The Downfall of Mrs Apple

Swan Lake. Part 1

Swan Lake. Part 2

Pillow Soles

Chatfield

Mrs Apple

They Whippy

test test test

Mr Mutton Man

The Price of Loo

21 and Closing 

Brood

 graduated Massey Univesity with a First Class Honours Degree in Fine Arts. Her recent work navigates themes of self-discovery, unconscious biases and vulnerability. Swney’s use of fabric can be viewed as part of a historical continuum and critique of our cultural heritage, which saw ‘textiles’ as medium and vocabulary typically assigned to women. Her tufted rug ‘paintings’ address the nuanced journey of self-awareness and societal expectations – through the unseen and the unspoken. They offer a space to explore complex dynamics faced by young females navigating social interactions within a patriarchal framework, hinting at how societal pressures and personal experiences influence their strategies for asserting themselves.

Swney’s subject matter floats between abstraction and realism, developed from both memory and experience, using materiality and tone to define and redefine these intents. In this respect her partiality discernible forms exploit the all-important edge between form, colour and texture to relay experience and expressions of emotion, without merely ‘depicting a scene’. These playful works explore the ability to simultaneously produce beauty and pleasure from the complex interplay of personal and collective struggles.

Jess Swney

East of Kaipara

 East of Kaipara – Canto 8  

East of Kaipara – Canto 7  

 East of Kaipara – Canto 6

East of Kaipara – Canto 5  

East of Kaipara – Canto 4  

East of Kaipara – Canto 3

 East of Kaipara – Canto 2 

East of Kaipara – Canto 1 

Omapere

Kirirua 

Te Awanga

Motuihe

Motutapu

Ponui 

Houhora

Canto ii

Onepoto

Pikarere

Adams Island

Ahipara

Hauraki II

Hauraki II: Panel 3

Hauraki II: Panel 1

Hauraki II: Panel 2

Adams island

Repanga

Hauraki II: Panel 5

Okakari

Hauraki II: Panel 4

Canto ii- detail

Otūmoetai

& Andrea Bolima - installation

Tāmaki 

Tāmaki- installation at Aotearoa Art Fair 2023

Rakiura 

Tāmaki

 Piopio

Waihua

Rakiura

Otonga 

Oraka

Roger Mortimer was born in Mangakino, New Zealand in 1956. Since 

 is one of New Zealand's most significant living artists working in the ‘landscape’ genre. Mortimer has been aptly described as ‘a contemporary visual mythologist’ and is widely recognised for his distinctive use of medieval imagery, juxtaposed with early marine maps of Aotearoa. His work gives a post-modern and post-colonial take on the charting of the local coast lines. 

Mortimer is interested in the nature of attachment in the psychological sense. When this fundamental relational need is disrupted, it generates conflict, adaptive behaviour and intense suffering. His paintings and weavings explore these themes and have been described as “an allegorical scrambling of time and geography, that pushes at the limits of the human imagination” [

], giving rise to a dense layering of colliding or intertwined worlds and systems. In Mortimer’s fantastical landscapes and watery coasts, people and creatures enact dynamic vignettes of horror and hope.

Mortimer graduated from the Elam School of Fine Arts in 1999. In 2014 he was the Paramount Award Winner in the Wallace Art awards - one of New Zealand’s top art awards. In 2017, a survey exhibition of his work, ‘Dilemma Hill’, was shown in public galleries in Wellington and Auckland. In 2021 Mortimer had three works included in the landmark exhibition “

Oceania Now: Contemporary Art from the Pacific

” at Christie’s in Paris – a showcase which represented a unique opportunity for the French and international market to engage with some of the most important and established artists working in New Zealand today. The same year also saw the publishing of: Apocrypha : The Maps of Roger Mortimer - a 160 page monograph with essays examining the last 12 years of Mortimer’s map paintings and weavings. Mortimer’s works feature in a range of significant public, corporate and private collections including:

Waikato Museum of Art and History, Te Whare Taonga o Waikato,
The University of Auckland Art Collection, Waipapa Taumata Rau,
The Angela Morton Collection, Takapuna Public Library
The Ballin Collection
The Art House Trust
Barry Hopkins Art Trust Collection
The Ministry of Foreign Affairs
The Wallace Art Trust
The Collection of Peter Jackson & Fran Walsh
The Collection of Sam Neill




Roger Mortimer

Holding force

Silent flowers

All of this

Imagine this (IIi) 

Imagine this (I)

Imagine this (II) 

All At Once

All At Once v

All At Once iv

All At Once iii

Vailed in knowledge , 2024

Like A Bell Under Water 

Sublime perfection, or something like it

The loss of knowing VI

 The loss of knowing I  

Unknown IV

Totem for something other

In Moonlight

In Leaning 

In Stillness

Grasping at Air and the Search for Something Else

And it Held on Until it Let Go

And the Moon Conversed with the Sea

In Standing 

In Thought

In Holding 

In Awe

In Turning 

In Falling

Making sense of the Mountains 

The loss of knowing VII

Loss IIII

In Ending

In Holding

Like a Bell under Water 

Loss X

Making sense of the Mountains

Unknown II

In Leaning

Installation- Aotearoa Art Fair 2023

In Standing

Making sense of Mountains

Wait

The loss of knowing IX

Unknown

 The loss of knowing V 

It held until you all looked away

Entries To Nowhere 

I - O

And it all went silent

Everything you ever wanted

Lottie Consalvo is a celebrated artist living and working on the land of the Awabakal and Worimi people in both Newcastle and Pindimar NSW, Australia. Consalvo’s works explore the human psyche, imagination, dreams, memory and their place in the real.

