Pam Crowther
PAMELA'S SOUTHERN SYMPHONY
PAMELA'S SOUTHERN SYMPHONYArtists continually strive to bring a piece to life, to fill a canvas with something that personifies a thought or represents a feeling. For artist Pamela Crowther, this is the earliest part of the process. Just as a songwriter starts with no sound and starts with one part of an arrangement – as an artist, Pamela has to start somewhere too.
by Matt Mortimer
“I begin with the largest shapes filling in dark and light areas, usually in one colour, mainly using a brush for this. I’ll then place another three or four colours to start with, using retarding medium on palette – then it’s mix and begin. My technique varies considerably. I basically follow my instinct.” This instinctive approach works well, as she then branches out into the work, on the way to a sometimes-lengthy process to create each work. “Colour, colour, colour – the desire to change the blank white space into some exciting, thought-provoking or sometimes just decorative. Starting the painting takes courage and the need to prepare yourself for mental stimulation and then, near the end of the painting, dealing with exhaustion.”
Gwyn Hughes
NATURAL PROGRESSION
NATURAL PROGRESSIONGwyn Hughes’ father and grandfather used to paint and it was a natural progression for him to become an artist. Gaining a National Diploma at Wrexham College of Art, Wales between 1980-1982, he was excited to explore his creativity and find his own path and as most artists do, he took inspiration from all of the great artists he came across. Gwyn tells us his story.
I first came to New Zealand in the 70s through a joinery internship. I joined a band, secured a couple of residencies in Christchurch and stayed for five years. After moving back to Wales from New Zealand, I would pop into a gallery run by a local artist, David Williams. I started to draw birds and local landscapes, and paint watercolours, and I was encouraged to pursue the arts as a career. I completed my four-year Illustration and Design Diploma in two years. I have never been a great one for entering exhibitions or awards but know as an artist it’s how you put yourself out there. I have been very lucky throughout my art career and I have received loads of support from family and friends who have always offered encouragement and critique.
Keith Snow
By Matt Mortimer
Keith Snow’s journey as an artist is a literal voyage of creativity, navigating the ups and downs of artistic exploration of largely maritime painting. This is an apt parallel of his definition of his career to date. It comes as no surprise that Keith’s maritime focus is one birthed from a love of the sea and sailing.
“It’s gone from an interest...to a hobby...to a full-time job, “he says. “To attempt to fill a need to create something of beauty and of longevity.” His background is one of no formal training, of exploring the depths of maritime journals and books. My ideas and inspiration are mainly from reading. Books about early explorers, emigrant ships, local fishing craft and more.”
Mary Sneyd
FABRIC AND THREAD
FABRIC AND THREADBy Matt Mortimer
Artists of all types are often asked about their favourite instruments to make their creations. Music artists will have an instrument of choice that gets that certain sound, a painter may have a brush or easel they love and others, like textile artist Mary Sneyd – well, they reach for something different entirely. And her choice is…? “My sewing machine, because my work has many layers and it is impossible to sew by hand!”
This sets Mary apart from many who call themselves an artist, much like the clear difference between her occupation when she is not sitting behind her sewing machine. “I still work as a doctor/scientist three days a week and do textile art for three days a week or sometimes four - if I can get away with it! - so although I’d like to be one, I’m not a career artist.”
Barbara Uini
Mostly a self-taught artist, Barbara Uini also studied illustration for a year at the Chisholm Institute in Melbourne, Australia. Serendipitously she happened to find an old tin of watercolour paints at the back of a dusty cupboard where she lived and at about the same time, was gifted a subscription to a monthly art instruction magazine. Barbara began to fill up any snatched moments by teaching herself to paint. The magazine had lessons for a range of media, but she focused on the watercolour tutorials at that point, because that was the art material that she had access to. And that is how she became primarily a watercolour artist. Barbara expands . . .
Mostly a self-taught artist, Becoming an artist has really been a lifelong process for me, and I love the fact that you are never finished learning and challenging yourself in art. I have always loved to draw, but I really began to take my art seriously about 25 years ago when I was a stay-at-home mother with pre-schoolers. I was enchanted by some of the illustrations in the books that I read to my children, and the realisation that I really wanted to be an illustrator is what set me off on my artistic journey. I was attracted to illustration because I love books and storytelling and the idea of telling a story visually really appealed. I also love the idea of working to a brief whilst still having licence to add nuances to a children’s story that are not contained in the writing.
Carla Sclanders
BLESSED INSPIRATION
BLESSED INSPIRATIONBorn in South Africa and immigrating to New Zealand in 2020, Carla Sclanders is inspired by God. “He has blessed me with a gift and I am driven to portray a glimse of His Glory in all that I am able to create.”
She began with a pencil portrait of her daughter and was so pleased with the result that she began to do more family portraits. “My passion for art grew with every artwork I created especially once I started experimenting with colour pencils. Posting pictures of my artwork on Facebook lead to people contacting me for commissions and so my hobby turned into a part time job.”
Fiona Ehm
INTERVIEW WITH FIONA EHM
INTERVIEW WITH FIONA EHMHow did you end up being an artist?
I’ve always had a deep motivation to create. Early on I pursued classical piano as my creative outlet – but found so many creative pursuits gave me joy and eventually visual arts won out as my primary form of expression.
What was your biggest motivating factor for you to pursue a career as an artist?
Creating art is deeply fulfilling. Currently, my primary career is in the Financial Services sector, however exploring my creative side remains so important to me. It keeps me balanced and grounded, and brings so much joy. There is nothing more rewarding seeing someone’s face light up when they find a piece that they connect with.
Sheelagh McHaffie
IN FOR THE RIDE
IN FOR THE RIDEA self taught artist, as her mother was, Sheelagh McHaffie has embraced her self discovery to art as a blessing, considering it a unique way to approach her passion.
Sheelagh was always drawn to the arts. As an only child in a pre-digital world, she would often just sit, observe her surroundings and draw. Having had a hiatus from her artwork for 20 years, after losing her mother and raising a daughter with ASD she found there were too many pressures to continue. “At the beginning of 2019 I was officially homeless. I had separated from my husband who was living in Australia, and had not enough means to support myself. I returned to NZ with my two children, aged 4 and 18, and the bags on our back. My mother passed away in 2005, so I was very much on my own. I had to overcome my own fear, guilt and judgement from others, and truly trust that I knew what was best for me. Starting over forced me to evaluate my life, I had finally been brave enough to put myself first but there was a huge hill to climb.”
Rosemarie Murphy
PLAYING WITH LIGHT
PLAYING WITH LIGHTAs a child Rosemarie Murphy always loved drawing and spent most of her pocket money on art materials, but it wasn’t until she was in her thirties that she started to try other media and materials. “I have dabbled in acrylics, watercolour, pottery (hand-work mostly) and silk dyeing, but pastel is the one that I have worked at the longest. I was introduced to pastel by Maxine Thompson, Master Pastelist in New Zealand. My sister, Raewyn, invited me to one of Maxine’s workshops and like so many of Maxine’s pupils I was hooked.
Having had no formal training, Rosemarie learned by attending many workshops - some in watercolour and acrylics, but mostly in pastel. For a long time family and milking cows stopped her from making art full time and she would attend a workshop and then put her work away until the next one. “This is NOT the way to improve,” she states adamantly.
