use the higher gloss modern day silver gelatin papers which coincided with the transition from pictorialism to modernism in the 1920?s

Platinum palladium printing is history?s ultimate photographic process and the most archival of all photographic mediums available. It is impervious to light fading and acid damage and will last as long as the paper that supports it. Archivally framed and properly cared for a platinum palladium prints are capable of lasting more than a thousand years.

The Gum bichromate print

Discovered by Mungo Ponton in 1839 this process was one the earliest colour printing processes and uses watercolor pigments mixed with gum Arabic and dichromate to form the printed image. ?Although gum printing can be used to produce full colour CMYK print I use the gum process in combination with a platinum palladium print to add depth to the shadows and through choice of colour affect the mood in the print. My gum and platinum combination prints are made by printing several successive layers of gum in registration with the platinum print to build up the overall density and colour.

The Cyanotype print

The Cyanotype, which is also known as ferroprussiate or blueprint was invented by Sir John Herschel in 1842, when he discovered that iron salts reacted to light and oxidised to create a blue-and-white image of a continuous tone of the pigment Prussian Blue.

The process was particularly suited to reproducing technical drawings in engineering and architecture until the advent of the photocopier machine. However, it is a versatile process and was used throughout the 19th century as a photographic printing process including the first use of photographs to illustrate a book by Anna Atkins in 1843 in her Photographs of British Algae: Cyanotype Impressions.




Wood: Steam bent and laminated oak. Stain and wax finish. Stone clay: Press moulded and tooled. Polychromed with oils.


For me the pleasure of the aesthetic experience lies in finding a
balance between a guiding structure and a variety of embellishments; a harmony of order and movement. I like the idea that we can observe the medley of forms in a plant and take from that a few expressive 
elements that once crafted/constructed will function as a symbol for
all nature. There is a yearning for perpetuity embodied in pattern, anda desire to understand nature?s sublime secret of creation.


Bachelor of Craft Arts 2000, CPIT. Exhibiting Sculpture 2000 - 2019


Milford Galleries, Dunedin, Auckland, Queenstown. The Arthouse, CoCA,
The Dowse Art Museum, Little River Gallery, Chamber Gallery Rangiora,
Salamander Gallery


The Taitapu Sculpture Garden, Christchurch Art Gallery,
McDougall Art Gallery, CoCA, The Suter Art Gallery. 
Based in Christchurch, NZ.
Work held in public and private collections.



Fantasyland is an exploration of pure strong colour relationships and human gesture somewhat inspired by David Hockneys? photographic drawings. Out of character for me the past 5-6 years of my work has focussed very much on people, usually juxtaposed against the arrival of the new Christchurch. In many ways this work is a response to that, a way to break away, move on. During those years I became very interested in the human gesture, and in the process of making fantasyland I discovered that the gesture and its related emotions are still very much present even if the person is reduced to a mere silhouetted shape. I could talk about the transience of life, how we are intrinsically all the same etc, but I?ll leave that to the viewer. For me these are a study of colour and form with a few life moments thrown in for good measure.





Sandra Hussey is a South Canterbury painter based in Timaru. Her approach to artmaking is practice led with a studio process which invites randomness, chance and its containment. Engaging with the fluid properties of acrylic paint, she constructs abstract paintings from a series of paint pours. Screen printing and collage techniques are also employed. Colour associations and environmental themes are explored through the materiality of the medium and the use of recurring motifs.?

Sandra spent several years as a bookseller in the U.K. before returning to New Zealand in the early 2000?s to focus on her art career. In 2015 Sandra gained a BVA Painting (Distinction) at Dunedin School of Art and in 2018 graduated with a MFA Painting (Distinction) at University of Canterbury School of Fine Arts.?


2018 Master of Fine Arts Painting (Distinction), SOFA University of Canterbury 2015 Bachelor of Visual Arts Painting (Distinction), Dunedin School of Art 2014 Diploma in Visual Arts and Media, Ara Institute of Technology 2004 Diploma in Painting (Distinction), Ara Institute of Technology?


2014 Samantha Wallace Memorial Award for Excellence 2006 Alpine Energy Art Awards (Oils) 2004 Aoraki Festival of the Arts (Supreme Award)?

Solo Exhibitions?

January ? February 2019. Fluid Scapes. Ashburton Art Gallery March 2011. Picture This. Red Gallery of Contemporary Art, Nelson?

Joint Exhibitions?

August 2019. Liqui-forms. Chambers Art Gallery, Christchurch March 2004. Tribute. Aigantighe Art Gallery, Timaru?

Selected Group Exhibitions?

February 2018. Ilam Masters 2018. SOFA, University of Canterbury, Christchurch November 2015. SITE. Dunedin School of Art, Dunedin November 2014. Polychrome. Aigantighe Art Gallery, Timaru December 2006. Artack. Aigantighe Art Gallery, Timaru November 2006. Alpine Energy Art Awards. Geraldine?

Public Collections?

Dunedin School of Art Ara Institute of Canterbury, Timaru campus?

Overseas Private Collections?

Mr T. Lewis. Flynn ACT, Australia Mr P. Radula-Scott. Wadhurst, U. K.?


In-flux. MFA submission catalogue 2018. Forward by Dr Andrew Paul Wood Ilam Masters 2018. Group exhibition catalogue. Jen Bowmast, Mitchell Bright, Stuart Forsyth, Sandra Hussey, Keren Oertly, Saskia Bunce-Rath, Emma Wallbanks. SOFA Gallery, University of Canterbury. Forward by Aaron Kreisler?

Selected Reviews?

Sandra Hussey: Consumerism and the importance of pouring paint. Art Beat, p 7. Christchurch. August, 2019 Ten ?must see? exhibitions in February. Warren Feeney. The Press, C8. Christchurch. February 2, 2019 Burnouts and shopping trolleys. Warren Feeney. The Press, p 13. Christchurch. February 8, 2018 Road trip brought nature to canvas. The Nelson Mail, p 13. February 16, 2011 Tribute to Sir Peter Elworthy at Aigantighe. The Courier, p 3. Timaru. March 25, 2004 Aoraki Festival winners named. The Timaru Herald, p 23. February 14, 2004 Top artistic talent to be celebrated. The Timaru Herald. February 13, 2004?



Neville Campbell Artist Biography

Neville Campbell is a Christchurch based artist and Secondary School Teacher. He graduated BFA in painting from Auckland University in 1991. Over time his interest has shifted from painting to photography and animation, all the while exploring the same philosophical theme that was ignited during 3 years in India in the late 70?s.

Current exhibited works are prints of high-resolution stills from an ongoing animation project. Multiple surfaces have been randomly repositioned in a virtual studio to reflect and refract, create chance effects, and play with figures and forms until a satisfactory composition is reached.







?Tipping Point? (2019)

The concern for continuation and survival gave rise to the title ?Tipping Point? (2019) for my upcoming exhibition of mixed media art works to be shown at the Chambers gallery, Christchurch, May 28th – 15th June.

This exhibition demarks the precarious situation that many species and ecosystems are facing globally in a time of rampant industrialization, human consumption and waste – thence to the warming of the planet?s atmosphere underscores ?Tipping Point? (2019)

.?My point of view is not a Utopian or dystopic one but rather one that is based on allegory and adaptability to a changing planet. These concerns and memories of such things combined with historical and contemporary notions of survival have underscored my work for several years.?– D J Copland.

?What we dream of is already present in the world? – Rebecca Solnit, Hope in the Dark

? ????


Victoria Edwards and Ina Johann began working together as EDWARDS + JOHANN in 2007. Their work has been in numerous solo and group shows. They engage in public projects and artists residencies nationally and internationally and have been finalists in many art awards.

EDWARDS + JOHANN were The Supreme Winner of the 2016 Painting and Printmaking Award, Parkin Drawing Prize 2019 (Merit Award), Molly Morpeth Canaday/Whakatane (Highly Commended Award in 2017), Winner Lacda/ Los Angeles in 2014 and Winner of The Margaret Stoddart Award in 2009. They have been the inaugural Volcanic Artists in Residence in Whakatane in 2018, international Artists in Residence in France (2009 and 2010), Perth/Scotland (twice in 2010) and spent three months at the prestigious Altes Spital Residency/ Switzerland in 2015. Their work is held in public and private collections, including Christchurch Art Gallery Te Puna o Waiwhetu, Aigantighe Art Gallery, The Wallace Arts Trust, Perth Museum/Scotland and Altes Spital/Switzerland. They both live and work in Otautahi Christchurch.


Collaborative exhibition/professional highlights 2009 ? 2018 include

Finalists Molly Morpeth Canady Award: Painting and Drawing 2019, 16 February – 7 April, Whakatane

Finalist ZONTA Ashburton Female Art Award 2019, Ashburton Art Gallery, 2 March – 7 April

from THE EDGE of SPACES, Aigatighe Art Gallery, 15 December – 29 January 2019, Timaru

Volcanic Artist Residency ,Te Koputu a te whanga a Toi – Whakatane Library and Exhibition Centre,

24 September – 2 November 2018, Whakatane

from THE EDGE of SPACES, Whangarei Art Museum, 31 August – 11 November 2018, Whangarei

Finalists Parkin Drawing Award 2018, Merit Award, New Zealand Academy of Fine Arts, July 2018, Wellington

Finalists, National Contemporary Art Award 2018, Waikato Museum, August ? October 2018, Hamilton

from THE EDGE of SPACES with the inclusion of Only Ghosts Glow in the Dark, Te K?putu a te whanga a ToiWhakatane Library and Exhibition Centre, 20 April ? 28 June 2018, Whakatane

Perilous Edges ? what lingers in the mist, Pilot Volcanic Artist Residency and exhibition, Te K?putu a te whanga a ToiWhakatane Library and Exhibition Centre, 20 April ? 28 June 2018, Whakatane

from THE EDGE of SPACES, Chambers Art Gallery, 19 September ? 7 October 2017, Christchurch

Finalists in 2017 Wallace Art Awards, September 2017, Travelling exhibition until April 2018, Auckland

Finalists Parkin Drawing Award 2017, New Zealand Academy of Fine Arts, August 2017, Wellington

Events Growing from the Edge of Spaces, TSB Bank Wallace Arts Centre, The Pah Homestead, 29 May – 9 July 2017, Auckland

Finalists in National Contemporary Art Award 2017, Waikato Museum, 28 July – 5 November 2017, Hamilton

Molly Morpeth Canady Painting and Drawing 2017 – Highly Commended Award, January 2017, Whakatane

Finalists in 2016 Wallace Art Awards, September 2016, Travelling exhibition until May 2017, Auckland

Finalists in Molly Morpeth Canady 3D Award 2016, August 2016, Whakatane

Finalists Parkin Drawing Award 2016, New Zealand Academy of Fine Arts, August 2016, Wellington

See what I can see: Discovering New Zealand Photography, Group exhibition, Sarjeant Gallery, June-September 2016, Whanganui, Touring

New Zealand Painting and Printmaking Award 2016, Winner Supreme Award, February 2016, Hamilton

Finalists, Molly Morpeth Canady Award 2016, February 2016, Whakatane

Finalists, 2015 Wallace Art Awards, August 2015, touring exhibition until May 2016, Auckland

Finalists, Parkin Drawing Award 2015, New Zealand Academy of Fine Arts, August/September 2015, Wellington

Finalists, National Contemporary Art Award 2015, Waikato Museum, July ? November 2015, Hamilton

No two skies are ever the same, public performance and exhibition, Galerie9, March 2015, Solothurn/Switzerland

Artist in Residence Altes Spital, January – March 2015, Altes Spital Kultur – and Kongresszentrum Solothurn/Switzerland

Finalists, New Zealand Painting and Printmaking Award 2015, February 2015, Hamilton

Finalists, 2014 Wallace Art Awards, August 2014, Auckland, Travelling exhibition

Rebels Knights and Other Tomorrows, Christchurch Art Gallery, Outer Spaces – Tuam Street Galleries, August ?

November 2014, Christchurch

On the Seam of Things, DSA Gallery, School of Art, Otago Polytechnic, August 2014, Dunedin

Finalists, Parkin Drawing Award 2014, New Zealand Academy of Fine Arts, August 2014, Wellington

Finalists, National Contemporary Art Award 2014, August 2014, Waikato Museum, August 2014, Hamilton

Finalists, New Zealand Painting and Printmaking Award 2014, February 2014, Hamilton

Bliss, group exhibition, Chambers 241, December 2013, Christchurch

Finalists, Parkin Drawing Award 2013, New Zealand Academy of Fine Arts, July/ August 2013, Wellington

Paper Trails – works on paper, group exhibition, gallery Chambers @241,?June 2013, Christchurch

Finalists, 21st Wallace Art Awards 2012, August 2012, travelling exhibition until May 2013, Auckland

Tormenting Luxury, Nadene Milne Gallery, July 2012, Arrowtown, New Zealand

Faculty of Wonder: Lost & Found, Auckland Festival of Photography exhibition, Lopdell House Gallery Titirangi, exhibition during Auckland Festival of Photography, May/June 2011

Perth II?? Island Ties: The Return of the Pacific Flicker, AK Bell Library and Tableau Vivant, Public Art Project, Perth800 & Perth and Kinross Council, Perth/Scotland, November 2010

I can?t…you see, Christchurch Art Gallery, Twin Set, September 2010 and January-February 2011, Christchurch

Perth, Maps of Engagement: Pathways and connections; E+J Artist Residency at Perth Museum and Art Gallery, Perth800 & Perth and Kinross Council, Perth/Scotland, May/June 2010

Forms of Narratives, Group exhibition with PVAF members, June 2010, Birnam/Scotland

CH?TEAU de PADI?S ARTIST IN RESIDENCE PROGRAM in association with its CULTURE & CULTURES Festival, October 2009 & April 2010, Lempaut/France

Science and Voyages II ? From the Pacific to the Attic and A voyage of discovery – from installation to installation, Exhibition project and performance at Ch?teau de Padi?s, Lempaut/France, May 2010

LeSalon Recroit, group exhibition, Toulouse/France, May 2010

Les Jardiniers – Artistes et leurs outiles, The Artistes in r?sidence 2009/10, Group exhibition, June 2010, Ch?teau de Padi?s/France

Notations on a visit – Ghosts and Hydrangeas in the Attic; Exhibition and Performance, October 2009, Ch?teau de Padi?s/France

I?ll be your mirror ? One of us cannot be wrong, Bath Street Gallery, August 2009, Auckland

Fishing in a Bathtub: Tormenting Luxury 2007/2008, MIC, May/June 2009, Auckland

Artists in Schools Residency at Selwyn College, May/June 2009, Auckland

The splinter in the eye is the best-looking glass, CoCA, April 2009, Christchurch

Margaret Stoddart Award 2008, Highly Commended, CoCA, Christchurch?????????????????

Edwards+Johann?s work is held public and private collections in New Zealand, United States, Turkey, France, England (and Scotland), Germany, Switzerland

Currently they both live and work in Christchurch, New Zealand.








Floor talks/Seminars/Workshops

We have held numerous presentations/talks/workshops nationally and internationally at Universities, conferences and forums, schools and galleries:

from THE EDGE of SPACES with the inclusion of Only Ghosts Glow in the Dark, artists? talk, Te K?putu a te whanga a Toi – Whakatane Library and Exhibition Centre, April 2018, Whakatane

Co-Lab – Community workshops during the Pilot Volcanic Artist Residency and exhibition, Te K?putu a te whanga a Toi – Whakatane Library and Exhibition Centre, April 2018, Whakatane

Events Growing from the Edge of Spaces, artists? talk, TSB Wallace Art Centre, The Pah Homestead, Auckland, May 2017

Artist residency and community workshop day, Waikawa/Catlins, February 2017

Christchurch Art Gallery, Artists? workshop, Christchurch, June 2016

No two skies are ever the same – Public performance and talk, Galery9, Solothurn/Switzerland, March 2015

Otago Polytechnic, School of Art, Public Seminar, Dunedin, September 2014

CAG, Rebels Knights and Other Tomorrows, artists? talk, August 2014

Dorothy Brown Cinema, artists? talk, Arrowtown, July 2012

Inter – Alia: Collaborative Dialogue, CPIT, workshop and presentation, Christchurch, March 2012

Lopdell House Gallery, public talk, Titirangi, Auckland/NZ, May 2011

Duncan of Jordanstone, College of Art, artist talk/presentation, Dundee/Scotland, November 2010

AK Bell Library, Perth Museum and Art Gallery, talk/presentation and performance, Perth/Scotland, November 2010

Culture & Cultures Festival, Ch?teau de Padi?s/France, October 2009 & May 2010, floor talk and live performance

Perth Visual Arts Forum ? PVAF, Key note speakers, Birnam/Scotland, June 2010

Unitec, presentation, talk/presentation, Department of Design and Visual Arts, Auckland, May 2009

Selwyn College, workshops/talk/presentation and live performances, Auckland/NZ, May 2009

ANZAAE conference, Otago Polytech School of Art, workshop and presentation, Dunedin/NZ, April 2009

Moving Image Centre ? MIC, floor talk, Auckland/NZ, April 2009



Dr. Victoria Edwards (New Zealand)


2006????????????????? Doctorate of Fine Art, Elam School of Art, Auckland.

