Artbay Gallery was established in 2004 and has organically grown into what it is today. Visit our multi-award-winning gallery in person to experience our unique, vibrant and ever-changing collection of New Zealand Contemporary Art. Our goal is to build a business around making the arts accessible to more people. We stand out from the crowd by offering contemporary art for sale within a friendly and welcoming gallery environment. Our overall vision is to offer our guests an ‘Art Experience’ that goes above and Webeyond.provide an art consultancy service, assisting our clients locally, nationally and internationally. Whether moving into a new home, re-decorating or refurbishing a commercial project, we help our clients achieve the results they desire. YOUR LIFE, LOVE YOUR ART
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A SELECTION OF OUR AWARD WINNING ARTISTS OUR CHEREECATHERINESERVICESROBERTSTEORANGAROA DOWNES FIONAELAN KERR GEDSON GABRIEL MORENO GARETH BARLOW ILYA PETERNEMOMARKKATEJIMMYISAACVOLYKHINEPETERSENJAMESKOURATORASBERGINHILLJANTZENHACKETT 8 - 9 10 - 11 12 - 13 14 - 15 16 - 17 18 - 19 20 - 21 22 - 23 24 - 25 26 - 27 28 - 29 30 - 31 32 - 33 34 - 35
LIGHT ARTISTS MAX MEETANGUSSHANNONWENDYTIMROBERTPATTÉJAHNKECHRISTIEHANNAHNOVAKMUIRTHETEAM 48 - 51 52 - 53 54 - 55 56 - 57 58 - 59 60 - 61 62 - 63 36 - 37 38 - 39 40 - 41 42 - 43 44 - 45 SALLY BULLING SAM SIMONFOLEYMAX BANNISTER TREVOR ASKIN VIRUT
A MESSAGE FROM REX I’m excited to introduce our selection of Artists to you. This catalogue showcases a vibrant collection of endless possibilities. I look forward to helping make your art vision become a reality and supporting you every step along the way. Rex Cook Art Agency Manager 8
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Roberts says, ”Nothing about my work is perfect. It is a natural process, lead by a feeling of balance, resulting in an organic final piece. From the applied texture to the frames, all put together with the same hands... If my art were a couch, you’d feel comfortable about putting your feet Overup.”the last two decades, the journey of Robert’s art has helped her find the confidence to dispel self-placed inhibitions. She says, ”I am not confidently spoken in life, but it seems I found my voice through my work.”
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Catherine Roberts has been painting for nearly 20 years from her Wellington studio and has exhibited in galleries around New Zealand. Robert’s work is the result of an intuitive dialogue, between artist and canvas, with no set intentions, but with a purpose to captivate the viewer to carry on the conversation. Driven to find balance, using colour, texture and contrast to form a harmonious rhythm, eventually creating intangible and obscure realms. The artist works with large scale mixed media canvases, approaching each painting with an acceptance of serendipity; with areas of paint move unhindered and colours are given reign to compose themselves.
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Cheree Te Orangaroa Downes (Ngati Tūwharetoa, Ngati Hine, Ngati Hikairo, Ngati Tutemohuta) is a local Māori artist from Murihiku, Southland. Her work is crafted using traditional techniques handed down through many Tegenerations.Orangaroa Downes’ tactile artwork fuses tradition with contemporary art elements; her passion, and the historical and storytelling elements capture the viewer. She was taught to weave over twenty years ago by her family, friends and elders. She weaves flax and flax fibre and combines these with various materials such as metal, glass, animal skins and rustic woods. She has a strong background in the arts, performing arts and education. The artist has been involved in a huge number of cultural shows, galleries and exhibitions across New Zealand and Australia. She has completed several commissions for local marae, government agencies, N.G.O’s, Education providers, businesses and private collectors. Her artwork is held in private and corporate collections nationally and throughout the world. Her art primarily tells stories of how Māori identify and interact with the environment, with particularly strong connections to her home in Murihiku (Southland). “When I make my art, I often think about our elders who are not here anymore,” she says. “I love that people can relate and connect to this in their own way. They can find themselves in it, the colours, shapes or the whole piece may relate to them, their family or their lives as a whole.”
