Penguins can Surf - In Paintings Anyway

Would you believe it if you saw a hoiho surfing on a surfboard? Well you might go get your glasses prescription checked because I wouldn’t believe it either. That’s what I wanted to create with this painting. I wanted it to feel real but you knew it wasn’t.

Based on the sketch below I wanted to make it even more convincing in an oil painting. So I changed the angle so that the penguin came surfing towards the viewer. I studied surfers body positions and based the stance on what a surfer would do.

Below I show you how I built up the layers to make the complete painting.

The sketch that inspired the painting by.

First colour layer of the painting complete. Simple shapes and flat colour act as a great foundation for the painting.

In the second layer I build in more texture to the fur of the penguin and the shimmers of the wave.

I had a lot on the go in the studio at once. Four pieces the same size. Working towards an exhibition deadline.

The final layer saw brighter highlights and darker low lights added to make the details pop.

“Secret Life of Hoiho” Oil on Canvas, 1000 x 700mm, 2021.

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Creating a surreal Pukeko Painting

I was inspired to take this sketch below and recreate it in oil painting. But when I did - I wanted it to become more realistic. So I laboured over the composition as I felt the sketch version was rather 2D which was fine in the sketch form. In the oil edition I wanted the perspective to almost come out of the painting ‘alive’. So I decided the fence line would have to come forward towards to viewer and the foot of the adult Pukeko would be stepping out towards the viewer too. It was also important to me to have a classic New Zealand farm feel to the scenery with a touch of - wow our country is just beautiful isn’t it.

This piece was to join a number of others in a series of native birds where I explore realistic representations but in surreal situations - like a pukeko tightrope walking on a fence wire.

Below you will see the steps it took to bring this idea together.

The Pukeko original sketch made for the native bird card range.

Blocking the sky in.

I realised the baby was too close to the parent.

At this point I decided to move the baby as it was too close to the parent bird. It greatly improved the balance of the painting and I am glad I moved it before progressing too far.

The baby moved and balances better.

I had a lot of fun bringing this to life.

Fine work on the feathers.

The finished painting. I am over the moon with it!

‘Wobbly Wire Walkers’ Oil on Canvas, 1000 x 700mm, 2021.

Cheeky Kea Oil Painting

I planned to take an idea from a sketch I had done previously and turn this into a larger oil painting. In the process I would add more details to the scene and make it look more realistic. The trick being, this scene is a bit surreal, you’re not likely to see a Kea sneaking off with a set of keys to a Kia car are we? This painting would become part of a series of four paintings for an upcoming exhibition - all with a surreal twist.

Below is the sketch that was the initial idea.

The original idea sketched out in watercolour and pen. This image was used on a range of greeting cards I had created.

Sketching out the layout of the Kea.

First colour layer going down.

A few layers in, forgot to take progress shots.

Adding in the dark shadows under each feather.

You can see it coming to life.

See the behind the creation of this oil painting of a Kea (native mountain parrot to New Zealand). Kea are known for being super cheeky, they often steal or destroy human's belongings when they come in contact. Recently a Kea was filmed stealing a Go Pro camera from a hiker. In this painting I play on this cheeky nature but also pair that with a visual pun of stealing a 'Kia' set of car keys hence the title "Kea Driver".

The final piece. Oil on canvas, 700 x 1000mm.

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A Fancy Photoshoot

As a gift to myself in celebration of going out as a full time artist I arranged for a photoshoot to happen at my studio. I wanted to have some professional shots of myself now that I was going to be creating art full time.

I also wanted to shoot a short video where I would talk about how I got into art making, what it means to me seeing people enjoying my work and other important factors in my art practice.

I approached Tegan Clark shoot still and video of me. I had worked with Tegan before and knew that her work was amazing. She had recently added filming to her offering so I was delighted to have someone I knew behind the camera.

Now when I say studio, I do mean my kitchen table! I have commandeered one end of the dinning room and most of the dining table as my art space. It is a sunny and warm space which I have absolutely loved working in this winter.

I invited Tegan to visit me when I knew I would be finishing four large pieces for an up coming exhibition. She did a fantastic job of both the stills and video. To say I am delighted would be an understatement! She has a way of making you feel comfortable in front of the camera which allows your authentic self to shine through - which is exactly what I had hoped for.

Here is a selection of the shots from the shoot. At the bottom you will find my video shot and edited by Tegan Clark.

Behind the scenes with Georgette Thompson 2021.

