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It is often said it’s not about the destination, but the journey itself. For many, this describes art; whether it is a finding of oneself, growing as an individual or simply starting a piece, shaping and moulding it as you go until that final moment of being happy with the end result. Ingrid Mann shares this philosophy of the journey.

“I define my art as a fabulous journey. My art practice is not just the practical side, making art, but it also encompasses all my visual interpretation of landscape and my cultural experiences. These elements are abundant in New Zealand and returning here after 40 years has greatly stimulated me. My art is intuitive, and as such I am driven to use my imagination and feel a free creative mind. I love to be loose with paint, however I also require myself to have some discipline – especially with black and white or small paintings.” Regardless of the approach, the fabulous result of each and every stage culminates in some special pieces of art. Colour abounds and Ingrid seems to demand a presence with the splashes of each hue across the canvas. “Art takes you to another plane. I am constantly inspired by colours, visualising and working on the process. My work is deliberately non-representational and abstract, because I want to engage the viewer’s imagination so that every time they look at my work, they see something different. Art is very subjective. Having said that, my proudest moments are when I have completed my painting and I have time to sit and look at it. I never fail to be proud of my own work and I do not need or seek other opinions.”

See Ingrid's work here: Ingrid Mann.

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There’s something about painting. The caress of the brush against the canvas, turning a blank space into a vibrant masterpiece.

There’s something about looking at paintings too. Imagining the artists thought process along the way, how they used colour, blending and shapes. How did they get inspired to do this piece of work in particular? Wellington-based artist Escha van den Bogerd travelled the long way from the Netherlands to our fair shores in Aotearoa, to paint portraits, in some cases of people looking at paintings: the inspiration for each piece of work being a simple enough philosophy. “My main inspiration is from the Old Masters and the classical European feel. I started off as a portrait artist and then did figurative painting for many years. I have been working for some years on my museum paintings, a series of paintings of people studying famous paintings,”she says. The inspiration of the classics is a key driver for Escha as you can imagine, along with the ability to share this with all around her, and the freedom she has to do just that. “To be able to do what I love and share this with the world, to express my feelings and moods and to be able to work for myself and have the time to work when I want is a great combination.” Mood definitely helps too – it’s not always easy to paint a nice happy picture if your mood doesn’t match. Getting into the right headspace is important, but changing moods can bring out new and interesting works and ideas, in addition to other elements that Escha draws on for inspiration.
See more of Escha's work here: Escha van den Bogerd

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Searching for treasure or a lofty goal has been a human motivation since day one. Whether it be the elusive Holy Grail, pirates looking for the sunken chest of bullion or getting the detail in that brushstroke to look just right, it seems we’re all searching for betterment. Somewhere along the line we have to make a decision on a definitive direction. Do I focus on art full-time? Or is it a part-time gig or hobby? Enter Alina Gane-Hurcomb. It seemed to dawn on her that once she got started, she fell into a love of painting and all things art! “I had always loved art, but hadn’t considered it as a career until I attended a free workshop at The Learning Connexion three years ago. They called a week later offering me a scholarship to come and study with them.

“The scholarship motivated me to try my hand at art and after two weeks, art had crept into my soul and made its bed. I knew I was there for the long haul and that art was what had been the missing ingredient in my life.” The decision made, direction was the key. Alina had to find the treasure now that the missing ingredient - painting - was evident. “I didn’t know what I was inspired by creatively. I would see fellow artists who were completely passionate about various things and I would work with them on projects and exhibitions in the hope that their passion for the subject matter would rub off, but I found that my work always lacked something. I knew that I needed to find my own muse, but had no idea where to look. In 2018 I found her! It turns out that my passion, inspiration and soul reside in historical European architecture and travel.” She came full circle in considering herself an artist following one of these offshore adventures.
Alina Gane-Hurcomb

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Art, creative thinking and graphics have been my life since age fifteen when I was given a bursary to Art School in 1952 – it changed my life, my thinking, my skills and especially my eye-hand coordination. Art has since never been an amusement pastime or hobby for me. It has been my living – my life. A social realist painter and thinker – Douglas remains true to his heritage.

