Current Residency
Fiona Cable
30 September to 29 October 2023
For most of human history, the world was enchanted and humans saw themselves as an integral part of it. The complete reverse of this perception in a mere four hundred years or so has destroyed the continuity of the human experience and the integrity of human psyche. It has nearly wrecked the planet as well. The only hope lies in a re enchantment of the world. (Morris Berman, The Re enchantment of the World).
Hokianga has been deeply affected by European settlement – in particular deforestation of Kauri forests, with the impact still being felt in many ways today. Long-term ecological, social, and historical impacts of industrialization and the western mechanical approach to ‘unliving’ are evident everywhere. Can an artist aid in the re echantment of a small part of the world? It makes my heart sink, a challenge almost too enormous to contemplate – yet to do something is better than nothing at all.
While researching regenerative agriculture, I decided to utilise my art practice as a way of note taking. By mending, sewing, dyeing, layered textured collages in an organic and instinctive way – this contemplative approach cements my learning in keeping with a sense of wonder. It takes longer, but the doing allows time for thinking and processing, taking hold in my mind, while the tactile, physical aspect means it is more embedded and integrated in a bodily way. Using the local natural environment as an extension of the studio, and in collaboration with the landscape, I intend to either create a land-based artwork – in the form of a mini food forest, or sculptural piece, in conjunction with textile-based artworks. A hanging piece stitched and felted, or both. Possibly an artist’s book illustrated with descriptions of local flora, of what is currently there and could potentially be there. It could include what I plant in the garden, preferably requiring minimal care by future artists with space in the book to be updated, notes or observations of their own to be added. The intention is to mend, sew and learn, creating new understandings of what it means to care for the environment in relation to the local area. Giving agency to plants and the soil, sewing (and sowing) the seeds of repair through the work. Seed paper quilts could be made to yield a garden for pollinators and other threatened species. Between writing this proposal and beginning the residency, I will have garnered further understanding and knowledge of regenerative ecology as well as ways to express this through my art practice - a personal, investigative journey that will continue, moving towards ecological literacy and reenchanting the world, one stitch at a time.
Hokianga has been deeply affected by European settlement – in particular deforestation of Kauri forests, with the impact still being felt in many ways today. Long-term ecological, social, and historical impacts of industrialization and the western mechanical approach to ‘unliving’ are evident everywhere. Can an artist aid in the re echantment of a small part of the world? It makes my heart sink, a challenge almost too enormous to contemplate – yet to do something is better than nothing at all.
While researching regenerative agriculture, I decided to utilise my art practice as a way of note taking. By mending, sewing, dyeing, layered textured collages in an organic and instinctive way – this contemplative approach cements my learning in keeping with a sense of wonder. It takes longer, but the doing allows time for thinking and processing, taking hold in my mind, while the tactile, physical aspect means it is more embedded and integrated in a bodily way. Using the local natural environment as an extension of the studio, and in collaboration with the landscape, I intend to either create a land-based artwork – in the form of a mini food forest, or sculptural piece, in conjunction with textile-based artworks. A hanging piece stitched and felted, or both. Possibly an artist’s book illustrated with descriptions of local flora, of what is currently there and could potentially be there. It could include what I plant in the garden, preferably requiring minimal care by future artists with space in the book to be updated, notes or observations of their own to be added. The intention is to mend, sew and learn, creating new understandings of what it means to care for the environment in relation to the local area. Giving agency to plants and the soil, sewing (and sowing) the seeds of repair through the work. Seed paper quilts could be made to yield a garden for pollinators and other threatened species. Between writing this proposal and beginning the residency, I will have garnered further understanding and knowledge of regenerative ecology as well as ways to express this through my art practice - a personal, investigative journey that will continue, moving towards ecological literacy and reenchanting the world, one stitch at a time.
