focus magazine April/May 2021 - The Creatives Issue

focus LIFESTYLE AND BUSINESS MAGAZINE. INSPIRE. EMPOWER. MOTIVATE.

ISSUE 27 | APRIL - MAY 2021

Best art galleries in

NEW ZEALAND FRANCES ADRIAN JEWELLERY DESIGN

Bespoke creations from Hamilton

The Incubator

SIMONE ANDERSON FOUNDER AND DIRECTOR

Creatives Issue The

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MORE CREATIVES INSIDE:

THE ART LOUNGE, THE SATELLITE STUDIOS, OKORORE NGĀ TOI MĀORI STUDIOS & GALLERY, NATURA AURA, HAMMON JEWELLER, JACKIE KNOTTS, NINETTE KRUGER, PAM LINES, KATJA POTT

Take me h ome I’M FREE

CONTENTS | focus

18 CONTENTS

APRIL- MAY2021

28

COVER STORY

THE CREATIVES

18

24

SIMONE ANDERSON Founder and director of The Incubator

REGULARS

Community art projects by Simone Anderson

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FOR THE LOVE OF GEMS

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Anna Seelye and her bespoke jewellery

Best events over the next two months

32

WHAT’S ON?

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FOCUS ON BOOKS New releases you’ll love

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36

THE POWER OF CONNECTING THROUGH ART

ASK THE EXPERTS Things to know about jewellery valuations and flat feet

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BEAUTY The art of beauty and the latest launches

WEAVING THE PAST WITH THE FUTURE Leilani and Anastasia Rickard combine art and science in fashion

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JACKIE KNOTTS The ‘what if’ approach to original prints

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LOCAL ARTISTS AND SPACES TO KNOW ABOUT

40

A TranzAlpine adventure

HOW TO UNLOCK YOUR CREATIVE SPARK AT ANY AGE

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Low-carb alternatives for pizza and pasta

Best art galleries in the country

46

TRAVEL

RECIPES

ART TRAIL THROUGH NEW ZEALAND focusmagazine.co.nz

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focus | DIGITAL

ONLINE IN APRIL/MAY YOUTUBE.COM/FOCUSMAGAZINENZ

Some dreams take time to become a reality. But it only makes the moment even sweeter. Putting a chair in the middle of the road for our cover heroine to relax in like a queen was something Dee Collins had in her mind for years. But it was never the right day, the right place, the right chair… Until Simone Anderson, the mind, heart and soul behind The Incubator at The Historic Village, was chosen to be the face of The Creatives Issue. Watch our YouTube channel to see how everything finally came together with the help of hair and makeup artist Sophie Garth and photographer Vanessa Laval-Glad.

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15 GENIUS WOMEN WHO CHANGED THE ART WORLD FOREVER

Last-minute Easter recipes for busy people

The first five people to purchase an annual subscription to focus magazine for only $38 will receive a top-selling Karen Murrell lipstick in Cordovan Natural valued at $32, with their first edition.

Designed to inject colour into your day, Karen Murrell long-lasting lipsticks are made from pure, natural ingredients that nourish and improve the condition of your lips. As the colour worn most by Karen Murrell herself, Cordovan Natural lipstick’s rich tone of toasted cinnamon with a warm peach highlight is an essential in every makeup bag.

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WAYS TO SUPPORT THE ‘RESTORE OUR EARTH’ THEME ON EARTH DAY 2021

focus

Editor’s Welcome

PUBLISHER Align Publishing EDITOR Dee Collins dee@focusmagazine.co.nz CREATIVE DIRECTOR Alex Spodyneiko ONLINE EDITOR Kseniia Spodyneiko kseniia@focusmagazine.co.nz SALES advertising@focusmagazine.co.nz COVER IMAGE Vanessa Laval-Glad Laval Photo & Video FEATURE WRITERS Margarete Kraemer Lilian Wissink PRINTING Print People CONTACT DETAILS 62 10th Avenue Tauranga 3110 (n-Gon Group Head Office) P O Box 14004, Tauranga, 3143 Tel: (07) 578 6838 Mobile: 021 535 770 focusmagazine.co.nz facebook.com/focusmagazinenz DISTRIBUTION 5,000 free copies are delivered bi-monthly to high traffic areas such as high-end cafés and restaurants, hairdressers, fashion boutiques, waiting rooms and professional offices across BOP, Hamilton, Cambridge and surrounding areas.

DIGITAL focus is available to view online and is supported by social media sites including Facebook, Instagram and YouTube. focus is a free magazine (subscriptions are available) and is published six times a year by Align Publishing. focus is subject to copyright in its entirety. All rights are reserved and reproduction in whole or in part, without the written consent of The Publisher (Align Publishing), is prohibited.

Align Publishing and all its related companies and officers hereby disclaim, to the full extent permitted by law, all liability, damages, costs and expenses whatsoever arising from or in connection with information or other material in this magazine, any negligence of The Publisher, or any person’s actions in reliance thereon.

Every effort is made to ensure the accuracy and correctness of the information contained within this magazine and inclusion of any copy must not be taken as an endorsement

by The Publisher. Views expressed by contributors are personal views and they are not necessarily endorsed

by The Publisher. Any dispute or complaint regarding placed advertisements must be made within seven days of publication.

All material sent to focus (whether solicited or not) will not be returned unless otherwise agreed beforehand, and all rights, including copyright in such material will be assigned to Align Publishing upon receipt. The Publishers presume all letters and other material submitted to focus and related social media sites are intended for publication unless clearly labelled “not for publication”.

Image by Vanessa Laval-Glad Hair and makeup by Sharyn Butters Clothes by Anna Stretton

Welcome to The Creatives Issue – a bumper edition which we had so much fun putting together. Our creative director had the best time working on the bold colourful pages and I’m sure you’ll agree, it looks awesome!

Simone Anderson, founder and director of The Incubator at The Historic Village, is the perfect woman to front this edition. Her passion to create a community of connected artists who feel supported and nurtured, and her drive to elevate the importance of art as a career choice and arts as a whole, are big drivers for Simone. As well, she wants Tauranga to be known for its creative vibe, not just the beach scene.

We also delve deeper into Simone’s work with murals and find out what eventually lit the flame for her to pursue the creation of The Incubator.

The Creative Seed author Lilian Wissink reminds us that we can be creative at any age and gives us a few tips to get our creativity flowing. We also reached out far and wide to bring you a cross-section of amazing creatives – artists, jewellers, sculptors, fashion designers, authors and graphic designers. We had so much content and interest in this edition that we’ve had to put additional information about some of the creatives online, so look out for that!

With gratitude,

focus

Dee

LIFESTY LE AND BUSINE INSPIRE. SS MAGAZ EMPOW INE. ER. MO TIVATE .

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Editor & Founder

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THE ART ATIV OKORORE LOUNGE, THE ES INSIDE: SATELLITE NGĀ TOI NATURA MĀORI STUDIOS, AURA, STUDIOS NINETTE HAMMON JEWE & GALL ERY, KRUGER, LLER PAM LINES , JACKIE KNO TTS, , KATJA POTT

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focus | OUT & ABOUT

BACK STUDIO OPENING The official opening of Back Studio was held on a gorgeous balmy evening.

The large warehouse is the brainchild of artist Jacki Barklie and will be a place where artists and creators of mixed media can meet and collaborate and where the public will be exposed to colour, art and innovative ideas.

1. Robyn Saies and Sharon Moore 2. Catherine Campbell-Smith and Lisa Pepper 3. Margarete Kraemer and Anna Malec 4. Jacki Barklie, Nicol Sanders-O'Shea and Lynette Fisher 5. Anne Shirley and Donna Dinsdale

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OUT & ABOUT | focus

VISUALISE YOUR LIFE WORKSHOP

1. Dee Collins (focus Magazine) 2. Vanessa Dide 3. Frances Hammen-Holmes 4. Estée Kriek, Corleah Willats and Elina Arnese 5. Bernadette Winter

Our editor Dee Collins – who’s also a lifestyle and business coach – hosted our first live workshop Visualise Your Dream Life at Classic Flyers recently.

Attendees enjoyed a morning of transformation with insights into their purpose and direction, values and limiting beliefs, and left with key actions and tools that would move the needle forward in their lives.

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Coombes Johnston BMW Tauranga 113 Hewletts Rd, Mount Maunganui, Tauranga. (07) 575 5280 www.coombesjohnstonbmwtauranga.co.nz

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focus | WHAT'S ON?

WHAT'S ON? APRIL-MAY 2021 XTERRA ROTORUA FESTIVAL 10 April Blue Lake (Tikitapu), Rotorua xterra.co.nz For 18 years the XTERRA Festival has encouraged people to get out and be active in nature. Nine competitions to choose from include walking, running, mountain biking and swimming, all set within the stunning scenery of the Blue Lake and Whakarewarewa Forest.

WAI – THE WOMEN’S ART INITIATIVE – A RETROSPECTIVE EXHIBITION 7 April-17 May The People’s Gallery – Toi ka rere, Historic Village, Tauranga theincubator.co.nz A group of female artists, activists and advocates for change from Manawatū who have experienced violence and abuse, are organising a retrospective of collective art-making in response to the events they went through.

VAN GOGH ALIVE 15 April-5 May Sparks Arena, Auckland vangoghalive.co.nz A multi-sensory, immersive experience for the entire family, this exhibition ignores the tradition of tiptoeing through silent galleries and viewing paintings from afar. With a vibrant symphony of light, colour, sound and fragrance, you’ll feel like you’re walking inside the masterpieces.

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WHAT'S ON? | focus

SAND & SIP NIGHT 6 April The Lookout Bar and Kitchen, Hamilton nancytschetner.com Two-hour fun and creative social event, hosted by sand artist Nancy Tschetner. Create your own semi-abstract floral artwork with your choice of colours, flowers and up to three shades of natural New Zealand sand.

DAVID & SHIMNA LIVE

TAURANGA HOME SHOW

30 April The Jam Factory, Historic Village, Tauranga theincubator.co.nz

7-9 May Trustpower Baypark Arena, Mt Maunganui taurangahomeshow.co.nz

A magical, intimate performance in the best little boutique venue in town.

David and Shimna own the stage with their tight harmonies, sizzling fiddle and guitar skills and infectious energy.

Spread across both halls of Trustpower Arena as well as outdoor and marquee displays, this exhibition involves over 300 brands of everything you need for a dream home. With exclusive show deals and giveaways, this is the place to be for every home owner.

THE GREAT NZ FOOD SHOW 1-2 May Claudelands Arena, Hamilton greatnzfoodshow.co.nz Sample foods from all over New Zealand, enjoy cooking classes by celebrity chefs, meet artisan producers, take part in health and wellness workshops with industry professionals and, when you get tired from walking and talking, indulge in a gourmet lunch.

ARTSMAD 11 May Prince’s Gate Hotel, Rotorua creativerotorua.org.nz An evening of passionate and inspirational talks from members of the Rotorua art community – up to eight speakers and only six minutes for each of them to deliver their message. Gold coin koha entry.

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focus | BOOKS

NEW TITLES Words DEE COLLINS

THE QUICK AND THE DEAD: TRUE STORIES OF LIFE AND DEATH FROM A NEW ZEALAND PATHOLOGIST, Dr Cynric Temple-Camp From putzi fly larvae pulsating in the author’s neck to a cleaner who inhaled enough airborne alcohol to return a positive roadside reading, worms in the brain and crocodile attacks, this book, although quite gory in parts, was really quite enthralling.

Pathologist, Dr Cynric Temple-Camp takes readers into the unusual, obscure and often tragic ways that humans have met their end. The stories are told with empathy and a bit of humour to counter the darkness of the subject.

GIRL-A, Abigail Dean Inspired by the horrendous story of the Turpin family and their house of horror, Lexi Grace, one of the six siblings who managed to escape, is forced to confront her past when her mother dies in prison. Lexi discovers who among the siblings remains bound to their background and who has managed to move on.

Beautifully written, the author focuses on the effects of trauma and the media glare, and the shifting alliances and betrayals of each of the siblings. Once you start reading this book, you won’t want to put it down.

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CONVERSATIONS WITH RBG – RUTH BADER GINSBURG ON LIFE, LOVE, LIBERTY AND LAW, Jeffrey Rosen I was never very familiar with Justice Ruth Bader Ginsburg, or the “Notorious RBG” as she was known, before she died and then, suddenly, her name was everywhere, including on Netflix with On The Basis of Sex which has, for some reason, been removed from the platform.

