Rolls Royce Magazine 'LUXE NZ' . 'Some of the Best in NZ' 2016
Queen of Retreats . Health Restoring Holidays 2016
The Lux Traveller . LuxuryNZ 2016
L'Express . Paris 2016
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.
“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
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 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
Boston Globe Critic's Choice
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.