03 Magazine: July 26, 2024

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As I write this, my highly anticipated, long-awaited weekend 

away further south is on the brink of being cancelled (or 

rather, rainchecked… stormchecked?) due to deeply bad 

weather on the way, so as I send the final pages to the printers 

I’m also dealing with a serious case of disappointment on 

that front (but also already looking ahead to sunnier days and 

climes, so don’t despair too much on my behalf). 

But if nothing else, as I run my eyes over this issue, I’m 

happy and satisfied to think I’ve created something that 

might serve to brighten someone else’s darkest winter days, 

or at the very least stave off some of the bad-weather blues or 

trapped-indoors boredom. 

There’s our wonderful cover feature for starters, 

showcasing the incredible talent and super inspiring 

outlook of artist Cora-Allan Lafaiki Twiss (page 26), 

whose unmissable exhibition Encountering Aotearoa is on at 

Christchurch Art Gallery until August 25. 

I also truly loved interviewing besties Robyn Malcolm 

and Emily Perkins (page 32), who will be chatting on stage 

together in Ōtautahi at the end of the month during 

WORD Christchurch. 

This month’s food section is also a bit of a fun one, with 

Nici Wickes providing food for thought in the form of some 

wellbeing advice with a side of corn and bacon risotto (page 

46) and Otago chef Paddy Rietveld’s adventures cooking in 

Antarctica (page 50), including a bread recipe we’re assured 

is a huge hit at Scott Base. 

Enjoy! 

PUBLISHER 

Charlotte Smith-Smulders 

Allied Press Magazines 

Level 1, 359 Lincoln Road, Christchurch 

03 379 7100 

EDITOR 

Josie Steenhart 

josie@alliedpressmagazines.co.nz 

DESIGNERS 

Annabelle Rose, Hannah Mahon 

PROOFREADER 

Mitch Marks 

ACCOUNT EXECUTIVE 

Janine Oldfield 

027 654 5367 

janine@alliedpressmagazines.co.nz 

CONTRIBUTORS 

Dawn Hunt, Holly Burgess, Frances Shoemack, 

Helen Templeton, Justin Spiers, Nici Wickes, 

Paddy Rietveld, Rebecca Fox, Sam Hartnett, Todd Eyre, 

Unity Books Auckland 

Every month, 03 (ISSN 2816-0711) shares the latest in lifestyle, home, 

food, fashion, beauty, arts and culture with its discerning readers. 

Enjoy 03 online (ISSN 2816-072X) at 03magazine.co.nz 

Allied Press Magazines, a division of Allied Press Ltd, is not responsible for any actions taken 

on the information in these articles. The information and views expressed in this publication 

are not necessarily the opinion of Allied Press Ltd or its editorial contributors. 

Every effort is made to ensure the accuracy of the information within this magazine, however, 

Allied Press Ltd can accept no liability for the accuracy of all the information. 

Josie Steenhart, editor

13 April – 25 August | Free entry 

Image: Cora-Allan Tino Rangatiratanga 2024. Courtesy of the artist

8 Magazine | Contents 

In this issue 

20 

HOME & INTERIORS 

38 Verdant House 

An aptly named home built for an artist 

Resene 

Havelock Blue 

COLOURS OF 

THE MONTH 

COVER FEATURE 

26 Between land and sea 

Cora-Allan Lafaiki Twiss’ work 

takes inspiration (and materials) 

from the whenua and moana 

FASHION & BEAUTY 

22 Great coats 

Go big or stay home with the 

season’s best outerwear 

24 Top shelf 

The potions and lotions we’re 

loving for health and beauty 

ARTS & CULTURE 

32 Strong female characters 

Robyn Malcolm and Emily 

Perkins talk literature and 

leading ladies at WORD 

58 Memories of McCahon 

An exhibition of the artist’s 

work alongside insightful 

correspondence with his 

friend Ron O’Reilly 

64 Book club 

Great reads to please even the 

pickiest of bookworms 

RecoveR youR 

loved fuRnituRe 

Quality fuRnituRe specialists 

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Making 

Winter Work 

It’s July, it’s over halfway through 

the year and I, for one, am glad to be 

past the shortest day. 

Winter has its own set of challenges, 

whether it’s starting at the office when 

it’s still dark, which for me is 7:30am, to 

getting home in the dark after 6pm and 

wondering exactly where those hours in 

between have gone. 

Whilst many believe your productivity 

is diminished at this time, it can be the 

opposite if you utilize it as I do with 

some winter rituals. 

Not only do these simple steps keep that 

feeling of a loss of motivation at bay, 

they can also – at their most productive 

– provide a strong sense of focus and 

happiness. 

So, what’s involved in banishing those 

winter blues? 

The same pillars that provide the 

substance and nurturance governing 

the other months and seasons. 

Movement is critical over winter, as 

much as we all (and I put myself in this 

group) want to go home, settle down 

to a Netflix marathon and eat bowls of 

pasta. Without movement it’s very easy 

to lose momentum. 

I start every day – unless it’s raining so 

hard I can’t bear it! – with a walk. 

It’s always at an ungodly hour but those 

two or three kilometres give me a chance 

to think through what’s ahead of me and 

completing this simple task provides a 

sense of achievement that goes a long 

way to mitigating some of the stress I 

encounter once I start working. 

If you prefer a more vigorous routine, 

remember it’s all about consistency 

and balance so don’t let the weather 

or the season stop you from being your 

healthy best. 

Winter can also be a time to switch 

out your usual activities to something 

different, with common examples 

including yoga, pilates or a dance class 

and personally I’m intending to give 

each of these a go – despite limited 

ability at two! 

Hydration. With air-conditioning 

dominating both work and personal 

environments, it’s easy to become 

dehydrated, so whilst drinking feels 

simple to remember in the summer 

months, it becomes even more 

important in winter. 

Because I find it easy to forget this 

practice, I try to get as much water on 

board as early as I can and when I’m 

feeling particularly motivated, I also take 

part in Dry July, along with 61,000 other 

Kiwis. 

At last count this simple practice has 

helped raise $9 million for cancer 

sufferers and as a winter practice it’s 

not only altruistic, it is also extremely 

uplifting from a physical wellbeing 

perspective. 

I’m not going to discuss food choices 

over the wintertime. I think we all know 

what’s best but if ever there’s a time 

when resistance goes out the window it 

would be these next couple of months. 

So, good luck! I’m in the ‘I love food’ 

camp, so let’s just say it’s a work in 

progress. 

Finally, dress for the weather. I’ve always 

loved winter clothes. All the layers, 

coats, scarves and hats. 

Perfect for not only standing out from 

the crowd but being warm enough to 

work hard and think clearly, and if that 

isn’t enough motivation then starting 

the day with a cold shower – and I mean 

freezing cold! – will certainly get you 

thinking about warm clothing choices. 

Well, it helps me at least and I’ve been 

doing just that for the last 18 months. 

Why do I try so hard in winter? Well, 

simply put, there’s a lot of business to 

be done. 

People choosing to sell or buy over 

winter are usually deeply motivated, 

not only because of their own intrinsic 

circumstances but because there’s 

often a lack of competition, creating the 

chance for a premium. 

And I’ve witnessed some significant 

premiums in our auction rooms recently, 

which I haven’t seen for some time. 

That’s the beauty of any property cycle. 

You never know exactly when it’s going 

to turn and often you can have optimistic 

moments just to keep you guessing. 

So, enjoy the winter and get excited 

about where it can go because if there’s 

one thing I know for sure ‘momentum 

will always provide a platform for 

success’. 

Lynette McFadden 

Harcourts gold Business Owner 

027 432 0447 

lynette.mcfadden@harcourtsgold.co.nz 

PAPANUI 352 6166 | INTERNATIONAL DIVISION (+64) 3 662 9811 | REDWOOD 352 0352 | PARKLANDS 383 0406 | 

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GOLD REAL ESTATE GROUP LTD LICENSED AGENT REAA 2008 A MEMBER OF THE HARCOURTS GROUP 

www.harcourtsgold.co.nz

10 Magazine | Contents 

46 

OUR COVER 

50 

Cora-Allan Lafaiki Twiss at 

McCahon House. 

Photo: Holly Burgess 

Resene 

Bunker 

READ US ONLINE 

Resene 

Quarter Turbo 

FOOD 

46 Food for thought 

Nici Wickes shares her secrets for a 

restful life – and a recipe for risotto 

50 Sourdough at Scott Base 

The frozen foods a former Otago chef is 

cooking up in the Antarctic 

TRAVEL 

54 Eau de Paris 

Abel Fragrance’s Frances Shoemack leads 

the way in the City of Light 

HOME 

20 Most wanted 

What the 03 team are coveting this 

month 

REGULARS 

12 Newsfeed 

What’s up, in, chat-worthy, cool, 

covetable and compelling right now 

66 Win 

Delicious cookbooks, heavenly handcare 

and a year’s subscription to 03 

FIND US ON SOCIAL 

03magazine.co.nz | @03_magazine 

GET A COPY 

Want 03 Magazine delivered straight 

to your mailbox? Contact: 

charlotte@alliedpressmagazines.co.nz 

your local 

subdivision experts 

survus.co.nz 

hello@survus.co.nz 

0508 787 887

12 Magazine | Newsfeed 

Newsfeed 

What’s up, in, chat-worthy, cool, covetable and compelling right now, 

specially compiled for those in the south. 

Night light 

The loveliest local collab we’ve had the pleasure of smelling lately, 

Jeuneora’s new GoNightly candle ($63) is created by Canterbury 

candle-makers Lyttelton Lights from sustainably sourced 100 

percent soy wax. This luxurious, limited-edition candle is a true 

sensory delight that brings the soothing essence of Jeuneora’s 

sought-after GoNightly Overnight Repair Cream into the home. The 

fragrance (berries, florals, woods, sweet musk and vanilla) has been 

carefully designed to relax the mind and body and support a better 

night’s rest – just don’t forget to blow it out before you fall asleep! 

jeuneora.co.nz 

Image library 

Now on at Objectspace, The image library: accounts of 

architecture celebrates a breadth of creative work from 

the field of architecture, examining bodies of knowledge 

including processes of research, documentation and creative 

speculation that are primarily out of public view. This work 

illustrates the essential role of the image as an alternative 

account of architecture and the built environments we 

inhabit, as they change over time. Featuring projects by Pete 

Bossley, Samuel Hartnett, Raphaela Rose and Tim J Veling 

alongside excerpts from the image archives of George Lucking 

and Mannering and Donaldson. Runs to August 25, 2024, 

Sir Miles Warren Gallery, Christchurch. 

objectspace.org.nz 

Peter Beaven’s Lyttelton Road Tunnel Authority Administration Building, 

1963–64, photo by Mannering & Associates, circa 1964, from the 

Mannering & Donaldson Collection held by Macmillan Brown Library, 

supplied by Heritage New Zealand. 

Kate’s swansong 

Those already mourning the upcoming loss of 

celebrated Kiwi label Kate Sylvester have one last 

season in which to shop from the brand before 

it closes its doors for good. Rich in signature 

KS designs and detailing and from sophisticated 

suiting and feminine party dresses to timeless 

separates, ‘Into The Desert’ makes for a fitting 

final collection. “I didn’t design this as a finale 

collection,” says Kate. “The decision to close was 

made after I had completed it, but I couldn’t be 

more proud of it. It’s a beautiful high note on 

which to say farewell.” 

katesylvester.co.nz

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Sock it to ’em 

To celebrate more than 60 years of its iconic Farm Fleck 

sock, Norsewear have hooked up with outdoor clothing 

brand Moreporks for a wardrobe-essential heritage re-issue 

of the Farm Fleck Short ($40). The comfort and rugged 

performance of the Farm Fleck has seen it in continuous 

production since 1963, setting the benchmark for iconic 

quality that remains at the heart of the brand. Sir Edmund 

Hillary used an over-the-calf version in Antarctica in the late 

’60s, trampers and hunters used a short version in the ’80s 

and the classic length continues to be a favourite today. 

norsewear.co.nz 

Nothing fishy about it 

Christchurch’s plant-based pioneers Grater Goods 

have just added a new item to their winter menu – 

the Dolphin Burger. Founder and CEO Flip Grater’s 

nickname (and stage name during her international 

music career) ‘Flipper’ came about due to efforts 

to save Hector’s Dolphins in the 1990s as a teen 

activist fighting against drift netting in Banks Peninsula. 