RBG graduated at the top of her law school class in 1959 but was unable to find a job because she was a married Jewish woman and a mother. She ultimately served as an associate justice of the Supreme Court of the United States and found her calling as an equal rights advocate, championing women’s rights.

The book draws on a number of conversations she had with Jeffrey Rosen, a legal journalist, and covers a variety of topics which show her sense of humour and intellect.

SHE SHARES HER HEART, Kerri Price A collection of 100 inspiring devotions written by women who share their stories of faith, reluctant courage, trials and tribulations. If you’re looking for encouragement from ordinary women who have found their potential through their faith, then this book is for you.

BOOKS | focus

CLEANSED & CURED, Brett Elliott

MISSING PERSONS, Steve Braunias

With over 20 years of clinical practice behind him, New Zealand medical herbalist Brett Elliott explains how chronic metabolic toxicity from pollution, pharmaceuticals, processed food, household chemicals etc. causes our body to become overloaded, acidic, inflamed and unable to function healthily. He goes on to explain how inner body cleansing or herbal detoxing works to heal your body and how specific natural herbs and foods can help treat the underlying causes of chronic toxicity and inflammation.

Award-winning New Zealand author, columnist and journalist Steve Braunias writes about 12 extraordinary, true stories of people in New Zealand who have disappeared or who were in the wrong place at the wrong time. The crime stories include former journalist Murray Mason, who was found dead in the Auckland Domain, the disappearance of backpacker Grace Millane and the mystery surrounding the Lundy family murders.

DIDN’T SEE THAT COMING: PUTTING LIFE BACK TOGETHER WHEN YOUR WORLD FALLS APART, Rachel Hollis

Harper Brown has always dreamed of being a crime journalist and when her boyfriend dumps her she decides to move to Paris where she settles into a job writing about art. Determined not to get romantically involved again she perfects the art of onenight-stands, until she meets Noah X. Harper finds herself on the trail of a serial killer and is about to scoop the story of her life, but, if he finds her first, it will be the last story she ever writes.

Three days into editing her new book, Rachel Hollis’s marriage ended. Raw and honest, the best-selling author, motivational speaker and blogger has useful advice for dealing with grief, loss and uncertainty. She writes about her brother’s suicide when she was a teenager, the collapse of the family as a result and the downsides to her fame, but she also shows that darkness can co-exist with beautiful moments and that it’s up to each one of us as to how we come out of pain and change for the better.

THE PARIS AFFAIR, Pip Drysdale

Find more book reviews at focusmagazine.co.nz focusmagazine.co.nz

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focus | ASK THE EXPERTS

ASK THE EXPERTS WHAT IS FLAT FOOT DEFORMITY? ANNA SEELYE francesadrian.co.nz

WHY IS IT SO IMPORTANT TO HAVE YOUR JEWELLERY CORRECTLY VALUED? Jewellery valuations and their different purposes and intended uses can often be a confusing topic.

In New Zealand the most common reason for a jewellery valuation is for insurance purposes, but valuations for private sales and estate management are also common.

There are various ways an item of jewellery can be valued, and it is important that the values ascribed to your jewellery are at the correct market level, and appropriate for the end-user of the document.

Further to this, if you’ve ever found yourself in the position of needing to make an insurance claim for damaged or lost jewellery, a comprehensive document containing the complete details of your collection will help to reduce stress for yourself and your insurer. A condition check will also ensure your jewellery is in an insurable state and will reduce the likelihood of unnecessary claims for damage or lost stones because of worn claws or settings.

Taking the time to go through your jewellery collection might seem like a daunting task, especially if there are inherited pieces, or those that have been collected over a number of years, but we’re always happy to take the time to do this with you.

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Pain in your feet can reduce your enjoyment of life and your ability to take part in activities you would otherwise enjoy.

One commonly found pathology is flat foot deformity, which is a flattening or ‘falling’ of the medial arch of the foot. Even though the foot is designed to flatten out as we walk, flattening can cause various aches and pains in your big toe joint, your midfoot, your ankle or even further up the body. The flatfoot deformity can be flexible – where you can see the curvature of the arch when not standing, but the arch ‘collapses’ upon standing – or the deformity can be fixed, where the foot is always stiff and flat at the sole. Either way, this might give you symptoms such as pain (foot, ankle, knee or even hip) or hard skin buildup (callous) around your feet.

If you’re concerned, have aches and pains or callous build-up, see your podiatrist for an assessment. Your podiatrist will ask for your medical and family history, observe you standing and walking, check for muscle weaknesses, bone misalignment, joint mobility, and more. The assessment is painless and the podiatrist will be able to advise on footwear choices, exercise, treatment of callouses or other skin reactions and will suggest various treatment options.

DANI SUTCLIFFE bodymechanix.co.nz

WHAT’S IN A NAME? A lot, at least in business, even though Shakespeare suggested that names don’t really matter and that all one really needs to know is what something is, not what it’s named.

Since the beginning of this year our existing patients of Omokoroa Dental Surgery and Pyes Pa Dentists – and possibly future patients – have noticed a change: our new name and a new logo. It was less obvious in Pyes Pa because we stayed with the old logo’s oval shape, colour scheme and scripty font. For our Omokoroa patients, however, it meant a completely new look and new name to get used to.

So, what’s in the name, and why did we do it, especially as the rebranding was not about a change of ownership?

We wanted to optimise the way we run our businesses by bringing them under one banner: the ER Dental brand, which applies to both surgeries. It also allows us to create one recognisable group identity that sets us up for potential future growth, i.e. new ER Dental practices in additional locations.

What ER Dental stands for, or what it really is, can be summed up as follows: world-class dentistry in Tauranga and the wider Bay of Plenty area. So, new name and a new logo, but the same dedicated team of dental professionals.

www.scillachocolates.co.nz Phone 0800 724 552 info@scillachocolates.co.nz

YOUR DENTISTS WITH A DIFFERENCE pyespadentists.nz 07 577 1478

focus | BEAUTY

Beauty news RECENT LAUNCHES AND LATEST UPDATES YOU DON’T WANT TO MISS

COOLING AQUA JELLY, CLEAR START $42 The experts of the daughter brand of Dermalogica have introduced a third moisturiser to its range. Cooling Aqua Jelly, with its ultra-lightweight formula and acne-fighting ingredients, is a remedy product for oily, breakoutprone skin. Adding some fun into a daily skincare routine is its cool blue colour that comes from a blend of plant extracts.

DUO LINE IT & LASH IT, ARDELL $29.99 DUO Line It & Lash It with a fine-tip applicator brush and smooth glide is all you need for a perfect cat eye. But when wet, the product also doubles as an adhesive for any Ardell lashes and effortlessly keeps them in place all day long.

PURIFYING FACIAL MASK, VELETTA $65 Indulging into a self-love routine on a Sunday night just got that much better with Veletta’s luxurious mask, made from natural ingredients including Kaolin Clay, Neem Leaf and French Pink Clay.

It cleanses and removes impurities and dead cells, leaving your skin baby-soft and looking so much younger.

BONDI SANDS PURE Making another step towards sustainability, the Australian selftanning giant launches its most conscientious range yet. Six Pure products for face and body are packaged in ethically sourced, 100% recyclable packaging, are cruelty and vegan-free and made without any artificial fragrances, dyes or sulphates.

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Bondi Sands Pure is our gold standard in sustainable self-tanning and paves the way for a new direction for the Bondi Sands brand.

Blair James, Co-Founder

POWERBRIGHT DARK SPOT SERUM, DERMALOGICA $189 New cutting-edge technology is the answer to stubborn hyperpigmentation. Formulated with powerful ingredients like Niacinamide and Hexylresorcinol, it starts working fast and visibly fades dark spots in just a few days.

BEAUTY | focus

ME.

KAREN MURRELL LIPSTICKS $32

The brand’s moto is literally ‘Don’t hide Me’. Attractive packaging of tampons, liners and pads is made from recyclable cardboard, all wrappers and sleeves are biodegradable and the products themselves contain only the best quality certified organic cotton and performance-based raw materials.

FLEUR DE PEAU PERFUMED BROOCH, DIPTYQUE $186 Spraying fragrance on your skin is so outdated! The latest ‘it-thing’ are exquisite Diptyque brooches inspired

by Renaissance perfume jewellery. Hiding behind the delicate gilded exterior is a little perfumed ceramic tablet that diffuses the musky, wispy notes of Fleur de Peau and lasts about a month. Available at MECCA Maxima.

PASSIONFRUIT PAVLOVA BATH BOMB, AHHH $7.99 Ahhh’s handcrafted bath bombs, scrubs, shampoo bars and moisturisers are the next level irresistible – you either want to stare at them for ages or eat them all at once. For the latter, blame the talented hands of founder Sophie Cooper and the delicious names like Coco Lime Lollipop, Peach Smoothie or Raspberry Marshmallow.

Karen Murrell believes that a woman dressed up in beautiful lipstick can brighten a room like a bouquet of fresh blooms.

We, in turn, believe that her lipsticks, dressed up in packaging like that, deserve a special shrine or a prime spot in a museum.

THE AR T OF GLAM

JUST LIKE THE BEST MASTERPIECES DO NOT DESERVE TO BE HIDDEN IN PRIVATE COLLECTIONS, THESE SKINCARE AND BEAUTY PRODUCTS WERE MADE TO BE SEEN AND ADMIRED.

MEGAGLO HIGHLIGHTING POWDER, WET N WILD $12.99 How anyone can touch the flower-print surface of this highlighter with an offending makeup brush is a question yet to be answered, although the silky smooth texture and pearly finish might be worth it.

PLUM PLUMP HYALURONIC SERUM, GLOW RECIPE $74 A perfect example of the beauty world’s very own pop art, this serum hydrates and protects the skin and reduces the appearance of fine lines.

Available at MECCA Maxima. focusmagazine.co.nz

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focus | STYLE

ART FASHION HAS ALWAYS EXISTED HAND IN HAND WITH ART – FROM THE LEGENDARY 1937 ELSA SCHIAPARELLI’S LOBSTER DRESS INSPIRED BY SALVADOR DALI, TO THE COUNTLESS REPRODUCTIONS OF ANDY WARHOL’S WORKS BY LITERALLY EVERY SECOND BRAND IN THE WORLD. WEAR MASTERPIECES INSTEAD OF MERELY OBSERVING THEM. Radiance Earrings PILGRIM $64.95

Swallow of Hope Necklace SILK & STEEL $199.00

Inspect Sweat LEO+BE $145.00

BEYA Pop Art loafers NICHOLAS KIRKWOOD X ANDY WARHOL $830.00

Two Wrongs Trousers WORLD $379.00

Handbag Britney BRACCIALINI $285.00

Eye Catching Spectrum Sneaker SKECHERS $105.00 Beatrice Dress J.CREW $349.00

Pleated Bender Midi DEADLY PONIES $799.00

Geometric Print Top DAILY PAPER $100.00 Eternity Women Analogue Watch THE WAREHOUSE $35.00

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Furrow Patent Red Leather Shoe MAVIS & MICK $385.00

Frances Hodgkins Bridesmaids Blouse KAREN WALKER $495.00

Offering the following: • Physiotherapy

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• Natural Pain Solutions

• Acupuncture

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• Orthotic Footwear

• Nutrition Clinic

• Massage Therapy

• Bowen Technique

923 Cameron Road (Opposite TGA Girls College) Gate Pa, Tauranga T: 07 578 6080

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focus | HOME

Heavy Petal

MAGDALENA Door Stop CAMDEN CO $39.90

Gumnut Blue Doormat MADRAS LINK $79.90

AUTUMN IS A BEAUTIFUL SEASON BUT THAT’S WHEN WE USUALLY START MISSING BLOOMING FLOWERS. WHILE NATURE OUTSIDE IS GETTING READY FOR WINTER, INJECT SOME COLOUR AND FLORAL ELEMENTS INTO YOUR INTERIOR DESIGN. Set of 6 Ceramic Garden Lifestyle Mugs COOPER & CO. $34.35 Night Garden Duvet WALLACE COTTON $149.90

Tilly@home Branch Wall Art FARMERS $149.99

Lively Floral Weekly Deskpad RIFLE PAPER CO $29.90 Artificial flowers LINEN & STONE $10.00 per stem

Avanti Dream Big Tumbler BAD, BATH & BEYOND $15.99

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Botanical Collection Shower Bombs TAMARA $47.95

THE CREATIVES

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SIMONE ANDERSON THE INCUBATOR FOUNDER AND DIRECTOR

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NATURA AURA

REPRESENTING NEW ZEALAND AT PARIS FASHION WEEK

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BEST ART GALLERIES IN NEW ZEALAND

Plus COMMUNITY ART PROJECTS, UNLOCK YOUR CREATIVE SPARK

focus | COVER STORY

Let’s do it together!

