'My 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. 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 up. Over the last two decades, the journey of my work has helped me find the confidence to dispel self-placed inhibitions, and ultimately find the absolute freedom to express the way I know best. I’m not confidently spoken in life, but it seems I found my voice through my work. Painting for nearly 20 years from my Wellington studio, and exhibiting in galleries around New Zealand.'
]]>We welcome you to the Grand Opening Exhibition of Lightworx Gallery.
With clean minimal lines, concrete floors and big white walls, Lightworx Gallery by Artbay, is a fresh, modern, contemporary gallery with a big city feel. Located in downtown Queenstown this innovative gallery is a national first. Featuring Avant-garde works that will inspire, engage and simply wow any audience.
The highest quality in light technology is used to create these spectacular works but more importantly than the advancements of technology is the effect that light, colour and space have on us all. The magical relationship of light and colour will send you into a mediative state and instantly you will feel how these elegant artworks will shape your mood, your feelings and your home.
Director Pauline Bianchi has curated a cutting-edge exhibition space that feels very unique. Lightworx Gallery showcases New Zealand’s award-winning modern artist’s visions and ideas with artworks that are interactive and uplifting.
At its core, Max Patté’s practice is an exploration of the infinite qualities of light and how it is expressed in the natural world manifested into physical works in the studio. Advances in modern technologies are a constant source of inspiration to the production of Patté’s work. The latest developments in an array of computer programs, iPad apps, CNC Milling, digital scanning and 3D printing are all employed on a day to day basis in his studio.
Light, colour, tone and saturation all have a direct effect on our mood; changing our emotions as much as our environment. Through the use of colour and light Patté’s practice, which spans light works, painting and sculpture, endeavours to emit the same effect. Patté aims to change the space in which the work is viewed and alter the viewers’ relationship to that space. In much the same way that our immediate natural environment prompts a physiological change, Patté aims to produce work that offers a multi-sensory experience that provokes an emotional response.
Patté’s highly collected Infinity Works are an interplay of colour, space, light and shape, a twist on the fundamental characteristics of painting, art and design. Coloured glowing bodies appear to float in infinite space, the spaces between them like black holes that invite inspection, pulling the viewer into their glossy dark depths. These playful works or experiences are in equal measure about the dark space between the coloured patterns as the works themselves. They can be viewed as paintings or sculptures or simply as objects of illusion and intrigue.
Following on from the Infinity Works the Droplet series is inspired by Patté’s exploration of visual glitches, where an image fails to load in an app and is broken down into its base colour components, lacking the detail of the original image rendering the content illegible. Contrary to this exploration of the digital world and how we now consume images through apps and social media Patté has manifested physical works in the studio using the technology he has at his fingertips. The end result is a visual sculpture comprised of a multitude of colours, each one resting in a perfect spherical mass. The negative space between the artwork and frame cast shadows which draw us closer and it is then that the work reveals its spherical qualities. Light from one domed droplet bounces off and merges with its neighbour creating new shades unique to each combination. Reminiscent of rain drops on a window the suspended motion of the droplets create works with a distinct and visually playful experience.
In 2019 Patté spent 4 months overseas with the Horizon paintings being a direct result of the colour palettes, landscapes and sky-scapes Patté experienced during this time. Heralding a coalescence of the circular motif and the visual abstraction of a photograph into an anthology of colour; each painting takes its inspiration from a slice of a photographic image. The titles are a geo location and time stamp which serves to anchor the work to the exact time and place of its origin.
THE CALLING EXHIBITION:
Some have heard it already; From the forest depths, there is a sound which cracks the silence: a rippling echoing reverberant melody. The land is alive and speaks to us through birdsong. The language is that of ancient knowledge. A living story of a land in harmony, this is a call that we must heed. For it will calm our restless minds, and unify the dissonance.
Artist Bio:
Simon Max Bannister was born and bred in South Africa. He recently made the big move 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.
“The gesture of the piece must have grace and poise, fluidity and balance and be true to its materiality, strong enough to converse with the elements and evoke a life of its own. Hovering between dissolution and form the sculpture will find its moment of completion.”
Simons 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. Simons smaller bronze sculptures are assembled from wood splinters, which are reminiscent of feathers, bone and sinew.
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.
Simon honours the creative act of Art as essential daily nourishment, weaving through many mediums he has sought to refine his approach, technique and sculptural language. Simon draws deep inspiration from the remaining wild spaces and the animals bound to them.