The team at GG decided to take this mahi one step 

further and raise awareness by creating a “dolphin” 

burger. This fully plant-based burger consists of a 

piece of beer-battered “dolphin,” preserved lemon 

and kawakawa tartare, mānuka-smoked pickled ginger 

and fresh watercress on a sesame seed bun, topped 

with fried onion rings. “We use local seaweed and 

brined tofu to create our dolphin fritter and the 

result is super delicious, as well as being a good talking 

point!” says Grater Goods head chef Peter Franks. 

gratergoods.co.nz 

Walkies for a cause 

As winter sets in, here’s a perfect reason to step outside 

and get moving: the Pawgust challenge! This August, join 

forces with your dog or simply support a friend to help 

raise vital funds for Blind Low Vision NZ Guide Dogs. 

Pawgust is a unique fitness and fundraising initiative that 

challenges participants to walk or run with their furry 

friends every day this month. By gathering sponsorships 

from friends and family, you’ll contribute to the breeding, 

raising and training of life-changing Guide Dogs, who 

offer freedom and independence to people with low 

vision or blindness. 

pawgust.co.nz

YOUR ROADMAP 

TO THE MARKET 

Alexandra | Balclutha | Cromwell | Dunedin | Queenstown | Wanaka 

Scan here to view 

our latest edition 

www.harcourtsotago.co.nz


Wearable art 

The latest creative collab from covetable Kiwi brand 

Jimmy D is one of our favourites to date, as it not only 

features striking artwork from celebrated Christchurchbased 

artist Priscilla Rose Howe, there’s also oysters 

involved. “We’ve long been fans of Priscilla’s work, so 

this collaboration is a little bit of a pinch-me moment,” 

says designer James Dobson. “Priscilla’s work captures 

debaucherous scenes ripe with symbolism and quirky, 

angular characters. Food features heavily – hence the 

first part of our collaboration is of taloned hands holding 

oysters.” Set to be an instant cult classic, the ‘Oyster Tit’ 

print comes on luxe hoodies and dresses (and we imagine 

would go very nicely with a dirty martini). 

jimmyd.co.nz 

The one that we want 

The latest release from much-loved 

local beauty brand Aleph, The One 

Reset and Restore moisture cream 

($120) promises a game-changing 

day to night moisturiser formulated 

with “a potent stack of clinically-proven 

plant actives to provide visible instant 

and ongoing skin benefits”. Utilising a 

special blend of adaptogenic herbs, 

bio-actives and hyaluronic acid, we 

also love the fully sustainable packaging 

of this beautifully simple glass jar and 

aluminium lid (both 100% recyclable). 

alephbeauty.com 

Heavenly cinema 

South Island-based film fanatics, get ready! The New 

Zealand International Film Festival (NZIFF) is coming 

soon to a town near you (more specifically, Christchurch: 

August 15 to September 1 and Dunedin and Nelson: 

August 14 to 25) and there are A LOT of cinematic 

goodies on offer from 20 countries including plenty of 

local flicks (including Lucy Lawless’ directorial debut, 

Never Look Away, pictured), plus a special 30th anniversary 

screening of Peter Jackson’s Heavenly Creatures. Jackson’s 

classic had its world premiere as the opening film of the 

1994 festival, and soon after was awarded a Silver Lion at 

the Venice Film Festival by jury president David Lynch. 

nziff.co.nz

Newsfeed | Magazine 17 

Toast of the town 

Winter just got a whole lot tastier (or should we 

say toastier?) with the seventh annual Great New 

Zealand Toastie Takeover now underway across 

the motu. Open to all New Zealand eateries, 

this year’s 170 participants range from sandwich 

specialists to city bistros, breweries and food trucks, 

with a winery, a butchery and the nation’s best 

bread makers also in the mix. Notable this year 

is the multitude of cuisines on offer – everything 

from Spanish, Korean, Japanese, Filipino and 

Indian to Italian, Mexican, American BBQ and of 

course Kiwiana-style, and as always originality and 

innovation are deliciously on show, with toasties 

bursting with lobster and prawn bisque, wild boar 

bacon, black pudding, bolognaise, chicharones, 

slow-cooked pork vindaloo, carnitas, wild-caught 

Fiordland venison, mapo tofu and birria short rib. 

Pictured: Christchurch’s Central Deli’s entry 

toastietakeover.com 

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Come together 

As pop splinters into torrents of fleeting 

soundbites, a handful of masterworks 

defy time and fashion to grow in historic 

stature and popularity. Aotearoa’s Come 

Together supergroup has honoured 11 

such albums to an audience totalling 

45,000 over three years, with a killer 

band and some of our most esteemed 

performers. Already taking on U2’s The 

Joshua Tree and Led Zeppelin’s IV earlier 

in the year, next up for 2024 is the poppsychedelic 

masterpiece that birthed 

‘The Album’ as the currency of rock – 

The Beatles’ Sgt. Pepper’s Lonely Hearts 

Club Band. August 30, Isaac Theatre 

Royal, Christchurch. 

ticketek.co.nz 

Bold bedding 

Devoted silk pillowcase sleepers are in for a high 

energy treat this season with this daring drop of 100 

percent crepe de chine cases ($130 each) in rich matte 

nasturtium orange from fashion fave Gloria (designed 

by Kristine Crabb). Made right here in Aotearoa, these 

bright beauties promise to stylishly and luxuriously 

enhance your sleep experience with the subtle texture 

of silk treating skin and hair to a gentler surface. Also 

they just look absolutely fire, in our opinion! 

gloria.nz 

Grape results 

Going against the grain has reaped rewards for 

Strange Nature gin. Distilled exclusively from the 

spirit of New Zealand sauvignon blanc grapes, 

Strange Nature went up against 4000 other spirits 

from across the globe and received 98/100 – Gold 

Outstanding at the International Wines & Spirits 

Competition (IWSC) 2024 in London in June – the 

most respected international drinks community. 

“We’re immensely proud of these accolades, which 

highlight the exceptional quality and craftsmanship 

of Strange Nature and continues our exciting 

upward trajectory only three years after launching,” 

says owner and GM Rhys Julian. “Crafting the 

strangest gin on the market, packed full of sauvignon 

and juniper flavours, with a product that’s highly 

sustainable and completely traceable from grape to 

glass are qualities that undoubtedly set us apart.” 

strangenaturegin.com

Newsfeed | Magazine 19 

Think pink 

If you’re thinking of picking up a new ghd, 

now is the perfect time with the release of 

the cult beauty brand’s latest limited edition 

Pink collection. Not only are five of ghd’s 

iconic stylers clad in chic fondant pink, $20 

from every one purchased goes to the 

Breast Cancer Foundation NZ. This year 

marks a decade that ghd has supported 

BCFNZ, raising more than $1million to date. 

ghdhair.com 

Chic trackies 

Nab yourself a set of iconic Barkers trackies (IYKYK) in the 

freshest limited edition Bone hue via the latest collaboration with 

fashion fave activewear brand CLIQUE. Kiwi legends since 1989 

for their slouchy, comfy off-duty goodness, these terry cotton 

classics (now in 100 percent organic cotton, naturally) are set to 

be a wardrobe essential this season and beyond. Having already 

sold out once, we suggest acting quickly to secure a pair. 

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20 Magazine | Wishlist 

Most wanted 

From molten gold trinkets, chocolate-hued beanies and artisanal towels to 

unexpectedly chic sports bras, delicious Central Otago drops and a snug scarlet cardy 

that’s sure to get compliments, here’s what the 03 team are coveting this month. 

2 

3 

1 

6 

9 

14 

7 

4 

13 

10 

12 

11 

8 

5 

1. Byredo Mineralscapes limited edition eyeshadow palette in Desert Road, $141 at Mecca; 2. Pali extra large Market bag, 

$120 at Company; 3. Innate New Territory bath sheet in Morning, $251 at Tessuti; 4. Mount Michael Bessie’s Block pinot 

noir 2017, $75; 5. Manucurist Active Glow nail treatment polish in Raspberry, $31 at Mecca; 6. Crocs Dylan Platform clogs, 

$150; 7. Lorna Jane Sweet Thing Stripe All Day sports bra, $105; 8. Glasshouse Fragrances Woodland Wander 380g 

soy candle, $65; 9. Superette Coven cardigan in Red, $299; 10. Company of Strangers merino beanie in Chocolate, $95; 

11. Fox & Fantail Wave ceramic bowl, $190; 12. SOPHIE Super Daisy Day zircon gold-plated studs, $78; 13. Vivienne 

Westwood Eyewear x Specsavers men’s glasses, two pairs from $459; 14. Jung Eun Chae, Chae: Korean Slow Food for 

a Better Life, Hardie Grant Books, $70

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22 Magazine | Fashion 

Great coats 

Oversized pockets or shawl collars, double-breasted or belted, plaid or plain, 

bright or subtle – whatever your individual coat preferences this season, just 

make sure you go big or go home (not least because you’ll be cold). 

1 

2 

3 

4 

6 

5 

8 

10 

11 9 

7 

1. Moochi Collar coat in Mid Grey, $530; 2. Camilla and Marc Quill coat in Rose, $1140; 

3. James Brown Overcoat in Olive Oil, $959 at Company; 4. Kate Sylvester Quincy coat in Coral, $969; 

5. Karen Walker Acreage coat in Navy, $595; 6. Gregory Alvar coat in Taupe, $849; 7. RUBY Rooney coat in 

Brown Check, $449; 8. Juliette Hogan Morgan coat in Rosey, $1199; 9. Company of Strangers Data coat in 

Pine, $730; 10. Ena Pelly Evan coat in Charcoal, $449 at Superette; 11. Juliette Hogan Puffer coat in Olive, $659

倀刀䔀吀吀夀 

䤀一倀刀䤀一吀 

稀攀戀爀愀渀漀

24 Magazine | Health & beauty 

Top shelf 

From birthday cake-flavoured lip balms and Rihanna’s latest 

cult drops to pineapple green powders and super-duper 

serums, here’s what the 03 team are testing this month. 

1 

2 

3 

4 

9 

8 

6 

5 

7 

1. Avène Hyaluron Activ B3 Triple Correction eye cream, $77; 2. Dermalogica BioLumin-C Night Restore serum, $200; 

3. Fenty Skin Butta Drop body milk, $56 at Sephora; 4. Augustinus Bader x Sofia Coppola The Tinted Balm lip balm in 

Shade 3, $72 at Mecca; 5. The Beauty Chef Daily Supergreens Inner Beauty Support powder in Pineapple, $70; 6. The Facialist 

Super serum, $89; 7. Elizabeth Arden PREVAGE Multi-Restorative Soft Cream moisturiser, $279; 8. Fenty Beauty Trace’D Out 

Lip Liner in Rubbabandz, $34 at Sephora; 9. Glossier Balm Dotcom lip balm and skin salve in Birthday, $30 at Mecca

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26 Magazine | Feature 

Between land & sea 

First inspired to take to the sea by Colin 

McCahon, artist Cora-Allan Lafaiki Twiss’ 

work beautifully and thought-provokingly 

reflects this unique vantage point using 

handmade barkcloth and natural pigments 

drawn from the land. 

