​A trained archaeologist, Danny Rae Dyer has always been fascinated with clay and being creative with her hands. Initially nervous about not working with natural clay, Dyer has developed a way of using with polymer clay to create uniquely sculptural wall art with a distinctly kiwi flair.

Dyer grew up in Whangarei Heads and had two loves: art and nature. After qualifying as an archeologist she turned to a career in marketing and sales and began to dabble in art and graphic design.

Dyer experienced a strong urge to work with clay, but wanted to find a way to mould and set it at home with the equipment she had and without experiencing judgements from others about not using natural clay. Polymer clay, an oven bake clay that can be “fired” in your kitchen, was the obvious choice.

Dyer’s hobby quickly attracted the attention of her friends and family who encouraged her to begin selling her work and taking on commissions.

Developing her unique style has taken a great deal of time and experimentation.

“Initially I created flatter pieces that would bake better, and started adding slightly more of a 3D aspect to my work once I knew the clay’s limitations.”

Inspired by the colours and textures of the natural world, Dyer aims to capture these characteristics in her work and can sometimes spend a full day mixing clay to achieve the precise colours she is looking for.

Dyer’s works, which range in size, can take anywhere from a day to over 70 hours.

“They’re very time consuming, but thankfully I have the patience for it!”

After her work began to sell, Dyer realised that she was in a position where she could give up her full-time job to allow more time for her art. Now living in London, part-way through a two-year overseas experience, dyer works from home creating little Kiwi scenes from the other side of the world.

“My partner and I went travelling for 6 months in the prime time my art started becoming successful, now I feel I may have to build a following from scratch. I hope to be able to develop my art career while I'm here, then when I head back to New Zealand, fingers crossed, I’ll have international recognition.”

Dyer’s long-term dream is to create enough work to show in a gallery. As for what this work might look like, she’s going to see where her inspiration takes her.

“I feel as though my ideas are as malleable as the clay I work with.”

If you’d like to follow Dyer’s journey, search for Danny Rae Design on Instagram or Facebook.

No Shame, No Silence is an exhibition consisting of over 20 New Zealand artists united by a shared perspective on family violence. Aiming to shine a light, cultivate conversation and inspire and press for change, the group show has been open to the public since 2 November at the Te Awahou Nieuwe Stroom in Foxton.

Through their works, each contributing artist has shared their own perspective or experience with family violence and the family court system.

The event’s organiser, Sarah-Jayne Shine, is a survivor of family violence and is passionate about art as an opportunity to engage local communities in issues that can be otherwise overlooked.

“The concept of No Shame No Silence came to light after I participated in a march to parliament with a group of women in August last year,” Shine explains.

“It was a highly emotional day, we marched in the wind and rain to deliver a petition for a royal commission of inquiry into the family court. When nothing had happened six months later, I decided we needed to put more pressure on the government.”

With a background in art and design, Shine saw an exhibition as a platform for other creatives to comment on the situation.

The exhibition launched with a special opening event on 1 November that included talks from Women’s Refuge, Backbone Collective, Jackie Blue from the Human Rights Commission, and personal stories from two of the artists.

An auction held on opening night raised over $1,800, and the organisers have been pleased with feedback received from visitors so far.

“The flow of the exhibition is about taking the viewer on a journey. As you walk into the exhibition you are immediately confronted with people from all over New Zealand’s trauma at the hands of the family court through the piece ‘Untitled Woman and Children’. You turn right to walk around the room and it takes you through feelings of grief and trauma, to healing and survival, ending with a celebration of a survivors endurance.”

You can visit the No Shame, No Silence exhibition until December 15. It is free to view, and artwork purchased will fund donations to Te Awahou Nieuwe Stroom, Backbone Collective and Women’s Refuge.

For more information about the exhibition, visit noshamenosilence.co.nz.

Kylie Law has been creating bold mixed media works from her home in Wellington for 20 years. Despite changes in her colour palette over time, Law’s work is instantly recognisable for her striking combination of fabric and pattern.

Law’s first experience of exhibiting work was during her final year of college when her pieces were shown at the NZ Academy of Fine Arts. This opportunity provided the encouragement and inspiration to continue painting and exhibiting. Following a short break from her artwork whilst pursuing a career in Marketing, Law returned to her creative journey when she found herself at home with small children while her husband was travelling.

This time at home not only provided time for Law to return to her art, but also inspiration in terms of the subject matter that is primarily centred around her home and family.