1972????????????????? Masters of Fine Arts, Auckland University, Elam School of Art, Auckland

1970????????????????? Bachelor of Fine Arts, Auckland University, Elam School of Art, Auckland

New Zealand artist Victoria Edwards exhibited extensively nationally and internationally since the 1970s. Edwards was awarded her Doctorate in 2006. She has been involved in art education since the 1970s and is currently a full-time practitioner living in Christchurch. She works primarily in new media including drawing and photography. She has engaged in collaborative practice for a number of years. Edwards?s work explores role-play and social conventions in relation to individual and collective identity.

Edwards has been finalist in numerous awards: Telecom Art Award, Wallace Art Awards, CoCA/Anthony Harper Contemporary Art Award, Norswear Art Award.

Work in Public Collections: Auckland City Art Gallery, National Art Gallery, Wellington, Manawatu Art Gallery, Palmerston North. The Bath House, Rotorua?s Art and History Museum, Rotorua, North Shore Teachers? College, North Shore, Auckland, Gisborne Museum and Art Centre. Sergeant Gallery, Wanganui, Govett-Brewster Art Gallery, New Plymouth, Epsom Girls Grammar School, Auckland, Starship Children?s Hospital, Auckland, Hamilton Art Gallery & Museum, Centre of Contemporary Art, Christchurch. Private Collections include New Zealand, Hong Kong, Bangkok, Honolulu, London and New York.


Ina Johann (New Zealand/German)

Education and relevant dates

2016 ????????????????? ????????????????? New Zealand Citizenship

2000 ? 2001????????????????? Travel and work in Germany (three months); Completion of post graduate studies – Meisterschuelerin (master class student qualification; Master-class student of K. Menzel), Akademie fuer Bildende Kuenste der Johannes Gutenberg Universitaet Mainz, Germany

2000????????????????? Travel and work in Germany (six months); MFA equivalent completion (exhibition); Akademie fuer Bildende Kuenste der Johannes Gutenberg Universitaet Mainz, Germany

1997 ? 2000????????????????? Diplom der Freien Bildenden Kunst (German equivalent of MFA), Akademie fuer Bildende Kuenste der Johannes Gutenberg Universitaet Mainz, Germany

1997????????????????? ????????????????? Immigration to Christchurch/New Zealand

German born New Zealand artist Ina Johann uses a range of media from print and drawing to digital stills, photography, video and light to create multi-dimensional installations. Johann has a strong drawing practice ? a form of personal mapping and navigation of shifting territories.

Johann is interested in perception and the notion of home in the terrain of survey, observation, and fragmentation. Her work reflects upon emptiness, recollection and memory, personal loss, coding and de-coding. In her research and practice she has been engaged in collaborative ventures for a number of years. She lectured for a number of years both in New Zealand and Germany and is currently a full-time practitioner.

Johann has been finalist in numerous awards: Molly Morpeth Canaday Award, New Zealand Painting and Printmaking Award (Winner 2016 in collaboration with Victoria Edwards), National Contemporary Art Award (Merit Award in 2014), CoCA/Anthony Harper Contemporary Award (Winner 2006), Wallace Art Awards, Parkin Drawing Award (Merit Award in 2016), LACDA Top 40 Award/Los Angeles, Cranleigh Barton Drawing Award, National Drawing Award, Margaret Stoddart Award (Winner 2009 in collaboration with Victoria Edwards); Her works are held in public and private collections in New Zealand, Australia, United States, Switzerland, United Kingdom, Germany and Thailand.



My paintings are abstracted landscape, influenced by my job as a gardener and the visual stimulation of my immediate surroundings.
This exhibition builds on previous work, with a continued interest in mark-making and painterly surfaces, a love of colour and an emphasis on process.
The organic shapes form loosely repeating patterns. In varying the scale and media employed, they echo the sense of order and structure in nature and bring a cohesion to the work.



Roy Good Parallel Universe – Book Launch 2019





ArtNews Book Review

Kaikoura Lines


Richard Adams 2019


?I like my painting to have a certain amount of spontaneity to it. This helps me in feeling that I am the guide of the brush rather than the master?? My career as a Jazz musician over the years has enabled me to travel extensively which consequently informs my inspiration for my paintings .The building of musical textures which are reflected in my approach to Jazz music primarily revolves around improvisation and this is equally reflected in my approach to the way I? plan my paintings. Weathered paint on a boat in Dubai or an ancient wall in France a rusty bus shelter in Days Bay Wellington or the straight lines of the horizon on the South Canterbury coast may emerge in my paintings. These can be simultaneously landscape and surface as I manipulate the use of colour and light to create the illusionist depth that inspires my work.





I make painted objects with the intention of making the viewer slow down and examine the materials and visual structure of pictorial communication. My work marries references to written and pictorial language; drawn and painterly picture making.

The body of work for my solo exhibition is overall seemingly abstract while still holding reference to things such as calligraphy, other written script and symbolic language.
These references are given a different accent through spray paint, pastel, and coloured oil sticks. The casual line work can then be offset by dense patches of colours, allowing vague forms to appear.

This creates objects with a sense of condensed significance, boiled down to simple – sometimes minimal – works depicted on to a picture plan of recycled materials.

Gareth Brighton 2019






2016 Too Bright to Hear, Too Loud to See

WORLD Factory of Ideas and Experiments


2013 Pretty in the Dark



2010 Selected Works

NG Gallery



2009 Promises Promises



2007 Hold on to Me Love



2006 Holding Still

Blue Oyster Gallery


2004 Emerging Artists Exhibition




2017 Sculpture on the Peninsular

Loudon Farm, Banks Peninsula.

2016 Lysaght Watt Trust Art Awards

Award winner


2014/16 NZ Sculpture Onshore

Fort Takapuna Historic Reserve


2015 National Contemporary Art Awards

Waikato Museum



2003 BFA Honors (sculpture)

University of Canterbury

2002 Diploma of Teaching (Secondary)

Wellington College of Education

1999 BFA

Otago Polytechnic School of Art



Undeniably influenced and surrounded by wild southern seas, eroding volcanic hills and ever shifting stones, Smith and Springer observe and absorb their environment, producing concurrent bodies of work from their shared studio and home at Birdlings Flat.

Working in clay, Smith re-creates found objects from her surrounding environment, modelling small-scale sculptural arrangements, in the still life traditions of Vanitas and Victorian nature studies and exploring local symbolism within the landscape?s flora and fauna.

While, Springer works intuitively, inviting the painting to evolve unhindered. Tapping into the strong energies that seep and surge, giving expression to intangible forces and murmurings.


? ?

Jacob Yikes is a painter/illustrator based in christchurch. He has a heavy presence in the street art/mural scene and has been apart of numerous festivals and exhibitions over the past 7 years. As well as working outdoors Jacob also works as an illustrator and painter in his home studio. His large paper and wooden panel mixed media works often take on a more indepth personal approach usually depicting elements of his own life. With the use of several different wet medium materials in a freestyle manner, Jacob taps into his subconcious mind and the result is often a bizzare composition of strange figures and symbolism within a very surrealistic sometimes nightmarish world.


? ?

Group Show Cash & Carry

Philip Trustum, Eion Stevens, Michael Springer,
Jane Barry, Kara Burrowes, Josh Bashford, Rudolf Boelee
Sculpture ? Siene de Vries,?Hamish Southcott
Photography – Stuart Clook, Doc Ross, Nigel Young,
Sebastien Krebs
Pottery ? Natalie Sweetapple, Helene Olivia Smith
From the Studios – Paddy Ryan, Edwards+Johann, Jason Greig, Ross Gray,
Tim Middleton, Liam Dangerfield

Liew Summers?

This is a collection of recent work. Some reference Greek myths as a metaphor for current experience, and some, the symbolic power of the wing as a sculptural element. There are also some works exploring his perennial theme of the human form in movement.

Jason Ware
Forward Looking Structure

I’m concerned with human evolution, anthropology, innovation and the landscape. I enjoy exploring form, texture and colour in my work. I am looking at the boundaries of perception and interpretation. I welcome?ideas from mis-perception and chance.?Ideas appear as abstract thoughts from various starting points, and then evolve through drawings, collages, maquettes and material trials.

My material choices are an instinctive and playful process, made with consideration of their suitability for the concept but they also aid in decision making whilst constructing. I use various conventional materials such as wood, metal, paper, found objects but have also used soil and plant fibre.

Currently, I am working with ideas around AI, machine learning and questioning the drive for innovation ,?” …crucial to the continuing success of any organization”.

Josh Bashford


Rebecca Harris?



Born in 1989, of Pakeha and Samoan decent Joshua Bashford gained a Bachelor of Fine Arts degree with honours from the University of Canterbury in 2012, and lives and works near Little River. Time spent in the region inspires many of the motifs in his work, the river, the roads, the fish, the people the hawks?

Bashford was mentored by noted NZ-Pacific artist Fatu Feu?u met when Feu?u was Artist in Residence at the Macmillian Brown Centre for Pacific Studies in 2011. They have exhibited together in Canterbury, in Apia (Samoa) as part of the?Return to Hawaiiki?visiting artists programme, and in 2013 at The Diversion Gallery in Picton. Much of Bashford?s work employs printmaking techniques such as woodcuts, sometimes on a very large scale, although often he produces just a single monoprint on canvas of these very complex works.Josh Bashford has exhibited in Nelson, Christchurch, Blenheim, Auckland Melbourne and Samoa and his work is included in numerous private collections.?He has begun to establish a very original, distinctive style, a young artist to watch in the future.

2011 Tin Palace art exhibition lytteton?

2012 Columbo mall exhibition?

2012?Return to Hawaiiki?in Samoa, six selected artists

2012 Island brothers, Fatu Feu’u, Little river gallery,?

2012 Postgrad submission show at Papergraphica?

2013 Exhibition with Fatu Feu’u Diversion gallery Picton?

2014 Sole extraction at little river gallery

2014 New Ground chambers gallery Christchurch

2014 Diversion Gallery, Picton, Nz

2014 kings college Art sale

2015 Pacific?generation ?exhibition at Bashfords Antiques with Fatu Feu’u?

2016 Baradene college Auckland art sale

2016 Mt Albert Grammar art sale

2016 Pacific?generation 2 exhibition at Bashford Antiques with Fatu Feu’u?

2016 New woodcuts PG gallery Christchurch

2016 Last Judgement group show PG gallery Christchurch

2016 Call of the Sea group show kereru Gallery Nelson

2016 Ponsonby central pop up exhibition

2016 Wallace awards finalist work on show at Pa homestead Auckland

2017 Home sea and between Little River Gallery

2017 Group show Kereru Gallery Nelson

2017 Show with Fatu Feu?u at the university of samoa

2018 Mt Albert gramma Art sale

2018?The cutting edge, show with Barry Cleavin Diversion Gallery Picton

2018 ?with Llew Summers, Rebecca Harris, Jason Ware, Matt Akehurst, Chambers Art Gallery ChCh

2019 with Ben Reid and Sue Cooke, Chambers Art Gallery ChCh



Kim Lowe – (M)other ?2018

Artist Statement –

The works in this show are all relief prints except for?Lotus which?is an acid etching.
The content of the work often uses symbolism referring to aspects of my Kiwi Chinese ancestry.
Some of the titles have been adapted or borrowed from Amy Tan’s novel The Valley of Amazement.?
(M)other?is a mono print that was printed during a workshop with Jason Greig.
Bi-products?is a collaborative work with John Wishart using forms designed by John.
Bi-Product ?a collaborative work by Kim Lowe and John Wishart


Macrocarpa Pasifika – John Wishart


John Wishart ? Bi-Products 2018

Artist Statement –

When I hear the word culture, I reach for my chainsaw.





John Wishart


John completed a BFA in sculpture at Otago Polytechnic School of Art 1996.

Then went on to complete post graduate studies at Elam School of Fine Art, Auckland under Selwyn Muru and Brett Graham.

He has a number of public commissioned pieces in Invercargill and has won the ILT Art awards at least twice.

He has shown in Christchurch before with Kim Lowe in 2008 at NG Gallery and was in?Koru Lounge: Pure Forms and Cultural Narratives?at COCA Gallery in 2010.




Ewan McDougall

Frigging in th’ rigging

Frigging in th’ rigging is an exhibition of recent paintings.

Like its title it is a riot of misbehaviour in vibrant oils, with seafaring clowns, dogs, wasted acrobats, explorers of shady domains and dodgy party animals foundering in the hot, howling norwester.

The work is mainly new painting done in the last year when because of the time-consuming Way to Paradise NZ jazz tour featuring my painting which Sarah and me organized, studio time had to be grabbed in a momentary frenzy of ‘catch up’. Sometimes stress makes for intense painting and I love the result.

There is an earlier 2 x 3 metre diptych from my Public Gallery tour -Revolution, man- from a Greg Johnson track and it tells us “rock and roll will never die!”

Neither will flat-tack figurative oil painting.





When evening falls over Pegasus Bay – Siene de Vries

Siene de Vries – ??Paintings from the Wildside?

Living in close contact with nature, in one of the Eastern Bays of Banks Peninsula, now also known as ?The Wildside?, I am constantly reminded of it?s realities, such as life and death, growth and decay. These have become recurring themes in my work.

I have from time to time used the life-cycle of animals in drawings and paintings.
Mating, birth, slaughter etc. have been explored.
However, I have not used them previously as subject matter for still life.

This winter I made a series of works for which I?ve used equine and bovine skulls, mostly in a ?clair-obscur? lighting situation.
There is a commonality in these paintings with ?vanitas? works, a theme so often used in 17th century Dutch painting.

Also on show is a group of large paintings showing the human figure in dramatic, sometimes theatrical poses.
They are concerned with the human condition.


Detail of Nightshade – Elizabeth Moyle

Elizabeth Moyle – Navigating Horizons ?2018

These works are part of a body of work that examines the transient nature of life, exploring concepts around identity, particularly femininity, vulnerability and ownership. Elizabeth Moyle?s work aims to contextualise her geographical environment whilst examining Pasifika, Maori and Pakeha concepts of belonging. Her adept handling of a variety of media demonstrates not only the artist?s innate abilities but a true sensitivity towards her subject with gradations in line lending her charcoal forms an ephemeral quality and yet simultaneously, and seemingly impossibly, monumental presence.

Graduating with First Class Honours BFA from the University of Canterbury in 2011, Moyle dedicated part of her practice in studying historical printmaking in the Pacific. Moyle has exhibited both nationally and internationally and has been the recipient of many awards and scholarships, and is currently undertaking her Masters study at Ara.






Born in the Netherlands in 1956, New Zealand based artist Siene de Vries studied painting and sculpture at the Academie voor Beeldende Kunsten ?Academie Minerva?, in Groningen from 1976 till 1981. After leaving art school, Siene established a career in Holland as a painter of portraits, still life and landscapes, exhibiting in a number of solo and group shows in the Netherlands, as well as Germany and Switzerland. During this time he was also involved in teaching, both privately and at art institutions, and was instrumental in organizing several local arts festivals.

In 1988, Siene, along with his wife, printmaker Saskia van Voorn, and their two young sons, made the move to New Zealand where they settled on a small farm in Banks Peninsula?s beautiful Le Bons Bay. Siene and Saskia have lived and worked on this property for thirty years, where their rural lifestyle and surrounding environment has become an important feature of both their practices.

Siene?s work is largely figurative, although some abstract tendencies emerge from time to time. His practice continues to be characterised by an interest in the realist tradition, embracing subjects such as landscape, still life, portraiture and the nude. Siene paints mainly in oils using broad brush strokes, which are often augmented by finer, more detailed areas of work when necessary. His sculpture tends toward the gestural, where evidence of the modeling process remains in the cast bronze. In recent years his bronze sculptures have dealt with themes relating to the human condition in a socio-political context.

Siene’s work is held in collections around the world, and he regularly exhibits in both New Zealand and the Netherlands.




David Woodings – The empty vessel makes the loudest sound.


Merrily go around

?Following the ?silk card? series Somme/Silk Road of 2015/16 which sought to connect images and narratives from WW1 greetings cards with stories from home, and connect to the 100 year centenary of battles of the Western Front, I have returned with this series to images of previous comfort in Merrily go around.

?Carousels and arcade machines have underpinned my oeuvre for some time, presenting visual, musical, emotional, and allegorical connections to imagination and narrative. In Merrily go around the works reference an allegorical relationship between carousels and politics.


?Stephanie McEwin – Dive


Splash – Stephanie McEwin?

The longing for water is embodied in these works, depicting our engagement with the elusive and immaterial quality of water. It becomes as lively as a spirit body in an aborigine rarrk painting. Through the white streaked paint marks which accentuate and abstract the movement of water, the water becomes an enlivened force in the work.

My work, like Hockney?s Californian swimming-pool paintings, give us that sense of desire that accompanies the recreational engagement with water. I have looked at my water focusing on immersion and floating, creating a sense of detachment and of passing through. This body of work preserves the memories and experiences of engaging with our waterways.

Self Portrait

David Woodings is a Christchurch based Photorealist painter who uses hard surface pop culture coin operated arcade machines and carousel imagery to create narratives which discuss the anxious image and the human condition. David?s works are included in many public and private collections.



