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Stefan Roberts

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Stefan Roberts

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  • Relic #8 - What will be thought of us?<br />
2016.<br />
290x390mm (image size).<br />
Pigment ink on paper.
    Relic_8-What_will_be_thought_of_us.jpg
  • Relic #4 - What will be thought of us?<br />
2016.<br />
290x390mm (image size).<br />
Pigment ink on paper.<br />
First shown at the exhibition "PH4 Reloaded", ArtBox, Christchurch (2016).
    Relic_4-What_will_be_thought_of_us.jpg
  • Hopper; Waiau.<br />
2012 / 2013 (9  months).<br />
167mm x 297mm (Image size).<br />
Pigment ink on paper.<br />
<br />
Editions of 10.<br />
<br />
First shown at the exhibition "Unknowable" at Chambers 241, Christchurch (2013).<br />
<br />
Finalist: The New Zealand Painting and Printmaking Award 2014 - Selected by  J. Johnston (Curator, Judge)
    Hopper-Waiau.jpg
  • Finding unclaimed baggage.<br />
2011.<br />
520 x 415mm.<br />
Pigment ink on paper.<br />
Edition of five.<br />
First shown in the exhibition "Tikkun Olam" at the Temple Gallery, Dunedin (2011). <br />
Merit Award - The New Zealand Painting and Printmaking Art Awards 2012 - Selected by John Daly-Peoples.
    Finding unclaimed baggage.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
  • In the wilderness #3.<br />
2007.<br />
700x700mm.<br />
Edition of Five. <br />
First shown in the exhibition "Strange Weather" in the Mair Gallery, Centre of Contemporary Art (COCA), 27th March – 15th April 2007.
    In the wilderness III.jpg
  • The unseen candle casting light.<br />
2010.<br />
520 x 415mm.<br />
Pigment ink on paper.<br />
Finalist - 2011 Walker & Hall Waiheke Art Awards. Selected by Henry Symonds, Dean of Instruction & Undergraduate Studies, Whitecliffe College. First shown at the Waiheke Community Art Gallery, Waiheke Island, New Zealand.
    The unseen candle casting light.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
  • Even in dark places.<br />
2011.<br />
520 x 415mm.<br />
Pigment ink on paper.<br />
Edition of five.<br />
First shown in the exhibition "Tikkun Olam" at the Temple Gallery, Dunedin (2011).
    Even in dark places.jpg
  • Beyond the bunker.<br />
2001.<br />
320x490mm.<br />
C Type Print.<br />
Edition of Five. <br />
First shown in the exhibition "Assignment Aotearoa: Your Vision of New Zealand" Museum of New Zealand Te Papa Tongarewa, Wellington (2001).<br />
NZIPP print judging 2002 - Silver award.
    Beyond_the_bunker.jpg
  • 11 hours chasing my shadows.<br />
2010.<br />
520 x 415mm.<br />
Pigment ink on paper.
    11 hours chasing my shadows.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