Stylistically, Lottie’s work appears to be an extension of the abstract expressionist tradition but conceptually more closely related to Surrealism – in its exploration of dreams and past experiences However, her work is perhaps closer still in spirit to that of Agnes Martin, who used the extreme limitations on palette and structure expected of Minimalism to provoke a spiritual, rather than, intellectual response to the painted surface.

Lottie Consalvo’s works explore the human psyche, imagination, dreams, memory and their place in the real. With a practice traversing painting, performance, video, and sculpture, she looks at the physicality of the overwhelming presence of thought and the impact the mind has on all living things. She parallels these natural phenomena of the mind by investigating the human connection to nature, desire, longing, loss and the ungraspable.

Consalvo’s performances are observations of transformative experiences, often taking form as video or live performances. More recently the artist utilised the imagination of the audience to present a performance where she was not physically present, but rather the audience witnessed her actions within their minds. Her paintings further this conversation where the artist creates a physical presence for thought, imagination, memory, and psychological transitions. Consalvo paintings are often monumental forms with vast empty spaces. Working with a restricted palette across mediums, the artist often grasps onto forms and uses the high contrast of opposing dark and light to mark out a place for the unknown and the intangible.

Her recent public exhibitions include; ‘Somewhere Else’, Maitland Regional Art Gallery (2019); ‘I Tried To Make A Horizon For You’, Casula Powerhouse (2019); ‘In The Remembering’, Heide Museum of Modern Art, (2018). She has been extensively exhibited around Australia, most recently in Goulburn, Newcastle, and Lake Macquarie. She has participated in numerous residency programs across Australia and Germany, and notably selected to participate in a residency with Marina Abramovic for the 30th Kaldor Public Art Project in 2015.

Lottie Consalvo

Hoops That Once Belonged To My Mother

Drop Earrings That Once Belonged To My Mother

Hoops Study 

Earrings That My Aunty Gave To Me, 2025

Monica Rani Rudhar | Aotearoa

Hoops Study  - Green and White

Monica Rani Rudhar is an artist working on Gadigal Land across video, performance and sculpture. Born to Indian and Romanian migrant parents, her work speaks to longing and loss as she navigates the cultural disconnection that stems from the complexities of her multi-racial ethnicity. Her work is delicately personal and takes the shape of a restorative autobiographical archive that seeks to record her own histories where these stories can exist permanently, unlike those that have been passed down orally from her family which remain fragmented.

Rudhar graduated from University of New South Wales with a BFA in Art and Design (2021) and her practice attempts to restore familial histories, traditions and rituals that have been dispersed by migration, drawing on the labour required to move past barriers that stand in the way of reforging connections. Monica’s sculptures focus on her personal relationship to South East Asian Jewellery and its power in bridging a connection to her heritage. Rooted in the significant events where certain pieces have either been lost, gifted or taken away, Monica draws on how these totemic objects unite her with her distant family who live overseas, and a culture that she feels disconnected from. The significance of these objects is exemplified through scale and repetition which act to memorialise these heirlooms and give permanence to oral histories.

As a testament to Monica’s status as one of the most exciting emerging artists working in Australia, in 2024 she was been curated into three public exhibitions across NSW and Victoria, with major installations at: Museum of Contemporary Art Australia (Primavera), Bunjil Place Gallery, Chau Chak Wing Museum. Earlier this year Rudhar won the 2025 Blacktown City Art Prize and in 2023 she was the recipient of the Art Incubator grant, as well as the winner of the 2023 Gosford Regional gallery Emerging Art Prize.

Monica Rani Rudhar

Bisque Coral

Better Slate than Never, 

Willing and Sable

Act your Beige

Chamomile Cleansing Ritual 

Sing of Cerulean

Celdon Vase Painting

A Common Sage

Verdant Dreaming in the Dessert

Hairy Artichokes

At the River

Surprise Light Pink

Untitled

Lazy Yellow

Thyme & Thyme Again

Pinkoherent

In the Flesh

Dried Rose Coloured Glasses

Dusty Hazy Days

Silver Springs

Mauve in the Corner

Dandelion Street

Sappy Sage

I Was Possessed by the Blue

Gernium

The Right Kinda Blue

Shrubs go to Town

installation 2022

Whole Lotta Mauve

Sugar Gray

There’s a Slug at the Back

No Wonder Lavender

Cadmium and Clover Over and Over

Hinoki Doki

Wholesome Balsam

No is a Colour

Urban Forest

Spirit Bay Blues

By My Cypress

Silver Spring

Huia During the Day

Pondering

Sands Serif

Bloom Day

Wake up Make Up

The Wallowing Walnut

Riveria During the Day

Tomorrow at Indigo

installation

Karaka Verde,

Kahurangi 

Cedar Later

Heart of Sass

Petrichorus

Floral Decay

Vintage Fog

Moss Definitely

Azure Like

The Blue Also..

Azure Like  

When the Shrubs go to Town

Nightshift

Past Blues

Murder on the Canvas

It Feel's Much Butter

Sands of Paint

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]

Jess Swney,Roger Mortimer,Lottie Consalvo,Monica Rani Rudhar,Andrea Bolima,Nick Herd ,Monique Lacey - Spring 1883 Art Fair

Spring 1883 Art Fair