Act your Beige

Better Slate than Never, 

Willing and Sable

Celdon Vase Painting

It Feel's Much Butter

Vintage Fog

Verdant Dreaming in the Dessert

Chamomile Cleansing Ritual 

Sing of Cerulean

A Common Sage

Lazy Yellow

Hairy Artichokes

At the River

In the Flesh

Surprise Light Pink

Untitled

Thyme & Thyme Again

Pinkoherent

Dandelion Street

Dried Rose Coloured Glasses

Dusty Hazy Days

Gernium

Silver Springs

Mauve in the Corner

Sappy Sage

I Was Possessed by the Blue

Sugar Gray

The Right Kinda Blue

Shrubs go to Town

installation 2022

Whole Lotta Mauve

Cadmium and Clover Over and Over

There’s a Slug at the Back

Wholesome Balsam

No Wonder Lavender

Urban Forest

Hinoki Doki

Silver Spring

No is a Colour

Sands Serif

Spirit Bay Blues

By My Cypress

Riveria During the Day

Huia During the Day

Pondering

installation

Bloom Day

The Wallowing Walnut

Wake up Make Up

Tomorrow at Indigo

When the Shrubs go to Town

Floral Decay

Kahurangi 

Botanic Attack

Karaka Verde,

Moss Definitely

Cedar Later

Nightshift

Petrichorus

Heart of Sass

Murder on the Canvas

Andrea Bolima is a visual artist, born in the Philippines and is now based in Naarm Melbourne. Andrea Bolima’s adventures in aesthetics are fuelled by the visual qualities of experience from the actual process of painting. The artworks reveal the layering and unlayering of forms as structural elements slowly unfold and sometimes deteriorate. Bolima’s sensitivity to her surroundings can be seen from the subtle shifts in tone and delicate splashes of colour. Tonal variations demonstrate the different levels of intensity that emerge from the materiality of paint. Colours are blended and established on the canvas itself showing her mediation between careful considerations and random gestures.

Bolima’s recent work is an exploration of how a work of art emerges from the transition between stimulus and response. In particular, it examines the body’s mediation from the affective properties of paint, into the multiple dimensions of colour as a painting unfolds. 

Softly coloured canvases, with their blurred ambiguous forms made through the dry brushing of thin acrylic, could from a distance be mistaken for stained colour or wet application. Using landscape or vegetative colours and no sharp edges of shape, Bolima creates a spatial tension between the flatness of the canvas and suggestions of flowers, leaves, copses or cliff-faces. She is expert at creating linear gaps between adjacent blocks of thin colour, so that the pale hues underneath form fragmented bending lines that are nuanced and suggestive”. [1]

Andrea Bolima

Ida Valley Looking East 

Kaimai Ranges Looking North

Road and Shed Taupo

Dawn Ta Kaha

Shed Taupo Looking East

Te Kuiti Looking West

Shed Waikaretu

Shed Fairlie

Matauri Bay Looking East

Stop Sign Whakatane

House Hauraki Plains

Ridgeline Hauraki Plains

Shed Miranda

Ridgeline Te Kuiti

Farm House Ranfurly

Shed Ranfurly

Te Kuiti Looking East

Road Hauraki Plains

Ridgeline Taihape

Shed Hauraki plains

Shed Taupo 

Shed Maraetotara

Te kuiti Looking South West 

Road Miranda 

Shed Ohaaki 

Shed Waikato 

Whakatane Looking West

Australian based Matt Palmer paints New Zealand from a nostalgic distance. Palmer describes his relationship with the New Zealand landscape as one of being “c

onstantly drawn back to its dream-like qualities and emotional resonance. It is this subconscious, silent conversation that I find myself always drawn back into

In a meditative mode of working, Palmer searches for imagery that simultaneously reminds him of his childhood and the history of the painting genre, setting out to identify that place in his imagination that falls somewhere between desire and reality, a construction of intimate experiences and highly personalised landscapes.

Palmer’s father is the well known New Zealand landscape painter, Stanley Palmer and was a large influence on the artist growing up. Matt was brought up experiencing the New Zealand countryside from multiple angles, exploring its far reaches, as he went on his father’s frequent painting excursions. Palmer’s creative upbringing lead him to Elam School of Art where he was taught and further inspired by Denys Watkins; following which he moved to Sydney in the mid-nineties to explore a career as film director, working extensively on short films and music videos for which he has won a range of awards in Australia and overseas.

