{"title":"Paintings","description":"\u003cp\u003eNZ artboker\u003c\/p\u003e\n\u003c!-- split --\u003e\n\u003cp\u003eA wide selection of painted artworks.\u003c\/p\u003e","products":[{"product_id":"racer","title":"Racer","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eEion Stevens (1952 - 2021) was born in Dunedin and after studying print-making and painting, graduated with honours from the Otago School of Art in 1973. After his graduation he travelled to Europe several times; during the first foray, he studied at Exeter College of Art, England. Eion has exhibited regularly throughout New Zealand since 1979, when he was still in his twenties, and his work is included in important public and corporate collections, and in private collections, both here and overseas. 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Stevens' intriguing, surreal work is distinctive both for its pared-back style, signature flat planes of strong colour, with their sense of double entendre and ironic humour.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA period living in Lyttelton resulted in the sea featuring more prominently in his work, but the Christchurch earthquakes forced a return to the city, and to working primarily on paper, sometimes the medium with the most startlingly fresh compositions.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHis work has been written about in major NZ art publications including\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eNZ Art – A Modern Perspective\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eby Elva Bett,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e100 New Zealand Paintings\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eby Warwick Brown, and in\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eArt New Zealand.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eImage Dimensions:\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e 43\u003c\/span\u003e0mm W x 280mm H\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eFraming:\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eUnframed\u003c\/p\u003e","brand":"Eion Stevens","offers":[{"title":"Default Title","offer_id":35687616905371,"sku":"","price":1200.0,"currency_code":"NZD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0459\/7183\/2987\/products\/Eion-Stevens-08-sm2.jpg?v=1631852120"},{"product_id":"domestic-accident","title":"Domestic Accident","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eEion Stevens (1952 - 2021) was born in Dunedin and after studying print-making and painting, graduated with honours from the Otago School of Art in 1973. 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Stevens' intriguing, surreal work is distinctive both for its pared-back style, signature flat planes of strong colour, with their sense of double entendre and ironic humour.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA period living in Lyttelton resulted in the sea featuring more prominently in his work, but the Christchurch earthquakes forced a return to the city, and to working primarily on paper, sometimes the medium with the most startlingly fresh compositions.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHis work has been written about in major NZ art publications including\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eNZ Art – A Modern Perspective\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eby Elva Bett,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e100 New Zealand Paintings\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eby Warwick Brown, and in\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eArt New Zealand.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eImage Dimensions:\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e 43\u003c\/span\u003e0mm W x \u003cmeta charset=\"utf-8\"\u003e280mm H\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eFraming:\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eUnframed\u003c\/p\u003e","brand":"Eion Stevens","offers":[{"title":"Default Title","offer_id":35687617265819,"sku":"","price":1200.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0459\/7183\/2987\/products\/Eion-Stevens-09-sm2.jpg?v=1631852198"},{"product_id":"flag-day","title":"Flag Day","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eEion Stevens (1952 - 2021) was born in Dunedin and after studying print-making and painting, graduated with honours from the Otago School of Art in 1973. After his graduation he travelled to Europe several times; during the first foray, he studied at Exeter College of Art, England. Eion has exhibited regularly throughout New Zealand since 1979, when he was still in his twenties, and his work is included in important public and corporate collections, and in private collections, both here and overseas. In 1999 a survey of his work was mounted at the James Wallace Trust Gallery, Auckland.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHis individuality and ironic imagery has attracted a steady following. Stevens' intriguing, surreal work is distinctive both for its pared-back style, signature flat planes of strong colour, with their sense of double entendre and ironic humour.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA period living in Lyttelton resulted in the sea featuring more prominently in his work, but the Christchurch earthquakes forced a return to the city, and to working primarily on paper, sometimes the medium with the most startlingly fresh compositions.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHis work has been written about in major NZ art publications including\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eNZ Art – A Modern Perspective\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eby Elva Bett,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e100 New Zealand Paintings\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eby Warwick Brown, and in\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eArt New Zealand.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eImage Dimensions:\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e 43\u003c\/span\u003e0mm W x \u003cmeta charset=\"utf-8\"\u003e280mm H\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eFraming:\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eUnframed\u003c\/p\u003e","brand":"Eion Stevens","offers":[{"title":"Default Title","offer_id":35687618117787,"sku":"","price":1200.