Press

Rolls Royce Magazine 'LUXE NZ' . 'Some of the Best in NZ' 2016 

NZ Herald Arts & Travel 2016 

Queen of Retreats  . Health Restoring Holidays 2016

The Lux Traveller  . LuxuryNZ 2016

L'Express . Paris 2016

The Guardian . July 2015

Truly & Madly Blog . 'Artist Behind the Scene'

TIME OUT . London 2014

Kwanruen Magazine . Thailand 2013

Signature Magazine .  Australia 2012

Time Warner NY1 News-D'Elia, Travel Correspondent films studio work

Patrizia Capoccia, “Mira, a Lecce in mostra I dipinti di Faustina, Lewenz e Hammond,” Il Paese Nuovo, 5 November 2011.

Dario Russo, “Mira Art Residency - Collettiva d'Arte,” Lecce da Fare, 28 October 2011.

“Soggiorno d'arte nel salento narrato da un tris al femminile,” La Gazzetta del Mezzogiorno, 28 October 2011.

Monica Taveri . Lecce . Itlay 

MIRA INT'L Artist Residency . Lecce Italy

NZ TRADE & INDUSTRIES . headquarters gallery

NZ Herald . Inviting Designs 2011 

UNEARTHING ASIA vol 03 . Issue 03 " Paradise Found"  Singapore 2010

Bruce McGaw Graphics Inc. . Licensee - New York

SeaSpray Yachting Magazine . studio and paintings featured Summer 2010   pgs.44-47

Travel Ex - Tokoyo Japan . documentary on studio work and paintings

Vision Magazine - Beijing 2008 . feature  Waiheke Island Art Culture   www.youthvision.cn

ARTFIND 12 New Zealand Artists . calendar 2009

New Zealand's Favourite Artists 2008 Calendar - Saint Publishing 

Wet Paint on Waiheke Island - catalogue of works 2007

New Zealand Favourite Artists - selected for book publication 2006 reprint 2008 & '09 & 2010

New Zealand House & Garden Magazine

New Zealand House & Garden TV1 series

New Zealand Art Calendar - front cover 2005 - Craig Potton & Mcpherson Gallery

Pioneer Productions - UK's leading Documentary Films - 'Extreme Homes'

Japan National TV - Tokyo films my studio and work for 'Artist in Their Studio' series

Madame Magazine - Germany

Le Figaro - Paris

Alfresco Magazine

Boston Globe Critic's Choice

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Jennifer Purvis - writer for FLASH Art  Magazine:

Gabriella Lewenz has been pursuing a visual quest for authenticity in her paintings over the last twenty years, both in New Zealand and in New York, seeking it in the underpinning strata of the landscape, sea and classical shapes found in antiquity - the amphora. These subjects, and others, are used as the catalyst to interpret metaphysical reality. The typically, highly abstracted subject is rendered in an often thickly textured and at times profoundly gestural style, using a sumptuous, articulate development of intense colours.

Gabriella continually returns to this idea of retrieving the authentic in the frisson she instinctively intuits between the various panels of paintings she groups together. These panels have no chronological relationship but nevertheless attain a kind of completion within the final grouping that makes up the completed larger work, where even the spacing between the panel is significant. The composite work also garners a sculptural dimentionality in the juxtaposition between the varying sizes and thickness of the panels.

In developing these apparently visual connections between paintings, Gabriella defines the incommensurable relationship between things. This idea recurs in the visual interrelatedness between the painted panels and also in the inevitable connection between the viewer and the work.

The interconnectivity is reiterated yet again within the individual panel themselves. This can be seen in the depiction of the object (e.i. the amphora) or the subject (e.i landscape) as tools - and in Gabriella's articulated or abstracted interpretation of these tools - used to resonate with the hidden spirit of the world.