Welcome to the SUPA CUBA DUPA Online Catalogue


We are delighted to present to YOU this exhibition in an online format.

Please keep checking back as we further fine tune your digital art experience into the comfort of your own home.

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In the meantime, for all enquiries, please email: potockipaterson@gmail.com

Freeman White

“Art was never a question for me. It was a calling.”

So too were the museums of Frankfurt, Berlin, Florence, Vienna and Amsterdam, he visited during an overseas residency in Germany – “an experience which was profoundly influential on my art making process.”

In 2006, White was awarded the paramount prize in the ADAM Portrait Awards. Following this success, he was invited to Edinburgh by James Holloway, Director of the Scottish National Portrait Gallery. In Edinburgh, White painted many portraits including a painting of Holloway and a drawing from life of Academy Award winning actress, Tilda Swinton.

White has taken part in several international artist residencies, including the Staffelter Hoff Residency in Germany, 2007, and TSKW Residency in Key West, Florida, 2009.

In his career to date, White has had many solos shows and has also worked in Film and Television, most notably as a scenic artist on The Hobbit and in 2014, he produced an iconic series of portraits for the cult vampire film, What We Do in the Shadows, starring Taika Waititi and Jermaine Clement.

His works appear in publications such as New Zealand Portraits by Richard Wolfe (Penguin Viking, 2008) and It’s All About the Image by Dick Frizzell (Godwit, 2011), as well as public collections including the New Zealand Portrait Gallery, The Royal Society of New Zealand, and the Kelliher Trust.

Freeman White – Mt Taranaki

Oil on linen


Freeman White – Te Arapiti Station

Oil on linen


Freeman White – Vampire Council

WWDITS TV Series S01 E07 Concept Artwork

Graphite on paper 


Freeman White – Van Helsing

WWTIS TV Series S01 E10 Concept Artwork

Conte pencil and white pencil on paper


Freeman White – Vladislav Pukana (Jermaine Clement) 

WWDITS Film Feature Concept Artwork

Graphite and white pencil on grey paper


Freeman White – Viago (Taika Waititi)

WWDITS Film Feature Concept Artwork

Graphite and white pencil on grey paper


Freeman White – Viago 3/4 (Taika Waititi)

WWDITS Film Feature Concept Artwork

Graphite and white pencil on toned paper


In 2013, I was contacted by Taika Waititi asking if I would be able to paint some portraits for a vampire movie that he and Jemaine Clement were making. The resulting images were used as reference for the series of oil paintings that I painted of the characters Viago, Vladislav and Deacon. I completed multiple sketches and five paintings in total for the movie – having only two weeks to complete the series of five portraits all of which were featured in the final edit. 

After the success of the original movie, Jemaine requested a series of drawings and paintings for the What We Do in the Shadows TV series. Just as with the original portraits, I tend to produce a series of sketches and refine the ideas with Jemaine until we are both happy with the end result. Due to this process, I usually end up with several versions of each final artwork.

The “Vampire Council” drawing was one of two final versions for this artwork. This was my favorite version but the watercolor version was the one featured in the episode. The “Van Helsing ” drawing was complicated, and I staged a full costume photo shoot for this drawing. There are several working drawings for this scene. This version is the final drawing that was featured in E10 of Season 1 of the TV series.

It is great to work so closely with Jemaine on these artworks and it was fun to work with him and Taika on the movie all those years ago. I am currently working on further artwork for season two which is still in production.

Piera McArthur

One of New Zealand’s foremost contemporary artists, Piera’s work is known for its ‘Joie-De-Vivre’ and for its optimistic energy. Her work mirrors a lifetime of sophisticated living in various capitals of the world, with a gently satirical eye observing the parade of humanity in a context of incisive line and vigorous brushstrokes.

Novelist and critic, Keith Ovenden, wrote, “We feel an almost absurd sense of happiness, so that we want to laugh without really knowing why. It isn’t because Piera is a satirist—as some want to label her—and it isn’t solely because she is such a marvellous colourist or because of the relationships she develops between the subjects that appear in her paintings but rather, I think, because of the way the paint is applied…the glue that binds her work into the force for happiness.”.

There is no doubt that an amused eye, a highly developed colour sense, and a great linear ability give Piera’s paintings their unique and occasionally outrageous quality.

“Painting fills my time and my thoughts. Each work I do is a challenge and prepares me for the next encounter. I translate into painterly idioms the subjects which inspire me – vital, energetic, colourful – the whole of life, with its abundance, is the realm of the painter. There are successes in the painter’s life that do not depend on the public arena. To be a painter is a gift from the Gods and not for a minute may you neglect this great love affair.” 

Piera McArthur

300 x 300 mm (framed)


Piera McArthur

300 x 300 mm (framed)


Piera McArthur

300 x 300 mm


Piera McArthur

300 x 300 mm


Piera McArthur – Dust Up With Irate Dealer

760 x 610 mm


Alex Miln

In the mid-eighties, I started kicking around an idea when I was working at the Courtauld Institute of Art, in London. It ignited a fire within that to this day cannot be extinguished. I had spent a lot of time in Europe and North America taking photos of old signs. In a way, they were spent – the best years of these signs were behind them. However, they imbued an optimism that had passed by, the optimism was gone leaving communities somewhat shabby.

