Creating with Kauri Maker Series No.2 Jewellery

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Creating with Kauri 2020: Jewellery Part of the maker series at The Kauri Museum

The maker tradition runs deep at The Kauri Museum. Within the collection are many pieces hand crafted from timber and kauri gum. Jewellery features among some of the most poignant. These pieces speak of their makers who took joy in working the materials to create enduring legacies. They also reflect the purpose for which they were made and are imbued with stories that future generations discover and marvel at. This is seen in the work of Andrew Rintoul of Huarau. Having collected kauri gum his whole life, he worked it to produce an impressive range of items. In the 1880s he crafted strings of kauri gum beads as a wedding gift for Mary Ariel, (nee Thomson) who treasured the bracelet and necklace throughout her life. These pieces of jewellery were cherished and the story passed down for generations before coming into the Museum collection where they continue to speak of their journey. For this year’s Maker Series we invited artists and contemporary jewellers from all over Aotearoa to create jewellery. The jewellery could take any form. The resulting pieces demonstrate the brilliance of our people and the richness of these humble materials. It has also encouraged and challenged people to work with unfamiliar materials. Many of the makers had not worked with kauri gum before and found it tricky. Others have discovered a new medium which they want to continue to work with. The variety and imagination displayed in the crafting of these objects is testament to the creative spirit that has long captivated my interest in this medium. Since my first visit to Fluxus, while at university in Dunedin, contemporary jewellery has held a fascination for me. As a student I could hardly afford the jewellery on display. Since then, given the opportunity, I have been a regular visitor to contemporary jewellery galleries. The alchemy evident in the work of the jeweller is the ability to turn raw materials into portable works of art. The way jewellery can reference the past while being very much in the present continues to intrigue me. The Creating with Kauri series presented the perfect opportunity to bring together my appreciation of contemporary jewellery with my interest in the craft of the maker. This exhibition is the second in our Creating with Kauri Maker Series. The maker series utilises kauri timber and gum that was sourced decades ago for educational and fund raising purposes. The Kauri Museum supplies artists and craftspeople with raw kauri products to create a work to be included in a themed exhibition at the Museum where the works are for sale. The commission from each sale helps fund the operations of the Museum. Established in 1962, The Kauri Museum is situated on the edge of the magnificent Kaipara Harbour and on the Ancient Kauri Highway. It is perfectly positioned to tell the kauri story. We are guardians of the kauri story - past, present and future - ngā kaitiaki ō ngā kauri kōrero ō nehera, ō wātu me te wāheke. Our vision is to use the Museum’s focus on the importance of the kauri to highlight New Zealand’s past and present and to inspire a sustainable future - kia aro te whare taonga ki te kauri whakahirahira hei tohua te wāhipa me te wātu ō Aotearoa ā ka toitū te wāheke. We are extremely grateful to everyone who has taken part in the maker series this year. Fingers Contemporary New Zealand Jewellery Gallery actively encouraged participation in the project amongst their jewellers. This has seen many of New Zealands leading contemporary jewellers taking part in the exhibition. Contemporary New Zealand artists have also contributed works, taking up the challenge of working at a small scale to make wearable pieces. Each participant has added a different dimension to the collection of jewellery presented. I hope that you enjoy viewing this exhibition. Dr Tracey Wedge General Manager

Catalogue design and exhibition co-curation by Stephen Davies

Front cover image: Papatūānuku Protection Amulet by Mia Straka

Alan Preston Alan Preston is a key figure in contemporary New Zealand jewellery. Alan was central to the development of what is now referred to as the ‘Bone, Stone, Shell’ era and has an extensive exhibition history. In1974 Preston founded Fingers, Aotearoa’s longest running contemporary jewellery gallery which has remained at the heart of innovation in New Zealand jewellery for over 45 years. Preston has exhibited widely nationally and internationally; including a solo exhibition of his work at the Dowse Art Museum in 2007, and inclusion in the touring group exhibition ‘Wunderrūma: New Zealand jewellery’, 2014. His work is held in many national public collections. Preston was Adjunct Professor, Jewellery Design at Unitec from 2002-2013 and New Zealand selector, Schmuckszene, Munich from 1990 to 2010. 1 – Necklace

kauri bead and kauri gum


Macarena Bernal A visual artist and jeweller, Macarena was born in 1982 in El Salvador, Chile. A resident of New Zealand since 2012, Macarena has a Bachelor’s Degree in Visual Arts from Finis Terrae University in Santiago, an Advanced Diploma in Jewellery Practice from MIT in Auckland, a Post Graduate Degree and a Master’s Degree from the Otago Polytechnic, Dunedin school of Arts.

2 – Cycle Necklace

kauri gum and wood, inorganic resin, pigments, sterling silver, magnets, stainless steel

‘My work consists of making, writing and teaching Art Jewellery. As I get more and more immersed in the world of Art Jewellery, I’m becoming interested in how to unpack complex themes like value, inequality, social revolutions and the repercussions of such evidenced on social media. Digesting the current COVID crisis from the antipodean safety of New Zealand, has been uncomfortable and confronting. As a consequence of lockdown, the twenty-six reconstituted kauri gum beads contained in this cyclic necklace got darker and darker, just like the fate of the great NZ Kauri, as well as the fate of all of us affected by the virus.’ $780.00

Conor Joseph Jeöry Tairawhiti /Gisborne 1969 – lgbtqi Ko te Maunghuaini te awa Marotiri te maunga Horouta te waka Ngati Porou te iwi Aotawarirangi te hapu Te Ariruru te marae Jeöry te whanau 3 – Apirana Netlace The string for this netlace is spun from the locks of my nephew Api. I've made netlaces over the last 20 years, often enclosing beach findings picked up during that morning’s walk. This is the first time I've used human hair for the thread, but I felt the kauri needed something next level. The curly locks I fashioned the nets thread from were/are so beautiful and delightful I could not help but start incorporating them into the piece - contrasting the natural fibre and the technically manipulated tool woven from it. The net traps four ancient tears of the great kauri forests gone by. $1800.00