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0459\/7183\/2987\/products\/Eion-Stevens-10-sm2.jpg?v=1631852358"},{"product_id":"lookout","title":"Lookout","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eEion Stevens (1952 - 2021) was born in Dunedin and after studying print-making and painting, graduated with honours from the Otago School of Art in 1973. 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Stevens' intriguing, surreal work is distinctive both for its pared-back style, signature flat planes of strong colour, with their sense of double entendre and ironic humour.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA period living in Lyttelton resulted in the sea featuring more prominently in his work, but the Christchurch earthquakes forced a return to the city, and to working primarily on paper, sometimes the medium with the most startlingly fresh compositions.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHis work has been written about in major NZ art publications including\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eNZ Art – A Modern Perspective\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eby Elva Bett,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e100 New Zealand Paintings\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eby Warwick Brown, and in\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eArt New Zealand.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eImage Dimensions:\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e 430\u003c\/span\u003emm W x \u003cmeta charset=\"utf-8\"\u003e280mm H\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eFraming:\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eUnframed\u003c\/p\u003e","brand":"Eion Stevens","offers":[{"title":"Default Title","offer_id":35687618150555,"sku":"","price":1200.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0459\/7183\/2987\/products\/Eion-Stevens-12-sm2.jpg?v=1631852438"},{"product_id":"audition-twenty-eight","title":"Audition (twenty eight)","description":"\u003cp\u003eEion Stevens (1952 - 2021) was born in Dunedin and after studying print-making and painting, graduated with honours from the Otago School of Art in 1973. 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Stevens' intriguing, surreal work is distinctive both for its pared-back style, signature flat planes of strong colour, with their sense of double entendre and ironic humour.\u003c\/p\u003e\n\u003cp\u003eA period living in Lyttelton resulted in the sea featuring more prominently in his work, but the Christchurch earthquakes forced a return to the city, and to working primarily on paper, sometimes the medium with the most startlingly fresh compositions.\u003c\/p\u003e\n\u003cp\u003eHis work has been written about in major NZ art publications including \u003ci\u003eNZ Art – A Modern Perspective\u003c\/i\u003e by Elva Bett, \u003ci\u003e100 New Zealand Paintings\u003c\/i\u003e by Warwick Brown, and in \u003ci\u003eArt New Zealand.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eImage Dimensions:\u003c\/strong\u003e 280mm W x 430mm H\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFraming:\u003c\/strong\u003e Unframed\u003c\/p\u003e","brand":"Eion Stevens","offers":[{"title":"Default Title","offer_id":35687618347163,"sku":"","price":1200.0,"currency_code":"NZD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0459\/7183\/2987\/products\/Eion-Stevens-03-sm2.jpg?v=1631852594"},{"product_id":"temple","title":"Temple","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eEion Stevens (1952 - 2021) was born in Dunedin and after studying print-making and painting, graduated with honours from the Otago School of Art in 1973. 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He explores human relationships, creating tableaus of interconnected figures, helping and comforting each other, exploring ideas of identity, compassion and community.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eImage Dimensions:\u003c\/strong\u003e 835mm W x 915mm H\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Thomas Elliott","offers":[{"title":"Default Title","offer_id":35687695417499,"sku":"","price":4800.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0459\/7183\/2987\/products\/unnamed-2-graded.jpg?v=1598585688"},{"product_id":"turkish-trousers-eion-stevens","title":"Turkish Trousers","description":"\u003cp\u003eEion Stevens (1952 - 2021) was born in Dunedin and after studying print-making and painting, graduated with honours from the Otago School of Art in 1973. 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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. 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 1100mm W x 1100mm H \u003c\/span\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFraming:\u003c\/strong\u003e Unframed\u003c\/p\u003e","brand":"Gill Hay","offers":[{"title":"Default Title","offer_id":36957065347227,"sku":"","price":3500.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0459\/7183\/2987\/products\/Gill-Hay-Packhams-Triumph-sm-03.jpg?v=1606099447"},{"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. 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\u003cspan\u003e\u003cstrong\u003eFraming:\u003c\/strong\u003e Framed\u003c\/span\u003e\u003c\/p\u003e","brand":"Anna Dalzell","offers":[{"title":"Default Title","offer_id":36957166665883,"sku":"","price":3600.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0459\/7183\/2987\/products\/Anna-Dalzell-Home-The-Point-sm-02.jpg?v=1606099926"},{"product_id":"an-atua-now-high-above-this-land-onawe-winter","title":"An Atua now high above this land – Onawe Winter","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cem\u003eAn Atua now high above this land – Onawe Winter \u003c\/em\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":36957178757275,"sku":"","price":3600.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0459\/7183\/2987\/products\/Anna-Dalzell-An-Atua-now-high-above-this-land-sm-02.jpg?v=1606100014"},{"product_id":"watery-drowning-in-green-duvauchelle","title":"Watery Drowning in Green – Duvauchelle","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cem\u003eWatery Drowning in Green – Duvauchelle\u003c\/em\u003e is 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":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"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0459\/7183\/2987\/collections\/NAB_Banner-Gallery_Painting.jpg?v=1607551639","url":"https:\/\/nzartbroker.com\/collections\/paintings.oembed?page=13","provider":"NZ artbroker","version":"1.0","type":"link"}