Life + Style 24 November 2017

21 August, 2015

life+style The Weekend Sun 1

Experts in skin Page 2

THE WEEKEND

All aboard!

Jamie Harkins

Jannine Bishop

Hidden gems

Dream Chaser

2

life+style The Weekend Sun 21 20152017 24August, November,

Look and feel great Taking care of your skin

So if you get an odd rash or want something checked, Skin Dermatology can help.

Head dermatologist Dr Ben Tallon has plenty of experience in a wide variety of fields and is equipped to help you with whatever it is your skin is going through.

“Dr Tallon has done extra training in dermatopathology, so once the specimens are sent off to the lab, he is also the specialist reading those slides at the laboratory too,” says Skin Dermatology’s Andrea Tallon.

“He splits his time between his private practise on 16th Avenue and PathLab Tauranga. This gives him such a unique position for the full care of your skin from clinical diagnosis to cellular diagnosis.”

But Skin Dermatology is so much more than just treating skin conditions.

They also offer skin checks, skin cancer checks and mole removals and appearance medicine.

Their Botox treatments are tailor made for each client’s needs and is a non-surgical treatment designed to soften facial lines, resulting in a rejuvenated and youthful appearance. The treatments are performed by a fully-trained injecting nurse while being overseen by Dr Tallon, so patients are very well looked after.

Dermal filler is a good option to restore volume increased areas such as around the nose and mouth. This can effectively return lips to their natural fullness and help smooth frown lines and crow’s feet.

Non-surgical facial rejuvenation helps to reverse the signs of sun damage, such as pigmentation and scale. This is a process that uses a series of peels to rejuvenate the skin.

And if it’s unsightly veins that are bothering you, Skin Dermatology’s sclerotherapy vein treatment can help.

Spider veins are removed by injecting a special solution into the vein, causing them to shrink and collapse.

The clinic also has their own range of cosmetics designed by Dr Tallon himself from natural products.

The range, called BioSkin, was designed to nourish the skin while avoiding unnecessary chemicals, is GE plant and vegetable free, and has not been tested on animals.

The Lemon Myrtle cream has proven antibacterial and anti-itch properties, meaning it makes a good natural option for itchy bites and small sores.

The BioSkin cream is specifically formulated and manufactured with dry skin in mind.

Their cleanser and makeup remover works to gently remove excess oils from the skin as well as unwanted makeup products and sunscreen, and is suitable for all skin types.

And with their cruelty-free range comes a cruelty-free business style.

They moved into a new, more eco-friendly building earlier this year and Andrea says it’s working out fabulously for them.

“We’ve taken a green stance on things, with solar panels on the roof that we use.

“It also means we can still operate in a powercut,” she says.

“We also have an electric car charger, and we are hoping to purchase our own electric car next year.”

Photos: Nikki South

It’s important to feel comfortable in the skin you’re in – it’s the only one you’ll have.

Dr Ben Tallon

Trish Weggery, Katie Abbott, Andrea Tallon, Andrea Fitzgerald, Robyn Mason.

In addition, they launder what they can to avoid excess waste products and recycle as much as possible.

“We are trying as hard as we can to reduce our carbon footprint,” says Andrea.

So whether it’s abnormal skin, appearance medicine, or just some good advice, pop in and see the team at Skin Dermatology.

They’re located at 752 Cameron Road, Tauranga.

24 November, 2017

life+style The Weekend Sun 3

All aboard Pépi Toot Lesley Smith loves trains. As a school girl, little Lesley Carroll, as her name was then, would gaze out the windows of her Mount Maunganui classroom and watch the wharf “goings-on”. The school was later moved from Totara Street, and Lesley’s family all moved to Otumoetai.

“I loved seeing and hearing the trains every day as they came through below us,” says Lesley.

There was no causeway across to Chapel Street, so she would walk her bike daily over the old railway bridge to get to St Mary’s Catholic School on Thirteenth Ave. “There were three planks. If a train came you used to have to hang onto the side of the bridge, hold on to your bike and the old steam train would go past really slowly. It was great.

“When we drove out of town, dad would look for trains and chase them until we got up alongside,” says Lesley. “We’d toot and wave and the drivers would wave back.”

After finishing school, she went hair dressing before joining the NZ Air Force as a driver.

Visits home were by train up the main North Island trunk.

Marriage, children, hair dressing, barbering were followed by driving taxis and tourist buses. The years moved on until the late 1990s when Lesley went on a cruise.

“There was this little train doing a tour on Noumea. I went on it and thought it would be great to have a train in Whitianga where I was living.”

First she needed to buy one.

“I tried to get it built here but no one could help or give me a price. So I found a factory in China and imported it.”

