Tag Archives: New Zealand

World of WearableArt: part 2

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Continuing our circuit of the World of WearableArt Museum, we entered the Transform Section. Designers were challenged to create a work that changes in form, nature and appearance. I only captured two of the five pieces, they don’t translate too well to static visuals. Meg Latham (NZ) was inspired by the paper dress-up dolls she played with as a child. Using polyethylene, canvas and acrylic paint for her version of Dress Up Dolls, the models change costumes as if turning pages of a book.

Tara Morelos, Ahmad Mollahassani and Nelia Justo (Australia) have employed electronics, along with acrylic, cardboard and fabric for their homage to Japanese artist Yayoi Kusama. They describe Infini-D as, ‘a meditation on geometry, dimensionality and cinematic post-modern gothic’.

The Aotearoa Section draws on the deep sense of place New Zealanders have and celebrates who they are as people and what makes them proud. Ocean beauty comes to life with Sacha Mail’s (NZ) Fatal Attraction. 30,421 hand-dyed cable ties and foam remind us to protect it before it turns to plastic pollution.

Dylan Mulder (NZ) combined 100% merino wool and 3D-printed jewellery to merge Artificial Intelligence and Māori design. He claims the garment, Natural Progression, intuitively designed itself.

Te Kotuku Rerenga Tahi is a Māori whakatauki or proverb, which means ‘a white heron’s flight is seen but once’ and is indicates a very special and rare event. Jenny Sutton (NZ) used paper, plastic milk bottles and weed matting to depict the lovely spirit-like bird.

The Crux and the Long White Cloud marries the Southern Cross in the heavens with the anthem of New Zealand. Autumn Minnear (NZ) chose gold, wood, wool and harakeke (flax) to complement the oil on linen images.

Stephanie Cossens (NZ) has honoured the New Zealand lesser short-tailed bat, Pekapeka-Tou-Poto, using ceramics, faux fur, Dacron and aluminium.

Fabric, plastic and elastic have amalgamated to form Erica Gray’s (Australia) Echinoderm, a monochromatic representation of the colourful sea creatures.

The title says it all, Our History? It’s Complicated… Lynne Dunphy (NZ) worked with woollen blankets, calico, silk and brass to share the message that there is more to Aotearoa than blankets and guns.

Lisa Vanin’s (NZ) depiction of Kaitiaki, a Māori term for a guardian or protector of the environment, is an understated combination of bamboo and copper.

An interesting conglomeration of tulle, rattan, shells and modelling clay make up the intricacies of Shelley Scott’s (NZ) JAFA (Just Another Fabulous Aucklander).

The colour white (yes, I know, there is some controversy as to whether it is actually a colour) is often associated with peace, light, love and purity. In some parts of the world it can represent death and mourning. The White Section incorporates the entire spectrum of emotions in spectacular fashion.

Renee Louie (NZ) has shaped PVC pipe, fabric and nylon string to create Symbiosis, her message that, ‘Alone they are great but they are even better together.’

Intricately woven aluminium wire and white wire make up Dreamcatcher, a fairy of the night by Tsao Chien-Yi and Lu Pei-Hsin (Taiwan).

‘The incarnation of an ethereal soul, protected by many different, textured layers’, describes Integumentum. Marine Arnoul (France) used 3D-mesh, spandex, foam and 3D-printed glasses to achieve the image.

A sterile white armour attempts to fight disease, but it is flawed. Hanna Smith (Australia) shaped Faulty Armour from Tyvek, cork and surgical masks.

This gorgeous garment by Galina Mihaleva (Singapore) is fabricated from polyester, plastic and sequins. Losing Touch? represents the uncertainties facing nature.

On a similar theme, Erica Gray (Australia) has used plastic and fabric for Face Coral, reflecting the underwater species stripped of vibrancy and colour.

Although many of the pieces on display are stretching the concept of ‘wearable’, I feel this would be particularly challenging. Ruth Arkless (NZ) has used cotton, tulle, mesh and sequins to create Cultural Peak, expressing the strength of the country’s heritage, casting large shadows and reaching new heights.

Taking ‘wearable’ to the extreme, the Bizarre Bra Section showcases some outrageous examples that have been entered in the competition over the years.

Paying homage to a typical Kiwi breakfast, Fried Eggs made from rubber adorn toast formed with painted sponges. Kelsey Roderick and Rhys Richards (NZ) cleverly added straps constructed from cutlery.

