Creative Nelson Issue #4

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Issue #4 |

April 14th 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 #4 Published April 14th 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 Issue # 4 of Creative Nelson! Signifying one whole year of the magazine!. This issue has taken me from Ngatimoti to Cable Bay and various studios in between. Seeing the environments where creation takes place never ceases to amaze me and is one of my favourite experiences of compiling the creative profiles. Each space is so unique. But, it is with a heavy heart I announce I will be taking a break from this adventure and will miss meeting such talented people and seeing their spaces. After commiting a year of my life to what has to be my favourite project yet, I am now redirecting my energy inwards to re-energise and focus on myself and improving my health. I plan to come back to the magazine as soon as I can and have a large list of creatives to profile that I will keep adding to while I take a break, knowing that I will definitely be back. This magazine has not been possible without all of your support and kindness and I am so grateful to you all. Please take the time to read about some of our outstanding local creatives and take inspiration from them to pursue whatever it is that makes you happy. This is your life to live, make sure you live it well! Amanda Sears


Adam Styles Artist & Creative Metal P-6

Lyn Broughton Painter P-8

Sue Cederman Garment Designer P - 10

David Haig Furniture Maker & Wood Worker P - 12

Gina Gaskell-Berry Painter & Screenprinter P - 14

John Jepson Artist P - 16


Judith Keylock Textile Artist

article

P - 30

P - 18

Dennah Lloyd Jewellery Maker

Article Colour in Your Life

article

Article Impressions Picture Framers & Art Supplies

P - 20

P - 33

Sarah Sears Cake Maker

Article By Dr Graeme Cornwell

P - 22

Ana Galloway Photographer P - 24

Hannah Starnes Painter P - 26

Amanda Sears Creative P - 26

article

P - 34


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Name: Adam Styles Creative: Artist & Craftsman in Metal Website: www.creativemetal.co.nz Tell us a little bit about yourself... I’m 44 years old, born and raised in Nelson. My creativity was encouraged from a very young age where I spent many hours drawing, painting or making various sculptures and models from clay, paper mache or anything useful that I could get my hands on, mostly for pleasure or simply to pass the time. I have always enjoyed using my hands and imagination to build or create both practical objects and art. What is your earliest creative memory? One of my earliest creative memories would have to be making some interesting looking paper mache model dinosaurs to satisfy my childhood fascination with anything prehistoric. What is your background and what is it that you do? My career background is engineering, specifically fabrication that I began partway through year 13 when I was offered an opportunity in a local company. At the time I considered it a short-term break from schooling rather than a career – 26 years later here I am still learning new skills and techniques to form and manipulate metal into an interesting and varied range of products and creations using welders, heat, grinders and sometimes just a hammer and a few encouraging words. I now specialize in custom decorative metalwork including gates, balustrades, furniture, home and gardenware, art and sculpture. Explain the way in which you work:: The process begins with a client who is after something specific and custom made in metal. I can design for them something unique or develop their ideas into something they are wanting. No off the shelf imported products here. Sketches are then drawn and once a decision has been made manufacture starts. As I am the only person in this process my clients get a personal service from the design to manufacture to the install if necessary, something that is very rare these days. I get the greatest satisfaction of seeing every job from beginning to end.

they were seen by a Wellington gallery owner and I was invited to my first serious exhibition. One exhibition led to many more including many commissions and I never looked back, all the while honing my engineering skills and works. What inspires you and keeps your creativity flowing? I find nature inspiring along with a vivid imagination. My clients help keep the creativity flowing with new ideas and challenges every day. My two daughters inspire and motivate me to keep doing what I’m good at and love, along with my wife supporting me and occasionally needing to remind me that I need to have a work- life balance. I often need to take time out on my mountain bike in the Nelson and Richmond hills to recharge. What highlights and achievements have you had? Without a doubt the biggest highlight and achievement to date would be when I took the plunge and decided to go out on my own creating Adam Styles Creative Metal three and a half years ago. Being self–employed and finally getting the recognition for all of the hard work that I have put in after 26 years is just so immensely rewarding. Do you have any big or exciting plans for the future? My plans for the future are to continue to do what I’m doing now. Keep on creating stunning gates, balustrades, furniture and metal art and things that people love and will continue to love in and around their properties for many years. I’m confident I have the recipe right, with so many of my customers returning time and time again and referring me to their friends, families and work colleagues. Word of mouth in a place like Nelson is invaluable and has definitely proven as such for the success of my business. Tips and advice for others finding their creative path: Do what you love and do it well – don’t half ass anything. Stay motivated and passionate and be prepared to sacrifice time for work especially when things are busy. Don’t sweat the little things or mistakes and celebrate the successes!

Describe the people/places/idols/situations that have shaped your creativity: In the early years while learning engineering I would spend much of my free time experimenting with metal art, often inspired by fantasy and science fiction artists and literature. My first few pieces were noticed and purchased by customers which motivated me to explore my art further. I was given the opportunity to display some pieces at Café Affair in Trafalgar Street where 7 Issue #4 | April 14th 2018


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Name: Lyn Broughton Creative: Painter Website: lynbroughtonart.weebly.com Tell us a little bit about yourself... I am a self taught artist, formerly working in stained and leaded glass. In 1995 we retired to pursue other interests... but, after a hiatus of about 15 years i got back into the arts n started painting in acrylics in about 2007. I was brought up in Western Australia and came to NZ in the early 70’s, to hitchhike round the South Island with my sister ... and never went home! A Youth Hostel romance led to a house in the misty Rai Valley for 10 years where we lived the hippy adventure of back to the land, and supported ourselves with various art ‘n’ craft adventures. When we became interested in the revival of leadlight glass as an art medium, we decided it was time for a change and moved to the ‘Big City’ ie. Nelson. Both my grandfathers were prolific watercolour artists, and my mother was very creative in the sewing department. Not to mention those lovely little paper dolls she would draw for us, that we could design up dresses and outfits for. Well i guess my home life gave me a grounding in making things, then those early days of subsistence living in the Rai in the 1970’s got me into creative crafts. But it was working in glass in the 80’s and 90’s that brought out my love of colour and design. What is your earliest creative memory? I remember that when i was about 9 years old, telling my school teacher that i didn’t feel well ..she said to me “Lyn, if this was Art Period I think you would suddenly be feeling better”. So i guess i have always loved drawing, painting, creating. What is your background and what is it that you do? I began painting in acrylics, and have developed techniques that work for me in that medium. Though i love water colours and admire oil painting, I feel there’s just not enough time to do it all. I was always fascinated by the amazing colours of the glass and love using colour in my paintings as well, but balance and harmony are very important to me, both with use of colour and in basic design. My paintings are stylised, due no doubt to the influence of my earlier glass work.

insects! But I do like to include an element of fantasy, or use my imagination to play around with reality. Explain the way in which you work: At present i am using a lot of texture in my paintings. And I often use a metallic underpainting to give an amazing sheen to the finished work. But this carries its own difficulties, as it’s necessary to use only thin layers of transparent pigments. White paint can destroy the effect. It’s very easy to make the painting too dark and there is no way back. What inspires you and keeps your creativity flowing? It’s not the great masters who inspire me. I just like to be content within myself and create paintings that make people feel better! So having friends and family who support me and being able to do the things I love, keep me in the right space to be able to continue enjoying the process of designing and painting. Life gets in the way sometimes. But i rarely watch tv, I spend evenings playing in my studio. I am the worst of procrastinators though, so an upcoming exhibition deadline is often the greatest inspiration! What highlights and achievements have you had? I’ve very much enjoyed being part of two local Artists Co-operatives. Art@203, upstairs in Trafalgar St, is my home base but Arty Nelson have also given me a great chance to have my work seen. I did do a fantastic commission for glass windows in the Buller Technical College many years ago, but my art adventure is a bit more laid back, painting for my own enjoyment rather than chasing fame and fortune. I love the fact that I get to know the people who buy my work, and get immense pleasure from the feedback they offer. Tips and advice for others finding their creative path: The last person in the world to offer advice, I feel I am stumbling my way through life as it is!! But just do what you love, and have fun experimenting, find a group of people to work with and talk to ..it’s great to share ideas. Even if you all paint the same scene or idea, you’ll end up with a dozen differing interpretations ..each to their own indeed. Don’t worry, be happy...

