Capital 61 by Capital

CAPITAL TA L E S O F T H E C I T Y

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ISSUE 61

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CAPITAL

Made in Wellington

e always have fun putting our Home issue together. There is a lot of discussion in the office about preferred images, which things we’d bustle to try and save in an earthquake, and what constitutes stylish. The last of course is the most contentious. Opinions vary tremendously, sometimes reflecting demographics versus current trends and sometimes random responses linked to personal experience or maybe just plain stubbornness. Either way we have fun. We hope you will too. The most successful homes to me are a clear and confident expressions of their owners’ lives. A change in ‘style standards’ that I think has been good, is a much greater acceptance of individual choices reflecting the diversity of our community, along with a drop in the use of the expression ‘in good/ bad taste,’ which after all is mostly a matter of personal preference, and was frequently just a way of entrenching snobbish attitudes. We have talked to a number of experts to get their top tips for creating places that foster easy and beautiful living. Heirlooms and building practicalities, cushions and curating your look here is an array of easy affordable tips. Ashleigh Young talks to Sarah Lang about the perils of early writing success and confesses to being quite a homebody when she’s allowed to. Prison chaplain Kim von Lanthen talks about the recent mental health inquiry and urges us all to show more interest in and compassion toward our fellows, whether we encounter them on the street or in our neighbourhood. All this and much much more. See you in June.

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C O N TA C T U S Phone +64 4 385 1426 Email editor@capitalmag.co.nz Website www.capitalmag.co.nz Facebook facebook.com/CapitalMagazineWellington Twitter @CapitalMagWelly Instagram @capitalmag Post Box 9202, Marion Square, Wellington 6141 Deliveries 31–41 Pirie St, Mt Victoria, Wellington, 6011 ISSN 2324-4836 Produced by Capital Publishing Ltd

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â&#x20AC;&#x2DC;Make not your thoughts your prisonsâ&#x20AC;&#x2122; William Shakespeaere

Taki Rua T.O.A

Auckland Arts Festival standout

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CONTRIBUTORS

Staff Managing editor Alison Franks

FEATURED CONTRIBUTORS

editor@capitalmag.co.nz

Campaign coordinators Haleigh Trower haleigh@capitalmag.co.nz Josephine Gallagher josephine@capitalmag.co.nz Lauren Andersen lauren@capitalmag.co.nz Lauren Edwards laurenedwards@capitalmag.co.nz Lyndsey O'Reilly lyndsey@capitalmag.co.nz General factotum John Bristed

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Accounts Tod Harfield

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L E I L A N I BA K E R E ditori a l assi st ant Leilani is a sporty Hamiltonian trying to survive in the windy capital. A journalism graduate from Massey, she loves writing about sports which gain little media coverage. You can find more of her writing at onthelinenz.com

Contributors

M IA G AU DI N Journ a li st Mia Gaudin is a writer, lawyer and arts advocate. Her work has been published by Radio NZ, Turbine, Hue & Cry, Mimicry, and The Pantograph Punch. She’s currently working on a novel and a travel memoir. Find her on Instagram @am_i_mia

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L AU R E N A N D E R SE N C amp ai g n C o- ordi n ator

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Growing up, Joram wanted to be a superhero, then a cyclist, and then an engineer. He never quite got round to any of those, so settled for being someone who just loves to create. Wellington has been his home for the last 17 years. You can check out his Instagram at @joram_adams.

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CONTENTS

12 LETTERS 14 CHATTER 16 NEWS BRIEFS 19 BY THE NUMBERS 20 NEW PRODUCTS 22 TALES OF THE CITY 24 CULTURE

TOAST GO OD DESIGN

TRY THIS AT HOME

Prak Sritharan’s oasis in Mt Vic

Four experts give insider tips for your home

TREASURE QUEST

TREE LINED

On display and hidden away at the Puketapu-Hay's

The Buchannan’s new home down the hill

28 STAND-UP GUY Comedian James Nokise finds the light

32 NATURALLY O C CURRING Derek Cowie brings dealers and artists together

BAO AND BEERS WINE AND WONTONS DINE IN OR TAKEOUT AND WE CATER

59 taranaki st. www.mrgos.co.nz

CONTENTS

TO BE CONTINUED

SHEARERS’ TA B L E

The rise and rise of Ashleigh Young

Beetroot mezzelune with sage burnt butter

65 66

BUG ME EDIBLES

72 CHEMISTRY AND C O CKTAILS Three ways to infuse

BY THE BOOK

STRAIGHT UP REQUEST

77 RE-VERSE Hannah Mettner’s Optics, introduced by Freya Daly Sadgrove

An opinion on mental health from prison chaplain Kim von Lanthen

GOOD SPORT

87 WĀHINE 88 DIRECTORY 89 WELLY ANGEL 90 CALENDAR 92 GROUPIES

STOP AT

MODERN ASIAN HAWKER FOOD

LETTERS

SPOT THE EXPERTS

car-dependent far-flung suburbs joined up by six-lane highways and a city centre which is a series of spaghetti junctions and flyovers. No one would want to live there, while walking and cycling would be an absolute nightmare. Their expansive roading projects cost far more than any light rail project, with no long-term benefits. Their chant of ‘four lanes to the planes’ would soon change to six lanes, then eight, as more people are coaxed out of our increasingly underfunded and malfunctioning public transport, inducing even more traffic. Hayward is hardly the ideal person to give an unbiased assessment of light rail. Within Wellington’s topographical constraints, we need to use existing roads more efficiently. A lane of cars can carry maybe 1,200 people an hour. Devote the same road space to light rail and you can carry 12,000 people per hour. Buses don’t cut the mustard, with their lower capacity and difficulty in manoeuvring through our narrow corridors. Their performance bears no resemblance to that of light rail. I have to agree with H B Peters’ letter in the April issue: You really should get a genuine expert to give light rail a fair go. Demetrius Christoforou, Mt Victoria (abridged)

The headline on the front page of the March issue of the Light Rail Transit Association’s magazine, Tramways & Urban Transit asks: ‘Tram openings: Will 2019 break records?’ The rest of the world forges ahead, while we dither. We have no shortage of inexpert naysayers clinging to private car transport, trying to convince us that this is what we want, even at the cost of destroying our urban amenity and without a care for climate change. One such is well-known rail-hater Philip Hayward (Cap #59). To ensure his dysfunctional analysis gains traction, Hayward chooses the worst possible scenario for light rail. He fails to see it as an extension of the existing suburban rail system, something that even Stephen Franks saw as essential. Worldwide, wherever such direct through service has been brought in, patronage has doubled and trebled. On the Echizen-Fukui line in Japan, average weekday ridership jumped by 286% within a year and there are several examples from Karlsruhe (Germany), where individual routes experienced over 300% ridership increases. So much for his ‘optimism bias’ argument. His criticism of the hub and spoke model introduced recently for the buses is irrelevant to light rail. The success of this model is well illustrated at several hubs in Kapiti and Lower Hutt where one train service interchanges smoothly with two or three bus routes. He complains of the slowness of a light rail route ‘over the top of the hill’ but the best way to the eastern suburbs is via a single-track tunnel (with path for walking and cycling) through Mt Albert from the zoo, at roughly half the cost of a second two-lane Mt Victoria road tunnel. He agrees that light rail operating costs are lower, but adds that these are negated by the higher capital costs, failing to account for whole-of-life costs. Light rail vehicles will soon be autonomous, they typically last three times longer than buses, and fewer vehicles are required. Our recently replaced English Electric multiple units gave sterling service for over 60 years. Hayward is inspired by the likes of Wendel Cox and Demographia, whose ideal city is an array of highly

SLAUGHTER THE FLOW I was particularly interested in the story about Ross Stevens’ latest house in the Wairarapa, in your latest issue (Cap #60). As an industrial designer he is looking at houses and design with a refreshingly fresh eye. His comment about wanting to slaughter ‘indoor-outdoor flow’ was surprising and has given me much to ponder as I consider the merits of building a new house. M Southon, Auckland (abridged) NEIGHBOUR GOSSIP Your story about the families choosing to live and build side by side in Miramar was heartwarming (Cap #59, p69). Their ideas were interesting, they seemed lovely people and the beautiful photography was captivating. I found so much of interest in your Neighbours issue. More please. I do not live in Wellington but look forward every month to buying your magazine for pure enjoyment. M Bridges, Manawatu

Send letters to editor@captalmag.co.nz with the subject line Letters to Ed

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RD E R S E C TCI H OA N THT EE A

One

INK INC.

We l l y w o r d s RUBBLE TROUBLE

daughter, another Potterhead, all about it and how they could A Wellyworder reports going to a movie with her toddler at visit later this year. She’s not sure who was more devastatthe Empire cinema, after visited at the news it was a hoax ing the supermarket, before – she or her daughter. realising that all afternoon she had been sporting a sticker SURE HOPE SO of Rubble from Paw Patrol A Wellyworder taking her on her forehead. She didn’t seat for Enigma – Variations, notice said toddler sticking it overheard some first-time on, and nobody told her about concert-goers making friends it. A phlegmatic lot in Island with their seat neighbours. Bay – nothing fazes them, ‘This is our first time ever except perhaps cycleways. seeing a live orchestra,’

RIDDIKULUS! Anyone else get sucked in by the Harry-Potter-Worldopening-in-Auckland April Fools’ Day prank? One Wellyworder bought it hook, line and sinker. Then proceeded tell her

they said. ‘Oh, the NZSO is very good,’ replied their knowledgeable new friend, ‘probably the best symphony orchestra in New Zealand.’ A third helpful voice interposed saying, ‘It is the national orchestra.’

TAIT GEORGE BURGE Art or Rebellion? Definitely art. Most of my tattoos simply centre around things I quite like. Things change, but my tattoos are a nice way to trace different points in my life. How did you choose the designs & why? Some were thought out while others were spontaneous. The lego figures I'd wanted for years while the skull I got after a tattoo artist came into work and told me he had a spare spot that afternoon. I let him decide what to tattoo, he created the skull.

Two S o m e t h i n g i n t h e wa te r South Wairarapa District Council again last month issued a boil water notice for Martinborough. A boil-water notice was in place for three weeks in March when contaminants were found in the town’s drink-

Family – for it or against it? They're pretty sweet with them. Dad's got a couple so it wasn't too much of a surprise. Any regrets? I guess I'm soon to find out.

ing water supply. The new notice went out on 10 April, less than 24 hours after the council held a town meeting to report back on the previous incident and attempt to restore the community’s faith. Whoops.

S E C TCIH OANT H ADER TER

F i ve

N ew h o m e A flame-throwing wētā greets visitors to Te Wāhi Wētā, the newest attraction at Pūkaha National Wildlife Centre. The Giant Wētā sculpture was designed and made by the Auckland Burners for Nevada’s 2016 Burning Man art festival and has now been donated to Pūkaha. It is understood she no longer

shoots fire, but she was lit up with LED lights for the launch of Te Wāhi Wētā, a new teaching area at Pukaha. ‘It not only creates a unique experience but helps to teach the importance of our wider ecosystem,’ says Pūkaha’s Emily Court. Check out Bug Me (Cap #60) for a run down on tree wētā.