When I got back to New Zealand, it was my vision to recreate these signs but in a three-dimensional way, so that the viewer could feel the decay, the rusting but also the shadows that it cast. The first few signs that I did were a disaster. I just could not get it to work. But I just kept committed to my belief in this until I could get it to work. In 2005, I finally got a breakthrough with it. It was finally working, and I set about the next ten years building a body of work.

2015 – Finalist in the Wallace Art Awards
2016 – Double Finalist in the National Contemporary Art Awards
2016 – Winner of the Miles Supreme Art Awards

Alex Miln – Urban Valhalla 

Forbes Bar and Pool Hall, the sign says it all, rusting, decayed, and limping on.

Forbes asks the questions, why do these places exist? Is it a place where our idio cultures, our tribes thrive when they are disenfranchised?

Is it a social setting where they can go, show their own pool playing prowess on their own terms, their own rules in their own tribes? And when the rules are not adhered to then another form of combat ensues. Do they become warrior of the pool hall?

Never mind Valhalla in the afterlife, is this Urban Valhalla for the living?


oil on timber and aluminium
39cm (w) x 90cm (h) x 70cm (d)
Alex Miln – The Prophet’s Den

This is the quintessential Aussie rural pub. Every town has one. There may not be much else in the town but there is always a pub, a service station and maybe a general store.

The Telegraph Hotel is where pub politics and spin is social liberty, lubricated schooners. Funny one liners roll off the tongue, make you the one to be most admired or the profound prophets or poets of your time. A yarn was a good thing. A daily event over a schooner or two and where you could drive home drunk afterwards.

It became the haven for the prophet, opinionated, without kindness or thought, verbalised in the bar and written on the toilet walls. This is a fading social ritual, a place belonging to the past, now we do it on social media.


oil on timer and aluminium
35cm (w) x 60cm (h) x 75cm (d)
Alex Miln – Lest We Forget

Is this an inconvenient truth? Is it so uncomfortable that we just want to drive by, but what happens when this truth arrives in the living room?

Over half the inmates of Villawood are now Kiwi. Many have not even been charged with a crime, or have lived the majority of their lives in Australia, some are even aboriginal, but they will be deported under subsection 501.

How do detention centre’s look to you? Our best friends, our closest neighbor, our best mates! Does it look like our best mates to you?


oil on timber and aluminium
120cm (w) x 91cm (h) x 65cm (d)

David Brown

My art practice incorporates both formal and socio-conscious elements.

Visually, it is geometric, made up of paintings and 3-dimensional works. Formally, the compositions are controlled by a hexagonal grid, often with intersecting shapes, and a highly considered colour palette. These elements are derived from a conceptual backdrop, that delves into the relationship between humans, animals, and the environment.

The 3 paintings here come from bodies of work which explore the reduced elements of a hexagonal structure. The central concept is all these works is control, with the lines forming maze-like structures to navigate through.

David Brown – AR2019-100 (Black)

Oil enamel on Board, 300 x 300mm



David Brown – AR2019-107 (Pink)

Acrylic on Board, 300 x 300mm


David Le Fleming

Raised in Manawatu, I have studied, lived and worked in Wellington, London, and now New Plymouth. My family goes back to England’s Lake District.

My oil paintings usually employ found metal objects as surfaces, making their age and defects part of the work. Most of my work is portraiture, with a recent focus on the making of mythology — the process of how forces like religion, capitalism and protest use art to make the everyday profound, iconic and enduring.

David Le Fleming – It Was All Fields

Oil on car bonnet


David Le Fleming – Māui Firescreen

Oil on wood


David Le Fleming – Plasma Worm

Oil on dome (complete with speaker system and strobe lighting)


David Le Fleming – Cartoon Swap Jazz

Ink on cardboard box (encased in perspex with a hairy frame)


David Le Fleming – Night Parrot, The Pocket Tickler

Oil on wood



David Le Fleming – Three Peach Suit

Oil copper plate

298 x 390 mm



Rieko Woodford-Robinson

Rieko is best known for her detailed portraits of anthropomorphic creatures, usually animals or well-loved toys. A self-taught artist and illustrator, she was born in Japan and has lived in Wellington for 20 years. Her first exhibition was held in 2010, followed by several solo shows and group exhibitions in Wellington and Auckland.

Every one of her solo shows has sold out. Rieko’s work is influenced by Pop Surrealism and the Old Masters. Aesthetic elements of Japanese pop culture such as kawaii (cute) also appear in her paintings, finely balanced with melancholy and knowing humour.

Rieko’s subjects seem to be a little reluctant to reveal their stories, and often inhabit fairy-tale settings that evoke childhood fables. Her paintings provide a small but intriguing window into the lives of her characters.