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work is reminiscent of Contemporary Japanese art, his ink washes (sumi-e), reflect the simplicity and importance of space central to both art and spirituality. At the core of his paintings is a certain sense of wisdom, a meditative state of self-discovery. It’s a sense of Zen, one Elan would describe as an “Aha Moment, which can often enlighten our journey.”
Born and raised in Brooklyn, New York, Elan came to New Zealand in 1992 and became a New Zealand citizen in 1997. While living in Silicon Valley, CA, Elan had solo shows at The MindCenter in Palo Alto and at the St. Supery Estate Vineyard in Napa, CA. He also had a solo show at Artbay Gallery in Queenstown, NZ in 2011, 2020 and
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“I want people to be in front of my paintings and be present to the gift of NOW. I want them to feel something within themselves, a recognition of sorts. A recognition of who they are and the timeless connection that we all Elan’sshare.”
Elan lives by the philosophy of ‘This Is It’. Each brushstroke, each splash of paint, every dribble of ink, celebrates his philosophy... ‘This Is It’. When he isn’t in his studio, Elan travels the world conducting ‘Breakthrough Thinking Programmes’ for global organisations. These programmes are designed to free up peoples’ thinking and how they interpret their place in the world. His art is an expression of the profound inquiry into what it means to be human. Although educated in the fields of psychology and education, Elan is more of a spiritual philosopher, and his work is reflective of that.
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Award-winning artist Fiona Kerr Gedson is well known for her intricate compositions of skillfully arranged feathers, indicative of Kahu Huruhuru – traditional Māori feather cloaks. These cloaks or Korowai are highly treasured as displays of mana – honour and prestige. Based in the Eastern Bay of Plenty, within the boundaries of the Whakatōhea Iwi, Gedson grew up in the presence of the Tuhoe people and these shared relationships have contributed to her ongoing love and respect for te toi o otatau tipuna – the art of our forbearers. Gedson’s childhood, her environment, the M ā ori women who taught her to weave and her precious family ties are all expressed in her art, in a mix of traditional skills and contemporary vision. Mandala (Sanskrit for Circle) which is a representation of an ancient form of Tibetan Buddhism, also features in her work. The Mandala is a complex circular design that rotates, reflects and repeats, intended to draw the eye inward to its centre. The mandala is basically a representation of the universe, a consecrated area that serves as a receptacle for the gods and as a collection point of universal forces. Gedson creates her work from a unique straw bale studio in the Eastern Bay of Plenty within the boundaries of the Whakatohea iwi, from whom her four children descend. Her works have been exhibited widely throughout New Zealand and Los Angeles, France and Japan and are treasured in many overseas collections.
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Gabriel Moreno’s work emerges from a hypersensitivity to the beauty of the female figure, as an attempt to preserve its essence. Moreno’s ability to express emotions and concepts is directly proportional to his ability to translate them into the skin of the women he Womandraws.
- her face, her beauty - is treated superficially throughout the history of humanity, her figure exalted and admired like a porcelain vase. His drawings demonstrate delicacy, strength, sensuality or fragility as a value in itself; as a canvas in which all realms, both sensorial and intellectual, manifest his only way of seeing and making sense of the world - through a woman. Images and ideas need contrast, and by drawing in black and white my visual language is confined to shadow and light. Conceptual contrasts are furthered by subject matter and aesthetic contradictions, expressed in two levels of reading: pencil lines that show the beauty and hide fragility, fear, ephemeron, sensuality, and tattoo lines, coursing through the skin of the figure and revealing what its beauty hides.
Moreno’s creative process begins with simple, easy lines of pencil or pen, that continuously take shape until they become a female figure. His inspiration and work tools have created a world of urban and contemporary women, living between the roughness of their tattoos and the finesse of their elegant outlines. These lines draw women in black and white, and evolve into colours that cover their skin, conveying sensations that range from seduction to obsession - tattoos that stand out with colour amidst white, delicate bodies invoking emptiness.