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How I created my surreal Pīwakawaka Oil Painting

I had the idea for this painting for over a year before I started the oil painting. The idea first came to we when I was brainstorming ideas for a new greeting card range which you can read about here. I wanted to experiment with visual puns of native New Zealand birds interacting with objects that might play on their names. E.g. a Kiwi bird eating a Kiwifruit.

When it came to the loveable Pīwakawaka or Fantail I first played with the idea of a fantail on the power cord (the tail) of an electric fan. I drew the idea up but it didn’t look as endearing as I had hoped.

The first attempt for the fantail card artwork.

I decided my visual pun was a bit obscure, so it was back to the drawing board. Then it came to me. A Pīwakawaka on a waka! Perfect! I had to bring this to life! I drew up the idea in ink and wash which was the medium I had done with all the other artwork for the greeting card range. I loved it!

Framed original sketch. Available for purchase here.

The final greeting card. Purchase cards here.

First full colour layer.

Second layer. You will notice the change in blues. I felt the scene was more balanced with the deeper blue.

I could have stopped here. But I knew I could take it further with the feathers and the water.

The sketch vs the painting.

I really felt I had brought this character to life with the attention to detail in the oils. When the Pīwakawaka was so realistic it made the viewer question - they was it so big yet it looks so real? My question is - would the viewer connect with the bird as much if I hadn’t played with the scale? If it was true to size on the boat I am the bird would be overlooked in the scene.

What amazed me was that the playing with scale didn’t feel out of place in the sketch, but it did with the oils. It was fun to play with the surreal nature of this scene and I am already planning more in my head!

I am very proud of the final piece.

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New Zealand Birds Greeting Card Range

After the success of my Christmas card range that I launched at the end of 2019, I decided to create a range that could be used for any occasion. This time I wanted the birds to have a bit of fun and show a side of their personality.

There was a fair amount of planning that went into each bird image before committing colour to the page. Above you can see my sketches to the left before starting the final work.

Not all works go to plan. Above was my first attempt at the Piwakawaka card - making a visual pun of ‘fantail’ with a fantail sitting on the end of a fan’s electrical cord. I decided my visual pun was a little obscure and tried again with another idea later.

The first completed artwork was ‘Kiwi Eats Kiwi’. Completed in Jan 2020. I was on holiday and feeling relaxed. The drawing came easily and was as striking as I had hoped.

Finished ‘Kiwi Eats Kiwi’ artwork.

Pre-covid days in Jan 2020. I was carefree.

In the studio creating new sketches during March 2020.

During New Zealand’s first lockdown in March 2020 I hit a creative block. I decided to draw what came to me at the time to help get me out of that block. I drew Kiwi’s in bubbles as we were all in our household bubbles at the time. Each kiwi was drawn to different actives such as eating, yoga, and tea drinking.

Lockdown Kiwi bubbles.

Final Kaka drawing “Take me to Kaka Point”. A Kaka hitching a ride to his favourite surf spot.

Final Kereru drawing “Heavy-Ru”, this guy had a few to many berries and the branch is struggling.

Final ‘Lockdown Kiwis’ drawing.

Final “Kiwi Eats Kiwi” drawing. Still one of my favourites from this series.

Final Kea drawing “Where’s the Keys?”. This cheeky wee fella has stolen the keys to a Kia car!

Final details of this Tui drawing.

Final Tui drawing “Yea Right” . Let’s be honest a Tui wearing a hat - yea right!

Final touches to this Hoiho. Look at that happy face!

Final Hoiho drawing “Surfs Up Hoiho”. Gosh he looks like he’s having fun! Wish I could surf that good.

Finishing touches to this gorgeous Piwakawaka.

When I thought of this idea it just has to be done! A Piwakawaka on a waka - oh yes! For those not familiar with Te Reo, ‘Piwakawaka’ is the māori word for Fantail and ‘waka’ is the māori word for ‘boat’.

Detail of this gorgeous baby Pukeko.

I have always thought the way that a Pukeko walks is a bit like it is balancing a tightrope. What better tightrope than the good old number 8 wire on a fence somewhere around New Zealand. “Walking the Number 8 wire”.

Second attempt of the Kea drawing.

Sometimes I try creating another sketch to see if I can improve on my first attempt. Even though I liked this new sketch, I didn’t think that it would work well on the shape of a greeting card. So this sketch was not included in my final set.