Previous Residencies
Garth Maxwell
18 to 29 September 2023
Maxwell began working in commercial film industry on the 1984 feature Other Halves. During the 1980s, Maxwell had the opportunity to assist Peter Wells and Stewart Main in their editing suite.[7]
He had a big interest in film making, especially when he was in university, where he had made Super 8 films. The third short film he made was called Tandem, a music-heavy short film. It won the GOFTA award for the best short of 1987. In 1988, with funding from TVNZ, Maxwell directed Beyond Gravity, a love story between two men, an astronomy-obsessed Kiwi and a part Italian. This was Maxwell's first gay film. Garth and his co-writer Graham Adams won the best screenplay prize at a French film festival that same year, where they won $13,000.[7]
His first feature film was a drama, Jack Be Nimble, which he made in 1993. The film was about traumatized twins who reunite to find their birth parents after being separated at birth. The film won the award for best screenplay at Portugal’s Fantasporto film festival.[7]
Maxwell was one of the directors on the Xena: Warrior Princess and Hercules: The Legendary Journeys television series. He became one of the more profound Kiwi directors for these television shows.[8] In 1998, Maxwell directed and co-wrote When Love Comes Along. In 2007 he created the TV series Rude Awakenings, directing many of its episodes.
He had a big interest in film making, especially when he was in university, where he had made Super 8 films. The third short film he made was called Tandem, a music-heavy short film. It won the GOFTA award for the best short of 1987. In 1988, with funding from TVNZ, Maxwell directed Beyond Gravity, a love story between two men, an astronomy-obsessed Kiwi and a part Italian. This was Maxwell's first gay film. Garth and his co-writer Graham Adams won the best screenplay prize at a French film festival that same year, where they won $13,000.[7]
His first feature film was a drama, Jack Be Nimble, which he made in 1993. The film was about traumatized twins who reunite to find their birth parents after being separated at birth. The film won the award for best screenplay at Portugal’s Fantasporto film festival.[7]
Maxwell was one of the directors on the Xena: Warrior Princess and Hercules: The Legendary Journeys television series. He became one of the more profound Kiwi directors for these television shows.[8] In 1998, Maxwell directed and co-wrote When Love Comes Along. In 2007 he created the TV series Rude Awakenings, directing many of its episodes.
Residency Reflections and Learnings
I appreciated the austerity of the interior of the Church, Very elemental. Wind rain and birdsong were the forces from outside, all had a beautiful echo in my writing. I was doing a piece that was not realism, but a kind of heightened romantic style, gothic and surreal, and the combination of the large echo chamber of the hall, and its antique materials, and the purity of the arches overhead, lifted me up, away from concerns of a domestic or ordinary kind, and allowed my thoughts to spiral toward the intense and imaginary. The time my project is set in, is a sort of timeless contemporary that feels more Victorian than modern. The interweaving arches like clasped fingers above me drew me upward. I alternated between sitting at the window facing up the harbour, to do my actual writing but when I needed to regularly sort out scene order, I turned to the big table in the middle of the hall, and rearranged cards with scene outlines on them. That was my method, and two weeks flew. I met with friends down at the harbour from time to time but I was careful to keep mostly to myself, and I feel that I was given an amazing chance to make real headway on this idea that has been haunting me for two years, by protecting myself from outside influences. No TV no radio, sometimes music but mostly silence. Up early, and to bed in the comfort of the restored residence when night fell. Snoozes on the couch when I was needing to recharge. What a good experience it was. I got my momentum back.
I appreciated the austerity of the interior of the Church, Very elemental. Wind rain and birdsong were the forces from outside, all had a beautiful echo in my writing. I was doing a piece that was not realism, but a kind of heightened romantic style, gothic and surreal, and the combination of the large echo chamber of the hall, and its antique materials, and the purity of the arches overhead, lifted me up, away from concerns of a domestic or ordinary kind, and allowed my thoughts to spiral toward the intense and imaginary. The time my project is set in, is a sort of timeless contemporary that feels more Victorian than modern. The interweaving arches like clasped fingers above me drew me upward. I alternated between sitting at the window facing up the harbour, to do my actual writing but when I needed to regularly sort out scene order, I turned to the big table in the middle of the hall, and rearranged cards with scene outlines on them. That was my method, and two weeks flew. I met with friends down at the harbour from time to time but I was careful to keep mostly to myself, and I feel that I was given an amazing chance to make real headway on this idea that has been haunting me for two years, by protecting myself from outside influences. No TV no radio, sometimes music but mostly silence. Up early, and to bed in the comfort of the restored residence when night fell. Snoozes on the couch when I was needing to recharge. What a good experience it was. I got my momentum back.