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Gareth Barlow is an established painter and carver from the Hutt Valley, Wellington. He is a sixth-generation New Zealander with a profound connection to people and places. His art practice is informed by his deep respect for indigenous culture and traditional Māori art. Barlow’s recent portrait series of living subjects embody the character of the sitter. Strong reflective and complex, his artwork comes to life on the canvas. He aims to embody the energy or lifeforce of his subject, if he can capture their spirit he knows it will resonate with the viewer. A delicate pattern of dots painted on the surface of the works adds an exquisite dimension to his painting. These tiny elements glisten like jewels or droplets of water. Together they form smooth undulating curved lines that evoke the mountains, sea and rivers of Aotearoa, New “AsZealand.much as my veil represents the landscape of Aotearoa, and the spiritual resting ground of our ancestors, it also creates movement and animation... Bringing movement and animation to my work that in turn will create eternal life to the subject matter”
Private commissions along with solo and group exhibitions throughout New Zealand have firmly established the name of this full-time artist. In 2021 Barlow recently received a Highly Commended Award in the Parkin Drawing Prize. He was a finalist in the Wallace Art Awards in 2020 and the Adam Portraiture Awards in
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Based in Devonport, Auckland Ilya Volykhine is a critically acclaimed artist. Volykhine’s latest works continue to expand upon strategies of collage, drawing, and painting. The newer artworks conjure earlier established themes and imagery mined from a myriad of sources including movies, cult icons, literature, television, and his personal history.
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Volykhine’s paintings are darkly comic, the characters within his pictures battling their way through the anxieties and joy of life, his narratives loose, playful and chaotic. What lies at the heart of these paintings is Volykhine’s intuitive process, his willingness and his confidence to allow the story to unfold as he paints. His expressive brushwork opens up a space for his characters to breathe and take on a life yet unexplored. He has painted numerous public and private commissions. Commercial projects include the newly opened Ebb Hotel in Dunedin, the new QT Hotel in the Auckland Viaduct, and American Cruise Lines. His artworks also feature in both the Presidential Suites and the Junior Suites of the Revere Hotel in Boston. Volykhine has worked in the Saatchi collection and numerous private collections all over the world.
Volykhine’s most recent list of accolades includes being selected as a finalist in the 2021, 2017, and 2015 Walker & Hall Art Award exhibitions. He was the winner of the Michael Evans Figurative Award in 2017 and a finalist in the 2016 Adam Portraiture Award and the NZ Painting & Printmaking Award. International accolades include work in the Archibald Prize at the Art Gallery of New South Wales and the Blake Prize for Religious Art.
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Hyper-real paintings of the ocean, rivers and rugged landscape of New Zealand are have established Isaac Petersen firmly as an artist. River water flowing over boulders, white water smashing onto rocks, and contemplative subjects such as waves lapping on the sand are rendered with phenomenal detail, depth, and transparency by Petersen. His figurative series depicting women in and around water is equally seductive, especially when he captures the figure diving into the Thesewater.
works are so real you can feel the sun on your shoulders and hear the water ripple and splash. His wife, Erika is often the female figure in his paintings. Poolside scenes of her floating with sunlight on her skin or submerged under the surface are so technically brilliant they defy belief. His paintings, without question, take the viewer with them. The work is predominantly large-scale – by amplifying the subject, it intensifies the connection of the viewer with his painted world. The exquisite detail he achieves and the way he captures light are a pure delight to view. Petersen grew up on the rugged shores of the North Island’s west coast and now splits his time between the coastal towns of New Plymouth and Australia’s Byron Bay. Painting for over two decades he has artwork in private collections around the world and is represented by dealer galleries in Sydney, Queenstown, Napier, and
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Kouratoras’s artwork is heavily influenced by his Māori and Greek heritage – two different cosmologies bound together to create works that beautifully reflect narratives of whakapapa. Over the past 25 years, Jimmy has developed his unique style of layering texture and imagery along with using vivid pop colour combinations, representing the connections between the past, present, and future. He describes his work as “much more than a hybrid or fusion, but a deliberate layering of story and truth that will reveal itself to the beholder through a series of vibrant textures”. The artist’s passion for finding equilibrium between mind, body, and spirit contributes to his natural ability to create works that so beautifully radiate Aroha (love).
