03 Magazine: February 13, 2026
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THE<br />
SOUTH<br />
ISLAND<br />
LIFESTYLE<br />
MAGAZINE<br />
FREE | FEBRUARY / MARCH <strong>2026</strong><br />
NEW ZEALAND RUSTIC: A STUNNING RAMMED-EARTH ABODE SET HIGH IN THE ROCKY RIDGES OF CENTRAL OTAGO<br />
COMEDY COUPLE TE RADAR AND RUTH SPENCER BRING THEIR UNIQUE TAKE ON KIWIANA TO THE SOUTH | FOODIE FAVOURITE<br />
NADIA LIM ON FARM AND FAMILY, PLUS DELISH DISHES (FRANGIPANE FRUIT TART + LAST-OF-THE-SUMMER-VEGES COCONUT CURRY)<br />
FROM HER NEW COOKBOOK | IN LIVING COLOUR: ARTIST JULIA HOLDEN’S LATEST PROJECT (LITERALLY) PAINTING LOCAL CREATIVES
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The Yacht Club – a state-of-the-art facility<br />
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The village has premium resthome/hospital<br />
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New Zealand Property Council Awards.<br />
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simply curious to see the action, this is a great opportunity to experience auctions in<br />
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Everyone is welcome — come along, enjoy the occasion, and see what’s on offer.<br />
LIVE & UPCOMING LISTINGS<br />
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cowdy.co.nz +64 3 355 6555 Licensed Agent REAA 2008
Hello<br />
How dreamy does this issue’s cover home look? Resting gently<br />
on the earth amongst wild thyme, tussock and rugged rock<br />
formations, the deeply considered design of this rammed-earth<br />
beauty belies the extremes of its surroundings.<br />
Located in Central Otago’s Manuherikia Valley, where both<br />
Aotearoa’s hottest and coldest temperatures and wind gusts of<br />
up to 200km an hour have been recorded, the owners of this<br />
covetable abode spent six years prior to building holidaying on<br />
the land in an Airstream caravan and drew unique inspiration<br />
from the site’s many rabbits who enjoy cosy tranquillity beneath<br />
the soil. “We just built our rabbit warren above the ground.”<br />
Thanks to all kinds of lovely and clever thinking (which you can<br />
read more about on page 30), this next-level bunny burrow has<br />
become a peaceful haven even in the wildest of conditions and is<br />
yet another example of the very special magic of life in the south<br />
(something <strong>03</strong> is big on showcasing, in case you hadn’t noticed).<br />
We’ve stayed in the country for chats with comedy couple Te<br />
Radar and Ruth Spencer – whose research and observations on<br />
100 objects found on Kiwi farms (page 38) are equal parts hilarious<br />
and informative – and foodie fave Nadia Lim (page 48), who<br />
shares a wonderful update on life at Royalburn Station, plus some<br />
of the delicious recipes from her latest cookbook.<br />
Enjoy!<br />
PUBLISHER<br />
Charlotte Smith-Smulders<br />
Allied Press <strong>Magazine</strong>s<br />
Level 1, 359 Lincoln Road, Christchurch<br />
<strong>03</strong> 379 7100<br />
EDITOR<br />
Josie Steenhart<br />
josie@alliedmedia.co.nz<br />
DESIGNERS<br />
Annabelle Rose, Hannah Mahon<br />
PROOFREADER<br />
Laura Griffiths<br />
ACCOUNT EXECUTIVE<br />
Janine Oldfield<br />
027 654 5367<br />
janine@alliedmedia.co.nz<br />
CONTRIBUTORS<br />
Olivia Caldwell, Joseph Carrington, John Cosgrove,<br />
Brent Darby, Rebecca Fox, Nadia Lim, Audrey<br />
Spencer-Lumsden, Holly Wademan<br />
Every month, <strong>03</strong> (ISSN 2816-0711) shares the latest in lifestyle, home,<br />
food, fashion, beauty, arts and culture with its discerning readers.<br />
Enjoy <strong>03</strong> online (ISSN 2816-072X) at <strong>03</strong>magazine.co.nz<br />
Allied Media is not responsible for any actions taken<br />
on the information in these articles. The information and views expressed in this publication<br />
are not necessarily the opinion of Allied Media or its editorial contributors.<br />
Every effort is made to ensure the accuracy of the information within this magazine, however,<br />
Allied Media can accept no liability for the accuracy of all the information.<br />
Josie Steenhart, editor<br />
M ITC H & M ANA<br />
Know Christchurch<br />