Andrew Craig

Origin of the world

These works simultaneously portray the world recorded in rock where it tells the story of its origin and history. When we look at such features we might ask the question: what happened here? They also record the origin of paint, given that most pigments are derived from minerals. So I like to think the rock is really paint and vice versa. Thus the birth of painting is referred to, given our distant ancestors used it both as medium and ground.










Rory McDougall

Lithic Garden

In Germany my friend Stefan Kronauer (the architect) would sometimes joke with me a certain architects quote : ? Wenn man nichts weiss, fang an mit dem Kreis? ? transl. ?when you know nothing, begin with a circle?. In my case it?s the sphere, the prime form. I excavate and play with combinations of geometry and scale. Bubble stacks, elemental stacks on the atomic scale to the morphology of organic growth within pollen grains, spores and radiolarian structures.?

A garden of evolving spheres overseen by one of my semi realism figurines and watered by some other older works of mine ?Watershield?, ?Flow? and ?Corm 1?

Andrew Craig?s paintings of rock and crevice serve as a good foundation to begin these life processes.???




Andrew Craig

b.1954 Taupo NZ

I figured that art is mostly about ideas which art history would expose me to, so I embarked on a degree at the University of Canterbury majoring in the subject. ?The craft of painting I learnt at numerous workshops many of which were based at the School of Fine Arts at Ilam.? After graduating the conspiracies of personal and vocational history lead me to a post-graduate qualification in landscape architecture, which currently pays the bills. While landscape architecture is creative I find painting much more so given that it?s entirely free from any client constraints. Nonetheless, the two disciplines are entwined where both draw peoples? attention to, and appreciation of, the landscape that may otherwise be overlooked or taken for granted.

?Since painting I have exhibited widely, but primarily in my hometown of Christchurch and on various occasions in Auckland. ?Works are held in private, corporate and civic collections both in New Zealand and overseas.




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Rory McDougall ? ? ? ? ? ? ? ? ? ? ? ?

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500 Lake Kaniere Rd

Kaniere 7811

2017 Solo exhibition Min Kim Gallery, Christchurch

2016 ? ? ? ? 2 ton Isle of Skye marble, Carbost Scotland

Exhibited in Kilmorack Gallery, Scotland

2015 ? ? ? ? Lions Club Hokitika commission installed on beachfront ?Table of

Rememberance? 24 ton granite

?Ghost Soldier? public sculpture, Rotorua purchased by council after War Memorial Symposium

2014? ? ? ? ? Ashburton Stone Symposium object purchased for Public Domain

2013 Selected for Auckland Botanical Gardens summer exhibition

2 pieces purchased for Sir Richard Wallace collection

Regularly exhibited at Banks Peninsula bi-annual sculpture show

Bronze casting of Keltic disc shield series

2012? ? ? ? ? Organized international hard stone symposium FORM 1, 2 and 3

Hokitika 2012, 2014, 2016

Solo Exhibition at Left Bank Gallery Greymouth

2011 4 ton granit public sculpture Lions Club, Hoikitika

  1. 2010 Public sculpture, Caroline Bay Park, Timaru, black marble sphere

Commisioned by Kronauer Architects and Engineers, Germany for

2m serpentine stone sculpture

  1. 2009 Winner of Department of Conservation Environmental Prize, Hokitika

Commissioned by St Mary’s School, Hokitika for 5 playground sculptures

2008 5 ton polished andesite sculpture, public display, New Plymouth

7 month travels in Europe, bronze age studies in various national museums, notably Berlin, Prague, Vienna and Paris.

Work on restoration project, 11th century castle, Bordeaux, France

Work under guidance of master mason Uwe Spiekermann, realism, naturalism and casting techniques, Hannover, Germany

2007 Participant in ?Out of the Rain? exhibition, 33 Westcoast artist in

Left Bank Gallery, Greymouth and Centre of Contemporary Art, ChCh

2001-06 Organised Hokitika Beachfront Symposium, wood and stone

Worked on long term project, design and build large house ?interior, exterior carving, landscaping, glass and metal work, large mural work on ceilings.

Attended ?Te Kupenga?, international hard stone symposia in New Plymouth 2004, 2006, 2008, 2014, 2016

Public commission ? Rangiora Art Council

2000 Invited to ?Art in the Park? International Stone Symposium, Christchurch

Commissioned by Greymouth Council for six 10m sculptures on waterfront.

1999 Moved to New Zealand permanently

Continue exhibitions in Germany through Gallery ?Dino Da Vinci?

1996-99 Introduction to stone masonry by Master Uwe Spickermann, Hannover


Sculpture projects in steel, stone, wood, glass and ceramics

Special exhibition at the Keltic house built by Ferdinand Eichwede (1879-1911, Architect and Keltic revivalist).

Founder of annual chainsaw symposium at Langenhagen

Book illustrations, compact disc cover designs, short documentary on

German Television.

1992-94 Live in Germany.

Introduction to metal craft and blacksmithing by Master Jurgen Helmer,


1990-92 Paintings in Malaysia, Australia, New Zealand

1978-89 Fine line drawing and painting of Keltic symbolism.

Posters, murals, backdrops, vehicles and tattoos.

Exhibitions in Edinburgh and Inverness.

Attended Aberdeen School of Art for 1 year and dropped out.

First clay sculptures.

1977 Formal introduction to Keltic art by secondary school teacher.

Inverness Royal Academy. Scotland

1965 Born and raised in Highlands of Scotland

Rachael Dewhirst

?Land of The Roaring Forties

Rachael Dewhirst takes inspiration from exploring the wilder New Zealand Landscapes. The?response to her subject is painterly, using the canvas as an area for?investigation into paint practice. Her intention is to rely the feeling of exhilaration and the energy felt in nature?through the application of paint. Her works sit somewhere between abstraction and?representation. Just as the application of paint to the canvas demonstrates a joy and pleasure in the act of painting, the subjects of Dewhirst?s work are equally characterized by their optimism.



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Micaela Irvine

It?s different now, but it wasn?t then.

?My works explore the way time effects events in our lives, by looking back with a contemporary perspective. Centered around an event of great loss, the content depicts an emotional response to both before and during a personal grief. The paintings themselves act as symbols for the process of acceptance, being a

by-product of a necessary path to overcome the loss of a loved one.

Artist Biography:

Sarah Garland was born in Christchurch in 1975. She obtained a Bachelor of Arts in Art History and a Bachelor of Fine Arts, majoring in Painting, both from the University of Canterbury. She works exclusively in oils and paints figurative works, subjects drawn from family photographs. Her preference is for ?bad? photos, that is, poorly timed, cheesy or accidentally cropped. In our current digital age, these are the images that typically get overlooked or deleted, unlike in the past, when you developed a film, everything was printed, all errors included. Elements are depicted representationally but line and contour is exaggerated, and colour amplified.The body is the enduring feature of her work, whether shown in full, cropped or suggested by its absence. Sarah is married with school-age children, teaches painting part-time and practises from her garden studio.



Richard Adams

When I think about my painting I think about being moved by beauty and light, it’s not so much in the eye but in your minds eye that perfection can be found. We all respond to light and beauty throughout our lives and the response is the same for viewer as it is the artist.

A clear blue sky in the middle of the day will almost certainly illustrate a very different kind of emotion than say the light of a soft dark evening sky fading slowly into night. Our emotional life in my view is much stronger than our intellectual life. These new works on paper and canvas are my direct translation of this feeling of light and beauty, I?ve seen and experienced on my travels around New Zealand over many years.


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Matt Akehurst

Matt Akehurst observes that his arts practice, ?looks at the contextual frame work of the art world.? Since graduating from the University of Canterbury (2010), his projects have included the Rejected Art Award, (responding to the Wallace Art Award) and in 2012, You Are Here, a public sculpture now in the Christchurch Art Gallery?s collection that highlighted the absence of art in Christchurch in AA road signs, pointing the frustrated visitor to international attractions like the Sistine Chapel. Akehurst?s current work creates fictional history of ?unseen? artworks by artists like Henry Moore, using ?mundane? materials that includes polystyrene and plaster.

Padraic ?Paddy? Ryan is a Christchurch born painter, working in oil paint to connect realism and expressionistic mark making. He graduated his BFA (Hons) in 2019 from the Ilam School of Fine Arts in Canterbury, with world exploring dark, nocturnal scenes inspired by Hopper and also Film Noir. Currently he is working on a series of portraiture, with vibrant colours and only partial realism, without the need to be completely photo-real. He has a studio out the back of Chambers, and welcomes anyone to come and have a look.

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Sam Walker?s artworks for We / I deal with reflection and reflectiveness: internally through the use of mirrors in the originating still life and externally through the presence of perspex layers and high gloss surfaces. Influenced by dream, her works do not directly depict the subject matter that they are derived from but instead allude to larger and more sublime forms. There is an emphasis on the tension between depicted depth rendered in paint ? ?seeing in? beyond the painting surface ? and the dual awareness of this flat surface. These ideas are also acknowledged by the painting?s physical presence as ?art object?.


Catch Time #6

I source imagery ideas for my work from the natural world in combination with domestic objects, mostly from the past.

The digital photographs exhibited are triggers for the hanging paper panels which float and move lightly, metaphors for a reconstructed past. The ?interventions of chance? that occur are a result of the combination of dye, inks and water based paint. The blooms and washes that occur when using these materials symbolise the uncontrolled recollections we have of our past lives always mediated by the present.


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Artist statement-
“Knowing trees I understand the meaning of patience and knowing grass I can appreciate persistence.?
?I have been a full-time Christchurch artist since 2000. I initially worked at the Christchurch Arts Centre for 5 years, during which time I transitioned from sculpture to painting. My current art practice primarily takes the form of painting and drawing and commonly involves the interpretation and?construction of concepts regarding the natural environment, the human condition and the relationship between the two.?
Recent exhibitions –
May 2018 – Group show – L?Estrange Gallery, Christchurch
Feb 2018 – Small Work Salon, group show, nkb Gallery, Mt Eden, Auckland.
Jan 2018 – ?Twelve Grapes?, group show, nkb Gallery, Mt Eden, Auckland.
Dec 2017 – Summer show, group show, nkb Gallery, Mt Eden, Auckland.
Sept 2017 – ?Homecoming?, group show, Pumanawa, Arts centre, Christchurch.
August 2017 – ?Beer Goggles? and ?Whimsy? exhibitions as part of ?Dreamscapes – First?Thursdays? at the Colombo, Christchurch.
June 2017 – ?Notes from a Poetic Universe?, nkb Gallery, Mt Eden, Auckland.
May 2017 – ?The Fifth Edition Container Art Exhibition, L?Estrange Gallery, Christchurch.
March 2017 – Finalist in the Molly Morpeth Canaday Art Awards, Whakatane.
October 2019 – Chambers Art Gallery Christchurch

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Tim Middleton 2018

framework?is the result of recent thought around display methodologies, work, and the interruption of the accepted cycle of waste material through re-presentation. this continues a long involved exploration into the conflation of binaries and the metaphoric quality of the casting process.?the process of casting is employed to give credence to a personal philosophy of the discarded and disregarded as?harbours?for the secret life and history of objects, and through the?interruption and re-presentation, our selves. superfluous elements are diminished, scars and textures amplified, and the repeated rectangular form of the cast frame articulate an idea that?mistakes are truly the one thing we can claim and call our own.

the use?of plaster as the predominant agent in the construction of the cast frame provides a platform for the provisional nature of the material to be exploited. by coaxing and drawing out?the form, spacial occupation provides freedom for the existence of the subject from pure graphic representation.?poor material (clay/plaster) sidles next to the historically traditional (bronze) and through scale and process is given weight and value, subverting any hierarchical material totem.?the consideration of?colour?is a major element throughout the work, which is all keyed to white, allowing a sense of the museological, bleached relic to pervade.
all splendour is dissolved by death and through the snow-white limbs steals stygian hue to spoil the grace of form.
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Ben Reid 2018

?Although these 5 woodcuts are a shift in terms of media, scale, composition and subject matter they are still very much a continuation of my visual exploration of and attempt at explaining our colonial past from an ecological point of view.

Each of these five works have been manipulated in some way.

Some are recognisable, James Cook, Sir Walter Buller and Governor Grey. The two others rely more on generic figures to convey their message.?

‘ethical adventures’

New research suggests Captain Cook brought domestic chickens to New Zealand and gifted them to various Maori tribes. Cooks journals describe the day he gifted roosters and hens to locals who ‘received [them] with so much indifference, as to give me little hope they would take proper care of them?. From these records it seems unlikely that Cook’s chickens would have persisted long enough to establish self sustaining populations but in some cases at least, it seems Cooks pessimism may have been misplaced as some populations seemed to thrive.?


?An Immigrant of Scottish descent. His large black hat has been replaced by a cat. Eludeing to the animals that invariably arrive wherever Homo Sapiens travel.

Also inspired by a Margaret Mahy childrens story, ?The Three Legged Cat?.

It tells of a Russian hat wearing swag man visiting his vision impared sister. After a cup of tea and a chin-wag he departs and mistakenly replaces the sisters cat on his head, instead of his hat.

It works out for all though, for the swag man who has a much warmer head and the cat, who had always wished to see the world but was too lazy to do so has been gifted an armchair ride.

The sister also benefits from the mishap as she now has a ?cat? that requires very little attention and sleeps always, which she apparently had always wanted!

‘honour among thieves’

I suppose I’m poking a bit of fun at, or more seriously…questioning the legacy of ornatholigist, collector, writer and all-round large colonial figure, Sir Walter Buller. Sir Walter is generally revered and for the most part his legacy is established and accepted as positive. But, if you delve a little deeper or view his actions from a slightly different perspective, you may come to a different conclusion. I’m suggesting that perhaps his successful, caring, visionary…reputation is a little misplaced and that he was more a self-interested, hierarachical, social climber…but being mindful that his actions and attitude were a fair representation of the mentality of the day.


Twice Governor of New Zealand in the 19th century, Governor Grey was a larger than life chacacter who was a staunch advocte for the acclimatisation movement that prevailed in New Zealand at that time. His thirst for exotica resulted in his chosen home of Kawau Island in the Hauraki Gulf, to be chock-full of all manner of foreign animals and plants.

In this work I have altered my interpretation of a portrait of him as a young man, so that he shows the result of a lobotomy. Or, for my purposes, having had his ?head

read? to look for an explaination for the misguided and ultimately disastrous importations that occurred under his watch.

?cold comfort?

?Come to your own conclusions on that one after understanding the context and sentiment the other 4 woodcuts were made.


?Is about the numerous species of native butterflies, (and other insects), that are believed to have become extinct before ever being recorded. Habitat loss is accepted as a significant contributor to their demise.

Integrated into the background pattern are many of the colonial bushcutting tools that were used to ‘tame’ New Zealand’s abundant, ‘impenetrable’ native forests.

?everything looks perfect from far away?

A play on the adopted retro symbol of kitsch kiwiana, 3 ducks on the wall otherwise known as Beswick ducks. For me these ducks are actually native Teal whose existence is threatened by predators and habitat loss. The boat and more distant town shown within the ?wallpaper? pattern represents human actions and the impact this has had on many native species.

?give all of my secrets away? and ?liferaft??

These two works are very easy to recognise as mine as they are simply a continuation of ideas and concepts that have been explored in previous work. The cropped wallpaper layout in which exotic predators, in both cases rats, have been intergrated into the wallpaper pattern. These patterns have become a metaphor for the New Zealand environment.

The birds are generic native New Zealand bush birds, loosley based on our wrens.









Tim Middleton is an artist currently residing in christchurch. after graduating from the university of canterbury school of fine arts with a bfa(hons), majoring in sculpture in 2012, he has been gainfully employed as a picture framer, making small houses for artworks.

By employing casting as a form of drawing, frames and their contents are presented as monochromatic or pale imitations of the original, petrified and mute. the mimetic quality of the casting process reveals enough information to act as a trigger.




Catherine Manchester -?View as

Editing images, altering and adjusting the view, is how we present ourselves online. My paintings are changed by the constant review of an image using computer programmes. I use editing tools that subtly alter the colours through filters and adjust contrast and tones of the photograph of the unfinished painting. I then return to the painting with new information. And with the act of painting there is constant reviewing and editing as I search for an idea, change?it, or dissolve it into the background before sweeping it back into focus, to charge it?with emotion or pare it down.
Phrases and terms of social media groups are loaded with powerful meanings as they drive at our desire for connectivity and meaning. We are called to action our thoughts: What?s on your mind? We are prompted to share, Search, memorialise, categorize, and to save as. These prompts are there to persuade us to act in groups and cohesively within the social media framework. I use these well-known prompts as a lead into my paintings and load them with my own meanings. What do I share? What do I save to memory? The painting ?Save as? depicts a collector of shells holding up a queen conch shell. Save as refers to keeping nature intact in a sustainable environment.The title of the painting ?Location history? refers to the coast, which was part of my childhood.

Another title of a painting ?Report a problem? refers to the Me too campaign which spread worldwide as a movement through social media and these two friends look out to the viewer as if asking to be heard.