Julian Noel
28 July - 3 September 2023
Julian Noel is a writer, poet, actor, performer, entrepreneur, and lover of words inherited from his mother, Eve Patuawa Nathan, one of the first Māori women to have a book of her poetry published. Julian trained as an actor at the VCA in Melbourne, Australia, and specialized in creating his own works. He has experience working on stage, television, and film. He also studied for an English degree with a focus on creative writing. He is currently writing a series of stories about growing up in Aotearoa and creating a one-man play.
"My time will be spent on two inter-linked projects, a book and a play. A book of stories, working title: 'The Awful Grace of God'. The title is based upon a quote of the Greek Poet/tragedian Aeschylus, 'He who learns must suffer. And even in our sleep pain that cannot forget falls drop by drop upon the heart, and in our own despair, against our will, comes wisdom to us by the awful grace of God'. Aeschylus The stories are an exploration of the gifts passed down through the generations including both traumatic and sacred gifts bequeathed to us by our ancestors. The one person play is entitled BONES, based upon the stories. And is an exploration of what we carry in our bones".
"My time will be spent on two inter-linked projects, a book and a play. A book of stories, working title: 'The Awful Grace of God'. The title is based upon a quote of the Greek Poet/tragedian Aeschylus, 'He who learns must suffer. And even in our sleep pain that cannot forget falls drop by drop upon the heart, and in our own despair, against our will, comes wisdom to us by the awful grace of God'. Aeschylus The stories are an exploration of the gifts passed down through the generations including both traumatic and sacred gifts bequeathed to us by our ancestors. The one person play is entitled BONES, based upon the stories. And is an exploration of what we carry in our bones".
Residency Reflections and Learnings
What a wonderful venue. Spacious, restful, warm and safe from the winds and rain. A wonderful 6 weeks of writing, performing, meeting the local arts community and beyond. This time and venue allowed me to connect deeply with the creative urges and what is seeking to emerge from within the womb of creativity.... it was exciting, frightening and ultimately rewarding.
On my final night I performed BONES to the local men's group. The group was started by a local man with a heart of gold and a dark past. It is 6 o'clock, men are arriving in dribs and drabs. As everyone arrives the Maori tradition of introducing yourself to everyone in the room, ensues. Handshakes and hongis (the gentle touching of the noses). There is an air of discomfort. People who know one another group and fall into easy conversation.... for those of us who don't know anyone there is the obligatory staring into space or down at the floor. I scan the room. Most of the men are Maori and poor. There are a couple of well heeled Pakeha man, who shuffle off into a corner. One person in particular catch my attention, a wiry Māori man, as he introduces himself he deliberately avoids the traditional hongi, offering a stilted, awkward hug instead. His eyes are dark and will not meet mine. His shoulders are stooped. Most of his top teeth are missing. He has the aura of sad defeat. I am feeling reticent about my performance. The themes in the play will echo the upbringings of these men... and I wonder if this is a good idea.
Rawene is a place of great natural beauty, a thin peninsula pressing into the glassy smooth waters of the Hokianga harbour and ringed by the greenest of hills. It is a warm-hearted community and they rallied whilst I was on this 5 week creative retreat. There were poetry and songwriting evenings, scone and chat afternoons, music and scones gatherings, we also did a 'global' broadcast in honour of National Poetry Day in New Zealand... and a couple of performances of my play BONES. I found it a challenging place to be. Against the backdrop of nature's beauty and serenity, the foreground is one of Poverty, meth addiction and social inequity. All brought into sharp relief with the impending elections.... and knowing nothing will change for most people here. I felt I was in the land that time forgot. No political advantage to changing the lives’ of these people. Distressing.
Still, hope springs eternal in the human heart.
My host welcomes me in te reo (the Māori language) which I do not understand. There is warm applause. I step forward and start to introduce myself... " My mother comes from this area, she worked in the local hospital, she was one of the first Māori women to have a book of her poetry published, and she wrote about Rawene". I feel compelled to pause. In the silence, my judgments of those present and any sense of separation falls away. A freshness fills the air. I continue, " I really want to thank you for coming along this evening, it really means a lot to me". At this, the wiry toothless Māori jumps to his feet, "Looks me straight in the eye saying" No. Thank you for coming to be with us".
The play begins. They ride every bump, shudder and joke. At the conclusion of the play my toothless friend leaps to his feel in full blown applause. We drink tea and share scones together. One of the reserved pakeha men approaches me saying, "Thank you. That was my life you represented. My father spent years molesting my sisters and was put away".
