Recent works showcase the Banks Peninsula with this series of paintings and drawings depicting Onawe Peninsula. The studio looks south out towards Onawe so it has become a focus and a subject. Each painting looks at the peninsula from a new aspect on a new day.
Onawe is a small Peninusla jutting out into Akaroa Harbour. Its natural beauty and prominence within the Harbour make it significant for many but more importantly it is a place deeply sacred to Maori.
These paintings are part of an ongoing body of work and are available for sale through www.nzartbroker.com
Onawe 1, 25 x 20 cm, oil on canvas 2017
Onawe 2, 25 x 20 cm, oil on canvas 2017.
Onawe 3, 25 x 20 cm, oil on canvas 2017
Onawe 4, 20 x 25 cm, oil on canvas, 2017
These large scale charcoal drawings of Banks Peninsula are works made on commission during 2016-17 and some working drawings.
Detail - Rhodes view from Ngaio Point
Rhodes view from Ngaio Point. Private Collection.
Onawe, Akaroa Harbour drawing. Available through nzartbroker.com
Pigeon Bay from Petigrews Rd, Private Collection
Working drawing for a folding screen.
Edzell - Wainui. Private Collection.
This drawing series was inspired by the Syrian Refugee Crisis. Here in New Zealand we are so far removed from this massive humanitarian crisis. I made these drawings to draw attention to this issue and to initiate and encourage people to think about what our society does for refugees. Could we do more? Daily newspaper and social media images have been used to make drawings. I intended to create art from these images to try and extend their reach and strengthen their impact, to change the context in which these pictures are viewed. Making these - sometimes shocking - portraits in theory have a longer lifespan that a quick flick through a newspaper or newsfeed.
Silent Protest, Charcoal pencil on Fabriano paper, 94 x 67 cm, 2016
Where shall we go, Charcoal on Fabriano paper, 60 x 120 cm, 2016
We cannot protect our children, Charcoal on Fabriano Paper, 87 x 60 cm, 2016.
After the bombing - Damascus, Charcoal and conte on brown paper, 60 x 90 cm, 2017
The fence, Charcoal and conte on brown paper, 60 x 90 cm, 2016
A father's grief, charcoal on fabriano Paper, 60 x 120 cm, 2016
Nature Study, At the bay
I have been observing our home and garden in Pigeon Bay and have been drawing and painting with the seasons.
In late summer the garden is full of Belladonna Lillies. They also grow wild around the bay, along the road sides or in what was once someone’s garden and is now a paddock.
Looking out the window the summer months are punctuated by the orange flare of Bird’s of Paradise. The dry hills beyond.
The form of particular trees interests me. Pines, macrocarpas, willows. Growing, withstanding winds and salt. Some, landmarks that stand the test of time.
Autumn brings prolific abundance in the orchard.
Now winter is here and the branches are laid bare, waiting.
Sitting in a room with a view I have been making quiet observations of this paradise. Finding moments of calm with line and colour.
I continue to be influenced by Japanese traditions in art. The Art of Rita Angus has also inspired this series of work.
‘As a woman painter, I work to represent love of humanity and faith in mankind in a world, which is to me, richly variable and infinitely beautiful.’
(Rita Angus, from her statement of ‘Aims’ in the 1947 Year Book.)
Lotus series, 22 cm, oil on board, 2014
A room with a view, Pigeon Bay, Charcoal on Fabriano, 1170 x 1500 mm, 2014
Autumn Apple Tree, watercolour, 490 x 700 mm, 2014.
Birds of Paradise, watercolour, 2014 - Private Collection
Camp Ground Tree, watercolour, 490 x 700mm, 2014
Naked Ladies, watercolour and pencil, 515 x 740mm, 2014
Belladonna Drawings, graphite and watercolour, 660 x 730mm, 2014
Abundance - Memories for Mishka, folding screen, oil on canvas, 2014
Heroine of Kapiti
Kahe te Rangi o te Rau, Heroine of Kapiti.
Copper plate mezzotint print. This print was made for a collaborative print portfolio 'Parikowhai - Stories to tell'.
The print tells the story of Kahe te Rangi o Te Rau who in 1826 famously swam from Kapiti Island to Te Uruhi on the mainland - about 7 miles. She swam with her 5 year old child Makere strapped on her back to raise the alarm of an approaching war party from the south.
Kahe was also one of five women to sign the Treaty of Waitangi. She was regarded by Maori signatories and Pakeha negotiators as a leader with Mana.