She obtained the required specifications from NZ Land Transport and paid an engineer to go to China in 2008 to check it out for her. After it arrived, another 18 months of modifications followed before it was approved as roadworthy.

In 2013, after three summers of running train tours in Whitianga, Lesley decided to move to a cruiseship destination, choosing Mount Maunganui.

“Coming to Tauranga and the Mount was an easy choice because it was familiar and like coming home again.”

Named ‘Pépi Toot’, which means ‘baby toot’, the train runs one-hour tours around Mount Maunganui for cruise ship passengers, and Lesley includes historical and local information.

When there are no ships, a half-hour ride for locals operates between 10am-2pm.

It’s often used for birthdays and weddings.

“I love trains. Now I do what I love to do. I can’t drive a big train, so I’ve got a little train. I do like being back here, the people are great and it’s a happy thing to do.”

All aboard! Toot! Toot!

Rosalie Liddle Crawford

Photos: Bruce Barnard

The Mount Maunganui beach express

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24August, November, life+style The Weekend Sun 21 20152017

Jamie Harkins Mount landscape time capsules Jamie Harkins has been painting Mount Maunganui street scenes at night, getting ready for an exhibition in February.

But he’s not painting the main tourist tootle along Maunganui Road and around the beach roads.

Instead he’s slipped into the mid-roads, the ones that locals mostly know and use. Grove Avenue, Moa Street, Tay Street, Sullivan Road, around the back of the Mellick and Tweed Street. Houses, mailboxes, intersections. Capturing the nightly inky blues and golden hues from the street lights. And he’s lifted from the footpaths the cats that come out to play - a soft brush flick and felines appear on canvas, their ginger and black fur smudging the evening scenes, tails flicking with mischief.

Jamie’s night time landscapes transport you into a quiet world of stilled Mount Maunganui streets illumined by the moon, with shadows cast across garages and solitary parked cars. Hydrangeas, low shrubs and concrete paths are sensed, more than seen, slipping back behind the houses, windows reflecting the shine of nearby lamps.

“I’m trying to give the Mount another identity other than surf, summer and tourist locations,” says Jamie.

“The locals who live here know how great winter and night time is because the crowds are gone, there isn’t all that noise, just you and the town.”

“I feel like I know the Mount so much more because I’ve painted each tree.”

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Jamie paints at home, a house he shares with two other flatmates. Outside, a family of tui sing gustily from a pohutukawa tree, mint grows from cracks in the concrete, pots brim with succulents, and Fuggles the cat curls up in the warm sunshine. Over the wooden picnic table grape vines start to sag with the coming harvest and fairy lights wind around, adding a night time warmth to the scattered sculptures and outdoor mural. Jamie spends a lot of time painting on the floor of his lounge, through the night, with movies playing in the background.

“For this exhibition I wanted to do the opposite of what’s been done,” says Jamie. “Everyone is into the whole facade of beach, surfing and tourism. But what’s local? Streets, cul de sacs and intersections. It’s about getting people to focus on the here and the now of where we’re going and what we were.

“When you go out at night and there’s no one around, you get those moments of clarity. I’m trying to get that clarity across, through colour. The colour of night.”

He wanted to create a time capsule of work, especially for locals to enjoy.

“There’s so much changing here with buildings and streets,” says Jamie. “We know it’s all going to be gone or changed five years from now. I thought the locals might like to buy these. Creating a time capsule of now and holding it so they can look at it and say ‘that house used to be there’.”

Jamie has been painting for years. An early exhibition where he sold everything turned into commission work, and a part time job at Tay Street

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24 November, 21 August, 2017 2015

life+style The Weekend Sun 5

“I’m trying to give the Mount another identity other than surf, summer, tourist locations,” says Jamie. “The locals who live here know how great winter and night time is because the crowds are gone, there isn’t all that noise, just you and the town”

Café helps bring the creativity back into his painting.

He’s worked in chalk, pastels and oils, and for this next exhibition, to be held at Float Antigravity Fitness, he’s using acrylics. He’s developed his own unique technique.

“I work by layering – it’s a very slow technique,” says Jamie. “I paint the canvas black, then go over it with snail trails of white. I go over it more than 30 times. The last process is layering colour over top of that.”

He finds the time-consuming layering results in the painting looking different under different lights.

“It’s drawn out, with a lot of hours on the lounge floor watching movies while I paint. When I look at different sections of my painting, I can see that movie or show. “ His bachelor degree in media arts included film making, painting and a variety of media.

“I love editing film,” says Jamie. “That’s probably my favourite thing.”

His grandmother gave him an old camera and six reels of film from the 1940s/50s - undeveloped film she was given by her second husband.