Rieko Woodford-Robinson – Hank

Giclée print on 310gsm Hahnemuhle Archival Satin paper

W410mm x H470mm

$480.00 (including frame)

Rieko Woodford-Robinson – Rockhopper

Giclée print on 310gsm Hahnemuhle Archival Satin paper

W457mm x H546mm

$520.00 (including frame)

Arlo Edwards

I’ve been Living in Wellington 23 years and been curating for that whole time. And a lot has happened. I’ve directed artist run spaces such as The Family and Mygalaxi art galleries, organised The Visual Tourist Studio Tour and more recently been focussing on video and film, picking up the Incredibly Strange Award at the 48 Hour Film Festival.

I was once known as the enfant terrible of the curatorial art scene in Wellington, but I’ve softened with age. I know when a wall needs space; often in the past I’ve been accused of being ‘too more is more’. Which is fine, because I actually think there’s a simplicity that can be found in that. I think I’m getting there.

So, when we are all out of isolation, and are able to view the exhibition in person, I hope you’ll find that it has a great flow. It’s really good to work with solid artists. We had to be flexible with the show as artists’ work were turning up and not turning up due to the Covid 19, so it helped guide the direction of the show in a sense…

 Arlo Edwards – Untitled

Graphite o paper (framed)

925 x 1120 mmn


Arlo Edwards – Serendipitious Dreams

Framed record sleeve

400 x 400 mm


Arlo Edwards – Untitled

Framed record sleeve

400 x 400 mm


Arlo Edwards – Factor X

Framed record sleeve

400 x 400 mm


Arlo Edwards – Chilling Tales of Creative Block

Framed record sleeve

400 x 400 mm


Arlo Edwards – Roger Whittaker

Framed record sleeve

400 x 400 mm


Ed Davis

Local Indie VR filmmaker & 6DoF developer

Dennis Blair

I’m not for everyone. I have never let my schooling interfere with my education.
No credit is due to the institutions where I served my academic time. It has taken years to unlearn much of that archaic indoctrination.

I am currently engaged in a long tenure at the faculty of experiential learning. True art is always bigger than the intellect. It stems from a mysterious transcendent source, rather than from the thinking mind.

“To know that we know what we know, and to know that we do not know what we do not know, that is true knowledge.”

As above so below: The felt presence of immediate experience. It’s all you’ll ever know and it’s all you can ever know. Everything else is rumour, litigant, advocate, supposition, possibility. The felt presence of immediate experience is actually the mind and the body aware of each other, aware of the flow of time and the establishment of being through metabolism.


The Necessity of Mystery – Wonder of the Unknown: Down the ages, mankind has never lacked for explanations of the world and its ways. It seems the more we know about things, the larger our Universe gets: the greater the knowledge, the deeper the mystery.

We really do not understand this world or how it works, and we comprehend ourselves least of all. There are so many things in the Universe that lie beyond comprehension. The solution to the riddle of life, space and time lies outside space and time. Art can take us beyond known reality, and a new reality will give us new knowledge. Intuitive or visionary Artists work in different paradigms of reality; exploring beyond known scientific boundaries into mystical realities and realms of the supernatural. By supernatural, I mean that which is beyond anything materially evident to our sense perceptions in the world. By its very nature, it cannot be measured empirically, it cannot be photographed, and it is defined by its very fact of being beyond the range of our sense perceptions. So, it cannot be proven, managed, reliably accessed or relied upon.

The same force that “seizes the artist and makes him his instrument” emanates from the depths of man’s historical existence – from the very matrix of life from where all human experience springs. As with all phenomena in human existence, the very presence of mystery demands exploration and demystification.

Art is not to be understood so much as experienced – it is through the experience that we may come to understand. It must be brought from beyond the telescope of absolute understanding and placed under the microscope of relative knowledge. In art, as in nature, all vitality of growth is maintained through the continued renewal of mystery, and its revelation is a creative act. The visionary begins where intellect and language cease, and art, as our greatest inspiration toward spiritual unity – is our most necessary mystery.


Dennis Blair – Babel 

Oil on canvas


1375mm x 1015 mm

Dennis Blair – Bloodlines

Duratrans print on lightbox (with transformer)

1500 x 1200 mm



Dennis Blair – Roundtable

Duratrans print on lightbox (with transformer)

1500 x 1200 mm



Dennis Blair – The Magician

Oil on canvas (with metal nipple ring scales balancing coloured glass skulls)

805 x 1000 mm



Dennis Blair – Enki

Oil on canvas (with glowing red eyes)

1000 x 1000 mm



Dennis Blair – Randy Savage

Oil on canvas with resin coating

1450 x 1000 mm


Marianne Muggeridge

Marianne specialised in life drawing and painting at Elam School of Fine Art, where she gained her BFA in 1973 and then travelled throughout Europe, returning to N Z in 1979.

