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Soon after, she exhibited in the Columbia Threadneedle Prize at the Mall Galleries and Palazzo Strozzi in Florence.\u003c\/p\u003e\n\u003cp\u003eBefore leaving the UK, Holly gained gallery representation with the Rebecca Hossack gallery in London. Her debut solo show, I Sit In The Blue Of The Hills, opened in 2017 and since then, she has exhibited in art fairs such as Seattle, Toronto, New York and Hong Kong. Since moving to Christchurch in 2017, Zandbergen has predominantly exhibited with the Black Asterisk Gallery in Auckland, with whom her solo show, Compositions of Nature (2018) drew a positive review from art critic Michael Dunn of Art New Zealand. Holly is now represented with Rebecca Hossack in London and Rarity Gallery in Mykonos.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eImage Dimensions:\u003c\/strong\u003e \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1350mm W x 900mm H\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFraming:\u003c\/strong\u003e Unframed\u003c\/p\u003e","brand":"Holly Zandbergen","offers":[{"title":"Default Title","offer_id":36916664336539,"sku":"","price":5400.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0459\/7183\/2987\/products\/Holly-Zandbergen-Raikaitane-Track-sm-02.jpg?v=1605746773"},{"product_id":"hilaire","title":"Hilaire","description":"\u003cp\u003eAlan Pearson (1929 – 2019) immigrated to New Zealand in 1956 from Liverpool, England. 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Here I have taken old and familiar objects to create simple works that are evocative of my happiness at home.\u003c\/div\u003e\n\u003c\/blockquote\u003e\n\u003c\/div\u003e\n\u003cp\u003eGill Hay attended Canterbury University School of Fine Arts in the early 1980s and has been exhibiting widely in New Zealand and overseas for the past 25 years. 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Here I have taken old and familiar objects to create simple works that are evocative of my happiness at home.\u003c\/div\u003e\n\u003c\/blockquote\u003e\n\u003c\/div\u003e\n\u003cp\u003eGill Hay attended Canterbury University School of Fine Arts in the early 1980s and has been exhibiting widely in New Zealand and overseas for the past 25 years. 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Here I have taken old and familiar objects to create simple works that are evocative of my happiness at home.\u003c\/div\u003e\n\u003c\/blockquote\u003e\n\u003c\/div\u003e\n\u003cp\u003eGill Hay attended Canterbury University School of Fine Arts in the early 1980s and has been exhibiting widely in New Zealand and overseas for the past 25 years. 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Here I have taken old and familiar objects to create simple works that are evocative of my happiness at home.\u003c\/div\u003e\n\u003c\/blockquote\u003e\n\u003c\/div\u003e\n\u003cp\u003eGill Hay attended Canterbury University School of Fine Arts in the early 1980s and has been exhibiting widely in New Zealand and overseas for the past 25 years. Hay lives in Lyttelton, where she has a studio in her home, overlooking the inner harbour.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e\u003cspan\u003e 1215mm W x 910mm H \u003c\/span\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eFraming:\u003c\/strong\u003e Unframed\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Gill Hay","offers":[{"title":"Default Title","offer_id":36956831350939,"sku":"","price":4000.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0459\/7183\/2987\/products\/Gill-Hay-Artillery-Shell-Case-with-Violets-sm-03.jpg?v=1606099340"},{"product_id":"packham-s-triumph","title":"Packham’s Triumph","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003ci\u003ePackham's Triumph\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eis from\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003ePICK.\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003ePlace\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e,\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003c\/em\u003ean exhibition of new works from\u003cspan\u003e \u003c\/span\u003eAnna Dalzell,\u003cspan\u003e \u003c\/span\u003eAlison Erickson\u003cspan\u003e \u003c\/span\u003e\u0026amp;\u003cspan\u003e \u003c\/span\u003eGill Hay.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePerhaps this year has given new definition to our sense of place in the world.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cblockquote\u003e\n\u003cdiv\u003e\n\u003cstrong\u003ePlace\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eis about the things that surround me. Here I have taken old and familiar objects to create simple works that are evocative of my happiness at home.\u003c\/div\u003e\n\u003c\/blockquote\u003e\n\u003c\/div\u003e\n\u003cp\u003eGill Hay attended Canterbury University School of Fine Arts in the early 1980s and has been exhibiting widely in New Zealand and overseas for the past 25 years. 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Excitement, anticipation and being entirely present in a moment of time.\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eAlison Erickson has lived and worked at The Mill Studio in Waikari, North Canterbury since 1998. 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Excitement, anticipation and being entirely present in a moment of time.\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eAlison Erickson has lived and worked at The Mill Studio in Waikari, North Canterbury since 1998. 