4 – Ārainehu I Using the handweaving technique of tāniko, this 2020AD facemask is woven from thread I've spun from five people’s hair including my own greying locks. The two buttons are fashioned from the sent swamp kauri slab and gum nuggets. It is tailored to my average shaped face. ( Tāniko Purse NFS) $2400.00


4 5 – Ārainehu II This 2020AD facemask form is modelled on the shape of my workshops 3M respirator. Carved from the block of swamp kauri sent out to us artisans. Accompanied by a washable damask linen and nylon layered insert filter, and necklace thread in Ngati Porou colours – assembly required. To be worn around the neck as a necklace and held in front of face when required. $3200.00

Stephen Davies Working from his home studio in Matakohe, Stephen works in a variety of media including painting, printmaking, sculpture and photography. Much of his work is focussed on the human figure which he uses to explore ideas of personal identity, religious and cultural constructs as well as other influencers of power relationships. Stephen completed his MA Fine Arts at the Winchester School of Art, United Kingdom, and his BFA at Elam School of Art, Auckland. He has exhibited in group and solo shows in New Zealand and the UK. It is always a challenge working with materials that are not part of your usual methodology. Combine this with a change of scale and things start to push you to places that feel uncomfortable. But this is a good thing to do as an artist – to engage different ways of problem solving and develop more skills. Kauri gum is definitely problematic as a material – it is often unforgiving and requires respect and a good deal of patience. 6

6 – A Sawmiller’s votive pendant

kauri, kauri gum, sterling silver, copper

$255.00 7 – Kiwiana kauri pendant kauri, kauri gum, copper, cord

$90.00 8 – There is always a point ring kauri

$60.00 9 – Delicate fracture ring

kauri, kauri gum, sterling silver





Jane Dodd Jane Dodd is a contemporary jeweller. She was born and bred in Dunedin and now once again lives there. She holds a Bachelor of Arts from University of Otago (1984) and a Diploma of Jewellery Design from Unitec, Auckland (1994). From 1995 to 2009 Jane was a member of Workshop 6, a renowned shared jewellery studio in Kingsland, Auckland. Jane exhibits locally and internationally and her work is held in many private and public collections including Te Papa Tongarewa Museum of New Zealand, The Dowse Art Museum; Musée des Arts Décoratifs, Paris, France; and Tāmaki Paenga Hira Auckland War Memorial Museum.



Jane works with traditional metal-smithing techniques but also carves softer materials such as wood, bone and shell. Influenced by the technical virtuosity of traditional European craftwork but concerned by the destruction of the natural world that many of these works demonstrate, her loosely narrative-based work pivots around the portrayal of animals and environments. Working with the subtext of human impact and interspecies interaction, Dodd has explored issues of extinction and infestation, cruelty and conflict.

Kauri Gum is TROUBLE. It shatters when you just look at it too hard, let alone carve it. I soon realised that I had to go bold and not try to carve anything too intricate. But the smell coming from carving the gum is GLORIOUS and I came to love it – a lemony honeyish aroma filling the studio. I started with a bear claw – I have carved the shape many times before out of a variety of woods, bone, metal and even stone. The Kauri wood was a challenge to finish, finding the right varnish, oil or wax to highlight the grain was not easy. I like to make the claws out of a contrasting material and was so pleased with the use of the gum for this. I have carved many “ghosts” of various animals, mostly out of bone. With the dire threat to kauri from Phytophthora agathidicida I thought it fitting to carve a kauri ghost but hope this isn’t the future. Late in the piece I came across some information on the Kauri snail and still having a little gum left I thought it would be a particularly appropriate for a third piece. These extraordinary creatures are yet more evidence of the complex, rich and precious environments which these forest giants have created and depend on. Sadly all the works I have made have broken and been repaired. For this reason, although the works are for sale and, technically wearable, I wouldn’t recommend wearing them at all. They are VERY fragile (like the kauri forests) and I hope people can appreciate them just as sculpture. My genuine thanks to a young girl on YouTube, “Nesta the Cool” who posted a video on how to attack the gum – without which I would have been lost. Nesta is indeed very cool. 10 – Honey Bear pendant

kauri wood, kauri Gum, cord, sterling silver $1250.00

11 – Kauri Ghost brooch

kauri gum, sterling silver, stainless steel $750.00

12 – Kauri Snail hair pin kauri gum, sterling silver $850.00 10

Jacqueline Morren Jacqueline Morren was born in The Netherlands and after extensive travels ‘ended up’ in New Zealand (nearly 21 years ago) where she became acquainted with its precious stone, pounamu. During her first visit she attended a night class in Jade Carving whilst teaching fulltime at the Tai Poutini Polytechnic. When her year visa had ran out she travelled some more and after returning to The Netherlands she was overcome by a very strong pull to take up working again with the amazing greenstone. She returned as an international student and earned a Diploma in Jade and Hard Stone Carving. Jacqueline was always on the lookout for a silversmith to start a successful collaboration and combine the jade with silver; but to no avail. She then began tentatively teaching the silversmithing craft on her own, at that point without the aid of internet or YouTube.


Jacqueline strives to be as ethical as possible in her studio. Harsh chemicals are replaced with traditional and natural products and the materials are joined without the use of glue. She recycles and melts down her silver dust collected whilst creating new pieces. Silver and gold are at times found during second hand shop trips or are kindly donated.