AR T DO YOU KNOW WHAT’S BEHIND THE GATES OF THE BIG RED BARN IN TAURANGA’S HISTORIC VILLAGE? AND WHO’S THE FACE BEHIND IT? MEET SIMONE ANDERSON, THE INCUBATOR’S FOUNDER AND DIRECTOR, WHOSE BRAINCHILD HAS GROWN AND GIVEN THE VILLAGE AND TAURANGA A CREATIVE VIBE. WORDS: MARGARETE KRAEMER IMAGES: VANESSA LAVAL-GLAD HAIR AND MAKEUP: SOPHIE GARTH

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COVER STORY | focus

A

rt didn’t run in the family. With her mother a teacher, her father owning a sports shop and her sister becoming a teacher too, Simone Anderson concludes: “I was an anomaly when I started drawing.” Her parents were self-proclaimed non-artists, but they were always supportive of Simone’s passion for art and art history.

Simone was born in Tokoroa and grew up in Tauranga. She read a lot but left school after 6th form because she didn’t want to study.

Instead, hungry for experience, she worked for one year to save up, leaving New Zealand for her OE in London aged only 18. For a few years she worked as a nanny, in the hospitality industry and in galleries, and in 1990 was offered a job as a trainee gallery curator in Durban, South Africa. Simone, now 52, admits: “I didn’t even know what that meant at the time.”

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Image by PixelFaerie Photogaphy

focus | COVER STORY

A DEFINING AND ENDURING CONNECTION Soon she was managing the art gallery and curating exhibitions. The owner of a top commercial gallery, Val Coppin-Shaw, was Durban’s doyenne of the art scene and became Simone’s role model and mentor. She is still a major force supporting emerging African artists.

After a few years in Durban and travelling, Simone returned to Tauranga. By then her parents had bought Pimlico Gallery at the top of Devonport Road. Simone helped her father with picture framing, then took a job in another gallery, and basically worked some 20 years picture framing in Tauranga galleries, the most memorable being Harrison’s Gallery.

In 2001 Simone got itchy feet again and moved back to London. She worked as an HR person at a catering company, recruiting people and trying to retain a staff of between 150 and 200. It meant creating a company culture where people were not just doing a job. “This is something I strongly believe in. It was a lot of what I’m doing now too: building an inclusive culture, building social connections,” says Simone.

KIWIS COME HOME TO ROOST In 2003 she and partner Mark, a South African, returned to Tauranga, expecting their first child. “We had Olive and

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16 months later had twins, Ivy and Felix, so it happened quite quickly. We just rolled with it, and it’s turned out wonderfully. I can’t stand always being constrained by planning. I like things to be spontaneous and organic.”

For ten years Simone stayed at home with her children and when they were very young she started painting. “We had converted our garage into a studio. I spent that period being a full-time mum and a work-from-home artist.” From her studio she also ran an art school for children called Artery. “Later we pinched the name for the Artery in the Village,” she laughs.

A pivotal change in Simone’s perspective on art occurred when she became involved in large-scale, community arts mural projects. “It triggered a paradigm shift and led to what I do now at The Incubator.” (See next article)

THE BIRTH OF THE INCUBATOR In 2013 the opportunity came up to rent the red barn in the Historic Village. This developed into the idea to build a financially viable artist collective. Having worked in art galleries Simone also saw the big disconnect between the artist and the purchaser. “It’s sad to see these polite people standing in a gallery looking at pictures on a wall, with a glass of wine, not knowing the artist, not knowing what inspired them to create the work. We wanted to connect them.”

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The Incubator was to be a space where emerging and established local artists could work and exhibit in a supported, nurturing environment.

Soon the studios at The Incubator became home to a range of artists.

Everybody had a different set of skills they could share with each other, leading to a creative groundswell that drove The Incubator forward.

“An underlying mission is to elevate the importance of arts, and arts as a career choice,” says Simone. “This includes enabling artists to eventually make a living as an artist and work in a professional studio; not painting at the kitchen table or in a spare room in their home,” Simone explains.

FILLING A GAP AND FOSTERING FRIENDSHIPS When the next building came up for hire, Simone and her team opened the Artery. “The Artery and all other entities came about because we recognised a great need from the community and a gap that wasn’t being supported,” says Simone.

One of the drivers behind the need for, and success of, the Artery was that adult community education opportunities had all dried up after the government stopped funding evening classes. “There was a huge hunger for it so the timing was ideal, and at the same time we were helping our artists to support themselves as tutors,” she explains.

Another aspect is social connection

– something we’re missing in today’s online media world, she concludes.

Community education classes enable people to connect with real people in real life while sitting at a table painting or creating jewellery. People make friends. “Providing opportunities to create art together has a massive positive social impact.”

A GALLERY FOR THE PEOPLE Next, Forresters Hall became available.

Creative Bay of Plenty had just announced they were going to close their community gallery. “Again, we saw a gap and jumped at the opportunity.”

The People’s Gallery is based on The Incubator’s overarching philosophy of ‘doing it together’. The focus is on group exhibitions and exhibitions not necessarily about artists.

“This gallery space has been so successful. Shakti Migrant Women’s Refuge used art to tell stories about issues such as domestic violence, which can be presented in a more palatable way through art. We’ve had everything from an IHC travelling road show to an exhibition made up of pizza boxes that included local homeless people contributing art to the exhibition on World Homeless Day,” she says. Annual school exhibitions are taking students out of the school corridors and into the community.

There were exhibitions around Waitangi Day and Matariki celebrating Māori arts.

THE INCUBATOR • Founded in November 2013 by Simone Anderson and two friends to grow and connect what was a fractured creative community.

• Now home to 17 artists, two full-time and four part-time staff, and many volunteers.

• As a charitable trust, The Incubator relies mainly on public and private funding through grants, sponsorships and donations.

• TrustPower Community Awards: 2015 Commendation, Art & Culture 2015 Winner Regional Award, Art & Culture 2017 Supreme Winner, Tauranga Community Awards

The Incubator Creative Hub Historic Village, Tauranga theincubator.co.nz

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TWO IN ONE GO Then two more entities opened in the same year: The Jam Factory and the Satellite Studios.

The Jam Factory music hub is a purpose-fitted, boutique venue reminiscent of a 1930s theatre with its own identity, and was a roaring success from day one. It sits in the old Otumoetai Primary School building that was relocated to the Historic Village in 2014. The Incubator was suddenly inundated with national and international acts booking it. “When we surveyed these people, we found that Tauranga used to be left off their tour schedule because there was no Bohemian, loungy kind of place here.

But these musicians wanted to connect with their audience, look them in the eye and have a glass of wine with them after the show. It’s the same concept as with the gallery: you take that commodity aspect out of art and put the performer or the artist back in touch with their audience.”

When The Incubator was at capacity for resident artists, the building opposite became available.

Inspired by the Christchurch Arts Centre before the earthquakes, Simone wanted the building – formerly a museum – to become something

similar: a place where people can go and see how things are made. “I wanted people to say: ‘Oh, it’s not just a product in a shop that I can buy. Here is the person behind the product who’s involved with cloth, and she is sewing right in front of my eyes.

And this is the person with their blow torch making silver jewellery.’”

The Satellite Studios are a humming place and in high demand for space. The current seven residents – a silversmith, two jewellers and designers, three clothes designers and a visual artist – are tenants of The Incubator Creative Hub family and pay a contribution to the overheads, which is nothing compared to city rents. “If you take the element of commercial risk away, you can push their potential to the surface.

Artists can then focus on developing their product, building a reputation and growing their clientele,” says Simone.

A SPACE FOR MĀORI ARTISTS The latest addition, Okorore Ngā Toi Māori, is a professionally curated Māori art space with three studios for an indigenous artist exchange programme, a gallery and retail space called Te Whare Taonga Gallery. It is in the old Faulkner House, another former static museum named after the family who lived in it. “We discovered the actual Māori name was Okorore and this historic homestead is very

SIMONE ANDERSON – THE ARTIST • Painting and mixed-media art • Recurring themes: anatomy, circus, old board games, e.g. snakes and ladders • Represented by art galleries, e.g. Black Asterisk in Ponsonby, with solo exhibition Sideshow Emporium • Solo exhibitions at Gallery 59 in Tauranga • Wallace Art Awards finalist • Commissioned work, e.g. for the ASB Arena foyer in Tauranga

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significant to Tauranga Moana Māori,” says Simone. When they were approached about the house it was a great opportunity to turn it into a platform for Māori artists to create and showcase their work. “We also wanted to put some mauri, roughly translated as life force, back into the building, which meant putting real people in there.”

It has activated a flow of practitioners from all around the area to whom Okorore now offers a place to create and sell authentic taonga. There are also exhibition opportunities and workshops, and its artists were hugely involved in Waitangi Day Festival and Matariki events.

CREATING A DESTINATION THROUGH ART AND CULTURE Simone is adamant that Tauranga is an amazing city. “But it’s always had this reputation of being a cultural wasteland, which I totally disagree with. There’s always been a local arts scene, but we can help to enrich it by creating physical spaces for events, performances and exhibitions. We want Tauranga to become a destination that’s known for its creative vibe, not just about the beach.” The introduction of Toi Ohomai’s Bachelor of Creative Industries has helped to retain young creatives, and Simone says part of the team’s role is to create pathways for graduates.

The Incubator’s vision is to create a

cohesive and connected local community through art and culture. It aligns well with the new Historic Village strategy, which comprises hospitality and retail; events and entertainment; heritage and history; Māori culture; the social and community sector; and environmental and sustainability principles.

Medium-term plans include developing a fashion hub called Social Fabric and a community ceramic and pottery hub, which will give access to a big kiln for the whole region. This year will see the second Fringe Village Festival at Labour weekend and the roll-out of trials of Arts Prescriptions for organisations.

COLLABORATION INSTEAD OF COMPETITION The Incubator’s position within the arts scene is clear.

“We are not in competition with dealer galleries. They are a business; we are a community.” Some of The Incubator’s artists have work in these galleries and are encouraged to do so. “It’s part of our nurturing nature to get them to that point.”

As for events, “We don’t go off-site because we’re in the best dream location here in the Village.” But when events come to the Village, The Incubator is happy to collaborate and offer its facilities for others to use, help to promote their events and contribute to their success.

The biggest challenge for Simone is the huge demand to keep fulfilling community needs and the speed with which they arise. “I’m a let’s-do-it-tomorrow person, but practically and financially that’s not the way it unfolds.” She laughs: “There are not enough hours in the day.”

PUTTING HER ART ON THE BACK BURNER Simone’s favourite part of the job is seeing an artist or a group progress, and their confidence boosted. “And I’ve got the best team one could imagine,” she stresses.

“Sometimes I pinch myself when I go to work about how fortunate I am to be working with these passionate, selfless, generous people. Every single person, whether paid or not, is living and breathing it.”

She is now mainly facilitating creative activity. “I don’t do my own art anymore, but I don’t feel that I’m hard done by. I get so much enjoyment and pleasure from seeing other people succeed in their own careers that it cancels out not having enough time to develop mine.”

Simone also tries to set aside more personal time with her family. She shares her house in Tauriko with her partner Mark, their three teenage children, a dog, a cat and a magpie. There is an eclectic mix of art: some of it her own, some created by other artists, but everything carries memories and meaning. And while she no longer paints, she has found a new creative outlet: “The garden is now my canvas.” It is also a place where she relaxes and recharges her batteries to drive and develop The Incubator. 

focus | THE CREATIVES

The power of connecting through art ART HAS MANY ASPECTS. IT CAN BE A PROCESS FOR INDIVIDUAL CREATIVE EXPRESSION OR A WAY OF CONNECTING AND EMPOWERING COMMUNITIES. FOR SIMONE ANDERSON, FOUNDER AND DIRECTOR OF THE INCUBATOR, THE EXPERIENCE OF FACILITATING COMMUNITY ART PROJECTS INITIATED A PARADIGM SHIFT. Words MARGARETE KRAEMER

WHAT MADE YOU CHANGE THE WAY YOU SEE ART? The pivotal change for me as a practising artist started in late 2010 with a phone call from my sister, Cherie. At the time she was teaching at Karetu School, a tiny school in Northland. She asked me to come and do a project with the kids: they were designing a backdrop for a Christmas play, which then got repurposed for their Christmas float for the Kawakawa Christmas parade.