We are all fighting silent battles. Be kind.
What a wonderful venue. Spacious, restful, warm and safe from the winds and rain. A wonderful 6 weeks of writing, performing, meeting the local arts community and beyond. This time and venue allowed me to connect deeply with the creative urges and what is seeking to emerge from within the womb of creativity.... it was exciting, frightening and ultimately rewarding.
On my final night I performed BONES to the local men's group. The group was started by a local man with a heart of gold and a dark past. It is 6 o'clock, men are arriving in dribs and drabs. As everyone arrives the Maori tradition of introducing yourself to everyone in the room, ensues. Handshakes and hongis (the gentle touching of the noses). There is an air of discomfort. People who know one another group and fall into easy conversation.... for those of us who don't know anyone there is the obligatory staring into space or down at the floor. I scan the room. Most of the men are Maori and poor. There are a couple of well heeled Pakeha man, who shuffle off into a corner. One person in particular catch my attention, a wiry Māori man, as he introduces himself he deliberately avoids the traditional hongi, offering a stilted, awkward hug instead. His eyes are dark and will not meet mine. His shoulders are stooped. Most of his top teeth are missing. He has the aura of sad defeat. I am feeling reticent about my performance. The themes in the play will echo the upbringings of these men... and I wonder if this is a good idea.
Rawene is a place of great natural beauty, a thin peninsula pressing into the glassy smooth waters of the Hokianga harbour and ringed by the greenest of hills. It is a warm-hearted community and they rallied whilst I was on this 5 week creative retreat. There were poetry and songwriting evenings, scone and chat afternoons, music and scones gatherings, we also did a 'global' broadcast in honour of National Poetry Day in New Zealand... and a couple of performances of my play BONES. I found it a challenging place to be. Against the backdrop of nature's beauty and serenity, the foreground is one of Poverty, meth addiction and social inequity. All brought into sharp relief with the impending elections.... and knowing nothing will change for most people here. I felt I was in the land that time forgot. No political advantage to changing the lives’ of these people. Distressing.
Still, hope springs eternal in the human heart.
My host welcomes me in te reo (the Māori language) which I do not understand. There is warm applause. I step forward and start to introduce myself... " My mother comes from this area, she worked in the local hospital, she was one of the first Māori women to have a book of her poetry published, and she wrote about Rawene". I feel compelled to pause. In the silence, my judgments of those present and any sense of separation falls away. A freshness fills the air. I continue, " I really want to thank you for coming along this evening, it really means a lot to me". At this, the wiry toothless Māori jumps to his feet, "Looks me straight in the eye saying" No. Thank you for coming to be with us".
The play begins. They ride every bump, shudder and joke. At the conclusion of the play my toothless friend leaps to his feel in full blown applause. We drink tea and share scones together. One of the reserved pakeha men approaches me saying, "Thank you. That was my life you represented. My father spent years molesting my sisters and was put away".
We are all fighting silent battles. Be kind.
Tanya Batt
- 26 June - 25 July 2023
I have long had a love of the Hokianga coupled with an interest in 19th century New Zealand history and our iconic wooden churches. In 2018 I developed a piece of storytelling theatre in partnership with my musician husband, Peter Forster, around the story of Mary Bumby, the sister of John.H.Bumby who was the appointed superintendent missionary at the Māngungu Mission on the Hokianga. Mary Bumby is credited with bringing Apis Mellifera, the honey bee to Aotearoa.
Her story interested me as a gardener/bee keeper and as a woman – and I used it as a vehicle for exploring the human relationship with not only the honey bee but the natural world in general. The work I am focusing on while in residence is more educational in nature though similarly concerned with the natural world. I am working on two educational resources for teachers. Seasonal Storytelling- a calendar of story, drama and song is a practical collection of ideas for realigning the inherited European calendar with our seasonal celebrations (e.g. taking spring festivals out of Autumn) using the expressive arts. Likewise, Growing Stories – the stories of our food and the land it grows on is also pragmatic in nature and based on two years of work with the tamariki of Waiheke Primary school in their māra/garden. At the heart of both pieces of work is storytelling.
Residency Reflections and Learnings
Winter in the not so winterless north.
I can’t think of a better way to spend winter than sitting in a church that overlooks an ever changing harbour, writing.