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Excitement, anticipation and being entirely present in a moment of time.\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eAlison Erickson has lived and worked at The Mill Studio in Waikari, North Canterbury since 1998. She sculpts and casts bronze on the premises, with her partner, Sam Mahon.\u003c\/p\u003e\n\u003cp\u003eHer work is kept in private collections in NZ and in Australia, the UK and the USA.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e\u003c\/span\u003eEdition\u003c\/strong\u003e 1\/1 \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e\u003cspan\u003e \u003cmeta charset=\"utf-8\"\u003e355mm W x 1350mm H x 355mm D\u003c\/span\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Alison Erickson","offers":[{"title":"Default Title","offer_id":36957133176987,"sku":"","price":12000.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0459\/7183\/2987\/products\/Alison-Erickson-Requiem-sm-04.jpg?v=1606099709"},{"product_id":"plaque","title":"Plaque","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003ci\u003ePlaque \u003c\/i\u003eis from\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003ePICK.\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003ePlace\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e,\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003c\/em\u003ean exhibition of new works from\u003cspan\u003e \u003c\/span\u003eAnna Dalzell,\u003cspan\u003e \u003c\/span\u003eAlison Erickson\u003cspan\u003e \u003c\/span\u003e\u0026amp;\u003cspan\u003e \u003c\/span\u003eGill Hay.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePerhaps this year has given new definition to our sense of place in the world.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cdiv\u003e\n\u003cdiv dir=\"auto\"\u003eFor this exhibition\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003ePlace\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eI’ve made sculpture attempting to capture moments in a place in time, in childhood, moments that define the endless noise and distracting trivia of contemporary life, experiences that are encapsulated by the simple act of hunting for natural treasure and observation of the natural world. Excitement, anticipation and being entirely present in a moment of time.\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eAlison Erickson has lived and worked at The Mill Studio in Waikari, North Canterbury since 1998. She sculpts and casts bronze on the premises, with her partner, Sam Mahon.\u003c\/p\u003e\n\u003cp\u003eHer work is kept in private collections in NZ and in Australia, the UK and the USA.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e\u003c\/span\u003eEdition\u003c\/strong\u003e 1\/3\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e\u003cspan\u003e \u003cmeta charset=\"utf-8\"\u003e150mm W x 205mm H\u003c\/span\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Alison Erickson","offers":[{"title":"Default Title","offer_id":36957150118043,"sku":"","price":350.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0459\/7183\/2987\/products\/Alison-Erickson-Plaque-sm-02.jpg?v=1606099756"},{"product_id":"waterfall","title":"Waterfall","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan\u003eWaterfall \u003c\/span\u003e\u003c\/i\u003eis from\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003ePICK.\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003ePlace\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e,\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003c\/em\u003ean exhibition of new works from\u003cspan\u003e \u003c\/span\u003eAnna Dalzell,\u003cspan\u003e \u003c\/span\u003eAlison Erickson\u003cspan\u003e \u003c\/span\u003e\u0026amp;\u003cspan\u003e \u003c\/span\u003eGill Hay.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePerhaps this year has given new definition to our sense of place in the world.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cdiv\u003e\n\u003cdiv dir=\"auto\"\u003eFor this exhibition\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003ePlace\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eI’ve made sculpture attempting to capture moments in a place in time, in childhood, moments that define the endless noise and distracting trivia of contemporary life, experiences that are encapsulated by the simple act of hunting for natural treasure and observation of the natural world. Excitement, anticipation and being entirely present in a moment of time.\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eAlison Erickson has lived and worked at The Mill Studio in Waikari, North Canterbury since 1998. She sculpts and casts bronze on the premises, with her partner, Sam Mahon.\u003c\/p\u003e\n\u003cp\u003eHer work is kept in private collections in NZ and in Australia, the UK and the USA.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e\u003c\/span\u003eEdition\u003c\/strong\u003e 1\/1\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e\u003cspan\u003e \u003cmeta charset=\"utf-8\"\u003e150mm W x 550mm H x 125mm D\u003c\/span\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Alison Erickson","offers":[{"title":"Default Title","offer_id":36957159162011,"sku":"","price":6500.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0459\/7183\/2987\/products\/Alison-Erickson-Waterfall-sm-03.jpg?v=1606099790"},{"product_id":"home-the-point","title":"Home? – The Point","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan\u003eHome? – The Point\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis from\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003ePICK.