NEW ZEALAND Inc. Newsletter 154 December 2013 – February 2014
’ve had Watercolour Withdrawal Symptoms of late as I’ve focused mostly on the build of my new gallery on the Petone foreshore. We’re not quite there yet but getting close and it’s all so exciting. I spent the last few days doing something completely different - working with diamonds thousands of them. The builders loaned me their precious concrete grinder so that I could grind the gallery floor. So as usual, right on deadline, I’ll take a break from the grind and write. The gallery project has been a gigantic but enjoyable challenge, right from concept development through to construction process, watching a sculpture of concrete and steel take shape. Yes, there were moments when I asked myself “what on earth have I gotten myself into” but I kept thinking of the view and golden opportunity. I have learnt much and am really pleased with the outcome. The first exhibition opening is planned for 18th January and will be, of course, ‘Petone by the Sea’. My next big learning curve then will be setting up a new business and running an actual gallery, rather than having paintings stacked down the hall! Well enough about me, on to Watercolour New Zealand. It’s been another eventful year with a challenging but enjoyable exhibition, Splash at the Cathedral. Congratulations to Min Kim for winning the People’s Choice Award sponsored by the French Art Shop at the exhibition with her stunning painting “Connection”. Workshops have continued to be popular. Be sure to check out the exciting workshops that Sue Wild has already planned for 2014 with artists Amanda Brett, Ross Paterson from Australia and Jacky Pearson. (Page 7) It is with regret that I advise that our stalwart, Martin Jenkins, has stepped down from the committee. I have spent many years working with Martin and found him to be very hardworking. It has always been a pleasure serving with him. He has introduced many benefits to the society. To name just a few, Martin set up the popular “MPG” outdoor painting sessions, organised education workshops and ran the bar at Splash openings. To list all that Martin has contributed would make an article on its own. Thanks for all you have done for us Martin. We wish you well with your new ventures and look forward to you remaining a strong part of our group. I’ll take this opportunity, on behalf of the committee, to wish you all a very happy Christmas and hope you’re planning to wrap at least one of your paintings to place under the Christmas tree for a loved one. Alfred President, Watercolour New Zealand Inc.
‘Connection’ by Min Kim Min was born in South Korea. From early childhood she drew and painted, then studied at the Jung Ang Fine Art University. She worked as an interior designer and illustrator in South Korea. In 1999, Min immigrated to New Zealand where she became a full-time artist. In 2007-9 she lived in Florence studying classic 19th century paintings. Her time in Italy touched her deeply with its historical wealth, vibrant colours, and unique atmosphere. She now lives in Christchurch and is represented by the Bryce Gallery.
Where do you draw the line? BY ALISON HEHIR
t didn’t stop raining in England long enough last year to get the plein air paints out. But this time, we’ve been having a heat wave…… And, after last years brief flutter of success in the amateur watercolour stakes, I’ve already received four rejection slips in 2013 ! So, it’s back to the drawing board for me and time for a little reflection. More than 60 million people live in the UK and it feels like most of them have taken up watercolour painting ! On any given day, there seems to be a watercolour festival/exhibition/tour/demonstration/competition in full swing somewhere in the British Isles. So where to start ? A trip to London might include a visit to the Mall Galleries, home of the Royal Institute of Painters in Watercolour, founded in 1831. Works represent a huge range of styles and subjects, from traditional to more experimental and innovative works. Down the road at the Bankside Gallery is the Royal Watercolour Society, founded even earlier in 1804. Here they claim to represent the finest contemporary painting in Britain, with a broad approach to watercolour, encorporating acrylic, gouache, pen and ink and other waterbased mixed media. And for those who prefer their watercolour straight up, there’s the Pure Watercolour Society, founded in 1999 by the late James Fletcher -Watson, based in the Cotswolds, and now championed by James’ daughter, Josephine Neil. The Saatchi Gallery, or Museum of Contemporary Art as it is now called, is well known for its controversial artworks, including Damien Hirst and his pickled animals and coloured spot and spin paintings. Tracey Emin made her name here for her famous unmade bed installation, and challenging watercolour series on the topics of abortion and masturbation. David Hockney, probably Britain’s most famous and influential living painter, often paints with his ipad, considering it a ‘very serious medium’. “The iPad is very very direct. I would point out that Turner used watercolour because it was a quicker medium than oil-painting so you could quickly get down more fleeting effects. If you find a medium that’s even faster than that, any artist is going to be interested in it” says Hockney. And so the list of opportunities to see and learn goes on. Love them or hate them, there are plenty of watercolour artists who are pushing the boundaries of conventional techniques. Beyond mere scratching, scraping, masking, spitting, and flicking…… how about uploading and projecting a 3 d image over your ghost wash?