“Her second husband was French, and part of the French resistance. His father was in a concentration camp. He got papers and uniform and went in there pretending he was a German officer, and got his father out. The films are from that period, or from when he came to New Zealand after the war. We haven’t had a look at them.”

He’d love to know what’s on the films.

The main reason for working towards an

exhibition, where around 15 of his night time paintings and 15 prints will be shown, is to save money to buy a motorcycle. Then he’ll head off on weekends to find beaches where he can create sand art and, ultimately, produce a coffee table book.

Well-known and respected globally for his three dimensional sand art drawings on the Mauao beach, Jamie is keen to find new scenery and different coastlines and beaches.

“Talk to the locals, find their local tradition or

legend and come up with a local story for their beach - I need to do that in the weekends. So I’m doing an exhibition to fund a motorcycle, which will get me to the sand art, and then the book. It’s like a five year plan.” Rosalie Liddle Crawford

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November, life+style The Weekend Sun 2124August, 20152017

Jannine Bishop Wigs, Xena and romance Photos: Bruce Barnard/Rosalie Liddle Crawford

My idea of a Mount Maunganui beach bonfire scene for a music video was simply a few logs thrown into a heap, with people sitting or jiving around it on the sand.

I dragged driftwood together into a pile, texted Jannine Bishop, who was in charge of set design to let her know where it was, and left to cone off a carpark for another scene.

I knew she’d be down weaving her magic, only I didn’t fathom how stunning it would be.

On returning, there was a hollow in the sand, edged with seashells for a fire pit, and the logs were now turned into seats draped with Mexican style rugs and embellished with exotic djembe drums and shakers.

It was romantic, captivating and definitely magical.

This high attention to detail defines much of Jannine’s approach to the art form that is film. A production designer is the head of the film’s art department, taking information from the director, conceptualising it and facilitating the creative vision to give the film or music video its unique visual identity. But she hasn’t always been an art director.

On leaving school she started hairdressing, before moving to Auckland and becoming a barber. She learned to make wigs in a hair clinic as well as coloured glass at Sauvarins in Kingsland.

Then in 1993, she began working for Pacific Renaissance Pictures.

“They were the Hercules Xena people,” says Jannine. “I started off as a receptionist then became a production runner. Then I did third AD on set

before I got into the art department, and that’s where I met Anton Steel as we were art department runners together.”

A third AD is the third assistant director – someone who manages the movement and activities of the extras or background actors on set.

“A runner is the person who runs around buying things, taking them to set,” says Jannine. “You start the day picking up the cast. You visit each department, - cameras, lighting, wardrobe, - and basically see if they need anything. They might want you to pick up film stock, or go and buy hessian.

“About 4pm in the afternoon, you’d have to drive to South Auckland, pick up the lights for the next day and deliver them to the studio. They’re really heavy.

“Then you get the call sheet to set on time before everyone has wrapped and wait for that day’s rushes.

The camera people would be in the truck getting the canisters into the dark room. That was a very responsible job, taking the day’s footage in the cans.

“You wouldn’t want to have an accident as they’re like the crown jewels. We’d take them to the lab.

“I really enjoyed the variety. The phone’s ringing all day. You might have to go pick up the American cast from the plane, take them to their hotel, set up their rooms and put in a special television so they could see the daily rushes.

“You’d fill up their fridge with food, and usually I got a bunch of flowers. Also set up a fax machine so they could get their call sheet for the next day.

“Going between the production office and locations is a fantastic insight into what each department does and how they operate. You’d be taking costumes to

24 November, 2017 21 August, 2015

“A production designer is the head of the film’s art department, taking information from the director, conceptualising it and facilitating the creative vision to give the film or music video its unique visual identity”

set or someone would ring up and off you’d go.

“Art department runners service the prop shops and art department, so they’d go buy fabric or whatever was needed.

She coordinated the runners, then the props department. “That was a massive job on Hercules, keeping track of 500 swords,” she laughs.

“You got to meet some pretty amazing and famous people. Lucy Lawless just had that special something, that thing that made you know she was going to be a superstar. She’s so funny, she’d crack me up.”

Jannine left the Xena set in 1999, moving on to be the art director and production designer for Street Legal.

“It involved a lot of locations, and we didn’t have the budget that we had with Xena which was a bit of a shock. We had to get sponsorship and borrow things. But half the fun was being resourceful.”

She decided to complete a certificate in design, learning model making, jewellery making, furniture making, pottery and art history.

To subsidise her student allowance she worked in a barbershop once more, and that’s where one day, her future husband Mike walked in.

From Tauranga, he regularly travelled to Auckland for business. By chance he happened to choose the barbershop on the exact day that Jannine was there.