Three

B l a st fro m t h e pa st It’s been 22 years since the Hurricanes were established. To celebrate, thousands of fans took to social media to vote for their favourite ‘90s line up. Among the final pick were Hurricane legends Christian Cullen, Doug Howlett, Tana Umaga, and first try-scorer

Alama Ieremia. Current Hurricane players have made a strong start to the season with mostly wins. This month the boys play two home games, first on 4 May against the Melbourne Rebels, and then on 17 May against the Jaguares from Argentina.

Six

R e a l i t y, v i r t u a l l y Ever wanted to drive an army truck, fly a plane or a helicopter, experience space flight or pilot a submarine? Your dream could become a reality – well, Virtual Reality (VR). Eight360 will be showcasing Nova publicly for the first time at Te Wā Heke, a science and technology event in Lower Hutt. Nova is a portable immersive entertainment experience. Almost any setting can be recreated

Four Nutty name You’d think running an interior design store, and occasional group tours to India for lucky people would be enough for one mother. But Amanda Holland hasn’t stopped. She’s taken over the former delicatessen next door to Small Acorns and is making it into a cafe. What to call it? Squirrel, obviously.

and experienced hands-on in a 360-degree spinning cockpit. ‘People who’ve had a go in the prototype kept forgetting it wasn’t real,’ says Eight360’s co-founder Terry Miller. He says Nova offers a brand new way to experience VR. ‘We can’t wait to see what the general public thinks of our creation.’ Te Wā Heke, Lower Hutt Event Centre, 24–25 May.

IT'S COOL TO KORERO Nau mai hoki mai

Welcome back home

NEWS BRIEFS

COUNCIL C HA NG E U P Despite a majority of councillors supporting the option of staying with the status quo, the Local Government Commission has determined that there will be changes to the way Lower Hutt residents are represented by Hutt City Council. The number of councillors representing each of the six wards is to be reduced from two to one. Six councillors will be elected at large, whereas previously only the Mayor was elected at large. The changes will take effect before the local government elections in October.

F R E SH A I R

L I B R A RY P O P S

BUM P Y L A N D I N G

Porirua City has expanded its smokefree areas to include beaches, the city centre, and all council-owned and managed sites. Vaping and e-cigarette bans are also included in the update to the Smokefree Outdoor Public Places Policy, which was first introduced in 2010 covering only sports fields and playgrounds. In Porirua, there is a higher rate of smoking than the national average – 17 per cent compared to 14 per cent.

Manners St will be the home of the first Wellington CBD Pop-Up Library, part of a network bringing library services back to the central city after the closure of the Central Library. Mayor Justin Lester says work is already under way and the Manners St pop-up will open in late May. In the meantime, other Wellington libraries are open longer hours to accommodate the increase in use. Further pop-ups are planned to open throughout the year.

Wellington International Airport has withdrawn its resource consent application for the runway extension. The airport plans to wait for an updated modelling tool for Runway End Safety Areas configuration to become available, and then reapply early next year. Airport chief executive Steve Sanderson says ‘It is critical to get this vital safety feature right.’ The proposed 355-metre extension would make the airport suitable for long-haul flights from Asia and the US.

NEWS BRIEFS

LONG R OA D A long-awaited road linking Petone to Grenada is looking unlikely, with the government deferring funding until at least 2028. ‘They have effectively killed-off a vital piece of the Wellington region’s transport network,’ says John Milford of Wellington Chamber of Commerce. ‘They’re putting it on the shelf and hoping everyone will forget it.’ The road was supposed to reduce peak-hour congestion and act as an alternative route in the event of accidents or slips in Ngauranga Gorge or on State Highway 2.

P E DA L L E R S A N D P E D E S T R IA N S Over the next 10 months new sections of seawall will be installed on top of existing foundations at Pt Jerningham to provide more space for the planned two-way bike path around Evans Bay. The $10-million project will see the narrow on-road bike lanes replaced with a separate bike path suitable for all ages and abilities, and the development of more appealing areas for people on foot.

SE A SI D E R E T R E AT

N UM B E R S U P

To protect against erosion caused by climate change and severe weather the Greater Wellington Regional Council has proposed a 40m erosion buffer zone at the southern end of Queen Elizabeth Park in Paekakariki. The retreat from the coast would involve relocating buildings, including the surf club, to a safer area and planting out the buffer zone. The regional council is accepting community feedback on the proposal until 7 June.

Changes are on the way for recycling in Lower Hutt. Soon plastics numbered 3 to 7 will not be accepted for processing. Plastics classified as 1 (PET 1) and 2 (HDPE 2) will still be accepted. PET 1 is recycled by Lower Hutt’s Flight Plastics (Cap #55) and is processed into containers for produce such as kiwifruit. HDPE 2 is sent to Palmerston North, where it’s turned into pallets. Hutt City Council will be launching a ‘Let’s sort waste out’ campaign to advise people about the changes.

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B S EY CTTH IO E NN U HM E AB D ER ER S

Home Is there a distinction between a house and a home? If everything’s perfect, all ornaments arranged just so, and no sign of habitation – I call that a house. If you leave your cereal bowl out all day festering on the table – that’s a home. But as the distinction is neither here nor there, I’ve decided to take massive liberties with this month’s theme of ‘the home’.

Famous holmes

1887

200+

year of Sherlock Holmes’ first appearance in print with the story A Study in Scarlet

short stories Sir Arthur Conan Doyle wrote with Sherlock at the helm

novels (Sir Arty had an attention span problem?)

films portraying Sherlock (the Guinness Book of World Records lists him as the most portrayed movie character)

A scream on screen

number of years Paul Holmes hosted his eponymous current affairs show on TV1 (1989 – 2004)

years he hosted a breakfast show on Newstalk ZB (when did the man sleep?)

Paso doble danced during the third season of Dancing with the Stars. The costume department saw fit to dress Paul in a Michael Jackson outfit – ‘nuff said

age at which he died in 2013 – two weeks earlier he received a Knight Companion of the NZ Order of Merit for services to Broadcasting

On cruise control Katie Holmes

seasons of Dawson’s Creek – the breakout TV series for the actor

years married to Tom Cruise

cameo in a Muppet movie – Muppets from Space: I’ve looked for it on Netflix and it’s not there... tragedy

Honourable mention

The gossip mags suggested the 2012 divorce was in part due to Katie’s fear that Cruise would kidnap their daughter Suri (isn’t regurgitated gossip the best?)

Oliver Wendell-Holmes

Elizabeth Holmes

Doogie Howser MD

American Supreme Court Justice

Briefly a billionaire until her innovative blood testing company ‘Theranos’ collapsed in 2015 amid fraud claims

a 90’s medical comedy that began Neil Patrick Harris’s career. Howser…. HOUSER….oh, forget it

Compiled by Craig Beardsworth 19

NEW PRODUCTS

2. 1.

8. 9. 11.

12. 10.

Mumumental

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TA L E S O F T H E C I T Y

Home m a ke r W R I T T E N BY F R A N C E S CA E M M S P H OTO G R A P H BY J O R A M A DA M S

BOOK

LANGUAGES

PHD

HOLIDAY

FASHION

Becoming by Michelle Obama

Arabic, French and English

Media studies

Nelson

Op-shops

PhD candidate and Red Cross worker Fairooz Samy watches a lot of Netflix.

ith a first class honours degree and a Master's already under her belt, Fairooz Samy’s research has previously focused on critical race theory, gender, and neoliberalism, but her current work, for her PhD, is centred on television studies and digital media. ‘I'm looking at the impact that the internet and its associated technologies (data, algorithms, interfaces) have had on the television industry,’ she explains. ‘Netflix’s ability to become ubiquitous, to ingratiate itself into the hearts and minds of over 100 million global users and incentivise the restructuring of the television industry, is impressive.’ Fairooz grew up in Hawke’s Bay but says her heart belongs to Wellington. ‘My favourite places aren’t necessarily trendy or fancy – they’re places I love because I’ve made memories there with friends over the years.’ She likes Enigma and Espressoholic, and Loretta’s for the atmosphere. Laundry and Meow have both been ‘unofficial post-grad home bases for years.’ The Wellington water front is where Fairooz feels most at home, and she’s a big fan of festivals, ‘fringe festivals, comedy festivals, film festivals, you name it,’ so will often be found at cinemas, BATS or the Fringe Bar. Autobiographies are on Fairooz’s reading list at the moment, ‘I just finished Roxanne Gay’s Hunger and Paul Kalanithi’s When Breath Becomes Air, which were both fantastic, and I’m currently working my way through Michelle Obama’s Becoming.’ When it comes to musicians M.I.A is top of the list. ‘Her music is infused

with politics and commentary and she’s worked to bring attention to various humanitarian issues over her whole career. She’s also from a refugee background and brings that perspective to her art.’ As well as being a full-time student, Fairooz also works part-time at Red Cross. ‘I stumbled across one of their ads looking for a “cross-cultural worker”. It looked rewarding and I thought I had a few skills to contribute.’ She works in the refugee settlement program. ‘I provide advocacy services, and language and cultural support for refugee-background clients.’ When a family arrives in Wellington to start a new life there are the big things to sort out, like electricity, furniture and house keys, but Fairooz says it’s often the small things that matter the most. ‘Making sure the family has a good meal for the first night in their new home, meeting them at the airport with their volunteers, and sourcing things like books, toys, and blankets for the children.’ One thing Wellingtonians can do to make former refugees feel more at home is to simply break the ice. ‘Approaching a stranger can be really daunting for people of a refugee background so making the first move, like saying hello, asking a question, or sharing some food, will really help.’ The best part of Fairooz’s job is seeing past clients thriving. ‘Sometimes I’ll bump in to someone I used to work with out and about, maybe with new friends, enjoying the city, being independent, and I’ll be reminded of how much they’ve been able to accomplish in just a year or two of their arrival and what they can achieve in the future.’

CULTURE

THE FORCE BE W I T H YO U When the Royal New Zealand Air Force Jazz Orchestra played during last year’s Wellington Jazz Festival, Te Papa’s Soundings Theatre was so packed that trumpeter Michael Taylor’s family couldn’t squeeze in. The big band – an offshoot of the 84-year-old Royal New Zealand Air Force Band – has 15 members, on piano, bass, drums, trumpet, trombone and saxophone. ‘You don’t have to join the air force to play,’ Michael says. They perform twice on 8 June at Soundings Theatre (first in, first served).

IN MOTION

WELL PLAYED

SPACED OUT

A Capital contributor who got a sneak peek at City Gallery exhibition Semiconductor: The Technological Sublime (until 14 July) stood entranced by video work Earthworks for nearly half an hour until she got a little motion sickness (which was well worth it). The animation, displayed on connected screens, uses long, pulsing squiggles of different colours to mimic the movement of landmasses over millenia. UK video artists Ruth Jarman and Joe Gerhardt, AKA Semiconductor, visited Wellington to install their ‘sci-art’ works.

Wellington playwright Mitch Tawhi Thomas last month became the first person to twice win the annual Adam NZ Play Award for best new (unproduced) theatre. Pakaru, which is about a solo mum raising twins, also won Best Play by a Maori Playwright. ‘I’m so grateful for the koha,’ Mitch says (he’s coy about the amount). See Pakaru’s development-season production at BATS (4–8 June). Mitch taught high-school English and drama before becoming a Toi Whakaari acting tutor last month.