In 2000 Marianne won the NZ Portrait Gallery’s inaugural National Portrait Competition, and in 2002 won the Adam/NZ Portrait Competition. Her work is held in numerous private and public collections throughout New Zealand: Te Papa, Massey University, The Royal Society and The Reserve Bank. She is a full-time working artist whose creative impetus is to always work from life in a variety of media. Currently living in South Taranaki with partner/artist Roger Morris, they had previously spent the last 11 years in Wellington.

Marianne Muggeridge – Grey Shed

Oil on canvas (framed)


Marianne Muggeridge – Grey Shed

Oil on canvas (framed)


Marianne Muggeridge – Apple Tree

Oil on canvas (framed)


Marianne Muggeridge – South Coast

Oil on canvas (framed)


Kirk Nicholls 

Kirk is one on New Zealand’s leading contemporary neoclassical sculptors working and living in Whanganui.

Creating art that is provocative and thought provoking, he merges everyday objects from high\\low culture to create new narratives of potential, or parody.

All the work is based around environmental concerns. 

The more recent works are made entirely from a low brow controversial material – common household plastic. 

Within the tradition of classical sculpture, materials of value such as bronze and marble are employed for the ability to emphasise time and record skill and labour in their execution.

Plastic in contrast is difficult to control and is fast and loose to apply.

This creates an organic, painterly, abstract look to the sculpture, upending the formal nature and preciousness usually associated with classical arts.

Kirk Nicholls – Classical Bust

Household plastics 


Kirk Nicholls – Retrench

Household plastics 


Kris Ericksen – Plato Lighting Design

Wellington artist and designer, Kris Ericksen, is the mastermind behind a unique design concept that uses flat interlocking shapes to create contemporary pendant, floor and table lamps, and sculptures.

Kris is a four times finalist of the World of WearableArt® Awards Show.

His entry in 2014, Phoenix Transformer, was placed second in the South Pacific section.

In 2016, he was an honouree award winner in the NYCxDESIGN Awards.

In 2019, his installation form Dyberg/Kern won first prize in the World of WearableArt® shop window display competition.

Kris Ericksen – Light sculpture  (Yin/Yang)


Kris Ericksen – Lyspind White


Kris Ericksen – Lyspind Red


Sam Bee

Bee is a full-time artist from Wellington.

Working mostly in oils he also makes digital paintings and illustrations.

A modest handsome man with an exceptional beard, he’s often seen swaying emotionally to his own inner music on the streets late at night.

Sam Bee – Discombobulated

Oil on board (framed)


Sam Bee – DeX (SOLD)

Oil on board (framed)


Kelly Spencer

Kelly is a multidisciplinary visual artist from New Zealand, with a tendency to travel.

Her creative style is characterised by bright fresh colour palettes and curvaceous forms, meticulously handcrafted lettering, and illustrative elements of flora and fauna.

Kelly’s work often serves as a platform to promote the conservation of our natural environment, with her portfolio including murals/street art, illustration (editorial, promotional, books), sign painting, apparel graphics, festival & gig branding, installation, identity design and more.

Kelly does not engage in conversation before consuming coffee in the mornings but is henceforth a social creature.

Things that make her happy include: chardonnay, sunshine, the sound of tropical rain, scuba diving, and patting other people’s dogs.


Kelly Spencer – Radioactive Rocks

The text in this piece is a direct quote from an old Alan Watts recording, where he speaks of the curious western notion of ‘self’ and how narrow our boundaries of ‘ourself’ tend to be.

We define the external world (that is, the world beyond our confines of self) as something that HAPPENS to us, rather than defining it as… ourselves.


All of it.




Chimp is a New Zealand born street artist, whose style focuses largely on experimentation with different styles and colours within public and private commissions.

The subjects for his art range from birds to portraits and personal motifs.

Chimp often combines several of these styles to create contemporary pieces of art that are unique to his ‘post-graffiti’ style.

He has completed art projects for a range of clientele such as NZ Parliament and Justice department.

He is continually working to expand his career internationally after graduating from his Honours degree in Industrial Design.

Most recently he has completed a three month artist residency with Street Artists in Residence in California, USA, painting a large mural for Street Prints Papaioea 2020 and travelling to Melbourne, Australia, for the Can’t Do Tomorrow – Urban Art Festival.

Chimp – Up

Aerosol on Panel

90 x 1200 x 70 mm


Cath Rogers

Creativity is an essential part of who I am. It is my first and foremost passion. I have been painting and creating for as long as I can remember. As an artist I am constantly inspired by the world around me – its colourful characters, different environments and the many rich experiences that have shaped and influenced me.

Painting is an essential creative outlet which allows me to express externally what I am experiencing internally. My paintings are the result of my need to create and express what I yearn to see and feel more of in this world. I have a strong desire to be part of, and to cultivate, a more colourful, unified and vibrant world.  My craving of culture and for enriching, nurturing and fun experiences has compelled me to create bright and electrifying works whose imagery is life enhancing, joyful, uplifting and hopeful.

Over the past two decades I have tried a range of different painting techniques and styles. Abstraction has been a very deliberate choice. It allows for a greater freedom of expression, personal interpretation and individuality of style and pictorial language. My works deliver bold, punchy, vibrant statements. Eccentric and playful in their nature, these painterly pieces invite you to stop, look and take a deep dive into the wilds of expressive abandonment. 

