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Issue #3 |

January 3rd 2018

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First published in Nelson, New Zealand by: Studio S www.studio-s.co.nz studio@studio-s.co.nz 027 974 3879

Layout and Production: Studio S Publishing and Design: Studio S Issue #3 Published January 3rd 2018 (Digital) All rights reserved. No part of this publication may be reproduced in any form without written permission of the copyright owner. No responsibility is accepted by producer, publisher or printer for any infringement of copyright or otherwise, arising from the contents of this publication. Every effort has been made to ensure that credits accurately apply with information supplied. Views, thoughts, and opinions expressed in the text belong solely to the author, and not necessarily to the author’s employer, organization, committee or other group or individual including the editor and publisher of Creative Nelson. Š 2018 by Studio S and Amanda Sears


Welcome to the first Creative Nelson issue of 2018! A new year offers opportunities to try new things. Take inspiration from the talented Creatives in the magazine and try something new this year. Open your mind to the possibility that you have a hidden talent that needs unearthing or find new styles to expand your current skills. Write that book you have been wanting too, Paint a picture using fingers instead of brushes, Get out and about with your camera... The possibilities are endless and Nelson is the best place to find your creative side! Amanda Sears

Thank you to our Sponsors: GOLD N/A

GOLD N/A

SILVER Myles Montgomery

SILVER Nelson Venues

SILVER Limitless Living

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BRONZE Anonymous

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Anice Doel Painter P-6

Cliff Fell Writer & Poet P-8

Bec Brown Artist, Illustrator and Graphic Designer P - 10

Anna Wallace Architect P - 12

Ing-Marie & Bronwyn Global Soap P - 14

Doug Brooks Moving Image P - 16


Anne Grassham Fibrecraft

Pip Pottage Textile Designer and Maker

P - 18

P - 30

Ana Aceves Artist, Illustrator and Graphic Designer

Article Arts Council Nelson

article

P - 20

P - 32

Cherie Furniss Sign Writer

Article Impressions Picture Framers & Art Supplies

article

P - 22

P - 33

Grace Wiegand Youth Artist

Article Colour in Your Life

article

P - 24

P - 34

Mieke van Dam Jeweller

Article By Dr Graeme Cornwell

article

P - 26

P - 36

Pete Rainey Musical Director Nelson Opera in the Park P - 28

Updates & Info Creative Nelson

updates

P - 40


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Name: Anice Doel Creative: Painter Website: N/A Tell us a little bit about yourself... I’m originally from Lower Hutt. Long story short, my parents divorced, Mum remarried, and we eventually settled in Nelson which is definitely home to me. My parents are creative in different ways, my Father is a Pianist, and my Mum is amazing at sewing and knitting. My Dad (stepdad who raised me alongside mum) could jerry rig something out of anything, so I think that’s pretty creative! Personally speaking I always loved artistic activities all through my life, and I won a lot of colouring competitions when I was a child too which was cool. What is your earliest creative memory? That would have to be my older brother (who was probably about sixteen at the time) teaching me how to colour inside the lines when I was about three. I remember trying so hard to be careful, maybe thats why I have such a fascination with clean lines in art! What is your background and what is it that you do? I am a self taught artist, and my preferred medium is acrylic on canvas. I can sketch fairly well too but it’s not something I do a lot so it takes me a while to get back into it. I love using vibrant colour in my work because I think life is often dull enough. I love the pop art kind of style, and I think that’s kind of the niche I’m sitting in at the moment. Clean lines and vibrant colour. Explain the way in which you work:: At the moment the work I’m doing focuses on local iconic places, I inject vibrant, sometimes contrasting colour, to add a bit of extra interest. I also occasionally paint the random ideas that pop into my head that amuse me, (they don’t always amuse others but oh well). Unfortunately my style tends to be quite slow and methodical, so I have a huge list of ideas piling up that I just cant seem to get the time to paint, it’s pretty frustrating!

How do you keep your creativity flowing? A long time inspiration is a close friend who is also an artist, with a focus on Jewellery. We went to school together through our teens and she was always one to follow her own path creatively, while I tended to follow the herd. Discussing creative concepts with her helps me to really expand my ideas and has been a huge part of me getting out of my comfort zone. We help each other in that respect I think. Talking to my husband helps keep my creativity flowing, we always have interesting discussions and some of my best ideas have come from our late night chats (though he may disagree haha). What highlights and achievements have you had? A highlight would definitely be being included in the Impressions Art Awards 2017, it was the first exhibition I’ve been a part of and it was a really cool learning experience. Do you have any big or exciting plans for the future? I have my fist solo exhibition coming up in 2018, it starts on the last week of March at Art@203 in Trafalgar Street. I’m working hard at the moment just to have enough work to fill a room! It’s very nerve wracking but exciting at the same time. I also hope to apply for Art Expo Nelson next year, I’ve been wanting to enter for a few years, so thats a big goal. Tips and advice for others finding their creative path: I’m not sure I’m the right person to ask, I’m still asking other people! Actually thats probably a tip, ask a lot of questions, even if you think they might be stupid. Don’t be close minded to constructive criticism, but do ignore it if it’s not constructive! Also do it for the love of it, if you’re doing what you love, I think you do your best work. Oh, and try not to take rejection personally, Art is very subjective, if we all loved the same things, how boring the world would be... Would you like to add anything else? Probably just that I’m definitely not an expert, I just love painting. I hope you enjoy my work!

What inspires your creativity? I have always dabbled in painting on and off through the years. But what really pushed me into ‘going public’ so to speak, was actually the death of my Dad last year. He was killed in an accident and it was a hell of a shock. When we went down to Westport to scatter his ashes I took a photo of the Westport Town Hall, and I came home and painted it. It got a lot of positive comments and I thought, well maybe I should just put myself out there. Life is too short to not do what you love, losing Dad reinforced that.

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Image Supplied

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Name: Cliff Fell Creative: Writer & Poet Website: N/A Tell us a little bit about yourself... Well, I was born and brought up in London to an English mother and New Zealand father. I ended up in Nelson about 20 years ago, largely because I was offered a job here, though, as it happens, some of my NZ family had lived in Nelson in earlier times. My father was an engineer, but also a keen painter, though he only ever painted in his spare-time. His mother, my granny, was a gifted miniaturist – and his father, who’d been in the navy and made a bit of a name for himself, wrote a couple of books about his wartime experiences. There were also painters in my mother’s family, going back through the generations – one of them, John Varley, was William Blake’s astrologer and a collaborator in what is now known as the ‘Blake-Varley Sketchbook’. Also, my mother’s father used to play the banjo, though he died before I was born so I never knew him or heard him play. It was an English-style banjo, which I inherited it and used to play until some junkie stole it from the squat in London where I was living in those days. With this sort of background, I was brought up with a strong sense of creativity and artistic endeavour as an ideal and from early on – from when I was 7 – reading, drawing and writing - and playing music, too – were special things that you just did. What is your earliest creative memory? Playing triangle in the school band when I was five. It was cool, but I wanted to be playing something with more notes, more melody – the pennywhistle, maybe. More to the point, I think my fascination with words, with their shape and the sound they make in the ear or in the mind, started to grow when I was about eight. I loved making myself dizzy by spinning round and round, whirling like a dervish and repeating a single word – or sometimes a phrase – aloud and in my head until it had become meaningless, a noise on the air and the dizziness had somehow intoxicated me with the possibilities the word or words might have. What is your background and what is it that you do? I’m a writer, specifically a poet. I’ve had three books of poems published – The Adulterer’s Bible and Beauty of the Badlands in 2003 and 2008 – both from Victoria University Press and in 2014 The Good Husbandwoman’s Alphabet from Last Leaf Press. This was a single acrostic poem, 156 lines long. An acrostic is a form in which the first letter of each line spells out a concealed message or idea. It was illustrated by the Nelson artist, Fiona Johnstone. I’m working towards a fourth collection of poems.

Explain the way in which you work: That’s hard to say. Each poem, each piece of writing has its own unique birth process and existence. They may be poems, but there’s no rhyme or reason to how they come into being. A snatch of language heard on the street, or encountered somewhere could be the starting point; or an idea, or it could be a commission. Whatever the starting point – and many of them, I have to say, will be false starts – there always has to be something transformative in the process. It’s hard to really explain what this is – some sort of spark or transaction or sense of exchange or shift in the consciousness of the poem and me as the poet, for the poem or work to feel real. Something that feels true, I suppose. What inspires you and keeps your creativity flowing? Anything and everything – and in any way possible. I find it important to remember tat you have to actually write, to be a writer. To blacken the page, as they say. So I try to write every day – and be disciplined about it. But I’m not disciplined about it. Other things get in the way, or maybe I get writer’s block. The great thing about writer’s block, as someone once said, is that if you’re suffering from it, at least it proves that you’re a writer. The best cure, I think, is just to write, anything, in any form, as the physical act of writing is a release and almost always unlocks what you want to say, and possibly stuff that you didn’t even know you wanted to say. What highlights and achievements have you had? My first book – which I put together as a student at Victoria University in Wellington, at Vic’s International Institute of Modern Letters – won a couple of prizes, the Adam Prize in Creative Writing in 2002 and the NZSA Jessie Mackay Prize in 2004, and was shortlisted for 2004 Montana Prize. It contained a few poems that I’d been writing for years – as all my collections do, as I was a late-starter when it comes to getting published. Earlier this year, I was shortlisted for one of New Zealand’s big poetry prizes, the Sarah Broom Prize in Poetry – which is awarded to a small collection of unpublished work. The prize went to Hera Lindsay Bird who is a phenomenal poet. I knew she’d win all along. The judge was the UK Poet Laureate, Carol Ann Duffy, so the recognition was terrific and the whole event exciting. Also, for a year, in 2015, I was a Teaching Fellow at VUW, teaching their MA in creative writing. That was a buzz. But, as for true achievement, it’s every poem, every line: that’s the real achievement. Tips and advice for others finding their creative path: Just do it. Believe in yourself and go for it. You’ve got nothing to lose and no one’s going to knock you for giving it a go. Don’t worry if there isn’t an obvious income stream from the work. Just do it anyway. Making a living from your art would be nice – but your concern should be with making good work, not with making money. 9 Issue #3 | January 3rd 2018