INTERVIEW JOSIE STEENHART 

Having opened at Dunedin Public Art Gallery in 2023 

before moving up the island to Christchurch Art 

Gallery earlier this year, Cora-Allan’s exhibition Encountering 

Aotearoa is a major body of new work that considers the 

whenua (land) from the vantage point of the moana (sea). 

Created using traditional Niuean hiapo (which Cora-Allan 

crafts by hand using tools made by her father Kelly Lafaiki) 

and painted using self-sourced whenua pigments, the 

exhibition draws on a recent ocean voyage around New 

Zealand and builds on her research into mapping, navigation 

and the artists and botanists aboard the Endeavour during 

its maiden voyage in 1769. 

Cora-Allan, when/how did you first become interested in 

creating art? 

I grew up around creative people, my nana with her 

embroidery and textiles, my pāpā carved all of our 21st 

keys and I always enjoyed participating in kapa haka and 

performing Niue dances our Nana Lafaiki would teach us. 

From an early age I had always been drawn to art and 

knew in my gut my life would be spent doing something 

creative and important. 

What materials do you predominately work with 

currently, and why? 

In the last decade I have been drawn to making hiapo and 

using whenua paint and combining both is my mark‐making 

practice. I enjoy finding new colours and watching them 

change from a wet state to a dry, they can sometimes look 

so dramatically different. 

I have gained a strong appreciation for installation design 

as I trained as a preparator in Canada at the Walter Phillips 

Gallery underneath Mimmo Maiolo, who opened my eyes 

up to the possibility of space in the art gallery and how to 

create work at large scale. 

ABOVE: Cora-Allan Lafaiki 

Twiss during her residency 

at McCahon House. 

Photo: Holly Burgess

“McCahon himself would take out his little dinghy, which gave me the 

idea to get a small rowboat and find a new perspective. Looking back to 

the whenua from the moana was like a breath of fresh air.”

28 Magazine | Feature 

After a recent trip to New York and Boston I’m really excited 

about the possibility of working at a large scale where I will need 

a scaffold or scissor lift. I love a challenge and the large painting 

in Encountering Aotearoa was a great test, but came so easily as I 

moved around the boards finding lots of energy as painting at this 

scale was exciting. 

My dad helped me to mix the paints, which are fixed strongly 

because of his ability to mix them patiently, meaning they’re 

strongly bound by ground-up kauri gum. 

Could you talk us through your steps to creating hiapo? And 

how did you learn this skill? 

Hiapo is the barkcloth art form from Niue, throughout the Pacific 

it is practised widely and usually is made from beating the inner 

bark of the paper mulberry tree or others that have similar 

characteristics. 

I’ve learnt my skills from different knowledge holders and 

carry the passion gifted from my grandparents Vakaafi and Fotia 

Lafaiki. I was lucky enough to have the knowledge to make hiapo 

for both of their burials, which was painful and joyous at the 

same time. 

Using hiapo in ceremony and to show the art of Niue is always 

the main focus for me, art in the gallery space and in community 

has such different modes of communicating, but I’m glad to have 

the ability to make hiapo that can be a part of people’s lives. 

You paint predominantly with pigments sourced from the land 

– any materials sourced in the South Island? And if so please 

tell us a little about them… 

I do have some pigments that were used to paint the locations 

in Te Waipounamu (South Island) specifically with pigments from 

those areas. 

[Artwork] ‘Motu-pōhue’ (Bluff) is made from brown whenua 

that was brought home by my sister after she visited down there 

for the oyster festival. I had it for around three years before using 

it so when we travelled to the boat from Queenstown to Bluff I 

was excited to make a painting knowing I would be using it. 

ABOVE: Cora-Allan, Encountering 

Aotearoa, 2023 (detail of 

installation view, Dunedin Public 

Art Gallery, 2023). Cora-Allan’s 

sketchbooks and travel journals. 

Photo: Justin Spears 

Your materials are land-sourced but the works in this 

exhibition draw on/reference the sea – can you talk to that 

connection a little… 

After completing the Parehuia residency at McCahon House in 

Titirangi I was completely drawn to the moana after sketching 

multiple times from the sea in little notebooks. 

“I do have some pigments that were used to paint the locations in 

Te Waipounamu (South Island) specifically with pigments from those areas.”

Feature | Magazine 29 

CLOCKWISE FROM TOP LEFT: 

Cora-Allan, Encountering Aotearoa, 

2023 (installation view). Courtesy of 

the artist. 

Emily Parr, ‘Encountering Aotearoa’ 

(still) 2023. Digital video, sound, 47 

mins 38 secs. Courtesy of the artist. 

Emily Parr, ‘Daily Reflections with 

Papa and CA’ (stills) 2023. Digital 

video, sound, 49 mins 18 secs. 

Courtesy of the artist. 

McCahon himself would take out his little dinghy, which gave me the 

idea to get a small rowboat and find a new perspective. Looking back to 

the whenua from the moana was like a breath of fresh air, the sense of 

being at sea brought me closer to the dangers of the ocean and revealed 

how little I knew. 

This inspired me to learn how to drive a motor boat and I completed 

a skippers’ course the next summer so I would be able to feel more 

confident and have more knowledge on the ocean. 

From there, I searched for a long trip that would give me enough time 

to sketch and study the coastline of Aotearoa. 

This space is where my ancestors came to Aotearoa, the moana carried 

them here and the whenua became home. I feel that deep sense of 

whakapapa (genealogy) when I think of the place where the ocean meets 

the shore, where the waves touch the rocks and when the first manu 

(birds) and kekeno (fur seals) are seen as you pull into port. 

It feels like magic being on the water. 

Your father accompanied you on the trip that preceded Encountering 

Aotearoa, how was that experience? 

My pāpā is close with all of my siblings, he is our best friend and at times is 

the reason I work so hard. Growing up I saw what it looked like to work 

long days to provide for a family, without moaning or being grumpy. My 

dad just carried on with life and did his best all the time. 

So like him I put my best foot forward with every project and I generally 

work 12 hour days because I love what I do and I don’t tire of it.


ABOVE: Cora-Allan, ‘Ko 

ao, ko ao, ko Aotearoa!’ 

2023 (installation view, 

Dunedin Public Art Gallery, 

2023). Whenua and kāpia 

ink on birch plywood 

panels. Courtesy of the 

artist. Photo: Justin Spears 

LEFT: Cora-Allan, 

Encountering Aotearoa, 

2023 (installation view). 

Courtesy of the artist.


“In the last decade I have been drawn to making hiapo 

and using whenua paint … I enjoy finding new colours 

and watching them change from a wet state to a dry, 

they can sometimes look so dramatically different.” 

I get energy from challenges and our time on the boat 

together was full of laughter and lots of reflecting on the 

beautiful whenua that we live in. 

Dad would wake up at 5am and ring my mum, I would 

go to the gym on board and then we would do a karakia 

together around 6am as the sun rose and as the boat 

pulled into the next location. 

Saying I am grateful for his company would be an 

understatement. He is a great art assistant, the best 

there is. 

What were some highlights/important moments from 

the trip? 

Watching dad act as the ‘chief’ at our pōwhiri experience 

at Tiriti o Waitangi grounds. He was shaking and scared, 

but it was good for him. To do something out of the 

ordinary, and he did so well – my dad’s a shy person 

– and we couldn’t stop talking about it afterwards. 

We were both proud of how he handled himself and 

his nerves. 

That day he found a model of the Endeavour ship at 

the Kororāreka (Russell) museum and I bought it and 

took it home. I’ve always loved miniature things and it 

seemed like a taonga worth taking home and it brought 

of course a lot of discussion on board. 

Our colonial history is important to understand and 

acknowledge, I don’t shy away from it because I know how 

it makes me feel and how I can share Māori perspectives 

that people may not hear or don’t want to hear. 

You’ve said you feel like the Christchurch version of 

the exhibition is stronger than the previous iteration, 

why is that? 

It was stronger because of works I was able to add 

to the body of work – the new pieces depict the 

changing times in our whenua – but also was a way to 

release feelings of mana motuhake (self-determination) 

into my work. 

The conversations in my work grow and develop – 

curator Chloe Cull allowed this to happen naturally in the 

show and didn’t shy away from change but supported me 

as I added new works and then did a performance in the 

show that was planned last minute. Literally last minute. 

At 17.6 metres long, ‘Ko ao, ko ao, ko Aotearoa!’ is 

the largest work, can you tell us a bit about it? 

I want to do something bigger – this pulled-back view of 

the whenua is a beautiful sweeping scape. It has a large 

selection of whenua colours from my archive but is also 

the work that made me hungry for a larger space or 

large commission. 

I recently visited the Boston Museum of Fine Arts and 

the large landscapes I viewed gave me further ideas of 

composition that I would like to trial. 

Where is the show going next? And what else have 

you got planned for the year ahead? 

The show opens at the Tiriti o Waitangi grounds in 

November and runs until the next Waitangi Day in 2025. 

I’m excited to rework a version of Encountering 

Aotearoa that will fit the space and paint something new 

made from whenua in that area. My nana is buried at our 

whānau urupā just up the coast so I’m looking forward 

to sharing my show with whānau up there. 

Encountering Aotearoa has been a great vessel of change 

and challenge in my practice. 

Cora-Allan: Encountering Aotearoa runs at Christchurch Art Gallery 

Te Puna o Waiwhetū until August 25, 2024.


Strong female characters 

Besties for more than 20 years, multi-award-winning actor Robyn Malcolm 

and multi-award-winning writer Emily Perkins are Ōtautahi-bound this 

month to take to the stage together for the much-anticipated literary 

festival WORD Christchurch. 

INTERVIEWS JOSIE STEENHART | PHOTO UNITY BOOKS AUCKLAND 

Robyn, congrats on the much-deserved accolades 

for After The Party, which you starred in but also 

co‐created. How was that experience, and how has 

it been since it has been out in the world? 

It has been a monster and overwhelming surprise, 

to see how the world has taken to it and responded 

with such intense emotion. 

I’m super proud of it and the journey we all went on 

to make it. It was a truly risky journey, which was the 

best… a creative journey I’m keen on repeating. 

Super exciting to have you in Christchurch for 

WORD, which includes an ‘in conversation’ with 

Emily Perkins on ‘strong female characters’. Could 

you tell us a bit about your relationship with Emily? 

Em and I have known each other, really, since the late 

’80s and always had friends in common. 

We became super close when she moved back to 

New Zealand from London about 20 years ago. Hours 

and hours of walking and talking, dinner and wine 

and talking, just wine and talking, coffee and talking… 

anything and talking. 

She’s an incredible human and creative force. It's a 

privilege to be besties with her and my life is enriched 

more and more by our friendship 

Favourite strong female characters you’ve played 

across your acting career? 

Beatrice, Much Ado About Nothing; Emilia, Othello; The 

Mistress, The Outpost; Kirsty Corella, Rake; Cheryl 

West, Outrageous Fortune; and Penny Wilding, After 

the Party. 

Who are some of your favourite strong ‘real 

life’ females? 

My sisters, my pals, my mum, the late Helen Kelly, 

Bisan Owda. 

You’re also doing a storytelling session at WORD 

on August 30 titled ‘Risky Women’ with Anika Moa, 

Anke Richter, Ngāhuia te Awekōtuku and Susie 

Ferguson – what can you tell us about that? 

God, dunno yet… Women who take risks, whether 

they are aware of the risk or not, big and small, seen and 

unseen, internal and external! 