The NZ Symphony Orchestra’s Shed Series, begun last year, takes music outside the Michael Fowler Centre concert hall into a more casual space at waterfront venue Shed 6, with a bar open throughout. The series juxtaposes classics with modern compositions. In its next concert, Responses (10 May), Kiwi composer Leonie Holmes shares the billing with greats Ravel and Haydn.

YO U R D R E A M C O M E T R U E

Walk down the aisle at Wellington’s Old St Paul’s www.heritage.org.nz

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TA K E N O PRISONERS Wellington actor, vocalist and up-and-coming director Erina Daniels helps Auckland's Jason Te Kare direct the actors during this month’s rehearsals for theatre production Cellfish. Following the play’s well-reviewed Auckland season, Jason’s T.O.A. Productions will tour the play nationally with Wellington theatre company Taki Rua. Showing at Hannah Playhouse (11–15 June), the sometimes-comedic drama follows a determined woman who teaches Shakespeare to prison inmates. There are matinee performances for schools and tertiary institutions. It’s part of Kia Mau Festival (1–15 June), an indigenous theatre/dance festival.

ON THE MOVE

CIRCLE OF LIFE

VOX POPS

Wellington sculptor, curator and Māori-arts professor Robert Jahnke’s short animated film Te Utu. The Battle of the Gods (1980), which tells the Māori genesis story, screens at Dowse exhibition Māori Moving Image: An Open Archive (until 21 July). The exhibition spans 40 years and 20-plus artists, including Wellington’s Jamie Berry, Leala Faleseuga and Pikihuia Haenga. ‘It’s about starting a conversation and starting an archive,’ says co-curator Bridget Reweti (pictured). ‘Galleries can be intimidating, but this exhibition isn’t.’

Nadiyah Abkar, a former Sydney resident of Pakistani descent, is one of 13 final-year NZ School of Dance students who are each choregraphing a short work for the NZSD’s Orbiculus Choreographic Season (Te Whaea, 22–28 May), about colliding worlds. Orbiculus, which means small disc, refers to the amphitheatrelike space and seating. ‘My piece is inspired by Wellington’s inclusive culture – particularly acceptance of eccentric people and of the LGBTQ community,’ says Nadiyah, 20. Each student participates in the others’ works.

Who knew Wellington has a female Balkan choir? Vox Ethno was formed out of multi-sex choir Vox Serbica in October 2018. Both groups sing in Slavic style with musicians accompanying them. Thirteen of Vox Ethno’s 16 singers are immigrants from seven countries and they’re open to new members. They perform Singing Under The Stars on 12 May in Space Place’s Planetarium.

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Water \ Way @ Aratoi

Orbiculus

{Suite}

WATER \ WAY He Manawa Whenua: He Puna Wai - 13 Contemporary Artists Explore the Rivers and Lakes of Aotearoa - Jacqui Colley, Phil Dadson, Bing Dawe, Bruce Foster, Brett Graham, Ross Hemera, Euan Macleod, Gregory O’Brien, Jenna Packer, Dani Terrizzi, Elizabeth Thomson, Peter Trevelyan, Kate Woods.

Encounter colliding worlds in a new contemporary dance work choreographed by 13 graduating students of the New Zealand School of Dance. Come along to the School’s annual Choreographic Season, which explores a series of moments that connect movement, space and people together.

New Zealand Arts Icon photographer Ans Westra is responsible for the most comprehensive documentation of New Zealand culture over the last 60 years. The {Suite} Westra Museum is a dedicated exhibition space for Ans' photographs. Prints are available for sale.

13 April–4 August 12 Bruce Street, Masterton. aratoi.org.nz

22 May–28 May Te Whaea: National Dance & Drama Centre, Newtown. nzschoolofdance.ac.nz

Tues–Fri 11am–6pm, 11am–4pm Saturdays 241 Cuba St suite.co.nz

Kia Mau Festival Warm your winter with a spellbinding festival of theatre + dance from Māori, Pacific and global Indigenous artists. You are invited to join us in sharing contemporary performance + knowledge from an Indigenous worldview. “Vital and exciting… perhaps the country’s best annual celebration of theatre” Pantograph Punch. 1-15 June, Various venues. kiamaufestival.org

Movies under the Dome Each month the Space Place planetarium dome transforms into a movie theatre featuring a classic Sci-fi movie selected by AroVideo. In May, The City of Lost Children (1995) is showing - a steampunk masterpiece with cyborg cults, gangs of orphans and trained circus fleas. Tickets $15. Sunday 26 May, 7pm. Space Place, Carter Observatory, 40 Salamanca Rd, Kelburn. museumswellington.org.nz

Frances Hodgkins Exhibition “Frances Hodgkins, from Dunedin to Waikanae”, spans the career of New Zealand’s most famous woman artist whose ashes lie in Waikanae cemetery. This marks the 150th anniversary of her birth. Curator Pamela Gerrish Nunn gives guided tours, a panel discussion and study day with Hodgkins experts. 28 April–16 June, 20 Mahara Place, Waikanae. maharagallery.org.nz

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Stars in any weather

Concert in Paekakariki

Hashigo Zake’s May gig guide

Enjoy an evening of drinks, nibbles and Space Place technology to show you the night sky whether its cloudy or not. Recline in the special planetarium dome theatre while a presenter zooms around the night sky and dives deep into space. Astronomy on Tap is held on the first Tuesday of every month. Tickets $39.

Cellist Inbal Megiddo and pianist Mary Gow will perform Schumann’ Five Pieces for cello and piano preceded by Bach’s Suite for solo cello. They are joined by NZSM staffers, Paul Altomari, bass, and newly arrived pianist David Barnard in Franck’s Cello Sonata. Rossini and Goltermann.

Chocolate Thunder bring their “senuous musical maelstrom” and “sheer groovesmanship” jazz/soul/funk blend to Hashigo Zake’s weekly live music session on May 4. Darren Watson & The Dangerous Experts play world class blues on May 18. Checkout our website for May 11 and 25.

Tuesday 2nd May & 4th June, 8pm. Space Place, Carter Observatory, 40 Salamanca Rd, Kelburn. museumswellington.org.nz

May 26 at 2.30pm St Peters Hall. Beach Road, Paekakariki. mulledwineconcerts.com

4, 11,18, 25 May from 10pm. The basement, 25 Taranaki Street hashigozake.co.nz

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Stand-up guy W R I T T E N BY SA R A H L A N G

ames Nokise is in the shower a lot, and not just to get clean. The comedian interviews wellknown New Zealanders (usually one at a time) in an actual shower, where they eat fried chicken while recording his podcast about mental health (it’s called Eating Fried Chicken in the Shower). ‘Don’t worry, the water’s not running,’ James says with a grin. He knows the set-up is a little random but, hey, it’s different. ‘Plus I love fried chicken and showering – usually separately. My shower is quite snug. It was hard to fit the three members of sketch group Frickin Dangerous Bro in there. TV anchor Samantha Hayes is vegetarian, so we had to eat fake fried chicken, which actually wasn’t too bad.’ James, 36, recently finished his first series of eight podcasts, available on Radio New Zealand’s website, with a second series in the works. These podcasts are serious but, with James at the helm, they’re sometimes funny, too. ‘We talk about things I wish were discussed publicly when I was having a tough time.’ James was a big drinker for 15 years – the free drinks before his shows didn’t help – before realising he was a depressed alcoholic. He went cold turkey in 2016, an excruciating process. After that, he talked about alcoholism a lot in his comedy. ‘I’m more careful now about what I say, because not everyone’s up for hearing about alcoholism. But it’s been worth it for the incredible support I’ve got.’ James, whose father is a Samoan Protestant minister in Newtown, has a strong sense of social justice and of the importance of supporting others. In April, he was one of the musicians and performers who volunteered their time at a charity show in Auckland, with all proceeds

going to Victim Support’s Christchurch Shooting Victims’ Fund. ‘This dark cloud hung over the theatre, but thankfully people had a good time.’ This month he presents stand-up show God Damn Fancy Man (Te Auaha, 14–18 May) at the New Zealand International Comedy Festival, and performs a snippet at the opening gala (5 May). ‘My show’s basically about ridiculous conversations I’ve had with people who don’t listen during conversations about race, gender and sexuality and who push back against the #metoo movement. Whoops – I’ve made my show sound not funny at all!’ James has never been afraid to try something new. He and his (now former) girlfriend Anya TateManning have staged 14 satirical comic theatre shows, called Public Service Announcements, over nine years. ‘There was no political satire in New Zealand comedy when we started, but now more comedians are stepping up. I recently stepped away from PSA to make room for new blood, though sometimes I still troubleshoot issues with Anya. It’s cool when you build something that continues after you.’ PSA’s latest show Indignity War plays at BATS, 21–25 May. James, who grew up in Lower Hutt then Newtown, is a giant of Wellington comedy, showing you can succeed without moving to Auckland. He’s about to move to London, however, to experience the comedy scene in Europe, but will eventually move back to the capital. ‘I’m a proud Wellingtonian. Some people think we Wellingtonians are a pretentious lot, talking about pay and gender equity while wearing cardigans and drinking flat whites. You know what? I’m proud of that.’

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Natura lly occurring W R I T T E N BY F R A N C E S CA E M M S P H OTO G R A P H E D BY RYA N M CCAU L E Y

very Friday, Derek Cowie makes his way around every dealer gallery in Wellington. ‘I see all the exhibitions. I want to see as much as I can,’ he explains. During those Friday outings he noticed a certain isolation. ‘Dealers and artists are a naturally occurring group, a brilliant group, but they weren’t really interacting.’ So about a year ago he set up DnA, a very informal meet-up group for dealers and artists. So far they’ve had three meetings. ‘Some people are very casual, they call it Friday drinks. Others are more fervent,’ he laughs. ‘We have the arts in common but we have different histories so it’s very interesting.’ The Ruatoria-born, Wellington-trained artist returned to New Zealand in 2016, after several decades in London, where he worked as a scene painter for the National Theatre, and as an award-winning visual artist for film and television. All while continuing to make and exhibit his own work.

His Wellington studio sits above the Lido café, in the iconic modernist building at the corner of Victoria and Wakefield streets. It’s not far from Page Blackie Gallery, where his self-titled exhibition has just closed. The exhibition contemplated global environmental collapse and dystopian futures, concerns that are at the centre of his diverse practice. Derek says there are four fields to his work; painting, constructions, notebooks, and the environment. ‘Environmental issues are very important to me – the impact on the art world, who is collecting it, what is the subject, what’s in the literature.’ And he says this ties into DnA. ‘The most resilient communites are those that are tight and coherent. Resilience as a concept is applicable to everything. It’s at the heart of everything.’