“Sometimes I introduce phrases or words into my work when I feel like I need to convey various thoughts. For example ‘you are my world’, ‘my world for ever and ever’, ‘come home soon’ were all prominent in a series I worked on when my children were young.”

Law has always painted abstracts and has applied a great deal of thought to the combination of colours and textures that she has explored over the past two decades.

“I change my colour palette regularly to continue to challenge myself and to keep learning and growing. I also read a lot about paint techniques and spend a lot of time looking at colour and texture resource, both online and through my local library.”

A love of fabrics, especially those of vintage styles and patterns, not only informs Law’s work, but is incorporated into it.

“[The fabrics] bring back memories of spending time with my grandmothers. It’s really important to me to be able to incorporate this aspect of nostalgia to my work. It’s my history and my current experience combined on a canvas. I’m also a keen quilter and this love of fabric translates into the canvas from my passion for sewing.”

Law describes her artistic purpose as introducing contemporary, individual, mixed media works to as many people as she can. 

On paper, you could be forgiven for thinking that Ryan Dewsbury has a few more years under his belt than is the case. Actually in his early 30s, the Christchurch-born creative has had no shortage of experience; having thrown himself into a wide range of fields including art, music, sports, architecture and technology amongst others.

“I have been described as ‘wearing many hats’”, says Dewsbury, rather modestly.

Perhaps more aptly described as a Renaissance man, his skillset extends from charcoal drawing to making clothes; customising musical instruments; building computers; framing artwork; and, more recently, designing and creating jewellery.

After studying architecture and computer-aided design, Dewsbury launched into music and has since been a member of three bands including ‘Radio Ron’ who produced three albums and spent several years entertaining Cantabrian socialites at Dux de Lux. He now plays with well-known Christchurch band, ‘Beagle Boys’.

Dewsbury’s most recent creative endeavour was inspired largely by a recent change in employment. Notable for its jewellery, Christchurch’s Form Gallery provides not only inspiration but also a workshop space and the gallery’s Founding Director and talented jeweller, Koji Miyazaki, saw Dewsbury’s potential early on.

“My jewellery so far, and the pieces I wish to create in the future, are of a bold, minimalist, and structural nature. I tend to start my designs with a series of calculations or measurements, trying to find the right visual balance. Once started, I often find a new direction to take the design in as I'm making it and let the design develop naturally rather than being strict to the original plan.”

Dewsbury’s background in architecture and design has proved both useful and influential in his jewellery making.

“I still use the precision of tech drawing to start a jewellery design, and try to incorporate the rules of photography, architecture and graphic design to the piece.”

A successful first exhibition early in 2018 provided positive feedback and attracted the interest of Kiwi company, Phoenix Lingerie who have asked Dewsbury to create pendants featuring their logo. 

Going forward, Dewsbury hopes to fill a gap in the market for stylish, bespoke men’s jewellery.

“Commercial jewellery for men is fairly easy to find but over-priced. Artisan pieces and more interesting designs seem to be lacking.”

Dewberry feels lucky about the way in which he has fallen into the jewellery craft, but notes that starting out can be tough and expensive.

The work of Christchurch Artist Galina Kim draws on a wide range of subjects, but is easily recognisable by the subtly fragmented quality and variety of textures that draw on her expertise as a textile artist. With two masters in design and fine arts, Kim’s creative work has been a lifelong career and a constant during times of upheaval.

Born in Kazakhstan, Kim’s family moved to the Ukraine when she was 12. Travel, changes and goodbyes featured strongly in her adult life as well. Her first husband was in the military and this led to many years of movement that left Kim longing for somewhere to connect and belong.

“I longed for a home, in every sense of the word: somewhere safe to bring up my two boys, and somewhere quiet to find and digest inspiration.”

Eventually Kim found that home in Christchurch. 

“I found myself. I rediscovered my roots and put down new ones, and the diversity of my art reflects the intertwining of cultures, experiences, values and influences within me,” says Kim.

Major life changes revealed themselves through distinct changes in Kim’s work, and her classical training - which had provided many years of valuable structure and discipline - suddenly felt restricting.

​Drawn to the versatility of acrylics, Kim spent years exploring the medium; working with different techniques, processes, products and tools.

“No one showed me any shortcuts. Everything I learned about working with acrylics, mixed media and palette knives, I discovered on my own. I think this has helped me to develop a distinctive and unique style.”

This approach to art making has become something of a mantra for Kim who provides private lessons and workshops for artists.

“I think it is important to put aside what you have been taught or told by others is ‘right’ and give yourself the freedom to play and explore and discover new ways of approaching your art so that it reflects your own journey and insights.”