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Name: Bec Brown Creative: Artist, Illustrator, Graphic Design Website: www.cloudsofcolour.com Tell us a little bit about yourself. I’m 28 and was born and raised in the Nelson region. Originally from Nelson. I have always had a huge passion for exploring my creativity. From a young age I was drawing, designing, building, weaving etc. I had a huge dream to make my creativity become a full-time job so when I left school, I studied Graphic Design & from there created my own unique style of art using watercolour & ink pen. Life currently consists of painting & designing, being a full time stepmumma (with a new addition on the way!), filling my home with beautiful things & too many indoor plants, road trip dreaming, exploring my growing interest in plant based nutrition & loving every part of my creativity. What is your earliest creative memory? Too many to name! I was constantly drawing, doodling and painting, always wanting to create bigger pieces than were probably achievable! My mum would give me a box of test pot paints and a huge sheet of wood and I would just go for it. Planning the artwork for days, then constructing it. I also remember finding some rusted metal cutters and meticulously cutting out copper flower & leaf shapes to create a huge sculpture for the garden.  What is your background and what is it that you do? I worked as a Graphic Designer for almost 4 years, building my art up as much as possible. I never felt truly creatively satisfied - all I wanted to do was my art! I would wake up super early and go to bed late just to get artworks complete. A year ago I finally took the plunge into being an artist, designer & running my own business full time. I will never ever regret that decision - oh what a feeling! Since then, my style & business has grown every day. You’ll now find me designing & creating original watercolour artworks, a vast range of stationery, custom wedding stationery, children’s bedroom decor & fabric designs including a beautiful range of cushions & headscarves.

Describe the people/places/idols/situations that have shaped your creativity: I have always felt that this was my calling. I always wanted to prove to myself that I could making a living from my art. Theres no greater feeling than waking up each morning excited & motivated & SO HAPPY doing what you do. My biggest promoter has been my mum who gave me all the freedom in the world to be creative - she has always told me to follow my dream. As a teen, I watched Jackson Pollock videos and remember being in awe of his freedom on large scale canvas - I wanted to feel that. “Painting is self-discovery. Every good artist paints what he is” - Pollock What highlights and achievements have you had? The biggest achievement for me has been believing in myself enough to make this a full time thing!  Do you have any big or exciting plans for the future?  With a little bubba on the way, I am really excited to be brainstorming future stationery products. I recently released Pregnancy & Baby Milestone Card Packs which have proven SO popular. My larger scale artworks have had such a beautiful response that I would love to continue these too. I don’t actually ‘plan’ much to do with my art, instead I let it all flow through. When I have an idea, I will concentrate on it day & night until it’s done it can be quite fast paced! Tips and advice for others finding their creative path: My biggest piece of advice would be to keep searching until an art style or creative outlet sits completely in tune with your soul. With the internet and access to what others are up to, I think it is very easy to mimic someone else’s work (without even realising) so it is really important to find your own unique creative joy. Once you’ve tapped in to this, the creativity will flow & you’ll get far more satisfaction from it. Just be you! Find the true most creative you! “You can mimic the result, but not the creativity” - Sonya Teclai

Explain the way in which you work: Sometimes I can go for weeks without painting, I have found it is so important not to push myself at these times. It feels like my creative bottle is filling up with inspiration – I just have to wait for the right moment to unscrew the lid and let it all burst out on to paper! With my larger one-off works, they feel like ‘healing’ pieces – that I am channeling something higher through on to paper – for the perfect person to own.

Images Supplied Credit to Renee Edwards

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Name: Anna Wallace Creative: Architect Website: www.arthousearchitects.co.nz Tell us a little bit about yourself... I grew up in Nelson and Mahana and returned a couple of years ago after studying in Wellington and working in Melbourne and London with some backpacking in-between. My parents are both creative, Dad is an Architect and Mum has had a few creative businesses. So a love of design was definitely something I grew up with... Dad would sneak in a family site visit on holidays. It was designing for people that really appealed to me, designing spaces that people were going to use, would affect how they interacted with others and how communities and cities responded to people. What is your earliest creative memory? Apart from dressing myself for school which involved pants, skirt and shorts in one outfit, one of my earliest creative memories was winning a prize (it may have actually been 1st) at the Chez Eelco children’s art competition. It was such a great set up – to enter you purchased a white panel to create your master piece on and then there was an exhibition for all the entries. I created a ‘mixed media’ rooster which included glitter and toothpaste… What is your background and what is it that you do? At Arthouse at the moment we have lots of residential projects on the go, houses and apartments in Christchurch, Blenheim and Nelson. We are also working on Community centres, Medical centres, hospitality and some wineries.

Describe the people/places/idols/situations that have shaped your creativity: I was a Glen Murcutt fan throughout university who said things like ‘Architecture is created, it is discovered – the hand will find solutions before the mind can even comprehend them’ and ‘Life is not about maximising everything, it’s about giving something back – like light, space, form, serenity, joy. You have to give something back’. Bull O’Sullivan spoke at the recent Festival of Architecture lecture in Nelson and he said ‘Architecture is an emotion.’ I really like that. You can tell I am a romantic at heart! Traveling throughout South America and Europe was also hugely important for me to experience different cultures and ways of living, and to take the time to move slowly through those experiences. What inspires you and keeps your creativity flowing? That unique combination of personality, brief and site is a constant source of inspiration and creativity. What highlights and achievements have you had? A highlight for me is always seeing excitement in the client and seeing we have achieved something beyond what they had in their imagination. Do you have any big or exciting plans for the future? I have spent the year studying towards becoming a registered architect so any other plans are on the back burner for now. Tips and advice for others finding their creative path: I’m a strong advocate for my Mums advice which was to study something that you enjoy and are passionate about, you can never predict exactly how it will become a job or what opportunities you create but it puts you in a good position to find that path.

I’m working on houses at the moment, a couple in the early design stages, a couple in detailed design (drawings for building consent application and to be built from) and a couple are on site which involves site meetings, administering the contract including payments claims and working through queries and details on site. A lot of the beautiful nuances happen on site from working with skilled tradespeople. Explain the way in which you work: The key tool is probably listening and talking for me. After that, I sketch a lot at the start of a project, to understand the site and to bring together a concept. Then move on to the computer to start drawing in 3D. Every project is a unique combination of personality, brief and site.

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14 Issue #3 | January 3rd 2018


Name: Ing-Marie & Bronwyn Shallcrass Creative: Global Soap - Soapmakers Website: www.globalsoapnz.co.nz Tell us a little bit about yourselves... Bronwyn - I grew up in Nelson. Then travelled overseas, and came back to live here in my 30’s. And that is when we started our Global Soap journey. Ing-Marie - I was born in Sweden and married a Kiwi, that’s how I came to live here in NZ. I have lived and raised a family here for 27 years. I was lucky to get a nice sister-in-law and together we created Global Soap. Have you always been creative? Bronwyn; No, not really in my early days, as I played lots of sport. That took all my time up. It certainly came to me later in life. Now I really enjoy it. Ing-Marie; I have always enjoyed being creative and growing up it has always been a big part of my life. What is your earliest creative memory? Bronwyn - Making a skirt in intermediate, that I have never worn. Ing-Marie - I made my first weaving loom out of a shoebox when I was 5. What is your background and what is it that you do? We are sisters-in-law and Soap makers since 1997. We created our business, Global Soap as we could see a need for natural skin products and a growing awareness of what we use on our bodies.  The business started in Ing-Marie’s lounge in 1997 among children, pets, husband’s, curious friends and no running water. Out of this chaos, a small unique family business was born.   After some fascinating experimentation and invaluable information from an experienced Australian soap maker we perfected our trade. We were producing a range of high quality handmade soaps that we were happy to sell. They began to gain their own little following and our confidence bloomed. Soap making is similar to baking and we have similar equipment and tools (pots, pans, bowls, scales spatulas and thermometers) and out of this we create beautiful soap recipes packed full of ingredients and scents that will naturally nourish and moisturize your skin whether you’re in the mood for smooth, textured, floral, fruity, woody or fresh we have just the bar for you so treat your skin. Explain the way in which you work: We work as a team and make a unique, natural range of soaps and products for specific purposes that smell and look amazing, as well as being great for the environment and the skin. Handcrafted in small batches, each soap and product is a little bit different and has a touch

of is own character. We are always creating new products to keep up with trends. To change is to grow. To create is to Exhilarate. and at Global Soap we do both. Adding to our uniqueness is our beautiful shop on the fringe of Nelson city were we hand make all our products The increased exposure to the general public through our beautiful boutique retail space has been amazing. It is an explosion of senses when you walk through the door …smell, colour, touch, warmth, friendliness, happy creative space we have created … people always commenting on the great feeling they get when the come into our world …Global Soap. We have created something from nothing …built an amazing business and lifestyle around what we love to do …we manufacture, sell design and market all our products. Everything at Global Soap is all done with our hands; no robots or big factory machines are used! Handcrafting soap from scratch is a mesmerizing and enchanting process. Watching the transformation of oil and water makes you feel like a scientist, chemist, alchemist, or perhaps an herbal magician. Just follow your nose, the luscious fragrance will guide you our unique little store where all our products are created and handmade with lots of love… by us. Being inspired by working with Dean Raybould a well-known Golden Bay artist who has designed all our labels for 20 years, giving them a strong element of fun and originality. Each one is a little work of art … his first drawings were on little bits of paper …now we get them digital. Do you have any big or exciting plans for the future? At Global Soap the business is always evolving…we are now using a lot of local ingredients in our soaps for example olive oil, peony root, honey, beer and goats milk. We would like to continue this and expanded on it … Nelson has amazing people here producing top quality products and if we can incorporate them into our soaps. Also continually educate people about handmade natural soaps. And we will also continue with the local movement of: Think Local, Buy Local, Be Local Tips and advice for others finding their creative path: Passion, enjoyment, learn from mistakes, never give up, innovation, positive, attention to detail, good time management, not afraid to enlist the help of family friends and professional advice. Bigger isn’t always better – a balance between work and lifestyle is very important. Your business culture needs to be dynamic, focused fun and future orientated.