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Toast good design P H OTO G R A P H Y BY A N N A B R I G GS

Prak Sritharan’s Mt Vic flat is a refuge from the bustle of city life. Mia Gaudin spent a cosy morning with him.

t’s just before eight on the first Monday morning after the end of daylight saving. I walk through the Mt Victoria street to the cottage that Prak Sritharan rents with his two flatmates, Jarred and Janelle. The streets are bustling with activity – a woman holding a keep-cup slips past me, two little girls kiss their dad goodbye from their front door, a big yellow bus noisily rounds the corner. Prak’s flat is nondescript from the outside, but when the door opens and I follow him in, the commuter buzz is forgotten and we’re in a world of good design, balanced colour, and the soft whirr of a heat pump. ‘We called this the chapel for a little bit,’ Prak says, pointing up. The cottage’s original ceiling has been removed, opening the space up and exposing the roofline of the building as in a church. ‘You’d never do renovations like this, in this day and age, it would just cost so much, look at that joinery work up there!’ he says. It does look remarkable, and although it adds volume, the honeyed wood creates a sense of warmth. Prak is still eating a piece of toast and Radio New Zealand is playing from his phone. He’s got a new morning ritual – well, new since opening his carefully curated design store, Precinct 35, four years ago. ‘I’ll get up around quarter to seven, go for a run if the weather’s nice, make my toast, which probably doesn’t even leave the…’ Prak signals around the kitchen where he’s making me a cup of tea. ‘The toast gets eaten straight off the board.’ He brings the freshly brewed pot over to the table where his computer and two journals are sitting. This is all part of

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the routine. ‘I sit down, and I write a list of things to do for the day, but it will be very casual, just a nice little to-do-list, and it’ll even be things like “Call my sister”.’ Precinct 35 doesn’t open till ten, so Prak has the freedom to take his time and be considered. ‘Everything about it is very meditative.’ It hasn’t always been this way. Prak used to be out in the hustle of the streets and down at Lambton Quay by eight every morning for his finance job. Prak can pinpoint the moment that sparked his interest in good design. It was on a trip to a friend’s flat in Auckland, nicknamed ‘the Hutch’. ‘In this little house, the Hutch, there were three of my really good friends. It was kind of like a sitcom,’ he laughs. ‘The house was so special. It was just thrown together. Mainly opshop finds. They played records, they had a little turntable set up, little bits of art on the wall. It had this real sense of living. My eyes really opened up to how nice it is when you have a bit of house pride.’ For Prak, creating a great space is never just about owning lots of things, it’s also about the personalities living in the house. With the objects he buys for himself, and for the store, the maker and their story is always paramount. ‘We put them on a pedestal, they are the most important thing in the transaction − you know who they are, there’s a sense of traceability, you know where the object is coming from.’ Prak shows me one of his latest purchases, a bowl by the Mount Maunganui potter Laurie Steer. He’d bought his girlfriend some tumblers from the same artist for her birthday and wanted something for himself too. He picks up the bowl and holds it, solid in his hands, black clay with very visible dimples from the maker’s fingers. ‘I can imagine him pressing this. How nice is that?’ he says, admiring it. The other reason Prak bought Steer’s piece is because it speaks to another one he has – a ceramic trivet that sits on the dining room

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table. Its maker is Jamie Jenkins who was one of Steer’s students. ‘I like having that element of interaction between the two objects. Sometimes this one is on top of that one,’ Prak motions the bowl over the trivet. ‘I love the stories. They have personalities and it makes every interaction with them way more special.’ Having an appreciation for the makers requires a reassessment of values. ‘I find it odd that people just see objects as luxury items. I think they’re just ethical items that have to cost a certain amount.’ He lifts Steer’s bowl back up. ‘He’s getting paid a fair wage to build this and do that for a living, you know?’ While Prak doesn’t like the term ‘art object’ to describe what’s sold in Precinct 35, he has been diving into the world of art, as there’s now a dedicated gallery space ‘35b’ at the back of the store. On his living room walls there are artworks that have come from shows at the gallery and gifts Prak has acquired from friends and artists he’s exhibited. ‘It’s nice to be a space where artists can be seen and eventually sold,’ Prak says of 35b. I ask whether his flatmates are on board with his design aesthetic. ‘We’re a happy little family, all sort of early 30s and on a similar wavelength in terms of what we enjoy,’

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he smiles. ‘We’re all adults now, if someone doesn’t like something words will be said and it’s all okay. No one takes offence.’ Tim Lambourne is one of the artists Prak has exhibited. His photograph Sendagaya Hedge, from the Tokyo Bloom series, is hanging on an internal wall in the living room, above two mid-century chairs and a chess board. It’s a full scale close up of green and red foliage that gives the impression you’re looking out onto a lush garden. There is in fact a small outdoor space at the back of Prak’s house. We have to walk through his bedroom to get there. ‘It’s not that tidy,’ he warns me, though his bed is beautifully made and there are fresh flowers in a vase beside it. French doors open out into a small paved back garden. It’s not as pretty as inside, and certainly not as cosy, but there’s a nice view, across neighbouring gardens full of corrugated iron sheds and drooping apple trees, with the misty hills looming behind. ‘That morning ritual is the thing I enjoy the most,’ Prak reiterates, looking up at the town belt where he tries to go every morning. ‘You’re running against the flow of traffic, of all these people walking to work, you know?’ I laugh and turn to go back inside. I do know. I’m running late for my desk-job.

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Charlotte Minty Charlotte is an interior designer and the owner of Charlotte Minty Interior Design. Favourite room to design & why? Kitchens − it’s the balance of function and form that I like. It is also the heart of the home, therefore the most important space in the house. Biggest mistake people make in designing their homes is… clutter! Describe your style in five words… classic yet modern, fresh and calm. Q&A

The one item missing from your home is… an armchair. We recently re-arranged our living room and there is a space waiting for one. What would you never be caught with in your home? Obvious branding. If you could raid anyone’s home, whose would it be? My favourite designer, Ilse Crawford.

T h i n g s t o l ov e

Favourite home or interior trend for 2019? Dark moody blues and greens.

I enjoy Safari and Campaign furniture – this Kruger leather armchair is a winner. Love the warm saddle-colour leather too. Freedom Furniture, $749

Tips & tricks

Rug up: It’s important that rugs are the right size for the room. If you have a special rug that is too small – select a larger neutral jute rug in the proper size, then layer the small one on top.

I am re-planting our garden and am reading this great book (Gardenista by Michelle Slatalla) for inspiration. Small Acorns, $90

I hope to have these Thonet Hoffman cane dining chairs around my dining table one day. Thonet, $799

I am a fan of these beautiful, high quality Armadillo and Co rugs and I often use them on my projects. The Ivy House, $1,450

I have been wanting to replace our existing wire rack for this elegant timber wall mounted drying tower for some time. Tea Pea, $159

Eye up your art: People often hang their art too high. Make sure it is at eye level. If you are hanging a piece (or cluster) behind a sofa, the art should ideally be half to two thirds the width of the sofa.

Care with colour: When choosing a white paint for a space, look at the direction the room is facing. If it is south or east-facing, the light tends to be cooler, so use warm whites; whereas north or west facing rooms, the light is warmer and slightly rosy, so cooler whites work well. Spaces with windows look better with white walls. For rooms with little or no natural light, go for a warm medium-tone colour like taupe or a warm grey.

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Amanda Holland Amanda is an interior stylist and the owner of Small Acorns. Describe your style in five words… contemporary, vintage, colour, personal stories. Your favourite item in your home is… a vintage Indian mirrorwork water carrier that I use as a console table. What would you never be caught with in your home? A fake or replica furniture design classic. Q&A

What was the last thing you bought? An incredibly beautiful old Afghani suzani textile piece. Favourite home or interior trend for 2019? The fabulous thing about interiors right now is that any style goes. If you like something, embrace it, and if you don’t, it doesn’t matter. You don’t have to pretend to like it, and you certainly don’t have to decorate your home with this ‘trend’ in mind.

T h i n g s t o l ov e

Least favourite trend from the past 10 years? Beige, porridge, or tea paint colours for walls.

I love the simplicity of this Vintage Indian Almirah. Practical for storage and wearing the hallmarks of a previous life well lived. Small Acorns, $699

I adore handmade ceramics. They're beautifully tactile, and by their very nature, no two can ever be the same. Paul Melser pottery

Tips & tricks

Mix, not match: I find that the most interesting and successful interiors are achieved when you mix things up. That little frisson of tension when you layer your home with a mix of styles and eras and treasured collections creates the most eye-catching and dynamic interiors.

Lapaun Kankruit tea towels have beautiful colours. Since they’re linen I would also use these for napkins or tray cloths. Newtown House, $27

There’s nothing quite like the feel of a pure linen duvet. I could mix this Castle butterscotch duvet with my existing pillowcases for a unique look. Small Acorns, $320

This handwoven iringa basket would be fantastic for one of the houseplants in my growing collection. Trade Aid, $47

Fabric freedom: I love to mix different fabrics for curtains or blinds in the same room, and even at the same window. Too much of a bold print can be busy and overwhelming, but if you mix it with a beautiful plain linen and perhaps a stripe, while keeping all the colours tonal and in harmony, it looks amazing.

Don’t underestimate colour: I believe that colour can be a whisper or a shout, but that its transformative effect on a home cannot be underestimated.

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Treasure quest P H OTO G R A P H Y BY A N N A B R I G GS

Bryony Puketapu and Woody Hay live in a cute two-storey home in Brooklyn. Upstairs is a curated collection of curios, antiques and handmade creations. Downstairs are boxes full of ‘treasures’. Francesca Emms visited these selfconfessed hoarders.

ryony and her husband Woody sit in their sunny, open plan living-dining-kitchen area. Floyd, a six-year-old French bulldog, is napping (and snoring quite loudly) under an embroidered portrait of himself. A two-year-old human, Hendry, is also napping. He’s in his little toddler bed, with sheets and duvet made by his mum, snuggled up with Marvin the monkey and Billy Pig Pig. The door to Bryony and Woody’s bedroom is open, affording a flash of hot pink down the hinge stile and a peek at a metal bed frame (an auction find of Bryony’s). The two bedrooms and bathroom are on the same level as the large living area. Off to the side is a steep staircase leading down to a ‘rabbit warren’ of storage rooms, and a guest bedroom. Since moving into their Brooklyn home three years ago Bryony and Woody have done some superficial work on it, though they originally planned more. ‘We had a full kitchen drawn up, ready to go and then all of a sudden − Hendry. So that put a little bit of a spanner in the works,’ says Woody. The bank on the western side of the property had been used as a dumping ground, so they’ve cleared away all the rubbish and planted native trees and shrubs. They’re looking forward to having some privacy from the road once it all grows a bit higher. There are a number of potted plants inside the house. Bryony gives them names: ‘If they have a name, they've got direction, they can grow.’ Mortimer the monstera hangs out by the front door; apparently he’s pretty chill. But the peace lilies, Lilly Wane and Lilith Crane, are quite competitive – ‘they have flower-offs.’ There’s a staghorn fern called Bambi in their bedroom, and an unnamed snake plant. ‘I'm not that

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Waikanae 48

keen on him, that's probably why I haven't named him. He creeps me out, that one.’ All the flat surfaces have something precious on them; a bearshaped tobacco jar, an oosik (walrus penis), a row of Crown Lynn, Woody’s granddad's binoculars from World War II. ‘I could never live in a modern, minimalist, white home because I like things, I like clutter,’ says Bryony. The items on display are only a fraction of the couple’s collection. Downstairs there’s ‘literally boxes and boxes’ of storage. ‘We're an episode of Hoarders waiting to be filmed,’ laughs Bryony. ‘It's cool, because you forget what you have, and then you pull out a box later on, you start unpacking and all of a sudden, it's like, oh, look at these tiny little ceramic things that no one else would care about, but we do.’ A lot of the items have come to the couple via Woody’s parents, who used to own auction rooms in Nelson. While other kids were getting Play Stations, Woody was given antiques for his birthdays and Christmas. ‘Which back then was kind of lame, but in retrospect, it's awesome.’ Bryony has always obsessed over ‘old things’ so marrying the son of antique dealers is ‘kind of perfect.’ Woody says his mum, Di, has found an outlet in Bryony, ‘a kindred spirit to, you know, basically offload a whole bunch of random weird things onto.’ Everything they haven't bought brand new has a story, ‘which is partly why we can't let stuff go,’ says Bryony, ‘We’re stupidly nostalgic about it.’ Woody’s mum records notes about an item and sticks them to the back. On the wall by the front door hangs a painting of Woody’s great-grandfather. ‘So that’s Hendry's greatgreat-grandfather and his name is Hendry,’ Woody says, and he takes it off the wall to reveal a note saying it was painted on a footpath in Venice in 1918.There’s also a handwritten message, dated 2000. ‘That’s my dad’s writing on it. "Di says my eyebrows look like this