Jimmy is based in Auckland, New Zealand but his artworks have travelled the world, appearing in prestigious collections and exhibitions from Welling to Manhattan. Heavily influenced by his Maori and Greek heritage, Jimmy developed his skills working as a set painter for films.
He says; “I started off in show productions in the nineties, making interiors, then set decorations, then began working with senior artists painting sets, playing with textures and creating caves, castles… it was a big licence to create and get paid! It was an awesome apprenticeship - it taught me how to copy textures and do it all on a big scale, to understand how the marks made on the canvas will be seen from far away.”
Jimmy worked with a number of top directors, learning to let go and adapt to the vison of the director; “I was always an artist for hire and learnt to interpret and paint under pressure […] I was a freelance scenic artist for 18 years, paying rent by painting for other people and travelling – it’s a great lifestyle but there comes a time when no one is making films – there’s constant peaks and troughs. 18 years of that was good preparation for becoming a full-time artist.”
Some of Jimmy’s most recent works at Artbay Gallery hint at his past in the industry with a nod to film classics and icons such as ‘Place in the Sun’ and Bette Davis and Mary Pickford, modernised with a splash of colour and texture true to Jimmy’s unique style.
“It’s a tribute to working on films and the relationships there,” says Jimmy.
“Celebrating the simple things in life, they’re icons of motion pictures. I like to liven them up a little – not so much pop culture, just playing…”
Then there’s the large-scale works like The Cloud, which Jimmy describes as “a place where we go to imagine.”
“This one is ethereal, it’s about being free and having the space to just be. It’s mixed with stories from my experiences and background – a mix of things which make me think. I kept it very light, using surface change and depth to ground it, but keeping it light with air brushing – I wanted a balance.”
When pressed, Jimmy says Tui Madonna is one of his personal favourites.
“I really pushed myself with the textures. Trying to simplify the complicated without taking away the magic and mystery of the piece. I love how the bird looks at you, like a human, and takes on a weird form. Some of the narratives here are about birds being messengers to the heavens, but there’s humour in there too. Some of the iconography is from churches, having Greek heritage, this interests me.
“I had recently travelled back to Crete and explored many really cool Byzantine era churches; I think Tui Madonna is the beginning of a whole load of ideas I want to play with.”
See the full range of Jimmy James Kouratoras’ artworks at Artbay Gallery online here - or visit the gallery to see his artworks in the flesh (this is the best way to appreciate their unique texture, scale and colours!)
You can discover more about Jimmy's art over on our Vimeo channel too!
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He’s known for his use of recycled materials, particularly locally found steel. When you take home a Tony O’Keefe sculpture, quite often you’re taking home a piece of Central Otago history. He repurposes, recreates and fuses these old materials into new, beautiful and sometimes menacing forms.
Some of Tony’s recent works contain scraps from the demolished Remarkables Ski Area base building and decommissioned chairlifts. Ablaze, which is currently on show at Artbay’s main gallery (13 Marine Parade), is partly constructed from chairlift nuts.
“There’s a yard where chairlifts go to die. I’m lucky they let me rummage,” says Tony.
“I’m a collector, I put a lot of things away in boxes and occasionally I’ll pull them out and do something with it. With [Ablaze], I started playing with these like Tetris, placing them together so that they looked like a flame or blaze. […] there’s hundreds of welds in this piece. I enjoy taking inflexible, mechanical materials and turning them into an organic form or shape.”
Another piece in Tony’s latest collection at Artbay Gallery is Chrysippus and the Web. The Artbay Gallery team have picked that this will go to a very special buyer who will truly connect with this piece’s philosophical and spiritual themes. The hand, made from pipes and finished with a touch of gold, has been sitting in Tony’s garage for almost nine months.
“I was never quite sure what I was going to do with it, then this happened spontaneously. Chrysippus was a Greek stoic philosopher and one of the first to suggest that the universe might not be spherical, but cylindrical.”
Tony says the piece, which is a mixture of recycled mild iron, metals and a Madagascar gabbro rock, was a “real indulgence” piece. Made with little planning and plentiful ideas, fantasy and creativity.
Other notable new pieces include figurines; a theme Tony is already well-known for. A number of them are made from a 1940’s era rusted pram Tony found near Arrow Junction.
Queue depicts figures with undefined, solemn faces waiting in a tightly-packed line, evoking that uncomfortable feeling of being close to people you don’t know and waiting, waiting, waiting…
“What’s on the other side of the door? Well, that’s the ambiguity… it could be the door to the afterlife or a Justin Bieber concert!”