Jacqueline works full time from her studio, and participates in several exhibitions yearly, plus sells her jewellery and sculptural objects at various galleries across New Zealand. She also is employed part time and teaches various courses and workshops in Christchurch.







The Kauri and Kauri Gum Collection Little did I know, when accepting the invitation to be part of this exciting exhibition, just how challenging the limitations of lockdown would prove to be when working with such unfamiliar materials. They say ignorance is bliss, but having no experience with kauri or kauri gum in my practice, that bliss began to hiss. Kauri gum is the mesmerizing gem resulting from damage, or loss, and time, the kauri tree fills a void or wound with resin to heal and protect itself. Something beautiful born from distress. This self-containment and distress was mirrored in my process of making in isolation, time combined with using what was at hand to fill the void with the healing of immersive creativity. Having no access to specialized tools or expert advice, combined with this luxury of unlimited time, led to extensive play and experimentation. My aim as an ethical silversmith is always to enhance and showcase the intrinsic beauty in the materials I work with, predominantly pounamu and silver, and entering the unchartered territory of these rich and historically significant materials resulted in 265 experiments and counting. These included, for the kauri gum; sanding, scraping, splitting, cutting, cleaving, cold connect settings, melting, polishing and lapidary techniques. And for the kauri; charring, piercing, pyrography, filing, nailing, screwing, sawing, soldering, texturing and endless concoctions of gum, waxes and lacquers to seal it with and to replace toxic glues. The final piece in my collection, 'Sum Total', combines an accumulation of the saved off cuts from hand building the other 14 pieces. These bare the sequential number of their position in the weeks of experimental hand building all the original oneoff art works.





kauri gum, fine & sterling silver, tangiwai, copper and brass. These rings are inspired by the kauri swamp mangrove shoots.


13 – #61 14 – #142 15 – #157 16 – #158

$375.00 $375.00 $295.00 $450.00




25 Necklaces

kauri wood and gum, NZ jade, Baltic amber, copper, fine & sterling silver, leather, steel screws, 24ct gold leaf and beeswax.

22 – #131 $650.00 23 – #151 $650.00 24 – Sum Total NFS

kauri wood and gum, fine silver, NZ jade, whalebone, sterling silver, copper, antique pocket watch screws, mother of pearl, found objects, charcoal and jojoba beeswax blend.


17 – #88 18 – #89 19 – #101 20 – #162 21 – #198

25 – #176 $350.00 26 – #177 $350.00 27 – #262 $265.00

$265.00 $265.00 NFS $250.00 $295.00

kauri wood and gum, fine & sterling silver, copper, brass, 24ct gold leaf and beeswax

Bettina van Hulle Bettina Van Hulle (born 1967) is a Wellington based jeweller. Bettina grew up in Belgium and immigrated with her husband and 4 children to New Zealand in 2010. She has a degree in Speech and Language therapy but has always been passionate about art, craft and design. Bettina graduated from Whitireia Polytechnic in 2017. She completed a Graduate Diploma in Applied Arts in 2019. Her work was exhibited in 3 group shows in Wellington and she had a solo exhibition at Potocki Patterson Gallery in Wellington in 2017. Her works have also been presented at the Friends of Pataka Award at Pataka Museum, Porirua. Illusion When creating jewellery, I always start off with a very loose idea and then see how it goes. I love the piece evolving as it progresses, in a very spontaneous way. I continually reassess and readapt the design. I am inspired by natural organic shapes and I play a lot with textures, colours and shapes. Moving to New Zealand changed my way of thinking. It had a significant impact on my values, affected my personal development tremendously and helped me grow. My creations are some kind of expressions of these factors. My work reflects on environmental concerns and addresses our disconnected relationship with the natural world. Through my work I try to rebuild my relationship with nature and my local environment. I mainly work with found objects, natural and recycled materials in combination with traditional Japanese braiding Kumihimo and ancient dyeing methods. The feeling of being more connected to the Earth gives a mindful and sustainable approach to my jewellery making. My jewellery pieces invite the viewer to re-examine their relationship with nature. “When moving forward means stepping back”

28 – Illusion I (yellow necklace)

natural dyed Australian cotton, kauri gum, kauri wood, paint, aluminium $135.00

29 – Illusion II (yellow necklace)

natural dyed Australian cotton, kauri gum, kauri wood, paint, aluminium $135.00

30 – Illusion III (pink necklace)

natural dyed Australian cotton, kauri gum, kauri wood, aluminium, paint $135.00

31 – Illusion IV (black necklace)


waxed cord, kauri gum, kauri wood, aluminium, paint, beach pebble $135.00

32 – Illusion V (white necklace) waxed cord, kauri wood, kauri gum, aluminium, paint


33 – Illusion VI

multi coloured waxed cord, kauri gum, kauri wood, aluminium $185.00






Susan Videler After graduating with a BFA in painting in 2011 I went back to Dunedin School of Art, switched codes, and completed an MFA in jewellery. I have been experimenting since then in my central Dunedin workshop where I invited 5 other jewellers and a painter to share the space. I have work in Fingers and at Guild, a local co-operative in Dunedin. I am currently involved in the Handshake6 project and my area of interest is knots. Inside the Knot I am currently involved in the Handshake6 project and my area of interest is knots. This is my first experience carving in kauri and kauri gum. My previous carving experience has been with bone and ebony using machinery. Kauri however, has required learning to use hand tools. I wished to make piece that held the gum inside the kauri, where it belongs, that also referenced the knot. 34 – Inside the Knot