Promo image I took to help promote the greeting card range.

The natural props around the cards align well with the recycled paper used in the production of the card and envelope.

All 8 card designs.

The complete set of multi-purpose greeting cards all together. I am super proud of this set.

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Kaikoura Ranges Oil Painting makes the best present

I was lucky to be asked to produce a painting of Kaikoura as a surprise birthday gift from my client to her husband for a milestone birthday. Below I will show some of the steps while I painted this beautiful scene.

Photo courtesy of Neil Protheroe of Images Abound.

After sketching out the scene I started painting in the sky.

The first layer of colour put a strong foundation in place for me to add to in the following layers.

Almost done here. You can see that the houses have developed with long winter shadows extending away from the houses and trees.

Detail of houses.

Detail of mountains.

Proud as punch of this painting for the loveliest client. The colours are relaxing and I know the clients will get a great deal of enjoyment out of it.

900 x 500mm, Oil on canvas.

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The Process of Painting Sheep

In 2020, I had the pleasure of creating this commission of black faced sheep for my client. I loved the image she had taken from her farm and I knew it would make a great painting. The configuration of the sheep in a ‘V’ shape made me think they were like a ‘gang’ of sheep. As I painted their characters revealed themselves.

Value layer. First layer.

Value layer close up. You can see the pencil drawing underneath.

Above is what I call the ‘values’ layer. This monochromatic layer is where I focus on the lights and darks of the forms. It is a chance to see if everything is sitting where it should be and that it looks 3D. Any composition changes can be made now before committing to the colour layers.

First Colour Layer.

The first colour layer is simple blocks of colour to make a foundation for the following layers. It is also ideal to paint the sky right across what will become trees in the background.

Trees have been added.

Adding in the faces.

Really coming together.

With the addition of the darks and lights the painting really starts to pop!

Fine grass and sheep details added.

Tags added to the sheep’s ears. This was a very important detail to the client whom breeds these sheep.

The final piece 900x450mm Oil on Canvas.

I always love a challenge and this painting was no exception. I had not painted so many faces into an oil painting before. It was a lot of fun seeing the personalities of each sheep develop.

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Painting a farm, Oxford, New Zeland

This commission was an absolute delight to paint. I went out and visited the farm to photograph the farmer’s favourite view of the at sunset. There was lush green grass and snow still on the mountains which was exactly what the farmer wanted to capture. He also wanted his sheep to be in the painting. I was a stranger to the sheep, so they naturally were cautious of me, and they decided to stand far away from me in the back of the paddock keeping a watchful eye on me. So we used a photo of the sheep that the farmer had taken and then I added these into the painting to create the final composition. I had to change the lighting so that they looked like they were meant to be in the scene and not ‘photoshopped’ in.

First layer maps out the lay of the land.

First full colour layer blocks in the main shapes.

Details into the mountains and trees forming.

Foreground and background really singing now. Just the sheep to bring to life.

A few brushes on the go while working on the sheep.

Finished painting. Super happy with it.

Watch me work on this beautiful commission. You will see areas come to life as I build the layers.

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2020 - a wedding, lockdown and art thus far

Well I don’t think anyone expected the year we have all had! Nor have I experienced such a global event before. Certainly has been a rollercoaster year so far.

My year started off on a high with the best day of my life. The day I married my best friend. Our special day, February 29th 2020. We had family and friends from overseas all here to celebrate with us. The rain cleared, the sun shone and everything came together. Love, hugs, laughter, a magical bubble that we didn't want to end. Our guests all safely returned home and Mark and I snuck off for a mini-moon to Akaroa to a tiny house off the grid. Two weeks later we, along with the rest of New Zealand, were thrown into Level 4 lockdown. We now realised how lucky we were to have our wedding with all our loved ones there with us.

Lockdown

Lockdown brought us many challenges. Restrictions that we had never seen before in our lifetimes - no leaving in the house other than groceries, no socialising, working from home and our borders closed for the first time potentially ever! Among those challenges I was thrown into a creative block as I processed the changes around me. Eventually I found my creative groove.

Inspired by lockdown and how everyone copes in their own way - I drew ‘Reaching for the food Kiwi’, ‘Yoga Kiwi’, ‘Starjump Kiwi’, ‘Reading Kiwi’ and ‘Cuppa Tea Kiwi’.

