PRESS
Published Catalogues Books
inSPIRACJE 12
BREATHTAKING
Between the everyday and a dream
published 2017
Lena Wicherkiewicz, Daria Grabowska
ISBN 978-83-64629-61-7
Imago Mundi
Luciano Benetton Collection
New Zealand: Kiwi Consciousness
Contemporary Artist from New Zealand
published 2016
Texts Carlo Antonio Biscotto, Rosa Mario Falvo, Andrew Paul Wood, Ngarino Ellis
ISBN 978-88-99657-28-4
The Exposure Award
Portrait Collection
(the 5th annual exposure award 2015)
curation and essay: William Etundi Jr
Daria Brit Shapiro
inSPIRACJE 12
BREATHTAKING
Between the everyday and a dream
published 2017
Lena Wicherkiewicz, Daria Grabowska
ISBN 978-83-64629-61-7
Imago Mundi
Luciano Benetton Collection
New Zealand: Kiwi Consciousness
Contemporary Artist from New Zealand
published 2016
Texts Carlo Antonio Biscotto, Rosa Mario Falvo, Andrew Paul Wood, Ngarino Ellis
ISBN 978-88-99657-28-4
The Exposure Award
Portrait Collection
(the 5th annual exposure award 2015)
curation and essay: William Etundi Jr
Daria Brit Shapiro
Newpaper / Magazine Articles
Hawkes Bay Today , Saturday Feb 3rd 2018
Living Hawkes Bay, Summer 2017 / 2018
Manifest Gallery. 'H2o ' 2017.
November 10th - December 8th
2727 Woodburn Ave, Cincinnati, OH 45206, USAwww.manifestgallery.org/about/schedule.html
November 10th - December 8th
2727 Woodburn Ave, Cincinnati, OH 45206, USAwww.manifestgallery.org/about/schedule.html
ART NEW ZEALAND #160 Summer/2016-2017 (article)
'The space between the elements in Cathy carter's composite image of bathers in Waikiki is random however; study it and see how far each of the swimmers moved between the 2 captures. A serene and contemplative wprk, its themes seep from the wall into the viewer - indolence, indifference to the passing of time, joy at the kind of colour a jellybean world can produce.' (Don Abbott, Art NewZealand, Summer 2016-17, p49.)
'The space between the elements in Cathy carter's composite image of bathers in Waikiki is random however; study it and see how far each of the swimmers moved between the 2 captures. A serene and contemplative wprk, its themes seep from the wall into the viewer - indolence, indifference to the passing of time, joy at the kind of colour a jellybean world can produce.' (Don Abbott, Art NewZealand, Summer 2016-17, p49.)
URLS
Urbis 'The Luxury Issue' 96
urbismagazine.com/articles/inside-story-cruz-jimenez/
North & South Magazine, September 2016, Issue 366
Family Ties
www.pressreader.com/australia/north-south/20160901/281590944966750
Photo Forum May 23rd 2016
International Photo Festival a career boost for Cathy Carter
photoforum-nz.org/blog/?p=6645
The Hobson, June 2016.
Shooting to Success
issuu.com/thehobson/docs/the_hobson_june_16/21?e=0
AUT University Alumni
https://shar.es/1UbnpZ
Cathy Carter at Antoinette Godkin, 'We Float' 2014.
The gallery was once located in 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 2014’ are infused with suggestions of philosophies and social concerns. But it is a calling from the silent 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