Do you have any other plans for your time in 

Christchurch? 

I have family there so I’ll hang out with them. 

What can you tell us about the Pike River film 

[directed by Rob Sarkies], and that experience 

for you? 

I can't really tell you much yet. Other than that it was a 

life-changing experience; I felt ENORMOUS responsibility 

to the story and to Sonya Rockhouse [played by Robyn], 

Anna Osborne and the other Pike families. 

I think it's going to be amazing and I made some new 

lifelong friends. 

Two other strong Kiwi females also star alongside 

you, Melanie Lynskey and Lucy Lawless – how was it 

working with them? 

I've known Lucy a long time as an actress and 

Greenpeace activist so it was magic working with her 

again, and Mel was as I’d hoped she would be and more: 

present, generous, warm, hilariously funny, courageous 

and absolutely 100 percent one of the very, very best. 

We’re a South Island-celebrating magazine – as a born 

and bred Ashburtonian can you share some of your 

favourite spots? 

Tōtaranui, Little Akaloa, Moke Lake, Rakaia Gorge, Ōhau 

(ski field) Mackenzie Country in general – and the Fairlie 

pie shop.


“Robyn’s a brilliant friend, and as gutsy and funny 

and big‐hearted and clever as some of the characters she has 

played. I love her to pieces.” 

Emily, congratulations on the recent Ockham win 

[the Jann Medlicott Acorn Prize for Fiction, New 

Zealand’s top literary prize, which she also won in 

2009 for Novel About My Wife] for Lioness – how did 

that feel and what has it been like for you since? 

Thanks Josie! I was stunned – and of course delighted 

– and am very grateful to the judges, the Ockhams, 

Jann Medlicott and the Acorn Foundation. There were 

so many incredible books published last year – fiction 

in Aotearoa is in good heart, and I feel we should be 

celebrating all of it. The prize has connected Lioness with 

lots of new readers, so I’m really happy about that. 

Exciting to have you back in Christchurch for 

WORD! You’ll be speaking with Robyn Malcolm, 

who’s a good friend of yours, on ‘strong female 

characters’… 

We’re old mates – we first met a million years ago 

around Wellington drama school flats, but really 

connected when I returned from London in 2005. 

Robyn’s a brilliant friend, and as gutsy and funny and 

big-hearted and clever as some of the characters she 

has played. I love her to pieces. 

Do you have any other plans for your time in 

Christchurch? 

Unfortunately it’s a short visit this time. When I was 

here for WORD last year I was able to catch up with 

some family, and brought my youngest daughter down 

to show her the city – that was really fun. 

Do you have some favourite strong female 

characters across all of your writing? 

It might sound like a paradox but, to me, strength 

that intertwines with flaws and vulnerability is the 

most truthful and interesting. I’m very interested in 

where characters are fallible. 

At first glance, the outspoken and socially 

liberated Claire is the strongest female character in 

Lioness – but I think the narrator, Therese, has had 

to call on strength to transform her life in the past, 

and one of the novel’s questions is whether she can 

reconnect with that inner steel. 

Who are some of your favourite strong ‘real 

life’ females? 

I have a whole pantheon and regularly induct 

people into it! Many are women who appear to 

have made lives in the arts on their own terms, like 

Paula Rego, Helen Garner, Yoko Ono, Renée, Tove 

Jansson, Nina Simone, Grace Paley… the list goes 

on and on. 

What are you up to at the moment/in the 

near future? 

As well as coming to WORD Christchurch I’m 

enjoying taking Lioness to some of the other literary 

festivals around the country. In terms of writing, 

I’m doing a mix – I like a balance of solo and 

collaborative work, fiction and drama, my projects 

and other people’s.


“I can’t really tell you much 

yet. Other than that it was 

a life-changing experience; 

I felt ENORMOUS 

responsibility to the story 

and to Sonya Rockhouse, 

Anna Osborne and the 

other Pike families.” 

Do you get down to the South Island often, and 

where are some of your favourite spots? 

An all-time favourite trip is staying at the 

Sherwood and going for walks around 

Queenstown and Glenorchy. We’ve done that a 

few times with our kids and also with friends, and 

once or twice after everyone went home I stayed 

on at the Sherwood to write – best self-funded 

residency ever. 

Both my parents grew up in Ōtautahi and we 

used to visit family there regularly, so I have many 

childhood memories of South Island camping and 

skiing trips, staying at beautiful stony riversides, dad 

lighting fires to cook sausages at Glendhu Bay – 

probably risky but he got away with it. 

Shout out to the strong female characters of 

mothers, aunts and grandmothers who organise 

family holidays! 

Strong Female Characters: Robyn Malcolm & Emily Perkins, WORD Christchurch, 

August 31, 2024, The Piano, Christchurch.

36 Magazine | Interiors 

Back wall and border painted in 

Resene Hot Toddy. Front walls 

in Resene Orchid White, floor 

stained in Resene Colorwood 

shade, table in Resene Orchid 

White with stripes in Resene Hot 

Toddy, pot and vase in Resene 

Apache, lamp base in Resene 

Black White and small vase in 

Resene Marzipan. Ceramic bird 

and small chair from Good Form, 

large chair from French Country 

Collections, artwork from The 

Frame Workshop & Gallery. 

Project by Melle Van Sambeek, 

image by Bryce Carleton. 

Resene 

Hot Toddy 

Colour connections 

Instantly elevate and add immediate impact to your home this season simply 

by switching up the palette – whether it’s playing with fresh colour on details 

and small spaces or transforming whole rooms with compelling new hues. 

fear of clashing colours and a disjointed final look 

A can be big hurdles to overcome in going beyond a 

neutral palette and experimenting with different colours 

in your interiors. 

But used thoughtfully, and with a bigger picture in 

mind, not only can clever colour combinations make 

purely functional spaces come alive, but they can 

also create better flow and cohesiveness between 

interconnected spaces. 

There are myriad ways to use colour to bring the 

disparate rooms of your home together in ways that 

surprise and delight. 

Create cohesion 

To bring immediate cohesion into the different rooms 

in your home, Resene colour expert Jill Marsh suggests 

starting with trim areas. 

“Keeping skirting, window frames and door frames the 

same colour throughout your home will instantly help to 

connect each space. This creates the foundation of any 

colour scheme and keeps a lovely flow.” 

She recommends using an enamel on all these 

surfaces so they’re hardwearing and easy to wipe 

down. Using the same colour on all surfaces also makes 

it much easier to freshen them up if need be, as you 

don’t have to keep different colours on hand. 

“Resene has a range of waterborne enamels ideal for 

trim and joinery, including Resene Lustacryl semi-gloss 

and Resene Enamacryl gloss, which offer a durable 

finish with the benefits of waterborne paints such as 

non-yellowing, low odour and easy clean up in water.” 

Maintaining consistent colours through your home, 

whether on trims or bigger surfaces like walls can also 

help connect parts of your house that may have a 

slightly different feel, such as when an old home is given 

a new modern extension. 

Use this consistent trim colour as a building block to 

find other colours that will work together throughout 

your home, Jill says. 

“Look for connecting neutral and feature colours that 

work together. Colour connections are very important 

as they add your own personal style to the interior.”

Interiors | Magazine 37 

Back wall and bookshelf painted in Resene Casper, 

with front and side walls in Resene Half Spanish White. 

Floor painted in Resene Spanish White, side table and 

handled case in Resene Lynchpin, storage boxes in 

Resene Casper and Resene Triple Spanish White, white 

vase and shallow dish in Resene Alabaster, fluted bowl 

in Resene Triple Spanish White, books in Resene Triple 

Spanish White, Resene Lynchpin and Resene Casper, 

small blue dish in Resene Lynchpin and small textured 

case in Resene Half Spanish White. Sofa and throw 

from Freedom, cushions from H&M Home, ottoman 

from Mocka, small blue vase from Spotlight. Project by 

Vanessa Nouwens, image by Wendy Fenwick. 

Resene 

Scrub 

Resene 

Casper 

Rear wall painted in Resene Lemon Grass with front wall in 

Resene Scrub. Floor in Resene Quarter Lemon Grass, bookshelf 

and dining table in Resene Contour, chair in Resene Scrub, 

pendant light in Resene Nirvana, bowl on table in Resene 

Thorndon Cream, tall vase on table in Resene Tic Tac Toe, 

boxes in Resene Green Days and Resene Tic Tac Toe, arch 

decoration in Resene Contour, small pot in Resene Lemon 

Grass, pedestal bowl in Resene Thorndon Cream, U-shaped 

vase in Resene Tic Tac Toe, tealight holder in Resene Nirvana, 

small pedestal dish in Resene Scrub, large ribbed pot in Resene 

Nirvana and tall arch vase in Resene Thorndon Cream. Glass 

vase from Nood, green glass candle from The Warehouse. 

Project by Vanessa Nouwens, image by Bryce Carleton. 

Places to play 

One area of most homes that’s the perfect place for an 

accent colour that can be echoed throughout the house is an 

entranceway, Jill says. 

“A painted or wallpapered feature wall in your entrance way 

creates a lovely welcome to a home,” she says, adding that the 

colours used in the entranceway can then be added in small or 

large touches throughout the house, so the whole building feels 

connected, even subconsciously. 

Stairwells and landings can be another great place to 

experiment with colour contrasts that draw you through these 

high connecting spaces into other rooms. 

Spaces connected by open archways and other wide, doorless 

entries are excellent areas to play with contrasting colours or 

darker and lighter versions of similar colours. They draw people 

from one room to another, even if it’s just visually, making each 

space feel open, larger and connected. 

Jill suggests experimenting with brighter shades in areas like 

study nooks or home offices to add energy and visual interest 

that invites you in from a connected more neutral space. 

“Storage areas like pantries are often areas left white but these 

spaces can come to life by adding colour on the walls between 

shelves. Resene wallpaper looks awesome here too,” she says. 

These functional areas can also be great places to add 

accents of bolder, brighter colours you’ve used in other parts 

of the house. 

The key to cohesiveness throughout a home, Jill says, is to not 

go too crazy with too many different colours and different styles. 

“Colours work best when they complement each other, 

especially if they can be seen from one space to another. The 

most important part of connecting spaces is testing your 

favourite colours with Resene testpots painted on large pieces of 

cardboard, keeping an unpainted border, so these can be moved 

around the rooms and viewed in both the daylight and at night to 

make sure they work together in all light conditions.” 

Need help choosing colours to connect your project together? Visit your local Resene ColorShop 

or Ask a Resene Colour Expert free online at resene.com/colourexpert.

Inviting the wild in 

Known as Verdant House, this multi-award-winning Wānaka home 

by Pac Studio and Steven Lloyd Architecture draws playfully yet 

thoughtfully on the views through the windows – not just the dramatic 

surrounding alpinescapes, but the joyfully wild garden directly outside. 

INTERVIEW JOSIE STEENHART | PHOTOS SAM HARTNETT

Architecture | Magazine 39 

Co-designed by Steven Lloyd and Pac’s Rory Kofoed for artist Katherine 

Throne and her family, we spoke to the talented duo about this very 

special piece of architecture. 

What was your brief? 

This house, designed for a Wānaka artist and family, was initiated and 

developed during a Covid lockdown. Our client is simply described as a painter 

of flowers, and the overarching brief was for a house and garden for her and 

her family that complemented each other in space. 

Essentially, it would be a modest family home with an artist’s studio and 

ancillary buildings to house those interests of lake and mountain life – bikes, 

skis, paddleboards – with ample firewood storage.

40 Magazine | Architecture 

“The parallel desires of creating 

a home that was comfortably 

cosy, but also enabling of 

outdoor pursuits also drove a 

balancing of the program and 

site arrangement.” 

