In Order of Slide :
Ichorus Emerald : Led lightbox 975 x975mm
Fugacious Fuchsia : Led lightbox 975 x975mm
Chime : photographic print on archival hahnemuhle photorag on diabond
Blue Refrain (triptyche) : photographic print archival hahnemuhle photorag on diabond
Twilight : photographic print archival hahnemuhle photorag on diabond
Dusk #1, #2 ,#3 : photographic print archival hahnemuhle photorag on diabond
Ika-tere : photographic print archival hahnemuhle photorag on diabond
Ichorus Emerald : Led lightbox 975 x975mm
Fugacious Fuchsia : Led lightbox 975 x975mm
Chime : photographic print on archival hahnemuhle photorag on diabond
Blue Refrain (triptyche) : photographic print archival hahnemuhle photorag on diabond
Twilight : photographic print archival hahnemuhle photorag on diabond
Dusk #1, #2 ,#3 : photographic print archival hahnemuhle photorag on diabond
Ika-tere : photographic print archival hahnemuhle photorag on diabond
CATHY CARTER | We Float 08 July – 09 August, 2014 @ A N T OI N E TT E G OD K I N
We Float is a photographic exhibition that explores the ambiguous potentiality that occurs within converging spaces, where surfaces blur and mingle. The work seeks to reframe these spaces through intimate and obscure perspectives, through scale, abstraction and colour, in order to restore mystery and a sensuousness of vision. These are images that operate as ‘unconscious places’ to reveal strangeness and beauty in anonymous landscapes, to draw out the sublime from the familiar, and to awaken interior worlds. These are immersive spaces in between dreams and reality, fantasy and actuality. Proximity and intimacy heighten detail, reflection and absorption of light, to reveal characteristics of elements
We Float is a photographic exhibition that explores the ambiguous potentiality that occurs within converging spaces, where surfaces blur and mingle. The work seeks to reframe these spaces through intimate and obscure perspectives, through scale, abstraction and colour, in order to restore mystery and a sensuousness of vision. These are images that operate as ‘unconscious places’ to reveal strangeness and beauty in anonymous landscapes, to draw out the sublime from the familiar, and to awaken interior worlds. These are immersive spaces in between dreams and reality, fantasy and actuality. Proximity and intimacy heighten detail, reflection and absorption of light, to reveal characteristics of elements
Art Review by Sophia Schon
We Float
Antoinette Godkin 2014
The gallery was once located on the inner city, an up market high street. It now lives in a gleaming white multiplex apartment building that is more Miami then Auckland. Maybe it’s a sign of the times. It doesn’t matter. Inside it is domestic luxe; white on white with lush tropical orchids and bromeliads. The lounge is punctuated with art, works by Cathy Carter, the first to exhibit in this space with We Float.
Her images are placed in the domestic scene, in the kitchen, above the bench. I don’t know if this should matter. I feel I am elsewhere, overseas, some place so rich in context it’s hard to stay afloat. But all of this is secondary, as the pieces pull me in. Eye watering detail takes me right up close, close enough to see the structure of the print, but in due course the sheer scale and reflections wash me out again. Like the tide I find myself in an ebb and flow, moving around the space between the domestic and the gallery. Cathy Carter’s work aims and succeeds in pulling me under, and gently bringing me back to the surface.
In between the visceral experiences there is more. Time for one quick breath. Works like blue refrain are infused with suggestions of philosophies and social concerns. But it is a calling from thesilent deep where light no longer reaches that intrigues me the most about Cathy’s work. We Float has taken the gallery into the domestic, and with that tip toed the abyss, refusing to make eye contact.
Sophia Schön
We Float
Antoinette Godkin 2014
The gallery was once located on the inner city, an up market high street. It now lives in a gleaming white multiplex apartment building that is more Miami then Auckland. Maybe it’s a sign of the times. It doesn’t matter. Inside it is domestic luxe; white on white with lush tropical orchids and bromeliads. The lounge is punctuated with art, works by Cathy Carter, the first to exhibit in this space with We Float.
Her images are placed in the domestic scene, in the kitchen, above the bench. I don’t know if this should matter. I feel I am elsewhere, overseas, some place so rich in context it’s hard to stay afloat. But all of this is secondary, as the pieces pull me in. Eye watering detail takes me right up close, close enough to see the structure of the print, but in due course the sheer scale and reflections wash me out again. Like the tide I find myself in an ebb and flow, moving around the space between the domestic and the gallery. Cathy Carter’s work aims and succeeds in pulling me under, and gently bringing me back to the surface.
In between the visceral experiences there is more. Time for one quick breath. Works like blue refrain are infused with suggestions of philosophies and social concerns. But it is a calling from thesilent deep where light no longer reaches that intrigues me the most about Cathy’s work. We Float has taken the gallery into the domestic, and with that tip toed the abyss, refusing to make eye contact.
Sophia Schön