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Stefan Roberts

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Stefan Roberts

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  • Wood and light, fragments of a cross.<br />
2009.<br />
Pigment ink on paper.<br />
520 x 415mm.<br />
Editions of 5. First shown at the dual exhibition "Cross" at the ChristChurch Cathedral, followed by the Centre of Contemporary Art (COCA), Christchurch (2009). <br />
Finalist - The New Zealand Painting and Printmaking Award 2011.<br />
Selected by Warwick Brown.
    Wood and light-fragments of a cross ...jpg
  • Black Valley walk to Lake Rotoiti. <br />
2022. <br />
875 x 75mm (image size). <br />
Pigment ink on paper. <br />
First shown in the solo exhibition "Excursion" at PG gallery 192 in 2024.
    Black Valley walk to Lake Rotoiti.jpg
  • Head of the Bay - Waterlog - 195 mls, <br />
2016, <br />
470 x 210 mm (image size), <br />
Pigment ink on paper.<br />
<br />
New Zealand Painting and Printmaking Award 2017. <br />
Selected by Roger Boyce.<br />
<br />
First shown in the Hamilton Garden Arts Festival, Hamilton, New Zealand. (2017, 17 - 26 February).
    Head of the Bay - Waterlog - 195mls.jpg
  • Drift #2.<br />
2008.<br />
520 x 415mm.<br />
Pigment ink on paper.<br />
Edition of five.<br />
Finalist - New Zealand Painting and Printmaking Awards 2010. Selected by Courtney Johnston - Director of the Dowse Art Museum.<br />
This work is part of a series titled "drifting" where not everything appears to be right in paradise. There are signs of disquiet in isolated environments. Now in this scene with the road bounded by its equivalent of a white picket fence, all is eerily still.
    Drift_2 Final sized 8bit.jpg
  • Looking for the corner piece.<br />
2012.<br />
520 x 415mm.<br />
Pigment ink on paper.<br />
In Looking for the corner piece, the camera has been left recording continuously for two days to reexamine a symbolic act. During the exposure, when it was dark, a box of 45 matches has been sequentially burnt in the attempt to keep an unsolved puzzle illuminated. But when all the moments in time appear blended together in the final image, the light from the individual matches barely registers. The only evidence of the act is a ghostly glow and the remnants of the discarded matches.
    Looking for the corner piece.jpg
  • A moving point; Governors Bay.<br />
2011 / 2012 (1 year).<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).
    A_moving_point-Governors_Bay.jpg
  • Peculiar optimism.<br />
2013.<br />
520 x 415mm.<br />
Pigment ink on paper.<br />
Finalist - 2014 Walker & Hall Waiheke Art Award. <br />
Selected by Ian Jervis, Senior Lecturer Visual Arts, AUT University. <br />
First shown at the Waiheke Community Art Gallery, Waiheke Island, New Zealand.<br />
Peculiar optimism studies the perception of time and object permanence. Within the image, a full glass of red wine has been documented as it evaporates completely over an eight-week period, using one continuous camera exposure. The resulting image simultaneously represents both a full glass and an empty glass.
    Peculiar Optimism.jpg
  • Looking beyond the shadowlands #2.<br />
2008.<br />
520 x 415mm.<br />
Pigment ink on paper.<br />
Edition of five.<br />
First shown in the exhibition "Face to Face" in the Centre of Contemporary Art (COCA),. Christchurch (2009).<br />
Finalist - COCA Anthony Harper Contemporary Art Award 2009. Select by Hamish Keith (Art commentator and author).
    LookingBeyondTheShadowlands_no2 V2.jpg
  • In the wilderness #2.<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.<br />
"Roberts' work is highly evocative, moving through time and space and establishing a melancholy and romanticism through the description of familiar landscapes" COCA Magazine, Issue 41. 2007
    In the wilderness II.jpg
  • A time for everything.<br />
2010.<br />
520 x 415mm.<br />
Pigment ink on paper.<br />
Finalist - 2010 Walker & Hall Waiheke Art Awards. Selected by Sara Hughes. First shown at the Waiheke Community Art Gallery, Waiheke Island, New Zealand.<br />
In the photograph ‘A time for everything’, a bouquet of flowers has been documented as it transitions from something considered beautiful, to that which is no longer valued and is discarded.  Passing from a state of living, to that of death.  Over the two-week period this took to occur, the camera has continuously recorded every second of the journey into a single collective visual experience.  The resulting image reveals a form of beauty that is greater than its original appearance.
    A time for everything.jpg
  • Looking beyond the shadowlands #1.<br />
2008.<br />
520 x 415mm.<br />
Pigment ink on paper.<br />
Edition of five.<br />
First shown in the exhibition "Face to Face" in the Centre of Contemporary Art (COCA),. Christchurch (2009).<br />
Finalist - New Zealand Painting and Printmaking Awards 2010. Selected by Courtney Johnston - Director of the Dowse Art Museum.