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Name: Doug Brooks Creative: Moving Image Website: www.dougbrooks.co.nz Tell us a little bit about yourself... I grew up in Wakefield, a small rural town at the southern stretch of the Waimea plans. I studied biology at Canterbury University and lived in Edinburgh, Scotland for a time before moving to Nelson.  My mother and father wouldn’t consider themselves creatives, but there are certainly influences I have taken from both sides of the family. My mother was the child of Austrian immigrants seeking a new life in the in the head of the Tadmor Valley. The family motto was “if you can’t make it, you don’t need it”. That resourcefulness is a family trait and my mother is a DIY master. My father’s side is extremely musical and Dad is a musical genius, and has been playing brass for most of his life.   It seems to have been something that was always there. It started with drawing and painting at PlayCentre. I used to study my Great Grandfather’s paintings at great length. He’d started painting as a P.O.W in America. I became interested in acting and remember waiting until I was ten so I could join the Wakefield Country Player. My first role was Toto the dog in The Wizard of Oz. In my late teens, my father had been dismayed at my lack of interest in playing brass like him. He saw me perform and took me aside to tell me after seeing me act that he understood why my passion lay there.  What is your earliest creative memory? Painting a tree in Play Centre, which in the early 80s was in the buildings at the edge of the Wakefield domain. I remember using brown for the trunk and creating a thick Y-shape. Then painting a green puffy top. I think my mother still has that painting.   What is your background and what is it that you do? In my late teens I was constantly warned that being ‘a creative’ wasn’t going to pay the bills. I never heard “Follow your dreams” and “You can be anything you want to be”. I heard “Get a real job”.  My father had a learning disability and was told early on that he was ‘dumb’. He didn’t have access to further education so became a linesman, though he was electrocuted in 1983 and suffered severe pain for the rest of his life. I remember being with him at St Arnaud in about 1996, and he was up a power pole wrapped in his thick hand-knitted woollen hoodie that my nana had hand-knitted. It was freezing cold sleet and he shouted down at me “This is why you need to do well in school so you don’t have to do a f****** job like this!”  I was raised to take up every educational opportunity Images Supplied

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so I worked hard, was Head Boy at Waimea College, and went down a science route, first achieving a Bachelor of Science with First Class Honours. I absolutely loved learning and was top of my class each year. My mother’s family eked out a subsistence living, and she grew up with no electricity washing her clothes in the river, speaking English as a second language. I was raised to take up every educational opportunity so I worked hard, was Head Boy at Waimea College, and went down a science route, first achieving a Bachelor of Science with First Class Honours. I absolutely loved learning and was top of my class each year. Since then I’ve worked for the Ministry of Fisheries, in Public Health in Edinburgh, as a volunteer fire fighter in Wakefield, as a botanist in the mountains around the Tasman region and more recently as a science/drama teacher. I still relief teach at high schools around the city and I really enjoy that contact with the energy, optimism and idealism of young people. That all helped to set me up to spend some time indulging my creativity now. So an extremely varied background, but one that is great for being an actor, which is just one part of what I do now. I also enjoy writing and directing films, painting, drawing, sculpture, and it might sound silly but one of my biggest creative satisfactions is landscaping and gardening, slowly transforming the ex state house I share with my wife Naomi Arnold. I build a great drystone wall and as a botanist I love raising native plants.  As for my own acting, I feel like I am just beginning. Having an Auckland agent has been a big step in the right direction and Gail Cowan Management (GCM) has really been good to me. At first they weren’t going to take me on because I live in the South Island, but Gail decided to take a chance on me back in 2013. She liked my showreel, which I had been putting together for a number of years. She gave me a six month trial, which has turned into a great working relationship.  Through GCM, I had some recent success  and got a recurring role as Skinny the biker on Shortland Street, which has been fun. I had been auditioning for three years and not being successful was disappointing at times but I hung in there and am hoping for more television and film roles in the future. I hope to be acting to some degree for the rest of my life so there is lots of time.  Describe the people/places/idols/situations that have shaped your creativity: I met acting coach Rik Stowman when he came to Nelson a few years ago and he became a friend. He changed my understanding of acting when he introduced me to Sanford’s Meisner approach to performance. At that point I realised how much I didn’t know

about acting. Meisner said “You do not listen as the character. You listen as yourself and you react as yourself.”  I approach acting as behaviour and what I aim for is integrity in my performances. So acting is about finding truthful behaviour under imaginary circumstances. Acting is a craft you spend your lifetime working on and I’m looking forward to learning and developing in the future.  What inspires you and keeps your creativity flowing? I feel inspired when I watch good film and sometimes when I listen to music or see a fantastic painting. When I listen to someone who tells me their struggle and how they’ve overcome it. I’m inspired by wisdom and good advice. One of the wisest things anyone ever said to me came from a director I sat next to on a plane in 2005 when I was flying from Edinburgh to London. He said “You really need to make your own opportunities.” I have taken that to heart. I live in Nelson because my two children live here and because I love the city, its people and environment. But there are few screen acting opportunities here and we basically don’t exist to the industry in Auckland. So it’s up to us to create what we want to see here.  I’m keen to surprise people outside the region with our depth of talent, and this is what I’m trying to nurture through the Top of the South film collective of which I’m vice-president.  What highlights and achievements have you had? My film The Flame won Best Short at the Auckland International Film Festival last year and this year my short Sons of 71 won People’s Choice at the TOTS film festival. Having a three-month full-time paid role in a production of Boys at the Beach at Centrepoint Theatre in Palmerston North two summers ago was a great way to realise the craft has value.  Do you have any big or exciting plans for the future? I want to make high-quality feature films locally and continue building the filmmaking community we have developed through Top of the South Film. I want to build up good screen actors here through teaching, too. I’d love to land a great, meaty film role one day, so I will just keep auditioning and see what happens.  I have also just started teaching private and group acting classes in Nelson and will be expanding to Marlborough in the future.  Tips and advice for others finding their creative path: Make your own opportunities. Be prepared to fail over and over again. Don’t get discouraged - expect years of rejection, but if you push on for long enough you will develop your skills and people will begin to take notice. Keep up-skilling - you are never done learning. It’s going to take years and years of dedication. If you’re not happy with the quality of your creative output just keep learning, doing, trying, and researching your craft. 17 Issue #3 | January 3rd 2018


18 Issue #3 | January 3rd 2018


Name: Anne Grassham Creative: Fibrecraft Website: www.woolcraft.co.nz Tell us a little bit about yourself... I was born and raised in Auckland, pursued scientific tertiary studies, and traveled for 10 years, before settling on a small farm in Tasman to start a family about 30 years ago and live the “good life”. My interests quickly turned to farming sheep for handcraft fleeces, alongside developing my fibrecraft skills and knowledge. This, in turn led me to teaching both in the community and as a school teacher. My creative skills stem from childhood opportunities to identify and solve problems through experimentation, hence my interest in science, and this perspective on life is at the root of my creativity. What is your earliest creative memory? Aged about 5 - Mum teaching me to knit egg cosies which were sent to relatives in England as Christmas presents. What is your background and what is it that you do? My creativity comes from being a problem solver, and goes hand in hand with recognising where there is scope for improvement and pursuing it. This perspective colours all aspects of my life, but is probably most recognised in the field of woolcraft, whether it be breeding sheep to produce specific types of fleece (for instance, Fleecewood Leicester), developing equipment to do a particular job (diagonal weaving) or to do the job more effectively and pleasurably (Wizpick felting needles), or just letting my imagination go to make something practical, inspiring and attractive. Explain the way in which you work I work by playing with ideas, both in my head and on paper. Because I am dyslexic I find it relatively easy to visualise. Then I enjoy trying out my ideas and experimenting till I find something that will produce what I’ve imagined. It may mean developing or modifiying equipment, challenging myself to come up with more effective ways of making or doing something, and ultimately in creating something unique and satisfying. I like the vertical integration model, so I might start with a fleece, skirt it, wash it, dye it, and then spin, knit, crochet , felt or weave it until I get the envisioned outcome. However, the creative process is not constrained during the making, so the outcome may be different from the initial idea. I find having to work to a deadline is useful in giving structure to the creative process. What inspires you and keeps your creativity flowing? Initial inspiration often comes from a need of some kind, but the feedback loop of working, experimenting and adapting provides the ongoing source of inspiration and motivation. A lot of my ideas

come from nature – animals, plants, rocks, water and sky. Sometimes the connection is visually obvious ( the felt sculpture “wallaby”, or the felt picture “Lost”), and sometimes the initial inspiration is lost in the ensuing development of the work, such as the jumpers “Tane” and “Papa”. When working on a piece, I need to make it the priority for my time and effort, so set time aside until it is finished, but I also need to have release periods where I get up , walk around, drink coffee or whatever it takes to release tension that develops around the exhilaration of creating something satisfying. What highlights and achievements have you had I have no creative qualifications or training. It has been a personal journey. Recognition highlights include invitations to tutor at a national level, for instance Creative Fibre Festivals and by interested groups throughout New Zealand; invitations to write articles for Creative Fibre Magazine, Black and Coloured Sheep Magazine and West Australian Woolcrafters. I had initial setbacks entering juried displays and exhibitions, and I was put off (items declined for reasons I did not agree with, an accepted item hung upside down) I decided I did not need this type of recognition, and I have not entered them since. I am mostly creative for my own satisfaction, and find I do not need other people’s judgement. However, it is nice to know other people appreciate my work, especially when they buy it! Tips and advice for others finding their creative path: Believe in yourself. Don’t rely on the opinions of others, but be open to constructive feedback. Value your time, talents and creative skills, because most people and potential customers rely on the price you place on your creation to determine value – so don’t set your price too low. Set your goals and challenges to suit your needs: others will work around you.