The late artist, architect and environmentalist Friedensreich Hundertwasser had lived only four kilometres from that school and the kids had grown up knowing who Hundertwasser was. He died in 2000 but had made this Northland piece of paradise his home for the last decades of his life, so he was a local eccentric personality whom everybody knew.

Karetu School was environmentally minded, so the design was inspired by the kids’ natural environment and Hundertwasser’s style of art. It was painted on a roll of building paper, which was then wrapped around a truck. My sister found this idea so cool she entered the design in the Keep New Zealand Beautiful Mural competition. It won a Wall Worthy award in the Northern Island category. The prize was the funding and sponsorship to recreate the mural onto a permanent site.

WAS WINNING THIS AWARD THE KEY MOMENT FOR YOU? This was great, but the actual paradigm shift happened a year later when the school was preparing for a one-week school trip to Sydney. Most of the kids were set to go, but some couldn’t participate for financial reasons. Cherie felt sad for them and said to me, ‘Why don’t you come up again

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and we’ll do this mural [on the permanent site]. We have seven days to produce it and it would be an equally cool project for those kids who can’t go to Sydney.’

For me this was both exciting and a real challenge because I wanted these guys to love the project. It had to be much better than going to Sydney!

HOW DID YOU GO ABOUT PLANNING AND REALISING THIS HUGE MURAL? We were given a side of the Grass Hut gallery, right opposite the Kawakawa Hundertwasser toilets. We had to scale up the mural and design it to fit onto that space, so in preparation, I was directing a whole team of dads and grandparents from home, as well as local potters and ceramicists as I wanted to include glass and ceramics into the project.

During this time, the team organised workshops with the children to manufacture the embellishments, including ceramic leaves and eyes with embedded glass beads, wooden ornaments and metal leaves made from copper.

When I arrived, all the embellishments were ready to go.

WHAT DID THE HANDS-ON PROCESS LOOK LIKE? We used two classrooms to lay out 10 metres of primed plywood, which became a daunting, blank ‘canvas’ for drawing the design. It was absolutely terrifying for me to transfer the design from the building paper. I had never done a mural before and bore the responsibility to deliver this piece of art in Kawakawa opposite the famous Hundertwasser toilets, of all things.

But it turned out to be the most powerful experience.

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We ended up working with all the teachers who had feel sad, and at the same time something inside me clicked. remained at school, the principal’s family, the children’s I realised that this was the effect art can have on someone, grandparents, elderly neighbours of the school, aunts, and that this kind of experiential outcome of creating uncles, little cuzzies and even a dog whose paw prints were should be accessible to everybody because it changes left on one of the panels. Word got round in the community people’s lives. and people would bring bacon-and-egg pies and fish and This tiny school was also changed as a result and chips for everyone. The principal would shout cold beers became widely known. The mural was on Instagram and at five o’clock when we were all still Facebook posts all over the world. It’s working and in the flow. on Facebook videos in languages we It was so amazing to see the don’t even understand. There were transformation of these kids as the documentaries made about it and mural started to take shape. Towards it’s frequently used as a backdrop for I realised that this the end we needed more help because local TV news coverage and on DHB was the effect art can the concrete wall had to be framed Northland brochures. have on someone, up to attach the artwork and a It has also created a huge sense of and that this kind of whole group of dads and granddads ownership for the locals of Kawakawa. took on the task. Finally, the pieces On the mural are handprints of every experiential outcome were mounted. This was on a Friday. single kid in the school and even of little of creating should Watching people’s faces as this was toddlers, brothers and sisters. They’re be accessible to happening was incredible. It was not from kids who are now at high school, everybody because it just about the beautiful art; it was but the mural is still there. changes people’s lives. about the fact that they had done this. I still get goosebumps when I talk HOW DID THE WIDER COMMUNITY about it.

REACT TO THIS UNUSUAL PIECE OF ART? At the reveal the community set up WAS THERE A KEY MOMENT THAT MARKED A gazebos and sausage sizzles and invited everybody in FUNDAMENTAL CHANGE IN YOUR THINKING ABOUT ART? town. The mural was blessed, followed by waiata from the The most amazing thing for me happened when the last children, an explanation of how the mural had come about, panel was being put up on the wall. One of the Karetu boys and a haka. The whole school, even the students back from looked up, hands in his pockets, shook his head and said: ‘I Sydney, was incredibly proud. The schoolboys’ haka was thought only rich schools did stuff like this, Miss.’ It made me like a challenge, saying: ‘This is our mural. You were given it,

“

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but now you have to look after it.’ I think there was concern about graffiti, but there hasn’t been any. It is revered and has so much meaning for the community. There is so much in it that relates to their own people. It’s their taonga.

The whole project triggered a paradigm shift for me. It showed me what the power of art can do when it is available for people to participate in. And it opened to me the value of experiential art rather than just paintings that go up on a wall; paintings that one buys as a commodity.

THE KARETU SCHOOL MURAL WAS ONLY THE START. WHAT CAME NEXT? Since then I have been involved in another three huge projects. In 2013 I did the mural for Tauriko School, and in 2017 for the Welcome Bay Community Centre. But the one that had a huge practical outcome was the Hundertwasser mural in Whangarei.

WHAT’S THE STORY BEHIND THAT ONE? It was really exciting and shows how small and interconnected New Zealand is. In 2015 I was contacted by a couple from Whangarei who wanted to get the Hundertwasser Art Centre in the Whangarei Basin up and running. It is now nearly finished.

Back in 1993 the mayor of Whangarei invited Hundertwasser to design an art centre for the city. He submitted plans but was so far ahead of his time that his plans were way too controversial. Who would want a weird looking building with a turf roof and recycled bottles embedded in the walls? The idea was poopooed and rejected.

A huge group of His reaction was to people who wanted suggest building a toilet the project to go block in Kawakawa instead and he would ahead started a design it. The irony is grassroots campaign that this toilet block and activated the is now one of the community. It was an biggest pilgrimage art attack. destinations for people from the whole world: architects, designers, photographers, painters and tourists go there by the busload. It put Kawakawa on the map, and the community has benefited economically from this. It was kind of Hundertwasser’s way of giving those people in Whangarei the finger. The design for the art centre was probably worth millions, but elected members were too close-minded and conservative back then to see any value in it.

“

HOW DID THE PROJECT GET THE GREEN LIGHT IN THE END? It sat dormant until a group of people in Whangarei decided to develop the town basin. They said: ‘Why don’t we pull these plans out again. They were gifted to us. Their time has finally come.’ But the council and elected members were deeply divided. Finally, it came to a public referendum on the Hundertwasser Art Centre.

A huge group of people who wanted the project to go ahead started a grassroots campaign and activated

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the community. It was an art attack. People painted their letterboxes in Hundertwasser style and schools made Hundertwasser murals. I had been avidly following progress, so when I got that call from Whangarei I knew the cause was so great I could not say no. The couple had seen my mural in Kawakawa and wanted me to do something similar: a visual declaration that the people wanted this arts centre to happen.

HOW WAS THIS COMMUNITY MURAL DIFFERENT FROM THE KAWAKAWA PROJECT? It was political and it all happened in a subversive way. We worked in a council-owned building that was not being used, making this mural whose progress we could not show on social media because it was a clandestine operation. The huge, 8.4m-long mural features a call to action: Whangarei, dare to dream! Dare to be different!

It celebrates Hundertwasser and his style and is highly embellished with mirrors, ceramics, plywood cut-outs, pieces of copper and even gold leaf. The mural went up on a big wall of a fitness centre close to where the art centre is now being built. I worked with three other artists and other people who came in over the week to help. Finally the mural was installed as a show of support. And obviously, luckily, the referendum ended with a Yes, so it had been worth the effort.

I am so excited about the art centre. Having faith in the arts is going to change Whangarei. It will be a huge point of difference for the city and will make it a destination.

WHEN AND WHY DID YOU GIVE UP CREATING YOUR OWN ART? When doing the Welcome Bay mural I was still working on my own art, but these new insights were coming more and more to the surface: the impact of art on the community, the importance of maximum involvement. It had become clear to me that facilitating art for and with the community was what I really wanted to pursue. The Incubator’s time had come. 

The Incubator Creative Hub Historic Village, Tauranga theincubator.co.nz

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MARGARET MILLS PUBLISHING HER FIRST BOOK AT 91 MARGARET MILLS LEFT SCHOOL AT 18 DETERMINED TO WRITE A NOVEL – SHE EVENTUALLY ACHIEVED THIS AT THE RIPE OLD AGE OF 91. THE NINE LIVES OF KITTY K. IS SET IN THE TURBULENT PERIOD OF GOLDFIELDS’ HISTORY AND PAINTS A PICTURE OF PIONEER LIFE AS TOLD BY THE SONS AND DAUGHTERS OF THOSE WHO LIVED IN AND SURVIVED THE TERRIBLE DEPRESSION OF THE 1890S. focus CHATTED TO MARGARET TO FIND OUT MORE ABOUT HER LIFE AND THE INSPIRATION BEHIND HER HISTORICAL NOVEL.

YOU WERE DETERMINED TO WRITE A NOVEL AT 18.

WHY DID YOU WAIT UNTIL 91 TO DO THIS? After five years of boarding school I went to university and started having so much fun that my concentration on study started sneaking out the window. Towards the end of my second year, English made a pass in Anglo-Saxon compulsory. I stormed into my tutor’s office and asked why we had to learn that language. He smirked and said, 'So you can teach it to other people'. That led to my escape from academia. I went south looking for adventure and instead, in Queenstown, got married and had children, which, I suppose is an adventure of another sort.

WHAT WAS IT ABOUT KITTY K.’S STORY THAT INTRIGUED YOU? A year before I left Queenstown I met Winnie Mulholland, a lady in her eighties who told me Kitty's story. I was intrigued that Winnie and her friends were chatting about events that happened a hundred years ago and when they asked me to 'get Kitty's story out' I agreed to do it. This was in 1977. Life happened … I got divorced and moved up north. In 2016 I decided that it was time to keep my promise to Winnie and write Kitty K.’s story, but, of course, I needed to do some research. I have no computer skills whatsoever but I was very lucky to have an archivist, Anne Maguire, and my son, Brett, come to my rescue.

WHEN YOU FINALLY DECIDED TO WRITE YOUR NOVEL, HOW LONG DID IT TAKE YOU? I worked from 6am to 8am nearly every day and finished the first draft in 14 months but it took a further 26 drafts before I was finally satisfied. I finished it in lockdown.

YOU’RE AN ADVENTURER AT HEART … TELL US A BIT ABOUT YOUR JOURNEYS AND ESCAPADES. I didn't journey overseas until 1979 when I visited my daughters who were living in Australia. The next time I travelled was to the east coast of USA and Canada where I was a cook on a Greenpeace ship and was where I met the love of my life.

After my partner and I retired from Greenpeace , we went on adventure cruises to Antarctica, the High Arctic, the Galapagos and NZ Subantarctic Islands.

I’ve had loads of horse-related excitement in my life and even rode from Cape Reinga to Taupo but, in truth, that was hard work, not an adrenaline trip.

WHAT OTHER ADVENTURES DO YOU HAVE IN STORE FOR THE FUTURE? I don't have any adventures in mind. I am on a walker but still manage at least 2km a day. For me, getting Kitty published is a huge adventure.

ANY OTHER PLANS TO WRITE ANOTHER BOOK? I will start to write another if you can tell me how much longer I have to live!  focusmagazine.co.nz

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FOR THE LOVE OF

GEMS

A SELF-CONFESSED ‘GEM GEEK’ AND THE OWNER OF FRANCES ADRIAN JEWELLERY DESIGN, ANNA SEELYE IS PUTTING HAMILTON ON THE JEWELLERY MAP OF NEW ZEALAND WITH HER BREATHTAKING BESPOKE DESIGNS AND BLINDING ENTHUSIASM FOR MINERALS AND METALS. Words KSENIIA SPODYNEIKO

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PASSION FOR GEMS AND MINERALS IS NOT SOMETHING YOU SEE IN PEOPLE ON A DAILY BASIS. WHEN DID YOU FIRST FALL IN LOVE WITH THE WORLD OF JEWELLERY? I don’t think I realised it until I was a little older, but jewellery was always meant to be a part of my life in some way. I remember sitting on my grandmother’s bed as a child, delving through her jewellery box and finding all sorts of interesting pieces, playing dress ups… I’m sure that was where the seed was planted. I also have vivid memories of detours to gem and rock shops as a kid and spending a long (long!) time picking through goodies. Even my very first key ring was a lovely banded agate slice!