I love nature in all its forms and I am strongly influenced by the seascapes and landscapes around me, and the creatures that inhabit our world, down to the smallest

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Name: Sue Cederman Creative: Garment Designer Website: N/A Tell us a little bit about yourself. I was in born Canada. After graduating from Nursing school, my friend and I went to San Francisco to write our nursing exams to work in Hawaii. At the same time Pete, from NZ, whom my friend had met in Canada earlier, happened to be traveling through San Francisco the same time so we all got together. From that meeting plans changed and we headed to NZ instead. Pete and I were married a year and a half later and have had 2 boys that blended nicely with Pete’s 2 girls from a previous marriage. What is your earliest creative memory? Earliest memories of being creative was at primary school when I made a book with lots of different drawings and collages. The teacher liked it so much she asked if she could keep it. What is your background and what is it that you do? My mom was a brilliant sewer and taught me a lot about sewing when I was a kid. In high school I took sewing in home economics and drawing in art class.. I mostly use the sewing machine to create my garments and try to use plain material to manipulate into a more intricate material.

2001 ‘White Rock’ Highly Commended award for Nelson City Council White Section 2002 ‘Four Seasons’ Commended award for Tourism NZ award Avante Garde Section 2003 ‘Butterfly Tree’ Commended award for American Express Open Section 2005 ‘Wellingtonopoly’ Winner for Wales & MacKinlay Silk award 2006 ‘Brooklyn Bug’ Commended award for Childrens Section 2009 ‘Wanderer’ Runner up award for Illumination Section, Runner up for Weta Award and on exhibition in ‘off the Wall’ Exhibition tour 2011 I-Ris Winner award for Illumination section Do you have any big or exciting plans for the future? Would love to be able to create a garment for this 30th anniversary WOW awards show Tips and advice for others finding their creative path: Give things a go and don’t be afraid of failing ... In my second year of trying to enter the show my garment was declined and I decided then not to enter again. Fortunately I was shown an interesting sewing technique and I decided to give it one more go … that year I won my section and came runner up to the supreme award. If I had not tried again I never would have known what I was capable of achieving. Sometimes our biggest failings turn out to be our biggest successes.

Explain the way in which you work: I tend to create garments that are ethereal, feminine and pretty, often mimicking nature. Describe the people/places/idols/situations that have shaped your creativity: WOW (World of WearableArt) showed me how to be creative with my sewing and provided a platform to show it. It was my first visit to the WOW show that took my breath away and made me want to be part of the it. It took me 8 years of watching the show before I came up with an idea and enough courage to enter. What inspires you and keeps your creativity flowing? Nature is the inspiration for most of my garments and the WOW show inspires me to create the garments. It’s an amazing feeling when you watch your garment walk across the stage. What highlights and achievements have you had? I’ve had 15 garments accepted into the WOW show and 8 have placings 2000 ‘Oceania’ Winner award for Air NZ South Pacific Section and Highly Commended Award for Nelson Tourism award Images Supplied by WOW

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Name: David Haig Creative: Furniture Maker/Woodworker Website: www.davidhaig.co.nz Tell us a little bit about yourself... Born in Malaysia, educated in England (History BA) emigrated to NZ 1976. Joined my parents on a small organically run farm outside Nelson at Hira.. Wanted to do beekeeping and pottery at that stage.. got into Buddhism, Gurdjieff, Conservation… did a lot of ‘inner’ exploration, but had three lively sons with my wife (also English) Clare by 1983 so had to make a living somehow (my parents had separated). Enjoyed working with wood, (didn’t want to work in an office) so followed that path, and got gradually absorbed by it. What is your earliest creative memory? Doodling during a Latin lesson aged 10 and coming up with a simple monogram incorporating my initials DAH. Bizarrely, it resurfaced 20 years later as the simplified profile view of what became my ‘Monogram’ rocking chair. What is your background and what is it that you do? I design and build pieces of furniture from solid wood. I have a lot of different tools, hand tools and machines. I’m not naturally technical but I’ve learned a lot about wood and machinery and keeping edges sharp and things like that. I’ve become fascinated with steam-bending, which reveals so many different qualities in wood, and how linked it is to water and flow. Explain the way in which you work: I’m not constantly being creative, woodworking is slow and I spend a lot of time on very considered quite repetitive processes. I work initially from sketches and try to arrive at strong forms that have some life and vigour. Different woods bring very different qualities. Sycamore can look and feel like porcelain, walnut like rich dark chocolate.

to buy a Triumph 500cc motorbike, which I thought would impress my girlfriend at Uni a lot more than a sword. Crashed it almost at once ..instant karma! What inspires you and keeps your creativity flowing? Light shows across the estuary on Pepin Island, eating Clare’s beautiful food from the garden, watching my rooster with his hens. What highlights and achievements have you had? Selling my first ever rocking chair on the first night of the first ever furniture show I was in. Christchurch,1984. Having my Monogram rocking chair featured on the back cover of America’s biggest woodworking magazine, ‘Fine Woodworking’ November/December issue, 2010. Having a desk and chair featured on the back cover of America’s best woodworking magazine, ‘Woodwork’ Winter issue, 2010. Do you have any big or exciting plans for the future? Teaching has become increasingly important for me. The Centre for Fine Woodworking (www.cfw.co.nz) at Wakapuaka is an amazing facility that teaches woodworking from the basics up to the highest levels. I taught much of the full-time programme last year. The exhibition of the full-time student work at the Refinery gallery in Dec and Jan was incredibly gratifying. I’ll be teaching part of it this year too, but I’ve also been invited to teach in Maine , USA for my 8th visit (to the Center for Furniture Craftsmanship) this year, in August and September. Tips and advice for others finding their creative path: Don’t give up your day job too soon, trying to make a living from scratch in this, or any creative field is very hard. Keep the love and joy of it alive above everything.

Describe the people/places/idols/situations that have shaped your creativity: “Have nothing in your house that you do not know to be useful or consider to be beautiful.” -William Morris. 1880’s. Avoid fake things, be wary of dreams, real and awake are the only things worth having and being. George Gurdjieff..at various times. As a teenager I collected oriental swords,(every junk shop in the UK used to have a few tucked away..brought back by ex colonials) and Japanese Samurai blades totally fascinated me, subtle purposeful curves,and incredible craftsmanship. I sold the only one I ever owned 13 Issue #4 | April 14th 2018


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Name: Gina Gaskell-Berry Creative: Painter/Screenprinter Website: www.ggberry.co.nz Tell us a little bit about yourselves... I’m 28 born and raised in Nelson. I have moved to a few different places around the country and found my way back to Nelson three years ago. I have always had a passion for creativity, this was instilled at a young age with two very creative parents. My Mum is an oil painter, and my father is a builder/carpenter. I took pretty much every art subject I could at school and studied graphic design at university. At the moment I paint, screen print, make jewellery and decoupage/upcycle anything I can get my hands on. What is your earliest creative memory? It would be easier to say when I wasn’t creating. I was always drawing, fridges were covered and suitcases were filled with my “masterpieces”. I grew up on a large piece of land so if I wasn’t drawing I was creating imaginary worlds with my cousins, building fairy houses in trees and digging ‘Amazon Rivers’ in the back yard. What is your background and what is it that you do? I am a self-taught painter, my preferred medium is acrylic on canvas. I am always trying different mediums and enjoy learning new techniques. I had the opportunity to work at The Bead Gallery whilst it was still open which was a great introduction to jewellery making. I am currently teaching myself how to cast things in resin and experimenting with lots of lovely things from nature. A few years ago I took a night course on screen printing at NMIT and fell in love with the process. I am excited to have set up my own studio and I am looking forward to printing my designs on a variety of products. Explain the way in which you work: My work is a relaxed process, I tend to have an idea and get it on to paper as soon as possible, but I might not spend time drawing or painting it in detail for days or weeks. Sometimes I will go months without painting and I have learned to accept that and not force it.

shaper of my creativity. She always made it a priority to have art supplies for me and encouraged me to take the art subjects I wanted to at school. She has a wealth of knowledge of art history and always has a suggestion for a great artist to look up and be inspired by. I think I always would have found my love for art, but I would never have found it so early without her support. What inspires you and keeps your creativity flowing? My favourite subject to draw and paint are portraits. I’m influenced by the Pre-Raphaelite paintings of women, the work of artists such as Gustav Klimt and Shiori Matsumoto, fairy tales and pop culture. I draw inspiration from nature, dreams, symbolism and surrealism. What highlights and achievements have you had? I have really been a hobbyist for a long time, I have had small exhibitions in cafes, and one painting made its way to Hong Kong which was very exciting for me. My biggest achievement has been overcoming the fear of judgment and failure, accepting that no painting or design will be perfect, but that it has beauty in its imperfections. Do you have any big or exciting plans for the future? By the time this issue comes out my website will be up in running. I am selling prints of my paintings for the first time and have lots of ideas for new designs. Putting myself out there to the public is the most nerve wracking, but exciting thing I have ever done. My dream is to become a self-employed artist, and I am finally taking the steps to make that a reality. Tips and advice for others finding their creative path: Keep trying different things. If you get stuck with one piece, start a new one and go back to it when you feel inspired again. Try a new medium. Be inspired by other artists and the beauty of nature around you. Finally, be kind to yourself and stop being your own worst critic.