Jimmy James Kouratoras is an Auckland based artist whose work depicts a rich, almost decadent examination of contemporary culture. His artwork has received critical acclaim both at home and internationally, recently winning the People’s Choice Award at the Brisbane Contemporary Art Prize 2016 and has been selected as a finalist for the National Contemporary Art Prize (2017).
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Kate Bergin’s artworks revel in the unusual, the precarious and the unexpected. Far from ’still’ these paintings quiver with movement, laughter and life. Reality recedes in the fantastical oil paintings, which feature all manner of creatures sitting upon tabletops with spoons, guns, keys, spectacles, and rotary telephones. Animals poised to leap from the canvas, birds to take flight; compositions on the brink of collapse. Her art, intoxicating and absurd, capture the mundane and the exotic in virtuosic detail. She was trained at The Victorian College of Arts from 1990-1992, drew inspiration from the close access she had to the National Gallery of Victoria, where daily she could get up close and personal to all of the amazing old master paintings in their collection. It was here that she honed her painterly technique. The artist observes live animals at the zoo and museum taxidermy displays to create her realistic depictions. Yet, in her final compositions, bends reality, allowing animals of various species to coexist. Bergin’s work is held in the Art Gallery of NSW (gifted by Margaret Olley AC), Bendigo Art Gallery, Artbank and significant private collections. She has been the recipient of several major awards, including the Albany Art Prize, The Waterhouse Natural History Art Prize (Highly Commended) the Arthur Guy Memorial Art Prize (People’s Choice) and was a finalist in 2011 and 2013 Sulman Prize. With a career spanning over 25 years, Bergin has become a highly collectable artist.
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Based in his studio at The Hills, Arrowtown, Mark Hill’s works are primarily large-scale, forged and welded stainless and Corten steel sculptures. His works have been sent across the world to the USA, Germany, Australia and beyond.
Born in Whangarei, New Zealand, Hill studied at the Queensland College of Art in Australia before embarking on a career in graphic design and photography. On a whim, he bought a welder and began experimenting with sheet steel. Mark held his first solo exhibition in 2002 and has worked full time as a sculptor and artist ever since. His self-taught, experimental style has led to a striking and organic form of sculpture that Mark is widely recognised for. Hill works on commissioned pieces for private collections, as well as having public works across New Zealand including Katikati, Wanaka and Arrowtown. In Queenstown, he is known for his elegant and distinctive Maori Chief sculptures greeting international visitors and travellers at Queenstown Airport. These sculptures are over seven meters tall, with over 20,000 spot welds in each piece. Recently, Hill’s works have been typically flowing, organic silouhettes and semi-abstract human forms. The welding components are not just a means of holding the works together; the welding is accentuated and worked to add a decorative finish resembling cast metal.
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Born in 1970, Dutch Artist Nemo Jantzen studied art, design and photography at the RTO Art Academy in Rotterdam. ARTSY recently named Jantzen one of the top ten most in-demand artists. Jantzen’s work is highly acclaimed in most leading art markets, art fairs and galleries in New York, London, Paris, Amsterdam and Singapore and can be found in renowned art collections, both public institutions and private. After his studies, he worked as a graphic designer and billboard artist while further developing his technique, a unique approach to materials and style influenced by pop art, and a critique of today’s mass media. Finally, after several years in Belgium, he settled in Spain where he dedicated his career to fine art. Always staying abreast of the rapidly changing contemporary art world, Jantzen’s innovative and fresh ‘Dome’ work explores the powerful presence of visual culture in the modern world. Interrogating influences from television, billboards, music, and magazines, Jantzen mixes both photography and pointillism to create art that question the perception and perspective of mass media. After collecting thousands of images from iconic movies, and vintage comic strips, Jantzen organizes them by theme and colour and embeds them in small handmade resin spheres. He aligns dozens of the spheres together to create large-scale mixed media photographic portraits. The work requires and inspires viewers to constantly investigate their perspective through the interplay of walking up close and standing at a distance.