New Zealand as well as many other countries around the world saw a surge in home baking while populations were confined to their homes. So much so that flour, yeast and other baking staples were constantly missing from the shelves! Many families tried their hand at baking bread for the first time. My go-to recipe during lockdown was biscotti! I became a master at it. I decided to use a baking tray I had been saving for years and paint a ‘Proud Baker’ self portrait inspired by all the talented folk baking in kitchens across the country. Well done New Zealand!

Heather Sheep, 2020, Oil on canvas, 9000 x 450mm , (35.4 in x 17.7 in)

Sheep Commission

Above was the first commission I created since the pandemic started. It was started during lockdown (Level 4) and it was an absolute delight to paint. The character of these sheep was amazing! I will create more in-depth post about the process of this commission soon.

Kaikoura Ranges, 2020, Oil on canvas, 9000 x 500mm , (35.4 in x 19.6 in)

Kaikoura Ranges Commission

Following on from the sheep commission I was lucky to paint this beautiful Kaikoura scene for a lovely client. Something about blues and greens are so peaceful. I loved the challenge of the buildings and also the lowering of the snowline from the reference photo credit to Neil Protheroe of Images Abound. I plan to create post about this commission showing you more of the process.

A new range of cards!

I've been busy working on a new range of greeting cards for general use. I am committed to printing locally on recycled materials and donating a portion to wildlife charities. At the time I write this I am yet to announce the organisation that this range will contribute towards.

Here is a sneak peek at the new range before I reveal the complete set.

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Where did 2019 go? Highlights of 2019

Where did the year go? Isn’t it funny I had to look through my photos to remind me what had happened this year! Highlights from 2019 in my list below are just a sample of what I have achieved this year, read further below.

Accomplishments in 2019

• Completed my largest commission ever

• Created first range of cards

• Created a method to raise funds for charity and give back to the environment

• Quickest sale of a painting - 24hrs after posting on Facebook

• First Craft Market

• First time having artwork into retail stores

• Completed most emotional portrait commission ever

It is crazy to think another year has sped by! Mark and I have also been engaged for a year! Much like last year, 2019 has been a year of many firsts. I am always challenging myself to push myself beyond what I have done before. This year was no exception and saw me complete my largest commission to date (1620 x 760mm). Not only was the painting technically difficult, it was also a huge mental challenge! It wasn’t until the final layers that my brain agreed “Yes I CAN actually do this.” It was an incredible feeling finishing this piece and reminding myself of what I can achieve.

Myself with my largest commission to date “Colours of Coalpit” 2019, Oil on canvas, 1620 x 760mm , (63.7 in x 30 in).

After finishing my largest commission to date it was a delight to work on a scale and subject that felt more familiar. I used my renewed confidence to paint this stunning farm scene for my client whom had been patently waiting for me to complete the large commission. I always find farm scenes very calming to paint and to ultimately view.

“Oxford Farm” 2019, Oil on canvas, 900 x 500mm , (35.4 in x 19.6 in)

In Christmas 2018 I sparked an idea when creating Christmas cards for family on Christmas Eve. I realised this could be something other folk may enjoy sharing with friends and family. I gave myself two conditions if I was to proceed - 1. the cards must be sustainable and 2. the cards must do good for the birds they depict. I teamed up with the South Island Wildlife Hospital donating $1 per card. A final count is yet to be announced but can say I have achieved over three times my initial fundraising goal. I am truly delighted to think my artwork has created good for the birds. In return I have received so much joy from the feedback by those who have purchased the cards which have flown across 5 continents!

It was in 2019 that I tried my first craft market. The first was in Methven where I shared a stall with my father - a true craftsman and founder of Thompson Woodworking. It was this market I released the Christmas cards, which were a hit! From here I attended several markets through the year including the Encraftment Christmas Market. With a great deal of help from many people including my father my stall looked so smart and I felt like the real deal.

Dad and I at the Methven Craft Show.

My flash stand at the Encraftment Christmas Market.

It was through a connection at the Methven Craft Market that I was invited to join the Beehive Collective in the new Riverside Market. It has been an absolute delight being a part of this store and sharing my work with tourists and locals alike.

My work in the Beehive collective in the Riverside Market, Christchurch.

I finished off the year with my last commission and what would also be the most emotional. I cannot reveal the piece yet but can say that it was a challenging portrait due to the circumstances that surrounded it. I was pleased I could show the family the final work just before Christmas.