My best work happens when I am inspired to paint, when I really connect to a piece. I’m never tied to a particular vision for a painting, they often evolve and change along the way. I also have multiple projects on the go at any one time which means I always have something different to work on no matter what mood I am in. Describe the people/places/idols/situations that have shaped your creativity: When it comes down to it, my Mum has been the real 15 Issue #4 | April 14th 2018


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Name: John Jepson Creative: Artist Website: Facebook John Jepson Tell us a little bit about yourselves... At the age of 21 I moved to New Zealand from the UK realising a dream I’d had since age 14. I’d been lucky enough to be part of a school exchange to NZ and I had always had an incredibly strong desire to come back to live. Nowadays I live with my wife Leanne and baby girl Kate tucked up a valley behind Ngatimoti on our little lifestyle block. My Dad is a very patient and creative landscape photographer when he gets the chance. Throughout my childhood I remember many occasions when we’d be out and about close to home or traveling across the UK and Europe where we simply had to stop for 30 mins or so to get a great photo. I have been creative since a very young age and had a lot of support from both my parents. Some of my happiest times as a child were when I could just spend time creating. I loved working in 2D and 3D depending on what fun recyclable objects we’d collected that week. What is your earliest creative memory? My earliest creative memory was winning a bookmark competition in infant school. Every child in my year was given a blank bookmark that we had to decorate in any way we chose to. I decided to draw a picture of a scary burglar and then stuck some strips of dark grey card over the top of him to make it look like he was in jail. My Head Mistress was so impressed she asked me to spend some time in her office drawing her pictures. What is your background and what is it that you do? I have a very varied background including tourism, outdoor pursuits, marketing and much more; and occasionally my job has gone hand in hand with my creative side. However, about four years ago now I had an epiphany where I became overcome with a desire to just create. I had limited tools available to me at the time, so I just grabbed a sharpie and a piece of scrap wood and began to draw a Tui. I liked how the Tui looked so I then decided to draw a Fantail. From there I carried on creating native bird inspired art on scrap timber from all over the place, but have since developed my style to work predominantly with coloured pencils as I love the soft opacity I can harness where the grain and original features of the timber shine through. Explain the way in which you work: Creating is quite a release for me and I like to have everything just so before I can begin work. Perfect creating conditions include a sleeping baby,

large mug of strong tea, pencils all nicely sharpened, and some dramatic movie scores to take me on an emotional rollercoaster fraught with inspiration. I’d say the biggest thing that makes my work rather unique is that I’m actually drawing on to raw timber. A lot of people assume that I must have to use paint, but when they look closely and can see the original features of the timber shining through the image they get a real buzz as it’s something they never would have considered. Describe the people/places/idols/situations that have shaped your creativity: My Mum and Dad. Growing up on the South Coast of England meant that we were within easy reach of lots of beautiful outdoors places. When we were out and about exploring my Mum would always be the one to point out how gorgeous everything was, be it the colours of the leaves or the incredibly wind battered trees on a cliff top. She would exalt about the changes of season and all the visual pleasures it would bring. She instilled in me the ability to see beauty in my day to day life and I’ll be forever grateful. Over the years I have watched my Dad re-purpose all sorts of timber in to all sorts of things. I was with him when he rescued piles of timber off a beach after a boat went down, and I’ve watched him turn a stack of old wooden telegraph poles and ladders in to one of the most beautiful pergolas I’ve ever seen. I definitely wouldn’t be as interested in re-purposing pieces of wood had it not been for my Dad. What inspires you and keeps your creativity flowing? My biggest inspiration is New Zealand’s natural environments. There’s nothing I like more than being immersed in our native bush surrounded by birdsong. I feel very lucky that we get visited by lots of native birds in our rural garden, so if I’m ever short of inspiration I just head outside for a stroll. I share a lot of my work on social media and I find the positive responses I get are a great way to feed my creativity and keep me moving forward. What highlights and achievements have you had? Highlights for me will always be the occasions when I get to meet people face to face at a market or art expo stall. Just being able to chat away with people about my art and how it makes them feel is really enjoyable, and it’s also a great way to bounce ideas around for new projects. I have a very loyal following online with lovely people from all over New Zealand, and sometimes I get to meet these people at a market stall and it really makes my day; it’s so nice to meet them in the flesh. Tips and advice for others finding their creative path: When the inspiration hits just go with it! There may never be the perfect moment, so when you’re feeling inspired be sure to make the most of it. Expressing yourself creatively and then sharing it with the world can be scary and exhilarating… a bit like skydiving haha! 17 Issue #4 | April 14th 2018


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Name: Judith Keylock Creative: Textile Artist Website: N/A Tell us a little bit about yourself... I grew up in Zambia and went to boarding school at the age of 8 at Chisipete Girls School in Zimbabwe. I went to England to do a degree in Printed Textiles at Manchester University. I stayed on in England for 30 years where I married Michael and bought up our two children. During this time I did a Postgraduate Certificate in Design and Technology at the Yorkshire Sculpture Park through Leeds University. I started my teaching career at Bradford Girls Grammar School where I specialised in paper making and textiles. I started to miss the Southern Hemisphere and as my father had passed away decided to immigrate to New Zealand and bring my Mother back home as she was originally from Lower Hutt, that was in November 2004. All my family were doctors but my Mum’s twin sister who was also a doctor painted beautiful water colours as did my grandmother on my Mum’s side. What is your earliest creative memory? I have always needed to express myself creatively, if I didn’t have paper I would doodle on my legs... I can remember drawing patterns around my numerous mosquito bites! I still have drawings I did when I was five of decorative plants and birds soaring in the sky. What is your background and what is it that you do? My background is surface pattern and textiles which I apply in a diverse range of techniques including painting, drawing, ceramics, paper making and printing. I have a ‘critter’, made by Mark Landers (Hollander beater)that I use to turn fabrics and plant materials into paper. I have a dye pit and an organic indigo vat that I use to contact print on natural fibres and paper. Describe the people/places/idols/situations that have shaped your creativity: We had a wonderful art teacher, Mrs.Fitzgerald who set us challenging projects knowing that we had the time and facilities to complete them being at boarding school. We did huge still life paintings and 2m long batiks, always of a natural theme. She pointed out never to use black paint but to observe carefully the colours that really make shadows and form. I taught A Level Art at Bradford Girls Grammar School and was lucky to be involved in workshops at Bankfield Museum in Halifax, who had exhibitions of contemporary artists and designers who ran workshops with our students. I was introduced to linen paper and translucent layering of fabrics by Amanda Clayton. Hilary Bower uses recycled paper materials and fibres to create 3D

structures, Cas Holmes uses transparent paper to print and stitch on and Louise Baldwin transforms recycled paper into fabric which she appliqués and stitched creating stunning surface pattern. Carol Farrow introduced me to paper casting and paper clay. India Flint turned my attention to contact printing plant images on natural fabrics and sustainability as a main focus in my work through her books . Explain the way in which you work I work with natural materials, gently finished and spent plants, paper made from pre-loved linen and cotton garments, pigments and stains from the earth and treasures of the woodland. What inspires you and keeps your creativity flowing? My constant inspiration has always been the natural environment and my love of pattern comes from my observations of nature’s mark and genius of repeat pattern – each similar yet infinitely unique. I use layers of translucent cloth to create different views and shadows. These become a surface for printed and sewn mark-making – patterning the landscape song. What highlights and achievements have you had I had exhibitions in the UK and was artist in residence in many schools. Since living in Nelson I have been artist in residence at NMIT and tutor for NZ Textile Experiences. I won first prize for Changing Threads 2010 with Beach Front Bird House Colony installation and best shop window with a chandelier of paper shoes. I have exhibited students work at exhibitions at the Suter Gallery and The Bridge Street Collective. I was invited by India Flint to be part of an exhibition Insitu at The Murray Regional Gallery in Adelaide 2015 Do you have any big or exciting plans for the future? I have just started a business, Travelling Lite, accessories that don’t cost the earth. I have a stall on Saturdays in Nelson. I use linen, merino and silk to make beautiful towels, blankets, sleepovers (silk and linen) and dresses which a dye with an organic indigo vat and plants from our food forest. I spire to zero waste by turning the sewing waste into linen paper and string and printing paper into packaging. This gives me a wonderful outlet for designing and making, utilising all my skills. Tips and advice for others finding their creative path: Find your own expression and explore it through all different mediums. ‘One eye sees and the other eye feels’ - Paul Klee. I relate to this quote as I feel my mark making in all it’s myriads of application is a heartfelt expression of appreciation from my observations. 19 Issue #4 | April 14th 2018