Cath Rogers – Envy

Various paints on canvas (acrylics, Indian ink, aerosol)

1450 x 1250 mm



Hidden Emotions Revealed

At a time in human history where we face exceptional challenges, people can feel insignificant and powerless.

Such emotions have driven me to explore the flip side and create works that embody empowerment, confidence, flamboyance and rebellion.

Rebellion is the most genuine human emotional response to an imbalance of power or lack of equilibrium.

I beckon you to explore your own hidden emotions, to tap into the strength that comes with emotional rebellion, and lead us into a future where anything is possible.

Fergus Collinson – 1948 to 2018 – Rest in Peace

I met Fergus in late 2014 after I started turning the bombsite of Level 1, 41 Dixon Street, into Potocki Paterson Art Gallery. I initially didn’t know quite what to make of him, I mean, here was this enthusiastic, eccentric gentle man with half a mustache and multi-coloured hair giving me tremendous hugs and asking if I had any wine in the bar.

I read his art book, Bouncing With Billie – full of naive acrylics exuding poetry, jazz, red wine, cigarettes and coffee. But more importantly, they were full of colour and flamboyance.

He had a story to tell. I was interested. Fergus invited me around to his house to see his studio. He wanted an exhibition and I liked his style very much. So, we went forth together, and I officially opened the gallery almost five years ago, with his exhibition fIERCE mONGOLIAN pEASANT wORDS.

Thank you Fergus. You were a good friend. I miss you buddy.

Fergus Collinson – Time Out

Acrylic on board (framed)


The poems and paintings bounce…and are sometimes surprising in their interpretation of each other. What seems to be simple is revealed as a studied and intricate idea. Imparted to the viewer through this art is the overall picture of someone’s life, but with themes we can all relate to: Life. Love. Relationships. Fear. Solitude. Journeys.

By doing this, Fergus’ paintings give the viewer tools to appreciate his relaxed and accessible style…both fascinating and definitive.

Anna Marie O’Brien.

Gallery 2014 / 2015

Laura Woodward 


Laura makes paintings and installations which respond to the architectural history of building reuse. She is interested in how space is felt and perceived differently over time.

With the current housing crisis on her mind, in this series of small paintings, Laura has projected forward an un-buildable dream home.

Like a technicolour labyrinth that keeps repeating and reversing, these paintings reflect both her enthusiasm and longing for home ownership while recognising the dizzying feeling of it forever being out of reach.

Laura graduated from Massey University with a BFA hons in 2015 and currently works at Wellington City Council as the City Art Collection Registrar.




Laura Woodward – Humblehouse #3

Acrylic on board

300 x 300 mm


Laura Woodward – Humblehouse #1

Acrylic on board

300 x 300 mm


Neil Johnstone

In recent years, Neil’s practice has become fascinated by immersive multi media event driven works, which have seen him drift ever further away from more conventional printing, painting and sculptural pieces that he is known for.

Instead, embracing an all-encompassing approach which strives to link all the aspects of a body of work together be they aesthetic, emotional, sensory, intellectual or philosophical.

The experience of a piece being linked to the multiple experiences of the surrounding connected works.

An attempt to address the problem of how to connect and communicate in a holistic fashion. A mirror of the way the mind works and collates experiences be they intellectual or emotional.

I create works that reference cubism, early Victorian botanical photography, images from cloud chambers, colour field works by artists such as Rothko and Pollock, stop motion imagery from bee communication dances and create them into a cohesive singular image. Using the final images as a metaphor for the inner connectivity of existence and the temporal nature of life both concepts heavily explored in eastern philosophy.

Neil Johnstone – Bone gardenia

Photography and Digital Media (framed)

800 x 1000 mm


Neil Johnstone – The dream family of Nicholas Roerich

Photography and Digital Media (framed)

450 x 450 mm


Lizzie Snow – fortyonehundred

Lizzie Snow is a 24-year-old visual artist, working under her artist name fortyonehundred.

Inspired by fractals in nature, Lizzie creates contemporary explorations of the mandala and free flowing artworks.

She creates original artworks, paints murals internationally and releases limited edition prints & collectable items.

Lizzie is a New Zealander, now based between NZ & Canada.


fortyonehundred – Radiating Energies

Gilcee fine art print (framed)

297 x 420 mm


fortyonehundred – As Above, So Below

Gilcee fine art print (framed)

297 x 420 mm


fortyonehundred – Universal Identity

Gilcee fine art print (framed)

297 x 420 mm


Simon Kerr 

Kerr is also remarkable painter, often creating bodies of work that are both narrative and allegorical; the story of his life and redemption, commentary on the place of human beings in the world, and the history of Aotearoa.

Kerr’s work has a visceral quality to it. It feels real and that it is being made about real things in the world that people should relate to and care about i.e. trying to find your way through life when life is not easy but messy and challenging especially when life hasn’t always dealt the fairest cards to you and, sometimes, you – we – make a mess of the cards we’re holding, anyway. Despite the best of intentions.