Active pursuit of meaning is encouraged of our online selves as we mine for meaning, sift through our own and other people?s contents, revealing personal histories. As we reveal more of ourselves on the other hand we also guard our privacy.The same thing seems to be at work subconsciously and consciously when I paint as meaning suddenly arises to be lost sometimes instantly and then to arise again. It?s as though observation changes the thing itself. Social media promotes observation, and invites inspections. A painting expresses a language of its own, saves a moment, reveals what was hidden. The observer brings to a painting an interpretation based on a different set of experiences and the original meaning of the painting is changed. In the process of painting I sift, collate, select, delete, save as, share to you to view as.



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Dorothy Helyer – Soundings

My initial inspiration for Soundings has been a small Spanish book packed with depictions of the the wonderous undersea world. Aptly titled El Mundo Submarino (The World Under the Sea ) this book highlights species of sponge, corals and other amazing little sea creatures that have been used for therapeutic drug research. In recent times the huge threat such sea life has started to come under pressure due to pressing problems like global warming and the huge and indiscriminate use and abandonment of plastic. While these issues are important to me they are not the only reason for these paintings.

Originally these photos grabbed my attention because of interesting shapes, colours and possible textural detail. But in reality these found images provided a neutral launching pad for my paintings. The first works were detailed and somewhat literal interpretations in watercolour of particular scenarios that caught my eye. However, images after the initial depictions became more abstract and started to take on a life of their own.


The small circular Treasure pieces and the larger work I can’t see the wood for the trees have grown out of explorations since my exhibition Reach Out (2012) where I have attempted to capture the essence of regeneration in an organic and abstract way through the unpredictability of the painting process. Often I seem to have unconsciously and obsessively gone down the path of the organic, dendritic forms that are so crucial to the natural and biological world, amongst them tree forms, brain synapses, vascular systems, the pulmonary system and electrical charges.


The painting process continues to be an ongoing preoccupation for me – the unpredictability when you start with no certainty of outcome as you experiment with how the acrylic paint and mixed media react. I add paint and other media but also I’ll often submerge a layer with gesso. I veil things or I’ll take sandpaper and abrade it back a number of layers or deliberately disrupt the painting in some way. The very name of the source book – El Mundo Submarino – seems to hold meaning too…not just literally but also at a personal level. Maybe the idea of a deep mysterious sea world metaphorically parallels the unplumbed and unknown depths of our inner self?

Dorothy Helyer was born in London, England but since the age of eight has lived in New Zealand. She has always drawn and painted since childhood. Music too has played a very important role in her life. After initially completing a B.A. in Anthropology from University of Otago, Dunedin, she taught for some years before embarking on a Fine Arts degree at University of Canterbury School of Fine Arts in Christchurch in 1995. She completed her BFA, BFA (Hons) and finally in 2001 received her MFA (Painting) with distinction. Since then she has been a full time artist living in Christchurch, New Zealand where she works and she has exhibited nationally and internationally.


Jane Barry – The Gathering Dark


These images are intended evocative of dusk.

When the light has that ultra violet quality and the dark is gathering in.

They are about a final burst of pigmentation as night and day rush at each other in a clash of colour, before darkness wins.

“I often think that the night is more alive and more richly coloured than the day”.

– (Vincent Van Gogh)


Liam Dangerfield – A Bit Like

( scenes I’ve seen before.)


“Memory of experiences, places and people is notoriously vague and often intangible.?Lifetimes of experience merge into a soup of feelings and emotions. Through this lens my images seek to capture a?snap shot of a distorted memory, a place I feel?I?knew, a feeling I felt but can’t place, an image I recall but can’t ground.”


Julie Ross – Studio Tableau 2018

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As an artist I enjoy responding to various forms of narrative: My sculptures are inspired by my childhood, human affect experiences, myths, legends and fairy-tales.

I love the quirky humor often characterized in surrealism, this is evidenced in the animality of my figures and objects, and in the titles of my work.

My book Twinny, was created for an autobiographical show in 2014 at Whitespace. This wee childhood memoir features stories of rather twitty twinnies growing up on a farm amidst animals and ballet practices in South Canterbury, NZ. Within the book are sketches and sculptures developed in response to the narrative. Some of the sculptures are in this show.

The bronze and ceramic works featured in Studio Tableau have been created between 2011 and 2016. The bronzes are originally created in wax, and cast in bronze by Jonathan Campbell in Wellington. The porcelain works are individually hand built, fired and glazed.

In 2011, I completed a Masters in Painting at the University of Canterbury. Since then I have been working from my Christchurch studio, exhibiting in Melbourne (Anita Traverso Gallery), Auckland (Whitespace Contemporary Art) and Wanaka, (Gallery 33). I have also contributed to a number of group shows throughout New Zealand.

This is my first public show in Christchurch since the Brooke Gifford Gallery closed as a result of the earthquakes.

“Julie’s book Twinny is available to purchase ?from us at Chambers Art Gallery, it is an inspirational and enjoyable read. Once I picked it up I could not put it down.”

Julie Williams

Gallery Manager



Fragments of a Memory (3), Unique monoprint, soy-based ink on Fabriano, 56 x 76cm, unframed, 2017. Finalist; 5th International Open Printmaking Show, Wharepuke Print Studio, Wharepuke, Kerikeri, 2017.



Mark Soltero – Fragments of a Memory series

Drawing on memories from his personal history and working in a deliberately monochrome palette, Mark Soltero makes paintings and prints that interrogate relationships between images, memory and materialit

For Soltero, a picture space comes together as a result of two independent functions, the way we see objects and events in our immediate surroundings, and how we think about these objects and events.

Thinking connects us to images through memory. As a result, the act of thinking engages us in time, history, and association. It is this wider space Soltero contemplates in his practice.



Soltero’s investigations into time involve reflections on memory and history. Every moment one has experienced is remembered by the brain, even if not fully accessible or on demand. The series began with works using the number eight as both a reference to the symbol for infinity and the digital clocks of the late 1970?s and early 1980?s. The digital eight contains seven segments. When these segments are turned on or hidden they result is a range of numbers and letters. This quality of changeability is reflected in the use of camouflage.

The Projection Room

Mark Soltero is a Christchurch-based artist who grew up on San Francisco and?The Projection Room?takes its subject from his childhood experiences of popular cinema, his minimalist blackened stencil imagery of a theatre interior, rendering it from the entrance to seating and screen.? It?s a dominating, yet fragile representation of this arena for popular entertainment as it was more than 50 years ago.

Like many of his works from the past decade, Soltero?s paintings embody a figurative memory of the world that comes close to pure abstraction.? The seating and big screen in?The Projection Room?is about memory and the experience of cinema as a space for community gatherings, sound and vision, surfaces and materials, recalling an encounter of a particular environment as personal as it is shared by all.




Julie Ross – Studio Tableau 2018

As an artist I enjoy responding to various forms of narrative: My sculptures are inspired by my childhood, human affect experiences, myths, legends and fairy-tales.

I love the quirky humor often characterized in surrealism, this is evidenced in the animality of my figures and objects, and in the titles of my work.

My book Twinny, was created for an autobiographical show in 2014 at Whitespace. This wee childhood memoir features stories of rather twitty twinnies growing up on a farm amidst animals and ballet practices in South Canterbury, NZ. Within the book are sketches and sculptures developed in response to the narrative. Some of the sculptures are in this show.

The bronze and ceramic works featured in Studio Tableau have been created between 2011 and 2016. The bronzes are originally created in wax, and cast in bronze by Jonathan Campbell in Wellington. The porcelain works are individually hand built, fired and glazed.

In 2011, I completed a Masters in Painting at the University of Canterbury. Since then I have been working from my Christchurch studio, exhibiting in Melbourne (Anita Traverso Gallery), Auckland (Whitespace Contemporary Art) and Wanaka, (Gallery 33). I have also contributed to a number of group shows throughout New Zealand.

This is my first public show in Christchurch since the Brooke Gifford Gallery closed as a result of the earthquakes.


Bio Julie Ross

1984: Intermediate Year Fine Arts: University of Canterbury, Christchurch 1988-1990: Diploma of Visual Education: CPIT, Christchurch
1992: Diploma of Teaching, Christchurch College of Education
2005: BFA Honours, University of Canterbury, Christchurch
2010/11: Masters in Fine Arts, University of Canterbury

1991: Solo Show Titled: The Story of Noah?s Ark and Other Animals – COCA, Christchurch 1992: Solo Show: Salamander Gallery, Christchurch
1993: Group Shows: Salamander Gallery – Christchurch

Forester Gallery – Oamaru 1995: Solo Show: Salamander gallery, Christchurch 1997: Joint Show: Salamnder Gallery, Christchurch

Aigantighe gallery – Timaru

2004: Joint Show: Te Koraha – Rangi Ruru, Christchurch
2006: Solo Show: Haresay, Te Koraha – Rangi Ruru, Christchurch

Curated Show: A & P – Art Goes Country – Christchurch Art Gallery 2007: Solo Show: Julie Ross Retrospective Exhibition: Ng gallery, Christchurch

Group Show: Brooke Gifford Gallery, Christchurch
2008: Joint Show: Harum Scarum, Brooke Gifford gallery, Christchurch

Group Show: Gallery 33, Wanaka
2009: Curated Show: Run Rabbit Run – Gallery 33, Wanaka

Group Shows: Brooke Gifford Gallery – Christchurch Milford Galleries – Queenstown & Dundein

Sanderson Gallery – Auckland 2010: Group Shows: Sanderson Gallery – Auckland,

Post Grad Painters: SFA Gallery – University of Canterbury 2011: Masters Show: Alterpeace, SFA Gallery, University of Canterbury, Christchurch

2012: Solo Show: Salon Des Animaux, Whitespace Contemporary Art, Auckland Group Show: Gallery 33 Wanaka

2013: Solo Show: Animalis Fabula, Anita Traverso Gallery, Richmond, Melbourne Group Shows: Whitespace Contemporary Art – Auckland

Gallery 33 – Wanaka
Aigantighe Gallery – Timaru,
Insider Project – Scattertshot – Christchurch Sculpture on the Peninsular – Christchurch

2014: Group Show: Anita Traverso Gallery, Richmond, Melbourne
Solo Show: Twinny, Whitespace Contemporary Art, Ponsonby, Auckland

2015: Group Show: Functional, Whitespace Contemporary Art, Auckland Curated Show: Sculpture on the Peninsular, Christchurch

2016: Curated Show: Shapeshifter, Hutt Valley Civic Gardens/Dowse Art Museum, Wellington Solo Show: Rabbitat, Whitespace Contemporary Art, Auckland

2017: Curated shows: Wecome to the Jungle, Whakatane Library and Exhibition Centre Tai Tapu Sculpture Garden, Christchurch

2018: Group show: Studio Tableau, Chambers Art Gallery, Christchurch.

INform, Whitespace Contemporary Art, Auckland Sculpture in the Garden, North Canterbury, New Zealand Sculpture on the Peninsular, Canterbury, New Zealand

2003: Finalist, Cranleigh Barton Drawing Award
2004: Encouragement Award/Medal, Norma Concours Picture Book Competition, Japan
2017: Finalist in The Molly Morpeth painting Award Exhibition, Whakatane Library and Exhibition Centre

Professional Practice

1993 – 1997: Teaching Art, Design and Photography at Christchurch Boys High School
1998-2009: Teaching Art, Design and Photography at Rangi Rur Girls? School, Christchurch
2013-2015, 2018: (Teaching painting, print-making, photography, Design as relief, at ChCh Girls? High School)



Research in relation to developing programmes in Art/Design at high-school Level
Research and writing 11,000 word Essay for book produced for Honours in Design, 2004 Writing of autobiography for self published book titled Twinny for show, Twinny, 2014



Physis : Matter and Aliveness

Robyn Webster ? 2018

“For surely woods trees and rocks produce the echo which man desires to hear”


“If we do not serve what coheres and endures, we serve what disintegrates and destroys”

(Wendell Berry, from The Art of the Commonplace, Agrarian Essays, 2002)

“We are called to assist the Earth, to heal her wounds, and in the process heal our own”

(Waagari Maatai: inspirational tree planter, Member of the Kenyan Parliament, Nobel Peace Prize winner, woman.)

???? ?Hoopla?

Kara Burrowes – ?2018


Hoopla looks to de-construct and transform items from the urban landscape, while questioning the importance and relevance of them. Disused layers of posters from obscure parts of the urban environment and discarded advertising billboards are extricated and reworked into another object, almost unrecognisable from their humble beginnings. The resulting pieces are playful, colourful and frivolous while maintaining structure and pattern, making a mockery of the consumerist material of their beginnings. The work is at once both abstract and familiar.



Robyn Webster- Artist?s Bio

? ? I was introduced to harakeke, NZ flax, in my late teens, and was fortunate to then meet and work under some of Aotearoa?s top weavers. I pay particular tribute to Heeni Kerekere, Erenora Puketapu Hetet, and Emily Schuster. From these dedicated and talented women I learned about respect for another culture, the environment, and especially respect for a plant.

???I graduated with honours in Sculpture from Otago Art School in my early 30?s, making large installations with waste plastics. I then began working towards an environmentalist art using natural materials, referring more to my own culture and attempting to be less reliant on the Maori traditions I had been trained in. Practically rather than theoretically I have been working within biculturalism, while simultaneously attempting to integrate a feminist craft ideal within contemporary sculptural practice, all as an ode to the land.

???My collaboration with AGResearch and the Biopolymer Network began in 2010. Since then I have been making sculptural work utilising the industrialised harakeke and epoxy resin processes they have developed. (As an alternative to the glass fibre in fibreglass, they are developing uses of harakeke fibre with resins, as it is far more sustainable and is recyclable.) ?Finger weaving and plaiting techniques work well with this flexible material. Rigidity can be achieved by using gravity or tension as I introduce the resin. It is like drawing in space.

???The printmaking has been going on quietly for years but the idea of printing from my harakeke forms and figures is new. I experience the making as arranging forms within a field, and then applying the colour in layers, like painting with the press. My cast of characters and symbols come together in different relationships and compositions, always moving a little as though they were (still) alive. The field of operations, the ground, is an old cataloguing plate from a body imaging machine (XRay maybe, pre digital) and is a tiny fragment of the growing mountains of the newly outdated, and is my metaphor for regressive progress.

The harakeke used in these printed figures comes from my own pa harakeke, and the varieties used are Awahou and Tapamangu.

