Out Standing in the Field

Megaliths, matai, bellbirds and bluestone: the sculpture garden at Tai Tapu is a rare creature within which three-dimensional fine art can be

released into outdoor spaces and enclosed by native plant species found on Banks Peninsula.

WORDS & IMAGES Martin Wilkie

PLACING SCULPTURE INTO A GARDEN SETTING IS

an ancient activity: found at least 3,000 years ago in Egypt, through classical Greek and Roman times, and inspired by rediscovery of those cultures between the 15th and 19th centuries. Indian and many East Asian cultures also have a long tradition of incorporating sculpture in temple and pleasure gardens, public and private.

In those times the progression of sculpture through the garden often told a story, and had a precise meaning – and layers of meaning. Greek gods and myths, cosmology and creation, a Roman statue acknowledging the numen divine force at a freshwater spring; these were quite specific messages, with clues to understanding for visitors of the time.

The Tai Tapu sculpture garden is perhaps closer in spirit to classical Japanese gardens in the Buddhist tradition, such as Ryōan-ji in Kyoto; Buddhism itself has a particularly strong connection to gardens. Objects in the space, be they individual artworks or simplified further to rocks, sand, plants and other natural elements, are a more abstract composition where meaning and interpretation is fluid, arising from the viewer’s experiences, and contemplation. There is great depth and complexity in this kind of garden too; our response is simply less ‘directed’, as is the case with much contemporary art. Many Japanese gardens incorporate the Chinese Buddhist elements of yin and yang (in and yō in Japanese) where, for example, ‘hard’ rock and ‘soft’ water complement each other. The artworks at Tai Tapu have their own spaces enclosed and sheltered by dense plantings of New Zealand natives – another example of how contrary forces can actually be complementary and interconnected. This specific combination may also be seen as a rotation around centres of gravity: heavy works of smooth black marble and green serpentine, bronze, and rough-textured Timaru bluestone at the heart of open spaces, surrounded by curving walls of lighter foliage swirling around the periphery as counterweight.

Recently I had a closer look at a gathering of Timaru bluestone carvings by artist Doug Neil, created in 2020 using diamond-tipped tools; The Rocks tall carved standing stones from 2010 are also his work. Resting on stone plinths all at the same height, they seemed like a fleet of vessels at sea, or in space. In fact they’re named for large asteroids in our solar system including Ceres, Juno, Herculina and Aurora. The intricately carved pieces have forms and textures which bring to mind the pleated throats of baleen whales, Greek triremes, seed pods and dragon scales. Bluestone is a dense blue-grey volcanic basalt, a valuable resource for contemporary artists and for heritage buildings such as the original Christchurch University in the 1870s, now the restored Arts Centre; and in many Dunedin landmarks. Around two million years ago, a volcano just west of Timaru (now extinct!) poured liquid lava over about 130 square kilometres to form this hard volcanic rock.

None So Blind (2015) by Graham Bennett is a landmark in the garden. Fixed to the apex of a galvanised steel telecommunications pole recycled from Antarctica, two horizontal life-sized human figures cut from stainless steel

CLOCKWISE FROM TOP LEFT Graham Bennett None So Blind (2015) made from stainless steel, galvanised steel and telecommunication pylon from Antarctica; Neil Dawson Vortex (2016) above the pond, and kowhai Sophora; Interior of Interdimensional (Matt Williams 2020) black marble on steel plinth; Doug Neil Asteroid – Aida (2020) Timaru bluestone, 750 mm long in foreground and Asteroid – Ullysina (2020) Timaru bluestone, 1,000 mm long. OPPOSITE Llew Summers Follow Me (1995) solid concrete.

move independently according to the wind’s direction. Just below the figures is an intricate clockwork mechanism attached to a suspended counterweight – something of a combination between 18th-century automata and a Māori birdman kite. The overlapping shapes are spellbinding as they revolve around each other in counterpoint, with the occasional flash of reflected sunlight.

It’s a natural first response to focus on the artworks, however their setting of New Zealand native plants in the landscape is equally as important, and exhibitions are an opportunity for artists and visitors to learn more about the original forest which once covered Banks Peninsula. Guardians Peter Joyce and Annabel Menzies-Joyce see their evolving garden as supporting contemporary New Zealand sculpture practice, and enhancing native plant biodiversity in Canterbury. Ten years ago Peter began to extend the couple’s existing garden out into a hectare of flat grazing land, using native plants found originally in the local area. They could not have had a better model: their property is part of Rocklands, a landscape regeneration project started 30 years ago by Jan and Rob Chaffey. With help from landscape architect Mike Cole and an army of supporting friends and family, the Chaffeys actively encouraged regeneration of the native Banks Peninsula vegetation on their farm, which had been overgrazed by dairy stock and sprayed for gorse and broom. The steep-sided valley was developed for self-sufficient residential living using good landscape practice, and over 3,000 native seedlings were eventually planted out from the nursery shadehouse behind Jan’s studio. Both notable artists, Annabel and Jan also share a long-term consuming interest in the natural environment and landscape. High up above the valley Jan watches over her singular garden and nationally significant collection of kowhai Sophora species, and landscape architect Annabel, a great walker, regularly strides up the access road to chat about projects and plantings.