Would you like to add anything else?

Teaching night school taught me that creativity is not just about making or doing new and interesting things. I realised it has the power to change your view of the world, and to change the world around you. This was brought to my attention one year when three separate students approached me at the end of their courses, and thanked me for changing their lives (Not for teaching the course, but for changing their lives - Wow). One had been able to come off antidepressants, another had found the courage to go out and face the world, and a third had found inspiration. I believe this was because they had experienced personal growth through engaging their creativity, and by doing so had found a way to look at their world from a different perspective and to experience the sense of freedom and confidence that comes from that. What I learnt was that I was not teaching spinning or weaving skills, but facilitating others to reach for something greater, and for that learning I will always be grateful. 19 Issue #3 | January 3rd 2018


20 Issue #3 | January 3rd 2018


Name: Ana Aceves Creative: Artist, Illustrator, Graphic Design Website: www.anaaceves.com Tell us a little bit about yourself... I was born in Spain, in a small town called Toro, which is actually only about 100 km from the exact antipode of Nelson. When I was little I knew I didn’t want to stay there, but I never thought I would end up going as far as I could possibly go. When I was 18 and after having spent a few months in Paris I moved to London. After a visit to New Zealand I knew this was the place where I wanted to spend the rest of my life, so in 2010 I moved to Christchurch with my partner Danny and my dog Samba and to Nelson right after the earthquake in 2011. What is your earliest creative memory? I have been creative for as long as I can remember. When I was little I was always up in my room drawing, writing, making things whilst listening to music. What is your background and what is it that you do? When I lived in London I studied piano and composition, but it was really hard work for me. After I finished my degree I started working as a designer for a few advertising agencies, which was also hard work, but it paid the bills. Once I left London I started my own creative business with Danny and I had time to paint and illustrate, which is what I love doing the most. Art is medicine for me, a therapy, a way to create things that I have control of. I like to experiment with different techniques and different materials. I love working with clay, paper, wood... and to explore many different subjects.

Currently, my favorite tool is an ipad, I can take my studio with me anywhere, and that’s so amazing! Explain the way in which you work: When I draw I go on an adventure, I fly on top of geese, I make friends with bears and dragons, I swim with whales... Art makes me discover and appreciate beauty in places I hadn’t imagined. Describe the people/places/idols/situations that have shaped your creativity: Most people that cross my path have had some sort of influence in me. My friends, my old teachers, my family and especially Danny and Samba. I have really bad memory for remembering quotes but I always remember a teacher who told me that you should always discard the first drawing you do, the second will be much better. I never did what he said. What highlights and achievements have you had? I have exhibited in a few galleries but I am not really driven by commercial success. I get satisfaction when someone feels identified with my work. When a small girl chooses to buy one of my prints as their only Christmas present, when childrens’ faces light up when they see my illustrations, when someone shares with me a photograph of my art on their walls. Do you have any big or exciting plans for the future? I would love to create an interactive story book to encourage children to care for wildlife and for the environment. Tips and advice for others finding their creative path: Make art for arts sake, enjoy it, play. Everyone is creative, don’t judge yourself too harshly.

Images Supplied

21 Issue #3 | January 3rd 2018


Name: Cherie Furniss Creative: Trade Qualified Sign Writer, Designer and Face Painter Website: Facebook Tell us a little about yourself... I was born on the West Coast of the South Island but my family left there when I was little and I grew up in Nelson. My parents probably wouldn’t describe themselves as arty or creative, and yet I feel I get the “practical, inspired urge” from them and many other influential creative family members, three of them being my sisters. We all enjoyed everything from gardening to mechanics, cooking to invention, with all the crazy, happy childlike painting, scribbling, giggling and playing in between! Some of the skills I have been surrounded with are cooking, photography, sewing, craft, modelling, jewellery and floristry. Music featured regularly too, we always had a piano in the house being played by family members or visitors. Of course, these skills have rubbed off on me over the years, which sparked my creative interest in pursuing art as a living. What is your earliest creative memory? My earliest creative memories were playing in the back garden of our West Coast house, inspired by nature, spending hours painstakingly designing the perfect home for faeries, using natural materials at hand. I also remember dancing often and always being drawn to pots of paint or piles of brushes! What is your background and what is it that you do? When I looked back at my school years, I realised a common factor kept cropping up – I would always present my work with great care and precision with regards to the headings and writing. It wasn’t until I reached late teenage years that I became aware of my skills with letters, numbers and typography. This led to a few after school jobs creating “ticket writing” for various businesses around Nelson, using pens, paint and brushes, cardboard and imagination! A suggestion from my Mum to contact local sign writers led me to a 5 year apprenticeship with “Ian Strickett Signs” and then “Siggies Signs”, (previous Nelson signwriting businesses). In this time, I had an amazing opportunity to work and learn from some of the most talented and experienced sign writers in Nelson. I was lucky enough to learn at a time when “old school” sign writing was beginning to merge with new technologies, so I learnt traditional sign making methods as well as being introduced to sign software programmes and equipment. I became proficient in both. I eventually left my mentors behind to create my own successful businesses, first in Motueka and then Wellington, before returning to Nelson with my husband and children. I am currently running my own business 22 Issue #3 | January 3rd 2018


from a small studio at home, with the company of my “fur babies”, Panda and Ginge (my cats) and Patch, (my dog). Explain the way in which you work: The creative process for me happens when I first meet with a customer and get a feel for what they would like. I then “brainstorm” on paper by way of sketching and making notes. This leads to refining ideas, discarding those that will not work and then taking the ideas with potential either to the computer to refine and edit, or straight to the working surface, where I mark out the design ready to execute. Having an extensive understanding of different ways of approaching the job, gives the customer and myself confidence in achieving the desired result. I get the most excitement from creating original, traditional signage and artworks with the vision to re-introduce some character and love back into the sign making industry. Describe the people/places/idols/situations that have shaped your creativity: Early in my life, I would watch my mechanic Dad, Neil, “fix, create or invent” almost anything and I thought he was so clever. I would go along with him on his many trips out to the wop wops” when he was called out to fix a digger or get a truck going. My Aunty Marilyn, who is a florist, was also a huge inspiration to me as a child. I would watch for hours, all the detail she put into wiring flowers and making bouquets and posies for many events. Equally, my Mum, Denise, has a gift as a brilliant gardener. She instilled a love of plants and nature in me. My Grandfather, Hector, was the kindest, most gentle man who even after living a very challenging life at times, was generous and loving with his time and advice. One piece of advice that sticks with me is “On the path of life, there will always be some potholes you may fall into. Pick yourself up, dust yourself off and continue confidently on your path”. Other people who I admire and have great respect for are talented local artists, Kathryn Furniss (my sister in law), Jane Evans, David Furniss, Fiona Sutherland and Suzie Moncreiff. These beautiful people keep inspiring the artist and designer in me each year, along with so many other artists, musicians, children and wonderful people I have met through the years. The Nelson region is so full of vibrancy and creativity, it seeps into your skin when you least expect it - when walking my dog, spending time at the beach, sitting in a busy, humming café or market place.

ings to manuscripts, to the modern font families and type faces. When I’m feeling a lack of productivity and inspiration, I look to all those before me who paved the way. There are incredible, creative human beings out there and it doesn’t take long to find new energy for what I love. What highlights and achievements have you had? Being a female Sign Writer in a (still), largely male industry was very challenging at times. I learnt so many industry skill’s but I also learnt a lot about myself, to keep on with what I was passionate about even when there were “potholes!”. After building successful businesses in Motueka, Wellington and now Nelson, I have more confidence to work to my strengths in my field and specialise a bit more with the skills I enjoy the most. In the past, I have been invited, as an artist, to design a Christmas card collection to support a Wellington charity, to work with the Wellington City Council on a large 20 metre mural for a children’s play area, to design and execute a mural for the Mapua Fire Brigade, and more recently I have built my side line business of professional face painting for events around the Nelson region. The encouragement and lovely comments that are generated from these and other experiences keeps that little creative light burning inside! Do you have any big or exciting plans for the future? I hope to keep creating works that reflect a realness and soulfulness and evoke both practicality and emotion in people by bringing back the “old school” ways of designing and forging signs. Tips and advice for others finding their creative path: Keep your goals fresh in your mind. Don’t be afraid of failing or putting in the “hard yards”. Don’t wait for opportunity – create it! Success is not the key to happiness. Happiness is the key to success. If you love what you are doing, you will be successful. Would you like to add anything else? Sing, dance, laugh, play, hang out in nature with children and animals. Be kind to yourself, listen to your inner dreams, breathe, and let go, because you will only flow creatively when you are peaceful inside.

What inspires you and keeps your creativity flowing? I’m inspired by my journey, of where I started, to where I am now and feeling excited about all that is to come. Being passionate about what I do and bringing my ideas to life, from designs on paper to something tactile enjoyed by many, is a great joy. I love the history of calligraphy and typography – from ancient cave paint23 Issue #3 | January 3rd 2018


24 Issue #3 | January 3rd 2018


Name: Grace Wiegand Creative: Visual Arts - Illustration, Printmaking, Animation Website: www.gracebella.co.nz Tell us a little bit about yourself...