Copperplate mezzotint print, plate size 21 x 20 cm, 2011.
Reflections on art, motherhood and the environment;
Recent events have heightened my need to appreciate what is near and dear to me. This series aims to capture the precious and ever changing aspects of life as a mother. Renaissance mother and child drawings have inspired me. I am interested in studies expressing intimate and approachable depictions of mother and child.
I relate this to the Hurunui and the Waitohi, my local rivers, from lake to sea over the braided plains. This is my landscape as a mother.
My work is a tribute to what I have in a rapid, everchanging world.
See this exhibition at Little River Gallery, opening Saturday 11th June at 11am.
To the sea, etching and aquatint, plate size 19 x 35 cm, 2011
Motherland, litho crayon on paper, 2011, Private Collection.
Bathers, 2011, Private Collection.
Light through manuka, etching and aquatint, 21 x 31 cm, 2011
O quiet in our world, etching and aquatint, 200 x 215mm, 2011.
Te Awa Hurunui, copper plate mezzotint, 9 x 14 cm, 2011
Te Henga, etching and aquatint, 215 x 315mm, 2011
Familiar path, etching and aquatint, 270 x 350 mm, 2011.
The Camp, mezzotint, 68 x 90mm, 2011
The Mouth, mezzotint, 68 x 90mm, 2011
Change, mezzotint, 68 x 90 mm, 2011.
Te Hurunui, Her long and braided hair, etching and aquatint, 2011
To the Jollie Brook, mezzotint, 130 x 90mm, 2011
Deep in the hills-Lake Sumner, mezzotint, 130 x 90mm, 2011
A Place, Okarito – Donovans Store
Okarito – A small south Westland settlement situated on beautiful Okarito Lagoon.
A cluster of baches and homes link the road neighboured by the powerful ever present sea and the dence lush bush, crouching under the majestic Southern Alps.
Early Maori gathered kai from the lagoon and established pa sites here. The 1860s brought change with the gold rush. Okarito acted as the main port town for surrounding gold diggings. With no roads yet established the lagoon acted as port for provisions and men. On a single day in March 1866 over 500 people landed by steamer at the Okarito Lagoon.
As gold became scarce flax and timber milling provided industry, but surrounding gold settlements disappeared into the rainforest and gradually signs of man disappeared.
Okarito survives well to tell its story of a rich and vibrant history, its beauty astounding visitors day by day as locals enjoy their paradise and isolation
Holidays spent at Okarito and the Forks with family and friends have inspired this series of works. The power of the landscape and the tranquility of the time spent here are held dear.
Beach Dance, etching and aquatint, 215 x 310mm, 2004
Dusk Okarito, mezzotint, 190 x 210mm, 2008
Beach walk circle, etching, 210 x 140mm, 2008
untitled, mezzotint, 80 x 70mm, 2008
From the dunes, Okarito, 2008
The Minarettes, etching and aquatint, 120 x 90mm, 2008
Beach study Okarito, 2008
Piggy Back Walk, Charcoal on fabriano paper, Private Collection
At the reservior, mezzotint, 200 x 120mm, 2008
Beach walk, etching and aquatint, 95 x 182mm, 2008
Riley and the Ruru, etching and aquatint,275 x 150mm, 2008
Okarito Storm, etching and aquatint, 90 x 218mm, 2008
A whalers traditional pass time aboard the ships of scrimshaw initiated this jewelry making. I see an innate beauty with these sometime naive sailors drawings scratched into whale bone. I love the affinity that the process shares with etching and have woven historical narratives into the imagery. Landscapes, stories of my family and of past significant events in Okarito have been etched into whalebone, copper and silver in these brooches.
Ikoraki is an isolated bay on the southern coast of Banks Peninsula. This recent work is inspired by summer walks and swimming trips to the beach. Here the distance from civilization is soothing; it is a place that time has left.
Occasional signs of the old days remain, a whale rib propped up against the fence, some vertebrae that survived souvenir hunters lay in a pile. A dry stone wall marking the burial ground of unfortunate sailors and whalers stands the test of time to become the only landmark –aside the land itself. Shipping rope and netting intertwine with barbs to keep the sheep from a few lonely trees which lean up the valley away from the shore and the southerly.
Ikoraki almost hides its fascinating history and these works represent a time line of events in the early whaling days at the bay.
Ikoraki, one of the first shore whaling stations in New Zealand, was started by Joseph Price in 1839. Price arrived there with his Maori wife and daughter aboard the ‘Lucy Ann’. At this time one Maori family was living at the pa site above the beach west of the creek.
