Mixed media artwork, around an acrylic painting Inspired by a glimpse from a train.
In my days working for government in Wellington, I used to come north at Christmas to visit my parents on the land where I now live. At first, travel by train was the only option I could afford, and the best option was the famous night train between Wellington and Auckland – ‘the Limited’.
On the return journey, I always awoke in time to see the majestic Rangitikei River with its sheer vertical ‘papa’ (mudstone) cliffs laid out below, as the train skirted the river’s course on high-slung viaducts. Truly spectacular!
There was another far less flamboyant vision that I always looked out for, though. As the train approached the northern end of the Tararua Ranges it was possible, if one kept one’s eyes peeled and the weather was favorable, to catch a peep into the mountainous interior of the Tararuas through a cleft in the hills.
One day, I kept my eyes peeled AND had a camera at the ready. The resulting Instamatic photograph, and several years of inspiration, formed the basis of this painting.
Spring showers in the Northern Tararua Ranges cloak the hillsides as the musterers and their dogs bring home the flock. Behind is a magical glimpse into the interior of the northern end of the Tararua mountains.
Based on an acrylic painting on canvas board, amplified with vector in Macromedia Fireworks MX.
For more details, click on the image.
Books about hunting – especially the anecdotal kind – frequently contain stories about mighty stags that were hunted by many men without success. Invariably they disappeared without trace – only to be seen again during the roar (rut) by the light of the full moon.
One can imagine these apparitions and the stir such a sighting would have caused among local hunters. No doubt the stories were told and retold around many a fire, especially in the old days when deer were more common (in New Zealand, anyway). In those days hunting was a regular pastime and passion – even for deer cullers who often complained of long weeks of loneliness in the bush, with bad weather thrown in to boot.
It is hard not to experience a shiver of excitement at the thought of a mighty stag who eluded all the hunters and who still stalks the night skies when the hinds are on heat and the moon is full.
Acrylic on Arches Dessein art paper, 160gsm 11.25″x 13.25″
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Tropical Paradise – or more correctly, sub-tropical paradise.
Here in the Far North of New Zealand, summers can be hot and steamy, and winter days unexpectedly chilly. The title of this piece of art was inspired by a builder friend I’d hired to do some work on my cottage almost 2 years ago – July 2017 in fact (our winter).
I’d heard Paul’s ute come up the drive about 9am on a cold but sunny morning, and went out to have a chat with him about the great progress he was making on the repair work.
“Lovely morning in Paradise!” he called out, pouring himself a warm mug of coffee from his thermos. That made me smile, and led to a bit of a discussion about how pleased I was with my decision to stay put on this place.
It’s always especially heartwarming when friends voice their approval of one’s decisions, and as it happened, Paul had been one of the first locals to hear the news that I’d decided to stay instead of flitting off down south.
Apart from their obvious relevance to the ‘Tropical’ theme, all the elements in this image relate to this property.
The cockatoo belonged to friends who had a contracting business and came up here to do some trench digging work while my mom was still alive. I’ve got great photos of him hopping around on a Jacaranda tree as we sat talking during a break from work. Paradise indeed!
The Strelitzia reginae bird of paradise flowers are favorites – first encountered when we moved from the north of Scotland to Central Africa – what a change in lifestyle and surroundings THAT was!
Our new town’s botanical gardens were full of new wonders, like Cannas, Strelitzias, Bougainvilleas, Golden Chalice Vines, Aloes and palm trees of all kinds. I have 2 Strelitzias in my back garden that from time to time come under attack from my sheep (would you believe!). They are very deep-rooted, so as they can’t be moved I plan to plant a couple more in the safe zone that I now call my ‘plant retreat’.
The Fruit Salad plants (Monstera deliciosa) flourish here. My parents planted numbers of them when they first bought this place in 1970, so now I have several growing 30′ or more high in my native Totara trees. Quite spectacular! They really prefer to have their feet in the shade, and not too much full sun on their leaves.
As for the palm leaves, they represent the unlimited numbers of NZ Nikau palms (Rhopalostylis sapida) that multiply to the point where I have to cut them out at times like weeds, or I would be overgrown, They flourish especially under trees, where the birds have sat above and dropped seeds into the leaf mould below. Nature is an unstoppable force!
Hope you enjoy this work, For more details, click on the image. Vector.
This artwork is built around a sculpture I made some years ago as part of a set of 4 pieces symbolizing ‘The Elements’, seen in the New Zealand context.
Fire is symbolized by the volcano, and water is ubiquitous in Aotearoa, the Land Of The Long White Cloud.
Fire and water of course do not mix, and some especially spectacular results occur when volcanic magma and gases are released under the sea. This is exactly what is predicted to occur when the next eruption takes place in our largest city, Auckland – a narrow peninsula riddled with approx 53 volcanic vent holes.
In this regard, here is an interesting comment from NZ’s GeoNet:
“The type of volcanic activity in Auckland means each eruption has occurred at a new location; these are coming from a single active ‘hot spot’ of magma about 100 km below the city. … Auckland’s existing volcanoes are unlikely to become active again, but the Auckland Volcanic Field itself is young and still active.”