Then perhaps pipette some pure alcohol, followed by a scrumble of rice paper, some squiggles with a raven’s feather and maybe some inky finger collage ? Shaving foam is good for marbling and you really must try the lovely creamy water soluble oil pastels ( no, seriously) Black paint? Why not ! Darks to light? Great! Focal point? No need! Atmospheric perspective? Don’t believe in it! Direct Painting? One hundred glazes please …… As fast as the rules are broken, new ones spring up. Only you can decide if the rules work or not, and whether you feel intrigued, or bored, by the debate they inspire. For me, looking at so many different paintings has made it much easier to identify those triggers that excite and inspire me. This means that in future, I will waste less time on projects/techniques that won’t work for me. And, hopefully, I will understand why. Often, it’s not a subject or a style that’s interesting to me, it’s something as simple as a cool shadow, draped over a sunlit spot. Or a colour. Or a brush stroke. Or a feeling. For me, less is becoming more. Words from two kiwi artists come to mind. I remember Queenstown artist Gus Watson saying that it doesn’t matter what he paints. The subject is merely something upon which to hang the colour. And from Watercolour New Zealand patron Nancy Tichborne: It’s not ‘what’ or ‘how’ we paint, but ‘why’ we paint that matters. Ultimately, it’s the ‘why’ that will shine through. Of all my recent gallery trawling, it was a visit to the Ashmolean Museum in Oxford, and an exhibition called ‘Master Drawings’, that suggested the ‘why’ . The show includes work by 50 artists across five centuries, including Michelangelo, Raphael, Reubens, Turner, Rembrandt and Leonardo, stretching through to Gwen John, David Hockney and Antony Gormley. There are early and late watercolour sketches by Turner and the first known ‘visual diary’ landscape by Durer, painted in 1494, which looks as fresh as if was painted yesterday. It was a strange and intimate feeling, pressing my nose up close to these magical glass-covered drawings, trying to forensically follow the clues left by the artist as to how the drawing evolved. Sometimes, it seemed as if the image was being drawn before my eyes, such was the life in the line. In the words of the Ashmolean Director:“The central importance of drawing to both the arts and the sciences is pinpointed in the words attributed to Michelangelo:- ‘Design, which by another name is called drawing…is the fount and body of painting and sculpture and architecture and every other kind of painting and the root of all science.’” Back to the drawing board indeed……
Dürer’s “View of the Cembra Valley” Northern Italy (1494) Brush, watercolour and bodycolour. 21 x 31.2cm Raphael: studies of Two Apostles for the ‘Transfiguration’, black chalk with faint white chalk highlights on off white paper. Drawn as a prepatory study for the ‘Transfiguration’ altarpiece in the Vatican of 1518 – 1520. 49.9 x 36.4 cm Page 2
Watercolour New Zealand Inc.
Highlight of a Singapore stopover
BY JOHN TOFT
t was the final evening of a three day stopover in Singapore on our way to Europe. The plane didn’t leave till 11.30pm, so with time to kill my partner Jan and I wandered along Balestier Road towards the cheap and cheerful food court we had discovered on our first night. We had noticed a gallery with an artist at work inside but hunger had triumphed over curiosity. This time, the gallery was again open and we had time on our hands. The same artist was demonstrating to a group of onlookers, so we asked if we might come inside and look around.
Posing with Qi Hong and one of his paintings
An exhibition was being set up featuring the works of Qi Hong, the artist doing the demonstration. He is noted for his brush paintings of horses, executed in a loose, energetic almost abstract style, reminiscent of some of Picasso’s paintings. There were also colourful abstract acrylics, panels of carved calligraphy and sculpture by a versatile artist, Wu Sheng Ping, a cheerful outgoing character with a mane of dyed blond hair. I was particularly drawn to the sensitive, atmospheric landscape paintings by Cham Tau Soon, probably because of their similarity to watercolour. We got talking to gallery attendant Richard Lim. I told him I was a watercolour painter back in New Zealand, showed him the Watercolour NZ website on his laptop and even managed to find a couple of my own paintings from The Wonderful World of Watercolour-Aotearoa exhibition on the Percy Thomson Gallery website (I must get a website of my own one of these days!)