Conversation embodies an important feature of Tony’s sculptures – the ability for the viewer to do more than simply look at an artwork. The bottoms and feet of the two sitting figures are magnetic, enabling the ‘viewer’ to pick up and reposition the artwork according to their setting, mood or whims.
“I really like people to touch my artworks. These sculptures do not take finger prints or break or anything like that. Steel is dense stuff.”
All of Tony’s artworks are made using traditional blacksmith methods and polished using linseed, rather than chemical-based products. They’re not suitable for outdoor exhibition, but will look great in an office or home, particularly if polished occasionally with a good bees’ wax.
You can see more of Tony’s work here, or visit 13 Marine Parade to see this collection which will be on display until 24th December 2017.
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Here at Artbay, we showcase a huge range award-winning New Zealand artists. Our consultants can help you choose art to colour your life and last a lifetime. We’re always unearthing new talent and it’s something we’re proud to share with you.
One artist who’s on our radar right now is Southland-based Maori artist Cheree Te Orangaroa Downes. While deeply rooted in the traditions of Maori culture, her work has a modern twist and universal appeal. The natural materials and neutral colours will never go out of vogue and sit beautifully in almost any space.
It’s this mix of the old, the new and the natural which made her the perfect choice for our very first exhibition in our Exclusive Exhibitions space on Marine Parade, Queenstown back in October 2016.
Her art tells stories of how Maori identify with and interact with the natural environment. The traditional weaving technique represents the environment and echoes the strength community.
Cheree uses traditional techniques to weave harakeke (flax) and muka (flax fibre) and combines these with recycled materials such as metal, animal skins and rustic wood. Her work straddles the line between art and sculpture – something that’s very popular in modern homes right now. It takes up less space than a traditional sculpture, but ‘pops’ on the wall, adding texture you wouldn’t get with a painting.
She was taught these traditional techniques by elders and friends more than twenty years ago, but her art continues to develop and evolve with each new piece she creates. Cheree blends her traditional skills with new ideas; you’ll see woven glass and metal feathers alongside traditional flax weaving in some of her newer works.
Some of her pieces even have a musical element. ‘Wai Ata, Wai Ora, Wai Marie’ currently hangs on the wall in Artbay Gallery; the glass feathers gently clink and chime in a light breeze.
Cheree’s work is universal and yet unique, rooted in her culture and true to her own style. It’s this very recognisable style and deep sense of cultural traditions which we think makes Cheere Te Orangaroa Downes a New Zealand artist to watch.
You can see our current Cheere Te Orangaroa Downes art pieces here – or watch the video below to discover more about this fascinating artist.
Cheree Te Orangaroa Downes - Artist profile from Artbay Gallery, Queenstown, NZ on Vimeo.
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Raquel’s beautiful, flower-filled impressionist landscapes show a deep appreciation and skill in rich colour palettes, ambient light and textured oils. In October 2017, Artbay Gallery was thrilled to host Raquel’s very first solo show, The Secret Place in our Exclusive Exhibitions space on Marine Parade.
On the opening night, as the wine flowed and Queenstown’s art lovers poured through the doors, we asked Raquel about her inspiration, methods and career so far.
Artbay: This is your first solo show! How do you feel?
Raquel: It’s so nice to see all of my art in one spot. Usually, they get sold one by one and I never see them again. It’s not often I get to meet the buyers either. They [the paintings] feel like children to me, so it’s nice to meet the people who might take them home.
A: What inspired The Secret Place?
R: I wanted to create a place where the viewer could go alone, to reflect and enjoy. These landscapes are imagined, but you find flower fields like this across New Zealand and the world. They’re like nature’s abstracts, with colours everywhere, they make people happy.
It’s hard to explain in words – I’m a painter – but I have a place inside me, a secret place that’s happy and inspirational for me. I’ve tried to re-create that in each painting.
A: How did you decide which paintings were going in to this show?
R: Most of the paintings were made for the show. I carefully measured all of the gallery walls and made a Photoshop image of the gallery, then planned what I wanted to create for the space. For example, the three large paintings on this wall have matching horizons – it flows across the room.
A: (Without revealing your secrets,) how do you create the texture in your paintings?
R: I use coarse canvas and oils, applying a lot of texture on the bottom layer. I start with cool colours and shadows, then work my way up to the brighter colours. Each individual paint colour has its own drying time, red and white can take a month to form a dry skin to the touch. Most colours will form a dry skin after a week or two, but it often takes months and months for thicker parts of certain colours to dry all the way through.