Price started whaling in May 1840. At this time twenty nine men and one woman lived at Ikoraki making it the largest European settlement in Canterbury at the time.
The same year the British flag was raised and the settlers ‘held court’ at Ikoraki with a visiting party.
The Treaty of Waitangi nearly caused the ruin of Price’s fishery and the other whalers due to their need to legitimize land purchases through the Crown. Their claims to land were rejected and the first seasons profit lost.
Tragedy struck the whalers. Two brigs, the ‘Transfer’ and the ‘Speculator’, were driven ashore in a southerly while taking on oil. Two sailors drowned and six others trying to save them. The cemetery remains iconic today, the stone wall with a struggling, solitary tree.
The years from 1842 to 1848 saw more prosperous and hopeful times for the whalers. Manning three boats the station had the best tally of whales in the South Island in 1843 and continued to grow employing 30 men. They caught a tally of 14 whales by August 1844, the best in New Zealand next to the station Jillet at Kapiti. Ikoraki began to have a settled appearance with the planting of gums, an orchard and garden. Price remarried while in Sydney and bought his new wife back to Ikoraki. They started a family and whaled there for the next four years.
The whales began to decline rapidly and shore stations saw little profit. Price left in 1852 and Ikoraki was subsequently farmed. Whaling resumed under the station name ‘Buchanans’ in 1857. Although the first season was successful only two or three whales were caught in subsequent seasons. The last whaling year at Ikoraki was 1876 when the whales were scarce.
Ikoraki was farmed after the decline of whales. All the whaler’s cottages and sheds were destroyed when in 1907 a large coastal fire swept across the headlands. Little remains as evidence of the old days.
Sealers and Whalers in New Zealand Waters, Don Grady. The Cradle of Canterbury, Gordon Ogilvie. The Illustrated History of the West Coast, Anna Rogers. The Great Painter-Etchers from Rembrandt to Whistler, Malcolm C. Salaman. Nineteenth Century New Zealand Photographs , John B. Turner. The South Explored, John Hall-Jones. Colonial New Zealand, Engravings of the Victorian Period,R. P. Hargreaves and T. J. Hearn. The Natural History of Canterbury, G. A. Knox.
(Red hollow or bay)
Hakakura, Lake Sumner is a sanctuary, a place far from the end of the road in the alps where a nor’west wind sweeps downthe valleys and across the lakes. Keas call out high in their red winged flight. Sheep stations meet the forests and signs of man become few and far between. Scarred ochre hills drape down to the shores of the lakes. Far across the lapping waters beech forests blanket the protected mountains. Up the valley the Hurunui river carves a braided path, an old greenstone trail to the west.
At Loch Katrine baches cling to the land, will the wind snatch them away? Or man?
Humankind fades away:
The land endures.
Whatungarongaro te tangata
Toi tu te whenua.
In spring of 2003 I was able to travel to Cambodia where I worked for Kids Earth Fund at Kids Care Cambodia orphanage for HIV positive children in Phnom Phen.
I was profoundly influenced by my experience there. I meet the kindest people and although a challenging and sometimes hard environment I enjoyed many aspects of Cambodia’s beautiful culture. The children possessed such courageous characters and kind hearts always giving their gift of beautiful smiles and bright eyes, even when life was a struggle. I was able to make some sketches during my stay and have continued to be inspired by my time in Cambodia.
Everyday the children would climb upstairs and take a nap during the sweltering heat of the day. This proved to be the perfect opportunity for me to draw although after the first few days the children became a little too interested in watching me draw. Soon I found myself in room where towards the end of siesta there was only one sleeping child and an audience of keen little eyes watching my pencils progress.
I hope to return to Cambodia one day and see some of the children and staff who made my time so special and rewarding.
Back in Japan I held an exhibition of some of my drawings and made lithographs of sleeping children.
This exhibition was dedicated to Pho Sam Ouem who died on 8/6/03.
I am very grateful to Kids Earth Fund for making my trip to Cambodia possible and to all the staff at Kids Care Cambodia for showing me such wisdom and kindness and to the staff and artists at Machida Museum of Graphic Arts for making it possible to use such a wonderful print studio in Japan.
Macedonia – Roma
For the year I was able to work as Artist in Residence in the Printmaking Department at the Quay School of Arts, Whanganui. Here I divided my time between printing etchings and making drawings as well as experimenting with lithography for the first time on a wonderful old lithographic press given to the Arts School by Barry Cleavin.