After marrying and having children, Jannine got involved in creating art at The Incubator at the Tauranga Historic Village. On seeing a notice from Anton Steel asking people to be involved in filming the Z-Nail Gang, she renewed contact, and the collaboration with Anton and others grew into an

idea for starting BOP Film.

Jannine is a key operational crew member of the BOP Film Trust and has a vision to establish art department capabilities in the Bay of Plenty with the team of people she is gathering around her.

“BOP Film is very lucky to have Jannine,” says film director Paul Innes. “She has the capacity, experience and ability to manage the art department for really big productions.”

Rosalie Liddle Crawford

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life+style The Weekend Sun 21 20152017 24August, November,

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November, life+style The Weekend Sun 2124August, 20152017

Dream Chaser Foundation Blessing others through loss After a 15-month battle with acute myeloid leukaemia, three-year-old Chace Topperwien’s journey with cancer sadly ended.

He left behind a family forever affected by the loss of a bright, cheeky and caring little guy, who in his brief life had touched the hearts of thousands of people around the globe.

How does a family move on from this heartbreaking experience?

Chace’s parents, Ryan and Keri Topperwien, had been overwhelmed by the support they’d received during his illness and decided to pay it forward by helping other families in Chace’s memory.

They set up the Dream Chaser Foundation, which supports children with cancer, and their families, in Aotearoa.

As an immunohaematology scientist, I’m always interested to learn more about how we can combat leukaemia - especially in children.

Three days after his second birthday, Chace was diagnosed with a rare form of acute myeloid leukaemia. Chace’s grandfather, Rod Topperwien, recounted to me the sequence of events.

Prior to the diagnosis, Chace had cold-like symptoms. Over the course of a couple of months, his parents noticed his tendency to bruise easily, but put it down to Chace being an energetic, adventurous toddler.

Soon after, little red dots known as petechiae started

to cover his body. A blood test showed his platelet count was very low. As a result, Chace would be taken to Waikato hospital several times a week for blood tests to allow the count to be monitored.

The platelet count kept dropping and the decision was made to take Chace to Starship Hospital to undergo a bone marrow aspirate and hopefully identify the underlying issue.

Later that afternoon, Starship Hospital’s Dr Lockie Teague met with Ryan and Keri and advised them that their son had leukaemia.

“That was the beginning of our fight,” says Rod. Chace immediately started on four rounds of intensive chemotherapy in preparation for a bone marrow transplant. However, despite 26 million bone marrow donors on the world-wide registry, none were a match for Chace.

Over the following months Starship Hospital and Ronald McDonald House became home to Ryan, Keri and Chace. Ryan took indefinite leave from his ceiling installation job and Keri put her PhD studies on hold.

The pair, who slept at Ronald McDonald House, took turns spending the night with Chace, doing their best to manage the financial pressure of looking after their son with help from family and friends.

“Chace spent a good proportion of his time between the ages of two and three in hospital,” says grandfather Rod. “He was such a happy little boy.

“His amazing attitude and persona taught us all huge lessons as far as what you can do even in the middle of adversity. It was very hard to see but

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24 November, 21 August,2017 2015

life+style The Weekend Sun 11

“In memory of Chace and his valiant fight, we as a family decided to set up the Dream Chaser Foundation, using funds that were given to us, to help other families with children suffering cancer’”

certainly very heartening.”

After months of treatment, Chace sadly relapsed and the family were told there were no more treatment options left in New Zealand.

“Our evenings were spent researching other alternatives,” says Rod. “It was during this period that we discovered a trial drug in the UK that had had positive results with children who had leukaemia.

“So we took Chace to London. After a short few weeks of treatment it was evident that the UK drug trial was not working and, when his condition deteriorated, we were advised to take him back to New Zealand.

“Right up until the day we lost him, we never ever gave up hope that he would recover.

“We didn’t want to let hope go.”

Chace passed away at home with his family surrounding him on June 15, 2012.

“After we got over the initial shock and trauma of our loss,” says Rod, “in memory of Chace and his valiant fight, we as a family decided to set up the Dream Chaser Foundation, using funds that were given to us, to help other families with children suffering cancer. We know what it’s like when you’re away from home. Your costs are different.”

The foundation includes an option to become Dream Chaser Guardians for as little as a minimum of $1 per week.

One hundred per cent of the money donated goes to support families by providing food and petrol vouchers, special family projects, Christmas hampers,

present giveaways throughout the year and gifts for children who celebrate their birthday while in Starship Children’s Hospital.

It also raises awareness of bone marrow, its use and the need for more Maori and Pacific Island donors.

Finding a bone marrow match depends on a person’s genetic makeup, and sadly many Maori and Pacific Island children don’t find the lifesaving match they need due to low donation rates from Maori and Pacific Island people. Dream Chaser Foundation also supports Ronald McDonald House Auckland.