A church can be an expansive inward space and winter the season of contemplation. Working on a book that encourages teachers to embrace the lessons of the seasons during Pūanga/Matariki added an additional depth to the project.
While I was deeply satisfied to complete the task at hand, I did wonder what it would be like to come into the space without an agenda, to simply create from the experience of habitation. To listen and take inspiration from the whenua that the building sits on, the trees turned timber that form the body of the church and and the resonance of human murmuring seeking to connect with something greater than our small but cherished selves.
It being a Wesleyan church and the oldest in Rawene, it was wonderful to share our performance piece, ‘Mary Bumby’s Hive of Story’ as part of the residency, given the Wesleyan history of the area and that the Hokianga was first home of the honey bee in Aotearoa.
Ngā mihi nui for the opportunity and for the manaakitanga shown to me by the community of the Hokianga.
Winter in the not so winterless north.
I can’t think of a better way to spend winter than sitting in a church that overlooks an ever changing harbour, writing.
A church can be an expansive inward space and winter the season of contemplation. Working on a book that encourages teachers to embrace the lessons of the seasons during Pūanga/Matariki added an additional depth to the project.
While I was deeply satisfied to complete the task at hand, I did wonder what it would be like to come into the space without an agenda, to simply create from the experience of habitation. To listen and take inspiration from the whenua that the building sits on, the trees turned timber that form the body of the church and and the resonance of human murmuring seeking to connect with something greater than our small but cherished selves.
It being a Wesleyan church and the oldest in Rawene, it was wonderful to share our performance piece, ‘Mary Bumby’s Hive of Story’ as part of the residency, given the Wesleyan history of the area and that the Hokianga was first home of the honey bee in Aotearoa.
Ngā mihi nui for the opportunity and for the manaakitanga shown to me by the community of the Hokianga.
Jason Burgess
12 - 25 June 2023
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A creative content maker who loves working on the fly, moving light and fast. I photograph, write and often doodle (it curbs my thinking out loud.) I am curious and passionate, have catholic tastes, an into it attitude and a thirst for the arts and travel. 
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When applying for any arts opportunity I often feel like an imposter. At best I am a capricious archivist of artists and unreliable patron of their output. But in this instance I have been given an opportunity to forward a biographical project based on the life and work of 'outlier' painter / ceramicist Tony Johnston. My goal for a residency in Rawene is that it will provide a place where I can distil the project to date; hone in, collate and construct a narrative for the work, which at present, feels as unwieldy as one of Tony's paintings might seem to a new viewer of his work. Personally, I find the Hokianga is a content rich and visually inspiring locale. I would like to think that in between hours spent with Tony's project I can get out and explore nearby environs with my camera and perhaps unearth some interesting stories from local characters and places. |
Residency Reflections and Learnings
It doesn’t matter how much of a sanctuary I make my writing station at home base, there is always the to-do list of domestic distractions playing around at the back of the mind.
The Church was an excellent opportunity to step away from such diversions and focus in on my task at hand IE to find some order to the previously nebulous ideas i held around my Tony Johnston book project.
The first week in Rawene for me really was a defrag’ time; pulling away from my city busy-ness; settling into the rhythm of the tides and asking questions of myself.
Week two, the silt settled. I got more grounded and the project started to take some form from the amorphous sludge I had arrived with.
Personally speaking, another week at the residence may of been of value to keep the focus. That said, at least now I have a direction and momentum to carry things forward.
Rawene is a great place to meditate on whatever it is that needs one’s attention. There is enough action around the gallery/wharf area, if folk need the stimulus of fellow humans: real characters and good coffee but the sanctuary of the Church provides the perfect space to contemplate & create. Views, sun and quiet.
It doesn’t matter how much of a sanctuary I make my writing station at home base, there is always the to-do list of domestic distractions playing around at the back of the mind.
The Church was an excellent opportunity to step away from such diversions and focus in on my task at hand IE to find some order to the previously nebulous ideas i held around my Tony Johnston book project.
The first week in Rawene for me really was a defrag’ time; pulling away from my city busy-ness; settling into the rhythm of the tides and asking questions of myself.
Week two, the silt settled. I got more grounded and the project started to take some form from the amorphous sludge I had arrived with.
Personally speaking, another week at the residence may of been of value to keep the focus. That said, at least now I have a direction and momentum to carry things forward.