At the age of 17, while I was studying for a photography degree, I worked part time in a jewellers and it was there that I truly fell in love with handling metals and precious gems. I have since completed formal gemmological, diamond grading and jewellery valuation training.

WHAT WAS IT LIKE WORKING IN LONDON? I worked in Hatton Garden, the very famous jewellery quarter of London.

Virtually the whole street lives and breathes jewellery or gems in some way, so it was nice to be swept up in that, even though it was a bit mad at times. I was totally immersed in the culture. One of the great things about working in a place with such a long and rich history, was the interesting antique pieces and unusual gems that came through the doors. I got to handle a lot of pieces that would be rare finds in New Zealand and gained a wealth of gemmological knowledge simply through working with such a wide range.

GEMMOLOGY SOUNDS EXCITING BUT IT'S OBVIOUSLY A COMPLICATED SCIENCE THAT REQUIRES A LOT OF PATIENCE AND ATTENTION. I really enjoy the methodical process of carrying out all the tests. Being a gemmologist is a bit like being a detective.

There are so many ‘clues’ to a gem’s identity or if it has undergone any treatments. The most fascinating aspect for me is observing an interesting inclusion inside a gem, especially if it indicates its identity or evidence/lack of treatment. I also love to photograph these inclusions to keep as a reference for myself – and to decorate my studio walls!

DO PEOPLE IN NEW ZEALAND SEARCH FOR DIFFERENT

THINGS IN JEWELLERY COMPARED TO LONDON? I don’t think there is a huge difference, except, perhaps, in London, a few more people were requesting larger coloured gems for engagement rings. One thing we both definitely have in common is a desire to have our jewellery reflect who we are and the things we love, which means I often get to work on pieces that are just a little different and that’s always really satisfying.

WHAT DOES YOUR WORK PROCESS LOOK LIKE? Most often for me, it’s intuitive. Whether it’s a new design or one that is comprised of existing gems, I often get a feel pretty quickly of what style will result in a beautiful and functional piece. I also have a great love of architecture and old botanical watercolours, and have a bit of a collection of images on my studio wall that I often gaze over and every now and again put some ideas to paper. These designs are ever evolving and a definite long-term project for me.

WHERE DID THE INSPIRATION FOR THE NAME FRANCES ADRIAN JEWELLERY DESIGN COME FROM? Having my own jewellery design business has been an ambition for a number of years. In 2020, when my working circumstances changed post lockdown, I felt that it was time to do something for myself. Frances and Adrian are names that run through my, and my husband’s, family.

They’re very special and I wanted them to be a part of this.

YOUR BRAND ALSO SPECIALISES IN REMAKES AND REMODELS. IS THE PROCESS EQUALLY EXCITING AND CHALLENGING FOR YOU? It may sound clichéd but every remodel job is interesting!

There is so much emotion and sentiment attached to design work of this kind. These projects tend to contain pieces that have been collected over a number of years and can often be a bit of a mix of stones – of both size and species – so working through what is available and deciding how best to incorporate them into a meaningful design can take some time. It’s definitely one of the more challenging aspects of what I do but hands down the most rewarding.

DO YOU STILL FIND TIME TO CREATE SOMETHING JUST FOR YOURSELF? I have a few loose stones tucked away that I’d love to have focusmagazine.co.nz

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made up one day; I’ll get to them eventually! When I lived in London, I worked for a coloured gem merchant where a lot of really interesting pieces were bought and sold. When I decided to return to New Zealand, my rather eccentric boss gave me a lovely piece of quartz with amazing inclusions.

I’ve since had it made up into a simple pendant and it’s a very special piece that reminds me of my time there. My engagement ring was also purchased in London – an antique Art Deco diamond cluster. I’m a lover of antique jewellery and I always wanted an ‘old’ piece when I got engaged! I often wonder about who the original owner was, where they lived and what drew them to choose that ring. I like the mystery that surrounds it.

IS ART DECO ONE OF THE STYLES YOU PERSONALLY ENJOY WORKING IN? I love to design pieces that have either design features or gem combinations from particular historical jewellery eras – Art Deco being a definite favourite. I love the structured, geometric styling, often featuring smaller stones to create beautiful patterns. I also love taking inspiration from the iconic architectural style that typified the period – think the Chrysler building in New York. Interestingly enough, working with large statement gems – and not necessarily anything rare or unusual – in very simple mountings is also something I enjoy. Sometimes the simplest of designs can be the trickiest to get just right!

IF TODAY YOU COULD MEET THE ANNA WHO IS STILL TAKING HER FIRST STEPS IN HER CAREER, WHAT ADVICE WOULD YOU GIVE HER? There is so much to learn about the different aspects of the jewellery industry, and while sometimes it can be overwhelming, just take it all in and be a sponge! It also takes time but conversely you never know what may be around the corner. The experience I have gained in roles as a designer, gemmologist and valuer has meant that now I feel as if I have come full circle and am able to apply everything I have learnt to my own venture, and that’s a very satisfying feeling.

THE JEWELLERY WORLD IS FASCINATING BUT WHAT IS YOUR LIFE LIKE OUTSIDE OF IT?

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I’ve always been a lover of travel and feel very fortunate to have been able to explore the culture, people and food of some amazing places over the past few years. Being able to travel to places such as Myanmar, Thailand and Sri Lanka, where there is a very rich gem trade, is a personal highlight. It has also

been lovely in more recent times to be able to see a little more of our own amazing country; a little silver lining to the lack of international travel. These days though, you’ll most likely find me spending time with friends and family and running about with my toddler who has seemingly endless energy. 

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WEAVING THE PAST WITH THE FUTURE ANASTASIA RICKARD ALWAYS ADORED SCIENTIFIC RESEARCH AND LABORATORY WORK. HER GRANDMOTHER, LEILANI, IS A TALENTED WEAVER. THROUGH THEIR FASHION BRAND, NATURA AURA, THE FAMILY FOUND A UNIQUE WAY TO COMBINE THEIR SKILLS. Words KSENIIA SPODYNEIKO

YOUR GRANDMOTHER IS A WEAVER AND YOU’RE A SCIENTIST. HOW DID YOU DECIDE TO CREATE A FASHION BRAND TOGETHER? My grandmother has been a weaver for over 40 years. She’s very well-known in the traditional and contemporary Māori arts world. I’ve been lucky to learn from her since the age of 9. We still weave piupiu together for schools, Kapa haka groups and art collectors.

We were weavers before we were fashion designers and we’ll never forget that. When I was 13, she branched into contemporary weaving, bringing this beautiful art form into the 21st century to wear every day and not just for performances. I modelled those outfits. At 18 I started working at Scion in Rotorua, studying four weaving plants under microscope. There, I met a woman who was researching harakeke (New Zealand flax) and I invited her to meet my grandmother and learn more about the uses of the plant. As a koha for her time, my colleague gifted my grandmother microscopic pictures of the plant. When I explained what they

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were, the idea of using microscopic work as prints was born. Showing people the inside of a plant is quite a unique take on fashion and helps them learn more about indigenous flora. We loved mixing traditions and science in our rainwear collection, inspired by traditional Māori rainwear, and high-end hosiery with kiwiana and indigenous flair.

HOW DO YOU MAKE TRADITIONS, ART, FASHION AND SCIENCE WORK IN HARMONY? Our family has always been big on traditions and heritage. Apart from Māori ancestors, we also have Spanish, Brazilian, British, Scottish, Namibian and Indian roots. I think everyone should be proud of where they come from; it needs to be celebrated. Being able to get inspired by traditional cuts, silhouettes and fabrics gave me a competitive advantage in the fashion industry.

Fashion is about expressing yourself how you like for people to perceive you as a person. Art is about how you see the world around you. And without science there would be no fabrics, no

dyes, no variety of printing and design methods. They all tie in perfectly! My grandmother and I have been working in all these areas, so could incorporate our skills into the brand.

YOUR BRAND HAS BEEN A SUCCESS FROM THE START. WHAT ACHIEVEMENT ARE YOU MOST PROUD OF? That’s a very hard question! And one, I guess, my grandmother and I would answer differently. For me, it was our first show at New Zealand Fashion Week. I was only 23 at the time, juggling a research career, taking the first steps in fashion and studying. A lot was going on in my life; there was no time to look around, and suddenly I’m at this big event and everyone is so excited about our microscopic works and simply adored our collection. I felt so blessed!

My grandmother would probably name Paris Fashion Week, though. She loved the city and how everyone was dressed to impress; how much time and effort went into every inch of people’s attires – it took her breath away and inspired her in many ways.

AND WHO INSPIRES YOU? I look up to the designers like Alexander McQueen, Christian Dior. I also like Jeremy Scott’s works for Moschino – his unique perspective, humour, bold statements and structured garments. Outside the fashion world, Frida Kahlo.

She had such a hard life but did her best to make something beautiful out of it.

That’s what everybody should do! Life is so short and we often get caught up in small things, missing all the beauty around.

YOU NOW LIVE AND WORK IN TAURANGA BUT NATURA AURA IS BASED IN ROTORUA. WHAT’S IT LIKE LIVING BETWEEN TWO TOWNS? I travel to Rotorua at least once a week. That’s where my grandmother and the warehouse for our brand are located. Rotorua will always be my home – I grew up there, my relatives and friends are there. When I’m in Rotorua, walking down the familiar streets, I feel like everyone recognises me and greets me with nice words. But Tauranga is starting to feel more like home as well. I love the relaxed atmosphere, the beaches and the community, which has been nothing but welcoming and supportive to me. I’ve met a lot of wonderful people here and made new friends. I’m truly lucky to have two homes now.

HOW DO YOU RELAX AND SWITCH OFF? I like running! I was a track runner when I was younger and then my best friend introduced me to marathons. Being able to see how hard you can push yourself, to unleash your physical and mental potential is what fascinates me.

People who run or train alongside me are the most inspirational ever. I ran the Rotorua marathon with my sister and felt like we bonded even more, while fighting the same fight against the tiredness and soreness together. I’ve now run most of the New Zealand marathons at least three times. I also did the Rarotonga marathon and The Great Wall marathon in China, but my favourite was the Walt Disney World marathon in Florida – a four-day event, where we had to run 5km on the first day, 10km on the second, 21.1km on the third, and finally a full marathon on day four. It was honestly the most incredible experience of my life! 

Anastasia Rickard

focus | THE CREATIVES

The Art Lounge NZ FINE ART AND EXCLUSIVE EXHIBITIONS AND EVENTS THAT INSPIRE, ENCOURAGE, EDUCATE AND ENTERTAIN WHILE RECOGNISING EXCELLENCE IN VISUAL ARTS.

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edicated to presenting the work of outstanding New Zealand-based artists with a unique style that stands out and moves you, The Art Lounge NZ is a vibrant fine art gallery and sophisticated events venue on Willow Street, Downtown Tauranga.

Since 2014 this exciting art space has presented a carefully curated collection of award-winning, established and emerging artists whose work is mostly abstract, nature, portraits or surreal.

Mira Corbova, creative director and owner of The Art Lounge NZ, has a big following locally, nationally and internationally.

“I shifted industries when I came to New Zealand nine years ago, from working in busy corporate roles in London to following my passion to work with art here in beautiful New Zealand, my home,” she says.

“It’s pure joy to collaborate with each artist I represent and to bring sparkle to my clients’ day with beautiful art.”

In conjunction with a group of selected local artists, Mira and her team have recently opened a second galley, The Art Lounge NZ Auckland in Howick.

“It is nestled between the best coffee shops in town and will fill a need for East Auckland and the wider community.

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To date, there was nowhere close for locals to view and purchase art of this quality, or commission fabulous artists to create a special artwork to love and cherish for years to come,” Mira says.

She will travel between Tauranga and Auckland and add her expertise to the running and promotion of the Howick gallery. Exhibitions, wine/gin tastings, poetry nights, and more exceptional events are planned in both spaces to stimulate the senses.

