Friday, April 30, 2010
Thursday, April 29, 2010
Wednesday, April 28, 2010
Tuesday, April 27, 2010
Monday, April 26, 2010
Sunday, April 25, 2010
Saturday, April 24, 2010
The red Anzac poppy has become a symbol of war remembrance the world over. People in many countries wear the poppy to remember those who died in war or who still serve. In many countries, the poppy is worn around Armistice Day (11 November), but in New Zealand it is most commonly seen around Anzac Day, 25 April.
The red or Flanders poppy has been linked with battlefield deaths since the time of the Great War (1914–18). The plant was one of the first to grow and bloom in the mud and soil of Flanders. The connection was made, most famously, by Lieutenant Colonel John McCrae in his poem 'In Flanders fields'.
In Flanders fields the poppies blow
Between the crosses row on row,
That mark our place; and in the sky
The larks, still bravely singing, fly
Scarce heard amid the guns below.
We are the Dead. Short days ago
We lived, felt dawn, saw sunset glow,
Loved and were loved, and now we lie
In Flanders fields.
Take up our quarrel with the foe:
To you from failing hands we throw
The torch; be yours to hold it high.
If ye break faith with us who die
We shall not sleep, though poppies grow
In Flanders fields.
Friday, April 23, 2010
Thursday, April 22, 2010
Wednesday, April 21, 2010
Tuesday, April 20, 2010
Monday, April 19, 2010
Sunday, April 18, 2010
Saturday, April 17, 2010
Friday, April 16, 2010
Thursday, April 15, 2010
Wednesday, April 14, 2010
Tuesday, April 13, 2010
Monday, April 12, 2010
Sunday, April 11, 2010
Saturday, April 10, 2010
I am jealous ... although am enjoying the amazing day in other ways.
Friday, April 9, 2010
Thursday, April 8, 2010
See the Moana Road website for examples of their work ... affordable artworks for you to enjoy
Wednesday, April 7, 2010
Tuesday, April 6, 2010
Monday, April 5, 2010
Sunday, April 4, 2010
Kapiti Island is a small but conspicuous island about 8 km (5 miles) off the west coast of the lower North Island of New Zealand. It is 10 kilometres long, running southwest/northeast, and roughly 2 kilometres wide, being more or less rectangular in shape, and has an area of 19.65 km² (7.6 sq miles).
The island is separated from the mainland by the Rauoterangi channel. The highest point on the island is Tuteremoana, 521 m. The seaward (west) side of the island is particularly rocky and has high cliffs, some hundreds of metres high, that drop straight into the sea. The cliffs are subject to very strong prevailing westerly winds and the scrubby vegetation that grows there is low and stunted by these harsh environmental conditions. A cross-section of the island would show almost a right-angled triangle, revealing its origins from lying on a fault line (part of the same ridge as the Tararua Range).
The island's vegetation is dominated by scrub and forest of kohekohe, tawa, and kanuka. Most of the forest is naturally regenerating after years of burn-offs and farming, but some areas of original bush with 30 m (100 ft) trees remain.
In the 1700s and 1800s Māori settled on the island. Te Rauparaha formed a base here, and his Ngāti Toa tribe regularly sailed in canoes on raiding journeys up to the Whanganui River and down to Marlborough.
The sea nearby was a nursery for whales, and during whaling times 2,000 people were based on the island. Oil was melted from the blubber and shipped to America for use in machinery, before petroleum was used. Although whales can be seen once every year during birthing season, there still are not as many as there used to be.
The conservation potential of the island was seen as early as 1870. It was reserved as a bird sanctuary in 1897 but it was not until 1987 that the New Zealand Department of Conservation took over the island. In the 1980s and 1990s efforts were made to return the island to a natural state; first sheep and possums were removed. In an action few thought possible for an island of its size, rats were eradicated in 1998.
In 2003 the anonymous Biodiversity Action Group claimed to have released 11 possums on the island. No evidence of the introduced possums has been found.
Saturday, April 3, 2010
Friday, April 2, 2010
Thursday, April 1, 2010
The artwork ... the details ... "Exhibitions" ... the gallery ... thanks Ron
From a very young age Peter Hackett’s creativity was obvious. Buoyed by the adulation shown in his drawing ability, he pursued a career in the fine arts, specializing in drawing and painting in every school he attended during his formative years.
After leaving the compulsory constraints of high school art classes, he traveled to Paris, France earning a scholarship in sculpture, painting, printmaking and life drawing whilst studying under some of the most respected names in the Parisian art world such as Camillo Otero and Susanne Runacher. The sweet taste of student life in a liberal art school like The Paris American Academy became the catalyst to the unrestrained experimentation evident in his work for the next ten years.
From 1990 to the turn of the century, prompted by his marriage to his first wife and settling back in New Zealand, the experimentation gave way to a recognisable style and a preoccupation with extending his technical range instead of pursuing a narrative. He seeks to establish a dominant theme to his work, concentrating his efforts on maturing the subject matter and technique without surrendering to the influences of social trends.
Hackett has been a finalist in several major art awards including the Air New Zealand Art Award, The Nola Holmwood Memorial Portrait Prize, The Eider Este Art Award and has received a silver medal in the Duke of Edinburgh Award. His predominantly large works have been exhibited in France, America, Australia, and New Zealand with consistent public interest and he has been rewarded with a faithful customer base. Peter Hackett is an artist who refuses to be overlooked! He stands out among his peers as original and technically advanced.
The ‘Honeymooners’ Bed' series is indicative of how my interest in the medium of oil has found itself in competition with the subject matter.
My newly rediscovered love of oil paint sits very well with the subject in this case, which was inspired by the mass seeding of wild flowers along the southern motorway and the marriage of a close friend. However my enjoyment has to be tempered by the knowledge that the technique and the subject were inspired by one another and that to allow the lustful application of paint to overshadow the subject, in this case, would be a backward step.
The title 'The Honeymooners’ Bed' invokes images of passionate lovemaking in a field of wild flowers at a time when love is the only thing that matters. Notions of scent, texture, colour and the sublime, incomparable beauty of nature are hinted at in these paintings. I expect to continue painting The Honeymooners’ Bed for as long as the love lasts. - Peter Hacket