My life began in the UK but I really count myself as a kiwi kid. In 2005 My family moved to Wellington which ended up being where I first exhibited work at the age of seven. Luckily my parents, though not artistic themselves, encouraged this creative streak within me. When we moved to Nelson nine years ago I was already considering art as my major passion and possible career choice- and this hasn’t changed since. What is your earliest creative memory? I think I’ve always been creative. Arguably most babies are, if you count spaghetti on floor as an imitation of Pollock. There are photos of me at the age of two or three proudly standing next to a life-size, full length self-portrait, however I don’t remember creating that. My first recollection is instead a drawing I did in early primary school, a simple image depicting a tabby cat lying on a patch of grass. My teacher was so impressed by it that she held it up as an example to the class, pointing out the way that I had (apparently successfully) imitated grass through the different angles of crude green pencil lines. This memory stuck because of the bashful pride I experienced, the sensation of success that came from somebody recognising me as having artistic ability. The boost from that teacher meant that I felt I could draw well if I put practise & effort in, and I stuck to that idea. I drew endlessly as a child, filling pads of paper with made up characters, dragon creatures and their biological stats, or comic excerpts from books I was reading at the time. What is your background and what is it that you do? I’m still looking to expand my artistic vocabulary and improve skills to become completely multidisciplinary, but my go-to for art making is primarily digital art. I create many of my works (painting, illustration, animation or otherwise) on Photoshop with a Wacom tablet. In the past this has been met with some criticism, as people tend to believe that the computer is doing all the work and the pieces I create aren’t ‘real art’. Conversely, I see the technology as a tool for art creation, no different to paint & a paintbrush- and digital art as a medium has galvanising potential to reshape the way we perceive and define what ‘real art’ is.

ning the whole thing out beforehand and making only deliberate conscious choices, other times I just let the piece take me where it wants to go. One consistent factor about the way I work is speed. I usually create things quickly, possibly as a result of computer time restrictions when I first began drawing digitally and animating when I was eleven. I developed a habit of completing projects under time pressure, which has assisted me with commissions and other non-art based projects. As for uniqueness- I don’t go about purposefully adding anything to my creations to make it ‘mine’. The purpose for me when I create something is not based on any relationship between myself and the work, although a lot of what I create has autobiographical roots. My style always manages to come through regardless of subject matter, and I think that’s what makes the art unique to me. I usually create pieces with vibrant colour schemes, simplified or stylised shape relationships, symbolic meaning and figures. Describe the people/places/idols/situations that have shaped your creativity: The biggest inspiration to my pursuit of creativity actually occurred this year. In July I had the opportunity to attend a pre-college programme at Rhode Island School of Design in the US. I was there for 6 weeks, and experienced a condensed version of the first year foundation programme. In this I took printmaking, drawing, design and art history classes taught by professionals who helped improve both my skills and my perception of myself as an artist. One of these teachers, Johnny Adimando, believed that as artists we should never let anyone tell us what to do with our art. Interesting advice to give to a young artist such as myself who really needs commission work and commercial projects to survive, but in the end something I really needed to hear. I have been able to reconsider what it is to be an artist and have found a newfound conviction in my work because of him saying this. I came back from RISD with a certainty that I should create, and that I want to do so for the rest of my life. Do you have any big or exciting plans for the future? I’ve just finished my final year at Nelson College for Girls and will be heading north in 2018 to study a BFA/BA conjoint at the University of Auckland. In the long run I’m hoping to become an influential kiwi artist so can’t wait to be exposed to new mediums and ideas when I’m up there. There’s no set plan as to what I’ll focus on yet, I’m keeping my options open and will see where life takes me.

Explain the way in which you work: I work differently for different projects, sometimes plan25 Issue #3 | January 3rd 2018


26 Issue #3 | January 3rd 2018


Name: Mieke van Dam Creative: Jeweller Website: Mieke van Dam Tell us a little bit about yourself... I was born in Wanganui, but spent much of my adult life in the UK. I returned with my husband to New Zealand in 2006 and we chose Nelson to live because we fell in love with the place at first sight. My father was a carpenter and I guess I learned my love of working with my hands from him. From a very early age I loved to draw and paint and later took up photography, but it wasn’t until I lived in London and trained at the Sir John Cass School of Art in silversmithing and jewellery design that I found my true ‘vocation’. What is your earliest creative memory? My earliest memory would be drawing and painting animals at primary school – for the longest time as a child I wanted to be a vet – animals fascinated me (they still do!), and I was forever trying to capture their movement and personality. In recent years I have taken up underwater photography, and so now it is the poor fish that I pursue. What is your background and what is it that you do? When I lived in London my full time job was actually as a biomedical scientist in various major teaching hospitals and somehow I acquired a doctorate along the way. However, evenings and weekends were taken up with my artistic endeavours, and I worked part time for 3 years to complete my Diploma in Art and Design. Once we moved to Nelson I set up my jewellery business out of my home studio, and have been gradually building it up over the last 10 years. I supply a dozen galleries throughout New Zealand (and one in Rarotonga) but increasingly my work is directly commissioned by customers, in many cases from overseas. I hand make each piece of jewellery from start to finish – almost all of my pieces are unique - I would get very bored just making the same designs again and again. Explain the way in which you work and how you add your own uniqueness to your creations: I either design and make pieces entirely from scratch (taking my inspiration from the colours, forms, patterns and textures of Nelson’s beautiful natural environment) or I work from a template suggested by the client (in the case of commissioned pieces). Bright colours are a great love of mine and I want my pieces to reflect that – jewellery should be eye catching and demand attention.

heim and Mark Nuell, both of whom are based in London. I have been following their work for many years, and their craftsmanship and design ethos is what I have always aspired to. My husband bought me a piece of Catherine’s work many years ago, and last year on a trip to London I was fortunate enough to meet both of them, and to add new pieces made by them to my own collection. Their work is very different in style, yet effortlessly contemporary, and oh so very wearable! What inspires you and keeps your creativity flowing? Inspiration is all around us – for instance my garden is a constant source of wonder for its colour and movement, something the best of jewellery should reflect. The same is true of the ocean, which is so much a part of Nelson life. Away from the natural environment I find the internet a hugely stimulating resource- it is a treasure trove of information on gemstones, design and marketing. What highlghts and achievements have you had? My most recent highlight was making a complete jewellery set in white gold (earrings, bracelet and pendant) for an Australian customer using the precious stones from a collection of old jewellery that she no longer wore – it was by far my biggest and most valuable private commission, and I was so pleased that she was delighted with the outcome. It is always a great challenge re-modelling someone’s old jewellery and turning it into something contemporary and stylish, and so rewarding when the customer loves the new jewels. Do you have any big or exciting plans for the future? In late September 2018 I will be attending the Goldsmiths Show at the Goldsmiths Hall in London – a fabulous chance to meet some of the great designers I admire, and to see the latest trends in European jewellery design. Tips and advice for others finding their creative path: The creative process is such a personal thing – the people around you can advise and comment but ultimately it is all down to you, and it all comes from you. Look for inspiration in even the most unlikely of circumstance - it is all there, just waiting for you. Nelson is such a wonderful place in which to find and nourish your creative spirit, and we are so lucky to live here. New Zealand is a lifeboat, and Nelson is the best seat in that particular vessel – we should all treasure and protect what we have here far more than we do.

Describe the people/places/idols/situations that have shaped your creativity: I have two particular jewellery idols – Catherine Mann-

27 Issue #3 | January 3rd 2018


28 Issue #3 | January 3rd 2018


Name: Pete Rainey Creative: Musical Director of Nelson Opera in the Park Website: Website Tell us a little bit about yourself... I am from Nelson but spent over a decade living in Christchurch in the 1980’s – I did a Music Degree at Canterbury University, and then worked as a teacher. What is your earliest creative memory? I have a strong music background, not just in individual music endeavors, but also in group music-making including choral, orchestral and bands. What is your background and how did you come to be involved in this event? I started getting involved in events at the end of the 1980’s with the Smokefreerockquest music event. This is still my main focus – as co-director of the event, which now is nationwide with around 3000 participating acts annually. In 1999, I started working on the first Nelson Opera in the Park, and have been Musical Director ever since. Explain the way in which you work, adding your own unique skills to the event: Event work in New Zealand, especially events that endure, takes a strong survival instinct. I have always pushed hard to surround myself with capable, enthusiastic co-workers. If you give people the opportunity to bring out the best in themselves, and the environment in which to do just that, then you more often than not get success. Describe the people/places/idols/situations that have shaped your passion for the arts: My passion for music – especially community music-making – has developed from the energy given to me by my parents and teachers, especially my string teachers (violin, viola) when I was starting out. I was tremendously lucky to grow up in a city that truly cherished music-making, and with a unique institution

in Nelson School of Music. When I was a kid, music in schools was really important – it was highly valued and was a much stronger part of the curriculum. What inspires you and how do you keep your ideas fresh? Young people keep the Smokefreerockquest event fresh – both the participants and the young people we employ in production – especially design. My other local events are more of the “if it works, don’t break it mold”. Opera in the Park is an established formula, and the only real opportunity for Nelsonians to experience professional orchestral creativity in their home town. I am inspired to continue to strive for better facilities for the arts – especially the performing arts in our city. What are the unique attributes that make this event stand out from the rest? Nelson Opera in the Park is unique in that it remains true to showcasing both classical and contemporary music in glorious summer outdoor venues. It maintains its reasonable ticket price, and features word class singers – all in a relaxed family picnic type atmosphere. Smokefreerockquest continues to remain relevant to both young New Zealanders and the NZ music industry as a whole, because it discovers fresh new talent annually and gives young kiwis a great platform to perform and create. Describe the highlights of this event and the way in which you anticipate event goers will benefit from the experience: For me the highlight of both events is that they create an opportunity for people to get enthusiastic about music. Tips and advice for others wanting to be involved in this event in the future: Keep going with events – you’ll never find out how successful they can become if you give up too soon. Any little known, but highly interesting facts about yourself to share? I collect classic race boats.