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when I'm pissed." And to be honest, Mum nailed it, they did look like that.’ Bryony is Te Atiawa, and grew up in Waiwhetu, on the marae. She points out the two kete above their bed, both made by her grandfather, John Puketapu. ‘That’s a family weave, so only our extended family does that particular style.’ One was made for Bryony’s grandmother 30-odd years ago. The other was a 21st present. ‘My grandad, he was known for making hīnaki nets, which are for eeling and crayfish pots. He was one of the only people left who knew how to make these particular things. When I was in high school he traveled the world quite a bit with Te Papa, sharing his skill. The family is known for weaving. A bit of carving as well, but mostly it's our weaving work.’ Also hanging by the bed is a ceramic mask made by her aunty, Christine Fagan (or Aunty Teene). ‘She hates it, but I love it. She's like, “Why would you have that in your room? It's creepy!” I think he's awesome. I like that he's dramatic. He’s the god of wind, Tāwhirimātea. So his lips are blowing and the flax is meant to look like his hair is being blown in the wind as well.’ Bryony has definitely picked up the artistic genes. She’s been upholstering for about seven years and has reupholstered the cream couch in the living room, the armchair in Hendry’s

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room and a stunning deep blue, velvet footstool. ‘I've got a mentor that I work with, Lloyd McIntyre. I go and see him regularly, and hang out with him, and learn all his secrets.’ While she was pregnant she couldn’t do much due to complications, so picked up crocheting. ‘That became an obsession for a while. Mostly baby-related paraphernalia like blankets and beanies.’ Hendry’s playhouse, which sits in the corner (‘It's Inception, house within a house,’ jokes Woody), was a kitset Bryony put together and added to over time. ‘I got a bit carried away probably. But also I'd say, it's a prototype – if we ever paint our house, maybe we'll paint it these colors.’ The hanging doorbell, with frog atop, is from Woody’s parents. Bryony made the dining table from floor boards that came out of Kings College in Auckland. ‘I randomly found an auction on Trade Me for their flooring.’ She also made the cushions and squab on the Edwardian wooden

church pew that runs along the wall – another gift from Woody’s parents. ‘Look how it's all chewed by someone's dog. Don't know the dog, don't know the story, but I like that it has that history.’ Bryony is currently learning how to make tivaevae. Aunty Teene is teaching her. ‘It's all done by hand. It’s cut out by hand and then stitched on using traditional techniques. They say because the women do it together and usually gift it to someone then it’s all made by love,’ says Bryony, pointing to a quilt in progress. ‘My grandmother was Rarotongan. Her favorite flower was a Tiare Maori, and that's what this flower is.’ She’s also making a solar-system-themed quilt for Hendry. The planets are done and now she’s doing the tiny gold stars. ‘Apparently, it's called appliqué. I didn't know this when I was starting. I had no idea at what I was doing!’ Bryony keeps all her crafting supplies and projects downstairs, and we have to peek into a few boxes and cupboards while we’re down there. We find a very old tape measure, a mini harmonica, a smoking monkey, antique chairs, pottery and art and… ‘Doing this interview, it’s kind of like we're 80,’ Woody says as he pulls out a vintage tricycle. ‘Can you imagine when we’re 80?’ laughs Bryony, ‘Poor Hendry’s going to be like, “Oh, God, my parents have died and I've gotta go clean out their stuff. What the hell was wrong with them?”’

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Thomas SĂ¸ndergĂĽrd Conductor Denis Kozhukhin Piano

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SECTION HEADER F E AT U R E

M i ke H o l m e s Mike is an architectural designer, qualified builder and Director of Holmes Architecture Favourite type of home to design and why? Strong modern geometric compositions, with a well composed and detailed material palette, are a nice way to contrast either natural or manmade landscapes. Biggest mistake people make in designing their home is… shopping around for the cheapest designer. Q&A

Biggest mistake people make in renovating their home is… not appreciating the limitations of the existing building. Describe your style in five words… refined, eclectic, abstract, contemporary, functional. Your favourite item in your home is… BoConcept sofa. The one thing missing from your home is… giant rug in the dining room. If you could change one thing about your home it’s... the mortgage. Favourite home or house trend for 2019? LED strip lights.

T h i n g s t o l ov e

Shorty Locker Shut the Front Door – Shorty Locker Neon lightning bolt Etsy – Neon lighting bolt Iconic, local, abstract, awesome – Park Mews, Wellington by Hamish Thompson.

This mustard I don’t get out much anymore so I FloorShorty lamp Locker is a cool take on a like the idea of creating a seedy bar Floor bedside ECC table. – Paper Patchwork at home withLamp this Sunnylife neon Shut The Front Door, $269 light. Shut The Front Door, $109

Sennheiser Urbanite Wirelss headphones for absolute Zen in the office. PB Tech, $399

This Moooi Paper Patchwork floor lamp is classic form in a fun modern way. ECC, POI

Tool of the trade Sennheiser Wireless Headphones

Park Mews Print

Tips & tricks

Hamish Thompson – Park Mews Print

Modest materials: Cost effective but durable materials like corrugated iron, timber weatherboards, brick, and ply when detailed and combined well can be beautiful without breaking the bank. A building should equal more than the sum of its parts.

Play with scale: Think small intimate spaces with well positioned picture windows, verses moments of height, drama and light.

Choose your battles: Especially when renovating, decide where you can achieve the most impact and dive in. Don’t worry about matching old and new – celebrate the contrast.

HOME

Tree lined P H OTO G R A P H E D BY E L I Z A B E T H G O O DA L L

Cec and Andy Buchanan’s new Wairarapa home is crammed with treasures they have acquired and made over the years. Sarah Catherall explores their changeable gallery showcasing their lives and interests.

t the end of a long, gravel driveway in Gladstone, the single-level house resembles a modern barn or contemporary farmhouse, clad with dark metal with pops of red aluminium joinery. It’s fitting that the home looks out on a stand of old native trees. For 16 years, the couple planted and developed the Assisi Gardens − rambling gardens of national significance − a couple of kilometres along the road. The 11 hectares of gardens consumed their lives, until Andy turned to Cec one day as they were tending the olives and asked: ‘What do you think about selling this house and garden?’ Recalls Cec: ‘It was like music to my ears. It was such a big job to run it.’ An artist, she has always loved a project or a challenge. Helping design and overseeing the new house project consumed her, and she has now turned her attention to the stand of natives on her new 4.9 hectare property, cutting a track through the forest. Andy designed the 310msq house in three separate wings − a living zone, their bedroom wing, and a guest bedroom wing and office. They then hired a draughtsman and a builder to turn their ideas into reality. After traipsing up and down two flights of stairs in their home for 16 years, they decided their new home needed to be on a single level. Cec also hoped for an open plan kitchen and living area. ‘Cec wanted a big room, which is a bugger to heat,’ Andy laughs. The kitchen and living room are filled with furniture, art, and the concrete sculptures that Cec made in her workshop

HOME

up the hill at Assisi. It cleverly looks out on two separate vistas through large windows and sliders − towards the Tararuas and a manicured lawn in one direction, and out the other side at their vegetable garden and the magnificent backdrop of native trees. Cec was happy to leave Assisi, but, after living among gardens high on the hill with sweeping views of the Tararua ranges, she didn’t want to be ‘dropped in a paddock’. Cec wanted the main room, with a peaked roof and exposed metal beams, to be a statement. She also wanted metalwork to be a feature. She designed the lights hanging over the dining table, and found a local engineer and craftsman, Peter Milne, who specialises in metalwork, to make them. Peter − who has done metalwork for Peter Jackson’s films − also made the metal mantlepiece and fire surround. ‘We always wanted metal and we found him. It was wonderful workmanship that he did for us. It was incredibly heavy work for him.’ The home reflects Cec’s love of art, sculpture and family heirlooms. A talented artist and crafter, Cec has made

many of the concrete sculptures and knick-knacks scattered around their new home − two concrete elephants on the mantlepiece, concrete painted ducks in the kitchen, and red plates on the wall above the kitchen stove. Her knitted cushions grace the windowsills and couch. Says Cec: ‘I hate something too clinical. I don’t want white walls. It’s a home, not a showhome.’ From their bedroom, they can spy the homestead where Andy grew up. Andy was just 18 months old when his father died in the war, leaving his mother, Patsy Buchanan, to raise Andy and his brother, Hamish, on the property. The whole area was family land – hence a road off Te Kopi Road is called Buchanan Road. Cec and Andy have been together since 2000. Cec is at home in the country, having grown up in a rambling Greta Valley homestead in Canterbury. Photographs of her on horseback are on the bedroom wall, near photographs of their shared six children. Many of the pieces of furniture and art in the house have a story behind them. Two huge outdoor tables were 58

HOME

made from salvaged timber. Cec brought many of the pots from Assisi down the hill, including antique French grape bins used as planters. Cec’s sister Sarah made lamps out of an old oak tree from their family homestead in Canterbury. Andy was a former racing driver, who raced cars between tending stock. His automobile magazines and books are stacked on shelves in the open plan living room. Antlers from stags he raised are arranged on the entrance table. ‘I’ve lived in the area for 76 years. All my mates are here,’ he smiles. Cec’s daughter, Amie, who founded Merino Kids, is also a talented artist, and her paintings and art works are hung around the bedroom and bathroom walls, along with her mother’s. Many of the paintings and photographs are heirlooms, from Cec’s family home in Canterbury. To furnish their new home, they brought many items from their former home at Assisi Gardens. Cec recovered the Queen Anne chairs dotted around the house. There’s not a sign of Marie Kondo in the home, which pleases Cec immensely. Andy laughs, calling his wife ‘Mrs Clutter’. The kitchen splashback blazes red. Cec is a keen cook, who turned her mother’s muesli recipe into a popular muesli brand, Cecile’s, the Hawkes Bay company now run by her stepson, Alister. Cec pulls a few peppers and a large marrow out of her vege garden, and throws a bone to her labradors. Her garden today is easy care, and her new home is an artistic statement. ‘It’s also relaxed enough that I can keep my boots on when I go inside,’ she smiles.

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W W W. S TA G I N G H O M E .C O. N Z

U ER A EDER S E C T FI E OA NT H

Steph Knight Steph is a professional organiser and Director of Less Mess Ltd. Favourite room to declutter & why? The kitchen, because almost everyone has gadgets and appliances they don’t use or don’t need. Biggest mistake people make in setting up their homes is… overfilling rooms or spaces with too much furniture. Biggest mistake people make in decluttering their homes is… buying storage ‘solutions’ before they declutter. Q&A

Your favourite item in your home is… my pair of gorgeous cream chairs that sit in front of a big picture window in my lounge. Lovely to curl up in with a cuppa or a wine. The one item missing from your home is… artwork! I love art but hardly have any. I would also love to give painting a go myself.