Wu Sheng Ping with an example of his calligraphy
Richard asked if we would like to meet the artists and acted as interpreter as they spoke about as much English as I speak Chinese. It’s amazing how a shared interest draws people together: despite the language barrier we all got on like a house on fire. Then Richard told me that Qi Hong wanted to do a painting “for a fellow artist.” So we had the pleasure of watching him produce a vigorous brush painting of a horse, inscribe it with a dedication, and sign it with his chop. I might add that Qi Hong’s paintings sell for thousands of dollars to collectors throughout Asia. The painting was wrapped up and presented to me, but that wasn’t all. As we were about to leave, gallery curator Beryl Bao said she would like to present us with a book of Qi Hong’s horse paintings as a memento of our visit. As we admired the book during the flight to London, we noticed the price on the back, $180! Needless to say, we were deeply touched by the friendship and generosity of the three Singapore artists Qi Hong, Wu Sheng Ping and Cham Tau Soon and Beryl Bao and Richard Lim from the gallery as we were strangers who had literally just walked in off the street. If you are in Singapore and want to see some high quality art work, do take the opportunity to visit the Nanyang Arts House, 577 Balestier Road.
Qi Hong at work www.watercolournewzealand.co.nz
Cham Tau Soon with one of his paintings
Book review BY JOHN TOFT
“John Singer Sargent Watercolors” by Erica E. Hirshler and Teresa A. Carbone
ohn Singer Sargent was the most celebrated portrait painter of the Edwardian era. He achieved fame and fortune painting the rich and famous. But Sargent, whose wry definition of a portrait was “a likeness in which there was something wrong with the mouth,” had grown tired of the paintings that had established his reputation. “No more paughtraits whether refreshed or not,” he wrote to his cousin Ralph Curtis. “I abhor and abjure them and hope never to do another especially of the Upper Classes.” To another friend, Sargent wrote “I have an entirely different feeling for sketches and studies than I have for portraits which are my ‘gagne-pain’ [breadwinner] + which I am delighted to get rid of - but sketches from nature give me pleasure to do and pleasure to keep + more than the small amount of money that one could ask for them. Moreover now that I don’t do portraits, it is a comfort to have something that I can exhibit.” After 1900, watercolour painting became a major part of Sargent’s artistic output. He set aside around three months of each year (generally August-October) for plein air painting trips around Europe. His friend and biographer Evan Charteris wrote “But
it was away from his portraits, on the canals of Venice or the plains of Palestine, in the passes of the high Alps or among the dancers of Spain, or the fountains and cypresses of Italy and the gardens of Sicily, or, again, at Capri or Corfu, or on any one of the countless journeys that he made with friends, that his spirit was most at ease and serene - anywhere, in fact, where he could ‘make the best of an emergency’ as he called painting a water-colour. And an emergency was seldom wanting.” Sargent exhibited his watercolours at the Royal Watercolour Society, the New English Art Club and in solo shows at the Carfax Gallery in London but they were not for sale. “These sketches keep up my morale,” he explained, “and I never sell them.” In 1909, Sargent, together with an American friend Edward Darley Boit, held a joint exhibition of watercolours in New York and Boston. When Boit raised the question of sales, Sargent resisted the idea. The only thing that would tempt him, he wrote, was if a museum should offer to buy the whole lot, which he considered most unlikely. But both the Brooklyn Museum and the Boston Museum of Fine Arts were interested. The Brooklyn Museum got in first, purchasing all 83 of Sargent’s watercolours in the exhibition for $20,000. The exhibition was so successful that arrangements were made for another to be held in 1912. The Boston Museum, determined not to miss out this time, arranged to purchase all 45 of Sargent’s paintings three months prior to the opening.
Arab Gypsies in a Tent
In a Levantine Port
Welcome to our new members...
Tim Felton (Auckland) • Rachel Kay MacFarlane (Wellington) • Ian Trace (Wellington) • Alice Collard (Lower Hutt) • Jean McKinnon (Lower Hutt) • Roger Bartlett (Outram) • Marjorie Scott (Cambridge) • Mary Mitchell (Wellington) • Zena Warren (Opotiki) • Beryly Woodman (Havelock)
New Members welcome!
