Cathy Carter New Zealand Photographer and Multimedia Artist
  • Art Awards (dropdown)
    • Molly Morpeth Painting and Drawing Competition 2023
    • Wallace Art Awards 2020, 2019, 2018, 2017, 2016, 2014
    • Devonian Reefs, Molly Morpeth 3D Award, 2020
    • Parkins Prize 2019
    • Headon International Portrait Competition Finalist 2015, 2016, 2018
    • Walker and Hall Waiheke Art Awards Finalist 2016, 2017, 2018
  • Series of Works
    • Almost Paradise, 2021
    • Goldilocks Zone 2022
    • Wai Wai Wai 2019
    • Weird Fishes, 2018
    • Poolside, Immersion and Emergence Malolo , 2017
    • Poolside Immersion and Emergence 2017
    • Waimarama, Residency: Waimarama, Reflecting on Water, 2018
    • Portals of Bare Attention 2016 / 2017
    • Waimarama, Reflecting on Water, Motu-O-Kura, 2018
    • Seaside Series 2016
    • Between Worlds
    • Oceanids: Rising
    • Oceanids # 1, 2, 3, 4
    • Drifting #1, 2, 3
    • Immersive Emergence
    • We Float
    • Viridescent -becoming green
    • Waitemata, 'Obsidian Waters' ( A public project)
    • Ophelia # 1, 2
    • Imminence
    • Immersion and Emergence
    • Adrift
    • Subtle Space
    • Mist
    • Zone of Immanence
    • Fluid Fields
    • Convergence
    • Sea Lion Rotation (light projection of stills)
    • Arpeggio ( Light projection of stills)
    • Arpeggio
  • Photos of Exhibited Work
    • Wai Wai Wai exhibition Nkb Gallery
    • Weird Fishes, 2018 Allpress Studio
    • Photoforum Exhibition 2018
    • Waitemata, Auckland Art Gallery
    • Arthaus Gallery 2017 Auckland Festival of Photography 2017, Theme: Identity. 2017 'Open Waters', (curated by Cathy Carter)
    • State of Play 2016
    • Oceanids , Paris Apartment.
    • Oceanids Rising 2016 Moaroom, Paris.
    • We Float 2014
    • Immersive Emergence 2013 (installation)
    • Imminence 2013
    • Zone Of Immanence 2012
    • Convergence 2012
    • Transitions 2012
    • Land vs Sea 2011 (Immersion and Emergence)
    • Mist 2010
    • Waterways 2012
    • Between Worlds
  • ABOUT
    • Curiculum Vitae (condensed)
    • Curiculum Vitae (expanded)
    • Profile
    • Contact: cathy.carter@xtra.co.nz
    • Press
    • Links
    • News
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
CATHY CARTER | We Float   08 July – 09 August, 2014  @  A N T OI N E TT E G OD K I N
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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
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