T h i n g s t o l ov e

Favourite home or interior trend for 2019? The use of more and bolder colour. Although I might need some help in that area!

Baskets can be used in wardrobes, linen cupboards, for childrens’ toys, for shoes, or to create tidy storage in almost any area. Trade Aid, $45

I would be lost without my diary! It keeps me organised, sane, and on time. Shut The Front Door, $30

Tips & tricks

Set a goal: Think about how you want your home to look and feel, and make decisions with that goal in mind. Think of some key words, so when you are dealing with items you can ask yourself ‘does this fit my goal?’

I love flocked hangers. They save space in your wardrobe, and the soft velvet coating makes sure clothes don’t slip off or get misshapen. 30 pack, Kmart, $9

Start with bite-sized chunks: If you feel overwhelmed and don’t know where to start, then grab one pile or do one cupboard at a time. Don’t look at the room or house as a whole. Small chunks are the best way to tackle clutter.

Magazine files are my favourite way to declutter paperwork. They work much better than in-trays. Kiki.K, $19.90

Stackable, clear containers like in this Modular Baking & Snack Centre are perfect for organising your pantry. Add a label and you can see what you’ve got and need.Tupperware©, $274

It’s ok to let things go: If something doesn’t fit your lifestyle, the style of your home, or is unwanted then it’s ok to let it go. This includes heirlooms, antiques, or presents − it's your decision and don’t feel guilty about it.

A home for everything: If it doesn’t have a home, designate one for it. Use labels, lists, colour coding, baskets, tags, whatever works for you. Then start putting things back in the right place. Make it a habit.

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BUG ME

Stick insect Name: Common stick insect

South Island, though it is not so widespread down south. If you’re looking specifically for them you might have some luck on mānuka, but it’s also been spotted eating kānuka, pōhutukawa, and other delicious plants.

Māori name: Rō, whe or wairaka Scientific name: Clitarchus hookeri Status: Native, not threatened

Look/Listen: Stick insects are part of the order Phasmatoeda, meaning phantom, a reference to how they can disappear into their surroundings. You’re much more likely to spot one on a wall, a fence or somewhere like that than in a tree or a bush.

Description: Stick insects look like sticks, and unless you’re practised, the chance of spotting them on a tree are not high. More than 20 species of stick insect have been found in New Zealand, of which C. Hookeri is one of the most common. The common stick insect is around 8–10cm long when mature (New Zealand’s longest stick insect, Argosarchus horridus, can reach 20cm) and colour varies from bright green to grey to brown, even in the same location. Stick insects spend the day nicely camouflaged among leaves and branches, sometimes swaying gently along with the surrounding leaves, becoming more active at night.

Tell me a story: A bunch of stick insects are parthenogenic − meaning females don’t need males to lay fertile eggs. Some do produce sexually, and C. Hookeri actually does a bit of both, depending on where they’re located. In the North Island where there are males and females, they do it sexually, in the South Island where it’s colder there are all-female populations reproducing by parthenogenesis only. Search 'Acanthoxyla' on the RNZ website to hear a great story from Alison Ballance for Our Changing World, about the ‘missing’ male stick insect found in the UK.

Habitat: The common stick insect can be found from Northland to Wellington in the North Island, and in various parts of the

EDIBLES

BL ACK AND WHITE AND READ ALL OVER Mr Go's and Capital are teaming up for the month of May to talk dumplings. We’ve brought the ink, while head Chef Roselea Gupwell and her team have worked to craft a limitedtime prawn and chicken potsticker dumpling with squid ink, chilli oil and pickled cabbage. Known for their mouthwatering hawker-style cuisine, Mr Go’s will feature this two-part treat on their lunch and dinner menu for $16 at the Taranaki street establishment. The first one hundred orders come with a free Capital mag.

GROUNDHO G COFFEE

FO ODIE PILGRIMAGE

LO CAL SPIRITS

Forget lugging around that stinky keep cup, Again Again is a Wellington initiative to help make your coffee habit guilt free. Milk Crate, Swimsuit, and Fidel’s are among the number of Wellington cafes using a fleet of reusable steel cups. Again Again cups are available by deposit and returnable to any of the participating cafes. The system works to eliminate waste and the hassle of having to remember your own cup. Look out for the logo in participating cafes.

Capital magazine will be at this year’s Food Show with exciting offers, so come along and say Kia ora. The show returns to the Westpac Stadium for 24 −26 May this year, with more than 180 exhibitors and a host of celebrity chefs. Brewers Lane is new to the lineup, with a sample of the top craft brewers around. The usual favourites will be there, including Cheese Alley and Street Food Alley.

The new kid on the gin block, Indiginous gin, is a real Kapiti Coast affair. Distilled in the original Tuatara brewery in the Reikorangi valley, Indiginous is well and truly living up to the legacy of the previous occupants. The folks behind the spirit describe their product as ‘really good gin’ and they’re not wrong.

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EDIBLES

PAY DAY AT C A B A R E T Seashore Cabaret owners Matt Wilson and Freya Atkinson have achieved their three-year ambition of paying all 52 of their staff the living wage. Among the 52 staff members is 31-year-old Joyce Tung who works as a barista at their Petone restaurant. ‘If I wasn’t getting paid what I am now, it would be hard for me to keep working in hospitality’ she says. Wilson says valuing staff members is the key to running a successful business. Currently $20.55/hr, the living wage is set to rise to $21.15 in September.

GYPSY SHACK

HAPPY BELLIES

ART BEERS

Since opening their flagship store in Strathmore village, Gypsy Kitchen has slowly advanced through the city. Their latest addition is a cosy shack floating smack bang in the middle of Left Bank, just off Cuba Street. Don’t be fooled by the size of this wee establishment, Gypsy Kitchen likes to be known for their quality coffee and tasty cabinet food.

After winning over Wellingtonians with their True Brownies, Lashings have broadened their reach to New World Thordon where their sweet treats can now be found. Choose from Classic Milk Chocolate, Fix & Fogg PB & J, Vegemite, or Vegan Coconut Salted Caramel (GF), or get all 4 and treat yourself. Lashings HQ are dog friendly and open late Thursday and Friday.

If there are two things Wellington locals like to talk about, they are craft beer and art. The folks at the Dowse Art Museum and Tuatara Brewery have paired up to bring you these two marvellous things in one place. Join the team as they take you through the exhibition Making Conversation while you sample some seriously good beer. 3 May.

Brewery, Roastery, Eatery

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S H E A R E R S ' TA B L E

Beetroot mezzelune with sage burnt butter

BY N I K K I & J O R DA N S H E A R E R

resh pasta is the epitome of homely comfort food for the Shearer family. It is a weekend ritual to whip up some dough to turn into fettuccine, spaghetti, or ravioli or to tear and toss with a rich and hearty ragu sauce. Any scraps can be re-rolled into whatever pasta type takes your fancy, as fresh pasta freezes really well. Mezzelune are half-moon stuffed pasta bundles, like ravioli except for the name and shape. Traditionally they would be stuffed with

ricotta and spinach, but for these recipes we have created filling options with beetroot and pumpkin. When rolling pasta, whether you are using a manual or an electric machine, keep the dough covered with plastic wrap to ensure that it does not dry out. The more you make fresh pasta, the quicker you will get; and once you get hooked, it will be a weekly go-to. It’s easier than it looks. Makes about 40

PASTA

BEETRO OT FILLING

2 cups flour grade 00 4–6 egg yolks 1 whole egg Note: The quantities of egg needed will vary depending on the size of eggs and room temperature. If mixing the dough in a electric mixture, use the dough hook, start with four egg yolks and one whole egg and then add more if needed to bring the dough together. If mixture is too wet, add some more flour. Grade 00 flour is readily available at most supermarkets.

5 medium beetroot 1 Tbsp olive oil ½ garlic bulb 500g feta, crumbled ½ cup parmesan, grated 20 large basil leaves, chopped 1 Tbsp balsamic vinegar salt and pepper extra parmesan cheese to serve 1.

Put flour in large shallow bowl, make a well in the centre and add the yolks and whole egg. Stir from the centre outwards, slowly incorporating flour until a rough dough is formed. Knead with hands until smooth. Wrap tightly in cling wrap and leave to rest in refrigerator for half an hour before rolling into thin sheets. This can be done on a pasta machine, rolling to setting #7, or using a rolling pin.

2. 3. 4.

Clean the beetroot, drizzle with olive oil, wrap in tinfoil and bake at 180°C with the garlic bulb until tender. Cool. Chop beetroot into small pieces and squeeze out the garlic. In a small processor add the beetroot and garlic, blitz for 1 minute. In a bowl add the beetroot mixture with the rest of the ingredients, mix together and season.

S H E A R E R S ' TA B L E

Divide the pasta dough into 4 pieces. Roll out 1 piece using a pasta machine or rolling pin, into a rectangular shape. Using a 8cm ring mould, cut out 10 shapes. Place 1 tsp of filling mixture in the middle of the pasta. Wet one side of the pasta, fold over and join together to form a semicircular parcel, sealing the edges and expelling as much air as possible. Bring a large pot of salted water to the boil. Drop in the filled pasta one at a time. Cook for 8–10 minutes until pasta is cooked. Drain, keep warm. SAGE BURNT BUT TER

100g unsalted butter 20–30 fresh sage leaves 1.

In a frying pan over a medium heat, heat the butter and sage until the butter starts to brown and the sage is crispy.

Serve the pasta in a warm bowl and pour over butter sauce & sage leaves. Grate over extra parmesan cheese. ALTERNATIVE PUMPKIN FILLING

1 cup roasted pumpkin, mashed ½ cup parmesan, grated 200g ricotta 1 egg, lightly beaten ½ tsp grated nutmeg ¼ tsp cinnamon Pinch cayenne pepper ½ tsp flaky sea salt ½ cup toasted pine nuts (to add to the burnt butter sauce) 1. 2.

In a bowl mix together all of the ingredients. Follow method from 6 to 10, adding toasted pine nuts to the burnt butter sauce.