And how did you end up achieving it? 

The house is positioned at the centre of a hill site and 

orientated on an east-west diagonal axis, square to 

the distant ranges, with secondary buildings pushed 

to the boundaries. 

We designed a house with an organising strategy 

around the idea of a nine-square grid. To bring the 

garden closer, we divided the square plan, removing 

portions to open the building to exterior courtyards 

and seating areas. 

The main entry is accessed via a rising, meandering 

path leading through a rear courtyard to the centre of 

the building. 

Inside the house, a central, sunken living room locates 

the core of the dwelling. Rigorous interior detailing and 

bespoke cabinetry complement the block structure, 

open via entryways and wrapping around a fireplace to 

connect with axis walkways and exterior courtyards. 

Throughout the interior, soft-painted hues and an 

oiled-ply ceiling provide a natural backdrop for the 

bright painted canvases. The floral colour-fields of 

the perennial displays are reproduced in oils within 

a semi‐secluded, yet complementary, painting studio 

accessed by landscaped paths across mound and swale. 

Sheds and carport, detailed in a similar vein, are now 

partially obscured as the garden has matured. 

The parallel desires of creating a home that was 

comfortably cosy, but also enabling of outdoor 

pursuits also drove a balancing of the program and site 

arrangement. Utility spaces – to chop firewood, fix 

mountain bikes, propagate seeds – all become defined 

areas in the site planning of the house, given as much 

thought as the primary living spaces. 

What part did location/environment play here? 

This private Wānaka house sits on a large, 4000m 2 

suburban site. It benefits from mountain views and 

is shielded from neighbours by a boundary of mature 

pines and the verdant gardens that give the house 

its name. 

The landscape of perennial and potager gardens tell 

the story of the passing seasons and is integral to our 

client’s painting practice. For her, the site is both a visual 

resource for her work and a palette upon which to 

construct and reconstruct an understanding of nature. 

The earth mound on which the garden grows 

was created using excavation material from the 

house’s foundations, alongside a scalloped swale for 

stormwater management.

Tell us about the materials you used… 

The house’s ‘cubic’ concept was given shape with a concrete-block base 

and lower walls, expressed inside and out. These ground the form with a 

coloured mass. 

External corners are expressed by interlocking wall planes. 

Exterior materials were selected for their robustness and as exposed 

interior finishes. 

Above the block datum, the house is capped with a folded roof, in a 

vernacular deep-red metal, pitching across the complex plan into a singular 

steel trough. 

The project is designed to make the most of passive solar gain, with 

exposed thermal mass and a heavily insulated envelope. 

Inside, timber, earthy toned tiles and concrete floors, and soft wall 

colourings (alongside the expressed green block) create a warm, inviting 

interior. This palette connects with the flowing garden immediately beyond 

the building and helps anchor the home to its immediate landscape.

42 Magazine | Architecture 

Any particular challenges and/or successes? 

The site sits within a development with controls on 

colour, bulk and form. The design responds to these, 

by offering an alternative to the formulaic assumption 

that houses in the area need to be monochrome 

and barn-like in character in order to be sensitive to 

the landscape. 

The clients specifically asked for a design which 

would be characterful, but not suffer a prolonged 

resource consent. 

Understanding the clients’ particular painterly 

brief, their attitude towards occupancy and their 

expressions of their craft, really enabled us to contribute 

meaningfully to these endeavours. 

What are some of your favourite features/details 

and spaces? 

We’re pleased with the varied spatial experiences within 

the home, all made richer by the wonderful garden 

and the client’s collection of furniture pieces and art. 

There are places to feel cosy and private through 

to areas that take in the vastness of the mountain 

landscape. This variation lets the home and garden 

joyfully carry its occupants through the seasons. 

There is rigour to the plan and details that – 

rather than creating an uptightness – gives rise to 

an atmosphere that is calming and relaxed in tone 

and expression. 

“The design hits a magical note between being 

comfortably cosy and generously spacious. 

I really enjoy the dynamic feeling of the 

juxtapositions like changing floor levels and 

ceiling heights and appreciate how these 

are balanced by the solid earthy materials 

and colours. 

The cabinetry is also a favourite. It’s 

beautifully designed and very detailed but 

the fact it is the same throughout lends a 

feeling of considered simplicity. 

I feel a lot of creative push and pull, which 

makes it a really fun house to live in. 

Despite the mountain views, our 

favourite is the view from the living room 

window into the garden. The garden is so 

close, you can’t help but be pulled into 

its colour, textures and movement. The 

mountains are grand but aloof; the garden is 

joyful and welcoming.” 

- Katherine Throne

Get the look | Magazine 43 

Take it home 

From locally handcrafted woodware and striking lighting to chic sheepy pieces, 

luxe loungers and rich alpine hues, take interior inspiration from this NZIA 

2024 Southern Architecture and Resene Colour Award winner. 

1 

2 

3 

9 

Resene 

Forest Green 

10 

8 

6 

4 

7 

5 

Resene 

Old Brick 

1. Città Civic cushion cover in Cornflower/Multi, $110; 2. Città AB table lamp in Frosted Smoke Grey/Green, $790; 

3. David Laird Cuttie-stool, $560; 4. Wilson & Dorset One + Half sheepskin rug in Mt Gold, $269; 

5. Brent Forbes, ‘Looking Back’, framed acrylic on canvas, 1040 x 780mm, $2750 at Little River Gallery; 

6. Loft Vintage Turkish cushion, $159; 8. Resident Tri Pendant light in Black, $1990; 

9. Trade Aid hogla basket, $40; 10. Walk in the Park wooden catchall, $920 at Public Record

44 Magazine | Promotion 

DIRECTORY 

HOME & LIVING 

LITTLE RIVER GALLERY 

Through her recent ‘Taonga’ series, Wānaka-based painter 

Sierra Roberts expresses ideas around her identity and 

belonging in present day Aotearoa. Imagery of flora and fauna 

that resonate strongly with the artist adorn the figure, but 

it’s the artist’s intent to acknowledge these taonga do not 

belong to her, examining the duality around separation and 

closeness to the natural world. Sierra Roberts, ‘Kaihua and 

the Korimako’, acrylic on linen, framed, 850x850mm, $6000. 

littlerivergallery.com 

ICO TRADERS 

Our favourite Christchurch furniture brand is 

back with a fab new design that’s perfect for 

the great outdoors. Simple and sturdy, the 

Waipuna side table ($479) comes in a spectrum 

of signature Ico Traders hues from Fern and 

Fog to Toffee and Putty, and features a clever 

internal shelf to keep things safely tucked away 

(and your phone out of the sun). Crafted from 

3mm solid stainless steel, it’s also robust enough 

to withstand winds and is rust resistant. 

icotraders.co.nz 

ANY EXCUSE 

Cosy up to your morning cuppa in style this 

winter with the latest Hug Me mugs from 

Robert Gordon. Thoughtfully designed to 

be cupped in your hands, these microwaveand 

dishwasher-safe stoneware mugs come 

gift-boxed in a set of four ($74.99), with 

each mug featuring a different rose-hued 

brushstroke pattern and a semi-matte glaze. 

anyexcuse.co.nz 

INSTANT 

Enjoy low and slow one-pot dishes this winter and beyond in 

the new Instant Superior Slow Cooker ($200). This kitchen 

companion for cooking convenience offers four functions in 

one – slow cooking, steaming, sauteing/searing and keeping 

your meals warm. Its generous 7.1L capacity can cook up to 

10 portions, which makes cooking for the whole family a breeze. 

Effortlessly transition from cooking to serving with easy grab 

handles, and enjoy the added convenience of customisable time 

and temperature controls for perfect results every time. 

homeessentials.co.nz / kitchennook.co.nz

EXTERNAL AFFAIRS 

with Tim Goom 

GARDEN MAKEOVERS 

Make outdoors an extension 

of your indoor living. 

Consider using low 

walls or hedges to 

frame the space, 

providing a sense of 

enclosure without 

obstructing views 

or sunlight. 

Creating an outdoor space is a significant enhancement for any 

home, offering both aesthetic appeal and functional benefits. A welldesigned 

outdoor area can be a cosy extension of your indoor living 

space, providing a perfect setting for relaxation, entertainment, and 

family gatherings. 

First and foremost, an outdoor space with a cosy, room-like feel 

can transform the way you use your home. By designing this area 

to feel like an open-air living room, you can create a seamless 

transition from the indoors to the outdoors. Comfortable seating, 

weather-resistant furniture, and strategically placed cushions can all 

contribute to this inviting atmosphere. Consider using low walls or 

hedges to frame the space, providing a sense of enclosure without 

obstructing views or sunlight. 

Maximising sun exposure while minimizing the impact of 

Canterbury’s brutal ‘hidden’ easterly wind is crucial in creating a 

comfortable outdoor environment. Positioning your outdoor space 

in a sunny area of your yard ensures warmth and natural light, which 

is especially important in cooler climates. To mitigate the effects 

of wind, you can use screens, planting & hedging, or strategically 

placed fences and walls. A well-positioned louvre roof or a cantilever 

umbrella can offer flexible shade solutions, allowing you to adjust 

coverage based on the weather and time of day. 

By designing an area 

to feel like an openair 

living room, you 

can create a seamless 

transition from 

the indoors to the 

outdoors. 

by Goom 

Lighting and heating play a vital role in enhancing the ambiance 

and usability of your outdoor space, particularly in the evenings. 

Incorporate a mix of task lighting, such as spotlights for cooking 

areas, and ambient lighting, like strip or down lights, to create a warm 

and inviting atmosphere and highlight steps. Outdoor heaters are 

becoming more widely accessible, gone are the days of the old gas 

heater you had to sit on top of to get heat, modern electrical heaters 

can be hidden or made an aesthetic design feature and ensure you 

get longer use of your outdoor space into the cooler months. 

In addition to aesthetics, incorporating functional elements like a 

BBQ, fire pit, or outdoor fireplace can significantly enhance your 

outdoor living experience. A BBQ area allows for enjoyable cooking 

and dining experiences, while a fire feature provides warmth and a 

focal point for gatherings, extending the usability of your outdoor 

space. 

Ultimately, creating a well-thought-out outdoor space can 

significantly increase your home’s appeal and functionality. By paying 

attention to elements such as sun, wind protection, and the inclusion 

of cosy, functional features, you can create an inviting outdoor area 

that serves as a delightful extension of your home. Contact Goom 

Landscapes today to get your outdoor room organised for next 

summer 03 351 6100 or info@goom.nz. 

The champions 

of landscape 

design and build. 

7 AWARDS – 2023 

DESIGN | MANAGE | CONSTRUCT 

Create a Lifespace with us | goom.nz 

IDEATION-GOM0193

Food for thought 

In a very special series with 03, our favourite thoughtful foodie Nici Wickes offers a recipe 

for rest (both literally and figuratively) via her latest book More From a Quiet Kitchen. 

WORDS & RECIPE NICI WICKES | PHOTOS TODD EYRE

Food | Magazine 47 

“If you’ve let hobbies and things that delight 

you fall away in the busyness of adult life, 

think about what you enjoyed as an eightyear-old 

– colouring in, reading or being 

read to, making fudge, wading in water, 

eating ice cream in a cone, riding a bike…” 

love living in the slow lane, and rest is the new success I’ve decided! Our fast 

I pace of living is creating a culture of rest-less-ness. 

We women especially are always busy – working, house-working, exercising, 

thinking, planning, worrying, fretting, texting, thinking, nurturing, driving, thinking, 

talking, gardening, thinking, tidying, thinking… on and on it goes. We are grinding 

ourselves into the ground. 

And society values this busyness; so much so that we have all forgotten how to 

rest, to daydream, to sit and stare blankly with nothing to move on to next. 

