Deep Blue Waitemata

Synchronised Bathers

Synchronised Bathers ii 

Waimarama Bathers

White Wash Bathers

Pounamu Petrichor

Piha Surfers

Seven Sisters (Sterope, Merope, Electra, Maia, Taygeta, Celaeno, Alcyone)

Curl Curl Bathers

Curial Curial:  Parallel Word I & II

Idyia

Elephant Tongaparutu

Dyamene (one who can)

Liquid Lines

Immersion and Emergence #1

Seaside Curl Curl

Oceanids, Kaitiaki

Liquid Field 

Icebergs 2

Wai I & II

Immersion Emergence 

Infra Moana II

Suspended

Pounamu Splash

Mariposa Blue

Lucent Semillion

Opulent Incendiary

Saffron Seas

Dayamene (One Who Can)

Immersion Emergence

Atlas Splash

We Are Water- installation

Euphonius Psychedelia

Walking on Water

Pounamu Rapids

Plunge, Deep Ocean Blue #1

Immersion Emergence, Liquid Kiss

Cresting Wave

Plunge, Deep Ocean Blue #2 

Zaza 

Poolside Immersion Emergency 9

Spellbound Chartreuse

Immersion Emergence, Mazu (Godess of the Sea)

Oceanids, Kaitaki

Echoes of Venus

Plunge, Deep Ocean Blue #3

Plunge, Deep ocean blue 2

Plunge, Deep ocean blue 3

Curl curl bathers

Hotel Zaza

Plunge, Deep ocean blue 1

Icebergs #2

Blossom Euphoria

Piha surfers

Liquid light

Ophelia

Ephemeral Fuchsia

Hydrophobic Pluviophile

Curial Curial: Parallel Word I & ii 

Wai i

Immersion Emergence, Mazu (Goddess of the Sea)

Elephant Tongaparatu

Mellifluous Aurora

Cathy Carter’s work is inspired by concerns about climate change and our evolving relationship with bodies of water, drawing our attention to the growing evidence that these liquid ecosystems are under significant threat. Her practice navigates our complex psychological relationship to water, through different perspectives and geographical locations, as well as exploring bodies of water as physical, cultural, and unique environmental ‘landscapes’. Within these landscapes, there is an opportunity to reconnect emotionally with the natural world and make connections with internal worlds. She seeks to embody seeing as an experience rather than solely as an observation.

Carter employs intricate digital collaging techniques, to create works of hyper reality which explore human relationships to bodies of water as unique environmental, physical and cultural landscapes. Shooting, assembling, layering and manipulating photographic images, Carter’s highly constructed works offer immersive experiences, sensuous and psychologically-compelling encounters within spaces of isolation and destabilization.


Cathy is a graduate of Auckland University of Technology with a Master of Art and Design (Hons) 2013. A finalist in the 

international HeadOn Landscape Prize, 2018

 (2019, 2018, 2017, 2016 & 2014), and the international HeadOn Portrait Prize (2019, 

). She was a finalist in 2018, 2017 and 2016 Walker and Hall Waiheke Art Award. Carter’s work has been exhibited in Auckland, Wellington, Taranaki, Hawkes Bay, Sydney, Paris, Sczcecin Poland, Cincinnati Ohio and New York City. Her work is held in many collections including 

, The Parliament Art Collection and The Fisher Trust.

Cathy Carter

Gravity Bag i

 Gravity Bag iiii

Gravity Bag iii

Installation - Red Moss

Subu South 

Void

Sub Sub

Sub Sub- detail

Autonomy

In-Between the White Noise 

My Trade

Balance

Motif Architype

Para Host

Untitled  

Surface Slump

Chromatic Report

Habitat

You Just Took That Too Far

Gravity Slump- detail

Public society Service #1 

Host

Gravity Slump

Girl with Plinth Cubes Displacement  

Colour Chromatic- detail

Pedestrian Vol 2

Populate #4

Habitat ii

Populate #5  

Populate #6

Colour Chromatic

installation

In-Between the White Noise  

Habitat ii (detail)

Modern Times

Drawn in material mono-poly dream slab 

Lean 

In-Between the White Noise (2023) 

Gravity Bag 

Populate #8 

Gravity Bag ii

Ramon Robertson has been working as an artist in Auckland, New Zealand since arriving in 2011. Prior to this, he lived in Glasgow, Scotland where he also worked as an artist, designer and tertiary lecturer.