We are the national society for watercolour artists and welcome new members from home and abroad. Membership includes our quarterly newsletter, workshops, social activities, exhibitions and discounts at art stores. Annual subscription: Member – $30 Couple – $40 Student (enrolled) – $15
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Please circle: I am a practising artist / a keen learner / an art appreciator / partner of member ............................ Please post with subscription to: Membership, Watercolour New Zealand, PO Box 33088, Petone, Lower Hutt 5046, New Zealand Page 4
President: Vice President: Vice President: Treasurer:
Alfred Memelink Martin Jenkins Claire Clark Michael Bain
+64 4 5685869 email@example.com +64 4 4732235 firstname.lastname@example.org +64 4 2367928 email@example.com +64 4 9342271 firstname.lastname@example.org
John Singer Sargent Watercolors was published in April 2013 to accompany an exhibition uniting the collections of both museums. The introductory chapters, Sargent and Watercolor and Sargent’s Watercolors: Not for Sale, give an overview of his development as a watercolour painter and outline how his paintings came to be acquired by the two museums. The remaining chapters comprise full-page colour reproductions of the 100 watercolour paintings shown in the exhibition, grouped according to subject. Each chapter begins with a brief introductory essay. A chapter entitled Approaching the Modern points out that Sargent, often regarded as a conservative, academic painter, in fact produced a number of watercolours in the early years of the twentieth century that were well ahead of their time. The final chapter, Bringing Back Something Fine, looks in detail at Sargent’s equipment and techniques. The quality of the reproductions is generally excellent, with one notable exception: the colour balance in the reproduction of a favourite painting, Corfu: Lights and Shadows, is clearly wrong when compared with reproductions of the same painting in other books on Sargent. There are several reproductions of details from the paintings, giving artists the opportunity to “look over Sargent’s shoulder” and try to work out how he did it. Sargent is one of the greatest of watercolourists. Joseph Zbukvic calls him “The only watercolourist I truly admire.” Trevor Chamberlain wrote “I recall seeing John Singer Sargent’s watercolours at an exhibition in London and being bowled over by them. I had never seen paintings so fluid and assured, so full of light. I still marvel at them now.”
Lovers of Sargent’s watercolours will want to own this book, along with The Watercolours of John Singer Sargent by Carl Little. As Andy Warhol said in 1986, “Sargent’s watercolours are just as beautiful as his portraits. They’re actually better aren’t they? Watercolors are so hard to do.” John Singer Sargent Watercolors by Erica E. Hirshler and Teresa A. Carbone. Publisher MFA Publications/Brooklyn Museum
Simplon Pass: The Tease
70 Ghuznee St / (04) 384 9494 www.thefrenchartshop.co.nz Page 5
Happenings... Bernadette Parson’s Landscape Workshop
World War 1 Watercolours
Judith Prictor reports We all love poppies, so commencing Bernadette’s Workshop in September with a delightful still life of poppies and pears, set the mood for the 2 days. Fresh and simple, using a limited palette, mixing pools of the main colours, and paintings emerged with clarity, avoiding overworked muddy areas. Bernadette, an award winning landscape artist, kept us inspired and her teaching style of demonstrating, then circulating the large group, offering advice and encouragement, enabled each participant to learn but still express their own interpretation of the landscapes. A demonstration of a coastal scene – sky, cliffs, sea and reflections was a highlight to end the workshop. Head “awash” with information and the strong desire “to paint something every day” I left for Rotorua. Thank you Bernadette and the organisers.
Susan Worthington’s Botanical Art workshop Albie McCabe reports As a birthday treat I booked myself a weekend workshop with Susan Worthington. Two days with a world class botanical artist and a group of eager painters! On day one Susan outlined in careful detail her techniques for drawing botanical subjects and presented us each with a pansy plant grown for the occasion! Using callipers to measure and plot the features, we produced a drawing, traced the image and transferred it to watercolour paper. The next day Susan explained the process of colour blending and brushstrokes. Slowly images of pansies appeared on paper and smiles appeared on faces. To reward our silent concentration, Susan showed us her recent rhododendron paintings and the Highgrove Florilegium - page after page of masterpieces and 3 of them painted by our own tutor. Thank you Susan for your attentive and skilled teaching.