Life has thrown many challenges this year with illness in the family testing us for much of the year. Now with good health and a wedding to look forward to in two months time 2020 is shaping up to be one of the best years yet! I have many projects and collaborations in the pipeline that I cannot wait to get into. Wishing you all a safe and happy New Year and a huge thank you to all those who have supported me along my journey in 2019. 

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Christmas has come early!

I started musing about the idea of making Christmas cards last year when I rustled up some cards to go with some prezzies for family. But Christmas Eve was obviously a bit late to have this idea. So I decided to make sure I am ready this year. Here are the first three cards that sparked my idea.

After overwhelming feedback suggesting favourite New Zealand native birds I got super inspired to create a full suite of bird watercolour sketches. I had initially intended to create just five designs, but instead I made ten!

Birds included in the range are: Pukeko, Kereru, Kakapo, Kea, Kiwi, Fantail, Takahe, Tui, Weka and White Heron.

Process photos below:

I wanted the cards to be printed responsibly on 100% recycled paper and accompanied with a recycled envelope. With Mark’s help we tracked down some affordable envelopes which meant that the project was going to be feasible. Yay!!

I have been wanting to find a way for my art to give back to a worthy cause. It felt appropriate to donate a portion of the sales to a charity that works with New Zealand’s wildlife. I have chosen South Island Wildlife Hospital (located at Willowbank) to donate $1 per card to support the incredible work they do caring for and rehabilitating our wildlife.

If you would like to support the project and the birds this Christmas, follow the link below to purchase some cards.

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Behind the scenes of the Naseby Landscape Painting

As promised here finally is the behind the scenes video of this gorgeous painting.

Like with a lot of aspects of this painting project even the video I learnt new things. This is my first proper voice over of a behind the scenes video. It took me many many takes but I got something in the end that is hopefully a pleasure to listen to and informative. It is always hard to hear your own voice!!

Enjoy the video, and if you ever have any questions please feel free to get in touch!

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My most challenging landscape painting yet!

I am so proud to now finally reveal to you the finished Naseby painting. This painting has been a long time in the making, but as we all know good things take time. It is a commission for the best clients an artist could hope for.

But first, the story behind the painting.

Like every good project, it started with a conversation. I asked “When is your favourite time of year to visit this spot?” The answer was autumn, when the leaves had turned into dreamy, warm tones. So we waited a few months, and in May of 2018 Mark and I drove to Naseby - a little over 5 hours from Christchurch.

Up at sunrise the next morning I remember the crisp autumn air, the stillness of the water, the dew on the grass, and the stunning golden morning light on the trees. We wandered around some of the clients’ favourite spots in Naseby and I could quickly see why this was their favourite time of year. Naseby was popping with yellows and oranges, and I was so incredibly inspired!

It was apparently a difficult choice to make as the colours gave such a wide array of amazing shots. However, their favourite fishing spot, Coalpit Dam, was chosen from the several hundred photos I had taken that morning.

It wasn’t until August when the easel became free for the Naseby project after finishing a portrait commission. Or should I say easels; the canvas is so large I had to buy a second easel to hold it up. This was the largest canvas I have tackled to date.

The scale of the canvas took some time to get use to. At 1620mm wide by 760mm high, it was a lot larger than my usual landscapes. My inner critic was rather tough on me, and I questioned myself consistently. I was really surprised at how mentally challenging this project was, and it wasn’t until the final stages that I had convinced my brain that it was all going to work out just how I planned. I’m thrilled with the final result, and the challenge of getting through the self-critique has made it all the more rewarding.

I love that my clients challenge me, and this project has been one of the most challenging landscapes I have ever worked on. I have learnt so much and feel so proud that this is now complete. I also have the bonus of enjoying it while it dries before the trip south to deliver it to its lucky new owners..

In time I will release a ‘behind the scenes’ video. For now, check out the photos below.

Thanks for joining me.

Looking proud next to the final painting.

‘Morning Light on Coalpit Dam’ 1620x760mm, Oil on canvas, 2019.

Behind the scenes progress photos:

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Where in the world is Georgette?

…She’s back in New Zealand.

My apologies for the radio silence from me all year. 2019 has started off with a bang!

It started with our engagement at the end of last year. Mark proposed at our favourite sailing spot - Charteris Bay in Lyttelton Harbour. Down by the waters edge at the boat ramp, the love of my life asked me to marry him, and of course I said YES! This made for an extra happy New Years Eve!