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Name: Dennah Lloyd Creative: Object Art Website: Facebook D L Jewellery Tell us a little bit about yourself... I was born in Christchurch but moved to Nelson when I was very small and grew up in Wakefield, a small country town just outside of Richmond. I grew up without electricity which I think helped inspire and let my creativity grow. I knew I wanted to be an artist from an early age, both my parents were creative, Mum with her knitting and weaving and Dad sculpted and painted What is your earliest creative memory? When I had just started school maybe the first week or so we had a class trip to Faulkner’s Bush where we had to draw something from nature, I drew a twig with leaves on it that my teacher loved and showed to the whole class (I was stoked) which I think helped confirm my dream of becoming an artist. What is your background and what is it that you do? I have my Bachelor in Arts and Media which I received in 2014 From NMIT. Before study I would have said I was a painter but through my study I fell in love with jewellery making and object art I never felt like this with any other creative avenue. I quite often forget to have lunch. I currently work part time but every spare moment I get I’m in my studio creating. Explain the way in which you work: I am a very impulsive worker. I often feel I work like a Bull by charging ahead without thinking and dealing with the consequences later.

Describe the people/places/idols/situations that have shaped your creativity: My two jewellery idols (although this has expanded a lot thanks to Instagram) are Mike Ward and Jewels Vine. When I first started working full time at 16 I used to buy a ring from Mike wards cart every pay day I had quite the collection. I really love his jewellery it is so unique and a style so known to him. Jewels Vine’s work I first seen at the Nelson market and was completely blown away by the intricacy of it, his work is absolutely beautiful. What inspires you and keeps your creativity flowing? Because I truly love what I do. I love learning new skills and trying new things/techniques. Pinterest is great. I also have probably over 10 journals in my hand bag, car, studio, bedroom etc. I draw and write every day, constantly thinking of new ideas, new creations, new techniques to try. I love it! What highlights and achievements have you had? I managed to get my Bachelors in Arts and Media, which was a huge achievement for me. And in the last year with the encouragement of my closest friend and husband I started selling my work which I honestly never thought I’d have the confidence to do, and now I have my work at a few shops around New Zealand. Tips and advice for others finding their creative path: Make time to do what you love; your life will be fuller for it. And sometimes stepping out of your comfort zone is the best thing you can do.

I am very material based and need to get a feel for what I’m working with. I’m learning to plan ahead but it doesn’t come naturally. Sometimes when I’m working on something I get an idea for another project and I will drop everything and jump into the next project. Finishing what I start is a battle at times. I’m constantly writing lists to keep myself on track.

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22 Issue #4 | April 14th 2018


Name: Sarah Sears Creative: Cake Maker Website: whatsarahbakes.com Tell us a little bit about yourself...

I grew up in Nelson on a dairy farm with my four older siblings. My mum always welcomed us in the kitchen and it was thanks to her that I was able to get crafty and practice making cookies, cakes and flapjack slice for school lunches. I have always love to make things, so I think that’s what drew me to baking. When I left school I moved to Wellington and spent 4 years studying linguistics and early childhood education. I was a teacher and visiting teacher before moving to Europe with my husband where I was able to foster my love for baking by making and selling cakes for cafes and running baking classes from our apartment. I also started a baking blog during this time which enabled me to explore every aspect of baking, whilst sharing my new found tips and tricks with readers along the way. Now my husband and I are back here in Nelson with our 12 month old baby girl and I have started my own cakery from home in a licensed kitchen. What is your earliest creative memory? I remember making lemon meringue pie when I was 8 years old by myself without having to nag my mum for help, I was pretty stoked. Though it probably tasted horrible.

Describe the people/places/idols/situations that have shaped your creativity: My husband has been an incredible support to me from the moment I shared my dream with him to start my own cakery. He is just as passionate about the cakery as I am and can often chew people’s ears off for hours about cake (sorry if this has been you, hehe). My travels across Europe have definitely influenced my perception and appreciation for cake in so many ways. Trying new cake was always first on my list when visiting a new country. The quote; “Enjoy life, eat cake” is definitely something I live by and take much too literally most days. What highlights and achievements have you had? Starting this cakery in November 2017 was a big achievement for me and I feel humbled that January 2019 is already booked up for wedding cakes. Do you have any big or exciting plans for the future? I am in the process of getting my website up and running which will consist of my blog, cakery, and online shop. It’s very nearly ready! Tips and advice for others finding their creative path: First believe in yourself, then follow your dream and stop at nothing.

What is your background and what is it that you do? I am not a trained pastry chef, rather a very geeky baker who loves to read up on the science of baking and how to create cakes with impeccable flavour and texture. I am constantly experimenting, improving and designing new cake recipes to satisfy my overly perfectionist ways. Explain the way in which you work: I am extremely fussy about using the best of the best when it comes to ingredients and equipment that I use when baking a cake. This means that it can be pricey, but I believe it produces a much better product. I like to make my own vanilla extracts and stay away from the likes of fondant and artificial flavourings. I am also a huge fan of mascarpone based icings which means they tend to be creamier and less sweet. I like to make cakes that everyone can eat, regardless of their dietary needs - everyone should be able to enjoy cake, in my mind.

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24 Issue #4 | April 14th 2018


Name: Ana Galloway Creative: Photographer Website: www.anagalloway.co.nz Tell us a little bit about yourself...

I grew up in Nelson, but traveled for about 6 years around Australia, Europe and South America before finally realising that there’s just no place quite like home. I’ve been back in Nelson since 2014, and I’m loving it! During school I focused more on the sciences and then when to Otago University to study Health Sciences. After studying for a year I left and trained with Olympic Horse riders for a few years. I can’t pin point where my passion for photography came from, both of my parents are doctors so, although their professions were more academic, my Dad is very hands-on and practical and my Mum has always had the travel bug and now lives in Cuba. Both of my parents have always encouraged me to follow my dreams and do what makes me happy. My sister was the one that really introduced me to photography about four years ago and my passion has just grown ever since. What is your earliest creative memory? I won an art competition when I was about 7 years old, while I was living in Australia. It was a very colourful dragon. What is your background and what is it that you do? About four years ago I picked up my sisters camera and fell in love. I purchased a 600D Canon camera and did a short photography course at NMIT, which gave me a kick start on learning the technical side of photography. In 2015 I started doing some photography work for WildTomato and I have been freelancing and growing my business, my knowledge and my creative direction ever since.

Describe the people/places/idols/situations that have shaped your creativity: Last year I took part in a couple of wedding photography workshops which really helped me to evolve my photography and also my business. One was run by Danelle Bohane, who I will forever look up to. Her website is always open on my computer, this is where I look whenever I need inspiration for marketing my business with elegance and purpose. Also, when I see her photographs it reminds me to strive for those epic shots that have that “look-at-me-twice” factor. The second workshop was with James and Cam from Chasewild, they reminded me to focus on being consistent and intentional. What inspires you and keeps your creativity flowing? The connections I make with my clients. I am inspired by their stories, the memories of one’s life, the feelings, the emotions of a particular day, the music that was playing, the gentle breeze on a hot summers day, I am inspired by these little details that make up a story. What highlights and achievements have you had? There is something in the pipeline, but it’s top secret at the moment! Do you have any big or exciting plans for the future? I am so excited for the future, whatever it may hold! Tips and advice for others finding their creative path: Take up every opportunity that will help you grow, reach out to people who you look up to and ask for advice.