For more details, click on the image.
Mixed media – sculpture and Bézier pen tool vector. Created in Macromedia Fireworks MX.
The Tui is one of New Zealand’s most iconic birds. Sharp, smart and vocal, he can be found in forest, open coppice country, parks and gardens. He is the largest of our honey eaters, his long, curving beak ideal for reaching into the throats of flowers of all kinds.
The Tui has 2 voice boxes – one attached to each lung – and he can produce an amazing variety of sounds in fast succession and overlapping one another. These sounds include carillion calls, sneezes, bursts of song and explosive ejaculations that are completely beyond description.
He is a mimic, and can be taught to talk, as the Maori soon discovered. His flight is fast and he flies in short, energetic bursts, punctuated by a drumming sound produced by a notch in the front of the 8th flight feather of each wing. You can certainly hear him coming!
The use of the term ‘friends’ here is euphemistic. The Tui is a dominant bird, highly protective of his nesting sites and food sources. Because at this stage I have no bird feeders here, I don’t know what the pecking order is between the Tui and the imported Indian Mynah (a rather forceful bird), but I suspect the Tui has the edge.
This is part of one of the 36 illustrations I painted for the book Taketakerau The Millennium Tree published in 2012. The whole picture shows a Maori and his young son exploring the forest on arrival in Aotearoa.
The birds shown here are completely fearless of the strange beings invading their world. But since birds soon became a major source of food for the Maori immigrants, that situation did not last for long!
The birds in the picture are – Tui (Prosthemadera novaeseelandiae) in the centre and around him, anticlockwise from the top right, Fantail, piwakawaka (Rhipidura fulginosa); Grey warbler, riroriro (Gerygone igata); Tit, miromiro (Petroica macrocephala); North Island Robin, toutouwai (Petroica australis).
The tree is the Shining Broadleaf (Griselinia lucida), often found as an epiphyte on larger forest trees.
For more details about this picture, c;lick on the image – and check out the remainder of the book illustrations at Taketakerau.com .
I painted this work over Christmas 1979/80. It was a time of great changes to come in my life, though I didn’t know it then. I was on a long Christmas vacation, having completed 3 units of science at Uni that year, and having decided science was not going to be my future.
I knew I would return to Wellington, but in what capacity I had no idea: I had no job. Meantime there was a long holiday spell to concentrate on art.
I painted 3 major pieces that Christmas and created a number of smaller works and some drawings. I put the drawings up for sale in a small local gallery and they sold immediately.
My father, who had always been my art mentor, disliked this painting intensely, and soon let me know it. I dug in my heels and carried on with it, and in January entered this piece and 2 other works into the Bay Of Islands New Year Art Exhibition in Paihia. Two were for sale – this one and Unfolding Fern Kiokio . The third one was The Sacred Place . They all passed the jury examination and the two pieces on sale sold during the exhibition.
So much for that!
I returned to Wellington and by an amazing turn of circumstances, within a couple of months I was full time National Secretary of the NZ Deerstalkers Association, with over 40 branches nationwide. a 7 man national executive that met quarterly and a large scale annual conference. I’d been involved with them for several years. Looking back, it was the happiest time of my life in a job. However –
During my first year there, my father was diagnosed with chronic lymphatic leukemia.
It’s a long way from Kaeo to Wellington (about 600 ml), so 18 months later I went back into law and moved north to Hamilton as regional solicitor for my former employer the ACC. This move was not an entirely happy one, but at least I saw more of my folks.
My dad died in August 1985 and that Christmas my mom and I came up here to get this place ready to put on the market. He had said we would have to sell the property and with the half-finished house which they had been building, he foretold we wouldn’t get much for it… It was a sad time.
But by Christmas, we had decided NOT to sell up!
I couldn’t bear the idea and nor could my mom. A huge load lifted in our spirits, because we both loved the property dearly. We did our sums and got a builder in to finish the house (drama, drama) and while my mom stayed here, I completed the lecturing contract I now had with the Waikato Polytechnic (Business Law for the NZ Society of Accountants’ qualification), visiting at weekends as much as I could.
By Christmas 1986 I was back up here to stay. The distance from this place to the New Zealand I had been used to is a bit daunting, but several attempts I’ve made to move have come to naught, so this must be where I am meant to be.
Christmas is always a time of great memories for me here.
Kathleen and the building on a sunny autumn day in 1986.
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Geology and the passage of time…
The volcano that once existed here is sleeping now. The scorching fires have long since died away, and the battered earth has drawn a cloak across its scars.
The subterranean pipes that carried searing hot magma from the earth’s fiery core remain: embraced now by powerful, living roots that grip and swell around them.
Where once a crater stood, a wild tree grows. Tucked away in bolt-holes far below, by day the kiwi sleep.
Yes, there are 2 of them there.
Acrylic on Arches Dessein 120 gsm art paper, 19″x 25″.
For more details, prints and products, click on the images.