Curriculum Vitae:
Comprehensive – Exhibitions
2018 -ZONTA Female Art Awards Exhibition, Group Show, Ashburton Art Gallery
2018- “Post Christmas Show” Inge Doesburg Gallery, Dunedin
2017- “Tai Tapu Sculpture”? Group Show at Tai Tapu Sculpture Garden
2017- “Sculpture on the Peninsular”, Louden Farm, Group Show
2017- “Figure and Form”, Diversion Gallery, Picton (with Llew Summers)
2017- “Shared Lines” Group Show, Thistle Hall, Wellington
2017-“From the Rivers to the Shore” Travelling Group Show of Print Makers’ works : Oxford Gallery, Devonport (Depot Gallery) Rawene, Hokianga
2017- “Warp and Weft”, Dilana Rugs, First Thursdays, Sydenham.
2017- -ZONTA Female Art Awards Exhibition, Group Show, Ashburton Art Gallery
2016- Pop Up Collaborative work “Anchor Point” with choreographer Fluer de Thier , a lighting designer, musician (live)and six dancers at CoCA
2016-? “Fine Lines” Diversion Gallery, Picton (Group Show with Graham Bennett, Bing Dawe, and Denise Copland.)
2016- “Too Many Dinner Parties” Group Show Eastside Gallery
2016- “Tai Tapu Sculpture” Group Show at Taitapu Sculpture Garden
2015-2016 “Matakaea, Shag Point”? Solo Show Ashburton Public Art Gallery, A Collaboration with Poet Bernadette Hall
?2015- Group Show “Sculpture on the Peninsular”
2015- Group Show, “Tai Tapu Sculpture” at Tai Tapu Sculpture Garden
2015-“Lucid” Dance / Sculpture Collaboration, choreographed by Fluer de Thier, Megan Platt, around sculpture by Llew Summers and Robyn Webster? with dancers and musicians at our home in Mt Pleasant, Christchurch
2015- Group Show, First Thursdays in Sydenham “Paper Scissors Rock” Curated by Warren Feeney
2015- Duo Show “Boundary Unbound” Collaboration with Dance Photographer Bina Klose, Sumner Art Window
2015- Group Show “Masks of Humanity” Eastside Gallery, Linwood, Christchurch
?2014- Curated Group Show, “Compendia” City Art Depot, Christchurch
2014-Curated Group Show? “The Signing/ Belonging ” Academy Gallery Wellington
2014- Community Show,? “Stand Tall” (“Zeraffe” giraffe) Christchurch, with Llew Summers
2014- Solo Show/Installation :”Biorama” Sumner Art Window
2014-? Group Show, Paper Works “Toy” Pop Up, @ The Colombo Curated by Warren Feeney
2014- Solo Show “Tribute” Chamber Gallery, Rangiora Public Library
2013- Group Show “Scattershot” Pop Up in Redcliffs, Christchurch
2013- Group Show “[In] Box”Art Box Gallery, Christchurch
2013- Group Show “One Night Wonder” Lopdell House, Titerangi, Auckland
2013- International Travelling Exchange Group Show “Shared Lines” SoFA Gallery, University of Canterbury, Christchurch, and Sendai, Japan
2013- Solo Show / Installation “Recollected Love”? Sumner Art Window, Christchurch
2012- Solo Show/ Installation “Convulvulus Infinitum” CoCA Window
2012- Curated Group Show “Summer Exhibition” Waitakaruru Arboretum/ Sculpture Park
2012- Invited Group Show “Te Whai Ao” Chamber Gallery, Rangiora Public Library
2012- Open Home and Studio Show “History and Biology” with Llew Summers at our home.
2011- Group Show “Be A Brick” Fundraiser for Martin Whitworth, Paper Graphica, Christchurch
2011- Group Show “Sculpture on the Peninsular” Louden Farm, Banks Peninsular
2011- Group Show “A Gathering” Curated by Grant Bambury
2010- Group Show “The Art of Nanotechnology” Our City / Otautahi in conjunction with Canterbury and Otago Universities
2010-Group Show “Blend” a touring version of the Art of Nanotechnology, ROCDA Gallery, Dunedin
2009- Solo Show, ?Twist? CoCA, Christchurch
2009- Canterbury Art Teachers Exhibition at (AANZAE) National Conference, Dunedin
2008- Curated Travelling Group show ?Preview? CoCA and Temple Gallery, Dunedin.
2008- Emerging Artist Scheme- Solo Show North Gallery, CoCA
2008 – Canterbury Art Teachers Association Exhibition ?Catch All? CoCA
?2007- Canterbury Art Teachers Association Exhibition ?Indulgences? CoCA
2006– Canterbury Art Teachers Association Exhibition ?Connect? CoCA
2005- Canterbury Art Teachers Association Exhibition ?Layers? CoCA
2002-Christchurch College of Education Centenary Exhibition, curated by Bronwyn Taylor; ?Look? ? ? This Way? COCA
1999- – Canterbury Art Teachers Association Exhibition Group Show, COCA
1997- Commissioned Sculpture installed Otago Polytechnic School of Physiotherapy
1997- Commission- Julanne Morris and Michael Wallace ?Whariki? (Private Collection)
1997- Group Show Bond St Gallery, Dunedin ?Internal Objects?
1995- Graduating Honours Solo Show, Bond St Gallery, Dunedin- ?Holding On and Letting Go?
1995- Group Show Curated by Helen Telford, Dunedin Public Art Gallery ?Takitahi?
1995- Commission Diane Halstead ?Dancing? (Private Collection)
1994-Group Show No.5 Gallery, Dunedin ?Icon Projections?
1993- Group Show Curated by Linda Tyler, Dunedin Public Art Gallery ?Women On Women?
1993- Group Show Art House Gallery Dunedin, Suffrage Centenary Grant ?Icon Project?
1992- Solo Show South Island Art Project Grant, Solutions Gallery, Dunedin ?Myself As A Bag? in? ? connection with ?The Body of the Land? Dunedin Public Art Gallery


Stuart Clook

My photography and print making is influenced by the pictoralists and tonalist movements of the late 19th century where I use contemporary materials to make landscape prints of platinum, cyanotype and gum bichromate in muted colours of dreamy and painterly imagery. These historical processes renowned for their subtle tonal range, luminosity and inherent permanence are labour and time intensive yet rewarding and addictive with endless creative possibilities that help me use the full photographic syntax to make prints with personality that will stand the test of time.

Like a small but growing number of photographers around the world I?m exploring Analogue and Alternative Photographic processes to help me express my thoughts and feelings about the landscape that we live, work and play in. These processes help me make my prints in a uniquely personal way and where I can use my hands in today?s digital and machine centric world. I love the fact that results are not guaranteed and that sometimes serendipity can play her part in the final outcome making for truly unique handmade photographic prints.

My goal is to inspire those who see my work to look more carefully at the world around them and to discover this beauty in the familiar and in the lesser known places around us.

Juried Exhibitions and awards 2018 and 2017 Bronze Medal, Canon NZ National Exhibition 2017 Mike Ware award, The Print Exposed, Gold Street Studios, Victoria, Australia 2017 Black and White (and Blue), The Darkroom Gallery, Vermont, USA 2015 Gold Medal and H.S James Landscape award, Canon NZ National Exhibition 2010 and 2009 Bronze Medal, Epson International Panorama awards.

Exhibitions ? past and future group exhibitions 2018 Twelve photographers ? twelve views exhibition, Art on the Quay, Kaiapoi, NZ 2018 Christmas Eighteen, Chambers Art Gallery, Christchurch, NZ solo exhibitions 2019 Precious Landscapes, Chambers Art Gallery, July 2019, Christchurch, NZ 2019 Precious Landscapes, September 2019, Gold Street Studios, Victoria, Australia

Representation Chambers Art Gallery and Magma Gallery, Christchurch. Peninsula Arts auction 2017, 2015, 2011, Christchurch Art Show 2017, 2015

Publications 2017/18 The Hand magazine, image contributor issues #15, 18, 21 2017 On Landscape magazine, 4?4 portfolio, issue 131 2017 Totara: A Natural and Cultural History by Philip Simpson, image contributor 2017, 2010, 2009 New Zealand Camera

Platinum printing

Prized for its rich, subtle tonal range and its wealth of fine detail, platinum was a popular method of making photographic prints in the latter part of the 19th century and early 20th century. Photographers such as Alfred Stieglitz, Edward Steichen, and Frederick Evans employed it extensively.

My platinum prints are made from hand-mixed and hand-coated emulsions. These sensitisers are mixed just prior to use, coated onto paper or vellum with a brush or glass rod. Once dry, a negative is placed in direct contact with the paper, and then exposed to ultraviolet light. Exposure to the light source takes a few minutes to an hour or more, depending on the density and contrast of the negative. After exposure the print is developed and achivally processed to leave a print of pure platinum and palladium metal embedded in the fibers of the paper.

The image tone of a platinum/palladium print can vary widely in colour and can range from a cool, slightly purple black to split tones of brown and warm black, to a very warm brown. The proportions of platinum to palladium in the emulsion, choice of developers and humidity of the paper at the time of exposure control the final colour.

Gum bichromate printing

Adding gum bichromate (a light sensitive emulsion made of watercolor pigment, bichromate and gum arabic) over a finished platinum/palladium print adds depth, richness and an opportunity to add subtle colour to the long tonal range of platinum print. The gum emulsion is brushed onto the platinum print and after drying is exposed to ultraviolet light through a negative which hardens the gum in proportion to the amount of light received. The print is then developed in warm water to wash away the unhardened gum. During development the gum can be manipulated with a brush, sponge or spray. Gum printing is usually achieved by repeating the process several times to build up the density required.

As these emulsions are mixed and coated by hand no two prints are exactly alike. I like to think of them as ?monotype? prints from the same negative.

For people who collect photographs, platinum/palladium prints are known for their beauty, archival stability and unique, one-of-a-kind print statement.

These prints are a labor of love over several weeks to achieve the finished print. The processes are fickle, frustrating and yet seductive and totally absorbing. When everything comes together the finished print has a quiet and subtle beauty that is very unique.

Results are never guaranteed, and serendipity is always close by, making for a truly handmade and unique print.

Stuart Clook



? ? ? ? ??


Thomas Hancock and Gareth Brighton have both spent their formative artistic years in Christchurch where they studied together at Ilam School of Fine Arts, each graduating in 2016 with an MFA. Having lived and worked in close proximity the two have a good understanding of each other?s practices and have exhibited together on a number of occasions.

Gareth Brighton?s new works are primarily abstract oil paintings on recycled fabric. They are orderly compositions, constructed of a thick patchwork of painterly marks. Though these works fall into the category of abstract painting they are literal objects of solid materials that reject illusionistic space and hold titles which invite representational investigation by the viewer.

In Thomas Hancock?s recent works, found objects, photography, and painting are combined to create something simultaneously figurative and abstract. Objects are chosen for their qualities of form, their geometric and linear possibilities. The objects are familiar yet strange, their identity and purpose sit tantalizingly at the edge of your mind …






A drive to explore my own elusive memories and feelings is the basis of my collective work. Relying heavily on intuition, I visually articulate that which can not easily be explained. The works contain elusive narratives, as memory battles with external influence. My family life and childhood inform a lot of my work. My father?s furniture making, dressmaking, film, and photography, as well as my late mother’s poetry, have had a profound influence on me and on my recent paintings. Old films and photographs provide the concrete evidence of times I was too young to fully comprehend/remember. Through my work the visual vocabulary is simplified and edited to elude to the raw emotional response to the event, making that which is intensely personal, become something universal and relatable. My hand and brain fight between figurative representation and emotional abstraction, I let go of the source image so that what is specific to me will become accessible to others. I explore what is, and is not necessary for my work to have a presence. Minimising and emphasizing particular elements allowing my works to be both ambiguous and extremely specific, as only minimal detail is left for consideration.

Currently, I am in my final year of a Bachelor of Fine Art at The University of Canterbury and last year I was awarded the Harry van der Lecq Scholarship in painting.





? ? ?

Helene Olivia Smith

Helene?s wide-ranging art practice included painting, flax weaving, jewellery design and black-smithing, before becoming completely and utterly obsessed with creating ceramic art.

Working from her home studio beside Lake Wairewa, Birdlings Flat, immersed in a landscape of shifting stones, big southern seas and eroding volcanic hills, where the earthy elemental act of hand-building with clay and the unpredictable transformation from glaze and fire, lends itself to her often experimental and organic aesthetic.

Helene gathers wild sourced clays, sand and stones to incorporate into the stoneware body and glaze to connect form with place, producing geologically inspired vessels and sculptural works, that sit as comfortably in the landscape, as they do on the table.




Ano took Sculpture in his last year at high school where he received an A helping him be accepted into the School of Architecture at the University of Auckland.

Since then he has kept up a practice of drawing which has developed into digital print making.

He scans Landscape or Abstract drawings into his computer and manipulates the images with colour and contrast. He then prints these images at high resolution on hot press water colour paper.

Influences on his style vary from Herge with the use of coloured backgrounds, to McCahon with contrast of dark and light. Architectural ideas also enter into the abstract work with potential building forms.





Ano took Sculpture in his last year at high school where he received an A helping him be accepted into the School of Architecture at the University of Auckland. Since then he has kept up a practice of drawing which has developed into digital print making. He takes drawings either with subject matters like landscapes or abstracts drawn on paper with skill and texture shading then scans these into the computer using the photoshop application to finish with colour and contrast. He then prints these images at high resolution on hot press water colour paper. Influences on his style vary from Herge with the use of coloured backgrounds, to McCahon with contrast of dark and light. Architectural ideas also enter into the abstract work with potential building forms.

He has now been involved in several exhibitions:

2010 COCA GALLERY ? ANTHONY HARPER AWARDS – ?Woolston Print? Group Show

  1. 2013 ?ROOM FOUR GALLERY ? ?Scared Existence? Solo Show
  2. 2014 ?POP UP GALLERY – FIRST THURSDAYS – Group Show
  3. 2015 ?CHAMBERS GALLERY ? ?Point and Line? ? Group Show

2015 NORTH PROJECT ? Group Show


A Christmas special collection from our stable of artists at Chambers Art.

Wishing you all a Very Merry Christmas and a wonderful New Year.

Paintings, monoprints, sculpture, mixed media, wood craft and pottery.

A little touch of something creative for everyone.

The Doctor and the Wasp part two brings together an eclectic mix of works from a photographer and painter printmaker for the second time at Chambers Gallery.
Despite employing greatly different mediums and techniques Jason Greig and Doc Ross share common themes pictorially, partly truth partly fiction. Ross?s work combines layers of time and history.
Greig describes his work as dealing with mortal concerns and the currency of emotion, his figurative mindspaces almost find a home within the somber romanticism of Ross?s modern ruins.






?Working originally in bronze sculpture, Leah has always studied, sculpted, painted and been totally fascinated by the human figure. She endeavours to capture not only form and character, but uses imagination to link these through the creative process to more universal themes.

?One of these themes has been a nine year long exploration of youth; documenting and celebrating one boy (her son), as he grows and changes from a child to a young man. Viewed as a body, this series records the impermanence of youth; its mutability; its evanescent – and therefore priceless ? rarity.

?Leah is a self-taught full-time professional artist living and working in Hawke?s Bay. She was a finalist in the Wallace Art Awards in 2009 and 2010. She has exhibited in various shows Including Creative Hawke?s Bay Invitational 2010 and ` East ? Hawkes?s Bay Invitational 2014, with most recently a successful Solo show at the Boyd ? Dunlop Gallery, Napier. She has work held in the James Wallace Collection and others.


? ?

Michael Springer

I am a full-time artist living at Birdlings Flat, on the edge of Lake Te Ro- to O Wairewa, overlooked by eroding volcanic cliffs, ancient Pa sites and ever present rhythmic breath of the wild southern ocean.

At the end of every day I cross the water to walk the hills and contem- plate. The past is undeniable here, it oozes unseen influences from the high and low places, significantly and mysteriously influencing my work.

Using paint as primordial sludge to summon forth unknown creatures from within this surreal landscape, I feed off the long lived spirit- energy that leaks forth. In attempting to quiet my inner critic, I step back and trust in the unconscious unfolding to direct my brush, allow- ing the work to evolve into its own existence.

The power and energy that inhabits this place tugs and pulls at me to delve ever deeper into the spirit nature, embodied in the earth, rock and water, it seeps in and falls out, resurrected one more time.

2014 -Group Exhibition, Compostable Materials, Roots Restaurant,

2014 -Group Exhibition, Jambalaya, The Incubator, Tauranga?Gallery
2014 – Finalist, Adam Awards, the New Zealand Portrait Gallery?Wellington, selected for inclusion in NZ touring show. 2014 – Finalist, Anderson Park, Spring show, Invercargil.
2015 – Solo Exhibition, Searching for the God particle, Linwood?Community Art Gallery, Christchurch.
2015 – Supreme Award, Edinburgh Art Awards, Dunedin. Judge Barry?Cleavin.
2015 – Solo Exhibition, The Un-Naming of the Beasts, Black Asterisk?Gallery Auckland.
2016 – Represented by Black Asterisk Gallery at Auckland Art Fair. 2016 – Solo Exhibition, As the tongue returns to the jagged stump of?tooth, Mint Gallery, Dunedin.
2016 – Solo Exhibition, Painting for God, Little River Gallery, Banks?Peninsula.
2017 – Group Exhibition, Collude, with Philip Trusttum, Next Gallery. 2017 – Xmas show Chambers Gallery Christchurch
2018 – Dual Exhibition, Un-common Ground, with Nick Williamson?Next Gallery, Christchurch.
2018 – Xmas show, Chambers Gallery, Christchurch.
2019 – Dual Exhibition, Under the watchful eye, with Helene Olivia?Smith, Chambers Gallery, Christchurch.2019 – Finalist in Parkin Drawing Prize, New Zealand Academy of Fine Arts, Wellington.

RIGHT HOOK 2017 acrylic/canvas 705 x 505mm $3000



10 ? 28 October 2017

The catalogue note overleaf that all paintings in the exhibition have been completed in 2017 leaves open the possibility that they may have been started before this year. In fact, apart from the holland blind work, they all began life either last year (the two largest) or some years ago, as parts of several modular series dating from 2006, which had been prefigured by Soundings, a large-scale modular installation at Christchurch Art Gallery in 2004.

Prior to a somewhat reductive phase in 2002 during MFA studies at UC, an earlier way of working involved much layering and gestural brushwork. These PAINTBOX recent works somewhat return to that (loosely) ?expressionist? approach, legacy of Rudi Gopas. However, they retain much from the reduced, modular phase: the canvases? imprints, from a first life as components of composite works with rhythmical broad-brush applied paint, help shape the nature of the resultant ?new? painting. With a long- time appreciation of the presence of heritage buildings in our cities and the importance of what?s called adaptive reuse, for me there is a conceptual parallel in the re-use of, and capitalisation on, the existing qualities of these canvases: a hint of past lives.

Although no longer modular components of multi-part works, with their colour, form and compositional particularities / idiosyncacies, they have been forming installation-like relationships on the studio walls out the back, which I am keen to develop on the walls of the gallery out the front.

What are they ?about?? That?s anyone?s guess, but for me: PAINT, the physicality of it and the process of painting and drawing, colour, brushwork and layering ? yet the ?sense? of things rather than certainties about them; BOX, power and politics (with some thinly disguised local references) within a context of time, memory and identity ? and uncertainty.

Ross Gray 9.10.17

small mercies. 2020.



Peter Cleverley

living & working studio.. Kakanui. Nth Otago.. (painting, printmaking.)

(26)yrs Lecturer. Painting & Drawing. Dunedin School of Art..

International travel since mid 70’s. 2015 -2017.Laos. Thailand. Italy. France.

public collections. Te Papa. Dunedin Public gallery. Forrester Public gallery, Oamaru. Suter gallery, Nelson. Manawatu Public gallery. Anderson Park Public gallery, Invercargill. James Wallace gallery, Auckland.