We wanted to celebrate our engagement with family and friends at our home, but needed to do alterations to our deck first. There’s nothing like a deadline to get things done! So all of January saw us demolishing and completely re-building half of the deck! The party was on a perfect Summer’s day so everyone got to enjoy our handiwork.

Mark and I building the deck.

Mark and I at our engagement party standing on the deck.

Japan adventures

In March we flew to Japan for 2 1/2 weeks of adventure, culture, history and craziness. Highlights included: tree skiing at Kiroro ( in Hokkaido), a cooking lesson in Osaka, singing Karaoke with the locals till 3am, dressing up in a kimono in Kyoto, and the madness of the robot restaurant in Tokyo.

If you are visiting Japan I highly recommend the Tokyo Metropolitan Art Museum and teamLab Borderless Tokyo (Digital Art Museum) - this exhibition was full of colourful interactive projections, lights, lanterns and fun. An exhibition you can easily get lost in!

While in Japan I decided to treat myself with a visit to Pigment - the most stunning, well designed art store I have ever seen. The Japanese have an effortlessly elegant approach of presentation, and Pigment was no exception. I treated myself to some beautiful traditional sumi brushes, bamboo paper and a gold leaf kit. I am looking forward to trying these out!

What’s on the easel?

I have been busy working on the Nasbey landscape oil painting. I am now in the final stages. My list of things left to do is getting smaller and smaller which makes it very exciting. These final details are sometimes subtle and the colour is critical to get right. Therefore I can no longer paint at night as the fake light plays with the colours. So I have a policy to only paint during daylight hours, which means I have to wait to the weekends. I am looking forward to the Easter break to get some day light hours on the piece. Here is it now on the easel. Not far to go! Stay tuned. Thanks for stopping by.

Working in progress, Naseby oil painting, 1620x760mm.

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2018 - What a year!

2018 - gosh it’s been one heck of a year! Looking back on the year I am amazed at what I achieved. Some of the highlights include:

I came into the year thinking “Hey stop being so shy - get out there and exhibit your work. Let’s see how it goes.” I had no idea what a ride of a year it would be!

Getting out there

I hit the ground running with a solo exhibition in January. I hadn’t intended to start this way, but fate had it’s own say. After catching up with a gallery contact I learned of a chance opportunity for a space in the Arts Centre. I had one week to prepare - eek! It was madness and such a buzz. Best of all I learned so much. I hadn’t expected to throw myself into a solo first up. But the opportunity was there and I couldn’t pass it by.

Solo exhibition

The lady that made it all possible. Lorraine Quinn helped man the exhibition while I was at work during the working week. Thank you Lorraine.

With a bit more confidence behind me I plucked up the courage to enter 11 group exhibitions throughout the year. Some were for charity fundraisers, one was an international painting swap but most of them were local shows with fellow Canterbury artists.

New Art Friends

At the start of the year I joined the Arts Canterbury, a group of local artists. This opened so many doors for me this year. I was invited to many group shows and got to see behind the scenes of the biggest Christchurch show, the Christchurch Art Show. What I loved the most was meeting other artists and sharing our stories together. Previously I had been so shy at these art events. I wasn’t a natural at networking. The fellow artists in Arts Canterbury were so friendly and I loved chatting away to these new friends at each event throughout the year.

Cover Girl

Ok so no, I wasn’t on the cover of a magazine but my artwork was. This came as quite a shock. After submitting my images and words for an article in the New Zealand artist magazine I was shocked when they informed me my artwork was chosen for the cover! I still get a kick out of seeing the cover on our coffee table. The photo below was also my most liked photo on instagram for 2018!

On the cover

Myself holding my cover of the New Zealand Artist Magazine. Read more here.

The Art

This year I have many amazing projects with my clients, including beautiful landscapes and portraits of passed loved ones and dogs. I am truly grateful to all my clients for the opportunity to create some magic for them. I love that I am constantly challenged by my clients. Every artist wants to continue to grow and I love that each project demands me to step out of my comfort zone and push me further, even if it scares me at times! This includes starting my largest project to date!

Going BIG!

Standing next to the canvas it is wide as I am tall! Phew!

Artist retreat

Another thing I was grateful for this year was the experience of my artist retreat to Hinewai Reverse. Not only did I have a fantastic escape from the city to wind down and create some art. I also made a great friend. You can read more about my adventure here.

Artist Retreat

Outside the hut at Hinewai at the end of my artist retreat weekend. Such a highlight.