kauri, kauri gum, sterling silver, surgical steel pin $750.00

Chris Mules I began working in applied arts, with a main focus on ceramics. In 1994 I embarked on the first of two Fine Arts degrees majoring in Sculpture. For the last 20 years my making focus has been on multimedia works. I have maintained my own practise, taught art at tertiary level, worked in museum display and university workshops, curated, archived and built exhibition furniture. I now work solely in my own workshop. Pendants I have an interest in reconceptualising found objects and the residue of industrial processes. Partly because as you are making it’s a regular occurrence to see the potential of whatever is in front of you, whether it’s being used or not. It’s also a comment on the seemingly insatiable need many humans have to buy and discard. And if you really look you can find something engaging in anything. I let the chosen materials sit where they can catch my eye for a bit, sometimes weeks - even months, and then start trying them out. Ideas develop with doing. It’s very much trial and error until things feel and look right. Because Kauri timber and gum have a controversial history as a resource, and strong cultural connections I have focussed on the materiality, the visual and tactile language. The formats of these pieces have had a few iterations in my journey of working to maintain a lightness of touch. This is meant in an emotional and intellectual sense and has necessitated a few metaphorical rescue missions when I found myself in the swamp of earnestness.


These works are available for sale at $225.00 each. 35 – Soundlessly Unuttered

kauri, kauri gum, fur, plaited cord (blue)

36 – Guardians of the Threshold kauri, kauri gum, plaited cord

37 – Earthbound Moving Skywards kauri, kauri gum, buttons, plaited cord


38 – Theodolite

kauri, kauri gum, paper, plaited braid

39 – Neither Cause Nor Effect

kauri, kauri gum, plastic, plaited cord (orange)

40 – Numerically Speaking

kauri, kauri gum, plastic, glass, plaited cord (gold)

41 – Born Out Of An Inner Necessity kauri, kauri gum, shell, plastic, cord (white)






Nick Tetzner Local boat builder with a passion for creating with timber and other mediums Reunited

kauri, kauri gum, cord, felt

My vision was to bring the kauri gum and timber back together. The shape is largely dictated by the piece of gum I was given. I was able to work out a way of cutting the gum and inserting thin veneers of timber. Every piece of gum reacts differently so the design process evolves as you go. 42 – Comb $380.00 43 – Small Pendant $230.00 44 – Large Pendant NFS




Granville Haworth Granville Haworth emigrated to New Zealand from the UK in 1974 and worked at NZ Forest Products Ltd in Tokoroa. In 1981, Granville came to Whangarei and took up a position as a Senior Mechanical Engineer at NZ Refining Company. Granville started woodturning in 1995, being professionally taught by one of New Zealand’s top wood turners, Shane Hewitt. He then successfully completed a Master Class Natural Edge and Hollow Form course run by Melvyn Firmager in the UK. Granville demonstrates and does tuition classes in wood turning, both in NZ and the UK and has built up such a good reputation that he regularly returns to give further demonstrations and tuition. Granville’s work has been selected by judges as being worthy of display at the Art of Turned Wood exhibitions held at the NZ Academy of Fine Arts Gallery in Wellington. Past President of the Northland Woodturners and Woodworkers Club, Granville is also a Life Member of the West Pennine Woodturners Club in Rochdale, UK. Granville is passionate about his work and the efficient use of the natural resource and is always very willing to help others and pass on his knowledge. Toki The pieces are toki designed as necklaces and made from ancient kauri. The toki (adze) is a symbol of strength, determination and courage in times of adversity. The shape represents a tool often used by Māori for carving, shaping and weaponry and was originally used for practical purposes. The design was cut from a piece of ancient kauri, shaped, then cut-outs were made, followed by setting pieces of kauri gum in resin. When the resin was cured, the final shape was made by carving, sanding, then polishing. 1mm waxed braid was used to make the lashing and complete the necklace.


45 – Toki I

kauri, kauri gum, resin

$394.00 46 – Toki II

kauri, kauri gum, resin

$394.00 47 – Earrings

kauri, Swarovski crystals




Kylie Sinkovich Kylie Sinkovich is a contemporary jeweller based in Auckland with a project driven practice spanning the last 9 years. With a background in photography and design, she graduated in 2015 with an advanced Diploma in Jewellery and has exhibited in New Zealand over the last 7 years. Tin and Timber This project transported me back to my childhood running barefoot through the long grass on my family’s orchard collecting stones, tiny windblown birds’ nests and other earthly treasures, before bringing them back to a pint sized workbench next to my father’s in the garage. I had a fascination with the nostalgic, especially old tins, and kept my precious findings in them. Moa stones and chunks of kauri my father had found, bird’s feathers and broken eggs, sea shells and other bits I’d collected ended up in these tins. The moment when a tin is creaked open to reveal its hidden contents was always a moment to savour and drink in with all the senses. In this project I have endeavoured to recreate a small sacred moment with each assemblage of treasure inside these tins, because the small sacred moments are plenty to be had if we remain aware. To savour each and every drop of them is the secret. Working with these materials, especially timber is like coming home. It is my first time working with kauri gum and to close your eyes and inhale its scent when it has warmed up a little is a joy in itself. I hope that the new guardians of these treasures will also create a little space with them to experience a quiet moment and allow small sparks of joy to materialise as I have done in the creation of them.