Explain the way in which you work: When I first started photography people would tell me, “Oh Ana, I love your style”, of course I was grateful for the kind compliment, but I then wanted to ask them, “could you tell me what my style is?” For quite some time, I really didn’t know what my ‘style’ was. Only recently I got a grasp of what exactly it is that inspires me. After being involved in a few creative projects and a couple of incredible weddings I feel like I have finally figured it out … I am inspired by connection, nature and emotion and I hope to convey this in my photographs.

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26 Issue #4 | April 14th 2018


Name: Hannah Starnes Creative: Artist/Art Teacher Website: www.hannahstarnesart.co.nz Tell us a little bit about yourself... I was born and raised in Nelson, around the ocean and in the bush. Growing up we spent a lot of time tramping or away on the boat in our school holidays. Whenever we were bored we would grab the coloured pencils or paints- I had a couple of those awesome art kits with a bit of everything in them that got me experimenting early on. My sister and I were always very creative, my parents were both teachers in some capacity (mum owned a flight school and dad taught accounting at polytech) but always wondered where it came from! Mum was all about giving us the opportunity to try anything we wanted. What is your earliest creative memory? Probably filling in long trips on the boat with colouring in books, or making creations with material scraps or playdough. My grandma taught me to sew and when I was about five I made my mum this mouse out of a pair of jeans- I probably only used about three stitches for the whole thing- I didn’t know how to knot the thread so I just cut it and tied a granny knot in it! What is your background and what is it that you do? I’m more or less a self-trained artist, I always loved art at school and did well at it but had the idea in my head that it wouldn’t be a respectable career so I dropped it for science and maths. When I was fourteen I got into rowing and felt instantly at home on the water, and I excelled at it because to me it was simple- all you had to do was work harder than everyone else. When I was finishing up at school I was committed to representing NZ and had a bit of a fascination with physiology and training effects so I followed my sister to Otago Uni and did a degree in sports science. I rowed at NZ U21 level then gave it up when I got a job as a cardiac physiologist in Wellington and did my post grad degree in medical technology there. After a few years I got back into rowing through coaching- something that instantly resonated with me rather than sitting in a dark room all day. It got to the point where I had no leave left and I was so committed to the coaching that I made the decision to leave my job! I’d kept painting for gifts and someone from work saw one and asked me to do a commission… From that point on they’ve just kind of rolled in! I’m still developing my style but I guess you’d call it realism and I work mainly in acrylics but dabble a bit in oils and pencils. Explain the way in which you work and how you add your own uniqueness to your creations: I’m a bit of a perfectionist so I’m very methodical. I work

from photos and everything in terms of proportion is measured, scaled up and plotted on my canvas so I know I will get the dimensions right as they’re not my strong point! But then comes the colour…I love colour and I think I have a bit of an eye for it. I’m all about layers so the first few are always putting down the darker tones. I usually only work with primary colours plus black and white and mix and match them to what I see. I’m not really conventional and I’m still learning (that’s the best part), but in the end I always aim for something that looks real and takes you to a particular place or evokes a particular feeling. Describe the people/places/idols/situations that have shaped your creativity: Since I have a background in science I have a bit of a thing for Davinci, he was one of the first to point out the symmetry of nature and his astute observations allowed him to paint almost anything realistic from his mind and notebooks. Same with Einstein- those inquisitive minds that didn’t do things conventionally, never took anything for granted and never stopped learning. Impressionism really resonates with me for the same reason- in a time where there were so many rules around painting and what was deemed to be art, people like Monet and Van Gogh grabbed their hearts and their palettes, went outside into the fresh air and slapped a whole lot of colour on a canvas.. their paintings were more honest and free yet they somehow still looked so real. I think that’s the route I’m heading down now, but I know it’s going to be hard for me to loosen up! What inspires you and keeps your creativity flowing? Firstly, it’s nature. It’s seeing something beautiful on your back doorstep. Waking up and being on the water as the sun rises on a calm sea. That’s not something many people get to experience and I’d like to bring a bit more of that to my paintings. I’m not much of a ‘paint your despair’ type of person- I’d say I’m pretty in touch with my feelings but I’d much rather celebrate the beauty in life. I love the idea of bringing that emotion or beauty to someone through a painting. Secondly, I take a regular art class at the café 7010, which I absolutely love. It’s made me realise that my ‘why’ is centred around teaching, leadership and connecting with people- which is what I think makes life worthwhile. We drink wine, we chat, we learn about different styles of art but mostly we just paint with whatever colours in whatever way we want. Tips and advice for others finding their creative path: Don’t follow what you think you ‘should’ do! Just because it worked for someone else or society tells you to it doesn’t necessarily mean it will work for you. Get to know yourself and be proud of what makes you unique, follow whatever it is that sets your soul on fire. Get out of bed with a feeling of excitement and anticipation. 27 Issue #4 | April 14th 2018



Name: Amanda Sears Creative: Creative Website: www.searsco.nz Tell us a little bit about yourself...

I was born in Auckland but have since lived all over New Zealand. In 2013 my husband John and I moved from Dunedin to Nelson to settle down and this is where I really started to embrace my creativity and got immersed in creative projects whilst studying at NMIT in 2014. I bring you Creative Nelson. I am an artist, illustrator, graphic designer and photographer. I work part-time as the Creative Manager for a local events and venue business and run my own freelance creative solutions business specialising in design and marketing for small businesses and creatives called Studio S. I also have published 2 books on Nelson and Tasman Street Art and run an online photo database for street art in New Zealand with a focus on Nelson and Tasman. What is your earliest creative memory? I was always creative right from a young age and was so blessed to have parents that nurtured my creativity. I remember going through a big dinosaur phase when I was in primary school and always enjoyed the visual side of school work, complementing my written work with lots of pictures and doodles throughout school. From around age 10-13 I wanted to be in a design career, and at that specific time my dream was fashion design of which I have many books full of drawings. In high school I didn’t really pursue my creative classes. I did a year of art and design(textiles) but chose more ‘academic’ subjects in the consecutive years. Eventually I dropped out of my history class to sit in on the art class and even though I didn’t get marks for it, I thoroughly enjoyed the freedom of just playing around. What is your background and what is it that you do? I love learning and solving problems, so my background and skillset is very broad. I’ve done automotive engineering and veterinary nursing and lots more in between, (I wanted to learn everything!). But my creative career really began when I worked for a small newspaper in Whitianga 11 years ago as a graphic designer and sales consultant and got stuck into digital design and exploring photography with my first digital camera! This job re-ignited my childhood creative spark and offered lots of opportunities, and whilst I left it to work at my then ‘dream’ job at the SPCA in Auckland, it was the foundation for my current career. I did eventually come full circle in 2010 when I briefly studied at Design and Arts College in Christchurch prior to moving to Dunedin shortly after the first earthquake, and began running an independent video store where I was given free rein of

the advertising and marketing. Then when planning our wedding in 2013 I came across the first edition of a wedding magazine called Hitched with an illustration on the cover by Emma Leonard that really struck a cord within me. I tried to replicate it and ended up developing my own style of illustration. Explain the way in which you work: I do a lot of different things and I do them my way. I’m not traditionally trained and I learn through doing. If I have an idea, I just figure out how to make it work and I do it. I research, look, listen, ask questions and try it myself so I can really understand something. I like to know why people and things do what they do. The people that have shaped your creativity: Life can be lonely as a freelancer and I have been so blessed to have amazing people in my life who have pushed me out of my comfort zone and supported me when I needed them. Too many to name... but these two examples are extra special to me and my career: While at the video store in Dunedin, I shared an office with a small print and graphic design agency and they taught me all about print and answered all my design questions. Then in 2016 I found an amazing mentor from a creative agency in Christchurch who works very similarly to me and has a wealth of knowledge that he kindly shares with me whenever I need help or advice. What inspires you and keeps your creativity flowing? Everything inspires me! People I see walking down the street, the vibrant and intricate colours and designs in nature and work by other artists and illustrators. I look at everything! Taking it all in. I look at the composition, colours, words, imagery and design of everything, compiling in my head what I like for future reference. What highlights and achievements have you had? 2014 Published 1st book: Nelson City Street Art 2014 Impressions Art Award Student Artist Winner 2014 Diploma VIsual Arts and Media (L5) at NMIT 2015 Published 2nd book: Nelson & Tasman Street Art 2015 GSM Magazine #4 Student Cover Design Winner 2017 Started Creative Nelson magazine! Do you have any big or exciting plans for the future? I always have big plans, but I’m taking a step back from those for a little while so I can focus on my health, my own art and my design and marketing business. Tips and advice for others finding their creative path: Just do it. Focus on the process, not the end goal. Most people don’t just pick up a paint brush and create a masterpiece... good things take time, patience and practice. Starting something new, or trying something different can often be daunting, but we all had to learn to crawl before we could walk, some people just get there faster than others. Keep trying and don’t give up. 29 Issue #4 | April 14th 2018


Colour in Your Life How do you prepare your story for the public and why is this important?

you can have the chance to speak to each of them in turn after wards.

