The NZ Art Show is privileged to be supported by many individuals passionate about New Zealand art. In this section, we highlight some of these remarkable people.
Hamish McKay and Karl Fritsch: judges for the RT Nelson Awards for Sculpture 2025
We are thrilled to announce a dynamic and exciting judging duo for the 2025 $25,000 RT Nelson Awards for Sculpture: the visionary gallerist Hamish McKay and the innovative, internationally renowned sculptural jeweller Karl Fritsch.
Hamish McKay: Pioneering Gallerist
Hamish McKay, a pivotal figure in the contemporary art scene, opened the Hamish McKay Gallery in 1993 at 50 Willis Street, Wellington. His vision has always been to showcase contemporary artists creating visually exciting, conceptually dynamic, and culturally relevant works that advance the conversation of art both locally and internationally.
Initially focusing on New Zealand artists, Hamish expanded his gallery’s scope in the early 2000s to include pioneering Australian artists. This broadened focus fostered dialogue and exchange between artists across the Tasman and captured the attention of collectors and institutions in both countries
The Hamish McKay Gallery has featured artists who have become influential names throughout Australasia, including Shane Cotton, Marie Shannon, Ronnie Van Hout, Mikala Dwyer, Jason Greig, Tony de Lautour, Robin Neate, Rose Nolan, Michael Stephenson, The Estate of L. Budd et al, Julian Dashper, Patrick Pound, Lisa Walker, and Karl Fritsch. Hamish has advanced the careers of many of these artists by working closely with leading collectors, public galleries, and major art fairs in the United States and Europe.
Over the years, the gallery has evolved in its practice, research, and outreach. It has moved from Willis Street to Ghuznee Street, and now occupies a central city site on Jessie Street. Recently, Hamish has transformed his gallery model from hosting constant single-artist shows to curating free-wheeling, speculative exhibitions of artists he admires. These exhibitions feature both emerging practitioners such as Chris Corson-Scott and Jamie Te Heuheu, and established recognized artists like Tanya Ashken and Don Driver. He also highlights works by remarkable modernists such as Billy Apple, Ian Scott, Milan Mrkusich, Gordon Walters, and Gretchen Albrecht.
Hamish McKay Gallery has made viewing and contemplating contemporary art an engaging and enriching experience throughout Aotearoa and, with thirty years of forward-thinking vision, Hamish continues to shape the future of contemporary art.
Karl Fritsch: Innovative Jeweller
Karl Fritsch: Innovative Jeweller
Karl Fritsch, a renowned jeweller known for his artistic interventions, joins Hamish on the judging panel. Described by Hamish McKay as the David Bowie of world jewellery, Karl Fritsch’s works are masterpieces in sculpture.
Celebrated for his unique approach to jewellery, Karl often starts with existing pieces and transforms them by removing or replacing stones, recasting settings, and oxidizing metals. His innovative techniques result in entirely unique and inspired renovations of traditional jewellery.
Karl began his education at the Goldsmiths School in Pforzheim and later studied at the Academy of Fine Arts in Munich under Professors Herman Jünger and Otto Künzli. Fritsch exhibits internationally, at fine art galleries and jewellery galleries alike. His work has been acquired by leading international museums and public collections including the Metropolitan Museum of Art, New York; the Stedelijk Museum, Amsterdan; Pinakothek of Modern Art, Munich. Museum für Kunst und Gewerbe, Hamburg; Museum of Fine Arts, Houston; Museum Turnov, Czech Republic; Museum of Decorative Arts, Montreal, Canada; Victoria and Albert Museum, London; National Gallery of Victoria, Melbourne; Auckland Museum; and Te Papa National Museum, Wellington.
In a 2006 article, Fritsch reflected on his journey and philosophy in jewellery making:
“I noticed a few years ago that in my jewellery work I’m constantly reworking my own history. I did a traditional jewellery apprenticeship in Pforzheim and learnt all the classical jewellery-making techniques. The real learning, however, comes afterwards.
During my studies at the Munich Academy, I wanted to make disgusting-looking jewellery. I wanted it to draw more attention than a pretty piece of jewellery would – this is after all one of jewellery’s issues – attention and attraction. Now when I look at these pieces after 10 years, I find them extremely subtle and beautiful. They are very well made and do not work within the ordinary formula of shape and colour you would expect to find in jewellery.”