Simon’s paintings stop you in your tracks and rather than looking AT them, you look INTO them and think about what’s there – rage and anger but also sadness and regret and uncertainty. The colours are also provocative and help to add to the mood and the overall feeling that these paintings cannot be ignored. It’s heartening – if that’s the right word – to look at art that seems to be made with vigour and passion and isn’t sanitised.

Head of the infamous Hole in the Wall Gang, Simon Kerr gained notoriety in the 1980’s and 1990’s with a prolonged spree of bank robberies, jewellery heists and ATM withdrawals… He also made headlines for the numerous escapes from custody, including Mt Eden and Paremoremore prisons. He stowed away on a cargo ship to Australia after escaping from Mt Eden in 1987 and in 1994 he mounted a 13 day rooftop turret protest against the remand conditions in Mt Eden. That ended with the Armed Defenders Squad forcibly bringing him down.

It is now his paintings which are now winning him broad recognition and acclaim. 

Simon Kerr – All the Queen’s Men

Acrylic on canvas

1600 x 2200 mm


Tatyana Kuilda

Tatyana is a Russian-born contemporary realist painter and a former drawing and painting instructor at the Florence Academy of Art in Florence, Italy. Tatyana lives in Wellington, New Zealand.

A prize-winner of the prestigious ARC student scholarship and the John F. and Ann Lee Stacey Scholarship granted to promising realist artists, her work can be found in private collections in the UK, USA, Europe and Australasia, as well as in the permanent collection of the New Britain Museum of American Art in New Britain, Connecticut and Cameron Museum of Art, Wilmington, NC.

Among her showings are “The Royal Society of Portrait Painters Annual Exhibition 2014”, London, UK, “Chiaroscuro”, New York, NY, and “The Royal Society of British Painters Exhibition 2015” at the Mall Galleries in London where she has received the ‘The de László Award for Classical Draughtsmanship’.

After the birth of her second daughter, Tatyana and her family permanently moved to New Zealand to seek new sources of inspiration and closeness to nature. Tatyana was selected for the Parkin Drawing Prize’16 show and received a Nola Harford Memorial Award at the Peter Diog Cleveland National Art Awards’17.


Tatyana Kuilda – Tying Yourself in Knots


Tatyana Kuilda – Contemplating Death

Sam Broad

Broad whittles, sketches, frames, hangs, tutors, talks, hacks, glues, mentors, sculpts, bitches, prints, collects, sells, rants, sobs, sits, stares, murals, illustrates and works in art, six days a week.

He loves patrons, barely tolerates commercial art directors, is wary of public gallery curators, can wrestle fellow drunk artists when he has had a few, but often ignores their shows due to jealousy and envy.

He belongs to the Cardboard Misanthropic Humanist Party and can’t wait to “grow-up” to see what all the fuss is about. His automata (interactive kinetic artworks that invite viewers to touch and control), paintings and prints are in collections around New Zealand and the globe. His print editions regularly sell out.

Recent themes in Broad’s work include 1950s pulp sci-fi, Maoriana and New Zealand postage stamps. Broad juxtaposes these motifs in a style which the artist describes as, “future folk vs. colonial tea party”. Always innovative and humorous Broad’s work draws people in. The work challenges and thrills viewers. 

The Pink, White and Blues.

Mixed media: plywood, cedar, metal fixings, acrylic paints and mediums.


Inspired by the book Surviving the 21st Century, by ‘Straylan’ scientist and communicator, Julian Cribbs, which outlines the many ways humanity will fuck itself to death, Mr Cribbs responds with some simple and not too costly remedies. A book everyone, especially politicians and ‘Captains of Industry’, should read.

We start with a wee glimpse of Mount Tarawera in eruption on the 10th of June, 1886, chromolithograph by Archibald Duddington Willis. This shows us that extinction really is forever.

From here, we can search for your favourite Bread and Circus, or entertaining distraction we have no individual agency over:

Beastly beauty, brown man’s burden, past presents future, F.I.R.E. and the wheel, stale cake and steal it, invisible hand, market forces, super bugs , weather bombs, creature from the blue lagoon, urban man-spreading, brain power, five eyes, nano tat, slum sprawl, feast, famine, and Kaiju Kumara, to name just a few. I’m sure you can apply your own juxtapositions and associations.

May this fetish of commoditisation placate your anxiety over calcifying institutions. I would like to finish with a quote from Terry Pratchett’s book, Guards Guards! – “…it behoves all decent men to nearly stand up and be almost heard”.

Sam Broad – Ceramic TikiRobotKaiju

$50 each

Steffen Schubert

Steffen grew up in Eastern Germany and experienced the fall of the Berlin Wall. That event brought huge changes to his home country and at the same time opened great new possibilities for his future.