(5)x finalist. James Wallace. competition..

journal article.. Aborigines and the Bamiyan Buddhas. SCOPE magazine 2007.? (volume 2. 2007.) (Pp 106-109).

working towards touring exhibition.starts.. Forrester Public Gallery. December 9th 2017. (private opening Friday 8th Dec 2017.5.30pm.)

1954???? ???????????born. Oamaru. Live & studio. Kakanui. Nth Otago.

1976?????????????? Dip Fine & Applied Arts. Dunedin School of Art.

1977 ? 1983 ? 2017.?? travel. Australia. South/East Asia. Europe. Persia. Afghanistan. India. Thailand???????? ???????????????? ????????????????????????????????????????????????????????????????????????????????????????????????? .?? ????????????????????Polynesia. Indonesia.

1985 – 1997?? teaching. Waitaki Boys High School. Oamaru. Exhibitions Officer , Forrester Gallery.


1998 – 2017?? Lecturer. Painting & drawing. Te Kura Matitini Ki Otago. Dunedin School of Art.



2017?? ?????solo touring exhibition curated by Forrester Art Gallery. Dec 2017/2018.

2016/17 (6) paintings. Solander Gallery. Wellington.

2016/17???????? (7) Artists. Forrester Public Art Gallery. Oamaru?coinciding. Inge Doesburg Gallery. Dunedin.

2015???????? Doesburg gallery, Artist show. BOWEN gallery. Wellington.

2014???????????? STAFF. 8 staff from the Painting Studio. Dunedin School of Art.

2014?????????? From Bamiyan to Puketapu. Inge Doesburg gallery. Dunedin.

Forrester Public Art Gallery. Aigantighe Public Art Gallery. Ashburton Public Art Gallery.

2014???????????? Colour Moves. Dunedin Fringe Festival.?? paintings. DogBoxGodBox. 2010. Looks like

Tony Fomison. 2013.

2013???????????? Drawing. staff. Dunedin School of Art. D.S.A. gallery. Dunedin.

2012???????????? Portfolio. artists prints by the P Lab. D.S.A. D.S.A. gallery. Dunedin.

2011?????????? Art in Practice. D.S.A. & Otago University exhibition. painting. Navigator. 2009

2011?????????? Art & Law. D.S.A. & Otago University exhibition. painting. Only Make Believe.2009

2010?????????? SMOKE & MIRRORS. Anya Sinclair. Peter Cleverley. Michael Greaves. D.S.A. gallery.

Forrester gallery. Ashburton Public gallery. Eastern Southland Public Art Gallery.Gore.

2005?????????? PROVENANCE. Peter Cleverley. Bing Dawe. Curated by Anna Wild. Forrester Gallery.

2004?????????? Image&Object. Pataka. Museum of Arts&Cultures. Porirua. Wellington. Curated by Helen



2009???????? ???Artists in Schools Programme.???? Creative N.Z./ Ministry of Education initiative.

2005?????????? Punatapu Lodge. Artists in residence programme. Glenorchy Valley. Queenstown.


Selected Bibliography. Journal inclusions.

2009?????????? journal article. Junctures, vol 12. Island 2009. title- Sea Dogs.

2009?????????? Ripoata; Rakahau-a-Tau. Otago Polytechnic research report. Pp. 22&23.

2007???????? ?journal article. ?Aborigines and the Bamiyan Buddhas?. SCOPE. Contemporary research

Topics in Art. Vol 2, 2007. Pp, 106-109. .


Te Papa. Wellington.

D.P.A.G. Public Art Gallery. Dunedin.

Forrester Public Art Gallery. Oamaru.

Aigantighe Public Art Gallery. Timaru.

Suter Public Art Gallery. Nelson.

Manawatu Public Art Gallery. Palmerston Nth.

Anderson Park Public Art Gallery. Invercargill.


Inge Doesburg gallery. Dunedin.

Gallery 33. Wanaka.

OCTA gallery. Cromwell.

Grain Store gallery. Oamaru.

Vivian gallery. Matakana. Warkworth.

BOWEN gallery. Wellington.

Chambers Art gallery. Christchurch.



K a t h y?? B a r b e r

Many believe that abstract art is all about the spontaneous gesture, made with no thought, a blob here, a drip there, dumb, irrelevant, random, found, childish or even banal marks that convey?.what? ?Oh come on,? we hear. ?What is that even supposed to be!?There may well be cause for question, abstraction has always raised the hackles, but abstraction isn?t something new, it?s been around the block, invented, reinvented, aped, ridiculed, mocked both by others and itself, but time allows us to sit back, sort out the lazy from the luscious, the cerebral from the cloddish. Serious painters working in an abstract i.e. non-representational way, believe the marks they make are very representative, both of the world they live, and the one we inhabit.

The gesture, be it such a slight line it makes us wonder where it came from, where it will go alights on our subconscious like a whisper, but it may also be a fully formed gouge of such intensity that it cuts right to the heart of our deepest fears and uncertainties. Abstraction does this, it is silence and shouting, from Jackson Pollock to Agnes Martin, from the noise of the New York bar to the silence of the New Mexico desert. So is the abstract artist really communicating something without using something recognizable, and how so?

Kathy Barber is a dedicated abstractionist. From the beginning she wanted to express an inner tension, a thought process rather than an impetuous action. Broad arcs of colour dissected her canvases making us think of hilltops hit by some fantastical but controlled aurora borealis, dark rainbows against an even darker sky, portents of a coming storm. The paintings had a mature elegance while retaining something less learned, something absorbed, elemental.

When an artist approaches their craft with an inner dialogue driving the image, it cabecome didactic, preachy, a visual nervousness that is often evident in self-conscious literature. Abstraction can often be speculative, the artist is after all exploring both the gesture and the reason for making it; hand and brain are in constant dialogue, often arguing, sometimes agreeing. Thoughts are often ahead of the hand, trying to guide and control it, at other times the hand creates something that the mind has to catch up with, try to make sense of. Barber?s studio is full of voices, sometimes they are asked to be quiet, turned to the wall, tried to be made sense of.

It looks like Barber has been inspired by other artists, Elsworth Kelly, Cy Twombly, Brice Marden, Japanese calligraphy, and certainly a favorite Yayoi Kusama, not so much by the actual marks or colours, but by the thought processes. With over twenty years of practice, she has managed to make something entirely her own, a continuous body of work that has claimed a quiet place in collections and competitions within NZ and Australia. The key to her success lies in her control of surface effects, layers that hint at thoughts, conversations barely heard, suggestions to the head and heart. The breakthrough came with her solo show Chinese Whispers, here she successfully managed to convey that sense of intrigue, the paintings circled the gallery with the almost audible sound of their own language. The continuity of colour and marks was visually similar, but by the end you knew every painting was different, every message unique. The colours were joyous, pinks and reds floating beside yellow balloons, but something was happening, there were hints that the conversations were changing, perhaps they were just too bright, to loud, too cheerful to be sustained. Every party needs a few dark moments, every hill a shadow.

Brice Marden absorbed a number of influences during his extensive travels: the art and culture of Asia informed the calligraphic gestures that later emerged in his work. Elsworth Kelly cited the streets and shadows of Paris as an inspiration. Agnes Martin?s work is homage to the landscape of New Mexico, its flat plains, horizon lines, bleached colours. Brice Marden wrote: “My work has always been involved with nature, no matter how abstract. Sometimes it’s more formal and less involved with the real world. But there’s always been some sort of involvement with nature… this particular observation.”

Good painting is as varied and multi-layered as the person who made it, the thoughts and memories, the visual associations and personality of the artist, the sympathies and experiences all feed into a work. To reduce all of it to a single word runs the risk of doing the painter a disservice, even if the painters have chosen the word themselves. Barber has chosen a word, Y?gen, the Japanese word, which is at the core of the appreciation of beauty and art in Japan. It values the power to evoke, rather that the ability to state directly. The principle of Y?gen shows that real beauty exists when, through its suggestiveness, only a few words, or few brush strokes, can bring to mind what has not been said or shown and hence awaken many inner thoughts and feelings.

“Y?gen is to watch the sun sink behind a hill, to wander on and on in a huge forest without thought of return, to stand upon the shore and gaze after a boat that disappears behind distant islands, to contemplate the flight of wild geese seen and lost among the clouds.”

?This power to evoke, rather than state directly, is at the heart of Barber?s sustained painting career. The paintings in Y?gen have their beginnings in Japan, specifically on the small island of Naoshima, that startling art and architecture destination. Naoshima’s transformation into a unique art project began in 1987, when Soichiro Fukutake, the chairman of Fukutake Publishing, now known as the Benesse Holdings, Inc., purchased the south side of the island. Mister Fukutake supervised the development of the spectacular galleries, buildings and museums over the next two decades. Anyone who goes there is changed forever. That?s easy to say, all experiences change us, but great art has an innateness, a mystery that invites us to experience change. For an artist, especially one who has sympathy for the transcending experience, that artist leaves with something indelible, but while impossible to remove, it is almost impossible to recover.

Rex Armstrong, OREXART, May 2016.


Artist Statement- Y?gen 2016

My painting is a response to place.

The power to evoke rather than to state directly has always been at the heart of my abstraction.

Y?gen? is a Japanese principle suggesting that beauty exists when it is suggested- a few words, ?a few strokes can bring to mind that which has not been said.

This body of work has it?s beginnings in Japan.- a country of contrasts, a sensory overload of chaos and calm. After my second visit in 2015, I was overwhelmed with memories, images and experiences. It was some time before I could process the overload; to let the needless drift away and see all that is left behind. The opening sentence of a story.

The process begins- Looser scripts and scratchings interplay with colour and light specific to place. Thoughts jumbled, overlapped- erased. There is something comforting in the repetitive process of writing over and over, in the transference of thought weaving in and out of the canvas. My mark making is exacting, controlled and layered, repetitive characters become abstracted forms – areas dissolved and pared back as the unsaid becomes as relevant as the spoken.

I believe when we are in environments that challenge us emotionally or physically we are opened up to inner conversations and monologues. These experiences feed into my practice and Japan is just one such exciting influence. The challenge lies in translating my response to the canvas.


?from the EDGE of SPACES
?19 September ? 7 October


Edwards and Johann?s collaborative work interweaves drawing, painting, performative activities, video and installation with photography. Their images seem both inherently stable yet also subject to temporality. They present a ground in which sensitivities and questions of existence can be played out.
Utilising a range of media and methods in their work, their collaborative approach is a process based research lab. Sole authorship becomes obsolete in the process of making new work and in any of their projects/exhibitions. They have been working together since 2007.

Their works On the Seam of Things ? Constellations and Constellations ? drawing strength record the gradual process of drawing, part of the work?s becoming; a probing and mapping of new territory. Drawing acts like an obsessive caress on the photographic surface, finding form and meaning as motif for the tensions and dichotomies inherent in life. This territory reflects a basic human condition ?to connect, work, play and test the space we inhabit to deal with crises and to grow. The seam is a point of connection but also a space of friction, tension and inevitable fragility. The exhibition is a dark, yet playful space of human propositions to ?unknown? events.


`XXI Woodblock Drawings’ *

Barry Cleavin ?Wintering Over? : 2017

This Showing divides Chambers Gallery up into three sections. The works contained within something akin to three chapters of a book. Firstly there are the ?36 views of Hereweka? with it?s obvious reference to Hokusai ( the old man mad about drawing) amd his depictions of Mount Fujiama.

Hereweka on the Otago Peninsula holds its own mysteries and legends. These depictions attend to some aspects of that expanded into some more fanciful notions related to time and space.

Secondly there are the XXI Woodblock Drawings * `Winter 2016 ?.?`Winters Tales? ? modified from diary drawings of the corners of dismantled wooden pallets. These will be accompanied by some composite digitally collaged manipulations.

The third chapter presents `13 Floral Arrangements ?. Continuing with the main thrust of the exhibition in ` story telling ? mode. These prints have a wider reference related to living and its opposite. Both `now and then?.

I have not forsaken `autographic print making ?. For thepurpose of this exhibition I have chosen to amplify more recent technology in the service of providing a continuum of `ideas? unrestricted by any more semantic or semiotic purpose. I am quiet simply an older man `mad about drawing?.

Barry Cleavin `The Boojum Press?. Portobello . Dunedin. August 2017


Richard Adams

When I think about my painting I think about being moved by beauty and light, it’s not so much in the eye but in your minds eye that perfection can be found. We all respond to light and beauty throughout our lives and the response is the same for viewer as it is the artist.

A clear blue sky in the middle of the day will almost certainly illustrate a very different kind of emotion than say the light of a soft dark evening sky fading slowly into night. Our emotional life in my view is much stronger than our intellectual life. These new works on paper and canvas are my direct translation of this feeling of light and beauty, I?ve seen and experienced on my travels around New Zealand over many years. The light in the Pacific is much stronger than that of the Northern Hemisphere where I spent much of 2015-16 as the resident artist at Winchester College in Hampshire UK. The colours are deeper here in NZ and resolve on the horizon line or Keyline, as I prefer to call it much quicker than in the UK. The surfaces below these colours, in this new work I have pushed as far as I can almost to the point where they have become tactile texture scrubbed on rather than brushed and then scrapped back to expose the original under painting of the final image. It is here that the viewer can have a real sense and feeling of the subtle interplay of strong colours, natural light and the distant and ever significant horizon line where the sea meets the sky.

Richard Adams 2017


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Sue Cooke

The Beech at Lake Ohau series arose from my desire to highlight the effects of deforestation on the South Island and to draw attention to our responsibility to carefully protect the forest we have left.

My trip to Lake Ohau and Hokitika was funded by a Pollock Krasner Foundation award ( for which I am very grateful ) and this allowed me to fully investigate what is now an area with minimal afforestation but where there used to be heavy beech forests. Our current assumptions about what is a natural environment are falsely based on what we see now.

I had read about Nathaniel Chalmer?s journey into Central Otago in 1853 via the Nevis Valley where he described an area which had suffered greatly by fire ? ? the plains were treeless, though the charred tree trunks showed it had once been well timbered.?

My work emphasizes the visual impact of deforestation by depicting the sparse tree cover with images of the remaining beech trees interspersed with dead leaves to indicate the gradual demise of the natural landscape in the hope that with focussed attention on this issue we might reverse the current deforestation trend and thus allow us all to have a more beautiful and ecologically balanced environment in which to live.

I am grateful to those people who assisted my research and shared their knowledge with me , in particular, Di Lucas, Neill Simpson and Maria Martin Smith.

? ?





Port Hills Pottery, Christchurch 2017

From my home and workshop on Dyers Pass Road, I look across the Canterbury Plains to the Southern Alps. My?glazes?are made using the?fine particles wind-blown from the mountains?that are deposited in wide seams at the base of?the Port Hills. Between my gaze and glaze, and in the pottery making process, there is a union that I value and strive for. My pots are functional, have a clean simplicity with a peaceful earthly palette of blues, greens, creams and russets, and are made to be used and enjoyed every day.


Fatu Akelei Feu’u, ONZM (Born 1946) is a noted Samoan painter.

Feu’u grew up in the village of Poutasi in the district of Falealili in Samoa.

Feu’u emigrated to New Zealand in 1966. He has established a reputation as the elder statesman of Pacific art in New Zealand.[1] Feu’u has been an exhibiting artist since the early 1980s and became a full-time artist in 1988.

Feu’u was appointed a Honorary Officer of New Zealand Order of Merit in the 2001 New Years Honours List.[2]


Feu’u has exhibited in numerous exhibitions in New Zealand and internationally with works in national and private collections worldwide. He has exhibited in solo and major group exhibitions including Samoa Contemporary (2008) at Pataka Art + Museum in Porirua.

Feu’u’s work was included in two groundbreaking exhibitions of contemporary Pacific art: Te Moemoea no Iotefa, curated by Rangihiroa Panaho for the Sarjeant Art Gallery in 1990 and Bottled Ocean curated by Jim Viviaeare, which toured New Zealand in 1994-1995.

Feu’u was part of the major group exhibition Le Folauga: the past coming forward – Contemporary Pacific Art from Aotearoa New Zealand, at the Auckland Museum.[3] Le Folauga later toured to Taiwan and became the first exhibition of contemporary Pacific art from New Zealand to be shown in a major fine arts museum in Asia.[4] Le Folauga opened at the Kaohsiung Museum of Fine Arts in Taiwan from 13 December 2008 to 5 April 2009.

Artistic mediums

While primarily a painter, Feu’u explores a range of other mediums including bronze, wood and stone sculpture, pottery design, lithographs, woodcuts and glass works (both stained and etched).

Polynesian influences

Feu’u’s work is inspired by Polynesian art forms such as siapo (tapa cloth), tatau (tattoo), weaving, carving and ceremonial mask making.[5] In these forms he uses a rich lexicon of motifs and compositional structures. His works frequently blend traditional and contemporary elements, incorporating a range of influences, inspirations, techniques and motifs from Samoa and Aotearoa and more generally from Euro-American to Pacific cultures.[6]


Fa’asamoa is the unifying element of Feu’u’s work. The term fa’asamoa is generally defined as ‘the Samoan way’. The social structure of Samoan society is held together and actively maintained by an adherence to unwritten but understood cultural conventions embodied in fa’asamoa which binds family networks to traditional customs and ceremonies.