\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003ePlace\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e,\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003c\/em\u003ean exhibition of new works from\u003cspan\u003e \u003c\/span\u003eAnna Dalzell,\u003cspan\u003e \u003c\/span\u003eAlison Erickson\u003cspan\u003e \u003c\/span\u003e\u0026amp;\u003cspan\u003e \u003c\/span\u003eGill Hay.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePerhaps this year has given new definition to our sense of place in the world.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cspan\u003eThese paintings are an exercise into seeing, a practice of observation.\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eThe beauty of Ōnawe, Pigeon Bay and Horomaka \/ Banks Peninsula.\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eI look at the landscape over the last few years in various moods and seasons.\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eReflecting on the outside world as change rapidly evolves. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe land is seen as a healing place\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003ehere a safety net\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003ean immersion in nature.\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eland to be held by and shelter within.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn the process of this work I try to find ways of avoiding detail and complication. Looking only for main shapes, masses of colour and form. Simplifying all I see and feel down to the bare essentials. The compositions aim to heighten a sense of being immersed in the landscape. This landscape and place in which to heal. To be bathed in green and healed in nature in a troubled world.  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTwo years ago I started this series of paintings. At that time my plan was to use the land around me to explore painting as a medium. A move away from my familiar process of printmaking. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eI wanted to bring more colour into my practice with paint. To honour the history and tradition of painting this landscape in Canterbury. So iconic, familiar and well represented by artists who have come before. Toss Woollaston, Rita Angus, Louise Henderson. I needed to give myself time to immerse in the practice and learn, to experiment. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe stories the land shared as I researched recent passages of time shaped my vision. Ōnawe, a Tapu – sacred land where blood has spilled. An eire presence haunts the minds aware of the lives lost on this soil and surrounds. It’s a place of profound peace and beauty, cradled in the harbour. The dwelling place of an Atua – \u003cem\u003eTe pa Nui O Hau\u003c\/em\u003e – the goddess of the wind. A place, protected. No longer farmed or dwelt upon, open to walkers, and ponderers. Land for protecting, slowly regenerating to its former pre-human glory. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe land on Banks Peninsula as I see it, beauty as if form and bone. Patterns, blocks of bush, regen, fields and houses. I’ve tried to simplify and only paint main forms, to move away from detail and working tightly, to paint with gesture and energy, to gain a sense of the place, it’s form and mood. Using long panels to constrain my compositions and pull the landscape into a strip. A pattern of land and water, an elevated view – how would the Atua of the wind see the whenua. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA homage to the Japanese tradition of the folding screen. The summer palette, bright and hopeful ochres and light. A Winter palette of Covid, coming back to look at this work with a new perspective. A need to be immersing myself in green, to be in nature and use these colours to shelter in. \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eBanks Peninsula based artist, Anna Dalzell, captures our connection with the land, and her work is a tribute to what she holds dear in a rapid, ever-changing world. 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Looking only for main shapes, masses of colour and form. Simplifying all I see and feel down to the bare essentials. The compositions aim to heighten a sense of being immersed in the landscape. This landscape and place in which to heal. To be bathed in green and healed in nature in a troubled world.  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTwo years ago I started this series of paintings. At that time my plan was to use the land around me to explore painting as a medium. A move away from my familiar process of printmaking. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eI wanted to bring more colour into my practice with paint. To honour the history and tradition of painting this landscape in Canterbury. So iconic, familiar and well represented by artists who have come before. Toss Woollaston, Rita Angus, Louise Henderson. 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I’ve tried to simplify and only paint main forms, to move away from detail and working tightly, to paint with gesture and energy, to gain a sense of the place, it’s form and mood. Using long panels to constrain my compositions and pull the landscape into a strip. A pattern of land and water, an elevated view – how would the Atua of the wind see the whenua. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA homage to the Japanese tradition of the folding screen. The summer palette, bright and hopeful ochres and light. A Winter palette of Covid, coming back to look at this work with a new perspective. A need to be immersing myself in green, to be in nature and use these colours to shelter in. \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eBanks Peninsula based artist, Anna Dalzell, captures our connection with the land, and her work is a tribute to what she holds dear in a rapid, ever-changing world. 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I needed to give myself time to immerse in the practice and learn, to experiment. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe stories the land shared as I researched recent passages of time shaped my vision. Ōnawe, a Tapu – sacred land where blood has spilled. An eire presence haunts the minds aware of the lives lost on this soil and surrounds. It’s a place of profound peace and beauty, cradled in the harbour. The dwelling place of an Atua – \u003cem\u003eTe pa Nui O Hau\u003c\/em\u003e – the goddess of the wind. A place, protected. No longer farmed or dwelt upon, open to walkers, and ponderers. Land for protecting, slowly regenerating to its former pre-human glory. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe land on Banks Peninsula as I see it, beauty as if form and bone. Patterns, blocks of bush, regen, fields and houses. I’ve tried to simplify and only paint main forms, to move away from detail and working tightly, to paint with gesture and energy, to gain a sense of the place, it’s form and mood. Using long panels to constrain my compositions and pull the landscape into a strip. A pattern of land and water, an elevated view – how would the Atua of the wind see the whenua. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA homage to the Japanese tradition of the folding screen. The summer palette, bright and hopeful ochres and light. A Winter palette of Covid, coming back to look at this work with a new perspective. A need to be immersing myself in green, to be in nature and use these colours to shelter in. \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eBanks Peninsula based artist, Anna Dalzell, captures our connection with the land, and her work is a tribute to what she holds dear in a rapid, ever-changing world. Dalzell’s art practice focuses mainly on intaglio printmaking, drawing and painting.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eImage Dimensions:\u003c\/strong\u003e\u003cspan\u003e \u003cmeta charset=\"utf-8\"\u003e580mm W x 1505mm H\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFraming: \u003c\/strong\u003eFramed\u003c\/p\u003e","brand":"Anna Dalzell","offers":[{"title":"Default Title","offer_id":36957183606939,"sku":"","price":3600.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0459\/7183\/2987\/products\/Anna-Dalzell-Watery-drowning-in-green-sm-02.jpg?v=1606100111"},{"product_id":"farewell-holmes-bay","title":"Farewell – Holmes Bay","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cem\u003eFarewell - Holmes Bay\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis from\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003ePICK.\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003ePlace\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e,\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003c\/em\u003ean exhibition of new works from\u003cspan\u003e \u003c\/span\u003eAnna Dalzell,\u003cspan\u003e \u003c\/span\u003eAlison Erickson\u003cspan\u003e \u003c\/span\u003e\u0026amp;\u003cspan\u003e \u003c\/span\u003eGill Hay.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePerhaps this year has given new definition to our sense of place in the world.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cspan\u003eThese paintings are an exercise into seeing, a practice of observation.\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eThe beauty of Ōnawe, Pigeon Bay and Horomaka \/ Banks Peninsula.\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eI look at the landscape over the last few years in various moods and seasons.\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eReflecting on the outside world as change rapidly evolves. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe land is seen as a healing place\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003ehere a safety net\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003ean immersion in nature.\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eland to be held by and shelter within.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn the process of this work I try to find ways of avoiding detail and complication. Looking only for main shapes, masses of colour and form. Simplifying all I see and feel down to the bare essentials. The compositions aim to heighten a sense of being immersed in the landscape. This landscape and place in which to heal. To be bathed in green and healed in nature in a troubled world.  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTwo years ago I started this series of paintings. At that time my plan was to use the land around me to explore painting as a medium. A move away from my familiar process of printmaking. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eI wanted to bring more colour into my practice with paint. To honour the history and tradition of painting this landscape in Canterbury. So iconic, familiar and well represented by artists who have come before. Toss Woollaston, Rita Angus, Louise Henderson. I needed to give myself time to immerse in the practice and learn, to experiment. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe stories the land shared as I researched recent passages of time shaped my vision. Ōnawe, a Tapu – sacred land where blood has spilled. An eire presence haunts the minds aware of the lives lost on this soil and surrounds. It’s a place of profound peace and beauty, cradled in the harbour. The dwelling place of an Atua – \u003cem\u003eTe pa Nui O Hau\u003c\/em\u003e – the goddess of the wind. A place, protected. No longer farmed or dwelt upon, open to walkers, and ponderers. Land for protecting, slowly regenerating to its former pre-human glory. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe land on Banks Peninsula as I see it, beauty as if form and bone. Patterns, blocks of bush, regen, fields and houses. I’ve tried to simplify and only paint main forms, to move away from detail and working tightly, to paint with gesture and energy, to gain a sense of the place, it’s form and mood. Using long panels to constrain my compositions and pull the landscape into a strip. A pattern of land and water, an elevated view – how would the Atua of the wind see the whenua. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA homage to the Japanese tradition of the folding screen. The summer palette, bright and hopeful ochres and light. A Winter palette of Covid, coming back to look at this work with a new perspective. A need to be immersing myself in green, to be in nature and use these colours to shelter in. \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eBanks Peninsula based artist, Anna Dalzell, captures our connection with the land, and her work is a tribute to what she holds dear in a rapid, ever-changing world. Dalzell’s art practice focuses mainly on intaglio printmaking, drawing and painting.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eImage Dimensions:\u003c\/strong\u003e\u003cspan\u003e \u003cmeta charset=\"utf-8\"\u003e580mm W x 1505mm H\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFraming: \u003c\/strong\u003eFramed\u003c\/p\u003e","brand":"Anna Dalzell","offers":[{"title":"Default Title","offer_id":36957187080347,"sku":"","price":3600.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0459\/7183\/2987\/products\/Anna-Dalzell-Farewell-Holmes-Bay-sm-02.jpg?v=1607470123"},{"product_id":"hope-towards-french-farm","title":"Hope – Towards French Farm","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cem\u003eHope - Towards French Farm\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis from\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003ePICK.\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003ePlace\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e,\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003c\/em\u003ean exhibition of new works from\u003cspan\u003e \u003c\/span\u003eAnna Dalzell,\u003cspan\u003e \u003c\/span\u003eAlison Erickson\u003cspan\u003e \u003c\/span\u003e\u0026amp;\u003cspan\u003e \u003c\/span\u003eGill Hay.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePerhaps this year has given new definition to our sense of place in the world.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cspan\u003eThese paintings are an exercise into seeing, a practice of observation.\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eThe beauty of Ōnawe, Pigeon Bay and Horomaka \/ Banks Peninsula.\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eI look at the landscape over the last few years in various moods and seasons.\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eReflecting on the outside world as change rapidly evolves. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe land is seen as a healing place\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003ehere a safety net\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003ean immersion in nature.\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eland to be held by and shelter within.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn the process of this work I try to find ways of avoiding detail and complication. Looking only for main shapes, masses of colour and form. Simplifying all I see and feel down to the bare essentials. The compositions aim to heighten a sense of being immersed in the landscape. This landscape and place in which to heal. To be bathed in green and healed in nature in a troubled world.  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTwo years ago I started this series of paintings. At that time my plan was to use the land around me to explore painting as a medium. A move away from my familiar process of printmaking. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eI wanted to bring more colour into my practice with paint. To honour the history and tradition of painting this landscape in Canterbury. So iconic, familiar and well represented by artists who have come before. Toss Woollaston, Rita Angus, Louise Henderson. I needed to give myself time to immerse in the practice and learn, to experiment. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe stories the land shared as I researched recent passages of time shaped my vision. Ōnawe, a Tapu – sacred land where blood has spilled. An eire presence haunts the minds aware of the lives lost on this soil and surrounds. It’s a place of profound peace and beauty, cradled in the harbour. The dwelling place of an Atua – \u003cem\u003eTe pa Nui O Hau\u003c\/em\u003e – the goddess of the wind. A place, protected. No longer farmed or dwelt upon, open to walkers, and ponderers. Land for protecting, slowly regenerating to its former pre-human glory. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe land on Banks Peninsula as I see it, beauty as if form and bone. Patterns, blocks of bush, regen, fields and houses. I’ve tried to simplify and only paint main forms, to move away from detail and working tightly, to paint with gesture and energy, to gain a sense of the place, it’s form and mood. Using long panels to constrain my compositions and pull the landscape into a strip. A pattern of land and water, an elevated view – how would the Atua of the wind see the whenua. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA homage to the Japanese tradition of the folding screen. The summer palette, bright and hopeful ochres and light. A Winter palette of Covid, coming back to look at this work with a new perspective. A need to be immersing myself in green, to be in nature and use these colours to shelter in. \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eBanks Peninsula based artist, Anna Dalzell, captures our connection with the land, and her work is a tribute to what she holds dear in a rapid, ever-changing world. Dalzell’s art practice focuses mainly on intaglio printmaking, drawing and painting.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eImage Dimensions:\u003c\/strong\u003e\u003cspan\u003e \u003cmeta charset=\"utf-8\"\u003e580mm W x 1505mm H\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFraming: \u003c\/strong\u003eFramed\u003c\/p\u003e","brand":"Anna Dalzell","offers":[{"title":"Default Title","offer_id":36957189898395,"sku":"","price":3600.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0459\/7183\/2987\/products\/Anna-Dalzell-Hope-Towards-French-Farm-sm-02.jpg?v=1606100272"},{"product_id":"nurture-and-grow-ngaio-point","title":"Nurture And Grow – Ngaio Point","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cem\u003eNuture and Grow - Ngaio Point\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis from\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003ePICK.\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003ePlace\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e,\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003c\/em\u003ean exhibition of new works from\u003cspan\u003e \u003c\/span\u003eAnna Dalzell,\u003cspan\u003e \u003c\/span\u003eAlison Erickson\u003cspan\u003e \u003c\/span\u003e\u0026amp;\u003cspan\u003e \u003c\/span\u003eGill Hay.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePerhaps this year has given new definition to our sense of place in the world.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cspan\u003eThese paintings are an exercise into seeing, a practice of observation.\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eThe beauty of Ōnawe, Pigeon Bay and Horomaka \/ Banks Peninsula.\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eI look at the landscape over the last few years in various moods and seasons.\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eReflecting on the outside world as change rapidly evolves. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe land is seen as a healing place\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003ehere a safety net\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003ean immersion in nature.\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eland to be held by and shelter within.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn the process of this work I try to find ways of avoiding detail and complication. Looking only for main shapes, masses of colour and form. Simplifying all I see and feel down to the bare essentials. The compositions aim to heighten a sense of being immersed in the landscape. This landscape and place in which to heal. To be bathed in green and healed in nature in a troubled world.  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTwo years ago I started this series of paintings. At that time my plan was to use the land around me to explore painting as a medium. A move away from my familiar process of printmaking. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eI wanted to bring more colour into my practice with paint. To honour the history and tradition of painting this landscape in Canterbury. So iconic, familiar and well represented by artists who have come before. Toss Woollaston, Rita Angus, Louise Henderson. I needed to give myself time to immerse in the practice and learn, to experiment. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe stories the land shared as I researched recent passages of time shaped my vision. Ōnawe, a Tapu – sacred land where blood has spilled. An eire presence haunts the minds aware of the lives lost on this soil and surrounds. It’s a place of profound peace and beauty, cradled in the harbour. The dwelling place of an Atua – \u003cem\u003eTe pa Nui O Hau\u003c\/em\u003e – the goddess of the wind. A place, protected. No longer farmed or dwelt upon, open to walkers, and ponderers. Land for protecting, slowly regenerating to its former pre-human glory. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe land on Banks Peninsula as I see it, beauty as if form and bone. Patterns, blocks of bush, regen, fields and houses. I’ve tried to simplify and only paint main forms, to move away from detail and working tightly, to paint with gesture and energy, to gain a sense of the place, it’s form and mood. Using long panels to constrain my compositions and pull the landscape into a strip. A pattern of land and water, an elevated view – how would the Atua of the wind see the whenua. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA homage to the Japanese tradition of the folding screen. The summer palette, bright and hopeful ochres and light. A Winter palette of Covid, coming back to look at this work with a new perspective. A need to be immersing myself in green, to be in nature and use these colours to shelter in. \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eBanks Peninsula based artist, Anna Dalzell, captures our connection with the land, and her work is a tribute to what she holds dear in a rapid, ever-changing world. Dalzell’s art practice focuses mainly on intaglio printmaking, drawing and painting.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eImage Dimensions:\u003c\/strong\u003e\u003cspan\u003e \u003cmeta charset=\"utf-8\"\u003e580mm W x 1505mm H\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFraming: \u003c\/strong\u003eFramed\u003c\/p\u003e","brand":"Anna Dalzell","offers":[{"title":"Default Title","offer_id":36957193404571,"sku":"","price":3600.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0459\/7183\/2987\/products\/Anna-Dalzell-Nuture-and-Grow-Ngaio-Point-sm-02.jpg?v=1606100438"},{"product_id":"prosperity-barry-s-bay","title":"Prosperity – Barry’s Bay","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cem\u003eProsperity - Barry's Bay\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis from\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003ePICK.\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003ePlace\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e,\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003c\/em\u003ean exhibition of new works from\u003cspan\u003e \u003c\/span\u003eAnna Dalzell,\u003cspan\u003e \u003c\/span\u003eAlison Erickson\u003cspan\u003e \u003c\/span\u003e\u0026amp;\u003cspan\u003e \u003c\/span\u003eGill Hay.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePerhaps this year has given new definition to our sense of place in the world.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cspan\u003eThese paintings are an exercise into seeing, a practice of observation.\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eThe beauty of Ōnawe, Pigeon Bay and Horomaka \/ Banks Peninsula.\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eI look at the landscape over the last few years in various moods and seasons.\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eReflecting on the outside world as change rapidly evolves. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe land is seen as a healing place\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003ehere a safety net\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003ean immersion in nature.\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eland to be held by and shelter within.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn the process of this work I try to find ways of avoiding detail and complication. Looking only for main shapes, masses of colour and form. Simplifying all I see and feel down to the bare essentials. The compositions aim to heighten a sense of being immersed in the landscape. This landscape and place in which to heal. To be bathed in green and healed in nature in a troubled world.  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTwo years ago I started this series of paintings. At that time my plan was to use the land around me to explore painting as a medium. A move away from my familiar process of printmaking. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eI wanted to bring more colour into my practice with paint. To honour the history and tradition of painting this landscape in Canterbury. So iconic, familiar and well represented by artists who have come before. Toss Woollaston, Rita Angus, Louise Henderson. I needed to give myself time to immerse in the practice and learn, to experiment. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe stories the land shared as I researched recent passages of time shaped my vision. Ōnawe, a Tapu – sacred land where blood has spilled. An eire presence haunts the minds aware of the lives lost on this soil and surrounds. It’s a place of profound peace and beauty, cradled in the harbour. The dwelling place of an Atua – \u003cem\u003eTe pa Nui O Hau\u003c\/em\u003e – the goddess of the wind. A place, protected. No longer farmed or dwelt upon, open to walkers, and ponderers. Land for protecting, slowly regenerating to its former pre-human glory. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe land on Banks Peninsula as I see it, beauty as if form and bone. Patterns, blocks of bush, regen, fields and houses. I’ve tried to simplify and only paint main forms, to move away from detail and working tightly, to paint with gesture and energy, to gain a sense of the place, it’s form and mood. Using long panels to constrain my compositions and pull the landscape into a strip. A pattern of land and water, an elevated view – how would the Atua of the wind see the whenua. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA homage to the Japanese tradition of the folding screen. The summer palette, bright and hopeful ochres and light. A Winter palette of Covid, coming back to look at this work with a new perspective. A need to be immersing myself in green, to be in nature and use these colours to shelter in. \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eBanks Peninsula based artist, Anna Dalzell, captures our connection with the land, and her work is a tribute to what she holds dear in a rapid, ever-changing world. 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