The family have created a remarkable loving memory of their beautiful boy, Chace Eriki Topperwien.

Rosalie Liddle Crawford

Rod Topperwien

TM

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21 August, 2015

life+style The Weekend Sun 1

Experts in skin Page 2

THE WEEKEND

All aboard!

Jamie Harkins

Jannine Bishop

Hidden gems

Dream Chaser

2

life+style The Weekend Sun 21 20152017 24August, November,

Look and feel great Taking care of your skin

So if you get an odd rash or want something checked, Skin Dermatology can help.

Head dermatologist Dr Ben Tallon has plenty of experience in a wide variety of fields and is equipped to help you with whatever it is your skin is going through.

“Dr Tallon has done extra training in dermatopathology, so once the specimens are sent off to the lab, he is also the specialist reading those slides at the laboratory too,” says Skin Dermatology’s Andrea Tallon.

“He splits his time between his private practise on 16th Avenue and PathLab Tauranga. This gives him such a unique position for the full care of your skin from clinical diagnosis to cellular diagnosis.”

But Skin Dermatology is so much more than just treating skin conditions.

They also offer skin checks, skin cancer checks and mole removals and appearance medicine.

Their Botox treatments are tailor made for each client’s needs and is a non-surgical treatment designed to soften facial lines, resulting in a rejuvenated and youthful appearance. The treatments are performed by a fully-trained injecting nurse while being overseen by Dr Tallon, so patients are very well looked after.

Dermal filler is a good option to restore volume increased areas such as around the nose and mouth. This can effectively return lips to their natural fullness and help smooth frown lines and crow’s feet.

Non-surgical facial rejuvenation helps to reverse the signs of sun damage, such as pigmentation and scale. This is a process that uses a series of peels to rejuvenate the skin.

And if it’s unsightly veins that are bothering you, Skin Dermatology’s sclerotherapy vein treatment can help.

Spider veins are removed by injecting a special solution into the vein, causing them to shrink and collapse.

The clinic also has their own range of cosmetics designed by Dr Tallon himself from natural products.

The range, called BioSkin, was designed to nourish the skin while avoiding unnecessary chemicals, is GE plant and vegetable free, and has not been tested on animals.

The Lemon Myrtle cream has proven antibacterial and anti-itch properties, meaning it makes a good natural option for itchy bites and small sores.

The BioSkin cream is specifically formulated and manufactured with dry skin in mind.

Their cleanser and makeup remover works to gently remove excess oils from the skin as well as unwanted makeup products and sunscreen, and is suitable for all skin types.

And with their cruelty-free range comes a cruelty-free business style.

They moved into a new, more eco-friendly building earlier this year and Andrea says it’s working out fabulously for them.

“We’ve taken a green stance on things, with solar panels on the roof that we use.

“It also means we can still operate in a powercut,” she says.

“We also have an electric car charger, and we are hoping to purchase our own electric car next year.”

Photos: Nikki South

It’s important to feel comfortable in the skin you’re in – it’s the only one you’ll have.

Dr Ben Tallon

Trish Weggery, Katie Abbott, Andrea Tallon, Andrea Fitzgerald, Robyn Mason.

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So whether it’s abnormal skin, appearance medicine, or just some good advice, pop in and see the team at Skin Dermatology.

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life+style The Weekend Sun 3

All aboard Pépi Toot Lesley Smith loves trains. As a school girl, little Lesley Carroll, as her name was then, would gaze out the windows of her Mount Maunganui classroom and watch the wharf “goings-on”. The school was later moved from Totara Street, and Lesley’s family all moved to Otumoetai.

“I loved seeing and hearing the trains every day as they came through below us,” says Lesley.

There was no causeway across to Chapel Street, so she would walk her bike daily over the old railway bridge to get to St Mary’s Catholic School on Thirteenth Ave. “There were three planks. If a train came you used to have to hang onto the side of the bridge, hold on to your bike and the old steam train would go past really slowly. It was great.

“When we drove out of town, dad would look for trains and chase them until we got up alongside,” says Lesley. “We’d toot and wave and the drivers would wave back.”

After finishing school, she went hair dressing before joining the NZ Air Force as a driver.

Visits home were by train up the main North Island trunk.

Marriage, children, hair dressing, barbering were followed by driving taxis and tourist buses. The years moved on until the late 1990s when Lesley went on a cruise.

“There was this little train doing a tour on Noumea. I went on it and thought it would be great to have a train in Whitianga where I was living.”

First she needed to buy one.

“I tried to get it built here but no one could help or give me a price. So I found a factory in China and imported it.”

She obtained the required specifications from NZ Land Transport and paid an engineer to go to China in 2008 to check it out for her. After it arrived, another 18 months of modifications followed before it was approved as roadworthy.