I’m no exception. I have a natural tendency to want to seriously hurry the world 

up. My norm used to be to cram as much into a day, a week, a month as I could. I 

was always making plans. My keep-going-at-all-costs attitude meant that I survived 

like this for the first four decades of my life. 

Then it all came crashing down and I could barely get out of bed to do my 

paying job. I was forced to change my perspective on all of my busyness and I 

had the uncomfortable realisation that I was suffering from anxiety (previously 

I’d just thought of it as a brilliantly busy and active mind) and that I was a 

chronic overthinker. This was very difficult for me to accept, but the immense, 

overwhelming fatigue was impossible to ignore. 

My lack of sufficient resting happened gradually so by the time I noticed that I 

was utterly exhausted, never quite able to catch up, and tired and negative all the 

time, I was deep in the hole. I also felt totally wired when it was time to sleep so it 

was a double whammy. 

‘Tired but wired’ is a phrase anyone who has experienced burnout or adrenal 

fatigue will relate to. My dear little adrenal glands, which sit at the ready to fight, 

flight, fawn or fake it, were weary and battle-worn. I likened them to an old car: 

you could put your foot flat on the accelerator, but it would take a very long time 

to actually gather speed. That was me. 

Dragging myself through every day, finally gathering enough speed just as the day 

was ending. I would literally feel my insides thrumming for no reason. And here’s 

the thing; no amount of thinking can calm these little glands. They have a system of 

their own and once the adrenal cycle is out of whack, it is hard to recalibrate it. 

After many tests and much reading, I found a few things that would resurrect 

and calm my physiology. Taking time to rest your eyes, body and mind is medicine. 

I take it whenever and wherever I can now – closing my eyes if I’m early for a 

meeting and waiting in my car; not doing that ‘one more job’ before bedtime; 

resisting taking out my phone when standing in a queue or sitting in a waiting 

room; doing some yoga (even for just five minutes); not using the internet on 

planes (I cannot believe this is now a thing, it used to be one of the few times to 

really unplug); taking a moment before I get up in the morning to appreciate the 

coming day; indulging in an afternoon sleep of 20 minutes if I can. 

A friend begins her day with a ‘goddess hour’. She will set her alarm early so that 

she can fit in this special, calming hour to write, meditate, move slowly, commune 

with nature, before her busy day begins. I do something similar with a cup of tea 

and my cat in bed each day.

48 Magazine | Food 

I do appreciate this is harder in a busy household 

or if you have a long commute to work on the daily, 

but if you can, carve out some time for yourself 

wherever and whenever you can. A moment longer in 

the shower. Taking the bus instead of a car, or letting 

someone else drive. Drinking the morning cuppa out 

on the porch away from the family. Learning to potter 

about as opposed to nailing all the jobs. 

There are some other little tricks that I’ve found 

hugely helpful that work directly on my physiology and 

even though they may sound very un-science-y, some 

have been well-proven as methods to calm the body. 

Who knows, they may help you, too. 

• Breathing out for longer than I breathe in. 

• Giving myself a hug, rubbing the upper arms 

– it really calms the farm because, guess what? 

Your body only registers the hug, not who or 

how it came about. 

• Stroking my own hair for the same reasons 

as above. 

• Patting a pet. 

• Listening to what I call ‘woowoo’ music – 

I have a series of tracks that you might expect 

to hear in a yoga class or during a massage. 

Very relaxing. 

• Treating myself to a digital/screen-free day. 

• Having a mooching session where I just potter 

about the house or garden without a major 

plan or end goal. 

• Consuming loads of greens – my green 

smoothies are daily and essential. 

• Immersing myself in water frequently – ocean 

swims, baths, spa pools, cold showers. 

• Cooking recipes that involve lots of stirring, 

chopping or other soothing actions. 

• Taking slow walks or slow bike rides. 

• Reading easy, feel-good novels. 

We all need to fill ourselves up and recharge. Find 

something that is soothing to you and do it. Try 

gardening, slow walking, reading a magazine or just 

browsing in a library, yoga, meditating, fly fishing, 

knitting, getting out on the water, anything that is not 

stressful or overly stimulating for you. If you’ve let 

hobbies and things that delight you fall away in the 

busyness of adult life, think about what you enjoyed as 

an eight-year-old – colouring in, reading or being read 

to, making fudge, wading in water, eating ice cream in a 

cone, riding a bike… 

“Standing by the stove 

lazily stirring a risotto 

is one of my favourite 

pastimes. Maybe I’ll even 

prop my laptop up on 

the bench and watch an 

episode of something. 

Blissfully restful.” 

My point here is this: de-stressing yourself is not 

done by thinking about it, it requires some action to 

de-stress the body’s physiology. Once the adrenals are 

switched on, your very being feels ‘on’ and it will feel 

counter‐intuitive to slow down. It’s like you’re in a car in 

neutral with a brick on the accelerator, using up gas but 

going nowhere. 

But the magic is that if I do a series of the above 

activities, my body responds regardless of my headspace. 

The parasympathetic nervous system, the side that is 

responsible for the calming, restorative work in your 

body, starts doing what it is designed to do, which is to 

counter the stress response, to rest and digest. That’s its 

job, so give it a chance to do it by slowing down, being 

still, resting – even when it feels impossible. 

Getting out into nature is good for my anxious mind, 

too. Feeling surrounded by something much bigger than 

me really puts things in perspective. I think it’s why those 

who garden regularly or who work outdoors appear so 

calm, present and on the level. Though I’m a beginner 

and often reluctant-to-start gardener, I still find it so 

therapeutic when I muster the motivation to get out 

there, hands in the dirt, nurturing nature – which in turn 

takes care of me. 

Slow cooking and baking are also perfect for calming 

the nervous system because they work in two ways: 

patience is required and while the dish cooks the house 

fills with such deliciously pleasant aromas that you can’t 

help but feel better. 

Cooking certain dishes encourages this feeling of 

restfulness and calm in me: a risotto with all that stirring, 

chopping and gently sautéing greens, fritters spluttering 

away in a pan, taking the time to carefully arrange thin 

slices of persimmon on a plate, allowing myself to be 

lulled by the repetition of rolling meatballs, baking a cake, 

and more… I hope you find some calmness in creating 

these dishes too.

Recipe | Magazine 49 

CORN & BACON 

RISOTTO 

Standing by the stove lazily stirring a 

risotto is one of my favourite pastimes. 

Maybe I’ll even prop my laptop up on 

the bench and watch an episode of 

something. Blissfully restful. 

Serves one easily, two at a pinch with a salad 

1 tablespoon each butter and olive oil 

1 small–medium onion, finely diced 

2 rashers good-quality bacon, diced 

75g (about 2 small handfuls) risotto rice 

Sprig of rosemary 

¼ cup white wine 

1–2 cups vegetable stock 

1 cup corn kernels, fresh or frozen 

Salt and pepper 

Juice of ½ a lemon 

Sprinkle of grated parmesan 

Drizzle of top-quality olive oil 

Extract from More from a 

Quiet Kitchen by Nici Wickes, 

photography by Todd Eyre, 

published by Bateman Books, 

RRP$49.99. 

In a medium-sized, heavy-based pot or pan, melt 

the butter, add the olive oil and gently sauté the 

onion and bacon. Once the onion is soft and 

translucent, add the rice and rosemary. Stir to 

coat in the oil and butter. Gently fry for 2–3 

minutes, stirring. 

Pour in the wine and allow to bubble until 

almost evaporated. Add the stock, half a cup at 

a time, until all the stock is used and/or the rice 

is just cooked through. It is important that the 

rice grains are allowed to absorb most of the 

liquid before the next addition because this adds 

to the creaminess of the dish. Stir, be patient, 

daydream while you do it. 

Once the rice has given up its chalkiness and 

is tender, add the corn kernels and cook for a 

minute or so until the corn is cooked. Taste and 

season with salt and pepper as needed. 

To serve, squeeze over lemon juice and sprinkle 

on the grated parmesan. Drizzle with olive oil. 

NOTE 

To make this vegetarian, omit the bacon and add 

in sliced mushrooms instead, or a decent pinch 

of smoked paprika – or both.

Sourdough at Scott Base 

There are few places more extreme than Antarctica to spend your winter, 

but former Otago chef Paddy Rietveld is in his element, even if the mean 

temperature at Scott Base in July is -29°C and there’s no sunlight. 

WORDS REBECCA FOX | PHOTOS PADDY RIETVELD 

Baking day is Paddy Rietveld’s favourite day, especially 

when he pulls loaves of his favourite sourdough 

out of the oven. 

“You can’t beat the smell,” the Dunedin born and 

bred chef says. 

That is especially true at New Zealand’s Scott Base 

in Antarctica, where Paddy is wintering over as the 

chef for the season. 

Baked goods are particularly appreciated, especially 

nostalgic recipes like a Belgian slice, and he loves 

experimenting with different types of breads. 

“Things people grow up with, they can talk about, 

connect and reminisce when you’re away from family 

and friends. It’s gone down a real treat this year.” 

With only 12 people to feed over winter, Paddy feels 

a bit like a private chef and is loving the challenge living 

and working 3500km from home, even if it means 

forgoing fresh ingredients for months. 

The food he cooks with is mostly frozen, dried or 

tinned, brought in by ship at the start of the season. 

The only time he gets to cook with fresh ingredients is 

if a plane arrives in the summer. 

“Getting some fresh eggs down here is a big hit – a 

fresh boiled egg has never tasted so good.” 

It means he has to think outside the box and adapt 

some things, which he enjoys as it pushes him to try 

different things. 

“I was making some Easter hot cross buns but ran 

out of peel so I got the freshest oranges we had and 

before I gave them out to everyone I turned the peels 

into mixed peel. 

“You don’t want to waste things given the amount of 

effort it takes to get it down here.” 

He has also found baking in the “super dry” 

atmosphere of the base has taken a bit of adjusting to. 

“I’ve found I have to use an extra 10 to 15 percent

Food | Magazine 51 

more moisture in baking. There are a few techniques 

you have to adapt to down here as it’s so dry. You 

have to keep things quite hydrated.” 

Paddy, who used to be the chef at Wānaka cafe 

Relish, knows the issues as it’s his second season 

wintering over and this year he has also done the 

summer season for the first time – working alongside 

a couple of other chefs, catering for up to 100 people 

at a time. 

“It’s a bit more full-on but it’s been pretty cool 

to see some of the science happening, which is 

predominantly in the summer, and be able to 

support that.” 

He has been on the ice since October last year and 

will leave in October this year. Missing home is a given, 

but it is something he prepared for mentally before 

heading down, he says. 

“You have some amazing times. If it’s a really clear 

night and you go outside now you can see some 

awesome auroras and there are some amazing walks.” 

Visiting Antarctica is something Paddy has wanted to 

do since he saw a film festival work by photographer 

Anthony Powell, Antarctica: A Year on Ice, when he was 

18 years old. 

“I’d always wanted to work down here so I’d been 

working towards it.” 

Visiting the ice for his first season in 2022 was just 

“unbelievable”, he says. 

“It’s out of this world. You do feel like you are on 

another planet with the abnormalities in temperature, 

change of light, the isolation. It’s pretty cool.” 

The isolation of the place and the job does not 

faze him. 

“I’m a pretty self-sufficient person and I really love 

my job.” 

He loves how he can be creative and change things 

up so it’s not just the same food day in and day out. 

“It’s not the same old thing. It keeps food exciting 

for everyone else too, which is key and keeps you on 

your toes constantly. Trying to come up with cool, fun 

ways is good and stimulating for the winter months.” 