In 2015 New Zealand will commemorate the 100th anniversary of World War 1 when ten percent of our then population served overseas, over 18,000 died and 40,000 were wounded. Nearly every family was affected. Events are being planned across the country, among them the opening of the new National Memorial Park in Wellington. There is a surging wave of interest in memorabilia. Website: ww100.govt.nz Claire Clark is leading a group of Watercolour New Zealand members in researching watercolour paintings and sketches made by servicemen during WW1. We have already made contact with the families of several artists and accessed the National Collection of War Art at Archives New Zealand for Official War Artists Nugent Welch and George Butler. Images include humorous encounters in sea fog, searchlights off Gibraltar, on board a troopship, battlefields naval battles, fleet, and the countryside in 1914-1918. We are requesting your assistance. Do you know of any works from WW1 - watercolours, drawings, sketches? We have knowledge of army and navy works but nothing, as yet, that relates to air services. Contact: Claire Clark (04) 2367928 email@example.com
Susan Worthington’s Botanical Art workshop
Watercolour painting holidays
in the beautiful Auckland Region in 2014
Member notices Any Art Materials Looking For a Good Home? Donate your surplus art materials (new/used paints, brushes, pastels, colour pencils, crayons or art books) to the Karunai Illam Children’s Home in Madurai, South India. Wellingtonians will personally transport the materials. Contact Pavithra Devadatta (04) 8946173 (day) or 021 0351470 (AH) or firstname.lastname@example.org to arrange collection. Thank You.
18 & 19 January at Lake Rotoiti Calling all artists! Two day festival at St. Arnaud. Paint, then sell at the Sunday market. Contact Jan Thomson at email@example.com or (03) 5211999 or check out the website festivalnelsonlakes.co.nz
Sue Wickison and Sue J. Williams Exhibition at Shirley Sherwood Gallery, Royal Botanic Gardens, Kew, England - 12 Oct 2013 - 05 January 2014
Charles Sluga • Jacky Pearson • David Taylor • Amanda Hyatt Paint with internationally renowned watercolour tutors in a relaxed holiday atmosphere - hosted by Tim and Pat Felton. • Inspiring and fun-filled classes in the studio and en plein air • Small class sizes • Excellent ensuite rooms and food – all inclusive price • 6 nights accomodation and 5 days of painting tuition • Non-painting partners welcome, some non-residential places available The Painting Holiday dates are:
See our website for more details and how to book a holiday. We would love to see members of Watercolour New Zealand join us.
Charles Sluga: 2/3/14 - 8/3/14 Jacky Pearson: 23/3/14 - 29/3/14 David Taylor: 13/4/14 - 19/4/14 Amanda Hyatt: 11/5/14 - 17/5/14
Website: www.paintingholidays.co.nz Email: firstname.lastname@example.org
February – June 2014
I SEE RED!!
To book a workshop or request further information: Email email@example.com or, if you don’t use email, phone Sue Wild (04) 5267304
Tutor: Amanda Brett Spice up your Watercolours with Contemporary Design and Bold Colours. We kick off the year with vibrant Auckland artist, Amanda Brett, who received an award in our Online Watercolour Competition this year. Amanda describes her style as “modern, sophisticated, unique, quirky and unpredictable”. She will inspire you with a fresh new approach to your work. This workshop is all about creativity and design using a whole new range of techniques to create watercolours bursting with energy and drama! You will create personal works from preparatory drawings working through Amanda’s 5-stage watercolour process.
Dates: 15 – 16 February 2014 Venue: Karori Arts Centre, Karori, Wellington. Level: All Fee: $190
‘Bridge View, Birkenhead, Auckland’ by Amanda Brett
‘Man at work’ by Jacky Pearson
SHADOWS AND LIGHT
Tutor: Jacky Pearson Popular artist, Jacky, tutors around New Zealand and internationally, is frequently asked to judge art competitions and is the recipient of numerous awards. Jacky, is passionate about the beautiful light effects that can be achieved only through watercolours. “Light is usually the inspiring factor that drives us to paint a subject. This workshop is designed to look closely at the subtle components of light falling on a subject that ultimately creates energy in a painting. Without light and shadow we see no form. Through some fun exercises we will spend Saturday examining the 7 key components of shadows and light on a variety of shapes and surfaces. Watercolour possibly does reflected light, half light core, cast and crevice shadows better than any other medium. Well, I am biased or course! Other aspects such as brush mark edges, counter change and colour mixing will also be covered.