I couldn’t have achieved any of this year without the love and support of this man! My Mark. I’m so grateful for his continued support for my artistic endeavours. Here’s a little sketch I created for his birthday :)

My Mark

I couldn’t have achieved what I did without his support.

I wrote most of this blog before December 30th. Something big happened that day so I have had to update this blog before posting! Mark proposed at our favourite sailing spot in Charteris Bay in Lyttelton Harbour. We are absolutely delighted! It was such an exciting way to end the year and see in the New Year!

Our engagement

Smiling the day after our engagement with the view of Charteris Bay behind us.

What will 2019 bring?

I have great plans to experiment with new techniques and materials. I want to get outside in these warmer months and try my new plein air equipment! I like the idea of being out in nature and creating art - two of my favourite things. And now we have wedding to plan for too :)

To wrap things up I created a quick snapshot of 2018 in the video below. Enjoy.

And for those of you that followed my journey this year, thank you so much for your support.

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How Many Faces Can You See? - Major Menagerie's Travelling Circus

I just recently got this artwork back after a few months hanging in the St George’s Cancer ward. I hope that this piece brightened folk’s days as they passed in the hallway.

I created “Major Menagerie’s Travelling Circus” last year for a small exhibition where each artist was presented with a piece of A3 watercolour paper to fill how we liked.

I used my ‘Wash & Ink’ method. I splashed about some watercolour paint and then inked in what I saw within the random watercolour shapes. I first drew the pants. I expected that a character would then flow to fill said pants. However it took a different turn, face after face appeared and I drew them all in. It certainly made an unexpected and fun piece.

Watch the video to see how many faces you can count.

‘Major Menagerie’s Travelling Circus’ 2017, Wash & Ink on paper, 297mm x 420mm (11.6 in x 16.5 in)

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Oil Painting Portrait - Two attempts 13 years apart

Last year I finally plucked up the courage to paint my Grandfather. It had been 13 years since my first attempt. After my first attempt I hoped one day I could paint him more realistically and vowed not to paint him again until I could do him justice.

I never got to meet my Grandad Jack, but grew up hearing stories about him. The photograph I painted from was in pride of place in my Nana’s flat, usually somewhere prominent like on top of the tv (back in the days when tvs were boxes). I knew this was a special photo of him.

I painted this portrait as a gift for my Aunty, but I had a feeling that it would be special to the whole family. I hope that I have done him justice. I am proud of my attempt and I hope he is proud of me.

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During the early stages of the portrait I mapped out his face with monochromatic washes (shown directly below), focusing on form and light. These washes ran like tears around his eyes. This was an emotional moment for me, as I sensed we were connected in our mutual loss of never having met. Through the process of building the layers I felt I learnt more about the man I had heard so much about.

Value study. Close-up on the right.

Jack Dobson Oil on canvas 350x450mm

Below you can see a comparison between my two attempts. As you can see, I’m pretty chuffed with the final result of the painting. Below this is a video showing the painting form - I took a photo at the end of each work session and compiled these into a video. I hope you enjoy it as much as enjoyed the painting process!

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Painting Experiment - Left vs Right Hand

I was curious to compare my left and right hands painting the same scene. I expected the results to be wildly different with wild wiggly lines coming from my life hand. I decided to paint the same scene, a still life of pumpkins, first with my left hand. By going first with my left, then I would prevent "cheating" by passing on any learnings of my right hand of the scene to the left hand.

To my surprise my left hand actually achieved realism. Perhaps I had built but pathways in my left hand many years ago when I broken the pinky on my right hand. I had to write using my left hand for several weeks!

I was able to use my same painting process, building up the layers the same way as I usually do and it came together. I was certainly slower and more frustrated using my left but it worked. I was amazed at how tiring it was using my left hand!

Bentley is very proud of his work!

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Artist Retreat in Hinewai Reserve

I recently went on my first artist retreat. I have come back completely recharged and inspired - I hope this feeling lasts!

This will be a memory I will treasure - full of adventure, relaxation, education, and inspiration!

I drove to Hinewai Reserve in the South Eastern corner of Banks Peninsula on the Friday night. The weather had packed it in that day but I was hopeful it would clear. Tricia welcomed me with a hug - we had been communicating for a few months and had the chance to meet in person a couple of weekends earlier at the Pegasus Art Show. Tricia, Paul and I sat at their kitchen table and ate feta (made by Paul) and crackers. We got on so well, it felt like I had known them both for years.