The variety of frozen and dried foods available these 

days, including frozen egg pulp, is quite extensive – 

making nutritional diversity easy, he says. 

Home-cooked favourites, like the nostalgic baking, go 

down a treat. 

“Kiwi-style fish and chip Fridays, simple stuff like lasagne. 

It’s quite nice to see people excited about the food.” 

With such a small crew over winter he has been able 

to learn people’s likes and dislikes and he keeps an eye on 

what is left over on people’s plates. He also spaces out 

special meals so there’s something to look forward to. 

“Too much of a good thing can get boring. 

Occasionally I will test the waters with something out 

of the ordinary.” 

Being smart about cooking by doing extra batches 

makes things easier, as does freezing extra portions for 

a rainy day. 

“You can mix and match lots of meals. If you make a 

bolognese on a Monday, you can use it again in a few 

days’ time for a lasagne. It’s a fun puzzle to work around.” 

He makes yoghurt and granola for their “self-help” 

breakfasts as well as his favourite Danish rugbrød bread 

for toast. Alongside lunch and dinner, he does a hot 

“smoko” every second day. 

The crunch of fresh fruit and vegetables is something 

people miss, so this year he has been providing carrot 

sticks, which last a long time fresh if stored properly. 

“Peeled carrots in little sticks go a long way. Just that 

fresh crunch, you underestimate it.” 

Not all his time is spent in the kitchen. In the summer 

months he has been able to help out some of the science 

crews. He has also been out to the Dry Valleys. 

“That was phenomenal. We also went to Cape Bird 

where there are close to 40,000 Adélies out there. To 

see so many penguins in one place, it’s out of this world.” 

Paddy, who has taken up photography since he has 

been on the ice, has always been a fan of the outdoors 

and nature and has been known to do some gold mining 

in his free time. 

“The last couple of years I’ve been helping with the 

Wānaka Scout group. I was lucky enough to grow up 

with that and so it’s giving something back.” 

He is also trained in pyrotechnics and has worked on 

many Queenstown Lakes fireworks displays over the past 

few years again, indulging his creativity and design urges. 

“I’ve always been curious about how things worked, 

whether it’s food or building or fireworks. Variety is 

quite good.” 

“The food he cooks with is 

mostly frozen, dried or tinned, 

brought in by ship at the start of 

the season. The only time he gets 

fresh ingredients is if a plane 

arrives in the summer.”

52 Magazine | Recipe 

DANISH RUGBRØD 

Paddy collected this recipe for Danish 

rugbrød on his travels but can’t remember 

where from. It has proved to be one of the 

favourites on baking day in Antarctica. 

Makes 1 loaf 

SOAKED GRAINS 

215g whole rye grain or whole wheat or 

kibbled grain, or a mix 

150g lightly toasted sunflower seeds 

15g salt 

300ml water 

DOUGH 

200g strong bread flour 

100g rye flour, coarsely ground – stone ground 

is best 

10g liquid malt extract or molasses 

15g dutch cocoa 

20g olive oil 

100g of quick rye sourdough (made in advance) 

150g warm water (30°C) 

¼ teaspoon instant dry yeast 

75g grated carrot 

1 quantity of soaked grains 

50g sesame seeds or rye flour for topping 

(optional) 

Prepare the soaked grains in advance. Place all ingredients 

in a bowl, and mix to coat grains with water. Cover and 

leave at room temperature for 16–24 hours. 

Place all dough ingredients in a mixer fitted with a beater. 

Mix on medium speed for 10 minutes, scraping down the 

sides of the bowl occasionally for an even mix. Alternatively 

you can mix by hand using a large metal spoon. 

Grease a 19cm x 11cm x 11cm deep loaf tin. Once batter is 

mixed, spoon into tin. Using your knuckles dipped in water, 

squash the batter into the corners of the tin then smooth it 

out with a spatula until level and smooth. Sprinkle sesame 

seeds on top. 

Cover tin loosely with plastic wrap and leave to rise for 

2.5 to 3 hours. Do not leave longer than this. In the last 30 

minutes preheat oven to 250°C. 

Remove wrap and place in oven. Immediately lower 

temperature to 180°C, then add a small oven-proof bowl 

of water for steam and close the oven door quickly. 

Bake 60–70 minutes until the internal temperature of the 

loaf is 95°C. 

Remove from oven and leave to set in the tin for 5 minutes 

before turning out on a wire rack to cool. Leave for 5–6 

hours or preferably overnight wrapped in a clean tea towel 

before slicing.

54 Magazine | Travel 

Eau de Paris 

Kiwi founder of natural perfume company Abel, Frances Shoemack is an 

enviably frequent visitor to the celebrated French capital. Freshly returned 

from a recent trip, we asked her to share a few of her favourite spots. 

With our master perfumers and lab based in Paris, 

I’ve been a regular visitor to this beautiful city for 

the past 12 years. First on a relaxed Eurostar trip from 

Amsterdam, and more recently on the brutal long haul 

from New Zealand – a trip Kiwis love to hate. 

While my trips are always 90 percent work – be it in 

the lab with our perfumers or at showrooms meeting 

new and potential customers, there’s always time to 

soak up the quintessential Parisian atmosphere. 

In fact, this classically chic city and all that it inspires is 

playing a leading role in our next scent to launch… my 

lips are sealed. 

DO 

My favourite thing to do when I land in Paris (if I’m 

not heading straight to a meeting!) is walk the cobbled 

streets, soak up the vibe, and grab a coffee or wine 

(depending on the time zone I’m hitting) with no 

destination in particular. 

If you can avoid the tourist laden main drags, the 

French side streets are full of day to day scenes very 

normal in the life of a Parisian but so charming – and 

utterly French – to one fresh off the plane. 

SHOP 

A charming multi-level concept store in Le Marais, 

Merci has the best curation of homewares, clothing and 

accessories. A trip to Paris is not complete without a 

visit there, whether to browse and be inspired, or to 

pick up a (practical!) souvenir. 

There are three restaurants on site, so if you work up 

an appetite shopping, be sure to stop at the Used Books 

Café for a brief respite. 

Rendez-Vous store is another go-to, located in the 

shopping haven of the Marais. I come here for the 

outstanding service and the effortlessly cool edit of 

brands, but of course I have a soft spot as they also 

stock Abel. 

SEE 

Always at the top of my list to visit is Le Corbusier’s 

apartment and studio in the 16th, but in over a decade 

of Paris sojourns, I am yet to find the time. 

Designed in the 1930s by the artist and architect 

himself, this was the first residential building to feature a 

glass facade and has been a designated UNESCO World 

Heritage site since 2016. 

Stop by for a guided tour of the 7th floor dwelling and 

escape into a world of style-defining Modernist designs. 

EAT 

Le Servan is a traditional French bistro serving Asianinspired 

fare. Run by two French-Filipina sisters, Le 

Servan has a focus on organic, local and sustainable 

produce. I’m a big fan of their environmentally friendly 

ethos and their natural wine list in equal measure. 

DRINK 

Bar des Prés, Saint-Germain, is an unmissable spot 

in the 6th serving classic cocktails with a Japanese 

twist. Sit at the bar and you’ll have a view of the sushi 

masters expertly making handrolls alongside deft 

mixologists building whisky martinis. Try the Matcha 

Picchu, a take on a pisco sour with matcha and lemon. 

That said, a croissant and black coffee from almost 

any boulangerie in Paris is one of my all-time favourite 

food and drink pairings. 

STAY 

On recent trips to Paris I’ve been staying at Hôtel 

Paradis. There’s something comforting about going 

back to the same hotel and this one is a hidden gem. 

Located in the back streets of the 10th, Hôtel Paradis is 

surrounded by your choice of restaurants and bars. 

Last time I visited I was lucky enough to coincide 

with the summer solstice Fête de la Musique, and there 

was a full street party just doors from our hotel.

Travel | Magazine 55

56 Magazine | Travel 

CHECK IN 

Pullman Auckland Airport 

WORDS JOSIE STEENHART 

THE LOWDOWN 

New Zealand’s largest hotel operator, Accor, welcomed 

the 311-room Te Arikinui Pullman Auckland Airport 

Hotel into its portfolio earlier this year. 

The hotel is the first five-star hotel to open at the 

Auckland Airport precinct, being only 100m from the 

front entrance of the international terminal. 

Architecturally designed by Warren and Mahoney, the 

distinctive three-pointed star shape and ‘sea to sky’ design 

concept was inspired by the journey of adventure and 

discovery by the people of Tainui waka following their 

arrival at Manukau Harbour circa 1350, and complements 

Warren and Mahoney’s previous work on the nearby 

(like, 50m away) Novotel Auckland Airport hotel. 

The interiors of the guestrooms and Te Kaahu 

restaurant were designed by Space Studio to “embrace 

understated luxury within a space that heroes simplicity, 

comfort, and light” and feature an impressive attention 

to detail beyond the ordinary, such as locally made 

iwi-designed bed throws, and a custom-designed carpet 

referencing the wash of the ocean as it reaches the 

shores of the Manukau Harbour. 

The hotel’s beautifully unique and seriously special 

cultural design elements were created by Renata Te 

Wiata (Ngāti Mahuta), carving manager of Waikato 

Tainui, and highly regarded New Zealand fashion designer 

Kiri Nathan designed signature pieces for the women’s 

front office uniform such as capes, jackets, and blouses, 

inspired by the hotel. 

THE EXPERIENCE 

One doesn’t always have the highest of expectations from 

an airport hotel (other than being located near the airport), 

but from the service to the design, this is one seriously 

impressive hotel by any accommodation standards. 

Rooms (and beds) are super spacious, utterly peaceful 

and highly luxurious (the complimentary snacks and bevs 

OMG) and I checked out feeling genuinely refreshed 

(which lasted until my encounter with Jetstar a few 

minutes later, but that’s a story for another day). 

As well as Te Kaahu (more on that below) there’s a 

gymnasium, two lovely meeting rooms and the Kuriri 

Café & Eatery – an appealing grab ‘n’ go artisan food and 

coffee option located in the lobby. 

THE FOOD/BEV 

Honestly I was looking forward to dinner and drinks here 

as much as I was about my stay and about taking in the 

design and interiors (and that was a lot). 

Helmed by head chef Nancye Pirini, Te Kaahu offers 

relaxed fine dining with a sense of understated luxury 

(and expansive views over the runway and Manukau 

harbour), and again, is a destination in itself whether you 

need to be near the airport or not. 

The menu is a modern take on traditional New Zealand 

cuisine, celebrating the best of Aotearoa and heroing 

locally sourced ingredients – think elevated kina dip and 

kumara chips, ika mata with coconut panna cotta, panfried 

whole flounder and desserts like triple milk cake with 

kawakawa syrup and burnt sugar steamed pudding with 

rum and date ice cream. 

There’s also an impressive and inventive cocktail list. 

accor.com

Memories of McCahon 

An exhibition of Colin McCahon’s works from the 1940s to the 1980s, 

alongside correspondence between the celebrated artist and his friend and 

supporter Ron O’Reilly, has brought descendants of both men to Dunedin. 

WORDS REBECCA FOX | PHOTOS JUSTIN SPIERS

Art & culture | Magazine 59 

Sitting surrounded by her father Colin McCahon’s 

artwork ‘The Wake’, Victoria Carr reminisces 

about her childhood, remembering when writer John 

Caselberg’s Great Dane, Thor, used to bring her books 

(with a little help from his owner). 

“They were regular visitors to our house in 

Christchurch. I was terrified of Thor – he was huge. 

However, I still have all those books Thor gave me. He 

always gave me a book.” 

‘The Wake’ is based on a grief-stricken poem Caselberg 

wrote after Thor died and is hanging in its own space in 

the Hocken Gallery (as McCahon intended) as part of a 

new exhibition Artists and Letters, Pictures and Words. 