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GUEST COLUMN

Chemistry and cockta ils W R I TT E N BY K E L LY JAY N E

dding lemon juice and sugar to the daily rum ration was once a scurvy-preventing measure for the sailors of the spice trade. Performed with neither care nor precision, upon the decks of salty sea-going vessels, it has now evolved into a delectable science of infusing spirits with any flavour imaginable. This is the inspiration behind C.G.R. Merchant & Co.’s wide array of infused gins and rums. Think toasted coconut and chocolate rum, rose petal gin, or chorizo rum. Bar Manager Charlie Holyoke outlines some of the more refined techniques they use at their specialist infusion cocktail bar on Courtenay Place. Maceration is possibly the oldest and most common form of infusion, consisting of adding ingredients such as herbs, spices, or fruit to a selected spirit, and waiting for the flavours to be imparted. Or, if you are impatient, the fastest and most exciting way of performing an infusion is to use a soda siphon fitted with nitrous oxide to force the flavour into the liquid − flash infusing. ‘The perfect technique to use when you want to preserve the freshness and "brightness" of an ingredient, such as fresh basil, which is particularly good paired with gin,’ says Charlie. Clarification is a technique used in a broad range of food

and drink production, from refining wine to removing solids from consommés. In the cocktail world, it’s used to create milk punches. The first recipe, dating back to 1711, is attributed to housewife Mary Rockett. A Milk Punch is a clear cocktail comprising alcohol, acid, and selected flavours. The clarification is achieved by adding the cocktail to warm milk, which curdles, trapping any particles with the curds. This is then strained to produce a clear and beautifully refined finished drink with a smooth and creamy texture. Bartenders have only been dabbling in the technique of ‘fat-washing’ for around 15 years. With its origins in the great art of perfumery, this process involves adding liquefied fat (bacon fat, or butter) to a room-temperature spirit, leaving it to stand, letting the flavours be absorbed into the liquid, then freezing it to solidify the fat for removal. It is finished by fine straining through muslin, leaving you with a modest looking but surprisingly tasty cocktail. Fat-washed infusions work particularly well in an Old Fashioned cocktail, as the fat-washed liquor takes on a lovely, rich, and unctuous mouthfeel. Charlie says, ‘Using techniques old and new, each jar of infused gin or rum tells its own story.’

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BY THE BOOK

WA L K I N G TO GETHER Publishing collective Lawrence & Gibson has donated 100 copies of Brannavan Gnanalingam’s novel Sodden Downstream ($29.99) to Unity Books, which in turn is donating all proceeds (close to $2000 so far) to the Canterbury Refugee and Resettlement Centre. Publisher Murdoch Stephens ran the successful Double The Refugee Quota campaign, and Brannavan’s novel is about a refugee who must walk from the Hutt to town; the good friends want to support refugees in Christchurch following the recent tragedy. The book’s been number two on Unity’s bestseller lists for weeks.

PLIMMER TOWN

GO BIG

SHOE IN

Many of us know ‘the father of Wellington’ John Plimmer (1812–1905) from the bronze statue of him and his dog at the bottom of Lambton Quay’s Plimmer Steps. Lee Dawson, a local author and social historian, was commissioned to find out more about him. She’s written The Plimmer Legacy (Penguin, $50), which covers his large family’s life in the Victorian era, and his descendants some of whom went into business, politics and farming.

Claire Mabey and Andrew Laking are expanding the annual LitCrawl Wellington into larger festival Verb Wellington in November. LitCrawl began in 2014 with a one-night ‘crawl’ between venues, kept getting bigger, and needed a new name. It got one inspired by the quote from a Lauris Edmond poem on the Wellington Writers Walk, calling Wellington ‘the world headquarters of the verb’. Verb also presents regular author events, including one with Irish novelist John Boyne (14 May).

In 1985, Bridget Williams (then Allen & Unwin’s managing director) published then-MP Marilyn Waring’s first book Women, Politics and Power. Bridget remembers the queues for book signing at Whitcoulls and that Marilyn was wearing running shoes as a feminist statement (no high heels for her). Now Bridget is publishing Marilyn’s short book The Political Years (BWB Texts). Marilyn talks to Jess Berentson-Shaw about it at the National Library, 22 May.

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Re-verse I N T R O D U C E D BY F R E YA DA LY S A D G R O V E

About the poet Hannah Mettner is a Wellington poet, librarian, mum and co-editor of online poetry journal Sweet Mammalian. Hannah’s poems have appeared widely in literary journals, including Sport, Turbine and Cordite.

OPTICS for Janet Paul The application of paint isn’t discussed these days, it’s too much like dirty talk. Shrubberies conspire against immodesty—petticoating the ankles of trees. But this one in particular—almost sidling in through the open door, purple flowers cocked like wings— what does it mean? It belongs in a different picture, one with nudes. Not this tableau of unfinished children, the black-and-white watermelon of cat on a lap. They are the background to their grown-up selves, that cat is buried, now, under the rose bush in a Clarks shoe box. Behind the paint is another layer of paint, a pencil sketch, the grainy paper, the idea, the reality. It’s best to leave these details undiscussed, best to put the backgrounds back where they belong, shunt them out the door and into the amorphous green. Best not to think too hard about all the things that edge in behind these people—like, who’s in love with who and how much.

The collection ‘Optics’ is from Hannah’s debut collection Fully Clothed and So Forgetful, which won best first book of poetry at the Ockhams last year. It’s a remarkable book; it has a kind of muted exuberance that is extremely thrilling, like a really sexy quiet person catching your eye at a party. Why I like it This poem is in part a kind of ekphrasis – a verbal description of a work of visual art – but then it’s also a description of or a reaction to art generally. It’s so bold to undress a painting like this – almost perverse. To strip a piece of art back to its most naked form and to find real life there, in all its unfortunateness and complexity, is wonderfully unsettling. The cat in the painting is dead now, very unmysteriously, in a shoebox. We know that about most cats in paintings, but we don’t like to think about it; we like to think about what the cat means. We like to interpret the cat. Artists experience life and then make art about it, and then we look at the art to help us look at our own lives – but in this poem Hannah short-circuits the whole system and it’s shocking.

By Hannah Mettner From Fully Clothed and So Forgetful, Victoria University Press (2017)

Favourite line The line ‘Behind the paint is another layer of paint, a pencil sketch, the grainy paper, the idea, the reality’ seems like an invitation to see the poem itself in this sequence of backgrounds, or maybe facing the painting – behind the poem is the poet, and behind the poet is the poet’s life, inflecting her interpretation of the painting. ‘Optics’ makes me think that maybe all art is in some way a eulogy for a once-present moment, and I love the way this poem turns up at its own funeral to perform a striptease.

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To be continued P H OTO G R A P H Y BY SA N N E VA N G I N K E L

New Zealand literary prodigy Ashleigh Young is awkward, honest and uncomfortable with her success. She talks to Sarah Lang.

shleigh Young is awkward. Endearingly awkward. Although she’s clearly uncomfortable being interviewed, she’s also very nice. She prewarns me over email that there’s a dearth of parking spots near Victoria University Press’s office, where she’s an editor. When I arrive by bus, she makes me a cuppa with soy milk. Then she answers my questions candidly, and usually very concisely. Her words feel a little like gaps in the silence. Actually, it’s refreshing to interview someone who is openly awkward, and perhaps a bit weird, rather than trying to present only their most impressive side. Ashleigh is talking to me because her second poetry book, How I Get Ready (VUP), comes out this month. She describes it as angsty – which it is – but the book may convert people who don’t much like poetry to the genre. Some of the poems are poignant, some are thought-provoking, and all are autobiographical in some way. They’re full of striking images, and capture a mood or distil a moment. It’s her first book since her knockout essay collection Can You Tolerate This? (VUP) was published in 2016. The common thread of the essays is how to bear up in the world, moment by moment – though there are plenty of lighter, and wryly humorous, moments. She writes about everything from the impossibly ugly jacket her brother wore everywhere, to a largely one-sided conversation with a woman who over-shared on a flight. I finish the book feeling like I know Ashleigh, and that I like her very much. She admits she’s uncomfortable with her success. Bear with me listing the accolades for a sec. Can You Tolerate This? has had three print runs in New Zealand, and won the 2017 Ockham New Zealand

Book Award for General Non-Fiction. That year, she also won one of eight global Windham-Campbell Prizes from Yale University, worth US$165,000 (about NZ$230,000). Can You Tolerate This? has since been published by Riverhead (a Penguin imprint) in the US, and in the UK by esteemed publisher Bloomsbury. The collection’s had what Ashleigh calls ‘some nice reviews’ (actually, they were glowing) from the New York Times, the Guardian, and the Washington Post. And in April, she was one of eight authors shortlisted for the global 2019 Rathbones Folio Prize (worth NZ$58,000) alongside the likes of Booker winner Anna Burns. The winner is announced this month. ‘All this has been completely unexpected. To start with, it felt surreal.’ At 35, Ashleigh’s already achieved what very few New Zealand writers will – being published and critically acclaimed overseas, and winning international prizes. Some would call it living the dream. But this recognition seems to throw her more than it gratifies her. ‘I really struggle. I'm not interested in being a “personality”. I want to be behind the scenes.’ She hasn’t even asked how her books are selling overseas. ‘I don't really think about it, (success) because it's overwhelming. I’d rather have a degree of obliviousness that allows me to write with some freedom. Otherwise I end up with other people’s expectations and judgements too close to me, and that’s distracting and sort of constraining.’ Has that $230,000 made her feel rich? ‘No! It’s in a term deposit until I decide what to do with it. I did buy new cycling pants and I got a haircut! But the purpose of the prize is really to buy yourself some serious time to write, which I’ll do when I’ve

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got a project firmly in mind.’ She still lives simply, bikes to the office, works full-time at VUP. Ashleigh is said to excel as an editor, working with writers to improve and fine-tune their books, from ‘big-picture suggestions’ through to ‘more cosmetic changes’. She writes her own stuff on weeknights and weekends. She doesn’t want to comment on her relationship status. ‘My social life is pretty much book launches, which is a bit embarrassing. I’m probably a bit of a homebody more than is healthy.’ But she also accepts invitations to international literary festivals. This helps push her out of her comfort zone, but it’s difficult, and not just because it tires her. ‘You have very little filter, and you're also judged on your manner and things that often feel uncontrollable when you're really nervous. I've definitely had some festival appearances that I've cringed over afterwards. But, boringly, practice helps.’ One of her essays touches on her mental health. She’s spoken about this briefly before, with some trepidation, but doesn’t want to go into it again, partly because people expect a neat resolution narrative – you know, for someone to have battled with and recovered from mental illness, and learned something. ‘Some people are unsure how to respond when you answer that your illness is very much ongoing, you’re still learning how to be in the world with it, and maybe you won’t ever get fully on top of it – and there’s unfortunately still quite a lot of stigma attached to that admission.’ There’s no magic cure. ‘Although I was listening to this podcast, Invisibilia, about this little implant that stimulates a tiny part of your brain, and it's really great for deep depression, and the podcast told the story of someone who used it. Apparently the effect was profound.’ Would Ashleigh try that? ‘Yeah.’

But Ashleigh would rather talk about other things. She’s not expecting How I Get Ready to sell well (New Zealand poetry doesn’t tend to). However, she says the stereotype of an under-nourished poet writing in a garret isn’t a thing. ‘Every poet I know except one has a job.’ Some poets say they just scribble a poem after a flash of inspiration. That’s not the case for Ashleigh. ‘I like to push a piece of work around, to see what it might turn into.’ Her poetry literally has lots of unexpected gaps between words; again, gaps in the silence. ‘Silence is important in poetry. It's definitely the things you don't say, as much as what you do say.’ During her childhood, some things remained unsaid. Ashleigh grew up in Te Kuiti with her father (an accountant), mother (a teacher), and two brothers more confident than herself. Hamilton was the big smoke. As she describes in an essay, she started thinking about ‘ways in which to continue, and what continuing meant’. She writes that getting up, getting dressed, and interacting is one way of continuing. ‘But there was another way of continuing, and this was the continuing of silence. Our family had always continued to continue through events that we did not know how to speak of to one another.’ For instance, after her mother locked her father out of the house, no one mentioned it the next day. Her family were fine with appearing in some essays. ‘Especially now that some time has passed – and especially my dad who I didn't write about always in a complimentary way.’ In an essay, she recounts how, when he dropped her off for her first year of university, he told her she had a ‘little moustache’. There’s no hint of one now. She’s beautiful. Somehow, Ashleigh still has a certain dread ‘of not amounting to anything. But I’m working on that – and taking everything as it comes.’