“We envision our two galleries as a vibrant visual space for the local community and city visitors to enjoy and to be inspired through creativity. It’s accessible to everyone and our motto is ‘connecting through art’ which is exactly what we do.”

At both galleries, the aim is to inspire and encourage everyone through creativity, while offering a unique art shopping experience and entertainment.

If you love art or you’re looking for that unique piece to pleasantly surprise you, be sure to visit the The Art Lounge NZ, 117 Willow St, Tauranga, and The Art Lounge NZ Auckland, 39 Picton St, Howick.

Find upcoming exhibitions and events on: theartloungenz.com 

THE CREATIVES | focus

Jackie Knotts THE ‘WHAT IF’ APPROACH TO ORIGINAL PRINTS MOVING TO TAURANGA MEANT WAVING GOODBYE TO HER FAVOURITE ETCHING PRINTING TECHNIQUE, BUT UNWILLING TO WAVE GOODBYE TO HER ARTISTIC SIDE ENTIRELY, JACKIE KNOTTS RE-DISCOVERED HER PASSION FOR LINOCUT.

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ne of the founders of the Imprint Gallery at The Historic Village, Jackie Knotts first fell in love with printmaking at John Drawbridge’s evening class at what was then Wellington Polytechnic (now merged with Massey University).

Etching caught her attention straight away and it was one of the artworks in this technique that she used as a submission to study advanced printmaking at Central Saint Martins in London, where she also got a chance to dive deeper into the world of linocuts and lithography. After graduating from Saint Martins, followed by another two years of etching at Camberwell School of Art, Jackie Knotts had her first solo exhibition at New Zealand House in London.

Some of the materials and equipment needed for etching were not available in Tauranga, so after leaving London, Jackie put her passion on the back burner and devoted herself to learning new skills and discovering new talents: scuba diving, tramping,

jogging, sailing, house renovating, gardening – she tried ‘em all!

It was only after she retired and moved to a quiet Omokoroa, that Jackie got back into printing. Only this time, she focused on lino printing. “I could print them at home and without a press if I used Japanese mulberry paper. However, my own printing press became necessary for thicker paper and to explore all the possible ways linocuts can be printed,” explains Jackie.

Known for her ‘what if’ approach, Jackie is never satisfied with following the obvious route and simply perfecting something she’s already good at. She loves pushing boundaries, discovering new techniques and creating unique artworks. “I have more ideas than time to explore them!” she says. “My latest goal is to figure out the perfect way to combine lithography, linocuts and drawings – that’s going to be a real rabbit hole.”

Her love for experimentation was recently recognised by Tauranga Art Gallery’s The Miles Art Awards. 

LINO PRINTING OR ‘LINOCUT’ is a technique in which an image is cut into linoleum with a sharp knife or chisel. The linoleum is then inked with a roller and impressed onto paper or fabric.

ETCHING uses strong acid or mordant to cut into the unprotected parts of a metal surface to create an incised design that holds the ink.

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KATJA POTT,

Multidisciplinary artist facebook.com/katjapottart Katja Pott’s creative mind doesn’t fit into just one box. She’s a painter, photographer, fashion designer, sculpturist… not to mention a finance specialist by day! “Art in all shapes and forms has captivated me from a very young age. I started with painting, photography, music and fabrics. During my later studies, I loved creating sculptures and assemblages. I go with the flow, mixing my inspiration with patience and discipline.” The only rule she maintains is to always keep painting in between other projects.

Katja draws inspiration from reading, opera and visiting art galleries.

Contemporary art, art history and current world events are all things that sooner or later find their way into her works.

Despite her bright personality and eye-catching outfits in real life, Katja remains basically invisible online. “I find marketing myself extremely challenging,” she admits. Getting up close and personal with her art is possible at MACANDMOR pop-up shop at Tauranga’s Goddards Centre or her upcoming solo exhibition at The Incubator in July 2021. She’s also planning a sculpture exhibition called Artist Between Three Countries that was inspired by her art studies at Charles Darwin University in Australia and her personal experience of being torn between several countries. 

NINETTE KRUGER, Metal embossing ninettekrugermetalart.com Shaping pewter, aluminium and copper into intricate artworks became Ninette’s lifestyle in 2004. Metal embossing, metal wall art, metal interior decor or kitchen backsplashes – there is nothing she can’t create and nothing her worldwide fan base wouldn’t love. Her installations have travelled as far as the US, Portugal, Italy and South Africa, and can be found in private homes, luxury lodges and boutique hotels.

“Pewter art suits collectors who are looking for something truly different,” she says. And different she delivers. Ninette’s works are inspired by the colours, rhythms and animals of South Africa, where she is originally from, as well as the forests, lakes, beaches and gardens of New Zealand.

When Ninette met Anna Mollekin and Totaea Rendell – two artists equally passionate about showcasing the beauty of New Zealand – it was a perfect match. Ninette found a way to translate their highly detailed images of local flora and fauna into 3D metal artworks, and together they started donating a percentage of the sale of each collaborative artwork to a special cause or charity, including Breast Cancer Foundation, Moehau Environment Group’s kiwi sanctuary in the Coromandel and Mental Health Foundation of New Zealand. 

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THE CREATIVES | focus

HAMMON DIAMOND JEWELLER, Jewellers and watchmakers hammonjeweller.co.nz Established in 1947, and run by mother-daughter duo Julie Hammon and Alexandra Hammon-Elliott, the brand has a long and proud family history in the retail jewellery industry.

At their boutique in Downtown Tauranga, Julie and Alexandra have created a true enclave of bespoke jewellery, watches and giftware from all over the world. The impressive selection includes masterpieces of various gemstones and metals but their focus has always been diamonds. “Trends come and go but the diamond always stays the gem of choice,” they say.

As a family business it makes Julie and Alexandra happy to see other families start and grow their own jewellery heritage. It often begins with an engagement ring for a young couple who later return for accessories to celebrate important milestones.

Remodelling older pieces, repurposing gemstones and repairing watches are an important part of their business, allowing people to gift a new life and modern appeal to jewellery that has been lovingly passed down the generations.

“After more than 70 years in business, we have certainly evolved but what I love is that our core values remain the same – supreme service and gorgeous products,” says Alexandra. 

JO TRICKER, Glassmaker jotrickerglass.com For Jo Tricker, glassmaking combines her love for science and art. Both were always a big part of her family – her mum was a fine arts painter and puppet maker, her dad loved writing and history, while Jo herself worked in medical laboratories.

In glassmaking she found a perfect balance between aesthetics and technical approach.

She uses kilns, moulds and a gas torch to create her artworks. It requires a lot of practice, patience and attention to detail. “There is a lot to think about! Do you have the right heating and cooling cycles? How do the shape and thickness of your piece affect the timing and intensity of your heating cycle? How are the colours of the glass going to perform in different temperatures?” she explains.

To perfect her skills, Jo used to travel to Whanganui to attend 5-day Claudia Borella glass workshops for seven years, and also attended classes in Whangārei, Hamilton and Auckland.

She now runs her own weekly workshops where people learn to make glass beads. This year she plans to launch a new class – Hot Glass Sculpting with Flowers and Leaves. 

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OKORORE NGĀ TOI MĀORI, Celebrating Māori Arts theincubator.co.nz The latest addition to the Incubator Creative Hub’s ecosystem, OKORORE Ngā Toi Māori further enhances The Historic Village as a diverse art and cultural destination. It provides a much sought-after space for Māori artisans and celebrates the production and showcase of the meaningful Toi Māori creations of the highest quality.

Inside you’ll find traditional and contemporary Māori artworks, unique jewellery, Raranga (flaxweaving), Te Reo gift cards, Māori floristry, gift baskets and genuine New Zealand pounamu (jade).

The new gallery is located inside the famous 19th Century Faulkner House – relocated into The Historic Village in 1990 and recently entrusted to the Incubator Creative Hub by the Tauranga Heritage Collection. Under the direction of talented Kaitiaki (guardian) Kalena Egan and the group of artists, this house has been transformed from a museum into a vibrant art destination. “It’s important to acknowledge its rich history, yet celebrate its transition into a positive arts destination, filled with mauri – life force," say the building’s new residents. 

THE SATELLITE STUDIOS, Teaching and mentoring artists theincubator.co.nz An historic Californian bungalow at Tauranga’s Historic Village hosts a whole cluster of unique workplaces and showrooms that give local artists, school groups and other visitors more insight into the work of creatives. It’s a welcoming space for everyone to get inspired, learn something new and grow their own talents – from ceramics to silversmithing, from fashion design to visual arts. Resident artists are here not only to exhibit their own works but also to teach and mentor the creators of tomorrow.

Among current practitioners of The Satellite Studios are Kerry Funnell (customised womenswear using quality fabrics, fluttering styles and beautiful finishes), Bobbi Summers (contemporary minimalism fashion with scientific patterns based on the tiny worlds of fungi and other earthly organisms), Vamped Handstyled Garments (funked-up quality preloved men’s shirts), Orna Amir (multicultural and multicoloured women’s and girl’s outfits), Alexandra Mostyn (fresh, modern, colourful jewellery using sterling silver textured with semi-precious gemstones), Ruth O’Connell (silver adornments that become heirlooms with ancient ways and antique aesthetics at the core) and Nick Eggleston (bespoke shoes and iconic whimsical watercolours). 

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THE CREATIVES | focus

TRACEY LLOYD, Graphic designer facebook.com/printpeoplebop

PAMELA LINES, Watercolour painting pamsart.felt.co.nz Pamela Lines has been drawing since early childhood.

She graduated from the Kindergarten Teachers’ College with a speciality in art, and throughout her life has tried acrylics, oils, charcoal, pastel and other styles.

One day, at a meeting of a local art group in Rotorua, two experienced watercolourists noticed Pamela’s works and their comments and mentorship created a spark the artist simply couldn’t ignore. She switched to watercolours and found her calling in depicting the coasts, the sand, the harbours – anything and everything by the water.

“I’m consciously affected by my environment,” Pamela says. She holds beginner watercolour classes for adults in a gorgeous Waihi Beach studio and sells her artworks at Waihi Beach Gallery, hardly ever venturing too far from the water that fascinates and mesmerises her. “My current series of abstract work has a specific process in applying water and paint and I just love watching it move.” 

The love for print and books has always been in Tracey’s blood. Her great grandfather, William Satchel, owned a publishing company in London in the late 1880s, and after moving to New Zealand he started writing books.

In spite of this connection to the world of printing, Tracey didn’t follow in her great grandfather’s footsteps straight away. At first she used to work in hospitality, which taught her the value of excelling in customer service – something any graphic designer would be proud of as well! “Sitting with a client and listening to what they want makes the process easier and less time consuming. You gain more sense of what is required in the origination of a logo, business card, brochure etc. It’s rewarding to develop a new identity for a client and very satisfying to see a logo I created on signage and advertising.”

When Tracey’s not working with the team at Print People and focus magazine, she indulges in her other passion – upcycling and repurposing garments. “It’s something I’ve always done – finding beautiful unloved fabrics and clothes and giving them a new life. I get great satisfaction from knowing I will never pass someone wearing the same outfit as me.” 

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HOW TO UNLOCK your creative spark

at any age HAVE YOU WATCHED YOUNG CHILDREN PLAY? THEY ARE FREE AND IMAGINATIVE. THEY GO WITH THE FLOW AND ARE ABSORBED, CURIOUS AND UNINHIBITED IN WHAT THEY ARE DOING. THEY HAVEN’T YET LEARNT HOW TO BE JUDGEMENTAL AND SELF-CRITICAL. AS WE GROW OLDER, WE BECOME MORE SELFCONSCIOUS AND SENSITIVE TO THE CRITICISM OF OTHERS. IN TURN, WE OFTEN BECOME SELF-CRITICAL IN A HARSH AND NEGATIVE WAY. WHEN THIS HAPPENS IN THE AREA OF CREATIVITY, OUR CREATIVE SPARK DIMINISHES. HOWEVER, IT CAN BE RE-IGNITED AND PROVIDE AN EXCITING AND SATISFYING DIMENSION TO OUR LIVES. Words LILIAN WISSINK

So, what is creativity? Well, it’s our innate ability to discover new things through learning new skills, using our imagination, problem solving, experimenting and being playful. It’s our ability to bring about something unique that has meaning and value – whether it be poetry, painting, singing, craft making and so on. We are already creative in our everyday lives. We use our imagination and problemsolving skills when we plant a new flower bed, try out a new recipe or write a submission for work. We can develop our creativity in new ways.