Rawene is a great place to meditate on whatever it is that needs one’s attention. There is enough action around the gallery/wharf area, if folk need the stimulus of fellow humans: real characters and good coffee but the sanctuary of the Church provides the perfect space to contemplate & create. Views, sun and quiet.
Carolyn Lye and Elsa Lye
14 May to 10 June 2023
Carolyn and Elsa (daughter and mother) are valuing this opportunity to spent time devoted just to their art practice and especially happy to have art time together for the first time . Goodness knows what new and exciting work will emerge!
(Note: Carolyn is resident in the church and Elsa accommodated at the Rawene Motor camp)
(Note: Carolyn is resident in the church and Elsa accommodated at the Rawene Motor camp)
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Elsa Lye “ my creative process or what makes me tick, is still a puzzle, a magic mystery that enthrals me. I am pulled and pushed to express life as it unfolds. What I feel and what I see, the place of spirit in nature life and art. Then trust the intuitive process to tell its story.” I draw and paint directly along the Wild West coast, the challenge to catch these beautiful spaces draws me back time after time. My studio paintings are abstract internalised expressions of life. My clay sculptures often relate to human environments and concerns. Residency Reflections and Learnings In my residency application I remember writing of the need for World change, such a huge question. As I sit and thinks, I realise the change has been me. I have reconnected to my artist self which had wandered off in the hustle of everyday life. It’s a conscious revitalised change that gives me energy and confidence to skip and dance with my artist, learn new steps to old rhythms. Over the years I have ( Im a Great Granma) worked in many ways and mediums to express ideas that have spiked my imagination. Here in Rawene, Carolyn and I worked intently in our own way, using every inch of this beautifully restored Old Church. Our exhibition just 3 weeks away. No Pressure. On reflection as a painter working beside Carolyn, who weaves magic with natural and recycled materials. I only had a vague idea how our exhibition would look, feel or tell its story. It wasn’t until working with curator Lynsey Evans that we started to see our work as an installation and just how beautiful the conversation. This residency has been a dream come true, thank you Carolyn, strengthening my artist backbone, my confidence to the gestalt strength of family and community. Thank you, Lynn Lawton for your kindness, your support both professional and personal, for your vision to promote art in all its guises. |
Carolyn Lye
Based near Karetu, Northland, Carolyn is a fibre artist who weaves and works in natural materials. She is surrounded by the rural landscape and flora and is involved with the community of artists in the area. She enjoys collecting what she has found randomly and has an intuitive, primal response to her materials, be they kelp, fishing rope, roots, nuts, shells, harakeke, pumice, cabbage tree and flowers. Carolyn works to blend an unexpected variety of materials to create items of beauty. Her devotion to joining, blending and weaving items together gives integrity to work that is greater than the materials; it expresses her philosophy ‘we only think we are separate’ (Witi Ihimaera – Rope of Man).
Residency Reflections and Learnings
Residency for me has meant realising a dream of creating alongside my Mother toward an exhibition and spending precious time together. The church is an incredibly beautiful facility to work and reside in. It is warm and comfortable. I felt safe during my stay. Thank you. It takes time to settle in so I was compelled to start with familiar forms of lei and sedge grass Oi Oi girls until I found my making rhythm. Then over the second week new works emerged – giving me some confidence moving towards our exhibition at No 1 Parnell. Having a deadline fueled us making us work and also standby what we created very quickly!! I wonder if some time between residency and exhibiting might be productive and enjoyable for future resident artists. I have gained so much through this experience. Thank you Linda and Lynn its been fantastic. Your wrap around support and service ism incredible
Based near Karetu, Northland, Carolyn is a fibre artist who weaves and works in natural materials. She is surrounded by the rural landscape and flora and is involved with the community of artists in the area. She enjoys collecting what she has found randomly and has an intuitive, primal response to her materials, be they kelp, fishing rope, roots, nuts, shells, harakeke, pumice, cabbage tree and flowers. Carolyn works to blend an unexpected variety of materials to create items of beauty. Her devotion to joining, blending and weaving items together gives integrity to work that is greater than the materials; it expresses her philosophy ‘we only think we are separate’ (Witi Ihimaera – Rope of Man).