    LookingBeyondTheShadowlands_no1.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
  • Craigieburn, Arthur's Pass. (image detail)
    Craigieburn Arthurs Pass - detail.jpg
  • Myth of the New Zealand landscape. <br />
2021. <br />
900 x 75mm (image size). <br />
Pigment ink on paper. <br />
First shown in the group exhibition "Curate Me" at PG gallery 192 in 2021. The work was made in response to Simon Edwards work with the same tilte.
    Myth of the New Zealand landscape.jpg
  • Waiau River - Waterlog - 53mls, <br />
2019. <br />
470 x 210 mm (image size). <br />
Pigment ink on paper. <br />
First shown in the Cleveland National Art Awards, Otago Art Society, Dunedin, 2021.
    Waiau River - Waterlog - 53mls.jpg
  • Tumbledown Bay. <br />
2024. <br />
875 x 75mm (image size). <br />
Pigment ink on paper. <br />
First shown in the solo exhibition "Excursion" at PG gallery 192 in 2024.
    Tumble Down Bay.jpg
  • Boulder Bay Walkway. <br />
2021. <br />
875 x 75mm (image size). <br />
Pigment ink on paper. <br />
First shown in the group exhibition "Wide" at PG gallery 192 in 2022.
    Boulder Bay Walkway.jpg
  • Akaroa Harbour. <br />
2024. <br />
875 x 75mm (image size). <br />
Pigment ink on paper. <br />
First shown in the solo exhibition "Excursion" at PG gallery 192 in 2024.
    Akaroa Harbour.jpg
  • Craigieburn, Arthur's Pass.<br />
2023. <br />
875 x 75mm (image size). <br />
Pigment ink on paper. <br />
First shown in the group show "Pinhole Exhibition", Unique Photo, Philadelphia, USA. Finalist in the Cleveland National Art Awards 2023, Otago Art Society, Dunedin.
    Craigieburn Arthurs Pass - detail-2.jpg
  • Port Levy Saddle. <br />
2022. <br />
875 x 75mm (image size). <br />
Pigment ink on paper. <br />
First shown in the group exhibition "Wide" at PG gallery 192 in 2022.
    Port Levy Saddle.jpg
  • Harper River - Waterlog - 92mls, <br />
2018, <br />
470 x 210mm (image size). <br />
Pigment ink on paper. <br />
<br />
First shown in the Walker & Hall Waiheke Art Award 2018. <br />
Premier Award. <br />
Selected by Noel Ivanoff, <br />
HOD Fine Art, <br />
Whitecliffe School of Art & Design.
    Harper River - Waterlog - 92mls.jpg
  • Lake Lyndon – Waterlog – 140mls, <br />
2017, <br />
470 x 210 mm (image size), <br />
Pigment ink on paper. <br />
<br />
First shown in the group exhibition. "2017 National Contemporary Art Award", in the  Waikato Museum, Hamilton, New Zealand (2017, 29 July - 5 November). The work was selected by Director of Wellington’s City Gallery, Elizabeth Caldwell.
    Lake Lyndon – Waterlog – 140mls.jpg
  • Towards the Port Hills; Head of the Bay.<br />
2016 (6 months pinhole exposure).<br />
140mm x 250mm (image size).<br />
Pigment ink on paper.<br />
Editions of 5. First shown at the exhibition "Art for Art" at the Christchurch Art Gallery Te Puna o Waiwhetū (2017).
    Mud Flat – Lyttleton Harbour 2016 - ...jpg
  • Studio self portrait of Stefan Roberts
    Stefan Roberts.jpg
  • Listen.<br />
2006.<br />
Pigment ink on paper.<br />
520 x 415mm.<br />
Editions of 5. <br />
First shown at Campbell Grant Galleries, Christchurch (2007).
    Listen.jpg
  • In the wilderness #1.<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 I.jpg
  • After the gale; Port Hills.<br />
2014 /2015 (1-year pinhole exposure).<br />
140mm x 250mm (image size).<br />
Pigment ink on paper.<br />
Editions of 5. First shown at the exhibition "Art for Art" at the Christchurch Art Gallery Te Puna o Waiwhetū (2017).
    After the wind – Port Hills 2014-201...jpg
  • Sculpted #2.<br />
2007.<br />
Pigment ink on paper.<br />
520 x 415mm.<br />
Editions of 5. <br />
First shown at Campbell Grant Galleries, Christchurch (2007).
    Sculpted_2.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
  • Something is rotten.<br />
2011.<br />
520 x 415mm.<br />
Pigment ink on paper<br />
Eight week decomposition of a still life.