Feu’u’s work is included in a number of prestigious national and international collections including the National Gallery, Brisbane; Auckland Art Gallery; Museum of New Zealand Te Papa Tongarewa, Wellington and Waikato Museum of Art and History, Hamilton. His work is also included in an extensive number of private collections in New Zealand, Australia, United States of America, England, Holland, American Samoa, Samoa and Japan.

Tautai arts organisation

Tautai, an organisation of contemporary Pacific artists in New Zealand, was founded in the 1980s as an informal network from an initiative by Feu’u and artist friends. This group shared a goal of mutual support for the promotion of Pacific visual art artists, at a time when Pacific art was in the very early stages of recognition as a particular genre.[7] In 2005, Tautai celebrated its 10th anniversary as a formalised organisation. Members include other established Pacific artists such as painter and sculptor Johnny Penisula, multi-media artist Shigeyuki Kihara and Michel Tuffery.

It is no secret that most of the Rainforest in the Pacific is?disappearing,?as?their indigenous cultures are also disappearing.?This I believed is caused by poor?management of their natural resources, the rivers, the forestry, the sea etc.

In Samoa, the national park on the mainland, Upolu is completely striped of the native timbers, like IFILEE, MALILI, etc. An effort to?replant these in the last 20 years has failed. In the big island of Savaii the milling of these native forests are still going on but there is no effort to replant?them. The culture is also changing and the infrastructure of the villages political system, is very weak in contrast to pre-independence period.

It is our?endeavour for myself?and my local artists, to highlight this environmental problem to the locals, before they become a?catastrophe.

I use the images of spiritual masks to bring to the peoples attention that they should meditate, pray, and do something about the RAINFOREST, before they change to an Easter Island landscape, where there are no trees, just rocks and dry soil. I hope they listen.


Ia Manuia,TAMANU

Fatu Feu’u / ONZM
P.G Dip. Fine Arts
University of Auckland

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Hamish Southcott -?In New Zealand, we?re fortunate to have a rich landscape, that is the envy of many. These artworks draw on our diverse landscape and looks at the burden that society has and continues to have on this beautiful part of the world. Our actions today, have far reaching consequences tomorrow! I sought to reflect these contexts in artworks that convey the present and my hopes for positive change in the future.


? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ??Rebecca Harris –
Both bleak and bursting with life, these works are for me a way of trying to process some of my anxiety for life as we know it, and all the little coral who lie beneath the sea, slowly being bleached as I try in vain to paint them back to vibrant colour.

In New Zealand, we?re fortunate to have a rich landscape, that is the envy of many. These artworks draw on our diverse landscape and looks at the burden that society has and continues to have on this beautiful part of the world. Our actions today, have far reaching consequences tomorrow! I sought to reflect these contexts in artworks that convey the present and my hopes for positive change in the future.

Signs Noun : A motion or action indicating thought, desire, or command.

The signs in the exhibition are from :

Christchurch Public Hospital.

The Bridge to Hagley Park.

The Entrance to the Christchurch Public Park.

C.O.C.A Gallery

Resene building.

The George Hotel

Road sign outside The Montreal Hotel.

? ?

Philip Trusttum is one of New Zealand’s most recognised contemporary painters of major works. In 2002 Trusttum built a large tin shed at 18 Peterborough Street. A 15 metre by 8 metre plus a 3 metre by 6 metre addition, giving Trusttum enough space to paint and store work. This shed stands behind an elegant wooden two storied?house in ?Central Christchurch. Near the Avon River and Hagley park. Though most importantly, close to the United Tennis Club.

Philip Trusttum graduated with a Diploma in Fine Arts from the University of Canterbury School of Art in 1964.?

In 1967 he travelled on a Queen Elizabeth 11 Arts Council scholarship, since then has travelled and worked in Europe and North America.?

He was part of ANZART at the Edinburgh Arts Festival, 1984 –?the same year he exhibited on New York’s 57th Street at the Jill Kornblee Gallery. He has shown in Sydney, New York, Melbourne, Auckland, Wellington, Dunedin and Christchurch since then.?

In 1998 he was the only New Zealand artist reviewed in the New York Times. Philip Trusttum is represented in all major public and private collections within New Zealand.

Katie Thomas_2017_Surface Deep_invite image

The most obvious influences in my work come from the natural world around and I would describe myself as an abstract landscape painter.

The works are not about creating specific scenes but evoking atmospheres and impressions from places in my memory.

As I also work as a gardener my paintings reflect changes in weather and seasons. The stillness and peace of the garden has a profound effect on all my work, which doesn?t shout for attention but quietly reveals itself over time.

With this body of work I have been exploring the surface…and the depths. Working in layers with a repetitive motif and using a variety of mark-making methods and materials.?I want to create work that has spacial ambiguity, cohesive at a distance with surface interest up close.


20170310_113348-1-1? ? ?

Curiously Prosaic is an urban mirage, a series of work that aspires to make sense of the complexity of the urban landscape by observation, selection and reorganisation. The works create calm through repetition and order by the selection and omission of detail by observing and highlighting elements that might otherwise be overlooked. Beauty is in the eye of the beholder, what others might deem mundane, this work identifies and reclassifies as precious and alluring. The works are vestiges from observation, re-layered fragments of time.


Southern Hemispher

Catherine Manchester was born in Auckland in 1957 and gained a BA in Literature at Victoria University, Wellington. She studied at the Ilam Art School from 1979 and graduated with a Diploma in Fine Arts from Dunedin Polytechnic in 1984. She has been exhibiting successfully since 1986 and her work is held in private and public collections throughout New Zealand. In 1986 Manchester was a recipient of a Creative New Zealand Grant and the following year she was awarded the Rita Angus Residency. She currently resides in Wellington.

Her diverse and extensive education is reflected in the many influences that invest her art. Her work is both expressionist and abstract, avant garde and classical; with the deliberate brushwork of Rembrandt and the stylistic intensity of Francis Bacon. Her paintings have strong gestural qualities but also the constructed elements of formal abstraction. The technique of building up the layers of paint then rubbing back is a deliberate method of treatment that adds resonance to the rhythm of the free brush work.

Catherine Manchester – Bio 2018

I began my art studies at Canterbury university in 1979 after completing a BA in English Literature at Victoria. In 1984 I graduated from Otago School of Art, majoring in painting. During the 1990s I lived and exhibited in Christchurch. I exhibited widely in galleries in Christchurch including the Loft and Brooke Gifford Gallery. I showed at Teko Teko Gallery in Palm Springs USA in 1993 and returned in 2014 with a solo in New York. In 2000 my work went into the publication Art on Tour curated by the McDougall Art Gallery which toured nationally to schools. I had my graffiti word paintings studied for NCEA art at New Plymouth Boys High School. In 2005 I participated in the Christchurch International Arts festival with a solo ?Figure Fictions? at the Arthouse and was represented the same year at the Auckland Art Fair. I have had several public art gallery solos including the Forrester, Aigantighe and most recently Aratoi Art Gallery in 2013. I exhibited for 10 years with Ferner Gallery and was collected widely throughout New Zealand and overseas. I have worked out of the same studio in Wellington for 20 years. In 2015 a survey show of my work was curated by Greg Chaston and shown at the NZAFA Wellington.




Sue Cooke was born in 1960 in Sydney and emigrated to New Zealand in 1973. Cooke graduated from?Ilam?with a Diploma in Fine Arts (hons) ?in 1985. She has been a practising artist ever since. Printmaking is still a large part of her artistic practise but she has also incorporated oils, acrylics and watercolours into her work. Her formative years were spent living and working in the South Island where she established a reputation as an artist working with black and white landscapes. A study tour of Europe and America in 1989 opened her eyes to the possibilities of colour and on her return she began to explore. Cooke has since become an active member of the art community in Wanganui, co-ordintaing the Whanganui Artists Open Studio event in it?s early years and establishing the Whanganui Arts Marketing and Development Trust. In December 2006 Cooke realised a 20 year dream and finally travelled to Antarctica to draw and gather material for artworks to be made back home in Wanganui. Since the trip to Antarctica Cooke has made and exhibited a series of prints exploring the monochromatic and textural qualities of the Antarctic storm and exploring the colours and light qualities of frozen water.?The 7 years exploring ideas relating to Antarctica?has culminated in an ambitious installation at the Sarjeant Gallery in 2013, titled The Paradise Project. Currently Cooke is exploring ideas in print relating to deforestation in New Zealand. In addition to exhibiting extensively throughout New Zealand Cooke has also exhibited in Singapore,?Khular Lumpar and Rome.




Born in 1955 Eketahuna New Zealand, a self-taught photographer.
1998 set up personal exhibition-studio space Gallery464 in Christchurch NZ
2000 travelled to Middle East and Europe showing works at the NZ Ambassadors residence in Tehran.
2000 Worked in collaboration with students to make works on paper based on NZ abstract photographs at art studio Miskovic in Belgrade.
2002 travelled-photographed through China
2002-2012 photographed in Australia on regular visits.
Currently lives in Christchurch New Zealand.

Exhibitions at Chambers Art Gallery on a frequent basis.


? ? ? ?Kaituna Lagoon 5 Square ?


Bronwyn Taylor is a lecturer in Sculpture at the University of Canterbury School of Fine Arts. In addition to her practice as an artist she has been involved in art education since 1972, focusing on curriculum development and assessment at secondary and tertiary levels. Taylor has exhibited in solo and group shows for more than thirty years and her sculpture and drawing is held in public and private collections throughout New Zealand.


Clare Callaghan, The Wave? ??The Wave 2015

Clare Callaghan is an artist based in the UK.?She has recently finished a Bachelor of Design majoring in Photography with First Class

Honours at Massey University in Wellington, New Zealand. She is also a regular editor for an online art magazine, The Archive?Collective.

Viv Kepes - Released II


A range of artworks?exploring?the boundaries of?still-life painting through contemporary viewpoints and?styles. With a?non-conventional approach to the subject matter, and a focus on technique rather than pure representation, these somewhat abstract and?fragmented works show?a broad?range of insight into depicting still-life type?scenes.

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A joint exhibition of solo and collaborative works by Gareth Brighton and Sam Clague.

For current availability please contact the Gallery.




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11-gareth-brighton-so-damn? ? ?????

Gareth Brighton is an artist from Christchurch. Graduated with a Masters in Fine Arts from The University of Canterbury (2016). He works in paint and printmaking, primarily using found materials.

Brighton creates painted objects with the intention of making the viewer slow down to examine the materials and visual structure of pictorial communication. His work marries references to written and pictorial language; drawn and painterly picture making.

The resulting work often seems abstract: while still holding reference to things such as calligraphy or icon painting. These references are given a different accent through spray paint, pastels and oil sticks. Brighton’s casual line work is offset by dense patches of colours allowing vague forms to appear.


  • Natural Selection. 2013, Hackthorne Gardens. Gareth Brighton, Sam Clauge, Ella Duncan, ?Liv Worsnop.

  • FIGG-ER-AY-SUN. 2015, Chambers Art Gallery. Gareth Brighton, Sam Clauge, Thomas Hancock, Stephanie McEwin.

  • Colloquy. 2015. Ilam Campus Gallery, University of Canterbury. Gareth Brighton, Josh Harris, Kaela Marshall, Aimee Shaw.

  • Temporal. 2015. Chambers Art Gallery. Gareth Brighton.

  • (Untitled group exhibition). 2016. PG Gallery 192. Gareth Brighton, Hamish Coleman, Chris Pole and Andrew Ross.

It, going on. 2016. Log Recordings. Gareth Brighton, Sam Clague, Tjalling de Vries and Thomas Hancock with performances from Markdown, Master Blaster and Saturnian Noise Collective.

  • Lie to me. 2016. QB Studios. Gareth Brighton, Janie Bruce, Olivia Chamberlain, Sam Clague, Tyne Gordon and Thomas Hancock.

  • [Sic]. 2017. Chambers Gallery. Gareth Brighton and Sam Clague.

  • (Featured artist). 2018. Iron Bridge Fine Art. Gareth Brighton. Coalbrookdale, Shropshire, England.

  • Considerably Less Stressful. ?2018. Chambers Art Gallery. Gareth Brighton and Thomas Hancock.

  • Until Your Room is Ready. 2019 Chamber Art Gallery.

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Sam Clague holds a BFA with first class Honours from Ilam School of Fine Arts. A blend of traditional skillsets and contemporary concerns inform Clague?s practice. Anxieties both personal and global play out through a variety of visual experiments that forcibly drag elements of the digital milieu back into meatspace for closer inspection.

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Richard Adams, a contemporary New Zealand abstract artist, first exhibited his works in 1982 at the Molesworth Gallery in Wellington. Since then, the Auckland-based artist has achieved national and international recognition. He has exhibited in Tokyo, Sydney, New York, London and New Zealand.

Perhaps a born artiste, in addition to his painting, Adams is also an established musician who plays the jazz violin with passionate flair as frontman for the Nairobi Trio. He published his first book of poems and etchings entitled Translations in 1979 and the same year he co-scripted, produced and directed the New Zealand film ?Artman.?

Adams? abstract, minimalistic panels of vertical and horizontal plains are inspired by the landscapes he encounters on his journeys. He is particularly inspired by the variety of colours, textures, shapes and surfaces in nature and the diversity of these features from region to region. Drawing from the landscape, Adams? respective supports (he paints on both canvas and paper) act as frames for the exploration of those natural features which inspire him; these are reduced to panels of rich oils, embracing ovals and map-like line etchings. Though abstract, Adams observes the rules of classicism with his compositions strongly anchored and boasting a horizon, foreground, mid-ground, etc. From a strong structural base, he realises balance by exercising optical restraint while simultaneously allowing himself the freedom of movement associated with the very gestural activity of painting.

Adams believes he will never run out of things to paint ?the well is endless? so to speak. The guide rather than the master of the brush, Adams? works are both literary and artistic. They are images resultant of thought processes, simplified and emotional; they grow as he works. Hamish Coney, in a recent interview with the artist said ?unlocking the meaning of Richard?s work is a joint venture between the artist and viewer, both of whom bring a history to the moment of viewing.?



Olivia Chamberlain, Cheer? ? ? ??Olivia Chamberalin, Sit

Through a process of reduction in my practice, I was led to engage with the tension that became apparent between representation and abstraction. My paintings are informed by periods of observation and contemplation spent in the presence of indoor plants. I deal with issues around depiction and the relationships within the works between figure and ground, real and abstract.

The isolated plants hover against cool, monochrome grounds that create psychological space. Each plant is removed from expected ties to domesticity and the everyday through the reduction of still life cues. The engaging forms of the foliage lend themselves to notions of familiarity through appearances suggestive of daisy chains, the draping of a necklace or long, flowing hair.

Recent works present ambiguous assortments of flattened forms, isolated upon the pale blue surface of each work. The clearly articulated shapes in the paintings are specified by the particular houseplants that I have employed as formal tools. Attention is drawn to the relationships between the real and the abstract, the present and the absent.

Lives and works in Christchurch, New Zealand


Bachelor of Fine Arts (Honours), University of Canterbury, 2015 Bachelor of Fine Arts, University of Canterbury, 2011-2014

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Artist Biography ? Jane Barry

I am a printmaker based in Christchurch. From 1995-1997, I studied at Christchurch Polytechnic, completing a Diploma in Art and Design with a double major in printmaking. I work from home where my press and workshop are.

My practice as a printmaker involves Drypoint engraving and Monoprinting onto Perspex plates. These are printed through the press, producing original works on paper. Images are further embellished off the press with other media and applied techniques ? hand/press printed rice paper, chin-colle, graphite pencil and Indian ink. I try to pay attention to mark making, composition, blocks of pigment, collage and elements of drawing in my work.

Much inspiration is derived from land, sky and seascapes – the atmospheric quality the powers of nature give these and the emotional feelings these places incite. Other times imagery is depicted figuratively, and more recently my work has taken on an urban derivative. I have been an exhibiting artist for 18 years. 7 of which were with The Centre of Contemporary Art in Christchurch (CoCA) quite literally, up until the Christchurch earthquake in February 2011.

I love working with this medium. The combination of paper, ink, press and invention. I like the tactility and the unpredictability and surprise that are lent to working with the printed image. The ability to move on consistently and the changeable variety that comes with working with one off images, suits me as an artist.



My work is held in private collections throughout New Zealand, Australia, America and the United Kingdom. Work of mine featured in a limited edition book of prints, a public collection involving twelve other printmakers entitled ??Twelve laments and one?? is held by the Christchurch City Art Gallery.



-2015 ?Designed the artwork for the album cover ?Weightless? by singer/songwriter Sally Stockwell

-2003?? Designed the artwork used for four book covers for Australian author Randolph Stowe –

?To the Islands?, ?Tourmaline?, ?The girl green as elderflower? and ?Visitants?.