50 48 – Tin & Timber I

tobacco tin, kauri, kauri gum, fine silver, reclaimed ebony, reclaimed mahogany, beeswax

$665.00 49 – Tin & Timber II

tobacco tin, kauri, kauri gum, fine silver, reclaimed ebony, brass, reclaimed mahogany, beeswax


$665.00 50 – Tin & Timber III

tobacco tin, kauri, kauri gum, fine silver, sterling silver, reclaimed mahogany, beeswax



Margot Symes Dip Jewellery, Adv Dip Jewellery, B.A, B.A Hons, PhD

Originally trained and worked as a graphic artist, becoming a fulltime bone carving artist in the late 70s, exhibiting internationally. Transitioned into working both hard and soft stone, participating in numerous NZ symposiums and exhibitions over a 25 year period, with pieces held in both private collections and public spaces. Completed 4 years of training, gaining an Advanced Diploma in Jewellery 2015 through Hungry Creek Jewellery School. Cocktail Rings I, II, III, IV This body of work I am presenting are handmade bespoke contemporary cocktail rings showcasing kauri wood as the hero of each piece, all with an industrial architectural influence in both the design and treatment of the materials. In order to do justice to the ancient kauri wood, I felt it necessary to pair it with equally aged natural organic materials – fossilized coral stone and mammoth ivory, red coral and kauri gum. All materials with the exception of a recycled red coral bead, are all naturally occurring gifts extracted from the ground. 51 – Ring I

kauri wood, kauri gum, sterling silver

$280.00 52 – Ring II

kauri wood, kauri gum, sterling silver

$280.00 53 – Ring III

kauri wood, fossilized coral stone, sterling silver.


Specifically designed for a man’s hand

$295.00 54 – Ring IV

kauri wood, fossilized mammoth ivory, sterling silver



52 53

Mary Curtis Mary Curtis has been making jewellery since the mid 1980s. She has done residencies at Edinburg Collage of Arts and at Fluxus in Dunedin during the mid 1990s and in the Munich workshop of Helen Britton and David Bielander in 2007. Mary has exhibited nationally and internationally. She has presented two solo exhibitions at Objectspace; ‘Metadecorative’ in 2010 and ‘Inside/Outside’ in 2019. Mary’s work is held in public collections at Auckland Museum and The Dowse Art Museum. She makes jewellery from her home-based workshop in Auckland and is represented by Fingers and Masterworks in Auckland, Avid in Wellington and The National in Christchurch. 7 Years Worry Beads Amulets for the Kauri forest series The total number of worry beads in a necklace usually equals a prime number (multiples of 4 +1). Here each group of 4 marks one year, depicting the equinox and solstice through the dark/light circadian rhythm. Each amulet is made by melting kauri gum into a preshaped silver bezel. 55 – 7 Years Worry Beads

kauri, reconstituted ebony, 24ct NZ alluvial gold, silk



Amulets for the Kauri forest series: kauri gum, sterling silver, linen $250.00 each 56 – Green gecko 57 – Weta 58 – Kauri snail 59 – Kereru 60 – Tui 61 – Long tailed bat 62 – Hochstetter’s frog 56




59 60


Mia Straka Mia Straka graduated with an Honours degree in 3D Design: Jewellery, from Unitec Institute of Technology, Auckland (2001). Her work is shown in galleries, and has toured public institutions nationally and internationally. Work is represented in the James Wallace Arts Trust Collection (NZ). She is a current partner of collective jewellery studio Workshop 6, teaching and facilitating jewellery classes, alongside continuing to evolve her own contemporary jewellery practice. More recent work has also included community art projects, workshops, installations, larger scale sculptural work and objects, notably The Valere Talisman Project (est. 2017) and The Talisman Project (est. 2014). Recent art residencies include Berlin, Germany 2018 and Oaxaca, Mexico 2014. Mia is currently a selected participant in HandShake6, a two year project where she is being mentored by Melbourne based jeweller Manon Van Kouswijk. Papatūānuku Protection Amulet IV Papatūānuku Protection Amulet is worn over the heart, a call to action for the wearer to embody the strength and beauty of the mighty kauri and act as kaitiakitanga - guardians of the land. The amulet is made from the hardened resin that bleeds from the Kauri Tree, sealing wounds, protecting. Kauri forests are amongst the most ancient in the world and once covered much of Northland but now the few remaining pockets of forest are under threat due to Kauri Dieback disease. This nugget is a physical connection to the land, a reminder it feeds, shelters and nurtures us. Many hours were spent holding and polishing the nugget to reveal the beauty within and honour the natural form. The basket like structure explores the dual notion of protection and restriction. Faceted windows look back in time as we face the here and now.

63 – Papatūānuku Protection Amulet IV kauri gum, muka, 9ct gold, oxidised silver


John Ecuyer Born in 1956, wood artist John Ecuyer lives and works in Matakohe, Northland, New Zealand with his wife Anne, and family. John's woodworking journey began in the late 1980s and continues at Matakohe on the shores of the Kaipara Harbour where his home, workshop and gallery are now located. John's contemporary pieces have found their way into many private and public collections worldwide. The public collections include Auckland Museum, Dowse Art Museum, Whangarei Art Museum, Manukau District Council, Vero Centre, NZ Embassy Tokyo Japan, Detroit institute of Art USA, Maioli Wood Art Museum Taiwan, Singapore High Commission Wellington. Abundance 1, Abundance 2 This ceremonial piece is a unique storehouse of 64 the natural abundance of Northern New Zealand. The Kauri tree and its associated fossilized resin became a beginning for a radical transformation of the natural world of Tai Tokerau. This piece celebrates this abundance and also reflects on what has been lost with this transformation. 64 – Abundance I kauri, fossilized kauri resin, beach pebbles, seal tooth, waxed thread, purple heart, antique bronze rowlock $1,267.00*

65 – Abundance II

fossilized kauri resin, black coral, paua shell, waxed thread $734.00*

* Abundance I & II as a set $1,867.00



Moniek Schrijer Moniek Schrijer is a Contemporary Jewellery Artist from Pōneke who holds a Bachelor of Applied Arts (2012) and a Post-Graduate Diploma from Whitireia New Zealand’s Facility of Art (2013). Since graduating, Schrijer has developed a strong exhibition history and her work has been a part of significant national and international exhibitions. Recently Schrijer's work was included in the groundbreaking exhibition Non-Stick Nostalgia at the Museum of Art and Design in New York (2019) and is currently showing in Deadweight Loss at Objectspace, Auckland.