    Something is rotten.jpg
  • Elevated.<br />
2007.<br />
Pigment ink on paper.<br />
520 x 415mm.<br />
Editions of 5. <br />
First shown at Campbell Grant Galleries, Christchurch (2007).
    Elevated.jpg
  • Hovering.<br />
2007.<br />
Pigment ink on paper.<br />
520 x 415mm.<br />
Editions of 5. <br />
First shown at Campbell Grant Galleries, Christchurch (2007).
    Hovering.jpg
  • Immerse.<br />
2007.<br />
Pigment ink on paper.<br />
520 x 415mm.<br />
Editions of 5. <br />
First shown at Campbell Grant Galleries, Christchurch (2007).
    Immerse.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
  • Cross, Kaitorete Spit; While my city is shaken.<br />
2011 (6 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).
    Cross-Kaitorete_Spit-while_my_city_i...jpg
  • Standing.<br />
2006.<br />
Pigment ink on paper.<br />
520 x 415mm.<br />
Editions of 5. <br />
First shown at Campbell Grant Galleries, Christchurch (2007).
    Standing.jpg
  • Hovering #2.<br />
2007.<br />
Pigment ink on paper.<br />
520 x 415mm.<br />
Editions of 5. <br />
First shown at Campbell Grant Galleries, Christchurch (2007).
    Hovering_2.jpg
  • Departure.<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.
    Departure.jpg
  • Abandoned power pole; Port Hills.<br />
2016 (6 months pinhole exposure).<br />
140mm x 250mm (image size).<br />
Pigment ink on paper.<br />
Editions of 5. First shown at the exhibition "Art for Art" at the Christchurch Art Gallery Te Puna o Waiwhetū (2017).
    Old power – Port hills - 2016 – 6mth...jpg
  • Tidal drift; Head of The Bay.<br />
2014 (5 months exposure).<br />
167mm x 297mm (image size).<br />
395mm x 500mm (framed).<br />
Pigment ink on paper.<br />
<br />
First shown at the exhibition "Ph4 - Debut" at Chamber Gallery, Rangiora (2014).<br />
<br />
A collaboration with nature where the incoming tide repositions the placement of the camera.
    Tidal drift - Head of The Bay-2014 (...jpg
  • Sculpted.<br />
2007.<br />
Pigment ink on paper.<br />
520 x 415mm.<br />
Editions of 5. <br />
First shown at Campbell Grant Galleries, Christchurch (2007).
    Sculpted.jpg
  • Monument.<br />
2007.<br />
Pigment ink on paper.<br />
520 x 415mm.<br />
Editions of 5. <br />
First shown at Campbell Grant Galleries, Christchurch (2007).
    Monument.jpg
  • 11 hours chasing my shadows.<br />
2010.<br />
520 x 415mm.<br />
Pigment ink on paper.
    11 hours chasing my shadows.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
  • Skeleton tree; Lake Ellesmere.<br />
2016 (6 months pinhole exposure).<br />
140mm x 250mm (image size).<br />
Pigment ink on paper.<br />
Editions of 5. First shown at the exhibition "Art for Art" at the Christchurch Art Gallery Te Puna o Waiwhetū (2017).
    Dead – Lake Ellsemere – 2016 – 6mths.jpg
  • The road to nowhere; Port Hills.<br />
2013 / 2014 (8 months).<br />
167mm x 297mm (image size).<br />
395mm x 500mm (framed).<br />
Pigment ink on paper.<br />
<br />
First shown at the exhibition "Ph4 – Debut", Chamber Gallery, Rangiora (2014).
    The road to nowhere - Port Hills.jpg
  • Lyttelton Harbour entrance; from Godley Head.<br />
2016 (6 months pinhole exposure).<br />
140mm x 250mm (image size).<br />
Pigment ink on paper.<br />
Editions of 5. First shown at the exhibition "Art for Art" at the Christchurch Art Gallery Te Puna o Waiwhetū (2017).
    Godley Head – 2016 – 6mths.jpg
  • Above Castle Hill; Arthur’s Pass.<br />
2013 - 7 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).
    Above_Castle_Hill-Arthur’s_Pass.jpg
  • Duet in the dark.<br />
2010.<br />
520 x 415mm.<br />
Pigment ink on paper.
    Duet in the dark.jpg
  • Summit Road; above Taylors Mistake.<br />
2016 (6 months pinhole exposure).<br />
140mm x 250mm (image size).<br />
Pigment ink on paper.<br />
Editions of 5. First shown at the exhibition "Art for Art" at the Christchurch Art Gallery Te Puna o Waiwhetū (2017).
    The high road – Above Taylors Mistak...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