Residency Reflections and Learnings
Residency for me has meant realising a dream of creating alongside my Mother toward an exhibition and spending precious time together. The church is an incredibly beautiful facility to work and reside in. It is warm and comfortable. I felt safe during my stay. Thank you. It takes time to settle in so I was compelled to start with familiar forms of lei and sedge grass Oi Oi girls until I found my making rhythm. Then over the second week new works emerged – giving me some confidence moving towards our exhibition at No 1 Parnell. Having a deadline fueled us making us work and also standby what we created very quickly!! I wonder if some time between residency and exhibiting might be productive and enjoyable for future resident artists. I have gained so much through this experience. Thank you Linda and Lynn its been fantastic. Your wrap around support and service ism incredible
Bert Van Dijk
9 April to 10 May 2023
Residency Reflections and Learnings
After working for more than 30 years as a performing artist, I have the last few years turned to visual art, working with acrylic, oil, ink, charcoal, pastels and collage on canvas and wood panels.
For my work, I find inspiration in the archetypal dimensions of nature (the gods), the moods of land- and seascapes, and the beauty of the male body frozen in motion or emotion.
This Hokianga residency has given me an opportunity to explore in colours, composition and expression, the contours, atmosphere and spirit of this extraordinary area. I have also found inspiration at some of the pre-European narratives, particularly those that explain the original names of the Hokianga: Hokianga whakapau karakia (Hokianga that exhausts karakia) and Te Puna i te Ao Mārama (the spring of the world of light).
It was interesting and unexpected to see whales and whale related themes emerging in my work during my residency.
Exhibition title: Breaching the Surface
Breaching the Surface refers to what I believe is a mission of the artist, to present not just the outer form of something but also express the mood, feeling or dramatic essence of a place or subject.
The act of breaching refers to a process of getting through, breaking out, cracking up and penetrating into, as a metaphor for expanding our horizons, an act that requires an almost violent energy to overcome certain limitations.
During my residency, whales – champions of breaching – have entered my work, both in the shapes of the Hokianga landscape and as protagonists in some of the pre-European Māori stories of the area.
Breaching the Surface refers to what I believe is a mission of the artist, to present not just the outer form of something but also express the mood, feeling or dramatic essence of a place or subject.
The act of breaching refers to a process of getting through, breaking out, cracking up and penetrating into, as a metaphor for expanding our horizons, an act that requires an almost violent energy to overcome certain limitations.
During my residency, whales – champions of breaching – have entered my work, both in the shapes of the Hokianga landscape and as protagonists in some of the pre-European Māori stories of the area.
Brenda Moir
4 March - 3 April 2023
I have always been involved with colour and was trained as a “colour matcher “ in my early employment. It was inevitable then that I turned to “Art” as my favourite activity when I finally granted myself the time to enjoy life, when moving to the Bay of Islands. My first dabble with paints was oils and although I enjoyed this medium, I found constraints in portability, and time requirements. When I moved onto watercolours, I was amazed at the difference in the action of the paint but felt inhibited by the restrictions this style of painting placed upon me. Now I have made my way to acrylics I revel in the science involved in learning about the mediums, techniques and application. I am inspired by an image that “touches” me and so I hope to create a painting, which in turn evokes the same emotion in the viewer. My images are usually taken from the natural landscape, flora and fauna and bird life, being an artist who has to “feel” the subject before and during the process of painting it.
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Residency Reflections and Learnings
My time spent in the Rawene Church as a resident artist in March 2023 was absolutely wonderful!
I was able to concentrate on creating a cohesive body of painting works without restrictions on time, space or outside commitments.
There was plenty of room to spread out and work on several pieces at the same time and not having to “wait for paint tot dry” enabled greater productivity. The ability to to watch paintings become completed-from a distance, through different light phases and neighbouring other works was a real treat that I have never had before.
The whole experience was extremely gratifying, extremely productive and I was very pleased with the creative outcome.
The living area was so very comfortable and compact making life easy, relaxed and separated from the painting area ( the church).
My experience of meting, joining in with and living amongst the village of Rawene was mostly rewarding, educational and all encompassing, they made me feel very special. I give my sincere gratitude to Linda and Lynn for allowing me to partake in this Residency and adding a fabulous, happy and fulfilling experience to my life!
My time spent in the Rawene Church as a resident artist in March 2023 was absolutely wonderful!
I was able to concentrate on creating a cohesive body of painting works without restrictions on time, space or outside commitments.