66 – Alpenglow Pendant and Hook

agate, cubic zirconias, crystal glass, kauri gum, copper, patina paint, cotton cord, oiled kauri, brass $1,870.00

Sarah Walker-Holt Sarah completed a Bachelor of Visual Arts at Auckland University’s MSVA in 2010 where she received numerous prizes as well as the Fingers Graduating Students Award. In 2011, she went on to win the New Zealand Contemporary Jewellery Award. Sarah has exhibited both nationally and internationally and was an exhibitor in The Dowse Art Museum’s travelling show, Wunderrūma: New Zealand Jewellery. In 2014-2015 she was mentored by Helen Britton as a participant of Handshake 2: Prentice and Prodigy and successively selected for Handshake3 in 2016-2017 and Handshake5 in 2019. Encapsulate As opposcapsulate uses kauri timber to individually nestle kauri gum nuggets, that have derived from it, and give them a sheltered position, to protect, embrace and hold them tight. The beauty of the materials found through holding onto a rawer state. 67 – Encapsulate1 - Brooch kauri, kauri gum, brass



68 – Encapsulate2 - Brooch

kauri, kauri gum, brass, epoxy putty, acrylic paint

$375.00 69 – Encapsulate3 - Pendant kauri, kauri gum, brass, silk




Sharon Fitness Sharon’s work revolves around the act of wearing; the feelings and impulses you have wearing, the reactions and comments you receive wearing and all the thoughts and motions that float in between. Sharon has exhibited in New Zealand and all over the world; Germany, France, Australia, Sweden. Her works are held in the collections of the Museum of New Zealand Te Papa Tongarewa and the Auckland War Memorial Museum. Universal Controller Pendant and Universal Polarising Device I have made a 'Universal Controller Pendant' and a hand held 'Polarising Device' for this exhibition. I am in the process of making short films with these devices which are on view on the small tablet screen. Alternatively, if you google #universalcontrollerpendant you will find 3 movies I have made so far with the pendant on instagram. This year more than ever things have felt out of control. These devices enable you to change the way you view the world. 70 – Universal Controller Pendant kauri, buttons, knobs, aux cord, glue

$395.00 71 – Universal Polarising Device kauri gum, buttons, glue

$250.00 71


Susan Dinkelacker Susan Dinkelacker is a wood carver from a family of woodworkers who developed her carving style by herself during her ‘day job’ as a career helicopter pilot. Currently she flies the Northland Rescue Helicopter in Whangarei, and creates artworks for the Haast Club – exclusive to the heli-rescued. Specializing in wooden 3D sculptures featuring a chisel-tooled finish, Susan strives to reveal the intriguing inner character of whatever she carves - be they birds, creatures or the human form - they are designed to delight. Susan has exhibited outdoor sculptures at the Quarry Gardens Outdoor Sculpture exhibition in 2018, and has taken part in many symposiums. Living near Whangarei, Susan’s sculptures are sold through Gallery Helena Bay and the Quarry Arts Centre. Susan’s works are currently in private collections in New Zealand, Netherlands, Malaysia, UK, Germany, Korea, USA, & Canada.

Owl, Dragon These small works are carved while cradled in the palm of my hand. It's an intimate process. The final sanding and polishing through a magnifying glass is surprisingly timeconsuming as the smallest items demand the finest finish. Kauri gum was a new experience for me. I originally carved the owl's wing extended out to the side, but as I held it in my palm while detailing the face, the warmth of my hand caused the wing to slowly curl in on itself. I love that the material itself contributed to the final outcome! 72 – Amber Owl Pendant hand-carved out of kauri gum


$294.00 73 – Kauri Dragon Netsuke hand-carved out of Kauri timber



Robert Mora Professional Photographer/Jeweller b. Gloucestershire, England Robert studied Jewellery and Silver Smithing at the School of Jewellery, Birmingham City University. These studies included gemmology and metallurgy. Robert worked as a jeweller in Gloucester, and has exhibited in the UK. An interest in nature and natural form, runs through much of his work. After working in Melbourne for five years as a commercial photographer, Robert is now a New Zealand resident and a local to the Kaipara since 2016. Perfection and Symmetry – Divergence and Survival The jewellery pieces I have created are my interpretation of the perfection inherent in nature, and the resulting asymmetrical nature, of growth and life itself. I see in the kauri trees, a beauty, longevity and strength that is amazing to behold, and hard to comprehend from our limited perspective and lifespan. When we think of trees, we know there are many different shapes and sizes. These differences are determined by species, location, surroundings and of course the nutrients available for its growth. As humans we all have a perfect reflection within in us too. Yet through environment, personality and nutrients we become like the tree, a myriad of different forms, all a result of life, looking for survival and growth amid constant change. All forms stray from this original perfection, but can only stray so far, before that form is then unable to cope with environmental change, and then another species is lost. Care for the kauri, Care for the whenua, Care‌ 74 – Balance Necklace and Earring Set, 2020.