Throughout this period Palmer has been experimenting with the landscape genre attempting to bridge the gap between his painting, printmaking and film projects; developing a specific technique (and aesthetic) which lies somewhere between photography, painting and film. His distinctive work is painterly and at the same time cinematic, often brooding and always loaded with potential and untold narrative.

Palmer had his first show of paintings in 2013, and two subsequent sell out exhibitions in 2014 & 2017. His paintings have been reviewed favourably by herald critic TJ McNamara and feature in a variety of private and corporate collections across Australasia, Europe and the USA.

Matt Palmer

Tauhei Bunker X 

Greywacke Bunker XVIII

Tauhei Bunker XIV 

Tauhei bunker XI 

Osterns Bunker 49  

Parliament House Structure I

Chauncey Flay & Lætitia Jacquetton  |   Diapir ii I  

Chauncey Flay & Lætitia Jacquetton | Diapir XI   

Tauhei Bunker 2 

Chauncey Flay & Lætitia Jacquetton |  Diapir VIII I   

Coralscape (Honeycomb Coral Rarotonga) 

Born in New Plymouth in 1975, Chauncey Flay is a Taranaki based sculptor working from his studio in an old dairy factory in the coastal town of Opunake.

He is strongly influenced by the provenance of the materials he chooses to work with, investigating through his practice the rich history and stories behind them whether it be greywacke from central North Island quarries, building rubble from earthquake damaged buildings in Christchurch, or dead corals washed up on the coastline of Rarotonga.

Chauncey is preoccupied with ideas around deep time and our relationship to the environment. He employs a meditative approach to his work of construction and deconstruction, involving slow processes of breaking stones and reconstructing them through faceting and polishing.

Chauncey Flay

Find Balance

Tarmac Snow

A Disappearing Act II

Reservoir

A Disappearing Act I

Orchard View

Hunting Order

Rare Bird (diptych)

Three Cats

Champion Diver 

A Quaint Encounter

Grunewald 

Under Red Oak

Grunewald

A Study of Two Figures

The Water Tower

Morning Time

Watching, Waiting

A view from the water

Drift

Shoreline

A View From the Water

Cinnabar & Amethyst

Decard

Rupert Travis is a New Zealand-born artist who resides in Ōtautahi Christchurch. Exploring parallels between medium-and-materiality and subject matter, his compositions engage a mix of collected images and staged setups, breaking up everyday scenes and reconstructing them within landscape. By linking applied narrative and place to the application of paint, each work floats between the illusion of the scene it depicts and the reality of its flat surface. This leads to an interpretive and painterly openness, allowing the different layers of brushwork and narrative suggestion of each work to be explored.

Rupert Travis

Swimming in the Clouds

Boulevard

Passage

Bog Midnight

Resplendent

Highway

Turtle Island 

Venus

Emperor

Hybrid Myth

Empress

Maritime

Verenda`

Lagoonis

Roller Coaster

Oceanus

- installation

Blue Tango

Park View

Harmony 

Tuttle Island

Motu Park

Bellevue 

Coral Cove

& Ramon Robertson - installation

Festival 

Truley (2023)

Artery 

Resplendent  

Palm Beach

Roller Coaster 

Promenade 

Happy Hour (2023) 

Eden

Dad's Orchid

Potted Colour

Belonging 

Playground

Night Patrol

Green Way

Community Garden

Propagate 

 Rush Hour

Street Appeal (2024)

Neighbourhood Watch 

Blue Moon (2024)

Honeycomb (2023) 

Aitutaki

The Reunion (2023)

Taveuni (2023) 

Michael McHugh has been painting for more than thirty years. His practice has consistently explored colour, composition and textural, abstract form with a strong connection to the natural world. McHugh collects a range of different photographs and drawings during research trips visiting museums, libraries and gardens around the world, returning to his studio to draw and create a series of collages, which lead to large format paintings.

With the use of gestural acrylic mark making, McHugh creates a layered abstraction moving between the paintings’ surface and botanical shapes. Works are sometimes sombre and brooding, and at other times energetic and vibrant, with textural layers echoing moments in time. McHugh believes constant drawing and collaging to be fundamental to his painting process. This foundation enables him to fully explore composition and vigorously push boundaries with colour and technique.

Graduating from Whitecliffe College of Arts & Design in New Zealand, he has attended masterclasses in painting at the National Art School in Sydney, Australia. He currently works in the creative media industry and also exhibits his work in Sydney, Australia. McHugh’s work is held in a number of private collections in New Zealand, Australia and the United Kingdom.  

Andrea Bolima,Matt Palmer,Chauncey Flay,Rupert Travis,Michael McHugh,Gavin Chai,Cathy Carter - Facing North

Facing North