PART ONE:

To prepare, about all you have to do is set aside some time at home or in your studio to verbalize your thoughts about your art, write them down, and then organize and rehearse them. Your goal is to introduce yourself and connect with people by briefly telling them who you are, describing your art, and perhaps also addressing a handful of questions that people often ask you about your work. Not much more is necessary. Here are several tips on how to script and deliver an effective talk.

I think one of the most terrifying things for most Artists is to speak about ones work and get up in front of large crowds and speak about what you do and how you feel your work influences or changes the world in some way. Many of the worlds successful Artists have become successful due to their ability to communicate their work and ideas to Clients, Galleries and investors. Consequently, they use their social networking and public speaking skills to effectively convey who they are and what their Art is about. It is important to cultivate and expand your fan bases, brief conversations with Clients can deepen the understanding that they have about you, the Artist and also your work as well, also turning up to Arts events and openings and these days continually working your social networking platforms so that you give great information about what you are doing on a continuous basis. That’s probably easy for me to say as I do a TV show and public speak across the world these days, but the fear of speaking with people about your work can greatly effect your ability to sell your work and relate to those that are interested. You MUST be confident, don’t boast or let your ego get in the way like some Artists I have known over the years, Artists that just had heads as big as beach balls. There has to be a happy balance in your demeanor and approach to your personal presentation. Introducing yourself and your Art Telling great stories about your life and your Art is a wonderful way to allow people to understand who you are and what your motivations and work are about. If you think you will get tongue tied, think again. You happen to be the world’s foremost expert on you and your Art and you probably have enough stories to keep people interested for a while. Keep your talks precise, informative and add a little humor if you can, to each talk you do. Humor has the wonderful ability to break down initial barriers people might have about you. At openings I would suggest you talk no longer than about 5 to 10 minutes, any longer than that people get bored and start to wander, you need to keep them interested so that 30 Issue #4 | April 14th 2018

1. The best place to start is at the beginning, write about who influenced you and how you started as an artist, this doesn’t have to be in any formal constraint to start with, just write what comes to your head , put as much raw material don as you can, it doesn’t have to be in any formal manner or time line, just write about your Art journey. 2. When you have enough information down go through and pick out the sentences and information that you feel will best represent your work and your life s an Artist talk about what being an Artist means to you what compels you to create art, where your ideas or inspirations originate, how you incorporate them into your work, and so on. Keep in mind that many people who attend art shows enjoy art but know little or nothing about either art in general, what they’re looking at, or the artists who create it. These are the types people you have a good chance to attract and win over if you can effectively communicate about your art, so make your talk accessible to everyone, and not only to those who already know and love you. 3. I have heard on a number of occasions when attending Art openings the complex and completely unnecessary ‘academic jargon’ that some elitist Artists or gallery directors and critics use. To be honest it just seems pompous and snobbish to speak like this and separates many Artists from collectors that just think the Artist has their head up their bums. You will have a limited time to speak to everyone you want at the end of your talk so keep your language understandable to lay people that may not be aware that there is a strange and different language when it comes to the Arts. Remember that your Art is not just about you it is about what you create and the message that it


Colour in Your Life Continued... delivers on a personal and societal level, what is the message and does it impact on the wider world around you. 4. What’s the message? Is it about the positive or negative aspects of the world. That’s a difficult ball to balance, speaking personally some of the works I create are very much aimed at organized religion across the world and how I feel, as an ex catholic school boy, the destructive aspects of what these belief systems do to us, and I mean all religions. Some people may paint their view of environmental destruction or war or political power plays, many subjects can be broached through the medium of Art. In presenting this type of work there needs to be an expressive dialogue that goes with the work. There needs to be an explanation of why you came to create and present this type of work, some thing has generally happened to an Artist on a deep personal and emotional level for them to do some of their pieces, all of your work needs an explanation of some type, some just more explanation than others 5. Practice your talk alone, with friends and acquaintances. Video yourself on camera. One of the great parts about Artists being filmed for the Colour in your life series is that it gives them an insight into what it is like to be in front of the camera. I have always only acted as a conduit for the Artists allowing them to hopefully tell their stories with not too much input from myself. I do speak up in our documentaries if I feel that an Artist is struggling, but mostly we are there to allow the Artists to show their work and life. Its important that you as a speaker gain that confidence, so even speaking in front of a mirror can help. Get some books on public speaking and if you have any questions about expressing your self at openings or shows you can always contact out team, we are all versed at great public speaking and I will be making myself available this year to do Skype and zoom talk so that people can do question and answer. 6. Practice answering questions from people. Always try and keep your answers positive, even if you have a powerful confronting piece that has negative connotations. If you simply create confronting pieces without great explanation you will lose interest from your audience . Get your friends and family to ask you as many questions about your work life and up coming show, this will help you when you are speaking with no notes.

7. When you have finished speaking at any event make sure you only take about a half a dozen questions. Remember that you need to move through a crowd or through a room or gallery speaking to as many people as you can, in saying that don’t get trapped in a corner with one person that’s drinking to much of your Champagne, you may have a client walk out the door if you are yattering to much to one group or person, spread yourself and don’t be afraid to go up to people and say hi. PART TWO 8. Damage control with smart asses and jerks. Yes, there is always going to be some one in the crowd who has a brain the does not correctly correspond with their mouths. Generally someone that can’t handle their alcohol or someone with personal issues. There are people in the world that will try and make you feel stupid or not worthy because you are an Artist. You know like, ‘get a real job’, how many times have you heard that over the years you have been a practicing Artist. I am always prepared for these people and really look forward to when one of these knuckle heads decides to open their mouths up. It enables me to give them a verbal punch to the mouth and to their tiny brain and inform them of the value of what the Arts does for society as well as the individual, maybe something that they could use to get over their attitude problems. My point is to make sure you have answers that address damage control statements you may have said during your presentation. I never go after anyone unless I can see a blatant bad attitude problem with a person. I always sway people with information they may not know and I can assure you after doing this for 35 years and traveling the globe as much as I have done, I well realize that 90% of the planet is uninformed and fairly clueless on how the world works. Bottom line is, be prepared. 9.Don’t try and pressure someone into buying your work. If you have told your story and answered any questions that have been asked, your best bet is to step back and let the staff or gallery director close the deal. This can apply to you even when you are doing 31 Issue #4 | April 14th 2018


Colour in Your Life Continued... a trade show or even a studio show. If you have someone there to help you, say a partner, agent or a friend, let them close the deal and step back and talk to someone else, you will close more deals that way by exiting the sale and not distracting the customer. 10. Don’t talk to soon in your opening. When it says exhibition opens at 6 and finishes at 9, don’t start your talk at 6.30. I generally leave the opening until an hour after start time so as to give people time to have a few drinks and look at your work and get comfortable for the night. It is amazing how Champagne and not wine can loosen people wallets. I have done many shows over the years and for some reason I seem to sell more work with Champagne than wine, just a long observation over time. 11. I have a few books out on my work and every so often at exhibitions and shows I get people turn up with these books or even people have old invitations or old magazine articles, generally they are wanting me to sign them or even get photos taken with them, I think the TV show is more responsible for that than my Art career, but even so, make yourself available for things like that, it just spreads good will. 12. I have found over the years that if you are attending your show for the period that it is on it’s always a good idea to be doing something while you are there. Take a sketchpad with you or even set your easel up in the gallery and be doing work when your clients turn up or people that come in from the street. The reason that Colour in Your Life has become so successful is due to the fact that people love to watch others create. This will also enable you to open up conversations with people with out you having to force yourself into breaking the ice with them.