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“I am not just using oil paint to describe a meadow, I am using a meadow to describe oil paint.” - Peter Hackett Peter Hackett’s paintings invoke notions of passion, scent, texture, colour and the incomparable beauty of nature. His impasto layers are thick enough that the brush strokes are intentionally obvious, these brush strokes play an important role in the theatrical light in the painting. His painting style creates a unique, almost sculptural quality. The intoxicating artworks feel close enough to touch and are so seductive that it’s hard not to. Hackett creates a feeling of intimacy and this is enhanced by viewing from a low perspective, allowing us to lose ourselves further into the meadows of flowers.
Hackett seeks to establish a dominant theme in his work, concentrating his efforts on maturing the subject matter and technique without surrendering to the influences of social trends. His inspiration is the swathes of flowers that fill the fields surrounding his Dairy Flat studio during spring and summer.
The artist studied in Paris under the guidance of highly respected artists such as Camillo Otero and Suzanne Runacher. His time spent at the Paris American Academy of Fine Arts and Languages became the catalyst for the experimentation evident in Hackett’s work. His work is recognized worldwide, and his paintings are represented in significant private and public collections in America, England, Italy, France, Israel, Australia and New Zealand. He has been a finalist in several major art awards including the Air New Zealand Art Award, The Nola Holmwood Memorial Portrait Prize, The Elder Este Art Award and The Windsor and Newton Art Award.
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Bulling has long had an obsession with colour and its presence around us. Graduating with a Bachelor of Fine Arts in 2002, her studies focused primarily on colourology and colour illusion. She has had a successful career in the fashion and fine art industry, more recently redirecting her energy back to painting. Bulling is quickly catching the attention of private collectors in New Zealand and worldwide.
New Zealand based painter Sally Bulling’s abstract works evoke an infinite energy.
Vibrant colours are mixed with sombre hues and rich golds, channelled onto the canvas with physical movements, sweeping marks, dripping flicks and elaborate pours. Each layer of the painting is thoughtfully superimposed over time, resulting in an intricate, pristine, and unified composition. Using a mirror as a canvas, unique luminous light and depth is captured in her paintings and in addition, the reflection of the viewer’s own gaze and their surroundings. The veneers of poured glass preserve each layer of the painting as the overlapping images are embedded within each transparent glass pour. The edges of the painting are hand-gilded and project an aura of light onto the wall.
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”Most recently, moving image and how the two mediums of painting and digital projection can be combined into a singular medium has been a focus. Creating ‘moving image paintings’ which shift and change, using light and texture in a complex way, a simulacrum of a simulacrum that still retains the integrity of time and place. It moves with the incident and creates memory. The urban landscape as a subject; the man-made and it’s encroachment into an environment. Line opposed to curve, the nature of chaos vs conformity, the myriad variations between absolute light and terminal dark are his constant fascinations. ” – Sam Foley
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Sam Foley is a contemporary New Zealand landscape painter. His often large, finely detailed paintings portray nature and urban landscapes, combining aspects of hyper-realism and photo-realism. From Dunedin, New Zealand, Foley exhibits internationally, with works placed in a number of public and private collections. Over the last decade he has been a regular visitor to Europe, basing himself between Dunedin and Berlin, exhibiting throughout Europe and Scandinavia. In 2013 he was the recipient of the Kaipara Foundation Wallace Arts Trust Award which included a 4-month residency at the cultural centre Altes Spital in Solothurn Switzerland.
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Simon Max Bannister was born and raised in South Africa. He moved to New Zealand after falling in love with the dramatic beauty of the land, its people and the spirit in which nature is revered and respected. Max Bannister practices a bronze casting technique that encapsulates his concerns of habitat and species loss into a distinctive language. He works mostly with wood and metal to convey environmental and mythological themes, creating ephemeral works that reflect nature’s precarious state. Max Bannister’s smaller bronze sculptures are assembled from wood splinters, which are reminiscent of feathers, bone and sinew. Frequenting sawmills he collects splinters and shards of invasive timber. With these, he then constructs indigenous birds, nests, and wings. These wooden creations serve as the kindling for a unique lost cast technique, where the incineration of shape becomes the mould for the final sculpture. These hollow spaces are then cast with bronze, thereby immortalising the species that are so significant to him. His large steel sculptures reflect a sense of time and place within the elements, as they are encouraged to naturally oxidize, giving the sculptures a warm patina rich in earthy ochres. The initial form is carefully moulded and assigned to a kiln to be incinerated. Once the original form is completely burnt away, he casts the bronze into that negative space, creating a now immortalised and unique replica of the original work. The sculptures begin to take life after he refines the concept down to a few essential sketch marks. These small marks become the backbone of the large armature onto which further character and details are added.