Always drawn to the visual world and his love for creating things, he decided to study Multimedia and Computer Science. In his final year he took on an internship in the visual effects industry in Los Angeles. Internship turned to a job and Steffen stayed in LA for 6 years, working successfully on many commercials, music videos and movie productions.

After his success in the visual effects field as an artist, supervisor and creative director, Steffen was ready for the next step. In 2009 he left California to travel around the world and find new inspiration. Two years later, that quest brought him to Florence. Still true to his passion for creating and a growing love for the work of the old masters, Steffen joined The Florence Academy of Art to study the techniques of the old masters and further his understanding of art and beauty. Since then, he has won three scholarship prizes: Best Final Project 2014, and the prestigious 4th Year Prize at the Academy, studying directly under the instruction of Master Painter, Daniel Graves. He also taught in the Intensive Drawing program of the Academy. 

Steffen Schubert – Standing Nude (with skull)

Oil on canvas (framed)



Steffen Schubert – Mother of Leaves

Oil on canvas (framed)



Paul Hutchinson 

Often described as “the painter’s painter”, Paul Hutchinson has steadfastly refused to follow trends in painting.

Completely self-taught, he has been working full-time as an artist since he was 17, developing the skills and techniques of painting and continually exploring new mediums, most recently reviving the ancient technique of painting in encaustic wax – ground pigments mixed with molten beeswax and resins and applied hot to the canvas.

His miniature still life works are an absolute delight.

Paul Hutchinson

Small works – $200

Paul Hutchinson

Large works – $300

Mark Ussher

Ussher has a deep and abiding interest in the early origins of graphic culture in post-war New Zealand. His explorations of published commercial art from the 1950s and ‘60s speak to the societal ideals of that era and the transition of values over time. Rather than generating his own imagery, he collects key images from old magazines, packaging, signage and newspapers. He then reconfigures them into his own snappy statements on advertising that demonstrate its potential as a mirror for social change.


Indeed, almost all of his works feature a distinctive high-shine finish that smacks of advertising spin; a lustrous coating over the recycled surfaces of his work. Despite this surface gloss, Ussher’s works generally have a prosaic presentation – visible screws through the face of works; recycling mundane objects such as ironing boards or cupboard doors; ‘Specialty’ branding that appears almost as an after-thought in the typed information along the bottom of prints. This lends a sense of ordinariness to the images, making them appear authentic and ‘everyday’. Rather than the slickest graphics with the best presentation, he depicts the type of advertising that we might have seen in the local block of shops in the suburbs in 1957 – the local mechanic, the dairy, or your granny’s favourite butcher.

Mark Ussher – The Bomb Throwing Glass Jaw Club (Blue)
Enamel, Ink & Polyurethane on Plywood
610 x 350mm
Mark Ussher – The Bomb Throwing Glass Jaw Club (Blue)
Enamel, Ink & Polyurethane on Plywood
610 x 350mm
Mark Ussher – Fancy Cakes – Edition of 23
Acrylic on Paper
160 x 210mm (Print Size)
Mark Ussher – Exciting NZ – Edition of 34
Acrylic on Paper
110 x 110mm (Print Size)
Mark Ussher – Hotpoint 3 – Edition of 20
Acrylic on Paper
110 x 160mm (Print Size)
Mark Ussher – Money Makes Cents Says Mr. Dollar
Enamel & Polyurethane on Wood
1450 x 1400mm
Mark Ussher – Judge Me By this Defeat
Enamel, ink and polyurethane on board
595 x 595mm

Andrew Missen

Andrew is well known in the Wellington Region for his industrial interior design. You can see his work at Maranui Café in Wellington – all the tables and chairs, the counter and even part of the coffee machine!

His work is very distinctive; semi brutal forms, powder coated in pop colours. CX19 is a fine example of his aesthetic – it often seems like you’ve seen it before, i.e. ‘found’. This is actually made out of the structural support inside car bonnets, cut into uniform squares and welded into a semi human form with the original paint still visible and buffed and riveted in place.



Andrew Missen – CX19


Roger Morris

Born Roxburgh Central Otago, 1954. Parents high country Farmer and Kindergarten Teacher. Moved, Christchurch in 1966, there spending teenage, high school and early work years. NZ Police 1973-75. OE 1975 to 1980. Entered and Quit Elam in 1981. Practising artist since that date. Met the extraordinary Taranaki painter Marianne Muggeridge in Auckland, 1983. Moved to Taranaki to Parent their Children. Lucy born 1983. Myfanwy born 1991. Studio at Kapuni until 1988, then OEO for 10 years before living and working in Wellington 2001-2011 @ Willis St Studio/Gallery. @OEO rd studio/home since 2011.

Roger Morris


Rossano Ming Ching Fan

The Architect who Found the Artist Within

ROSSANO FAN, who arrived in Levin after migrating to New Zealand from Hong Kong in 1963, harboured aspirations of one day becoming a world famous architect. In a 2011 documentary film, directed and produced by Richard Riddiford, Fan portrayed himself as a tortured genius treading a tricky line between delusion and brilliance for much of his adult life. In the documentary he revealed himself to be someone who, despite his age, was determined to one day become New Zealand’s answer to a Frank Lloyd Wright or a Le Corbusier.