A lot of people think I use a stick to create the texture, but I actually use brushes of different shapes and sizes. Most of them are hand-me-downs from my father or Rowan (my partner)’s father, who is also an artist.
A: What was it like growing up in an artistic family?
R: I grew up being dragged into art galleries. At the time, I wasn’t always inspired, I felt like I’d seen it all before! But as I’ve grown older, dad’s critiquing eye and constructive criticism has been really helpful, as has having a family who is interested in art.
Discover more of Raquel’s artworks here.
The Secret Place is on show until 13th November. Watch our artist documentary on Raquel below...
Raquel Clarke - Artist Profile from Artbay Gallery, Queenstown, NZ on Vimeo.
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Showing until 31st July 2017 in our Exclusive Exhibitions space (upstairs at 11 Marine Parade, Queenstown) the Winter Collection includes artworks by New Zealand's very best award winning artists and is one that will warm you heart, body and soul.
Take a peek below at some of the pieces on display. Found a piece you love, but not sure it will match your home decor? No worries, try our Appro App. This clever app will superimpose our artwork onto an image of your home.
The Winter Collection from Artbay Gallery, Queenstown, NZ on Vimeo.
The Winter Collection - Home Inspiration from Artbay Gallery, Queenstown, NZ on Vimeo.
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Artbay Gallery Director and Founder Pauline Bianchi has been featured in leading lifestyle magazine NZ Life and Leisure (issue 73).
For those who aren't avid readers already, NZ Life and Leisure is a magazine about changing lives. It's full of inspirational stories about people who have an insatiable desire to make the most out of life.
Issue 73 features Pauline's story, how she follows her instincts and balances running the galleries with spending time with her six year old daughter.
Read the full story in NZ Life and Leisure magazine HERE
Captured by RACHAEL HALE MCKENNA
]]>The live performances, dubbed ‘The Autumn Psyphony’ began with a large steel and concrete sculpture. “It started out as a single structure, this ‘Psyphon’ machine,” said Tony.“It’s actually a psychic transmitter, designed to take an artist’s idea and transmit it into the minds of the public.”
One such idea is the reusability of materials used in Tony’s artwork. Much of Tony’s work is created from recycled steel he has found and hoarded in his studio for many years. Chunks of the demolished Remarkables NZSki base building, old oil barrels and everyday metallic objects can be found in his sculptures. In ‘The Autumn Psyphony’, these discarded materials are picked up again, handled and played with by the participating audience.
After Tony and the Pick Up Sticks team set the original structure up in Artbay’s Exclusive Exhibitions space, on Friday 17th March the public were invited to get involved and move some of the 150 steel bars which made up the structure. The interactive art experience saw people of all ages gets hands on with Psyphon and make their own impression on the piece. This phase was called ‘Making FreedoM’. The result was a colourful and chaotic piece with many personalities, brought to the artwork by the many personalities who helped to shape it.
A week later, the piece transformed again in front of a live audience. This time called ‘The Sum of All Fears’, the bars were arranged into a valley shape, framing two characters, a sculpture depicting an elder and young boy. The audience was again invited to move around some of the steel bars and shapes incorporated in the Psyphon structure; a ruler, a spatula, an electronic gadget, an upturned cross. Each item represented the fears and difficulties a young man often faces when walking down the path, or valley, towards adulthood.
“Domestic duties, warfare, governments, religions; they’re all things which historically have or currently do trip up a young man on his journey into adulthood,” said Tony.
Tony maintained more control over this phase of the artwork’s transformation and developed a system whereby the audience could only move certain pieces. However, the public’s involvement and interaction with the piece were still a major part of the artwork’s final form.
After three live performances and some final arrangements by Tony O’Keefe and the Pick Up Sticks collective, the finished artwork is now for sale at Artbay Gallery Exclusive Exhibitions. The piece can still be tweaked and altered; it is not a passive artwork, but one which invites hands-on on interaction by the ‘viewer’.
Why go to such lengths to create an interactive piece?
“The idea came in part from visits to major art galleries as a child,” said Tony.
“All those ‘Do Not Touch’ signs and red velvet ropes… you could never get close to the art, never mind touch them. I’m in favour of people having tactile experiences with art, I like the idea that people can engage with, touch and feel the artwork.”
Find out more about Tony O’Keefe’s artwork here. Alternatively, you can talk to one of our friendly art consultants at the gallery, or via our contact page.
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