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Trevor Askin’s sculptures are well-known in South Canterbury. Since casting his first bronze sculpture in 1980, Askin has made about 600 works over 40 years and continues to sell his unique bronze sculptures all over the world. Most of his works are of people and birds and using the lost wax casting method (Cire Perdue), his sculptures are truly one-off pieces. He completes every step in the production of his bronze sculptures with his wife Elizabeth, from his studio and foundry in the South ‘ThereIsland.
is a nobility about bronze’ and an everlastingness that Askin revels in and his sculptures are made to last forever. Bronze is extremely durable which makes it suitable for both indoor and outdoor settings. The rich hue Askin achieves with a patina finish and the sheen of the material complements the linear form of his work, adding to a great sense of movement and fluidity. Askin has developed his own style of abstracted sculpture, which he calls ‘Curvilinear’ to describe the way the bronze appears to be folded and rounded. Askin has always enjoyed observing nature and considers himself an ‘amateur ornithologist’. Many of his bronze sculptures capture the intricacies of his observations of his surrounding natural environment. With international and national commissions under his foundry apron, Askin is a very collectable bronze sculptor. He has an award from the South Canterbury Art Society and was placed in the Hall of Fame in the Timaru District Council. He creates trophies for top golf courses around New Zealand and his artworks are in private collections in the U.S., Canada, England, Switzerland, Japan, Netherlands, Belgium, Germany, Australia, Singapore, Hong Kong, Korea, France and New Zealand.
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Born in 1980, Virut graduated with a BFA from the King Mongkut’s Institute of Technology, Ladkrabang, Bangkok. He has participated in several exhibitions held in Bangkok in 2006, 2008 and 2009, as well as the Thesis exhibition at the King Mongkut’s Institute of Technology, Ladkrabang, Bangkok, in 2005, and a Mini Art Exhibition in “The2001.majority of my paintings and collages are representations of the curves and faces of women, be they static or in motion. My sole goal is to immortalise beauty of the people I create. I draw a lot of inspiration from people I see in my everyday life. Even though they are all different, I find that they are all either impressive or attractive, in their very own way. I am very attentive to faces in my everyday life. In my collages, most of the time I represent the face of a women I have seen in the news. Often, I use the very publication in which I saw the face to create my collage. It’s as if, in a way, the destiny of that object, that assembly of paper, was only to bring to me the face I wish to immortalise.” – Virut He meticulously assembles thousands of tiny magazine patches, layer by layer. Virut creates large, almost hyperrealistic portraits full of expression and vividness. His artworks are among others in possession of prestigious worldwide collections such as that of Italian fashion giant Luciano Benetton.
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British-born Max Patté is a multi-media contemporary artist who was previously based in Wellington, New Zealand and has recently moved to Spain. Since opening his studio in 2014, he has immersed himself in an exploration of the elemental nature of light, space and colour, producing an expansive body of work that includes the wildly popular LED-lit Lightworks, a series of abstracted figurative sculptures, and the beautifully designed Infinity Works. Patté’s technical ability to work across multiple disciplines is due to a longstanding connection to the film industry. He cites advances in modern technologies as a constant source of inspiration, and he uses an impressive array in his day-to-day operations.
