Spotted Fury, 2020. Woodblock print on Chinese rice paper, 300mm X 220mm. Single edition.

At the beginning of lockdown I embarked on this ambitious project which I knew could keep me busy in isolation for the unpredictable weeks ahead of me. This triptych is comprised of three A4 woodblock panels, starting with the key block and then creating three more blocks to add colours. The style references Japanese woodblocks, known as ukiyo-e, where three blocks were frequently used to depict a narrative, often including animals, birds and landscapes. 

This narrative piece is inspired by the female leopard escaped Auckland Zoo in 1925. For three weeks the public feared for their lives, locking themselves inside and even taking up arms in case they came face-to-face with the “spotted fury”. Her reign of terror ended when she was found by a group of fishermen, drowned and floating at the mouth of the Tamaki river near Karaka Bay. 

This work speaks to the fragility of the ecosystems that make up our natural environment and the responsibility society has to take action to protect them. The Tamaki Estuary gives food and shelter to thousands of endemic and international migratory birds. Many of these species, including the banded dotterel, Eastern bar-tailed godwit, royal spoonbill and pied shag, are under threat due to increased human activity. The fact that little is done when the detriment of our actions is clear as day, raises the question of whether it’s in our human nature to make drastic change in the face of danger that doesn’t affect us directly. Or can a leopard indeed change it’s spots? 

This is a unique single edition print. Contact me if you are interested in purchasing it.

Il Bisonte – Part 2

Il Bisonte – Part 2
Datura Moon 2020, Etching, Sugar lift, Aquatint, Spit bite, Dry point

When all schools were declared closed on 11 March I had been determined to stay and use the “one month” lockdown to catch up on researching, sketching and carving new woodblocks – why not? the spring blossoms were starting to appear, the days were getting warmer and the wine shop on my street was still open so I decided to hunker down and see it through.

Despite my optimism, I couldn’t ignore the fact that things were getting much more tense, daily I saw police outside my window handing out fines to people without the correct paperwork and everyday something else would be closed – the park, then the cycleway. So on 19 March (my birthday!) when I heard that Il Bisonte would be closed for a further month and possibly longer I took it as my cue to get out, which became a mad dash to Rome to catch what turned out to be the last flight out which wouldn’t have been possible without the NZ embassy who helped me find the flight and send their private driver to collect me at 5am to deliver me safely to airport like in a Bond movie.

Now that I’m in quarantine, its a great time to reflect on everything I’ve learned so far at Il Bisonte and what I want to pursue further when all this madness has passed and I can return once again to that magical studio. As you can see from the print above, I’ve been trying to cram as many techniques as possible onto one plate, which resulted in:

Learning 1 – The more techniques you use on one plate the more difficult it is to ink and print. For this one I only used tartlan to gently clean the plate as the paper removed too much ink.

Learning 2 – Although I love the effect of aquatint, the whole toxic aspect stresses me out resulting in me having to re-do it too many times. The best tip has been to use spray paint (Montana black with soft cap) instead, which I know is still toxic, but feels more managable to me. You can also spray to achieve nice shading and a shadow effect, which would be harder with stop out and a brush.

Learning 3 – Sugar lift (used for the moon) is a very satisfying technique that I’m looking forward to exploring further. I Love the texture and how you can make the blacks darker by applying an aquatint. And the fact you’re just using sugar – how cool is that!?

Learning 4 – Patience is a much needed virtue for etching. I etched most my lines with a porcupine quill, taking about 4 hours to scratch in the image and then another 4 hours in the acid bath. After the first proof I thought I’d add some more of those lovely squiggly lines to build up some depth and scratched away for another 4 hours or so, and into a stronger acid for a shorter time. But because I hadn’t checked that the line had etched before removing the hard ground – none of those millions of littles lines had showed up. Big learning!

Learning 5 – Spit bite (used on the leaves) isn’t a technique for me, not only is it extremely toxic, but the shading is too soft for what I want to achieve. As my professoressa says it’s like a snail trail and not her cup of tea either.

Learning 6 – Drypoint is a great way to create some shading and darker tones to your plate, as well as blend some of the hard lines created by the etching. For me, it really enhanced the image.

The final learning, that applies to all my prints, is not to judge as soon as you print it. After spending close to 25 hours on this plate I pulled the print and immediately felt disappointed, which often happens with me and my work. I think its like when you spend all day preparing a meal, the last thing you want to do is eat it, its like you’ve spent so much time focusing on it you can see all its little imperfections. Some of my classmates said I needed to rework it and others thought I shouldn’t touch it at all. So, I put it away in my draw and a week later came back to it and now I absolutely love it! What do you think?