Kauri gum and kauri timber, sterling silver, stainless steel NFS

Caroline Thomas Caroline Thomas was born in London, UK to New Zealand parents and moved to Wellington in 2007. She graduated with a BAppA, specialising in jewellery design, from Whitireia NZ in 2013 and has been a participant in the Handshake jewellery mentorship programme. Caroline has exhibited widely at home and internationally and is a current member of artist collectives, Occupation: Artist and The See Here. Ring I was inspired during lockdown to use as few techniques and materials as possible as I was unable to access my studio. This thinking continued after my studio was available again as I enjoyed being confined by the limitations of what was around me at home. I have not really worked with wood before and certainly not with kauri gum. I found the gum to be a very challenging material and very fragile. I actually had to order another piece off Trade Me to make the pendant because I ruined the majority of the pieces the Museum sent to me by trying to melt them. There is no real concept behind the pieces other than I wanted to interfere with the original materials as little as possible. 75 – Ring kauri gum, sterling silver $150.00

Topaz Johnson (Te Uri Taniwha) – Kaipara photographer, artist, musician. 76 – One Will Heal The Other seabird bone, chain, kauri gum.

A collaboration: Topaz Johnson, Sheree Edwards, Shihad. Māori legend has it that the kauri tree and the whale are friends and the whale once came to land to visit. When time came for the tohorā (whale) to return to the sea, it is said that he suggested that he and the kauri tree swap skins – which is why the kauri has a tough, scaly skin and the whale has a smooth, slippery one. Now the kauri has experienced sickness in the form of kauri dieback, and Indigenous scientific research is suggesting that ngā tohorā might once again come to land and be the key in healing their brothers. This piece represents the journeys - the coming together of friends and music, the relationship of the sea and the land, the power of Indigenous legend, the importance Māori retaining the right of kaitiaki over our land and sea – one will heal the other. Price On Application (Not intended for sale)

David Sarich David was born in Northland, New Zealand of Dalmatian descent. He did an engineering apprenticeship at WECO shipyards in Whangarei. In 1982, studied art with Yvonne Rust QSM at the Northland Craft Trust, and was also encouraged to paint by Tony Fomison. An interest in raw materials, paint technologies, and the early renaissance led to processes involving; clay as painting pigment, traditional gesso grounds, beeswax resin media, and combining ceramic and sculptural elements with painting. David has exhibited in both solo and group shows since 1984 in NZ and overseas, in public and dealer galleries and does commission works. He was the 2007 Winner of ArtXL BDO Spicers Northland Painting & Drawing Award (Judged by John Gow). Moth Pendant, Bangle I & II My approach to this project was to look at creating larger pieces for adornment; pieces my artist wife would wear. The kauri gum, once cleaned up, suggested a triangular form and the idea of a NZ moth was considered. The piece was scraped, drilled and shaped with dremel tools. I thought of my Dalmatian grandfather as I worked. The wooden bangles were inspired by leaf forms. The material provided was cut in half, centre cut out with a jigsaw and shaped with whittling knives, machine and hand sanded with final Dremel tool work. Oxide paint and wax was applied for finish.



77 – Moth Pendant 2020

kauri gum, harakeke fibre, kauri toggle NFS

78 – Bangle I 2020 kauri, oxide paint, wax


79 – Bangle II 2020

kauri, oxide paint, wax NFS


Lisa Walker Lisa Walker was born in 1967 in Wellington, New Zealand, She studied Craft and Design at Otago Polytechnic Art School in Dunedin from 1988-89. After travelling for two years around Australia, Great Britain and Asia, establishing small workshops as she went, she returned to New Zealand and founded Workshop 6 with other jewellers in Auckland. From 1995-2001 she was a student of Otto Künzli at the Akadamie der Bildenden Künste in Munich, Germany. She established her studio in Munich from 2002-2009, returning to Wellington in 2009 where she is still currently based. Lisa has exhibited widely in galleries and museums both in New Zealand and internationally and has work in many local and international collections. She has received many awards including the Foerderpreis der Stadt Muenchen in 2007, the Francoise van den Bosch Award in 2009 and the Arts Laureate Award of the New Zealand Arts Foundation in 2015.

Necklace The kauri gum the museum sent me looked like a mouth. I’ve set this fragile mouth carefully in silver. I added a nose of red greywacke stone found at Red Rocks in Wellington. Then eyes of bone, gifted to me by artist mates. The face hangs around your neck, sitting on your chest. 80 – Necklace

kauri gum, greywacke stone, bone, silver, thread


Jack Wolf Jack Wolf is a queer trans Contemporary Jeweller and Holistic Health Practitioner. Dwelling in the liminal spaces of reality, he explores rhythms of mortality, loss and impermanence. Wolf’s work is an earnest interaction with the land of Aotearoa as he explores his psyche. Through deep resonance with the forest he weaves through the wisdom of Rongoā Māori and seeks psychological decolonisation of his Pākehā mind. Anthropocene Grief: Indigenous Healing Methodologies Long, long ago, Kauri and Tohorā, the tree and the whale, were brothers who once walked together on land. Tohorā was hunted and yearned to be free. He found refuge in the oceanic home of Tangaroa, god of the sea. Kauri rooted himself deep in the land, home of Tāne Mahuta, god of the forest. In an act of love, Tohorā gifted Kauri his scales which he now wears proudly as his bark. He told Kauri if he ever needed his help, he would come to his aid. A collaborative exploration and co-creation between human and land, for the purpose of collective grief healing, aided by foundational principles of Te Ao Māori for psychological decolonisation. Instilled within are a year’s worth of karakia, to carry us through the grief of climate crisis, disconnection and isolation. Tohorā and Kauri (series) Offerings to the land and sea, in respect to the whakapapa between Tohorā and Kauri. Wolf invokes subterranean waters through a dripping, crawling, creeping process of lost wax casting, juxtaposed by the fragility of the forest and its healing plant medicines. To sink into the sea; Tohorā and Kauri cultivates a visceral meditation. Tohorā and Kauri (series) 2020

kauri gum, oxidised silver, harakeke, tānekaha

81 – Tender - necklace $350.00 82 – Embrace - necklace $500.00 83 – Creep - necklace $250.00 84 – Crawl - necklace $250.00 85 – Softly - necklace $250.00 86 – Nurture - ring $400.00 87 – Surrender - ring NFS 88 – Anthropocene Grief: Indigenous Healing Methodologies kauri wood, whalebone, harakeke, tānekaha NFS 82