In 2013, after three summers of running train tours in Whitianga, Lesley decided to move to a cruiseship destination, choosing Mount Maunganui.

“Coming to Tauranga and the Mount was an easy choice because it was familiar and like coming home again.”

Named ‘Pépi Toot’, which means ‘baby toot’, the train runs one-hour tours around Mount Maunganui for cruise ship passengers, and Lesley includes historical and local information.

When there are no ships, a half-hour ride for locals operates between 10am-2pm.

It’s often used for birthdays and weddings.

“I love trains. Now I do what I love to do. I can’t drive a big train, so I’ve got a little train. I do like being back here, the people are great and it’s a happy thing to do.”

All aboard! Toot! Toot!

Rosalie Liddle Crawford

Photos: Bruce Barnard

The Mount Maunganui beach express

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24August, November, life+style The Weekend Sun 21 20152017

Jamie Harkins Mount landscape time capsules Jamie Harkins has been painting Mount Maunganui street scenes at night, getting ready for an exhibition in February.

But he’s not painting the main tourist tootle along Maunganui Road and around the beach roads.

Instead he’s slipped into the mid-roads, the ones that locals mostly know and use. Grove Avenue, Moa Street, Tay Street, Sullivan Road, around the back of the Mellick and Tweed Street. Houses, mailboxes, intersections. Capturing the nightly inky blues and golden hues from the street lights. And he’s lifted from the footpaths the cats that come out to play - a soft brush flick and felines appear on canvas, their ginger and black fur smudging the evening scenes, tails flicking with mischief.

Jamie’s night time landscapes transport you into a quiet world of stilled Mount Maunganui streets illumined by the moon, with shadows cast across garages and solitary parked cars. Hydrangeas, low shrubs and concrete paths are sensed, more than seen, slipping back behind the houses, windows reflecting the shine of nearby lamps.

“I’m trying to give the Mount another identity other than surf, summer and tourist locations,” says Jamie.

“The locals who live here know how great winter and night time is because the crowds are gone, there isn’t all that noise, just you and the town.”

“I feel like I know the Mount so much more because I’ve painted each tree.”

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Jamie paints at home, a house he shares with two other flatmates. Outside, a family of tui sing gustily from a pohutukawa tree, mint grows from cracks in the concrete, pots brim with succulents, and Fuggles the cat curls up in the warm sunshine. Over the wooden picnic table grape vines start to sag with the coming harvest and fairy lights wind around, adding a night time warmth to the scattered sculptures and outdoor mural. Jamie spends a lot of time painting on the floor of his lounge, through the night, with movies playing in the background.

“For this exhibition I wanted to do the opposite of what’s been done,” says Jamie. “Everyone is into the whole facade of beach, surfing and tourism. But what’s local? Streets, cul de sacs and intersections. It’s about getting people to focus on the here and the now of where we’re going and what we were.

“When you go out at night and there’s no one around, you get those moments of clarity. I’m trying to get that clarity across, through colour. The colour of night.”

He wanted to create a time capsule of work, especially for locals to enjoy.

“There’s so much changing here with buildings and streets,” says Jamie. “We know it’s all going to be gone or changed five years from now. I thought the locals might like to buy these. Creating a time capsule of now and holding it so they can look at it and say ‘that house used to be there’.”

Jamie has been painting for years. An early exhibition where he sold everything turned into commission work, and a part time job at Tay Street

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life+style The Weekend Sun 5

“I’m trying to give the Mount another identity other than surf, summer, tourist locations,” says Jamie. “The locals who live here know how great winter and night time is because the crowds are gone, there isn’t all that noise, just you and the town”

Café helps bring the creativity back into his painting.

He’s worked in chalk, pastels and oils, and for this next exhibition, to be held at Float Antigravity Fitness, he’s using acrylics. He’s developed his own unique technique.

“I work by layering – it’s a very slow technique,” says Jamie. “I paint the canvas black, then go over it with snail trails of white. I go over it more than 30 times. The last process is layering colour over top of that.”

He finds the time-consuming layering results in the painting looking different under different lights.

“It’s drawn out, with a lot of hours on the lounge floor watching movies while I paint. When I look at different sections of my painting, I can see that movie or show. “ His bachelor degree in media arts included film making, painting and a variety of media.

“I love editing film,” says Jamie. “That’s probably my favourite thing.”

His grandmother gave him an old camera and six reels of film from the 1940s/50s - undeveloped film she was given by her second husband.

“Her second husband was French, and part of the French resistance. His father was in a concentration camp. He got papers and uniform and went in there pretending he was a German officer, and got his father out. The films are from that period, or from when he came to New Zealand after the war. We haven’t had a look at them.”