“For years, I was immersed in a world of technical brilliance, working alongside some of the world’s best in their respective fields. This gave me access to cuttingedge technologies, digital platforms and pioneering processes, and the latest in 3D scanning, printing and milling technologies. I was surrounded by this every day; it was a simple matter of osmosis.” – Max Patté Patté studied at the Wimbledon School of Art in London (1997-2000) and was elected an Associate of the Royal Society of British Sculptors in 2008. His sculpture, Solace in the Wind, is an iconic and much-loved feature of the Wellington Waterfront. His larger-than-life cast iron horses, The Frolic and the Fancy, are part of Sir Michael Hill’s sculpture collection at the exclusive golf club, The Hills, in Arrowtown. His art is also held in collections internationally, including the infamous art collection of The Groucho Club in London’s Soho, and patron of the arts Sir Ian McKellen’s private collection, among others.
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Primarily a sculptor, Robert Jahnke is considered one of New Zealand’s leading contemporary Māori artists. Professor Jahnke, of Ngāi Taharora, Te Whānau a Iritekura, Te Whānau a Rakairoa o Ngāti Porou, is of Samoan-German-Irish-Māori heritage. His work is typically based on political issues that face Māori people, the relationship between Māori and European colonisers and the impact of Christianity on Māori culture. His practice questions and challenges established Eurocentric narration of New Zealand’s history and champions Māori perspectives, experiences and narratives. The artist has long been drawn to the aesthetic and metaphorical qualities of light, (neon light in particular). He translates neon forms into diamonds, triangles & crosses. Using light, mirrors and reflections, the neon light forms beam brightly in Jahnke’s works, creating a distinctive glow and mirrored infinity, which is simply compelling. His cross form is the basic stitch in tukutuku weaving and the building block for patterns such as kaokao (each of which plays its own metaphorical role in te Ao Māori). Jahnke was raised at Waipiro Bay, New Zealand. He went on to receive a Bachelor of Arts and a Master of Fine Arts from Elam School of Fine Arts, and a Masters in Experimental Animation from California Institute of the Arts. Jahnke was awarded a Doctor of Māori Studies from Massey University. Jahnke helped establish Toioho ki Āpiti, the Māori Visual Arts programme and he became an Officer of the NZ Order of Merit for services to Māori art and education. Winner of a long list of prestigious art awards, Jahnke is a highly respected and widely collected artist, you will find his works exhibited in prominent public and private collections.
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Tim Christie is a New Zealand-based multidisciplinary digital artist. His initial body of work emerged from a series of explorations where he examined the intersection between two distinctly different domains. The fusion between angular geometric abstraction and softer, anatomical forms spawned an original and intriguing new aesthetic. Over the past few years, Christie has deepened his interest in his art-making practices and extended the extremities of brightness and contrast to include lightboxes, large original weavings, paintings and prints. In particular, he has enjoyed playing with the space or ‘void’ between abstract and representational art employing mainly portraiture as the driver. Contrast is an inherently important feature in his work. The mesmerising effect of black & white (or light) lines, creates a vibrational quality at close proximity and a surprising 3D effect at a distance. With his light art, Christie is also exploring colour animation, using shifting illuminated colour and the way it interacts with material colours and translucency to give pieces a pulsating Christielifeforce. has exhibited in a number of international destinations including Sydney, Hong Kong, Chester, Edinburgh, Dubai, Abu Dhabi, London and Manchester where he won an award with the UK’s largest fine art group. He also featured in New Zealand and Australian design awards and his work has been published internationally. His previous work in design and advertising has seen him develop some of New Zealand’s most iconic brands including identities for The Interislander, Radio New Zealand, and New Zealand Wine and included redesigning the Invercargill brand.
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Wendy Hannah is an Auckland based Sculptural Painter of Māori ’Ngati Awa’, ’Te Arawa’ and European descent. She is very intent on community engagement in her art practice that pursues ecological and political themes. Hannah is known for her oeuvre of ’X’ forms which in one context authenticates she is a Woman and from the X generation. The ’X’ form was originally derived from the visual rendering of tukutuku, a traditional Māori craft used to bind and weave, which in Tikanga Māori represents the whānau (family) which she presents in its most abstract form as an ’X’. She believes it binds us to turangawaewae (place) and ideology.