In her own work, Kim’s approaches are combined with a yers of experience as a fabric designer. An expert in Batik, a term for various techniques of painting on fabric, Kim draws on the skills and processes of this art form and adapts them to her paintings.

Reservation, a concept at the heart of Batik, involves blocking out selected areas of cloth to preserve and emphasise both colours and patterns of the underlying fabric. Instantly recognisable in her painting, variations on this blocking technique reveal and mask aspects of composition, colour and pattern.

“For me, it's not just about capturing colour, texture, light, shape and space; it's also about releasing the feel, scent, sound and taste of moments in time. Capture and release; traditional and contemporary; realism and abstraction; simple and complex. Embracing the balance of complementary opposites like these is at the core of my work and, indeed, my life."

After teaching Art for 15 years, Whangarei-based artist Judy Woods has spent the last two years developing an intuitive painting style that explores rich layers of both family history and the painting process itself.

Woods has not always painted abstract works, but her earlier, more realistic works still began with a layer of more expressionistic painting in order to give the finished work a greater sense of texture and depth.

“I enjoyed how it felt to paint in this way and loved some of the effects, even though only some of this would show through in the finished work.”

A fan of Rauschenberg and Diebenkorn, the allure to experimenting with abstraction was strong, and when Woods’ father passed away in 2016, the time felt right to begin working in a more intuitive style. “My father’s death brought me sharply eye-to-eye with the brevity of life and so I threw myself wholeheartedly into my painting.” “For a year, I explored painting intuitively; just responding to what showed up on the canvas as I played with materials and ideas. I found this incredibly difficult but also exhilarating as marks, surface effects, and combinations of materials would surprise and result in work that referenced unplanned ideas and thoughts. I became more and more enchanted with the accidental mark.”

​More recently, a switch to painting on wooden panels has allowed greater expression in Woods’ work.

“My work is becoming looser and I’m incorporating collage underneath many layers of paint to create lumps and bumps and a history in the work. I dig into the wood and sand back through layers to reveal all sorts of hidden surprises.”

Like many others, Woods was quick to discover that painting in a truly intuitive way was not as simple as one might first imagine.

​With no guidelines or blueprint to begin with, Woods’ approaches each of her works by experimenting with different processes of adding and removing layers as she discovers what works and what doesn’t. This results in works that are richly layered and draw on the history of the painting process. “Digging back down to those layers of experimentation underneath always reveals lovely little bits that are quite unexpected.  So the process really serves the best outcome.”

Adding another layer of meaning to Woods’ work, she has recently begun to incorporate motifs and messages from a collection of over 200 of her parents’ letters to each other.

“We found the letters  in the back of my father's wardrobe the night before his funeral.  My mother didn't know that he had kept them and she spent the first months after his death reading them over again.”

“Recently my mother died and I am discovering their love story through the letters. To have access to the very beginnings of their partnership, which lasted 58 years, is incredibly precious. Initially I used the words “darling mine” in my paintings, and I want to photocopy their handwriting to somehow include in my work.  I use collage in my paintings so this would easily work.”

You can see more of Judy’s work on Instagram, where she shares both finished work and insights into her painting process.

Sculptor and Tutor at The Learning Connexion in Wellington, Aaron Frater creates both assembled and carved works that have found homes in private residences and community spaces all over New Zealand. He has exhibited work for nearly 40 years and has taken part in group and solo shows in New Zealand, Japan, the United States and Australia.

Currently working with barrier mesh as his sculptural medium, Frater’s latest work is a study in iconic, symbolic and sign-like structures.

“The mesh is a barrier that separates safe space from unsafe space. In a way, it’s like cloth; separating private space from the world at large.”

Ubiquitous in industrial health and safety, the material goes unnoticed in our day-to-day lives, but Frater’s creations aim to draw our attention to the literal and metaphorical ideas surrounding it. The mesh serves to protect and demarcate, and the distinctive orange colour is intended to be a warning. Frater flips these concepts on their head; creating works that draw us un to take a closer look.

“The material itself has meaning: it is, a barrier between one world and another. The bright orange signals one area of life that is legislated safe, and another legislated as dangerous, and only accessible to the ‘specialist’.”

Frater sees the transitional nature of the mesh represented by its lack of physical substance, but instead of seeing this minimal, open structure as limiting, he embraces it as a material that retains elements of its original function in his work.