The oldest recorded ‘National Flower’, the Scottish thistle, inspired Lyndal Linton’s (NZ) EdinBra.

A less sedate, carnivorous tropical plant motivated Leon Vaz and Noel Braganza (India) for their colourful Venus Fly Trap.

Alexa Cach, Miodrag Guberinic and Corey Gomes (USA) combined hand-painted Cicadas, brass leaves, Italian leather, faceted crystals, epoxy and wire for their golden Renewal entry.

Stainless steel was the material of choice for the arachnoid creation, Miss Muffet, by Bikramjit Bhowmick and Sangeeta Patra (India).

Mark Crocker (NZ) found a use for teapots, bicycle parts, egg cups, kitchen utensils, leather belts, fabric and rivets for his painfully titled Grinder Bra.

Equally uncomfortable is Jantar Mantar by Khadimul Islam (India). I would think those parts made of iron, plastic and reflective sheets would pinch a bit.

Sebastian Denize (NZ) created Re-Decked entirely from recycled skateboards.

I’m not convinced that Tanya Marriott’s A Pair of Spitfires would really take off.

Denise Laurie (NZ) had to learn taxidermy to present Lunar Duo. A tribute to the possum, the unfortunate pair of road kill have been joined together with rubber from a car tyre.

World of WearableArt: part 1

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While staying in Nelson, we relished the opportunity to visit the World of WearableArt (WOW) museum. Local sculptor, Dame Suzie Moncrieff, instigated the World of WearableArt as a means of promoting a local co-operative art gallery; by taking art off the wall and displaying it on the moving body. Each year, the competition culminates with a spectacular show where the works are brought to life on stage. Since the inaugural show in 1987, the competition now attracts entrants from around the world. The museum dishes up a visual feast of which I will share a tasty portion.

The adventure begins just after the ticket counter, with the vibrant colours of Escaped Pods delivering a promise of things to come. Lynn Christiansen (USA) used felt and fabric for her depiction of Castilleja seed pods that have escaped captivity at the seed bank to live for today.

The displays are separated into different sections with each representing a theme. The Open Section is unique in that it has no thematic boundaries, giving designers complete freedom to create, limited only by their imagination.

Synthetic scraps, Fimo (a clay developed in the mid-20th century that could be hardened in the oven) and floor insulation were used by Daniella Sasvári and Aaron La Roche (NZ) to create the monarchial Regnum Dei.

Peeling back the layers to reveal the real you, Mary Turner’s (NZ) Appeeling is made from Worbla (a thermoplastic resin), foam, fabric and paint.

Striking and hypnotic, the changing patterns and colours of Collide-o-Scope were composed from neon acrylic, lycra, aluminium and Worbla by Vicky Robertson (NZ).

Fabrics, hand-painted skulls and skeletons were used by Sheela Stoneman (NZ) for Memento Mori to illustrate that life is short, death is long, so we need to live life to the fullest while we can.

‘Nature, the hero warrior, transfigures forsaken giants of industry into works of inspiring beauty’. Jill Benson (NZ) used PVC foam board, brass and cotton to construct Derelict Beauty.

Wolfgang Amadeus Mozart was obviously the inspiration for Carolyn Gibson’s (NZ) Rock Me Amadeus. Few materials are more fitting than velvet, leather, pearls and lace for a man who declared that love is the soul of genius.

Golf bags, clubs, tees and vinyl were used by Leanne Day (NZ) to relate the overwhelming feeling of having more ideas than time with Engolfed.

The Mythology Section features fantastical designs influenced by dark tales from other dimensions; monsters and creatures, gods and goddesses. Banshee of the Bike Lane shrieks her mourning of the senseless deaths of fallen cyclists. This howling spectre is assembled from bicycle inner tubes, chains, cogs and a wheel by Grace DuVal (USA).

The story of the thread of life – the beginning, middle and end – is told through shape and colour by Tina Hutchison-Thomas (NZ). Velvet, hand-dyed chiffon and embroidery were used to create the garments of The Moirai – the Shape of Us.

Feathers, silk taffeta, paint and crystals combine in the colourful Eden by Ian Bernhard (NZ), a portrayal of a creature of paradise, lost.

Xu Ran’s (China) 3D printed resin, nylon, rope and plastic, Feathers of the Roc, tells the story of giant fish that grow wings and turn into big birds to pursue freedom.

Based on the ancient theory of female hysteria, Louise Byford (UK) has melded latex sheeting, liquid latex and leather to present The Wandering Womb.