The artist’s studio research developed at Elam, led her to experiment with resin, varnish, acrylic, and industrial additives to create large scale wall-mounted sculptures. Her bright and vibrant colour palette applied in overlapping triangular patterns on a three-dimensional platform, paired with a finish of high gloss liquid glass creates a great sense of luminosity and depth. Her practise is founded on experimental methodology and she has a keen interest in the scientific properties of colour and more recently the effects of artificial and natural light. Still researching the properties of chroma and light and as a paean to colour, Hannah’s large scale ’X’ lightbox’s are in the medium of multi coloured juxtaposed perspex panels which reflect and refract in their environment, akin to Cubist facetting. ‘I use ’X’ as a signature to authenticate the idea that the thoughts and actions of women are to be treasured. Colour is the vehicle I use as an emotive language and in combination with light the illuminations reflect a heightened intensity much like looking into a kaleidoscope.’ – Wendy Hannah
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New Zealand artist Shannon Novak creates compositions for objects, locations, and people much as musicians might compose for/about places, persons, or experiences with emotional resonance for them. Trained initially as a pianist, his practice encompasses painting, sculpture, and installation, with a focus on using geometric forms to explore and render his understanding of the interrelationships between sound, colour, form, time, space, and social context.
Novak’s installations and exhibitions have been seen in national and international institutions, festivals, and public spaces, including the Auckland Art Gallery Toi o Tāmaki (Auckland, New Zealand); Govett- Brewster Art Gallery (New Plymouth, New Zealand); Dunedin Public Art Gallery (Dunedin, New Zealand); McKinney Avenue Contemporary (Dallas, Texas, USA); Ningbo Museum of Art (Ningbo, China); and Georgia Museum of Art (Athens, Georgia, USA).
Novak graduated in 2001 with a Bachelor of Applied Information Systems from the Western Institute of Technology at Taranaki, New Plymouth (New Zealand), and later gained a Master of Education (Hons) from Massey University, Palmerston North (New Zealand) in 2009. He then graduated MFA (Hons) from the University of Auckland (New Zealand) in 2014. Novak has completed a number of artist residencies including a residency at Altes Spital (Solothurn, Switzerland) in 2018, and has been engaged in public commissions in Auckland (New Zealand), New Plymouth (New Zealand), and Denver (Colorado,
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Award-winning light artist Angus Muir creates moments. Specialising in atmospheric architecture, Muir’s work is dedicated to conceiving and executing contemporary, immersive experiences. Springing from an architectural basis, Muir’s lighting design approach is conceptual, ambitious, and sitespecific, acknowledging historical influences of the area while infusing fresh, contemporary energy into a space.
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With a strong background not only in the theoretical world of design but also in practical fabrication and application, his designs are fastidiously conceived and crafted from end to end. Working at the international cutting edge of technologies, Muir is devoted to international research and development, bringing new ideas to his work and clients every time. For all those who encounter an Angus Muir light installation, a sensory journey is undertaken through his innovative manipulation of space. Muir works with a diverse and tight-knit team with varied experiences and skill sets. His studio is based in Auckland but the work is often for international clients and projects. Dedicated to renewing and revitalising spaces while acknowledging their history, he balances these three components to architect a mesmeric experience, unique to each project and site.
The artist’s portfolio features a broad range of permanent and temporary projects, with an end-to-end design and installation service for every client - whether it be an event, interactive project, private commission, public work, or advertising/corporate sector assignment.
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MEET THE TEAMSallyBulling - BFA Fine Art Lightworx Gallery Manager +64 2172 ArtbayFrancessally@artbay.co.nz5595RexCookArtAgencyManager+64275176070rex@artbay.co.nzPiacunGalleryGroup Manager +64 21 082 director@artbay.co.nz+64GalleryPaulinefrances@artbay.co.nz72640BianchiDirector21499477 62
CONTACT LIGHTWORX GALLERY Shop 4, 9-11 Marine Parade Queenstown, 9300 New Zealand +64 3 409 11am-5pmOpeningqueenstown@lightworxgallery.co.nz0825HoursDaily ARTBAY GALLERY 13 Marine 11am-5pmOpeninginfo@artbay.co.nz+64NewQueenstown,Parade9300Zealand34429090HoursDaily 63