‘Our Village’ Attenborough’s fields, Haydon Dell, the Churchyard graves of Dr Munro, Thomas Hearne and Henry Edridge ARA and the remains of Herkomer’s castle ‘Lululaund’ were the wartime playgrounds of Douglas Chowns. Studios still existed in friends’ gardens or were abandoned, dilapidated shells open to the sky. Lucie Kemp-Welch was painting in a black straw hat and smelt of turpentine and lavender water. The late Mary Bromet and her work were still much in conversation. The Bohemians – the Artists – had created the aura and myth into which Douglas was born in Bushey in 1937. A. E. Matthews was a familiar figure about the village as were Canadians Frank and Cyril Church who later talked film and Bushey Studios when Douglas was in his teens at Art School in Watford. From an early age, Douglas was fascinated by illustrations in his mother’s Orange Fairy Book edited by Andrew Lang and illustrated by Henry Justice Ford, from whom he learned to understand drawing in line. Douglas is also an accomplished watercolourist, painting land and seascapes that often facilitate his lifestyfe. He was the University of Otago commissioned painter and was Patron to the Northland Polytechnic Art Gallery at Geoff Wilsons request before Geoff tragically died. Douglas was Senior Art Tutor and initiator of the Art School which now lists over 150 full time students. As co-founder of the New Zealand Gaidhealtachd annual Celtic Summer School, his childhood legacy in the shadow of the Royal Caledonian Schools, piping, dancing and drumming with Pipe Major Charles Turnbull around and about Bushey and Watford, the West Herts Scottish Society and the London Scottish Regiment, the Thistle Club dances in Oxhey church halls, have all surfaced in McKenzie Bay, a New Zealand centre where Scots, Irish, Welsh and Cornish meet on a regular annual festival. Touring New Zealand Universities and Polytechnics with London Art Historian and author Edward Lucie-Smith, an old friend and colleague, resulted in a new body of work comprising this ‘Enduring of Suffering’ series.
Dougie Chowns

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From the balmy California sun to tropical Hawaii and then here to New Zealand’s Saint Heliers, Kristen Olson Stone has explored and painted her way throughout the Pacific rim. It all started back there, in the west of America, with Kristen’s emotional connection to her first art tutor. “My first art teacher was my grandmother, who lived in the Sierra foothills of Northern California. She was a wonderful artist and we were very close, with us taking our first three artist workshops together, which was a wonderful experience.

“She gifted me professional artist supplies and ‘how to’ art books for every birthday and holiday. She also encouraged me to paint and draw as much as possible and we shared a love of nature and wildlife. When I got to spend time with her she would take me out to hike and we sketched and painted along the way. I never needed any encouragement to paint, the desire to paint and draw well was always a part of me.” This early exposure to the art world and the exciting and endless possibilities was just the beginning. Kristen’s studies led her into art in a somewhat different and yet complimentary way, despite this early foundational time with her grandmother. “I have a BA in Geography from the University Of Maryland, which has been useful, giving me an in-depth understanding of the geology and geography of the landscapes that I love to visit and paint. After university, I attended art school. First at The Art Students League in New York with a full scholarship, then in Southern California where I attended The California Art Institute and Otis Parsons in Los Angeles. I also studied architectural rendering – this taught me perspective from the inside out! I learned the traditional methods of portraiture, figurative art, design, composition and impressionist landscape painting. Beyond art school I’ve taken a few professional artist workshops including those by Rose Frantzen, Don Putman, Neil Boyle and Michael Albrechtsen. I think that the best teacher is nature itself; nature provides all the answers if you are keenly observant and know the right questions to ask.” Kristen Olson Stone

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From a very early age I have always been creating in some way, you could say it’s just part of my soul, part of who I am. It has always been a dream of mine to become an artist. Not all people get to live their dream as I am now. I have never had any formal training in drawing or painting. What I do now has come through trial and error and a lot of hours; some days I find myself still painting in the wee small hours having not noticed the time.
“I loved exploring creativity since I was very small. I began experimenting with resene testpots while I was living in Wellington, creating abstract works on canvas occasionally, but I never felt happy with my finished works because I didn’t develop a definitive style or find it to be a very accurate tool of self expression at that point in time. I didn’t feel emotionally connected to my works, I just enjoyed the process of creating.” Take the girl out of Auckland and she ends up in Singapore or, initially at least, Indonesia. It’s amazing how a move can change your thinking process or style. In Jennifer’s case, this is when some passion and inspiration really started to take flight. “It wasn’t until I moved to Jakarta, Indonesia with two young children for my husband’s job that I began to develop an interest in learning realistic oil portraits. I think it was a reaction to the chaotic environment I found myself living in, with bomb threats, flooding, protests and snipers hanging out on rooftops, the list goes on… “The environment I was living in in Jakarta was chaotic, messy and sometimes frightening, so I needed an antithesis to the life that was happening outside, inside my studio.” From the somewhat chaotic existence of Indonesia to the more refined areas of Singapore, this feeling and the motivation behind her works started to evolve and take shape, with inspiration coming from many different quarters. The change of atmospheres, melded together many different environments, created varying points of inspiration.
Jennifer Chalklen

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