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Stefan Roberts

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Stefan Roberts

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19 images Created 16 Nov 2020

The dark years

These works are from a variety of exhibitions over a five-year period. The exhibitions explored forgotten human elements that often appear out of place within the natural environment. The photographs were taken during the quite small hours of the night, where the only thing moving in the darkness was the moon. By working with low sensitivity colour film, very long exposures durations could be achieved, which visually capturing the passage of time. With the camera slowly watching for up to an hour long at a time, my movement through the scenes becomes that of a ghost. The only evidence of my fleeting presence is the painting with light, which makes the objects appear to be strangely self-illuminated. Out of the darkness a new apparition of the world appears. There is a peculiar sense of stillness, and into this the elements appear unfamiliar, sometimes mysterious, sometimes foreboding.
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  • Cross.<br />
2002. <br />
980 x 980 mm (image size). <br />
First shown in the exhibition "12: Dialogues with time" at COCA in Christchurch. (2003) - No prints available. <br />
This work is a homage to "Cross", Colin McCahon, 1959.
    Cross.jpg
  • Where rust destroys.<br />
2004.<br />
695 x 540 mm (image size).<br />
Pigment ink on paper.<br />
Editions of five.<br />
First shown in the exhibion "Sign", Campbell Grant Galleries, Christchurch (2005).<br />
<br />
"Stefan Roberts'Where Rust Destroys reveals something of the forces of nature and time in a dramatic image that celebrates the very tactile nature of such processes." Anita Robertson (curator) - Active: 45 Contemporary Artists, Exhibition catalog, Pg3. 2005. "His work... maps the effect of time through both disintegration and growth". Pg4.
    Where rust destroys.jpg
  • Obey.<br />
2005.<br />
695 x 540 mm (image size).<br />
Pigment ink on paper.<br />
Editions of five.<br />
First shown in the exhibion "Sign", Campbell Grant Galleries, Christchurch (2005).
    Obey.jpg
  • Warnings #2.<br />
2005.<br />
695 x 540 mm (image size).<br />
Pigment ink on paper.<br />
Editions of five.<br />
<br />
First shown in the exhibion "Sign", Campbell Grant Galleries, Christchurch (2005).<br />
<br />
"... is an astonishingly captivating phtograph, ... Like a dream where reality is transposed with fantasy, the buoys are transformed from being natural to mystical figures.... Their presence in the landscape is not out of place, but yet, they seem detched and of a different nature." Johnathan Baker, CS Arts, January 2006, Pg. 25.
    Warnings-2.jpg
  • The Incident.<br />
2005.<br />
695x540mm (image size).<br />
Pigment ink on paper.<br />
Edition of five.<br />
First shown in the exhibition "End To Begin Again" at the Centre of Contemporary Art (COCA), Christchurch (2006).
    The Incident.jpg
  • Preparation.<br />
2005.<br />
695 x 540 mm (image size).<br />
Pigment ink on paper.<br />
Editions of five.<br />
First shown in the exhibion "Sign", Campbell Grant Galleries, Christchurch (2005).
    Preparation.jpg
  • Wandering Stock.<br />
2005.<br />
695 x 540 mm (image size).<br />
Pigment ink on paper.<br />
Editions of five.<br />
First shown in the exhibion "Sign", Campbell Grant Galleries, Christchurch (2005).
    Wndring Stock.jpg
  • Cross #2.<br />
2005.<br />
695 x 540 mm (image size).<br />
Pigment ink on paper.<br />
Editions of five.<br />
First shown in the exhibion "Sign", Campbell Grant Galleries, Christchurch (2005).
    Cross-2.jpg
  • Relic.<br />
2004.<br />
695 x 540 mm (image size).<br />
Pigment ink on paper.<br />
Editions of five.<br />
First shown in the exhibion "Sign", Campbell Grant Galleries, Christchurch (2005).
    Relic.jpg
  • Warnings #1.<br />
2005.<br />
695 x 540 mm (image size).<br />
Pigment ink on paper.<br />
Editions of five.<br />
First shown in the exhibion "Sign", Campbell Grant Galleries, Christchurch (2005).<br />
<br />
" ... Warnings #2 and Warnings #1 have subjects that cannot be easily categorized. The subject, being something other than itself, has multiple interpretations. Linked to their success is the ambiguity in which the photographs where made." <br />
Johnathan Baker, CS Arts, January 2006, Pg. 25.
    Warnings-1.jpg
  • Linger.<br />
2003.<br />
655 x 655mm (image size).<br />
Originally printed as Pigment ink on Canvas (other sizes and media options are available).<br />