​Frater’s latest exhibition, ‘Way Home’, opens on 6 September in Newtown, and explores our place in relation to housing, to space, to rules and regulations. He hopes his work will question the nature of protection and shelter and draw attention to ideas of separation and coming together.

Recently named the first New Zealand, Annie Sloan Painter in Residence, North Island painter Jeanie Simpson has a passion for breathing new life into unloved furniture. Inspired by everything from Art Deco to folk art, her creations are wide ranging in style but are connected by her love of quality materials and traditional craftsmanship.

“I look out for something that a little different and that helps with forming inspiration when planning to paint.”

The process of finding pieces to work with can be time consuming, and simply finding any old furniture isn’t enough. For Simpson, sustainability is a key part of her process so she actively seeks out pieces that are run-down or unfashionable enough to warrant extensive restoration and transformation.

Aiming to work with the history of a piece rather than erase it, Simpson retains remnants of old layers of paint when completing restorations. Bumps and scrapes become sources of inspiration and combine with ideas gleaned from research into particular design styles to create truly unique works that both respect the past and embrace the present.

“Each time I research a new era or design movement, I get totally immersed and enthused about artists, designers and craftsmen of the time.”

The Arts and Crafts movement that flourished across Europe and North America in the late 1800s is a favourite for Simpson. Following the industrial revolution, the Arts and Crafts style reacted to a perceived decline in manufacturing standards that accompanied what was the beginnings of mass production, and embraced traditional craftsmanship and simple forms.

Not only influencing the style of her work, the Arts and Crafts movement bears relevance to the concept of furniture restoration, and connects with our modern-day need for sustainability in design.

​“The sustainability aspect about what I’m doing is really important to me. My parents valued antique furniture over new furniture so, growing up, I learnt to appreciate the craftsmanship and history of old pieces. It saddens me to see much of this furniture is really unfashionable now and consumers would rather buy cheap new furniture every few years”.

Generally of a much higher quality than their contemporary counterparts, the pieces that Simpson works with feature solid wood and handmade construction that is valued by the style-conscious.

“Older furniture is generally much better quality than newer versions. Drawers were made of solid timber - not just cheap chipboard with timber laminate - and everything was assembled by hand. Furniture that’s as little as 40 or 50 years old is often of really good quality.”

“The concept of reusing furniture and making it functional and desirable in a modern home is important and I’m really passionate about it. People don’t want unfashionable furniture in their homes (I certainly don’t!), but that’s where I come in: to try and bridge this gap.”

You can see more of Simpson’s work on her website, www.jeaniusreloved.com.

Talented creator, and hand-made enthusiast, Pip Pottage has developed a successful design business inspired by her love of bold pattern and a commitment to a more sustainable way-of-life. Pip Pottage Designs, which combine high-quality design and construction with natural and environmental materials, is rapidly expanding it’s collection of products that are being snapped up by customers all over the world.

Pottage, who calls both New Zealand and Canada home, has always been conscious of the way that our consumer society impacts the world around us. Initially astonished that New Zealand had a gaping hole in the market when it came to organic, eco-friendly and ethical lifestyle products, she took it upon herself to right this wrong.

“I was creating handmade items and I figured it would be a truer representation of my own lifestyle commitment if my products reflected my sustainable beliefs too. So slowly I started switching everything over to organic cotton.  But, there is a catch… Organic cotton is not really super readily available for the small scale maker”

Pottage approached fabric distributors across New Zealand to find out if she could buy eco-friendly, sustainable or fair-trade products from them.

Growing up in Whangamata, about an hour north of Tauranga, provided a young Kane Facey with opportunities to explore two great loves: painting and surfing. At the local area school, a wave features prominently in the logo design and gives, perhaps, some indication of the lifestyle that is to be enjoyed in this part of the world.

Spending a great deal of time in the art room at school is regarded by Facey as a catalyst to his love of painting. Many hours every day were spent exploring different approaches to working with paint and other mediums. It was no surprise that when he left school Facey went on to study art at The Learning Connexion in Wellington.

From Dali-inspired scenes to vivid pop-art works, Facey’s painting style is diverse, but his landscapes have been his staple genre and photos from many surfing road trips provide endless inspiration.

Working on hand-made canvases, Facey works from photographs and finds the initial pencil lines to be the most satisfying part of the art-making process.

“I choose to not copy the image in its entirety. Instead, using it as a guide, I take elements from it and put in my own style.”

Currently living in New Plymouth, Facey has exhibited work in group shows and is now turning his attention towards solo exhibitions, but, as with many artists, balancing a range of commitments sometimes proves challenging.