Creativity is a process. I call it the SEED process. It’s not just an outcome, like a sculpture or a short story. Seed is an acronym that stands for parts of the creative process:

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S – SKILLS E – EXPERIMENTATION E – EVALUATION D – DISCOVERY In any creative domain we start by learning a few skills. We need to be open to playing with these skills and experimenting. We also need to learn how to evaluate – what’s working well? What needs attention? And ultimately, creativity is about discovery. Discovering something new that is unique to us – discovering our own stamp on creativity. This SEED is part of every creative process. We start off small but it’s an ever-growing spiral.

Extensive research has supported many health benefits from harnessing and nurturing our creativity. Creativity is about self-expression, finding our unique way to sing a song, paint a landscape or complete a craft project. There is something wonderfully healing in finding an avenue for creativity that helps express something that may be difficult to put into everyday language.

Creativity is fun and confidence boosting. Doing things that are enjoyable and stimulating can provide relief and time away from our current stressors of life. For others, creativity prevents boredom – it gives life to life. Many creative pursuits are also enjoyed with others, and so it’s beneficial for our social health. We meet new people and learn from others.

Think about being in choirs, art classes, orchestras, bands, writers’ groups.

Lots of creativity is physical, like sculpting, acting, dancing, carving, craft making, and so is great for our bodies as we move, stretch and express.

Creativity gives meaning and purpose to our lives. It nourishes our spirit.

Having a creative outlet is great for providing a work/life balance. For many of us though, we need to give ourselves permission and the time to be creative, especially if we are busy with work, families and other commitments. Even if you are a really busy person you can give some time to creative expression. In The Creative Seed I talk about ‘speed dates’, that is, taking even just small amounts of time in a busy schedule – could be singing in the car, regularly giving yourself just a few minutes to jot down ideas for a book you would eventually like to write, or doing a quick 10-minute drawing before you sit down to watch the TV at night.

My firm belief, and that of many other experts in the field of creativity, is that we can reignite our creative spark at any age. Here are my top 5 tips.

1. Don’t know what creative realm you’d like to explore? Let yourself experiment and try out some different things. Think about what you enjoyed doing growing up, or maybe there is something you’d secretly love to do, but up to now haven’t felt confident to give it a go.

2. Quieten the voice inside your head that says you’re not creative or not good enough. Encourage yourself each step of the way. Find others to help nurture and support your creativity. A teacher? A group?

3. Be open and curious! Ask yourself what’s the first/next step you need to make in your creative journey? Write down some ideas.

4. If feeling stuck, just play as if no-one is listening or watching, even for just 10 minutes. Let go of self-judgement.

5. If you are a beginner, then let yourself be a beginner. Make so-called ‘mistakes’ and see them as ways to learn and develop. Remember, it takes time to develop in any creative area.

What’s your next step in your creative journey? 

LILIAN WISSINK has over two decades experience as a psychologist, helping people to realise their potential and in her book, The Creative Seed, she helps readers discover their creativity through experimentation, evaluation and discovery.

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ART TRAIL through

NEW ZEALAND WHETHER IT’S A FAMILY VISIT OR A BUSINESS TRIP, NO JOURNEY IS TRULY COMPLETE WITHOUT A QUICK ART BREAK. THESE GALLERIES ARE WELL WORTH YOUR TIME, EVEN IF ALL YOU HAVE IS A COUPLE OF HOURS IN THE CITY! Words KSENIIA SPODYNEIKO Images ALEX SPODYNEIKO AUCKLAND ART GALLERY TOI O TĀMAKI If you could only visit one gallery for the rest of your life, this should definitely be Toi O Tāmaki with its collection of over 17,000 masterpieces ranging from the early 11th Century, including one of the only two Picassos in New Zealand, to the ones literally created yesterday. It’s one of those galleries that can easily become a full-day experience, though if you’re short on time, focusing on just one of the permanent or temporary exhibitions is also an option. Lots of special events, meet-ups with artists and workshops throughout the year will make your visit even more memorable. No two days are the same here!

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TE URU WAITĀKERE CONTEMPORARY GALLERY The bright-green building in Titirangi Village, Auckland, with barely any windows to peek inside, was created by the same architect group as Tauranga Art Gallery, so expect loads of glass, concrete and impressive staircases.

The gallery consists of bright spacious rooms hosting contemporary art, and focuses on a hands-on experience with its many workshops and events, as well as The Learning Centre Pokapu Akoranga, for people of all ages, experiences and abilities. While many galleries celebrate the talents of the past, Te Uru is focused on the future and change.

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It boasts the most epic views of Waitākere mountain range.

Browsing this place is like being in a relaxing luxurious resort only a few streets away from the familiar buzz of Auckland.

GOVETT-BREWSTER ART GALLERY | LEN LYE CENTRE Proclaimed ‘New Zealand’s most courageous contemporary art museum’, New Plymouth’s Govett-Brewster Art Gallery | Len Lye Centre is among the most recognisable sights of the entire Taranaki region – right next to Te Rewa Rewa Bridge and the mighty mountain itself – thanks to the fascinating mirror-like facade by local architect Terry Boon.

While the double name might confuse some people, it’s actually easily explained. The massive building is divided into two independent spaces: Len Lye Centre, which, as its name states, is devoted entirely to one artist – kinetic sculptor, poet, painter and filmmaker Len Lye; and internationally recognised contemporary Govett-Brewster Art Gallery, which hosts various temporary exhibitions.

CITY GALLERY WELLINGTON Wellington’s entire city centre is like one endless art gallery.

All you need to do is take a few steps and you’re entering a new door to yet another unique space, filled to the brim with upcoming or established artists both local and international.

Since this article is all about grand experiences though, your Wellington trip should definitely include the City Gallery. Historic on the outside, the building at the Te Ngākau Civic Square is home for the bravest, brightest examples of New Zealand modern art. ‘Exhibitions with an edge’ is how gallery employees describe their space.

They encourage visitors to push boundaries, ask questions, debate and challenge themselves.

CHRISTCHURCH ART GALLERY TE PUNA O WAIWHETŪ The first glimpse of the majestic glass and metal building of this public gallery – and you’re transferred into an entirely different reality. Its flowing form evoking both the koru and the local Avon River wouldn’t appear out of place on the streets of Manhattan or any other megalopolis adorned in skyscrapers, high-end boutiques and traffic jams. But it’s right here in the heart of Christchurch, next to its renowned historic architecture, quirky cafes and tranquil little parks.

Inside are nine exhibition areas, sprawled across two floors, as well as conference and workshop rooms, restaurant and souvenir store. From the breathtaking masterpieces of the 18th Century to contemporary photography, from traditional Māori arts to, often confusing, yet mesmerising experiments that are twisting and bending art as we know it – Christchurch art gallery is a journey through time, space and creative mediums.

DUNEDIN PUBLIC ART GALLERY Established in 1884 it’s the oldest art gallery in the country, known for its extensive collection of New Zealand artists and especially Dunedin-born Frances Hodgkins, who was at the forefront of Britain’s Neo-Romantic movement and whose father founded the gallery.

The gallery is also a must-visit destination for lovers of historic European art. On the ground floor you’ll find paintings by Zanobi Machiavelli, Claude Lorrain, Salvator Rosa, Claude Monet, Camille Pissarro and other artists from as early as 15th Century. Colourful rooms hosting the collection of over 200 works form a little labyrinth that won’t have you lost literally but definitely lost in art and talents of the past.

Take some time to admire the Donaghys foyer on your way out – this architectural space is stunning when observed from the comfy ottomans on the ground floor. 

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TranzAlpine adventure ONE OF THE WORLD’S MOST SCENIC RAILWAY JOURNEYS HAS BEEN A MAJOR ATTRACTION FOR OVERSEAS TOURISTS SINCE 1987.

IT’S TIME FOR KIWIS TO DISCOVER THE JOY OF SPENDING A DAY ON A TRAIN AS WELL!

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ARE CONSUMED

BY TRANZALPINE PASSENGERS ANNUALLY

Words KSENIIA SPODYNEIKO Images ALEX SPODYNEIKO

he TranzAlpine train used to transfer over 200,000 passengers from Christchurch to Greymouth and back every year. On a bright morning of the first winter after last year’s lockdown, Christchurch station is still buzzing with passengers, queuing for their tickets, filling up their complimentary takeaway cups with hot drinks or hugging their slightly dishevelled family members from their early morning wake-up. But it’s immediately obvious that in spite of the fabulous winter discounts, the crowd is nowhere near what it used to be, which is once again

45,500 6,300 2,150

confirmed by a half-empty carriage when we leave the station at 8.15am.

Any day is a good day to enjoy this 223km, 5-hour adventure but if you’ve been waiting for an absolutely perfect moment, sunny winter months with way fewer people on board might just be it.

About 40 minutes later, the train passes the little town of Springfield, nestled cosily at the foot of the Southern Alps, and the true fun begins.

It’s time to leave the warm comfort of our seats and move to one of the two observation carriages that allow better views of the fast-approaching

mountains. There is a price to pay though – the space is open to alpine winds that at 100km/h are freezing.

Those first few moments of entering the Southern Alps are truly magnificent. The air suddenly changes to a pure, healing mountain one, and the shiny turquoise Waimakariri River – one of the highlights of the entire journey – appears seemingly from nowhere and follows the train for a while. From there, it’s a wild kaleidoscope of epic views, giant viaducts – including the photogenic 75m high Staircase Viaduct – bridges and tunnels. Seeing the beauty of our

TRAVEL | focus

country from this perspective is an emotional overload and suddenly it becomes impossible to hold back the happy tears of being so endlessly in love with it.

At Arthur’s Pass the train makes a short stop, allowing us to take a few photos outside, stretch our legs and relax our muscles after that intense white-knuckle grip on the rail of the observation carriage and excited head swivel we all did for the past few hours trying not to miss anything important.

Some passengers disembark here to explore the Avalanche Peak trail or many other local hiking and tramping routes but mostly the stop serves as a quick breather after the first part of the journey.

The next surprise awaits shortly after Arthur’s Pass is left behind – it’s the 8.5km Otirā Tunnel that plunges you into darkness for a good 20 minutes and cuts off access to the observation and café carriages for safety reasons. Of course, nothing is as attractive to human beings as something forbidden, so the only thing I can think of for the entire time in the tunnel is all the food sitting unwanted at the café.

However, holding this thought proves to be impossible as, after emerging from the tunnel, the change of scenery is so striking it’s time for another gripping and swivelling session. It’s now obvious we’re getting closer to the West Coast –everything becomes just a little more harsh, rugged, unattainable. This part of New Zealand is known for its long goldmining history and the tiny towns we skirt past have obviously all been a part of it at some stage. Life used to be very different here from what we know now – more challenging, more dependent on the elements. And somehow it still shows.

Another river – this time Grey River/Māwheranui – follows us all the way to Greymouth. With its population being just over 13,000, Greymouth is the largest city on the West Coast and it says a lot about this breathtaking, yet sparsely inhabited part of the country.

We only have an hour before the trip back, so we wander through the historic little streets peppered with sights, like the old Speight’s Ale House and the Left Bank Art Gallery, before ending up at the Floodwall Walk by the river with its viewing platforms, clock

KATE WINSLET, JOHN TRAVOLTA, SEVERAL ALL BLACKS RUGBY PLAYERS, AND CARTOON CHARACTERS BART AND HOMER SIMPSON are just a few of the celebrities who have enjoyed a TranzAlpine journey.

tower and memorial to coal miners who lost their lives in tragic accidents and collapses on the West Coast.

A lot has happened in and around Greymouth, both good and bad – drastic floods, jade hunting, coal mining and, of course, gold mining. There are historic sights, natural wonders and some of the best cycling trails here, so if you wish to stay longer, you definitely won’t get bored. There will always be another TranzAlpine train to take you back to Christchurch after all! 

WATCH OUR VIDEO AT

focusmagazine.co.nz/tranzalpine

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focus | FOOD

FOOD

I LLUS I ON S WHAT TASTES LIKE PIZZA BUT DOESN’T HAVE AN OUNCE OF FLOUR IN IT? OR LOOKS LIKE PASTA BUT ONLY HAS A FRACTION OF THE CALORIES? THESE MOUTHWATERING MEALS ARE THE HEALTHY ALTERNATIVES FOR YOUR FAVOURITE GUILTY PLEASURES.