Although Nyx, goddess of the night, has the appearance of a multitude of feathers, it was actually created with plastic bags, metal wire and polyester by Dinh Hai Yen (Singapore).

A fascinating fusion of patent leather, beads and non-woven cloth form the convolutions of Chang-Yi-Wei’s (Taiwan) Soul Guardian, the god who guards the soul.

Wrath of Medusa was inspired by the Greek mythological creature Medusa, as sculpted by Italian artist Bernini. Edyta Jermacz (Poland) opted for vinyl latex, neoprene, jacquard and polypropylene padding for her concept.

Experimental, radical and unorthodox, the Avant-garde Section challenges designers to defy the boundaries of fashion and rebel against the norm.

Buddhist altar cloths and kimono obi lining merge to form Shinka (‘Evolution’ in Japanese). Christopher Davis (NZ) poses the question, ‘in a world of change and rapid evolution, will tradition still remain?’

With the stunning use of steel, silk and silk georgette, Thingamla Adrianne Keishing (India) conceived Oracles of Life, influenced by the aquatic world, especially the rhinopias and coral reefs.

The Lady Warrior embodies the toughest warriors in life – women – in their role of daughter, wife and mother. Rinaldy Yunardi (Indonesia) has brought his vision to life using metal and recycled paper.

Edyta Jermacz (Poland) features once again in this section, using latex, neoprene, fringing and buckles to produce Big Lips, inspired by a range of romantic emotions: desire, obsession, sex, love, intensity.

Silk, foil, foam and wire form the bold concept by Anna von Hartitzsch (UK), Clotho – the Goddess of Fate. According to Greek mythology, the youngest of the three Fates spins the threads of human life.

Baroque style and religion inspired Lam Hoi Man Kinki (Hong Kong) to create Holy Light using non-woven fabric, metal and satin.

Silk satin, taffeta and stone beads adorn Joan, Ian Bernhard’s (NZ) ‘armoured figure in liquid splendour’.

This armour is an interpretation of ‘power dressing’ and the illusory power of the stiletto. Louise Dyhrfort (UK) chose vegetable-tanned leather and plastic heels for Walk All Over Me.

Shantanu Singh (India) surmises, ‘we can’t even imagine the world or universe without black’. Velvet, lycra, crepe, pleated taffeta and cords compose Black – an Inner Strength.

The faceless, menacing Dearth Exterm represents a strong, powerful female version of the Knave of Hearts. Nicola Rule (NSW) has combined leather and taffeta for her mysterious character.

With a few more sections to share, I am planning a second instalment. Stay tuned…..

Nelson

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One of the reasons we included Nelson on our New Zealand itinerary was to visit the workshop of Jens Hansen, a must for any true fan of The Lord of the Rings.

Danish-born Jens moved to Auckland in 1952 and, after completing a jewellers apprenticeship, settled in Nelson with his wife and young son in 1968. He knew and loved The Lord of the Rings and was thrilled when approached, in March 1999, to design the fabled ring. Fifteen prototypes were submitted from which the final ‘movie ring’ was chosen. Forty variations of The One Ring were made for the filming, scaled for different scenes and sized to fit Hobbit or human fingers. Then there is the 8” version seen spinning and turning through the air in the prologue of the first film.

Sadly, Jens was diagnosed with cancer in 1999 and died in August the same year at the age of 59, never seeing his rings on screen. His legacy continues under the guidance of his sons and a remarkable team at the workshop.

Having made a very special purchase, we drove a few minutes out of town to the Grand Mercure Monaco Resort, our home for the next two nights.

Reminiscent of an English countryside village, the resort offers a range of accommodation from self-contained two bedroom cottages

to boutique hotel rooms. We had a stunning view of the Monaco Peninsula.

The guest lounge was cosy and comfortable

and we enjoyed a delicious dinner, as well as breakfasts, at the restaurant.

The grounds have been set up beautifully, with a peaceful lake enticing a variety of birdlife.

A short stroll down the road, The Honest Lawyer, exuding the charm of an English country pub, was the perfect spot to imbibe a pint of Guinness in the afternoon sun.

Perusing the menu, we decided to stay for dinner before a slow walk home as the sun was setting in spectacular fashion.