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For example, if the larger print says “pre-approved” the fine print might say “subject to approval.” [3] Especially in pharmaceutical advertisements, fine print may accompany a warning message, but this message is often neutralized by the more eye-catching positive images and pleasant background music (eye candy). Sometimes television a colors, and for notoriously brief periods of time, making it difficult or impossible for the viewer to rea Fine print, small print, or “mouseprint” is less noticeable print smaller than the more obvious larger print it accompanies that advertises or otherwise describes or partially describes a commercial product or service.[1] The larger print that is used in conjunction with fine print by the merchant often has the effect of deceiving the consumer into believing the offer is more advantageous than it really is, via a legal technicality which requires full disclosure of all (even unfavorable) terms or conditions, but does not specify the manner (size, typeface, coloring, etc.) of disclosure. There is strong evidence that suggests the fine print is not read by the majority of consumers.[2]Fine print may say the opposite of what the larger print says. For example, if the larger print says “pre-approved” the fine print might say “subject to approval.” [3] Especially in pharmaceutical advertisements, fine print may accompany a warning message, but this message is often neutralized by the more eye-catching positive images and pleasant background music (eye candy). Sometimes television advertisements flash text fine print in camouflagic colors, and for notoriously brief periods of time, making it difficult or impossible for the viewer to reaine print, small print, or “mouseprint” is less noticeable print smaller than the more obvious larger print it accompanies that advertises or otherwise describes or partially describes a commercial product or service.[1] The larger print that is used in conjunction with fine print by the merchant often has the effect of deceiving the consumer into believing the offer is more advantageous than it really is, via a legal technicality which requires full disclosure of all (even unfavorable) terms or conditions, but does not specify the manner (size, typeface, coloring, etc.) of disclosure. There is strong evidence that suggests the fine print is not read by the majority of consumers.[2]Fine print may say the opposite of what the larger print says. 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Sometimes television advertisements flash text fine print in camouflagic colors, and for notoriously brief periods of time, making it difficult or impossible for the viewer to rea Fine print, small print, or “mouseprint” is less noticeable print smaller than the more obvious larger print it accompanies that advertises or otherwise describes or partially describes a commercial product or service.[1] The larger print that is used in conjunction with fine print by the merchant often has the effect of deceiving the consumer into believing the offer is more advantageous than it really is, via a legal technicality which requires full disclosure of all (even unfavorable) terms or conditions, but does not specify the manner (size, typeface, coloring, etc.) of disclosure. There is strong evidence that suggests the fine print is not read by the majority of consumers.[2] Fine print may say the opposite of what the larger print says. For example, if the larger print says “pre-approved” the fine print might say “subject to approval.” [3] Especially in pharmaceutical advertisements, fine print may accompany a warning message, but this message is often neutralized by the more eye-catching positive images and pleasant background music (eye candy). Sometimes television a colors, and for notoriously brief periods of time, making it difficult or impossible for the viewer to rea Fine print, small print, or “mouseprint” is less noticeable print smaller than the more obvious larger print it accompanies that advertises or otherwise describes or partially describes a commercial product or service.[1] The larger print that is used in conjunction with fine print by the merchant often has the effect of deceiving the consumer into believing the offer is more advantageous than it really is, via a legal technicality which requires full disclosure of all (even unfavorable) terms or conditions, but does not specify the manner (size, typeface, coloring, etc.) of disclosure. There is strong evidence that suggests the fine print is not read by the majority of consumers.[2]Fine print may say the opposite of what the larger print says. For example, if the larger print says “pre-approved” the fine print might say “subject to approval.” [3] Especially in pharmaceutical advertisements, fine print may accompany a warning message, but this message is often neutralized by the more eye-catching positive images and pleasant background music (eye candy). Sometimes television advertisements flash text fine print in camouflagic colors, and for notoriously brief periods of time, making it difficult or impossible for the viewer to rea

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30 Years

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GOOD SPORT

SOMETHING TO CHEER ABOUT Cheerleading may be seen as a feminine sport, but tattooed tradie Matt Hunter is putting that stereotype to shame. Originally from Palmerston North the 25-year-old moved to Wellington to continue his career in landscape carpentry. Hunter says he ‘got a bit of stick’ from his colleagues about cheerleading, but it’s not all pom poms and smiles. He’s part of the elite Wellington cheerleading squad Bigair Cheer, who competed in the World Cheerleading Championships in Orlando, Florida over Easter.

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OPINION

Stra ig ht up request W R I TT E N BY K I M VO N L A N T H E N

Last year 53 Wellingtonians ended their own lives. Each person's story was its own tragedy. Hanging, strangulation and suffocation were the most common means. Behind this statistic lie other equally upsetting statistics that record angst. The prevalence of mental health issues in our community is not diminishing.

he recent Mental Health Inquiry has set a tone of, in its own words, love, respecting everyone's dignity, valuing collaboration and ultimately seeking hope. Listening to what people have had to say it heard a call for community solutions, for a person to be seen as a whole person, not a diagnosis, and to be encouraged and supported to heal and return to their sense of self. The inquiry concluded that the problem faced cannot be fixed by government alone, nor solely by the health system. Our medical services can prescribe drugs and counselling therapies. When things get really bad the Police can intervene, referring people back to medical services. But where do people go to know that they are loved, and to ultimately find hope? Where do people go when everyone round them is lamenting that if they are determined to commit suicide they probably will? The churches of Wellington hold themselves out as oases of love and hope. In the 2013 Census 43 percent of Wellingtonians said they belonged to a church. Could they be doing more? We are very fortunate to have leaders such as Anglican Bishop Justin Duckworth. He speaks openly about his mother’s mental illness and the times she spent in hospital. His greatest gift to our angst is his example. Having spent a good portion of his life living and helping people in upper Cuba Street, he has first-hand experience. What he

learnt is that people struggling with trauma need to be safe so that they may have a good chance of recovery and a life that is meaningful. Across the churches of Wellington we see people who have stepped out of their own comfortable nests to make a difference. The churches’ arms stretch out into every part of our city and region. Scot's College Sunday evening chapel times bring together class families so that they can be together and support one another and their sons. Paraparaumu’s Our Lady of Kāpiti School seeks out the kids who are finding things tough, and ensures they get a little one-on-one time with a staff member every day. The chaplain at Hutt Hospital is well known for the brief words of hope he circulates around staff and patients each week. Teams of people visit our prisons offering a programme called Seasons for Growth, which helps inmates to see their grief, acknowledge it and plan for the summer ahead. The Sisters of Compassion and their helpers don't just serve food at the Soup Kitchen, they also make an effort to speak with every person coming in for a meal, to be a sympathetic ear and a helping hand. These are great examples to us all, and they need to be followed. As a prison chaplain seeing some pretty unusual things, can I make a straight up request? That church members offer their own love and support to the people in front of them who are struggling.

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Whether it’s in your neighbourhood, at work, or amongst family and friends: • •

•

Keep an eye out for the quiet and dejected. Smile and make an effort to talk to them; a simple thing like a ‘how’s your day?’ could be the only human interaction they get all week. Don’t demand responses; and if one doesn’t come don’t harden, keep smiling and tell them a little about your day.

When you know you are with someone that is struggling: • • •

Make a special effort to use their name. Make an effort to hold eye contact. If this produces strong reactions don’t alter, stay purposeful in specifically acknowledging them and indicating that they are important to you.

Build trust by talking about everyday things.

Generally, once trust has been established, they will volunteer their struggle. When this happens all you have to do is listen. There may be great hurts that have built up over many years, or fear of what lies ahead. As they talk knowing that you are listening, they are likely to find their own solutions or decide themselves that they need to seek help. Finally, pray for the people who are struggling. Take them to that place where you offer up worries and concerns. We can all do this whether we are a church member or not – there is nothing to be lost by seeking higher assistance. Life isn’t always fair and any one of us could unexpectedly contemplate suicide. People do manage to live through their extreme struggles. Experiencing the concern of someone else, knowing that they are loved, it is possible to move on and find hope.

WĀ H I N E

Not b r o ke n BY M E LO DY T H O M A S

y the time this goes to print it will have been quite a few weeks since the horrific attack of terrorism in Christchurch. Despite feeling for a while there like nothing would ever return to ‘normal’ again, many of us will feel life has gone back to normal. For others, there’s no state of ‘normalcy’ to return to − the threats and hostility they tried to tell us about for years are out in the open for all of us to see. But they were always a part of some New Zealanders’ lives. There was beauty in the wake of those attacks. At the vigils, where we stood side by side, grieved, and finally centred the voices we had been ignoring. In the stories we read from families who lost parents, brothers, sisters, children. When Al Noor Mosque Imam Gamal Fouda addressed the country to say, ‘We are broken-hearted, but we are not broken’. And for a little while afterwards, it felt like New Zealand might be finally ready to address the racism and Islamophobia we’d spent so long denying the existence of. Friends rallied asking stores selling confederate flags to stop, and they did. People promised to guard mosques so those who needed to could worship in peace. Questions were asked of our intelligence services and our government, who appeared to have been protecting us from the wrong people. But for those of us who believed the attack would shock bigots into seeing what lay at the end of that path and changing their ways, or at least thinking twice before voicing their opinions, more disappointments were not far off. It felt like we had about a week of peace before comments on news stories descended into a hotbed of hate speech again, before a Muslim school girl had a bus door slammed in her face, an ex-refugee family in Dunedin complained that their leaky house was making their children sick and were flooded with comments telling them to be grateful or else to go back to where they came from. Broadcaster

Chris Lynch publicly apologised for a column he wrote in 2016 headlined ‘Does Islam have any place in NZ public swimming pools?’, which is a start, but any assumption that others would follow suit disappeared as quickly as old racist stories from news sites. So now we know. Those of us who thought Taika had gone a little too far claiming New Zealand was ‘racist as f**k’ (sure, a little bit racist, but ‘as f**k?’) have a new cultural identity to reckon with. And it’s hard. Once upon a time I was proud as punch to be a New Zealander. As I grew older this pride was eroded by news stories about families living in cars, hospitalisations of overwhelmingly non-Pākeha children for pneumonia and other illnesses associated with poor houses and morally bankrupt landlords, pictures of lunch boxes at decile ten versus decile one schools − the former packed with colour and nutrition, the latter completely empty. But at least we could still look overseas − to the gun violence and border prisons and police brutality of America, to Brexit, to our ‘more racist’ cousins across the ditch − and tell ourselves it wasn’t that bad here. Not any more. I don’t have the answers about what we do from here. That conversation needs to be guided by those who know the face of racism in this country all too well because they’ve been staring right at it the whole time we were looking away. But we need to be there, listening, ready to lend our strength and resources to the fight. And that might mean exposing ourselves to uncomfortable backlash. Making ourselves targets to dangerous people. Losing a little of the privilege we’ve become so comfortable with we don’t even know it’s there. It’s the absolute least we can do and it’s also our only shot if we want to be able to say with conviction, and with the weight of a huge and diverse collection of voices all singing out in unison, that this is not us.

Capital 61

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