Recipes created by Dr Clare Bailey and Justine Pattison for The Fast 800 Easy. Published by Simon & Schuster Australia, RRP $35.

Photography: Smith & Gilmour.

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FOOD | focus

LOW-CARB PORTOBELLO ‘PIZZAS’ INGREDIENTS: • 2 Tbsp extra-virgin olive oil, plus extra for greasing • 2 garlic cloves, peeled and crushed • 1 tsp dried oregano, plus some fresh oregano leaves (optional), to serve • 4 Portobello or large flat mushrooms (each around 90g) • 3–4 Tbsp tomato purée • 6–8 cherry tomatoes, sliced • 100g ready-grated mozzarella

TIP

Add extra protein by topping each mushroom with anchovy fillets, chorizo or salami.

METHOD: 1. Preheat oven to 200°C and lightly grease a baking tray.

2. Mix olive oil, garlic and oregano in a small bowl.

3. Place mushrooms stalk side up on the tray and spread each one thickly with tomato purée. Top with sliced tomatoes and drizzle with olive oil mixture. Sprinkle with mozzarella and season with a little salt and plenty of ground black pepper. Bake for 8–10 minutes or until cheese is melted and has started to brown.

4. Serve sprinkled with fresh oregano leaves and lots of green vegetables or a large salad.

PRAWN ZOODLES AND SPAGHETTI WITH CHILLI AND LEMON INGREDIENTS: • 40g dried wholewheat spaghetti • 1 large zucchini, trimmed and spiralised or peeled into ribbons (or use a pack of zoodles) • 2 Tbsp extra-virgin olive oil • 200g cooked and peeled prawns • 2 garlic cloves, peeled and crushed or finely grated • 1–1½ tsp crushed dried chilli flakes • finely grated zest and juice 1 small lemon

TIP

You can use raw prawns but you will need to cook them for 1–2 minutes before adding chilli and garlic. They should be hot and pink throughout before tossing with spaghetti and zoodles.

METHOD: 1. Half fill a large pan with water and bring to boil. Add pasta and cook according to the pack instructions.

Stir in zoodles for the last 15–20 seconds of the cooking time. Drain pasta and zoodles in a colander and set aside.

2. Heat oil in a large pan, add prawns, garlic and chilli and fry over a medium heat for about 2 minutes or until heated through, stirring regularly. Don’t overcook the prawns or they will toughen.

3. Add spaghetti and zoodles, lemon zest and juice to the pan. Toss together well, season with salt and plenty of ground black pepper and serve in warmed bowls.

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focus | BUSINESS

Josephine Davis and Olivia Bezett Stacey Venter and Annette Cameron

mother,

daughter

Maureen Keen, Albertine Jonas and Tracy Baird Bianca and Alison Nottingham

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BUSINESS | focus

BUSINESS THRIVES WHEN SUPPORTED BY CLIENTS. BUT FOR SOME BUSINESS OWNERS, THERE IS NOTHING LIKE SUPPORT FROM THE DEAREST PERSON IN THEIR LIFE. THIS MOTHER’S DAY, FOUR WOMEN SHARE WHAT IT’S LIKE TO WORK SIDE BY SIDE WITH THEIR MUMS. Words KSENIIA SPODYNEIKO

WHAT IS IT THAT YOU AND YOUR MUM DO? Olivia Bezett: We’re both artists. My style is realistic with little surreal elements in coloured pencils.

I’ve always loved drawing animals and that’s my main subject. My mum, Josephine Davis, started with representational works inspired by light and water and recently developed into more whimsical, nature-inspired artworks. She also likes hiding little surprises in each painting for people to discover.

Tracy Baird: For the past 21 years, we’ve owned City Cake Company – a bespoke cake shop in Mt Eden Village, Auckland. We hand-make gorgeous cakes using the best New Zealand dairy, free-range eggs and no artificial flavours. I do all the shop and customer management and day-to-day operations, and my mum, Maureen Keen, handles the accounts, website and wedding orders. My daughter, Albertine Jonas, also helps us part-time, though she’s mostly focused on her acting career.

Bianca Nottingham: Named after my sister and me, Bianca Lorenne is a handcrafted couture range of bed linen, home textiles and interior products established in 2005 and now available throughout Australasia. My mother, Alison, is the creative director, CEO and driving force. We call her ‘The Big A’. I’m the manager and spending specialist for our New Plymouth flagship store. I also co-ordinate social media and marketing and assist in the wholesale side of business.

Stacey Venter: We are a mother-daughter real estate team with NZ Sotheby’s International Realty in Taupō.

WAS THIS SOMETHING YOU ALWAYS WANTED TO DO? Olivia: With an artist mum and an art dealer, gallery owner and framer dad, I grew up surrounded by art. My brother, cousins, aunties and grandma are all talented artists as well! Though it had quite an unexpected effect on me – I was determined to do something different with my life and avoided any art inclinations up until I was about 16. After one year of doing art at school, I decided to leave college and pursue art full-time. Thank God, I had my whole family backing me!

Tracy: Mum had always been a baker in our family and it was her mum who taught her everything. I used to own a different cafe in Mt Eden and mum helped me with start-up money and business advice.

So, after working together for a while, we combined our skills and City Cake Company was born.

Bianca: In high school, I didn’t have much idea about what I really wanted to do. I pretty much just wanted to stay for my last year so I could attend the ball.

When a position in the Bianca Lorenne warehouse became available, my mum offered it to me, while my best friend offered to take me to the school ball as her date so everything just fell into place. I would have never thought that this would be my dream career and passion if it weren’t for the push and guidance from my mum!

Stacey: My mother, Annette Cameron has been in real estate since 2001. I used to tag along to her office or watch her at the open homes. I never thought I’d follow in her footsteps though. That all changed in my university years when I was working as a part-time receptionist for a real estate company and a PA for my mother. I obtained my real estate licence right before graduation. Fast forward to 2017, we both ended up in Taupō and joined forces in a mother-daughter partnership.

HOW IS YOUR MUM AT HOME DIFFERENT FROM YOUR MUM AT WORK? Olivia: Jo is always the same lovely lady, although we’ve always said she’s at her happiest when painting. She can sit for hours and hours and forget to eat because she just can’t put her brushes down! I remember being 10 years old delivering cups of tea to the studio every couple of hours while she was in the zone.

Tracy: At work, she’s a tough, no-nonsense person.

But at home, she’s the sweetest and softest mum!

Bianca: She’s very much the same person all the time. Always crafting and creating. We’re all one big family with our employees so can be 100% ourselves and openly share the good, the bad and the ugly.

Stacey: My mum is always bubbly and positive which transpires into her relationships with clients. Real estate is not just a business of selling properties,

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focus | BUSINESS

Olivia's pet rabbit Cashew by Olivia Bezett with fairies and background by Josephine Davis

it is very much about relationships.

Connecting with people is key, and my mum is really good at that in both her personal life and in business.

WHAT WAS THE MAIN CAREER LESSON YOUR MUM TAUGHT YOU? Olivia: To draw what you see, not what you think you see. It might sound strange but has helped me to draw more realistically. The other important advice was to do a drawing every single day, no matter how small, because every single time we draw, we improve.

Tracy: There is a solution to everything!

Bianca: One of her favourite sayings is to never, never, never give up, and believe that if you don’t take a risk and try, you will never know how great you can be.

Stacey: To stay true to yourself and your values.

HOW DO YOU BALANCE WORK AND PERSONAL RELATIONSHIPS? Olivia: It’s actually amazing and very helpful to have a mum who is in the

54 | focusmagazine.co.nz

same industry! I often phone her or send her pictures of my current works and ask for her opinion and she does the same with me. When we lived together, we chatted about art daily and it wasn’t even a ‘work chat’, it was always more about our mutual passion.

We never really had to separate work from family.

Tracy: It’s no easy task but we’ve been working together for quite some time already and have ironed all this out.

It was important for us to learn how to say ‘sorry’ and move on whenever conflicts happen.

Bianca: We really enjoy working together and get on like a house on fire. If anything, it has brought us even closer. We had to establish a few ground rules in the early days, but having such a fun, easygoing team makes that a lot easier. It’s hard not to bring work home but if one of us doesn’t feel like talking about it, the other will respect that.

Stacey: We are very blessed to have the relationship we have; we’ve always been very close. Merging into business partners happened naturally. We love that we can share so much with each

other and reflect on our business together.

WHAT IS YOUR FAVOURITE MOTHERDAUGHTER ACTIVITY OUTSIDE YOUR WORK? Olivia: We’ve been on many adventures together. We’ve travelled overseas and we never skip an opportunity for a ‘work’ trip, such as attending a market to sell our works in Wellington or Tauranga. We also love driving to Gisborne to our family farm. We’ve always had a very special relationship; she’s my best friend!

Tracy: I go to Mum’s once a week for dinner and she has always enjoyed spending time with my twin daughters.

Bianca: Eating good food, shopping and watching a good bit of reality TV. Stacey: We are fortunate to live only 10 minutes apart, so most days we take time to walk our dogs together.

Another favourite activity would have to be shopping. In fact, we often do day trips to Napier just for clothes and home decor shopping! 

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FOCUSMAGAZINE.CO.NZ/BUSINESSBRILLIANCE $125.00 PER PERSON Spaces are limited

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We’re already hard at work with our next edition which has a health and wellbeing theme.

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If you are in the health and wellbeing industry, we would love to catch up and have a chat about our special offer and how we can work together.

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SUZANNE MCNICOL CHAIR OF CREATIVE BAY OF PLENTY AS CHAIR OF CREATIVE BAY OF PLENTY SUZANNE MCNICOL PUTS HER HEART INTO THE ARTS. the new normal of events and social interaction after the COVID-19 impacts on the arts sector and our focus is to help creatives build a stronger, sustainable arts and culture practice.

We’ll also be actively promoting the role of the arts in social cohesion and economic recovery post-COVID, which there’s a wealth of global evidence for that’s highly relevant for the Western Bay. Ultimately, I’d like to see arts and culture recognised as a major contributor to the lifestyle that we enjoy here. We are so much more than beaches and bush!

DESPITE A YEAR WITH LOCKDOWNS AND BORDER CLOSURES, WHAT ARE SOME OF YOUR FAVOURITE RECENT CREATIVE EXPERIENCES IN THE BAY OF PLENTY? The first thing I did after level 4 lockdown ended in April last year was purchase a work from local artist Kalou Koefoed whose solo show, The Basaloid Project, at The Incubator, really spoke to me. I also enjoyed The Blues Brothers: First Contact, which attracted a huge audience over several shows after many cancellations. We have a fantastic venue in Baycourt Theatre, which was the perfect space to enjoy Teeks when he performed in December. It was a spinetingling show in an intimate setting that made me feel part of something very special. That voice in a 26-year-old!

WE LOVE THE WORK COMING OUT OF CREATIVE BAY OF PLENTY. WHAT’S THE FOCUS THIS YEAR? Our purpose is to create an environment where arts and culture thrive in the Western Bay. This year we’re expanding our capability toolkit to connect artists, audiences and funders, amplifying the wealth of creative stories in our region and advocating with our arts and culture community to see the social and economic contribution of the arts recognised in the 2021 Long-Term Plan.

We also have a couple of programming ideas in the works that will showcase local creatives alongside national producers and provide employment and training opportunities for both emerging and established artists and performers. We’re working with our sector to navigate

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IS YOUR BACKGROUND CREATIVE, CORPORATE, OR ACADEMIC? It’s a mix of commercial and charitable. I’ve worked in marketing communications for large media companies and a big telco, as well as in executive leadership roles and governance for Breast Cancer Foundation NZ, YWCA and Givealittle. I specialise in working with people, cultural organisations and entrepreneurs who want to enhance their reputation and/or grow their business.

WHAT OTHER PASSIONS OR INTERESTS DO YOU BRING TO CREATIVE BAY OF PLENTY? I love words and storytelling so I’m always thinking about the ‘sizzle’ in describing a creative project. The ‘what’ and the ‘so what?’ When I’m in a public space I often find myself making up stories about strangers, imagining their secret lives. These are great character development exercises for short stories. I’m also a music nut and like to go to as many live shows as I can, either here in the Bay or around New Zealand. creativebop.org.nz 

GIVEAWAYS ENTER AT FOCUSMAGAZINE.CO.NZ/WIN | ENTRIES CLOSE 16 MAY 2021

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07 348 4868 | info@onthepoint.co.nz | peppersonthepoint.co.nz