He’d love to know what’s on the films.

The main reason for working towards an

exhibition, where around 15 of his night time paintings and 15 prints will be shown, is to save money to buy a motorcycle. Then he’ll head off on weekends to find beaches where he can create sand art and, ultimately, produce a coffee table book.

Well-known and respected globally for his three dimensional sand art drawings on the Mauao beach, Jamie is keen to find new scenery and different coastlines and beaches.

“Talk to the locals, find their local tradition or

legend and come up with a local story for their beach - I need to do that in the weekends. So I’m doing an exhibition to fund a motorcycle, which will get me to the sand art, and then the book. It’s like a five year plan.” Rosalie Liddle Crawford

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November, life+style The Weekend Sun 2124August, 20152017

Jannine Bishop Wigs, Xena and romance Photos: Bruce Barnard/Rosalie Liddle Crawford

My idea of a Mount Maunganui beach bonfire scene for a music video was simply a few logs thrown into a heap, with people sitting or jiving around it on the sand.

I dragged driftwood together into a pile, texted Jannine Bishop, who was in charge of set design to let her know where it was, and left to cone off a carpark for another scene.

I knew she’d be down weaving her magic, only I didn’t fathom how stunning it would be.

On returning, there was a hollow in the sand, edged with seashells for a fire pit, and the logs were now turned into seats draped with Mexican style rugs and embellished with exotic djembe drums and shakers.

It was romantic, captivating and definitely magical.

This high attention to detail defines much of Jannine’s approach to the art form that is film. A production designer is the head of the film’s art department, taking information from the director, conceptualising it and facilitating the creative vision to give the film or music video its unique visual identity. But she hasn’t always been an art director.

On leaving school she started hairdressing, before moving to Auckland and becoming a barber. She learned to make wigs in a hair clinic as well as coloured glass at Sauvarins in Kingsland.

Then in 1993, she began working for Pacific Renaissance Pictures.

“They were the Hercules Xena people,” says Jannine. “I started off as a receptionist then became a production runner. Then I did third AD on set

before I got into the art department, and that’s where I met Anton Steel as we were art department runners together.”

A third AD is the third assistant director – someone who manages the movement and activities of the extras or background actors on set.

“A runner is the person who runs around buying things, taking them to set,” says Jannine. “You start the day picking up the cast. You visit each department, - cameras, lighting, wardrobe, - and basically see if they need anything. They might want you to pick up film stock, or go and buy hessian.

“About 4pm in the afternoon, you’d have to drive to South Auckland, pick up the lights for the next day and deliver them to the studio. They’re really heavy.

“Then you get the call sheet to set on time before everyone has wrapped and wait for that day’s rushes.

The camera people would be in the truck getting the canisters into the dark room. That was a very responsible job, taking the day’s footage in the cans.

“You wouldn’t want to have an accident as they’re like the crown jewels. We’d take them to the lab.

“I really enjoyed the variety. The phone’s ringing all day. You might have to go pick up the American cast from the plane, take them to their hotel, set up their rooms and put in a special television so they could see the daily rushes.

“You’d fill up their fridge with food, and usually I got a bunch of flowers. Also set up a fax machine so they could get their call sheet for the next day.

“Going between the production office and locations is a fantastic insight into what each department does and how they operate. You’d be taking costumes to

24 November, 2017 21 August, 2015

“A production designer is the head of the film’s art department, taking information from the director, conceptualising it and facilitating the creative vision to give the film or music video its unique visual identity”

set or someone would ring up and off you’d go.

“Art department runners service the prop shops and art department, so they’d go buy fabric or whatever was needed.

She coordinated the runners, then the props department. “That was a massive job on Hercules, keeping track of 500 swords,” she laughs.

“You got to meet some pretty amazing and famous people. Lucy Lawless just had that special something, that thing that made you know she was going to be a superstar. She’s so funny, she’d crack me up.”

Jannine left the Xena set in 1999, moving on to be the art director and production designer for Street Legal.

“It involved a lot of locations, and we didn’t have the budget that we had with Xena which was a bit of a shock. We had to get sponsorship and borrow things. But half the fun was being resourceful.”

She decided to complete a certificate in design, learning model making, jewellery making, furniture making, pottery and art history.

To subsidise her student allowance she worked in a barbershop once more, and that’s where one day, her future husband Mike walked in.

From Tauranga, he regularly travelled to Auckland for business. By chance he happened to choose the barbershop on the exact day that Jannine was there.

After marrying and having children, Jannine got involved in creating art at The Incubator at the Tauranga Historic Village. On seeing a notice from Anton Steel asking people to be involved in filming the Z-Nail Gang, she renewed contact, and the collaboration with Anton and others grew into an

idea for starting BOP Film.