-2004 ?(finalist) ?Cranleigh Barton? award for excellence in drawing ? Robert McDougall Art Gallery,?????? ???ChCh, NZ

-2005 ?(finalist) ?Anthony Harper? award. ? CoCa Gallery, ChCh, NZ


Exhibition History ? Jane Barry


2016- ?Grounded? (artist trio) Chambers gallery ? ChCh. NZ

2016- ?Some of the things I almost saw? (solo show) Qb Studios ? ChCh, NZ

2016- ? Vessel? (group show) ?First Thursdays? Artbeat- ChCh, NZ

2016 ? ?They only come out at night? ( group show) Penny Lane record shop ? ChCh, NZ

2016 ? ?Landscapes? (group show) ? Oxford street Art gallery, Lyttelton, NZ

2015 ? ?In Miniature? (group show) ? Tin Palace gallery, Lyttelton, NZ

2015 ? ?Time and space? (group show) ? Nelson City (art and frame) Gallery ? Nelson, NZ

2015 ? ? Pasted? (collage group show) ?First Thursdays? Artbeat- ChCh, NZ

2015 ? ?Solid Gold? (Album cover group show) Penny Lane record shop ? ChCh, NZ

2014 – ?Chameleon? (solo show) ? Artbox Gallery ? ChCh, NZ

2014 – ?Inbox? (group show) – Artbox Gallery – ChCh, NZ

2011 – ?New Black? (solo show) – Centre of Contemporary Art (CoCA) ? ChCh, NZ

2009 – ?Keeping sight of the shore? (solo show) -Centre of Contemporary Art (CoCA)- ChCh, NZ

2008 – ?Under Pressure? ( NZ Printmakers group show) ? Empire Gallery ? Cambridge, Waikato

2007 – ?Shag Rock series, For Charley? (solo show) -Centre of Contemporary Art (CoCA)- ChCh, NZ

2006 – ?Late Goodbyes? (solo show) – Centre of Contemporary Art (CoCA)- ChCh, NZ

2005 – ?Christmas show? (group show) – Campbell Grant Galleries ? ChCh, NZ

2005 – ?Set? (members exhibition) – Centre of Contemporary Art (CoCA)-ChCh, NZ

2004 – ?Re-acquainted? (solo show) ? Studio Works Gallery ? ChCh, NZ

2001 – ?New Works? (solo show)?? -The Arthouse Gallery – ChCh, NZ

2001 – ?Perspectives on Printmaking? (group show) – The Arthouse Gallery – ChCh, NZ

2000 – (series of solo shows throughout the year) ? Clock Tower Galleries,The ChCh Arts Centre, NZ

1998 – ?The deep end? (solo show) -The Salamander Gallery, ChCh, NZ



Kara Burrowes is a multimedia artist inspired by the urban landscape. By carefully observing the city scene both on a macro and a micro scale, Kara identifies items of interest that could be considered commonplace or disinteresting and reinterprets them into a new dialect of expression. To make sense of the complex landscape, Kara looks for pattern and often painstaking repetition, to compulsively re-layer vestiges from time. The resulting artworks are often reclassified into items that are precious and alluring with an emphasis on remnants and reuse. Her works are playful and engaging, balancing painterly with whimsy. Effort over time, and contemplation are key to the work.
Kara has a Bachelor Fine Arts from Canterbury University and a degree in Landscape Architecture from Lincoln University.
Bachelor Landscape Architecture (Hons)
Bachelor Fine Arts – Painting ?
Graduate Diploma – Design
2017 Wallace Art Awards – Finalist
2009 Anthony Harper Contemporary Art Awards – Finalist
1999 Golden Key National Honour Award – In top 15% of students universities worldwide
1998 Bickerton-Widdowson Scholarship – Painting achievement at Canterbury School of Fine Arts
1995 Lonsdale Edgar Award – Top student at Canterbury School of Fine Arts
1995 Monier Award – National achievement for Landscape Architecture
Group Exhibition ‘Christmas Seventeen’, Chambers 241 Gallery, Christchurch
First Thursdays ‘Warp & Weft’ and ‘Growlers & Squealers’, Sydenham, Christchurch
Group Exhibition ‘Signature Dish’, Little River Gallery, Christchurch
Solo Exhibition ‘Overt Clandestine’, Warwick Henderson Gallery, Auckland
First Thursdays Dreamscapes, ?Whimsy? and ?Blind Date?, Sydenham, Christchurch
Duo Exhibition ‘Curiously Prosaic’, Chambers 241 Gallery, Christchurch
Solo Exhibition, ?Citified Reiteration?, QB Studios, Addington, Christchurch
Group Exhibition ‘Christmas Show’, Chambers 241 Gallery, Christchurch
Living/Room Group Exhibition, Fendalton, Christchurch
First Thursdays ‘Smallville’ and ‘Menagarie’, Sydenham, Christchurch
Solo Exhibition, Auricle Gallery, Christchurch
Christmas Group Exhibition, Artbox Gallery, Christchurch
200×200 Group Exhibition, Kina Gallery, New Plymouth
Group Exhibition ‘InBox’, Artbox Gallery, Christchurch
Solo Exhibition, Rekindle, Christchurch
Group Exhibition, Academy of Fine Arts, Wellington
Group Exhibition, St James Theatre, Wellington
Solo Exhibition ‘Masquerading As Myself’, CoCA Gallery, Christchurch
Group Exhibition ‘Preview’, CoCA Gallery, Christchurch
Solo Exhibition ‘Skin’, CoCA Gallery, Christchurch
Group Exhibition ‘Set’, CoCA Gallery, Christchurch
Solo Exhibition ‘Breathe’, CoCA Gallery, Christchurch
Group Exhibition ?Recent Works?, CoCA Gallery, Christchurch

An exhibition of small works from our select group of talented artists to tempt and delight.7

In my new work I explore among other things a well thumbed 1970s gardening book on proteas. Aka the sugar bush. I was interested in the shape and movement in some of the photographs of the shrub and flowers, and in others an almost obsessive interest in the detail. In previous work I have had quite a strong and colourful palette. In this show my colours are more subdued for spacious and soft effect. I am interested in working from a figurative viewpoint and then stripping it back to the bare bones or essence. Some of my flower arrangements border on traditional but I am trying to evoke a slight off colour, traditional but drawn from a contemporary perspective. Probably my biggest concern is to convey a sense of life and spontaneity with a spiritual undertone.

-Rebecca Harris April 2016

Please contact the gallery for current availability of works

never felt better is a group exhibition, featuring 32 artworks in a range of mediums by 5 emerging and established New Zealand artists;?Tony de Lautour, Jonathan Glover, Roy Good, Rebecca Hasselman and Adrienne Millwood.?Please contact the gallery for current availability of works within this exhibition and also for each artist.


Barry Cleavin is New Zealand?s most distinguished printmaker, developing an arts practice in prints that exposes the gap between appearance and reality. Cleavin?s art reveals the hypocrisy of its subjects in images that range from the playful and surreal to barbed social commentary. Cleavin was Senior Lecturer of printmaking at the University of Canterbury (1978 -1990) and awarded the New Zealand Order of Merit in 2001. His work has also been the subject of two major surveys, Ewe & Eye at the Auckland Art Gallery (1982), and The Elements of Doubt at the Robert McDougall Art Gallery (1987). ?Lateral Inversions? The Prints of Barry Cleavin by Dr.Melinda Johnston and Dr. Rodney Wilson,published by Canterbury University Press details aspects of his imagery and practice.

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Matt Akehurst observes that his arts practice, ?looks at the contextual frame work of the art world.? Since graduating from the University of Canterbury (2010), his projects have included the Rejected Art Award, (responding to the Wallace Art Award) and in 2012, You Are Here, a public sculpture now in the Christchurch Art Gallery?s collection that highlighted the absence of art in Christchurch in AA road signs, pointing the frustrated visitor to international attractions like the Sistine Chapel. Akehurst?s current work creates fictional history of ?unseen? artworks by artists like Henry Moore, using ?mundane? materials that includes polystyrene and plaster.



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Ben Reid is a Christchurch-based printmaker whose work draws together specific references to our history of settlement of the natural environment within the wider context of the conservation movement. Providing subtle, yet pointed, reminders of the fragile nature of New Zealand?s native species, Reid?s prints focus on the vulnerability of its plants and animals, threatened by disease, loss of habitat and exotic predators. Reid studied at Christchurch Polytechnic School of Art, graduating in 2005. He has since worked as assistant to master printmaker Marian Maguire at PaperGraphica and exhibited widely throughout New Zealand since 2005.


On October 6 2019, it will be 250 years since the crew of the Endeavour and its captain, James Cook, sighted New Zealand. This moment has repercussions to this day and we need to acknowledge not only Captain Cook’s feats but the effect they have had on society in this post-colonial era… ‘in the wake of Captain Cook?.

Was Cook a colonial hero or an imperial villain?

What is his environmental and cultural legacy?

What effect did the colonial sense of entitlement, our way is best, grating against long-held, harmonious traditions of indigenous peoples and their land have?

It is these questions that motivated me to create my latest series of work.

The collective title ‘mis-adventures? is an edition of woodcut prints portraying a young Captain Cook. Each one has been manipulated to add, or subtract, from what Captain Cook stands for or represents, in my eyes.

As a series, the work portrays both “the view from the ship and from the shore”: how Cook was perceived by the British as well as the indigenous peoples of the lands he explored: this coming together of cultures, that began with Cook and has continued until this day.

“I don?t really like the word impartial but it is a word that may describe these works. I don?t want them to sit in the middle or on the fence, but more to say something about the strongly held feelings and opinions of each side.

Cook is a somewhat controversial figure: the first man to map the coastline of New Zealand and prove it was two islands, he also represents possession and dispossession to many people indigenous to the land he ?discovered?.

The first encounter between Europeans and Tangata Whenua was marred by misunderstanding and resulted in the deaths of a number of M?ori, how this was portrayed in history for the next 250 years and how this will be viewed by us all, going forth:

I am convinced that Cook was a great man: his feats of navigation and the innovative way he looked after, and managed, his crew are legendary. Although influenced by the forces and attitudes of his time he showed great humanity to both his crew and the indigenous people he encountered.

Certainly, Cook was one of the great explorers of the 18th century. On the other hand, his voyages presaged the destruction of indigenous cultures and lands, through colonisation.

It?s surprisingly not Captain Cook, the man or his voyagers that have inspired these works but what I now believe Captain Cook to represent.

I didn?t want to just deface the portrait of Cook. I thought it important to create balance by adding things that also endorced him, his feats, his voyogues and his legacy.

Further information:

“Red feathers were highly prized and traded among Pacific people. Cook was both gifted them and gave them, this is shown in the work?’Mataku no te pupu IV’

The words ?mataku no te pupu? translates in English, to??we are afraid of guns?!

Maori often cried this out after seeing first hand and hearing about the effective nature with which the ?spears? of the white man killed.

?Kaka ika uhi??translates to ?strike the black? known to us all now as tattooing.

The word ?tattoo? derives from descriptions of the craft, given by Cook in his journals. He translated the native, Tahitian word ?tatau? as ?Tattow?, which has morphed into the word we now use.

Interestingly, it is believed that Captain Cook never received any tattooing himself in contrast to many of his crew.

In history, European powers believed that if indigenous peoples occupied land but had not developed it in any significant way then, it could be considered

‘Terra Nullius’?or ‘nobody’s land. They would assume first discovery and then, occupation.




In her painterly response to the subjects and narratives of her work, Rachael Dewhirst?s paintings touch upon both formal aspects of painting and the immediate experience of the world around her. Dewhirst works in a range of media, applying paint in impasto and translucent washes. Just as the application of paint to the canvas demonstrates a joy and pleasure in the act of painting, the subjects of Dewhirst?s work are equally characterized by their optimism. Dewhirst completed BFA Honours in Fine Arts in 2013 at the University of Canterbury, and has work in the collections of the James Wallace Trust and University of Canterbury.




IMG_1533-The Scrum copy???


Michel Tuffery is a Polynesian artist born 1966 Wellington, Aotearoa New Zealand of Samoan, Rarotongan and Mahoi Tahitian heritage.
He works in various media; printmaking, drawings, paintings on tapa cloth and canvas, sculpture, performances and emblematic carvings are the artistic offerings of a keen historian and active participator in contemporary culture. Tuffery graduated DFA (Hons) from Otago Polytechnic in 1988. In 1993 he participated in the 1st Asia Pacific Triennial, at Queensland Art Gallery. In 2008 he received the New Zealand Order of Merit for services to the arts. Tuffery is one of a number of New Zealand-born
Pacific Islanders who reference their identity through European artistic traditions: ?We?re this third generation, we were born here. If you go to a new place you create a new culture, and that?s what we?re doing.?

Nigel Brown, Was Am? ? ? ??Nigel Brown, Lost Find

Nigel Brown is one of New Zealand?s best-known artists. Tutored by Colin McCahon, Garth Tapper and Greer Twiss, Brown graduated from the Elam School of Art in 1971 and established his reputation as an artist who conceived and created images and symbols that revealed important aspects of New Zealanders and their identity. Over the past forty years Brown work has been both politically and socially engaged, with the artist depiction of figures like James K. Baxter and the ?Kiwi? bloke in a black singlet the subject of respect and criticism. In 2004 Brown was awarded the ONZM for services to painting and printmaking.


2PlanesStudyDrwg? ? ?Roy Good, Planes Bisect - Bue : Grey No.2

Roy Good’s abstract paintings have their origins in international arts practice and artists such as Kasimir Malevich. Good graduated from the University of Canterbury in 1965 and by the early 1970s had developed his signature shaped, minimalist paintings of triangles, octagons and lintels, becoming part of a small group of abstract painters associated with Auckland art dealer Petar Vuletic. It was a stable of artists that also included Gordon Walters and Milan Mrkusich. Good’s paintings are complete as subjects in themselves, shifting attention to an awareness of the physicality, tangibility and spatial deceptions of their painted surfaces.



available for sale POA
Not Without Scars – 2004 Resin and mixed media 1200x1200mm POA? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ??
Katie Thomas graduated MA in painting from the University of Canterbury in 2010. Over the past 7 years she has developed a body of work that shares much of the territory of European Modernism and Abstraction. Yet, her painting also takes its cue from her studio garden in Christchurch. Its changing light, colour, atmosphere and space are a direct influence on her painting. Thomas has exhibited throughout New Zealand and has work in private collections locally and internationally, and in the collections of the Christchurch Art Gallery Te Puna O Waiwheto and James Wallace Arts Trust.?


Working layer upon layer of photographic images and washes of colour, Adrienne Millwood?s paintings and prints are deliberately an opaque account of the experience of ?time lived? as a continuum of memories and perception of reality. Millwood’s art encourages a wider consideration of the subjectivity of our experiences and the wider possibilities of narratives and spatial relationships in a work of art. Millwood graduated First Class Honours BFA from the University of Canterbury in 2012 and has exhibited in New Zealand and Australia over the past few years, including Fort Delta, Melbourne. Millwood has work in the James Wallace Trust Collection and the University of Canterbury Collection.


Ross Gray, Mind the gaps (2012-14)? ? ??? ?

A student of the Expressionist painter Rudi Gopas, Ross Gray graduated from the University of Canterbury in 1967. Although MFA studies in 2002 pared back his style, elements of Expressionism still exist, typically in painterly abstracted images. Gray?s art shifts between abstraction and figuration, but sustaining a connected body of work is important to his practice. Since the mid-1990s his focus has been on the importance of heritage buildings to city identity and memory ? a stance he has maintained publicly in post-earthquake Christchurch. Gray is represented in numerous private and public collections including Auckland Art Gallery and Christchurch Art Gallery.





Eion Stevens, perpetual motion


Eion Stevens? paintings have maintained a relationship of sorts with literature for many years, but it would be wrong to assume that they reveal familiar, narratives and storylines. Rather, literary sources offer a necessary anchor for images that touch upon memories or fleeting glimpses and revelations about human behaviour in paintings that acknowledge their respect and affection for Modernism and the work of artists like Picasso and Derain. Stevens graduated from the Otago School of Art and attended Exeter College of Art, London 1974 ? 75. He has work in public and corporate collections, including the Christchurch Art Gallery.


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Jason Greig?s prints have consistently attracted the attention of curators, collectors and academics since he graduated from the University of Canterbury in 1985. His prints reveal a comphrehesnive knowledge of 19th Romanticism as well as heavy metal music. Odilon Redon, Edgar Allan Poe and Black Sabbath all cohabitate in some form or other in his work. Masterfully, Greig plays the familiarity of images associated with Gothic art against an astute commentary on the secret and unknowable nature of human behaviour. Greig?s work is held in the public collections of Te Papa Tongarewa and Christchurch Art Gallery

Chambers Art Gallery
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Chambers Art Gallery is a Fine Art gallery with artists,  studio spaces, nestled within the central city of Christchurch. The gallery exhibits the work of leading, new and emerging New Zealand artists, representing artists and their original art across a range of practices; painting, printmaking, photography, sculpture, drawing and installation. Attention is centered upon works of quality that are skilful, conceptually rich, spirited and sincere.

The Gallery was opened in 2011 and is managed by Ron Mottram and Julie Williams. Chambers Art Gallery also offer a range of services.
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At Chambers we are committed to the present and future of New Zealands art and culture through the artists we support with our exhibition program