Edition of 5.<br />
<br />
"Linger has a painted fireplace that glows like a gold alter in an empty cold landscape." Murray Hedwig, Chrysalis Seed News, April 2004, p.8.<br />
<br />
First shown at the exhibition "Beyond", Campbell Grant Galleries, Christchurch (2003).
    Linger.jpg
  • Journeys beyond.<br />
2001.<br />
1050 x 700mm (image size).<br />
Originally printed as Pigment ink on Canvas (other sizes and media options are available).<br />
Editions of 5.<br />
<br />
“In "Journeys Beyond", two vehicle tracks cut across a tussocky plain blue-lit as if caught in that shadowy hour of dusk or dawn. But a natural track takes the eye straight up to the horizon - human presence is rendered as fleeting, unimportant, erroneous." Sally Blundell, New Zealand Listener, March 2004.<br />
<br />
First shown at the exhibition "Beyond", Campbell Grant Galleries, Christchurch (2003).
    Journeys beyond.jpg
  • Aramoana.<br />
2002.<br />
700 x 1050mm (image size).<br />
Originally printed as Pigment ink on Canvas (other sizes and media options are available).<br />
Editions of 5.<br />
<br />
First shown at the exhibition "Beyond", Campbell Grant Galleries, Christchurch (2003).
    Aramoana.jpg
  • Ascent.<br />
2000.<br />
1430 x 700mm (image size).<br />
Originally printed as Pigment ink on Canvas (other sizes and media options are available).<br />
Editions of 5.<br />
<br />
First shown in the exhibition "Beyond", Campbell Grant Galleries, Christchurch (2003).<br />
 <br />
"The more panoramic format of Ascent, and the mix of a moonrise that has the warmth and strength of colour we would normally associate with a sunrise, has a black bunker-like form with white painted in the normally dark corners. The memory recall for me was the film 2001 A Space Odyssey and the iconic power of the monolith. This was a technical challenge in terms of viewpoint and the moonrise exposure, but the resulting work and the emotional power of the painterly tones of the shadow scale show that the risk was well worth taking." <br />
Murray Hedwig, Chrysalis Seed News, April 2005, p.8.
    Ascent.jpg
  • Remembrance.<br />
2002.<br />
700 x 1050mm (image size).<br />
Originally printed as Pigment ink on Canvas (other sizes and media options are available).<br />
Editions of 5.<br />
<br />
First shown in the exhibition "Beyond", Campbell Grant Galleries, Christchurch (2003).
    Remembrance.jpg
  • Recollection.<br />
2002.<br />
1050 x 700mm (image size).<br />
Originally printed as Pigment ink on Canvas (other sizes and media options are available).<br />
Editions of 5.<br />
<br />
First shown in the exhibition "Beyond", Campbell Grant Galleries, Christchurch (2003).<br />
<br />
"The gun emplacements glow in a fiery circle like Stonehenge taken at its most extra-terrestrial significance." Sally Blundell, New Zealand Listener, March 2004.
    Recollection.jpg
  • Silent Council.<br />
2002.<br />
1050 x 1050mm (image size).<br />
Originally printed as Pigment ink on Canvas (other sizes and media options are available).<br />
Editions of 5.<br />
<br />
First shown in the exhibition "Beyond", Campbell Grant Galleries, Christchurch (2003).<br />
 <br />
"Like a cult sect gathering in a circle of power, the red glow from this circle is on a field of dense black and is counter balanced by the red-orange lines from the shipping light trails above." Murray Hedwig, Chrysalis Seed News, April 2005, p.8.
    Silent Council.jpg
  • Vigil #1<br />
2002.<br />
1050 x 1050mm (image size).<br />
Originally printed as Pigment ink on Canvas (other sizes and media options are available).<br />
Editions of 5.<br />
<br />
First shown in the exhibition "Beyond", Campbell Grant Galleries, Christchurch (2003).<br />
<br />
"His photographs of old wharf timbers on Dunedin's St Clair beach creates a procession of ancient wooden figures marching up from the breakers." Christopher Moore, The Press, February 25, 2004.
    Vigil-1.jpg
  • Vigil #2<br />
2002.<br />
1050 x 1050mm (image size).<br />
Originally printed as Pigment ink on Canvas (other sizes and media options are available).<br />
Editions of 5.<br />
<br />
First shown in the exhibition "Beyond", Campbell Grant Galleries, Christchurch (2003).<br />
<br />
"During the day these are commonplace structures and prosaic landscapes. Viewed through Roberts' camera they are transformed into mythical cult objects hovering mysteriously in a surreal world where totara fence posts are ancient totem figures glowing in the light of the rising sun." Christopher Moore, The Press, February 25, 2004.
    Vigil-2.jpg