Four day workshop with Australian Tutor
Tutor: Ross Paterson Increase your knowledge of this great medium, step up and be challenged by an international artist renowned for his brilliant watercolours. Ross has won a multitude of awards and has been guest artist in the prestigious Shanghai Zhujiajiao International Watercolour Exhibition. The focus will be on transparent, wet-in-wet watercolour technique and how to utilize the elements of shape, tone and colour. Ross’s “big picture - big wash” approach will teach you how to underpaint to achieve luminosity and vitality. Each day will take a new focus – landscape, both natural and man-made, figurative work – people and animals in the environment. The emphasis will be on achieving unity and atmosphere in your work.
Dates: Saturday 5 to Tuesday 8 April 2014 Venue: Karori Arts Centre, Karori, Wellington. Level: Intermediate – Advanced Fee: $390
On Sunday we will apply this to a full painting of a scene where shadows and light play a key role. We will look at how to extend the use of watercolour paint to create energetic and form-dense paintings. Handouts and reference photos will all be provided.”
Dates: 7 – 8 June 2014 Venue: Karori Arts Centre, Karori, Wellington. Level: Beginner to experienced Fee: $190
‘Cloud Shadows’ by Ross Paterson Page 7
Monthly Painting Group – ‘MPG’
In 2014 the outdoor painting sessions organisation will have a new look. Wellington sessions will be organised by Judy Langham and tutored by selected experienced artists on a voluntary basis. To be on the list to receive email confirmation a few days prior to each session, please email firstname.lastname@example.org or call 9343046. Judy is the ‘go-to’ person for Wellington in case of doubtful weather. Thanks Judy! Kapiti sessions will be co-ordinated by Eppie Murton and will have a volunteer ‘meeter & greeter’ for each session. Thanks Eppie! Full details of location, painting subject/s and café are listed on the WNZ website. Martin Jenkins has coordinated the Wellington Group for many years and is standing down. Thank you for your long service, Martin! And thanks to Susan Worthington for her work this year.
WELLINGTON GROUP 9:45am – 12:30pm Coordinator: Judy Langham (04) 9343046 Date
22 Dec 26 Jan 23 Feb
Daniel Reeve Michael Bennett Sue Wild
021 2136732 027 4448865
Island Bay, west end of beach Parliament Buildings, front lawn ‘Stonestead’, 3 Plateau Rd, Te Marua
“Beside the Shed” caravan, Reef Street Wholly Bagels, 39 Murphy St, Thorndon Devonshire Tea at Stonestead
KAPITI GROUP 9:45am – 12:30pm Coordinator: Eppie Murton (04) 2931936 Date
Café / picnic lunch
5 Jan 2 Feb 2 Mar
Eppie Murton (04) 2931936 Penny van Doorn 021 0351940 Judy McMillan 021 1416479
111 Ngatiawa Rd, Reikorangi 55 Florida Rd, Ohau River end Tutere St, Waikanae
Bring a picnic lunch Bring a picnic lunch Front Room café
OTHER DATES for your Diary 15-16 Feb 16 Mar 5-8 Apr 2-4 May 7-8 June
Workshop with Amanda Brett: I See Red!! Watercolour New Zealand AGM: 2pm at Karori Art Centre, 9 Beauchamp St, Karori, Wellington Four day workshop with Australian tutor, Ross Paterson: Wonderful Watercolour Autumn Safari Workshop with Jacky Pearson: Shadows and Light
Autumn Safari 2014 Watercolour New Zealand safaris offer you an opportunity to spend a weekend with fellow-artists, painting outdoors and socialising over a drink and meal. You make new friends as you enjoy exploring the location together. Our safari plan goes like this: Members arrive at the venue at any time during Friday and share a casual evening meal. On Saturday we head off in groups to paint, choosing a different subject for morning and afternoon. We enjoy a more formal dinner on Saturday evening. Sunday comprises another painting session, lunch and a ‘show & tell’ of our watercolours, before heading home. Of course, members often arrange their own longer holiday while in the locality. Partners are welcome. Richmond, just south of Nelson is the location, with superb painting subjects in Tasman Bay and the Waimea Plains. We have plans for shared transport.
Date: Friday 2 May to Sunday 4 May 2014 Venue: Garin College, located in Richmond, with accommodation in
the college hostel.
If you would like further information on the Safari weekend please email email@example.com Thanks to member Pete James for organising this safari.