03 Magazine: April 05, 2024

42 Magazine | Feature
Later on he saw the religious paintings of McCahon
and Smither, which were not an influence but more of a
“connection”, he says.
“I’ve always been drawn to religious imagery, for some
reason I don’t know.”
He first started painting in high school at the
encouragement of a good art teacher, but studying
art or a career in art was not an option, as his deeply
conservative parents believed a job and earning money
was the right move.
“My father was anti-university, he was a real conservative
person. He took me to Christchurch one day and said
‘you’re going to get a job by the end of the day’.”
About a year later Jeffrey started painting again, and
never stopped.
“I got a job – I couldn’t care less what the job was or
what I was going to get paid. I just wanted to do my art,
so I did it in my spare time.”
He contacted Smither, who encouraged him in his
painting and helped him to start painting full-time by
providing him with studio space. Smither had moved to
Central Otago in 1969 and came to Dunedin in 1970 for
the Frances Hodgkins Fellowship.
“That’s when I came to Dunedin. He got me out of the
job and away from my parents. I owe him quite a bit. My
parents thought I was crazy, that I’d go back to the real
world, but I never did.”
Over the years, Jeffrey’s work, mainly figurative
painting, has gone through many changes and stages, such
as when he moved to Melbourne in 1986, where his
work became more abstract.
“It hasn’t progressed in a straight line, it has dipped
down and gone around. I couldn’t do that work here, I
don’t know why. It doesn’t fit in with my experience here.”
Much of his work is influenced by places, such as Banks
Peninsula, where he grew up. In Melbourne the heat and
landscape of the area were influences.
“Place is quite important, even if it is unconsciously.”
Dunedin, where he has lived for more than 20 years,
has always appealed because of its history and its
“wintery cold” weather. When he returned to the city he
got a studio in Bond Street, not far from where his old
studio in the Skinner Building was in the 1980s.
“It’s not too new, modern or plastic. I don’t like
Auckland, I couldn’t work there. I can’t work with noise
or distractions.
“The landscape is great. It’s my favourite place in New
Zealand – the other place is Banks Peninsula.”
Jeffrey finds today he is still doing crucifixion paintings,
as well as family groups.