Jed Town Jed Town is a Paparoa artist working mainly in audiovisual media. He moved to Paparoa in September 2017. He works in audio composition for TV and movie soundtracks and has done so for the past 19 years. He has also created several audiovisual installations at: • Auckland Art Gallery, 2004 –; • Artspace, 2001 Fetus Re productions; • Wellington City Gallery, 2006 Cloudscapes of Aotearoa; •; • Dunedin Nocturnal projections September 2017. He continues to compose music and create art at his home studio and is working on an audiovisual installation for The Kauri Museum. 89 – Eerie Eerie was a long time in production. Although it is made from a really interesting block of kauri timber I had a mental block for months and could not make any progress on a design or concept for the exhibition piece. Just recently, I saw the beautiful grain in the corner of the timber and that finally got me thinking. It came together when I found the groove in the gum. It’s the balance of the gum and the wood together.

This work is available for sale by negotiation with the artist.




Britt Sansom I was born in London and trained at Liverpool and Manchester Colleges of Art and did further teacher training. I also trained in holistic therapies and Reiki, achieving Reiki Master status. It is important to me to bring an element of healing into my art work. My husband and I came to live in New Zealand in 2014 on parent visas, and I have been inspired by the vibrant colours of nature in this country. I use multimedia techniques to achieve highly textural effects in my paintings and wall art often incorporating healing crystals. I use dichroic glass to create fused glass jewellery. This glass was originally created for the aerospace industry and goes through highly technical processes whereby 30 layers of precious metals and crystals in oxide form go through a vacuum process to create a two way effect whereby the light either passes through the glass which gives one colour, or is reflected which gives another. Designing, cutting then fusing the glass at high temperatures in my kiln makes it an exciting medium to work with. This process creates a crystalline structure which links to my use of crystals in my healing work. I see my work as a celebration of nature and earth’s energies and am inspired by the vibrancy of the New Zealand landscape. Pendants Tangaroa (Māori God of Water). A waterlily of kauri gum rests on the surface of a pool. Tangaroa, the Māori god of the water and all who lives within, is represented by turquoise and silver dichroic fused glass. The waterlily is created by kauri gum being finely powdered and set into resin, moulded and carved. The pool is surrounded by a ring of Kauri wood representing eternity. No beginning. No end. It also represents the age rings within the trunk marking each year. In this eventful year of 2020 the kauri tree has stood steadfast. The paua shell inlays set at the compass points N.S.E.W. represent the sea and all who live therein. Papatūānuku (Mother Earth). A sunflower grows in a vibrant meadow. Mother Earth is represented by green dichroic fused glass. The sunflower is created from finely powdered kauri gum set into resin, moulded and carved and tipped with 23c gold leaf. Papatūānuku is supported by a kauri wood leaf shape incorporating a third essential element of the kauri tree. Fusion. A pendant representing the uniting of two separate elements which are stronger together. Powdered kauri gum in resin, shaped and fused with kauri wood into one shape, with a decorative glass leaf representing the third element of the tree. Spirit of the Kauri Tree. With this piece I allowed the kauri gum to dictate the shape it wanted to become. By following the natural form of the gum a figure emerged like the spirit of the tree. The branches are made of kauri wood. Tāne Mahuta is the Māori god of the forest and all who live therein. Embellished with 23 carat gold leaf. 90 – Tangaroa dichroic fused glass, kauri wood and gum, resin, 23 carat gold leaf





91 – Papatūānuku

dichroic fused glass, kauri wood and gum, resin, 23 carat gold leaf $199.00

92 – Fusion

kauri wood and gum, glass, resin $150.00

93 – Spirit of the Kauri Tree

kauri wood and gum, 23 carat gold leaf $250.00


Mike Cameron Mike is a graduate from Northtec with a Maunga Kura Toi or Bachelor of Maori Art (painting). He typically works in mixed media with a passion for sculpture and carving. Mike was born and bred in Whangarei and has been a stay-at-home dad, allowing him to complete his art projects in a purpose built studio at home. With Northland in his blood, kauri features heavily in his artwork. Mike is an emerging artist who works with integrity and careful planning. He uses rangahau (research) as the basis for his works. He is a spiritual artist who is able to capture nature within his artform. Mike has shown his works in group exhibitions in 2015, 2016 and 2017 as well as being involved in the carving of the inside of the Northtec Marae in 2015 and carving of pou for Kawhia Harbour in 2016. In 2018 he held a solo exhibition at Number 1 Parnell Gallery, Rawene and he has been a guest artist in a range of venues. In 2019, Mike exhibited at The Kauri Museum’s Creating with Kauri exhibition. 2020 has seen Mike work as a Creative in Schools, completing a massive collaboration project for 16 schools. Jewellery The taonga and toki were designed using the traditional concept of the adze, and created in memory and honour of our rich history with kauri, gum and the people who have worked the land. The necklace and earrings were designed from the sounds of the forest and Tawhirimatea.


98 94 – Large kauri and gum taonga adze head necklace (plaited wax chord)

$175 95

95 – Medium kauri taonga adze head necklace (wax chord)


96 – Contemporary kauri and gum toki silver wire $265 97 – Purerehua kauri and gum necklace and earrings silver wire $250 96

98 – Circular kauri and gum inlay necklace white wax chord $115


Published by The Kauri Museum, 5 Church Road, Matakohe, Northland 09 4317417 • • Above image: Honey Bear pendant by Jane Dodd