“I grew up with a lot of these paintings. I remember all 

my life seeing these paintings. There were so many works 

in progress in the house. I’m thrilled with this – it is super 

to see this exhibition.” 

For her nephew and McCahon’s grandson, Finn 

McCahon-Jones, the experience of seeing the gallery’s walls 

dotted with McCahon’s life work has been “incredible”. 

On his first visit to Dunedin since he was a child, Finn 

has found himself having a lot of “Colin moments” as he 

moves around the city seeing the landscapes that inspired 

many of his grandfather’s works. 

“Coming here, I feel very at home visually. Feeling like 

you know this place through his paintings.”

He was particularly pleased to see one of his favourite 

McCahon works, ‘Caterpillar Landscape’ (1947), in the 

exhibition and have more light shed on the work by the 

transcription of letters between his grandfather and his friend 

and long-time supporter, librarian Ron O’Reilly. 

The inspiration for the work was a map discovered by 

O’Reilly of the Lower and Upper Hutt valleys, which McCahon 

said he thought “summed up the valley[s] very beautifully”. 

However, his work was unlike the valleys but “very definitely 

of the New Zealand landscape” and the oval in the sky is the 

“Taieri Pet” as seen in the Middlemarch district. 

There are many stories like this in the exhibition, as the 

letters McCahon and O’Reilly wrote to each other from the 

1940s to the 1980s mainly concentrated on his art. 

It is the reason McCahon scholar Dr Peter Simpson spent 

many hours transcribing the letters for the recently released 

book Dear Colin, Dear Ron: The Selected Letters of Colin McCahon 

and Ron O’Reilly. 

The pair met in 1938 in Dunedin, when McCahon was 19 

and O’Reilly was 24, through their mutual interest in theatre; 

both were involved in WEA productions, McCahon as designer, 

O’Reilly as actor. They remained close, writing regularly to each 

other until 1981, when McCahon became too unwell to write. 

In the exhibition the letters are being shown for the first time 

alongside works from McCahon’s early days as an art student 

and his first experiments in landscapes, as well as his figurative 

biblical paintings, abstractions, symbolism and text paintings. 

Many are from the Hocken’s extensive collection of his 

works, as well as from private and public collections around 

the country including ‘Kauri Trees’ (1954) and ‘Virgin and Child’ 

compared (1948). 

“You get closer to Colin 

the man and his real 

beliefs about life and art 

through these letters...” 

Peter first viewed McCahon’s letters when 

O’Reilly’s son Matthew held them (before they 

were deposited at the Hocken Collections) for 

a previous book. But it was only during the 

Covid-19 pandemic he was able to read the 

O’Reilly side of the correspondence held in the 

McCahon papers at the Hocken Collections 

in Dunedin. 

“The centre of the show is the friendship 

between Colin McCahon and Ron O’Reilly. 

The thing about it is they wrote for so long. 

Right from the beginning Ron began to collect 

McCahon’s work, paying it off at 2 and 6 [two 

shillings and sixpence] a week, but he kept 

collecting McCahon all his life.” 

For the book, Peter transcribed nearly 400 

letters. Some of O’Reilly’s were nearly 30 

pages long, taking over a day to finish. O’Reilly’s 

handwriting was relatively easy to read but 

McCahon’s not so, he says. 

“Sometimes you encounter words that take 

you a while to work out.”

Art & culture | Magazine 61 

ALL PHOTOS: Installation views of 

Artists and Letters, Pictures and Words 

(2024). Courtesy of Hocken Collections 

Te Uare Taoka o Hākena. 

The letters show O’Reilly didn’t shy away from 

questioning McCahon about his work. 

“He had his feet on the ground and was a dogged 

researcher and would question Colin closely about his 

work. The letters to O’Reilly are the most revealing 

about Colin’s own ideas about his paintings. You get 

closer to Colin the man and his real beliefs about life and 

art through these letters than any others.” 

There have been many stories revealed by the letters, 

including around his work ‘Tomorrow will be the same 

but not as this is’ (1958–59). It was completed after 

McCahon came back from the United States, where he 

saw the large works of artists like Jackson Pollock and 

Mark Rothko. He moved to Auckland and abandoned 

figurative painting. 

“It made a huge change to his work. He suddenly 

jumped up in scale, he started using house paints 

instead of traditional oil paints. He often didn’t frame his 

paintings and he started working in series.” 

Some people found that change hard to contend 

with. The work was to be exhibited in Christchurch and 

O’Reilly started a fund to buy the work to give to the 

Robert McDougall Gallery (Christchurch’s art gallery at 

the time). He wrote to Charles Brasch, McCahon’s most 

famous supporter, asking him to support it. 

“Brasch was furious, saying it was completely 

irresponsible to rush into buying this work yet; we 

don’t know if any of these new paintings are any good 

yet and so on. There was a real stand-off between the 

two great supporters, so they abandoned the scheme 

to buy the painting.” 

A couple of years later they started the campaign 

again and raised the money to buy it over the objections 

of the director of the McDougall. 

“It finally became the first painting in the McDougall 

gallery and one of the earliest in any public collection 

in New Zealand. It is quite an important painting in the 

story of McCahon and O’Reilly.”

62 Magazine | Art & culture 

O’Reilly had the ability to trust McCahon’s talent, 

thinking if he did not understand it now, he might one day. 

“History has vindicated O’Reilly’s stance. That was 

what made him so remarkable. Although Colin was a 

challenge to everybody as he was such a radical thinker, 

O’Reilly had the ability to stay with him, whereas 

Charles Brasch stopped collecting McCahon in about 

1958. O’Reilly kept on buying right to the end.” 

For O’Reilly’s son Matthew, McCahon was ever 

present in his family’s life as he was growing up. He 

was raised with his paintings around him, so seeing the 

exhibition is exciting. 

“Every McCahon is intense. Altogether it makes for 

something extraordinary, strong and powerful.” 

The letters have their visual analogues in the painting. 

“Ron was an absolutely passionate exponent of 

McCahon’s art and a fellow struggler with it. It’s hard 

work, you have to put the time and energy in and it will 

be revealed.” 

Included in the exhibition is a grouping of works that 

usually hang on a wall in Matthew’s home. They have 

been hung in exactly the way they usually are at home 

and include a work McCahon did for him in 1973 after 

his wife died, featuring a stormy Muriwai. 

“It is generated out of the relationship between 

Colin and Ron. He didn’t ask for the painting, I did, 

but Colin responded to me because he knew me.” 

When McCahon felt his public was against him, 

he took it to heart. 

“It was vicious. He cared very deeply. He was very 

serious about everything really. He was a tough man. 

Yet he treated me so respectfully whatever my age.” 

He remembers going for a trip around Northland 

when he was about 18 with McCahon, who showed 

him the waterfalls he had been painting. 

“That was really special.” 

The exhibition also includes a “study” gallery 

of works, co-curated by the Hocken’s Robyn 

Notman, of other artists with a connection to 

McCahon including his wife Anne Hamblett, student 

Robin White, teachers WH Allen and RN Field, 

mentor and friend Toss Woollaston and friend 

Rodney Kennedy. 

“It’s his circle, his teachers, friends, students. At the 

centre of the exhibition is McCahon’s relationship 

with O’Reilly, because of the book, but it also 

includes his relationships with Brasch and Caselberg 

and beyond to the wider circle,” Peter says. 

Artists and Letters, Pictures and Words, until September 14, 2024, Hocken Collections, Dunedin. 

08 - 26 August 2024 

OPENING EVENT 10 August 2pm 

GEOGRAPHIQUE 

DIANA ADAMS 

03 325 1944 

littlerivergallery.com 

art@littlerivergallery.com 

Main Rd, Little River

Explore the Gallery after five and enjoy a 

vibrant programme of special events bringing 

people, art, and music together – To celebrate 

Nicola Farquhar’s exhibition, Stars, Lands. 

Live DJ: Radio One’s DJ Huffy spinning 

a relaxed vinyl set. 

Photobooth: Free snaps with galactic 

props against the Stars, Lands backdrop. 

Creative Zones: Crafts including 

spirographs and UFOs. 

Shop: 20% off all stock! 

Free entry and activities, 

food and beverages available for purchase. 

SUITABLE FOR ALL AGES 

www.dunedin.art.museum 

Nicola Fraquhar: Stars, lands is a Dunedin Public Art Gallery Visiting 

Artist Programme, supported by Creative New Zealand Toi Aotearoa. 

Project Partner, Dunedin School of Art. 

FREE EVENING OF 

COSMIC MYSTERY 

AT THE DPAG! 

5-8PM THURS 8 AUGUST 

Exhibition Partner 

Nicola Farquhar Ampitherial 2024. Installation detail. Courtesy of the artist

64 Magazine | Read 

Book club 

Great new reads to please even the pickiest of bookworms. 

WINNING REVIEW 

YOU'VE BEEN 

READING 

DEATH AT THE SIGN OF THE ROOK 

Kate Atkinson | Penguin, $38 

Welcome to Rook Hall. The stage is set. The players are ready. 

By night’s end, a murderer will be revealed. Ex-detective Jackson 

Brodie is staving off a bad case of midlife malaise when he’s 

called to a sleepy Yorkshire town and the seemingly tedious 

matter of a stolen painting. As the guests converge, a fiendishly 

clever mystery unfolds; one that pays homage to masters of the 

classic country house murder mystery, from Agatha Christie to 

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BY ANY OTHER NAME 

Jodi Picoult | Allen & Unwin, $38 

In 1581, Emilia Bassano is allowed no voice of her own, but as 

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THE MERMAID CHRONICLES: 

A MIDLIFE MER-MOIR 

Megan Dunn | Penguin, $35 

Hitting 40, Megan Dunn hears the siren call that reawakens 

her lifelong obsession and sets off in pursuit of mermaids. Real 

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with professional mermaids, she asks the question that has 

plagued humans for millennia: What is it about mermaids? From 

the irrepressibly witty New Zealand author of Things I Learned 

at Art School. 

HOME TRUTHS 

Charity Norman | Allen & Unwin, $37 

Livia Denby is on trial for attempted murder, and the jury has 

reached a verdict. Two years earlier, she was a probation officer 

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Grief and guilt leave Scott looking for answers, a search that 

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collision course with tragedy. An unputdownable new novel 

from the Ngaio Marsh-winning Kiwi author of Remember Me.

Read | Magazine 65 

PICCADILLY PICKS 

MRS HOPKINS 

Shirley Barrett 

Allen & Unwin, $37 

When Mrs Hopkins steps 

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In this entertaining, moving and sometimes bizarre tale 

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THE LIFE 

IMPOSSIBLE 

Matt Haig 

Allen & Unwin, $37 

“A beautiful 

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The latest from 

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This is a story of the life-changing power of new 

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I enjoyed reading this magical book. 

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16–17 August 

Isaac Theatre Royal 

Supported by 

National touring partner 

INFRA / Concept, Direction and Choreography Wayne McGregor, Music Max Richter, Set Design Julian Opie, Costume Design Moritz Junge, Lighting Design Lucy Carter, Commissioned by The Royal Ballet. 

TO HOLD / Choreography Sarah Foster-Sproull, Music Eden Mulholland (Ngāti Uepohatu), Costume Design Donna Jefferis, Set and Lighting Design Jon Buswell, World Premiere. 

HIGH TIDE / Choreography and Costumes Alice Topp, Music Ólafur Arnalds, Set and Lighting Design Jon Buswell, World Premiere. 

Principals Kate Kadow and Joshua Guillemot-Rodgerson, photograph by Ross Brown

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03 Magazine: July 26, 2024

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