90’s and 2000’s, I realized that the internet and the implications it would have on the world would be profound, and still is, as technology continues to change our world. The people that have taken the opportunity to be on the show have well understood now the great advantage that they have with their profile compared to 99% of the Artists in the market place. My point being is that if you do not have good quality documentary video of your work and your life and career you are well an truly behind the lines for your Art marketing. Many of the Artists that have been filmed by CIYL go on to use their show in their marketing and also when they open up there own shows. They play their video at trade shows and send it to clients and buyers so that they can get a better idea of who they are and what they do. The internet is an amazing tool but many people simply don’t know how to maximise its capacity and get the best results for their web sites and marketing. VIDEO is KING, the reason Google purchased You Tube in the first place, and now there are multiple streaming web sites across the world that have followed You Tubes lead. CIYL is set up to continually expand its market presence right across the world. We air in 9 countries now and are on many video streaming systems across the world promoting all of our Artists 24/7 to millions of people world wide. Our numbers of views are in the tens of millions and we have hundreds of thousands of subscribers that love watching the Artists we have filmed on You Tube and many other outlets.

This can give people an insight into your ability and techniques, which really helps in being able to sell your work.

A number of the Artists we have filmed have learned by working with us the power that the internet can give to their business and they, in turn have gone on to produce their own videos and set up their own teaching and presentation channels.

13. One of the reasons I started Colour in Your Life was due to the TV show I was doing in Los Angeles, selling my work on TV. A very successful format for a number of years.

The team at CIYL are all very good at putting these systems together and Artists will see better and better results for their work as our idea expands across the world.

After living and working in the U.S for over a decade and being around people involved in the IT industry and the internet as it began to grow in the 80’s,

Graeme Stevenson Colour in Your Life www.colourinyourlife.com.au

32 Issue #4 | April 14th 2018


It’s Not a Walk in the Park Working with artists of all levels for nearly 35 years, I have seen many ways they have handled being business operators. To me, being a professional, working artist means that you are reliant upon the income that your art generates, and so it is as important to know how to run a business as it is to be able to create saleable artworks. I have also seen many hopefuls rate themselves as a professional artist just because they have sold some of their artwork, which was created as a hobby.

be done and you run out of hours in the week, you must make more time or look for ways of working smarter. You cannot sign-off until you have met every commitment you have made for that period. Life as a professional artist is never easy, but nothing truly worthwhile ever is.

Everyone will have their own view and create their own list of the necessary characteristics but here’s mine: 1. Have the skills to rightfully expect to be considered as an expert in your own field, as well as the interest and discipline to embark on your own continuing professional development as an artist and business operator. 2. Create work that is your passion rather than consistently offering second-best “commercial” artwork, so cheating both yourself and your clientele. 3. Think and act like a professional in all your dealings with the public, and this certainly includes social media. Develop a marketing and PR presence which supports and elevates your business profile to your existing and potential clientele. Retaining existing clientele is cheaper and easier than prospecting for new.

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

4. Plan and actively manage your business to meet your commitments to your clients – or engage help to do so. 5. Understand that businesses have overheads that must be paid including realistic commissions to any dealer gallery you may use. Their marketing is highly targeted, and they have spent time developing a database of potential and existing clientele. This is but a small list – but I believe one which makes a useful starting point. Being in business is not a “walk in the park”. When work needs to 33 Issue #4 | April 14th 2018


‘A’ is for Apple... ‘A’ is for Apple; ‘B’ is for Blogg; ‘C’ is for Copy & Paste; ‘D’. . . .is for Delete Climate change, increasing natural disasters, profound social inequality, economic disparities, large displaced populations, a growing slave trade, intolerance and political polarization. This is a world in crisis. The post-truth era has taken hold of politics, fueled anxieties and undermined the very social structures that are the foundation of our knowledge industry. Hate and fear has rapidly over-taken social discourse leaving debate impoverished, our democracy fragile, and our humanism threatened. Such are the effects of ‘Predatory Capitalism’i. Our cultural environment is overshadowed by commercially orientated galleries that public art museums rely on to collect contemporary cultural artifacts. Coupled with reductions in public funding, artists are being herded into commercial obedience and increasingly channeled by a ‘politically correct’ social climate.ii The routes to ‘success’ as a ‘creative’ are being increasingly narrowed by economic forces. Second tier feeder galleries, alternate spaces and artist run spaces have almost disappeared from our cultural landscape. The spaces which guaranteed a place for experimentation and freedom for all within society are shrinking. The contemporary art world staggers along valuing the pursuit of commercial success over the desire to achieve artistic or philosophical merit. Few galleries take the risk of showing artists unless they have a ‘reputation’ or have a track record of commercial success. Self-benefit precedes anything else. Survival is the dominant driver. Such is the confining claustrophobic ‘dog-eat-dog’ consequence of neo-liberalism. Artists around the world are being censored or subject to attacks by ultra-conservative groups - even imprisoned - which is both frightening and dangerous for our democracies. The economic make-up of the new millennium encourages us to treat the artist as someone who sells through a ‘recognized’ commercial 34 Issue #4 | April 14th 2018

system to people whose political and social affiliations may not be known. Sponsors are often large corporation’s whose politics and commercial interests run counter to the aspirations or humanist ideals that artists and galleries espouse. Questioning the way in which corporations interfere with individual lives and artistic practice is problematic as avenues for expressing dissatisfaction with our current political and social environment are being cut off. No-one wants to “bite the hand that feeds it”. Where will the creative sell their products in this dark future? The question of education also looms large: Why is it that in New Zealand we have a society that largely communicates through the visual media then deprives a whole generation a general visual literacy (art) education? We deprive a generation access to any critical understanding of the tools that project social and economic preconditioning that they will encounter for the rest of their lives. Instead our present education system encourages visual illiteracy, encourages a world where a whole generation cannot ‘read’ the world in which they participate in let alone comprehend it. How images are being produced, circulated and distributed and what these images might mean in the larger economic, social and political contexts in which we live is denied. We blind them to what Noam Chomsky described as the processes of “manufacturing consent”iii thereby aiding and abetting in the propaganda machinery of neo-liberalism. A general art and media education is so deficient at secondary schools that many arrive at tertiary institutions to study visual arts, graphics, fashion, interior design without any prior knowledge of their chosen subject let alone any idea that it should be critiqued as a product of culture as well as producer of culture. Students arrive at our institutions with little technical ability, no idea that they are already culturally saturated in mythologies and beliefs. They come armed with grandiose ideological views: anyone can be a graphic designer, artist, animator, media savvy expert by just be sitting


‘A’ is for Apple... Continued... in front of a computer. Technological Utopianism has become the defining ideology of our time whose corollary is the fear of intellectualism. The inherited viewpoint of the millennial – the quintessential “digital native” - is that they have access to the world through the cell phone. How they are also philosophically restricted, restrained and manipulated by the social media platforms which they inhabit is never questioned. Basic research skills – being able to read and comprehend what is written and then assess information against other sources is not in a contemporary student’s lexicon. They are instead slaves to social media trends. Nevertheless, educational institutions continue to encourage the use social media in order to “reach” and engage with the student – but at a cost. The last thirty years has seen a steepening decline in the general literacy levels of students entering New Zealand tertiary education especially at polytechnicsiv. The neoliberalist unit standards “experiment” – described by the New Minister of Education as nothing more than a “compliance exercise”v has been an abject failurevi and has led to the lowering of academic standards across the tertiary sector. This paucity is exacerbated by: economic pressure (the need for “bums on seats” and ‘viability’ ); overseas student pressure (the influx of overseas students with poor English and academic levels that do not meet entry criteria); success pressure (pass undeserving students so higher retention and lower failure rates are recorded); a general fear of academia (the belief that theoretical discourse is largely irrelevant); reliance of social media platforms such as Instagram, Pinterest and Facebook to keep students ‘engaged’. This rapid dumbing down of tertiary education is evident in the decay of content that is offered; critical faculties are in sharp decline and students are unable to distinguish fact from fiction. In art and design, media, creative industries courses, students have been required to do less and less in the way of research and academic writing. Creativity itself has become a banal copy and paste exercise. Creators of such de-