Images Supplied

29 Issue #3 | January 3rd 2018


Name: Pip Pottage Creative: Textile Design and Maker Website: www.pippottage.com Tell us a little bit about yourself... I grew up in Nelson for most of my life, leaving for Uni then to Canada, where I eventually became a dual Kiwi/ Canadian Citizen. I returned to Nelson after 15+ years away and love it more than ever. My parents were both very strong and meticulous craftspeople. My mum has always been a seamstress, both professionally and for fun, as a Tailor and Dressmaker. We used to spend endless hours at the sewing machine, and drooling over fabrics and pattern books at Trathens! She could always make me exactly what I wanted, and quietly figured out all the trickiest bits of fashion I threw at her (the 1980’s was a challenge for her I’m sure). My dad was a carpet and vinyl layer, despite it being contract work, but I also spent my summers working for him (in my late teens) I respected the way he could stitch the carpet in such a way that you couldn’t ever see the join, or how he thought about how the pattern would look with the angles of the walls. Although he would never admit it, I think my dad secretly likes art, he was always curious when I bought home my Art History homework! I loved drawing, painting and playing with clay growing up and as a teenage I really enjoyed black and white photography, but it left me for a time when I focused on being a student and then a “career” oriented person, but came back to me years later after returning to New Zealand. It started with when I was pregnant and grew until I just had to do something. I couldn’t stand the fabrics that were around for me to decorate our nursery, so made do with some pretty zany fabric choices to make blankets and swaddles and it kind of blossomed from there. Now I’m almost obsessed with sketch books and digital design. I’ve gone from not even knowing what a sketch book was a few years back using up 10 this year. It’s like meditation for me. What is your earliest creative memory? I have this wonderful memory of when I was about 8 or 9 and my parents had just moved up on to the hills in Stoke, we got to witness the spectacular sunsets everyday. I’d sit on the terrace and sketch the mountains and sky with pencils or pastels, it was so warm and stunning being bathed in the end of day sunlight. What is your background and what is it that you do? I guess you could say I realised later in life that I was a creative. My “career” was in Marketing. I had many successful years in the printing industry in Canada working my way up. While working in the custom print30 Issue #3 | January 3rd 2018


ing department I’d use every excuse to talk the graphic designers through my customers “very complex” design so I could sit there and watch them, and then as a Marketing Manager I loved sitting with the Graphic Designers to work up my advertising materials. A year later, after moving back to New Zealand and putting my career on hold to have kids, I started a small side line business after my friends and family started asking for my blankets.

them on products on my Redbubble store to see if they will have the desired look.

Back then, in 2011 my hobby business was called Empire Eco Designs, and I made only baby blankets and swaddles – mostly for friends and family but online sales trickled in. My very first market was the first Great Christmas Market at Founders Park. I completely sold out of stock, so I was hooked.

Describe the people/places/idols/situations that have shaped your creativity: I’m a bit of a magpie and draw inspiration from so many sources, I’m particularly inspired by other creatives and their practices. I’ve been following artist Lisa Congdon for years and am drawn to her simple whimsical style, I also love vintage prints like Florence Broadhurst and Swedish embroidery colours and shapes.

Shortly after then I decided to go all in, for 100% eco friendly fabrics to reflect how I feel businesses should be ethically minded. But it was brutal and near impossible to try and find fabrics for my products, in a price bracket that would be affordable for the typical client that were in keeping with my aesthetic and the trends. I remember thinking to myself “it must be possible. Surely someone will do it!” but I just couldn’t find anything that appealed. And the more I pushed the more No’s I got. NZ Fabric distributors used to laugh at me when I asked to see their organic range. So I decided to learn how to design textiles and be in charge of my own production, I started a course in Graphic Design at NMIT in 2013, this extended into a drawing and design course which involved screen printing. I was hooked! I would love more than anything to screen print all day long, but there simply isn’t enough time in the day (and my workshop is tiny). So now I get my fabrics digitally printed overseas in USA, Europe and Australia depending on the fabric I need. All of my suppliers use Eco Friendly low impact fabrics and dyes. Shortly afterwards I renamed my business to Pip Pottage Designs to reflect the growing number of my own original textile designs being a feature of my range. Now I try to design two new surface pattern collections a year that I roll out across all of the products in my range, and as inspiration hits me I may release one or two more for fun! Explain the way in which you work: I spend quite a bit of time collecting ideas about shapes and colour. I take lots of photos of nature, cut images our of architecture or design magazines and spend a lot of time on pinterest. Once I have some shapes and colours I’m happy with I play around with them in Illustrator (or Photoshop) for days, or sometimes weeks… print them out and test

I love strong contrast with lots of black or white, bold colour and a little of the unexpected in my patterns. Symmetry makes my heart sing, however I also like a line that’s a little wiggly or randomly placed shapes just to catch the eye off guard a little and make you stop and think, or add a little whimsy is also fun.

What inspires you and keeps your creativity flowing? My drive is to bring beautiful fabrics to eco conscious individuals so they can have a choice that is in alignment with the ethical beliefs AND their eye for beauty and detail in homewares. I firmly believe we should not be in a situation where we have to choose eco friendly – or design. We should have the option for both. So, that’s what spurs me into action. I kind of feel like if no-one else will do it, I’m gonna! What highlights and achievements have you had? My biggest achievements so far have been working with the Auckland Art Gallery on a happy bucket collaboration, they’re called Banner Buckets. I get to work with massive banners from old exhibitions, making storage baskets from a mix of the banners and a wonderful hemp/organic cotton fibre I use for my own products. I’ve worked with some amazing pieces, and it’s been such a fun, ongoing project and have saved many large banners from ending up in the landfill. It’s very satisfying. A few months ago, a friend was telling me about how she knew a customer of mine who’d bought my cushion covers at the Nelson Market and it had inspired her new décor and colours! I was pretty proud of that. Tips and advice for others finding their creative path: When I started on this journey I was completely overwhelmed with all the options and the impressive talent of creatives at large. A dear friend of mine said “just pick something”. My answer to that was pick something and just a pen and blank piece of paper and just do something, anything at all. Once you start its not as intimidating as you might think.

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MA TE HURUHURU KA RERE TE MANU MA TE HURUHURU KA RERE TE MANU - Adorn the bird with feathers so it can fly Having the desire and opportunity to be a creative person has enriched my life beyond measure, in fact I cannot imagine what my existence would be like without this, nor indeed without being able to enjoy other’s creativity. Like many people on this path I simply take this as a given, rather than being the privilege that it really is. I firmly believe that everyone of us has a creative side itching to get out in one form or another, but for many, circumstance inhibits and often precludes the satisfying this need. Picasso said, “All children are born artists, the problem is to remain one as we grow up”. The ‘problem’ is multi-faceted, but sadly one main aspect is the harsh reality that creativity is undervalued in education, and consequently by society. I won’t go into detail about this here, but would thoroughly recommend watching Sir Ken Robinson’s very informative and entertaining TED Talk ‘Do schools kill creativity?’, which broaches this subject this most eloquently.

cover and embrace their creativity in a ‘safe’ and supportive way devoid of stigmatisation. Allowing people this ‘freedom of expression’ not only recalls the innate pleasure experienced in childhood, but for those who have been marginalised through circumstance, provides an opportunity to be a part of something that is ‘valued’ and thereby gaining self-esteem and wellbeing through a sense of contributing to their own communities. Over the decades there has thankfully been a slow but steady appreciation of the important role creativity plays in our everyday lives along with the realisation that community creative expression underpins and defines our culture. Whilst individually we may not all soar as eagles, let us all have feathers with which to fly and fill the sky. Whiria te tangata ka puta he oranga, whiria nga mahi toi ka puta he tino rangatiratanga. - Weaving people promotes well-being, weaving the arts promotes excellence.

You would have seen children drawing or performing and witnessed the innate pleasure they derive from the activity; do we outgrow this instinct? I think not, nor do I believe that it is the quality of the product that is important, rather the creative act itself that is so essential to their and our wellbeing. Having been actively involved with Community Arts for over thirty years, I have witnessed the benefits that both active and passive arts participation afford to those, particularly from mid-teenage years and older, whose creativity has been suppressed. Commonly the reasons for this are socio-economic, physical and/or mental impairment or simply because they feel (or have been) convinced that they are incapable. The rewards from working in community arts are sadly (and interestingly) not financial, they arise from enabling people to access, re-dis32 Issue #3 | January 3rd 2018

Lloyd Harwood Arts Council Nelson’s Community Arts Manager www.acn.org.nz


Keep It Real I hold a strong belief that if you earnestly want to achieve a skill, and are prepared to put in the persistent effort to learn it, then you probably can. (As I write this I can hear my mother exhorting us kids to this very belief.) Realistic expectations are important to healthy esteem. Curiously when it comes to art, I find that students tend to expect that everything they undertake, be it drawing, painting or some other kind of creative endeavour, that the result should turn always out to be one that they will be proud to display. When I suggest that the project be broken down into achievable learning steps, that even a complex image is possible – not necessarily all today however I see the look that says “Really?” come across their face. The fast pace of the world today where images are readily captured in a few seconds on our electronic devices, that communication across the world is almost instantaneous – it seems that few of us are prepared to gently and repeatedly practise the parts until we are ready to produce a completed project that meets our expectations.

A few years ago, we invited a highly respected pastel artist to provide a demonstration in-store at one of our customer evenings. The demonstration progressed at great pace and with clear confidence in everything he was doing. For days people came into the store raving at how wonderful his skill was. I even spoke to someone who had overheard a group at the local pub who had been discussing the performance and wondered if he could possibly see one of the two paintings. What those people did not appreciate was that the artist revealed during our after-event glass of wine, that he had made at least 30 planning drawings in the preceding week. And that he has an annual bonfire of works which did not meet his expectations. So, let’s keep it real. Strive, put in the effort, and accept that good things take time.

I like to reiterate the old joke of “How do you eat an elephant?” Answer: - “One bite at a time”. The same is true of building any new skill. I certainly suffered many tumbles and scrapes as a youngster to learn to ride a bike – but that did not put me off. And my first attempt at making scones resulted in the most solid, jaw-breaking mounds of batter possibly ever baked. But with practise I learned to do both. I’m one of those who are not naturally talented at art – but what I have achieved, I have done with persistence. When I look at the drawings of Da Vinci and see working lines which have been amended to improve the final drawing, and hear of art museums revealing whole other paintings hidden under the one on display I am reassured that despite their huge talent, not every mark made by those artists we admire was to their satisfaction.