The following morning I drove to the top of the hill at sunrise to take a photo of the view for a friend. Hoping for clearer weather, I was met by a dusting of snow - not quite what I was anticipating but made for nice scenery!

Sunrise the first morning.

As part of the Artist Retreat, the artist helps in the garden in the morning in exchange for staying at the reserve. As it was still raining Tricia found an inside task for us to do by the fire. What a great idea! While we cleaned the leaves and ink off plant tags, the sun came out and revealed the beauty of Hinewai.

After we finished cleaning the tags, I headed out for a walk in the reserve. The trees were calming and I soaked in the fresh air from the ferns. It felt like it washed away the stress from the working week. When I returned to my cabin I realised I had dropped a glove in the forest - it was as though the forest didn’t want me to leave yet! Luckily I didn’t have to search too far.

(Tap to see more pics above).

Before our art session I wandered around to find inspiration. I wanted the artwork to be a direct inspiration from the area.

(Tap to see more pics above).

My inspiration for my first sketch. Paul & Tricia’s Kakariki birds which I photographed moments before our art session.

Inside the house again, Tricia and I started ‘Arting’ as Tricia puts it :) I started an ink and wash drawing of the Kakariki birds that Paul and Tricia breed. Such gorgeous green and red feathers - how could I not. Tricia worked on some garden inspired artworks for a garden themed exhibition she is hosting at the house.

Start of the Kakariki sketch.

Tricia’s artist friend Tori Batt arrived with artworks for the upcoming exhibition. It was wonderful to meet her and the three of us chatted about art related things by the fire, drinking tea and eating freshly baked lemon cupcakes. It felt like we could talk all night if we let ourselves. So lovely to have like minded artists all in one room. Tori give me an artist proof of her first zine she had just finished which I will treasure. Thank you Tori - you can find her work here.

Paul invited me to join him to feed the Kakariki some broom flowers. WOW! I took the camera into the aviary and snapped away happily. What gorgeous birds! And the best inspiration to finish off my drawing.

(Tap to see more pics above).

Further progress on the Kakariki sketch.

The next morning I was up the hill again and sadly it was worse weather for a sunrise. Cloudy and sad looking - ah well it got me out of bed and awake!

Sunrise day two.

By the time I finished breakfast the weather was good enough for Tricia and I to get stuck into the garden where I had a lesson on Hydrangea pruning. Thank you Tricia for holding off your pruning specially to teach me how a pro does it.

Then I was lucky enough to get the opportunity to go with Paul out to the headland. Paul needed to check the rain gauges as part of the data that is collected on the Hinewai Reserve. I helped by holding the wind meter - which was really fun! On the way back Paul gave me a botany lesson of some of the plants and trees in the area.

(Tap to see more pics above).

Me at the mouth of Otanerito Bay. Wind gusts of up to 78.5 kph!

After a spot of lunch Tricia and I were ‘Arting’ again by the fire. I got a sneak peak at some new work that Tricia is developing - some absolutely stunning pencil drawings of animals and insects.

While we were working away Paul came inside and said to me “I think this is the type of pet you’d like” and placed a weta down onto my hand. I freaked for a second as I imagined the little feet were going to tickle my hand. Tricia captured hilarious photos of my reaction on camera. Here is one of the better ones once I had composed myself!

How lucky am I to hold this rare and special weta. This is an Akaroa Tree Weta, which resides only in the South Eastern corner of Banks peninsula. It is considered New Zealand’s rarest weta so I feel very privileged indeed to get to see one up close - let alone hold one.

After the excitement of the weta we placed her back out side and I finished off my drawing of the artist retreat cabin. I later gifted this artwork to Tricia to hang in the cabin.

My time at Hinewai was so special. Full of great yarns, creating art, exploring and tapping into the calming effect of nature and the beauty of being out of cellphone reception - away from my normal routines and distractions from technology. I have felt much calmer this week and when I do feel myself getting stressed I say to myself “Hinewai, Hinewai”, exhaling slowly.

I would thoroughly recommend the Hinewai Artist Retreat to artists wanting to escape, recharge and gain inspiration. Tricia and Paul are the most welcoming hosts. If you want to get in touch with Tricia you can email her on otanerito@gmail.com or reach out on her Facebook page ‘Tricia Hewlett Artist’

My finished drawing of the Artist Retreat Cabin.

I had to show the Kakariki the finished bird sketch.

The finished Karariki sketch.

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