There was plenty of room to spread out and work on several pieces at the same time and not having to “wait for paint tot dry” enabled greater productivity. The ability to to watch paintings become completed-from a distance, through different light phases and neighbouring other works was a real treat that I have never had before.
The whole experience was extremely gratifying, extremely productive and I was very pleased with the creative outcome.
The living area was so very comfortable and compact making life easy, relaxed and separated from the painting area ( the church).
My experience of meting, joining in with and living amongst the village of Rawene was mostly rewarding, educational and all encompassing, they made me feel very special. I give my sincere gratitude to Linda and Lynn for allowing me to partake in this Residency and adding a fabulous, happy and fulfilling experience to my life!
Geoff Clendon
7 Oct - 5 Nov 2022
I have worked in the performing arts for over 40 years as an actor, director, writer, and teacher. I’m a graduate of the National Institute of Dramatic Art, Sydney, and have an MA in creative writing from Victoria University. My writing credits include for the stage: It’s just a Fly, Waiheke Dark n’ Stormy and Rangitoto; and short films Rise Up Stilt and Poroporoaki. The play Rangitoto is set in the island’s bach community during the Great Depression and is to be produced in Auckland in early 2023. I have recently completed 13 years as Head of Drama at Massey High School and am now going back to my first love, that of writing and producing theatre.
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Geoff Clendon arrived on 7 October 2022 for a month to undertake research for a play he will be writing, based on one of Rawene’s memorable historic events, 'The Dog Tax War’.
'Coincidence brought me to the Rawene Residency. A play about The Dog Tax War was something I had been contemplating for some time and bumping into Linda Blincko, who told me of the Residency situated where The Dog Tax War occurred, was fortuitous. The Hokianga is the papa kainga of my tupuna, Māori and Pakeha who were intimately involved in the affray. An Aotearoa story that happened in the Hokianga, whose universality speaks to our moment in history as well as its own. Residency Reflections and Learnings My time in the Church has been a challenging journey where the writing has not gone down the track I had foreseen, but the result will be something stronger. Part of the reason for its shift in direction is the people I have met along the way. I have had visitors from the community who have shared their stories and research on The Dog Tax War. Rawene is friendly place and I now feel like I belong, he tangata, he tangata, he tangata. The vestry domicile is stylishly and comprehensively equipped. I have used the church as a workspace. It is spacious, peaceful, a suitable area for contemplation and writing, and has great acoustics. Having a month to focus solely on my mahi has been hugely beneficial to my project, I’ll miss it.' Geoffrey Clendon |
The name ‘The Dog Tax War’ describes an armed uprising of Te Mahurehure of Waima against the government in 1898. Although there were comical aspects of the uprising, it was in reality a very near tragedy – the outcome of smouldering resentment against bad laws, broken promises, and the steady undermining of Māori mana. It remains a potent symbol of the ongoing struggle of relationship amongst Māori and the Crown, and Māori and Pākehā. Sparks from this incident burn into the present and remain in the memories of affected communities.
The Dog Tax War is intimately connected to Geoff's family’s history. His tūpuna were protagonists on both sides. His whakapapa includes: the Clendons of Rawene and Muriwai of Utakura.
The Dog Tax War was an extraordinary affair that deserves to be re-visited in an inventive theatrical production. His long-term plan is to open the first production of the play in Rawene, bringing the story home to the community from which it sprang.
The Dog Tax War is intimately connected to Geoff's family’s history. His tūpuna were protagonists on both sides. His whakapapa includes: the Clendons of Rawene and Muriwai of Utakura.
The Dog Tax War was an extraordinary affair that deserves to be re-visited in an inventive theatrical production. His long-term plan is to open the first production of the play in Rawene, bringing the story home to the community from which it sprang.
Gabrielle BelzJune 2015Printmaker and artist Gabrielle Belz presented a collection of works derived from her observations, thoughts and experiences over the 10 week residency in Rawene.
'‘The Hokianga landscape, with thrusting hills and deep valley clefts, constant cloud changes, rainbows, mist, rain and light, were immediate impressions. Smiling friendliness of the community coupled with the ‘well, who is she?’ Hearing local histories began to colour the way I saw the present landscape and gave an insight into the possible forming of today’s community. ‘ Gabrielle of Ngapuhi and Te Atiawa descent, undertook her practice in the Waka Gallery at No 1 Parnell where she also ran some very popular workshops. 
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