Glenys Della Bosca Impressions Art Supplies & Picture Framers www.impressionsnelson.co.nz

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Colour in Your Life Colour In Your Life, is a television series created by Master Artist and CEO Graeme Stevenson. It began in the small town of Murwillumbah, just south of the NSW/QLD border in Australia, and from this incredibly artistic region has spread out to encompass the arts and artists of Australia, and the world. The website, which runs in conjunction with the TV Series, was created in the hopes of building an Arts Hub for artists all around the world. Here, it is Graeme’s hope people can share their knowledge, display their work, and learn as much as possible from others. The episodes are also available for viewing, and it is here that Colour In Your Life hopes to create a library of the minds of Artists – a digital record of the many varied talents and techniques of artists that might otherwise have been lost when their time came. The website and television series offers investors, educators, students, teachers, and people all over the world the chance to have access to the enormous creative energy that is part of the minds of right-brained people. Art and what is does for our society is incredibly important to the spirit and souls of all that see it. In 2011, after the crippling effects of the global financial crisis, it became apparent that people of the world were no longer going out to buy or enjoy art. Over 50% of galleries across the globe were closing, and it occurred to Graeme, after working with The Fine Arts Showcase in America, that it was time to take art to a digital platform. Realising that the techniques and knowledge of great artists are often lost once the artist has passed on, Graeme concluded that a television show that captures artists in their studios, creating their pieces, could be utilised as a digital library. He coined the term ‘a library of the minds of artists’, and with this in mind, he made the decision to study Film at a TAFE in Murwillumbah, NSW. By the end of this course, Graeme had produced the first six episodes of the now nationally aired TV Series ‘Put Some Colour In Your Life’. 34 Issue #3 | January 3rd 2018

Put Some Colour In Your Life, often simply referred to as ‘Colour In Your Life’, was fostered in the Green Cauldron of the Northern Rivers, NSW, with much of the opening credits hoping to promote Mount Warning and the stunning landscape. With the largest concentration of artists in the country situated within the Northern Rivers region, the series had some incredible artists come on board in the first few months. It was also during this time that Graeme met and began working with videographer Sophia Stacey. For approximately the first year, Colour In Your Life aired on paid television channels gradually building a name for itself. In 2012, the show was nominated for two Logie awards, one being for ‘Best Host’, and the other ‘Best Light Entertainment Program’. In 2012, Colour In Your Life began to air nationally on the network TV 4Me. As time progressed, Graeme began to further develop the website to match the television series, wanting to offer artists around the world a communal place they could speak, share ideas and information, and enjoy the show. A ‘Facebook for Artists’, as it were. This was developed simultaneously with the Colour In Your Life Facebook page, and now both interact seamlessly in an effort to further promote the great artists of the world. The series has since been picked up by freeto-air New Zealand, Sky TV,4 other stations in New Zealand, Foxtel Aurora 183,all community stations in Australia, over a hundred stations in America and now also stations in Austria, Canada, Britain, Wales and Ireland and Graeme is in constant talks with agents in America, and other parties interested in the series across the world. Receiving frequent feedback from other countries such as America, Canada, Europe, Scotland, South America and the Philippines, Graeme perseveres knowing that his artistic message is reaching people around the globe. It was during the middle of the year in 2012 that Graeme and the team were approached by the


Colour in Your Life Continued... Junee Correctional Facility, about the amazing impact the show had had on the inmates and their rehabilitation. From this, the Junee Gaol Episode was filmed, in which Graeme and several of the Colour In Your Life Team went inside the prison to teach the inmates. After this incredible experience, Graeme realised that there were more people across the country that didn’t have access to their creative right brain, and he began the process of creating the Paint Your Life Foundation. This Foundation is able to provide creative outlets for all manner of people unable to access it on their own, from the elderly in nursing homes, people or children suffering from disease or illness, and prison inmates. The series, as of 2017, has now filmed 18 seasons, over 200 hundred Artists in 4 countries with the one of a kind and never before attempted episode on ‘The Three Amigos‘, it was decided that Colour In Your Life would travel the globe to film some of the incredible artists of the planet. It is Graeme’s hope, that Colour In Your Life will soon be able to travel to countries all over the world, filming artists in their studios and preserving that knowledge and craft for future generations.

Graeme Stevenson Colour in Your Life www.colourinyourlife.com.au 35 Issue #3 | January 3rd 2018


What’s Up Art School? The ‘Rogernomics’-led neo-liberalist attack on education - part and parcel of the logic of smaller more “efficient government” - has been successive governments policy for the last 30 years. And, let’s be frank, deregulation and the back-door privatization of learning is one of the unfinished projects of tertiary education reform. Making students pay for their degrees was a scheme dreamed up to take the burden of tertiary learning from government. It promised to create a ‘level’ playing field in accessing tertiary education. Allowing overseas students tertiary study in New Zealand enabled institutions to access funding at no cost to the government. The carrot at the end of that stick was part-time jobs, the possibility of residency after study, opening the back-door to rampant immigration. Papers accessed under the New Zealand Information act suggest that Immigration New Zealand believes that businesses are deliberately targeting foreign students as cheap labor and charging them thousands of dollars that lead to residency: “the practice is an established business model, with some businesses developing relationships with private tertiary institutions in order to get access to students. . .” i Within the sector the pressure is on to pass fee-paying students: Courses measured on success rates has placed undue pressure to allow students to pass. Student’s (both foreign and domestic) ‘expect’ to pass because they have ‘paid’ for their courses. Keeping “bums on seats” has become the prevailing modus operandi in keeping courses financially viable. It’s created a buyer’s market in which the consumer expects a degree merely because they ‘paid for it’. Traditional notions of learning (and ‘earning’ a degree) have been jettisoned. Institutions are ‘going broke’ ‘tracking’ the progress of their graduates in order to prove that the degrees being churned out are ‘relevant’. Degrees are evermore tailored to immediate ‘market forces’ – ‘future proofing’ against inevitable technological change – claims made in hard-sell propaganda has hoodwinked no-one. While it may not have been governments strat36 Issue #3 | January 3rd 2018

egy to allow less qualified local students and overseas students to be admitted access to tertiary institutions, overwhelming anecdotal evidence suggests otherwise. Allegations of overseas students not having the required levels of English; that the quality of testing of English levels by independent agencies are questionable are becoming more frequent. Recent investigations of students ‘cheating’ or being assisted through exams by tutors is evidence that something is tragically amiss. Endless cuts in research funding has kept the economic squeeze on in the tertiary sector. Vice Chancellors of Universities and CEO’s of polytechnics have become totally obsessed with the ‘bottom-dollar’ and keeping ‘bums-on-seats’. In the meantime, the tertiary sector has been forced to become ‘money-grubbing factories’ exploiting students and churning out graduates that have questionable skills. New Zealand art schools (whether located within the university or the polytechnic institute) have not been immune to these larger economic forces. The new measuring stick for a degree’s success is now formulated by the question: Can the degree deliver ‘jobs for students’? Such a question would never have been asked of a Fine Arts Degree thirty years ago. But wait a minute, degrees have never been a guarantee of a job. And neither are they today. However, managers intoxicated with neoliberalist zeal, often with no background in academia, education or the creative industries, fervently chant the mantra that all courses have “measurable market outcomes going forward”. The NZQA requirement that a higher qualification was necessary to teach on a degree programme was modified to a higher degree OR to the ambiguous “relevant industry experience”. This ambiguity, coupled with pernicious economic pressure has forced institutions – particularly polytechnics to employ tutors with dubious qualifications, tragically limited industry experience (those with successful industry experience stay in industry unless they have been burnt out) and little or no educational experi-


What’s Up Art School? Continued... ence. Institutions recognizing the predicament created their own ‘in-house’ “adult learning and teaching” qualifications which staff are meant to complete in “professional development programmes”. The upside of this strategy is ‘cost efficiency’: Institutions could now employ a cadre of unqualified staff at lower rates despite the fact that graduates with higher degrees are available. It has encouraged the employment of grossly unqualified and inexperienced staff, giving them ‘on-the-job-experience’ and creating a pool of short-term contract staff (often ex-students) that are cheap and pliable. The downside is a cycle of self-justification and self-fulfilling prophecies: The reinforcement of parochial educational values; the demonizing of academia, and an uncritical association with industry (‘industry can do no harm’ is the dictum). These policies have resulted in lower learning standards that many see as a result of the “unhealthy” relationships with industry. The ‘kneejerk’ reaction to government policy and media pressure, has resulted in an ingratiating education sector ‘cozying-up’ to corporate interests. Over-representation of industry on academic advisory boards is rife. Consequentially learning is continually warped to short-term industry goals by promoting ‘marketable’ technical skills. In return “recognized” industries gain access to the ‘best’ and ‘brightest’ by providing (often unpaid) internships that rarely eventuate in permanent employment, establishing a conveyor belt of convenient labor. It’s a relationship where the educational institution gets kudos for ‘placing’ and ‘tracking’ students into ‘jobs’ (albeit ‘short-lived’ - internships are just long enough to provide an ‘employment’ record) and where industry gains access to a steady stream of naïve workers, through ‘fast-track’ student-to-work schemes. It’s a problematic symbiotic configuration whereby industry coopts and dictates to an educational environment that at best can only be described as exploitative, encouraging the perpetuation of a self-serving a slave-labor structure that enriches the financial elite. The infrastructure is so saturated in neoliberalist ideology that its permutations are hard to recognize. It indoctrinates and dominates every