grees believe the writing of only one 2000 word essay in an entire three-year degree program is all that is required to demonstrate research and academic understanding. Such academic rigor is a celebration of ignorance. The cell phone is a double-edged sword that with a click promises instant accessibility to encyclopedic amounts of mind-boggling information as well as infinite and mind-numbing trivia on any subject. The pressure to discern whether information is real or fake; genuine or trite is overwhelming. There is little time for analysis or criticality. Truth, is regarded as transitory, provisional. Any quest for meaning is disorientating. Nothing needs to be justified beyond personal taste. (a ‘like’, ‘♥’, ‘love’ or a ‘Wow!’ will do). Information is discarded with a single swipe. Absolution comes easily. Learning and developing a critical stance – not just in science, but anything, is avoidable, even desirable (subjectivity reigns supreme). We live in a post-truth era where experts in their field are derided; where fake information acquires the same gravitas as any other peddled by hidden ‘identities’. “Inspiration” is the catch-cry of today’s creative and, and the vacuous search for it is predominantly confined to Instagram - a place where all aspiring ‘creatives’ ply their trade in the social smorgasbord of trivia. Instagram is populated by ‘new’ breed of artists and designers (often themselves still students studying in undergraduate courses) that post images supported by banal throw-away lines that the unthinking who flick through regard as intellectual gems of inspirational import. Unsurprisingly Instagram is often used as a research source for aspiring young creatives who consider themselves ‘innovative’, ‘entrepreneurial’, ‘current’, or who are being ‘true to themselves’ because ‘start-ups’ and other business use it as an advertising platform to reach millennials hooked into the same social media paradigm. Today’s catch-cries gleaned from social media, reiterated by the plethora of Instagram artists and designers flogging their wares with no credibility except for a few thousand ‘likes’ are now 35 Issue #4 | April 14th 2018


‘A’ is for Apple... Continued... the ‘street-cred’ sign-signifiers of the contemporary creative. Meaningless and trite quotes trawled from sites such as ‘Brainy Quotes’ or ‘Good Reads’, masquerade as academic rigor. The endless cycle of throwaway meaninglessness is now a self-perpetuation machine that mirrors and echoes its own trends; generating one-dimensional fodder for an entertainment social media industry that has no meaning or purpose except to satisfy the craving to be ‘liked’ in the addictive ego-stroking blue glow of a smart-phone. At the height of modernism, the phrase dripping off every American Abstract Expressionists lips was: “I did it without thinking”, which evoked Jung’s ‘primordial’ mind that bore the remnants of ‘evolution passed through’ or Sartre’s existential ‘back-to-nature’ ‘moment’ that was ‘in the air’. Postmodernists strategically appropriated these turns of phrase, and, echoing Andy Warhol’s example they parodied and ironized them so that their meanings doubled back on themselves to insinuate the exact opposite – the pop ‘icon’ demonstrated that self-hood was constructed. In today’s, ‘WTF’ txt-speak of the millennial “I did it without thinking”, has been abbreviated to ‘I did it’. The millennial just ‘does art’. But this ‘just doing’ is executed with a gormless indifference that would have left Marcel Duchamp breathless with green-eyed with envy. Unlike Duchamp’s intellectually calculated, nihilistic “aesthetic indifference” exercised when choosing his ready-made’s, a millennial’s “just doing art” is hollowed out, empty-headed and reduced to the inane. All intellectual weight is erased. There is no cynical undertone. They ‘like’ it like that because for the millennial, any kind of intellectual engagement has become irrelevant. Skepticism and cynicism, hall marks of the postmodern mind, is today replaced by the crushing zombie-like erasure of a ‘Lol’. Every bite of information is simultaneously real and fake. There is no ‘Yes/No’. No ‘on/off’. Just a temporal blur of no-one cares anyway. Every constructed truth is subjective. Knowledge has 36 Issue #4 | April 14th 2018

become transient, ephemeral and of no consequence. There is nothing permanent about anything. Such is the momentary joyous orgasmic ecstasy of information overload of our Social Media era. One must recognize that we now inhabit the radically illegible world of images derived from Instagram and Google’s repository of stock images and phrases. There is no other side to the equation to ‘just do’. The existential question: “Do What?” is no longer necessary as today one is “branded”. One can do anything - however trivial - so long as you are ‘true to yourself’ and you’re ‘packaged’ in the ‘right way’. ‘Just doing’ is the new being. Just ‘being’ is enough as it will just do. Copy and paste is the preferred drawing tool. With a flick of the wrist, half remembered images taken from ‘somewhere’ are reproduced in memes that generate that ‘timeless’ quality everyone is blogging about. There is no apparent desire or need for originality or creativity. With the ease of a screen shot from Instagram and an inspirational quote from Easy Quotes “creative” art and designs are reposted as ‘content’ on an already saturated social media circuit attracting a dizzying vortex of likes and unbridled trifling comments from an on-line community of awe-stricken ‘followers’ because today you are not only ‘liked’ ‘branded’, and ‘packaged’, but ‘followed’. It’s the number of followers you attract that gives you online ‘cred’. With Online credibility (at least 20,000 followers), one can attract sponsorship. With sponsorship, you have ‘made it’. Getting ‘hits’ is proof-perfect that you are a true ‘creative’ in today’s social world. The addiction to social media engines such as Facebook, Twitter, Instagram, Pintrest, are part of the confirmation industry. Confirmation bias is insidious. Nobel Prize winner Daniel Kahneman is an Israeli-American psychologist who’s work on judgement, decision making and behavioural economy in his book ‘Thinking, Fast and Slow’,vii has suggested that we are likely to believe accept and repeat statements that support our established views and unlikely to support


‘A’ is for Apple... Continued... or accept statements that run counter to our beliefs and established views even when they are well supported by evidence. This bias is the root cause of our new click-and-swipe ‘creative’ culture. It encourages the spread of fake news, biased and bigoted attitudes and inherited ideologies as well as other nonsense that’s passed off as creativity. Kahneman has also shown that we can focus our thought process to uncover our own flaws and we can deliberately learn to override these and avoid the pitfalls of inherited systems of thought and ideology. Much of higher learning in the past has been engaged in this capacity. But this requires deliberate attention to our own faults of reasoning and our own biases when it comes to learning. We need to be motivated and vigilant. It’s hard work as we have to rein in our more instinctive, biased patterns of thought and replace these with an attitude that we are accountable to evidence and other elements of rational reasoning. But this is not happening. Intellectual activity cannot be stimulated and nurtured when students are trapped within social media paradigms. Creativity as with all forms of cultural endeavour is itself riddled with mythology, inherited philosophies, cultural bias, and inherited prejudices that social media perpetuates. We need to pay deliberate attention in order to uncover these bias and prejudices that permeate, enmesh and drive creativity as they also can stifle creative thought and practice. We need to critically understand why we do, as well as what we do. We need to understand and question the ‘what’ and ‘why’ that motivates us not just the ‘how’ to make and sell. It’s an essential aspect of creativity. It’s an essential part of a critical-cultural production system. After 30 years of an education system that has been distorted by neo-liberalist ideology and “digital-age” techno-utopianism and educational compliance, we are confronted by an infrastructure where educators perpetuate anti-intellectualism even when they sincerely believe they are encouraging critical-creative practices. Lectures who witnessed and experienced different educational paradigms are retiring, or have left the

profession. Reinvigorating or replacing a whole infrastructure that is inherently biased against intellectualism is made even more difficult when the staff engaged in changing those systems cannot recognize the ideological bias of the systems of avoidance within themselves. In other words, today’s educator’s, themselves inculcated into the social media paradigms that drive philosophical discourse, have become the guardians of an anti-intellectual orthodoxy perpetuated by neo-liberalism. Such is the influence of social media in the hands of Predatory Capitalism. Today every humanist premise is disqualified or demonized because neoliberalism has the monopoly of rationalism and realism. In the end, it occludes human beings. The result, is the almost laughable, if overwhelmingly impressive, awe-inspiring, all-pervasive, lowest-common-denominator, cheap and nasty mish-mash of gaudy trinkets, junk stock images gleaned from Pinterest and Goggle stuck in plastic frames found alongside fake–wood furniture made in China from recycled plastic (which China now ironically refuses to import, but gleefully exports to our “clean green” New Zealand) that flood outlets such as the Warehouse, Mitre 10 and Bunnings; that masquerade as ‘fine art’ or ‘designer’ products. This plethora of junket is fast becoming the neoliberalist model of creative industry for a whole future generation. The Warehouse, Bunnings and Mitre 10 the new art galleries of our neo-liberal society. Oh, the kismet of serendipity! Perhaps it’s time to follow France and ban social media from our education institutions. Dr. Graeme Cornwell

Image Supplied 37 Issue #4 | April 14th 2018


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