In 1992 Ramon graduated from Glasgow School of Art with a BA Honours Degree in Fine Art Sculpture and in 1997 he completed a MA in Interior Design at Manchester Metropolitan University, for which he undertook sculpture and installation projects related to interiors and architecture.

Robertson’s work typically engages with aspects of architecture and urbanisation. The mass production and standardisation of objects is also a focus, in particular, the observation of the effects of our visual perception in regards to objects and environment. Themes linking to human condition and behaviour in the city are also concepts explored in his work.

Ramon has exhibited widely in Auckland since 2011, including ‘NZ Sculpture OnShore’ in 2012, 2014 and 2016, as well as the ‘Harbourview Sculpture Trail’ in 2014 and 2016, winning the 

for his sculpture ‘Void’ in 2014. Robertson was invited to exhibit in the prestigious ‘Sculpture in the Gardens’ at the Auckland Botanical Gardens, in both 2015 and 2017 and was recently commissioned by the Wallace Arts Trust Collection for a large outdoor work at Pah Homestead.

Ramon Robertson

Axe Man

Mother & Daughter

Woman at Nagaroto

Fading Memory

Kui watching the Boat

Actual at Ngaroto | Hold

Mound 

The Gift

Kui With Princess

Mace

Raro

Winter Stand

Marathon

Cormacks

Academic

Four Men

Last Twins

Two Men

Actual

Boy Eating Toast on Skateboard

Last Twins Brothers

Kumara Pool

Albert Park

Poia's Kumara Pit

Miredon Putauak

Ritual 

Hoiho

Pakiri

Shadow Watching Children

Two Nameless Dogs

Shadow

Kui & Papa

Kitekite Falls

Wai o Kiriotui

Nautilus

Pupuke

Okahu

The Needle

Mamaku

Akaiami

Kumera Pool

Stranger by the Works

Papa under the Kōwhai Tree 

Settlement   

Hunter 

Te Whaiti  

Akaiami  

Te Whaiti

Akaiami    

Driveway

Yellow Tree

Billy McQueen’s subject matter is largely drawn from domestic scenes of family life and imagery connected to his ancestral land in the Kaingaroa Plains. While his work is quietly biographical and not political – it’s only a starting point for the artist and secondary to his central aim – which is concerned with painterly substance and surface and the illusionistic spaces it can create. McQueen’s paintings are consciously manipulated and reversed, as a way to investigate traditional painting techniques and the materials employed. In this process, abstractions and distortions naturally occur sometimes summoning new and unexpected imagery.

McQueen’s work, while decidedly pictorial in appearance, is concerned with the evocative potential of paint, embracing both the recent history of abstraction alongside broader traditions of narrative painting. His distinctive approach to the language and medium of painting – coupled with the use of photography as a source – allows the artist to create resonant and ambiguous images which shift between the real and imaginary, pushing at the medium’s potential for depth and meaning.

After finishing his Bachelor of Fine Arts from Elam School of Fine Arts in 1997, Billy worked as a print technician at Manukau Institute of Technology Visual Arts School and as a designer for the Auckland Museum. In 2000 he transitioned into a successful career in advertising winning a number of awards, both nationally and internationally for his work as a creative director. Twelve years and two children later, McQueen returned to Elam to complete a Master of Fine Arts, graduating in 2015 with 1st Class honours.

Billy McQueen

Surrender to the Sky Your Heart of Anger

Sightings

Arborform IV, Three Boats

Drift zone and the Pleasure Garden

Busy Bees

Lemon Meringe Pie

Holy Cow

Killing Me Softly

Show Boat and the Pleasure Garden

Smokers

Hamish Allan is a New Zealand artist living and painting in Christchurch. With a background in physiotherapy, Hamish was drawn to exploring his artistic potential and developing his art practice about 15 years ago.

Hamish is interested in the portrayal of subject matter, whether human form, landscape or object in a contemporary manner with a clean, precise style. He takes time to render a seamless drift of tone, with a conscious pushing and pulling of perspective. With a keen awareness of historical influences, Hamish interprets the place he inhabits and attempts to reflect the emotion and narrative that underlies and contributes to community and the human condition. His work creates the impression of space and serenity by leaving out unnecessary imagery and adding only what is crucial.

Cathy Carter,Ramon Robertson,Billy McQueen,Hamish Allan,Neal Palmer,Adrian Jackman,Peter Gibson Smith,Chauncey Flay - Summer Presentation

Summer Presentation