The next morning dawned crisp and clear, another day of adventures awaited.

north to south

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I had assumed our journey from the North Island to the South Island of New Zealand would be in a north-south direction. In actuality, the crossing of Cook Strait is from east to west. Named after Captain James Cook, who first mapped it in 1773, the waters of the strait are considered among the most dangerous and unpredictable in the world. The regular ferry service is often disrupted due to rough water and heavy swells from strong winds. Fortunately, our early morning sailing from Wellington was on a sea of glass.

About half of the 70 kilometre voyage is in the strait before entering the spectacular Marlborough Sounds.

Many of the small settlements, surrounded by steep, wooded hills, are only accessible by boat.

With 1500 kilometres of coastline, the islands and peninsulas of the Sounds comprise one-fifth of New Zealand’s total.

Made up of four distinctly different Sounds (Queen Charlotte, Kenepuru, Pelorus and Mahua), it is boggling to think that 10,000 years ago, this stunning area was actually a valley.

Three and a half hours after leaving Wellington, we arrived in Picton Harbour at the head of Queen Charlotte Sound.

As we drove out of town, we paused to look back at the breathtaking scenery and bustling harbour before continuing our South Island adventure.

Zealandia

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One of the places on our ‘must see’ list while in Aotearoa was Zealandia, the world’s first fully-fenced urban eco-sanctuary. For millions of years, native and endemic species had evolved without the need to defend themselves – until humans, and the mammals they introduced, managed to render at least 51 bird, 3 frog, 3 lizard, 1 freshwater fish, 1 bat, 4 plant, and a number of invertebrate species extinct. Formerly known as the Karori Wildlife Sanctuary, the 225 hectares (just under a square mile) of forest, surrounded by 8.6 kilometres of pest-exclusion fencing, has reintroduced 18 species of wildlife to the area after being absent for over 100 years. We exited the visitor centre to the magnificent view of Karori Reservoir.

Completed in 1878, the Karori Dam and valve tower hailed the beginning of the municipal water supply to Wellington City and continued to contribute until the late 20th century.

There are many kilometres of walking trails through the sanctuary, we headed up the main path that followed the lake.

It wasn’t long before we encountered a gorgeous family of pied shags. Known in many countries as cormorants, they are brilliant swimmers and, because their feathers are not waterproof, can stay underwater for up to 30 seconds. Unfortunately, this means they get quickly waterlogged and cold and need to spend a lot of time preening and drying their feathers.

When a predator approaches a nesting colony, the chicks will jump into the water long before they can fly and are very good at climbing back up to the nest. Both parents build the nest, incubate the eggs and feed their adorable  young.

Further along the path, we encountered a pair of birds enjoying a drink at a sugar water bar.

The kākā is a large, olive-brown forest parrot with flashes of crimson and orange plumage under their wings. The word kā can mean ‘screech’ in Māori and so the name kākā is thought to be a reference to their loud call. Effectively extinct in Wellington since the early 20th century, fourteen captive-bred kākā were transferred from zoos between 2002 and 2007 and breeding has been very successful at Zealandia.

As the trail narrowed and foliage thickened,

we could hear unusual clicks, croaks and bell-like sounds. Looking up, we spied a beautiful black bird with white pom-poms at its throat.

The tūī is known for its complex vocabulary and can mimic other birds, ringtones of phones, door chimes and even human speech thanks to its ‘double voice-box’. While watching and listening, mesmerised, it became evident in the sunlight that the dark plumage was actually a dazzling iridescent green.

We stumbled upon what appeared to be old iron railway tracks in a clearing. Alluvial gold was discovered in the area in 1869 and local residents flocked to lay a claim. Two years later, quartz mining took its place with water wheels and crushing machinery installed. Presumably, these are remnants of the mine sites.

We traversed the upper dam wall, completed in 1908

and paused to take in the stunning vista across the upper reservoir toward urban Wellington.

We crossed a suspension bridge, enveloped by dense forest

to travel a different route back to our starting point. We didn’t expect to see the elusive tuatara but the mainly nocturnal creatures were basking in the sun.

Tuatara means ‘peaks on the back’ in Māori and they are considered to be messengers of Whiro, the god of death and disaster. Scientists refer to them as ‘living fossils’ because they are the only living members left of the Rhynchocophalian order. All other members became extinct around 65 millions years ago.

We first spotted these birds while staying at Motuoapa Bay. Though not a native species, the California quail is a welcome substitute for the now extinct New Zealand quail, helping to balance the ecosystem.

With a hint from this Tūī that lunch time was nigh,

we left Zealandia in search of sustenance.