He was educated in southern China and in Hong Kong. In 1963 he married a hard-working market gardener from Levin, Mary Sue, who was the rock upon which his latter life artistic endeavours were built. Mary Sue was the product of a prominent market gardening family from Horowhenua and travelled to Hong Kong after being raised in Levin. At the time of his marriage, Fan worked as a designer of intricate Chinese character headstones located at places like the Pokfulam cemetery which clung to steep hillsides on Hong Kong Island.

He was a smart, savvy and handsome man about town when he met his then young New Zealand wife.

The migrant’s journey to the sparsely populated Levin, from one of the world’s most densely populated cities, proved a major challenge for Fan. But in Levin this often-misunderstood man did manage to set himself up as an architect in the rural township. His wider family had high hopes for him and he overcame many challenges in setting up in business as an independent architect.

Fan’s father, Fan Chi Hung, was a leading architect in Communist China who fell on hard times during the Cultural Revolution. His mother, Edith Wong, doted on the eldest of her four boys when the family was growing up in the British colony. Soon after arriving in New Zealand from Hong Kong he took up a job working for prominent Palmerston North-based architect David Taylor before branching out on his own as a residential home architect.

Among his clients were the late great All Black and Petone prop forward Ken Gray and artist Sir Toss Woollaston. Fan was not interested in his wife’s family’s market gardening business. Instead this individualist channelled his enthusiasm into his somewhat sporadic architectural career, during which he designed a small number of landmark homes throughout the Wellington region. He also travelled to America to study architecture under Marcel Breuer, the designer of UNESCO’s Paris headquarters and New York’s Whitney Museum buildings.

He returned to New Zealand after getting bored with what he viewed as a preoccupation with ‘‘concrete jungle’’ architecture in the United States. He struggled to win recognition among New Zealand architects but forged friendships with Wellingtonians Roger Walker and Ian Athfield, who both appreciated his work.

Soon after his family shifted to Wellington and their Karori home from Horowhenua about 1990, Fan retired from architecture and took up painting fulltime. In retirement he also lived for a period in Beijing where he exhibited his artwork before falling ill there, from a bleed to the brain, about two years ago. This entertaining raconteur lived out the remainder of his days at Berhampore’s Vincentian home.

In her eulogy at the funeral, his elder daughter, Serena, described her father as a unique, non-compromising, contradictory, brilliant, complex, philosophical, articulate, loving, precise and challenging character. She also described him as a scholar of life who was always wanting to read and challenge himself while pursuing a passionate interest in art, music, photography, jewellery and fashion. He loved the finer things in life such as Italian suits, expensive ties, shoes and cars. Friends and family were often shown his bags of treasures. He was a man with an eye for a bargain and was well known to pawnbrokers – both as a buyer and a seller.

In the finish, the artistic side of this open-minded man won out. When he arrived in Wellington he made many friends from varying backgrounds. He loved nothing more than a stimulating conversation with like-minded, alternative thinkers. His unconventional character was referred to by the Rev Gon Loong, an elderly member of the Wellington Chinese community, who noted the poem about ‘‘the ancient one who flew off on his yellow crane,’’ was the first time he had come across a famous Chinese poem being cited at a Chinese funeral service. Family and friends said the funeral service sheet reference to the poem was a reflection of ‘‘Fan, the Chinese scholar’’.

After falling ill in Beijing family members facilitated his return trip to Wellington from China. In his earlier life, Fan kept an eye on many of Wellington’s downtrodden. He died at the Vincentian home, where he was cared for by his youngest daughter Lisa, and left behind his architecture and his art.

This complex, Van Gogh-like character is still awaiting acceptance from the art world. There are plans afoot for an exhibition of his work which could change all of that…



The Dominion Post, Life Story,  2 August 2014

Rossano Fan – Self Portrait (framed)


Rossano Fan – Purple Nude (framed)


Libbie Persico

Persico loves to work with sculpture, moulding the human figure to evoke emotion through form and expression. 

Her work asks you to consider our own imperfections. It asks you to literally see inside and discover that our imperfections are our best assets.

Working with themes of remembrance and connecting with past loved ones, she is particularly interested in spiritual transcendence and transformation. Where do we go? What does it feel like? What does it look like? Will I still be me?

It is the unanswerable questions she explores with her work.

Libbie Persico – Introspection

$4,900   Limted Edition Bronze (1 of 3)




ARLO EDWARDS – CURATOR (for his outstanding dedication and effort)

ED DAVIS – INDIE VR FILM-MAKER & 6DoF DEVELOPER (for his tireless contribution and vision) www.lucidtripper.com

ERIC HOLOWACZ – CEO CREATIVE CAPITAL ARTS TRUST (for his enthusiasm, superb organisation and support)

MARK AMERY – ART EXPLORE (for their continued aroha and tautako)

Dylan Potocki – Director of Potocki Paterson Art Gallery (2020 AD)