Jannine is a key operational crew member of the BOP Film Trust and has a vision to establish art department capabilities in the Bay of Plenty with the team of people she is gathering around her.

“BOP Film is very lucky to have Jannine,” says film director Paul Innes. “She has the capacity, experience and ability to manage the art department for really big productions.”

Rosalie Liddle Crawford

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life+style The Weekend Sun 21 20152017 24August, November,

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November, life+style The Weekend Sun 2124August, 20152017

Dream Chaser Foundation Blessing others through loss After a 15-month battle with acute myeloid leukaemia, three-year-old Chace Topperwien’s journey with cancer sadly ended.

He left behind a family forever affected by the loss of a bright, cheeky and caring little guy, who in his brief life had touched the hearts of thousands of people around the globe.

How does a family move on from this heartbreaking experience?

Chace’s parents, Ryan and Keri Topperwien, had been overwhelmed by the support they’d received during his illness and decided to pay it forward by helping other families in Chace’s memory.

They set up the Dream Chaser Foundation, which supports children with cancer, and their families, in Aotearoa.

As an immunohaematology scientist, I’m always interested to learn more about how we can combat leukaemia - especially in children.

Three days after his second birthday, Chace was diagnosed with a rare form of acute myeloid leukaemia. Chace’s grandfather, Rod Topperwien, recounted to me the sequence of events.

Prior to the diagnosis, Chace had cold-like symptoms. Over the course of a couple of months, his parents noticed his tendency to bruise easily, but put it down to Chace being an energetic, adventurous toddler.

Soon after, little red dots known as petechiae started

to cover his body. A blood test showed his platelet count was very low. As a result, Chace would be taken to Waikato hospital several times a week for blood tests to allow the count to be monitored.

The platelet count kept dropping and the decision was made to take Chace to Starship Hospital to undergo a bone marrow aspirate and hopefully identify the underlying issue.

Later that afternoon, Starship Hospital’s Dr Lockie Teague met with Ryan and Keri and advised them that their son had leukaemia.

“That was the beginning of our fight,” says Rod. Chace immediately started on four rounds of intensive chemotherapy in preparation for a bone marrow transplant. However, despite 26 million bone marrow donors on the world-wide registry, none were a match for Chace.

Over the following months Starship Hospital and Ronald McDonald House became home to Ryan, Keri and Chace. Ryan took indefinite leave from his ceiling installation job and Keri put her PhD studies on hold.

The pair, who slept at Ronald McDonald House, took turns spending the night with Chace, doing their best to manage the financial pressure of looking after their son with help from family and friends.

“Chace spent a good proportion of his time between the ages of two and three in hospital,” says grandfather Rod. “He was such a happy little boy.

“His amazing attitude and persona taught us all huge lessons as far as what you can do even in the middle of adversity. It was very hard to see but

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“In memory of Chace and his valiant fight, we as a family decided to set up the Dream Chaser Foundation, using funds that were given to us, to help other families with children suffering cancer’”

certainly very heartening.”

After months of treatment, Chace sadly relapsed and the family were told there were no more treatment options left in New Zealand.

“Our evenings were spent researching other alternatives,” says Rod. “It was during this period that we discovered a trial drug in the UK that had had positive results with children who had leukaemia.

“So we took Chace to London. After a short few weeks of treatment it was evident that the UK drug trial was not working and, when his condition deteriorated, we were advised to take him back to New Zealand.

“Right up until the day we lost him, we never ever gave up hope that he would recover.

“We didn’t want to let hope go.”

Chace passed away at home with his family surrounding him on June 15, 2012.

“After we got over the initial shock and trauma of our loss,” says Rod, “in memory of Chace and his valiant fight, we as a family decided to set up the Dream Chaser Foundation, using funds that were given to us, to help other families with children suffering cancer. We know what it’s like when you’re away from home. Your costs are different.”

The foundation includes an option to become Dream Chaser Guardians for as little as a minimum of $1 per week.

One hundred per cent of the money donated goes to support families by providing food and petrol vouchers, special family projects, Christmas hampers,

present giveaways throughout the year and gifts for children who celebrate their birthday while in Starship Children’s Hospital.

It also raises awareness of bone marrow, its use and the need for more Maori and Pacific Island donors.

Finding a bone marrow match depends on a person’s genetic makeup, and sadly many Maori and Pacific Island children don’t find the lifesaving match they need due to low donation rates from Maori and Pacific Island people. Dream Chaser Foundation also supports Ronald McDonald House Auckland.

The family have created a remarkable loving memory of their beautiful boy, Chace Eriki Topperwien.

Rosalie Liddle Crawford

Rod Topperwien

TM

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