The two friends combined forces during contouring of the emerging sculpture garden – standing together in the field while digger driver Justin Hawkins from Kwikshift expertly

Exhibitions are an opportunity for artists and visitors to learn more about the original forest which once covered Banks Peninsula.

Interdimensional (Matt Williams 2020) black marble on steel plinth.

The sculpture garden has around 40 plants each of matai and kahikatea, plus 100 totara.

pushed topsoil around at their direction to form a linked chain of ponds and swales. Excavated material was piled up and consolidated into mounds and ridges, ideal for displaying certain pieces of art and for, literally, commanding an excellent prospect. One of the ponds usually retains water; the others are more seasonal and the swales offer damp conditions for a mixture of sedges and rushes.

Peter explains that 1,000 years ago this part of Banks Peninsula was thickly covered in a mixed podocarp and beech forest, with the podocarps predominating – beech was more abundant in the foothills near Springfield and Peel Forest. Two podocarp species were once dominant in the valley and a priority for Peter: matai Prumnopitys taxifolia black pine, and totara Podocarpus totara. Kahikatea Dacrycarpus dacrydioides white pine was also common in swampy areas near Tai Tapu when Lake Ellesmere/Te Waihora stretched further around the base of the peninsula. The sculpture garden has around 40 plants each of matai and kahikatea, plus 100 totara Peter has planted to connect the garden with the earlier Rocklands native plantings further up the valley, in areas of residents’ common ownership.

Matai is a fine example of those native tree species with a juvenile growth habit like a giant pot scrub; very different to their mature foliage. This so-called divaricating habit (meaning ‘branching at wide angles’) is more common in New Zealand plant species than elsewhere, and combines tiny leaves and densely interlaced wiry branches – good protection from extremes of temperature and humidity, and possibly also a useful defence against the beaks of browsing moa. Juvenile matai have sparse brownish leaves, but develop rich green

Island in the pond, with Neil Dawson Vortex (2016) beyond.

foliage once the plant is tall enough to reach full sun and exposure. Shrubs such as Muehlenbeckia astonii and Coprosma rugosa keep their divaricating habits as adults, and in winter frosts the Muehlenbeckia branches darken to purplish red. Young beech and rimu are thriving, along with tree ferns and examples of rare or threatened plants of Canterbury. Fierce lancewood Pseudopanax ferox has toothed leaves as a young plant and matures to a round-headed small tree; and heartleafed kohuhu Pittosporum obcordatum was first discovered near Akaroa in the 1840s but could not be found again on the peninsula until 40 plants were rediscovered in 2012. After 10 years of growth, self-seeding has begun in shady protected conditions under the native woodland – self-regeneration which is vital for the garden’s future.

Flax has a strong texture enclosing many of the sculptures, and its flowers lure bellbirds down from the upper slopes of the valley – at least those not already enjoying Jan Chaffey’s golden kowhai forest! The growing biodiversity of flora and fauna inspires many artists who contribute to the permanent and seasonal collections in the garden. One of the most spectacular works is Neil Dawson’s steel Vortex from 2016, floating high above the first pond against a background of kowhai.

Painted a soft golden colour, hundreds of tiny bird forms spiral towards the centre of the piece, mirroring the acrobatics of real swallows a few metres away as they snatch insects from just above the water’s surface. With a slightly reflective metallic surface, Vortex subtly changes colour depending on conditions and time of day, and is often at its most intense in early evening light.

The Tai Tapu sculpture garden is linked to wider visions of how Banks Peninsula and the Canterbury Plains can be cared for and protected. One of these is Te Ara Kākāriki, the Greenway programme, which aims to create a corridor

The Tai Tapu sculpture garden is linked to wider visions of how Banks Peninsula and the Canterbury Plains can be cared for and protected.

of native biodiversity ‘greendots’ ideally no more than five kilometres apart between the Waimakariri and Rakaia rivers, linking the mountains and foothills to Banks Peninsula, Lake Ellesmere/Te Waihora and the sea. Another local initiative is Te Kākahu Kahukura – kākahu means to dress, or clothe. The goal is to protect four core areas of indigenous forest of more than 1,000 hectares each, and expand native forest re-vegetation and restoration on the Southern Port Hills of Banks Peninsula. This is a part of Ecological Vision 2050, launched in 2016 and adopted by a range of councils and organisations working across the peninsula.

Artists, plantspeople and visitors can be inspired and challenged by the plantings and artworks throughout the sculpture garden – a kind of contemporary outdoor salon constantly sparking fresh energy and ideas.

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