Happy New Year everyone! So far 2020 has been like a dream, getting to work every morning in the Il Bisonte Printmaking studio in Florence alongside talented print people, technicians and tutors. It’s been such a challenge being completely out of my comfort zone of relief printing and learning all about etching and the many techniques that come under the umbrella of this process, such as aquatint, Gum arabic, chine Cole, dry-point, spit-bite, soft ground……..the list is endless! I’ve got total FOMO and want to try everything all at once. 

This print above is my first multi-technique etching using hard ground, gum arabic and aquatint. A lot of work yet to do on it but was thrilled to discover I can achieve similar poetics of bold lines, shapes and patters, which attracts me to woodblock and stencils. There is so much I’m learning everyday and not just technically but how to get the different elements of the image to speak to each other and embody an idea. 

And just when I think – hey, that’s quite good, my tutors show me something even more mind-blowingly beautiful that makes me want to try again and keep pushing my boundaries. 

So, yeah, probably won’t have heaps of time for updates for the next 6 months while Im on this journey, but I’ll keep you all updated on FB and insta.

Teste di Moro (Moorish Heads)

Teste di Moro (Moorish Heads)

Finished carving two woodblocks today inspired by a 900 year old Sicilian legend which I particularly love as it encapsulates so many aspects of this island that I love, the many layers of multi-cultural history, the passion and the endless element of surprise. There are several versions, but this is my favourite, as it’s set in Palermo!

One day, a beautiful and honorable young girl living in the Kalsa, the Arabic district of Palermo, was tending to the plants and flowers in the balcony when suddenly, a Moor merchant who was passing by saw her and fell in love with the beautiful girl who immediately returned his love.

They started having a love affair until one day she discovered he had a wife and children waiting for him in his native land. She was overcome with jealousy and one night she thought of a way to make him stay with her forever……while he was sleeping, she cut off his head and cleverly decided to use it as a vase to grow her beautiful basil plant.

People walking below her balcony started looking at her flourishing basil plants and became jealous of the size and fragrance of her plants, so they began to forge colourful clay heads pots wishing to have the same magic green thumb.

Now, these ceramic heads can be seen all over Sicily, in all shapes and sizes.

Power Jacket!

Power Jacket!


I’ve been thinking about creating some prints of slippers for some time now and jumped at the opportunity to create my first “pair” to commemorate 125 years of women’s suffrage in New Zealand, using one of my favourite sayings and to honour all the women who have had to fight for equality, and still are.

The opening night was a real thrill, as my jacket sold even before it got off the catwalk! Got to try it on briefly before handing it over to its happy new owner. Thanks to the wonderful vision and talent of curator Colleen Pugh, this show raised $1,300 for Women’s Refuge.

Forest Has The Blues

Forest Has The Blues

This fantastic collaborative project, curated by Celia Walker and Toni Hartill, brought together 7 print artists from Auckland and Pukekohe High School to create a large-scale print installation of native trees and invasive weeds, complete with real native seedlings that visitors could take home and plant in their garden. The exhibition has had a lot of positive feedback and future venues to exhibit already in the pipeline. Toni Hartill’s stunning moth plant is featured on the cover of the Australia Print Council imprint magazine (Spring 2018) with a 5-page article written by Celia Walker.

Kiwi Diary 2018

Kiwi Diary 2018

This great initiative from Wellington-based Entrepreneurs Annabel Wilson and Freda Wells to create a diary full of art, poetry, stories and recipes, features a contribution from me this year! To be able to write about my two loves – printmaking and cultural anthropology, and have it published, was a real buzz.

You can order online @

“Cultural Anthropology examines and celebrates our shared humanity and the many different ways it is expressed around the world. It enables us not only to learn about how and why people think and live like they do, but ultimately to turn this gaze back on our own way of living to illuminate cultural differences and challenge what is perceived as ‘normal’. Through this process of discovery and reflexivity can come greater understanding, tolerance and strength in society. It also means that culture shouldn’t be seen as a static, rigid object but instead as a living, breathing entity, constantly evolving and adapting to it’s environment.

 This idea is central to my work, which is concerned in particular with the construction of collective and individual identities through a complex interplay between experience and memory. Often, commonplace, everyday objects are used as vehicles to represent who we are. For example, in Aotearoa, a rich array of objects form what we identify as kiwiana. Gumboots, the buzzy-bee, an Edmonds cook book, are all part of our cultural history, and although many of us may not even own any of these things, are still used as reference points to express our “kiwiness”. When objects become symbols they can become very powerful tools to connect groups of people, to inspire and mobilise. We are often unconscious about these symbols that occupy our space or have forgotten and re-invented the meaning of the ones we are aware of.   

With increasing globalisation and migration, I am interested in how these ‘objects as symbols’ are transplanted and respond to their new environments to create new transnational identities”.