Karen Greenslade
Down the Estuary
2022

Philip Ross May describes a gold find, the Auckland Lead, in the early
1860s on the beach at Awatuna in Westland. Back then gold was dredged
from the black sands of the beach and estuary by the Waimea Creek and thus
began the mining of the Waimea and its surrounds up into the valley where it
continues to this day.

This exhibition Down the Estuary is a continuation of the series
where the Creek Runs, which I have been working on for the past 5
years. My intent is unashamedly political, the works are a homage
to what remains of a deeply modified natural environment.
The Waimea Creek often runs with the blue papa clay dug over by gold
miners. It sometimes thinly veils the creek bed and at other times the
turbidity is a thick, swirling, billowing, mass coating the creek bed in a
dense muddy solution. This by-product of the gold mining is
destructive of the endemic flora and fauna of the waterways in this
area. And now the remnants of bush, mainly secondary growth, also fall to
the diggers and gold screens; such is the modern-day value of gold.
These works are born out of a strong sense of loss that I have felt for
many years. They are abstract mixed media works that are made with a
mix of handmade inks, acrylic paints, pen, pastel, charcoal and are
layered with woodcuts. The large panels are on 30gram rice paper
mounted on pure silk. The small works are on 320gram Khadi
cotton rag paper using the same materials.

The imagery is sourced directly from the area. Plants are represented from
this area and were sourced from samples at Manaaki Whenua, Land
Care, in Lincoln, Canterbury. These plant images in particular are
a metaphorical nod to vestiges of what once was. These plants are
now dried samples lying darkly in a folder in a filing cabinet in Canterbury
across the alps. The land masses and waters are from treasured
photographs and the memories of thirty years living by the creek.

Rebecca Smallridge
Symbiosis
2022

Symbiosis: A close connection between different types of organisms in which
they live together and benefit from each other.

This new series of work is a continuation of an overarching theme that
addresses various environmental concerns or observations. In this case, the
watercolour paintings explore the fascinating exchange between trees, plants
and fungi via the mycorrhizal network present in Aotearoa’s forest
ecosystems.

My paintings explore the inherent beauty and ecological value of wild places,
whilst examining the connections within nature and humanity’s vital role
of land stewardship. I begin by creating puddles of wet on wet paint, ink, and
natural pigments on the floor, which are later overlaid with botanical shadows
and observational drawings.

Imagined biospheres blur the seen and unseen to visually capture the mauri
or life force present in Aotearoa’s indigenous forests.

Kim Lowe
Working Prints and Colour Studies
2022

I have been using the acid etching studio at Ara -Te Pukenga that was set up by Dee Copland and Barry Cleavin. Etching is such a time consuming process but I’m enjoying the traditionally slow process and making tiny detailed marks. There is so much to learn.

Andy Waugh
Pacific Vibes
2022

Pupurangi
This carving was inspired by the Waka Huia (carved treasure box). I love the concept
of a vessel holding a treasure and want to do a series of vessels carved with our
endangered flora and fauna. The Kawakawa leaves, stems and fruit are there as a
blessing and the Takarangi (spirals) represent the interconnectedness of flora and
fauna on the forest floor.

These carnivorous snails are the largest in the world and only found in Aotearoa.
Pupurangi refer to the Northland species (Paryphanta) Kauri snail. The species down
here in the Top of the South are Powelliphanta and are larger; they can be the size of
your fist and weigh as much as a tui!

Holding back the storm
This piece shows Tāwhirimātea holding back an ocean storm.
The Takarangi (spirals) represent in this case the tides of the Pacific. The Waka is
full of powerful elements of rain, wind and lightning.
If you look closely you will see these elements swirling around in this 300 million year
old river stone.

Kava Kumete
This lovely piece of stone came from over the hill from me in Takaka. The carving
was inspired by a rare form of a Fijian kava bowl, ‘Kumete Kava’. The shape is said
to come from the Baka tree (tropical fig), so the top is leaf shaped and the base more
like that beautiful kava bowl shape. Always loved the concept and craftsmanship of
Pacific kava bowls some of the old ones are stunning.

Toroa Waka Bailer
The Waka Bailer (Tata) has always fascinated me. It is such a beautiful shape and
design. While carving this one I have blended a Southern Royal Albatross into the
form.

Adrift series
My workshop looks down on the Nelson Haven, an estuary with a protective
million-year-old natural boulder bank.
There is often an array of small craft moored in the tide, some very old. They
seem a part of the ebb and flow.
I enjoy the way they lie in the sand at low tide often at odd angles then come
alive with the tide to dance around on the water.

Ruru Toki
I love the Toki shape and what it represents (strength and courage in times of
adversity). This one has the subtle image of our native Ruru (Morepork) hiding
in the darkness of the stone.