belief and action; it pervades and monopolizes all thought. The word ‘academic’ is now synonymous with irrelevant ivory-tower attitudes - even within the academic institutions themselves, an irony which is lost in the ‘rational’ logic of neoliberalism. Susan Edmonds in ‘Kiwi businesses commit to 'no qualifications required' hiring’ (26th Set 2017) claimed that some 100 New Zealand corporations (including ASB, Microsoft, Vector and Fonterra) declared they are willing to employ people with no formal qualifications is testimony to the perceived value of vocational degrees.ii Such media scapegoating of education is also part of the relentless attack to further discredit academia. It’s part of a continuous scaremongering campaign whose aim is to solicit governments, to stampede the general public, and to browbeat educationalists into thinking that New Zealand tertiary institutions are full of “pointy-headed” academics and therefore ‘out of touch’ with reality. The demeaning of academia is the process by which media (in the control of neoliberalist ideology) manufactures consent by co-opting government into allowing corporations to bypass immigration requirements and employ unqualified overseas personnel (a cheap unregulated labor force) simultaneously exerting more pressure to privatize learning, de-regulate their own tailor-made ‘training schemes’, and lower academic standards. Such campaigns demonstrate the desire for even greater control by an all pervasive ideological framework. The Fine Arts degrees of the 70’s and 80’s (including design, graphics as well as the more traditional fine arts such as painting, drawing sculpture, etc.), were morphed in the mid 90’s into ‘arts and media’, ‘visual arts’, ‘design’ degrees, and ‘graphics’ degrees (to differentiate them from the very un-PC ‘fine arts’ degrees). Since 2008 we have seen the emergence of ‘Creative Industries’ degrees in the attempt to align learning with neo-liberalist ideology and to imply jobs at the end of degrees. The content of these courses fundamentally are no different to what has been taught for the last 30 years within the traditional Art School - with two glar37 Issue #3 | January 3rd 2018


What’s Up Art School? Continued... ing exceptions: the overwhelming absence of academic content coupled with the proliferation of computer graphics. An orientation regarded as paradoxical given the ubiquitous availability of online training programmes for graphics courses through sites such as Lynda.com, YouTube etc. The availability of such learning platforms should have revolutionized teaching and learning to the point that that cultural theory, cultural-critical analysis, media-theory, and the contextualization within the cultural paradigms we find ourselves in could be strengthened not eradicated. But No: Research and academic content has either been ghettoized or reduced to a paltry token gesture in the ‘new’ ideologically orientated ‘vocational’ creative industries.

the neoliberalist frame work aimed to reject: the eradication of historical and cultural contexts, the de-contextualization of artist/creative practices from critical discourse and re-contextualization within the neoliberal economic paradigm; it allowed all ideological imperatives operating within our culture to be obfuscated if not totally submerged; forgotten.

Critical thinking requires research: Reading, writing comprehension and reflection. It encourages analytical skills and stresses independent thought; demands us to question culture and the authority of received wisdom: attributes not high on list of the wish-list of prospective employers subservient to neoliberalist values. “We-make-money-not-art” is the maxim of the contemporary ‘creative’. “What’s there to be critical about?”

Through the lens of neoliberalism ‘creatives’ are encouraged to think of themselves as the owners of their own talents and initiative: they are taught to compete and adapt (to the market). “Agility”, entrepreneurship”, “innovation” and “collaboration” are now key terms that are bandied about the creative industries as if they were entirely new concepts exclusive to the new corporate environment. The attitude of the salesman has become the dominant prevailing force in all modes of self-expression. Economic competition is the only legitimate organizing principle for all creative production - it’s also the only worthwhile critique. Students are encouraged to customize their work to the market. If they fail, they lack merit. They are discouraged from reading, writing, and any critical thought. They have learnt instead to emulate Facebook’s: “like” or “”. This vacuous assessment is the sum total of contemporary critique. As such the “creative” adds to the tiny cadre of winners and the enormous army of losers: There is an inevitable relationship between the utopian ideal of the free-market and the dystopian present in which students find themselves as soon as they leave the art school: between the market as arbiter and guarantor of unique value and the descent into post-truth, disenfranchisement from humanist notions of equality, liberty, and fraternity. All that is left is inequity, anxiety, servitude, the threat of failure and despair.

No surprise then that in this hostile climate that all forms of academia were quickly ditched: Art history, theory and cultural theory explored the contextualization of creative production in highly critical ways; they helped unmask the ideologies which drive and support creative endeavor in different social milieu. The term “academic” became the default term that covered all that

Despite the forced orientation towards the “free-market” that Reagan and Thatcherism ushered in 30 years ago, the future prognosis does not look promising. A recent study by the UK Department of Education suggests that young people with creative arts and design majors face the lowest median earnings across all disciplines. They have also found that “the

The reasons are obvious. Mangers were loath to employ anyone more qualified than themselves: Having a higher degree has become a pseudonym for being a ‘threat’ or not ‘practically orientated’. The end result is that an overwhelming majority of staff are directly from ‘industry backgrounds (being cheaper to employ), and either so steeped in neoliberalist ideology that they misrecognize it in themselves, or don’t have the academic tools to diagnose it so they perpetuate it unthinkingly. They recognize instead its enemy: Critical thinking.

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What’s Up Art School? Continued... relationship between studying a creative subject and having a creative job is also quite weak” Dr. Dave O’Brien further states that the data shows that most creative graduates are not earning a decent wage: “even five years out of school they are still not paid enough money to meet the annual earnings threshold”.iii Nevertheless New Zealand Art Schools and Creative Industry courses blindly follow this model duped by an omnipresent neoliberal ideology. Friedrich Hayek’s ‘Big Idea’ that “the price system—free markets—did a remarkable job of coordinating people’s actions, even though that coordination was not part of anyone’s intent”, has come to roost within the creative industries. iv The spontaneous forces of “automatic adjustment” don’t just facilitate the production and trade of creative endeavor; they reveal objective knowledge: a kind of truth. The veneration of the free trade model within the art-creative education sector has brought us to this disturbing conclusion: within this model it is possible to discern the ‘truth’ of what is valuable - and it’s not people or creativity. The startling ‘objective’ truth is that art and creativity under neo-liberalism is no longer viewed as the conscience of society reaching for desirable social ends since all humanist values and causes have been abandoned. Within the omnipotent cultural force of the ‘free market’ the neo-liberal creative is selfish, ruthless, immoral, unethical, has no social conscience and is poor.

among the highest in the OECD, theft of our ‘clean green’ environment. . . abject despair is all that’s left. What space remains outside of the present ideological neo-liberal framework? Is there room for a creative imagination that critically explores the freedoms articulated by such a space? Is it possible to generate a creative practice that stands apart from the state sanctioned economic infrastructure that fuels and confines present artistic direction into the economic pragmatist conformity that Hayek predicted? Is there any enthusiasm left that embraces a creative pursuit that questions inherited wisdom; a practice that engages in social dialogues and ethical considerations and intervenes in the injustices caused by the economic forces which alienate people from their families, ridicule their beliefs, disenfranchise them from their cultures, estranges them from each other, constructs and fuels anxieties and orientate them to “making a quick buck” whatever the cost to themselves and to society? Yeah. . .Nah! Dr. Graeme Cornwell

‘Creatives’ won’t be fighting for social justice or democratic values in this spectacle of inflated market prices. Instead the arts career headlong into capitalist models of maximum growth, aggressively engage in the gentrification of the most socially engaged forms of cultural production as everything is turned into the orgiastic spectacle of commodity in the ever-expanding, ever-adapting crushing consumer culture of capitalism run amok. In this merciless climate of cultural genocide, rampant child-abuse, soaring housing prices, a bourgeoning homeless, a discriminating health system, a dehumanizing prison system, a social order where suicide rates amongst youth are

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39 Issue #3 | January 3rd 2018


Creative Nelson News & Updates Thanks for all of your support for Creative Nelson!

SPONSOR OPPORTUNITIES Creative Nelson is looking for regular sponsors to contribute to creating the magazine. This contribution covers a small portion of the time involved in putting the magazine together and the various other aspects of publishing. You can be an ongoing sponsor or a one off sponsor, anything is greatly appreciated. As a sponsor you will get recognition on the inside cover of the issue you are sponsoring: Gold Sponsor $100 (2 available) Silver Sponsor $50 (4 available)

= $500

Bronze Sponsor $20 (5 available) Please email me if you are interested in sponsoring this project. studio@studio-s.co.nz We need you to help grow this and want to help you grow too!

INTERACTION & NETWORKING Collaboration is a fast growing resource in the region and we want to make sure you are utilising it where possible. There are lots of art groups, creative groups, networking opportunities and ways to connect. If you attend or operate one of these, we would love to feature your listing in future editions to help people find you, please get in touch. Creative Nelson has an online creative community on Facebook called Creative Nelson Networking. It is a private group for Creatives from Nelson and Tasman to network, bounce ideas off each other and build up collaborative connections. You just ask to join, answer the 3 important questions and I will add you to it. You don’t need to live in the Nelson and Tasman region to read the eMagazine, but you do need to live here to participate in the Creative Nelson Networking community. We connect with you through Facebook and the eNewsletter subscription, so make sure you have ‘liked’ the Facebook page and subscribed for Free to the eNewsletter to keep up to date with all the happenings and news for upcoming issues. (We don’t share other posts on the Facebook page and leave those to the Creative outlets who specialise in those areas).

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THANK YOU! Please spread the word, share the pages and eMagazine with your friends and family.

Want to be profiled? Check out the website! Please fill out the contributor application on the website so we can add you to our database to be approached for future editions.

WE ARE LOOKING FOR - Creatives to Profile -Art Galleries - Art Groups - Local Support Organisations for Creatives If this is you, please email Amanda studio@studio-s.co.nz We are looking to create some helpful listings for local creatives. No charge.


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Creative Nelson - Issue #3  

The 3rd Issue of Creative Nelson showcases 13 talented Creatives from the Nelson/Tasman Region. Painters, jewellers, designers and more. Fre...

Creative Nelson - Issue #3  

The 3rd Issue of Creative Nelson showcases 13 talented Creatives from the Nelson/Tasman Region. Painters, jewellers, designers and more. Fre...

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