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10 <strong>Magazine</strong> | Contents<br />
In this issue<br />
22<br />
COVER FEATURE<br />
30 Outstanding in Ophir<br />
Embracing Central Otago’s rugged landscapes<br />
Resene<br />
Adrenalin<br />
COLOURS OF<br />
THE MONTH<br />
DISCOVER<br />
38 Entering Kiwi country<br />
Comedy couple Te Radar and<br />
Ruth Spencer explore 100 iconic<br />
rural bits and bobs<br />
HEALTH & BEAUTY<br />
24 Top shelf<br />
The potions and lotions we’re<br />
testing and loving<br />
DESIGN<br />
36 The mark of luxury<br />
Jaguar’s Mark 1 is still spinning<br />
wheels and turning heads<br />
FOOD<br />
48 Farm to table<br />
Nadia Lim shares farm stories<br />
and fresh country fare
Life in a Lucky Country<br />
I’ve lived in many<br />
houses but only two<br />
cities and although I’ve<br />
visited many countries,<br />
New Zealand has been<br />
my only home.<br />
I say this because there are so many<br />
things that are particularly precious<br />
about this beautiful country of ours and<br />
– more particularly – our fair city.<br />
In a country shaped by distance and<br />
geography, we’ve learnt that how we<br />
treat each other is important. When help<br />
is needed, it often arrives quietly in that<br />
genuine Kiwi DIY manner. Neighbours<br />
look out for each other, pleasantries<br />
are readily exchanged with absolute<br />
strangers, and there’s a sense of personal<br />
and civic pride in our many suburbs.<br />
If I spend time following any media<br />
forums, I’m deeply saddened by what’s<br />
occurring in the rest of the world. It’s<br />
louder, harsher and more combative,<br />
and that’s the countries that aren’t<br />
involved in wars, famines and serious<br />
social unrest.<br />
So, it’s no revelation that I give regular<br />
thanks for our distance from the constant<br />
mayhem. I’m never surprised by the fact<br />
that in every county I’ve ever visited,<br />
the first opinions shared with me when<br />
discussing New Zealand are that it’s<br />
‘beautiful, green and friendly’. That’s<br />
why people come here and that’s why<br />
Christchurch, especially, presents itself<br />
as a positive choice.<br />
If I shine a light on what many<br />
homeowners, both first-time buyers and<br />
those that are making transitional moves<br />
to larger homes for growing families or<br />
smaller homes as those same families fly<br />
the nest, what is often requested is ‘a safe<br />
neighbourhood with good people and<br />
somewhere I can feel happy’.<br />
This is a very genuine request here in New<br />
Zealand and yet, for reasons that most of<br />
us can’t fully fathom, this is just not the<br />
case in many countries.<br />
I do my best to preserve the culture<br />
that sits beneath our society’s norms.<br />
I was brought up in a family where if it<br />
rained and your neighbour’s washing<br />
was on the line, you went ahead and<br />
brought it in, and you knew all the locals<br />
by name. There was no drama to it, no<br />
big deal – just small acts that somehow<br />
meant everything.<br />
Granted, that’s not always possible<br />
today, but I believe the sentiment<br />
remains. We are lucky, take a moment<br />
to think that through. There’s respect<br />
for doing the right thing and values like<br />
these survive when they are practiced.<br />
I recently presented at an event and, as<br />
part of my presentation, I said to ‘leave<br />
the cynicism at home’. What I meant was<br />
to look forward – don’t default to the<br />
negative – and find wonder and value in<br />
the good that surrounds us.<br />
I agonized about how that request would<br />
be received but, as it turns out, it was<br />
accepted as a reminder to do those very<br />
things. So, being amongst good people,<br />
in safe neighbourhoods, and calling<br />
New Zealand home really does put us<br />
amongst the world’s luckiest. And there’s<br />
something very special and very precious<br />
in that!<br />
Lynette McFadden<br />
Harcourts gold Business Owner<br />
027 432 0447<br />
lynette.mcfadden@harcourtsgold.co.nz<br />
PAPANUI 352 6166 | INTERNATIONAL DIVISION (+64) 3 662 9811 | REDWOOD 352 <strong>03</strong>52 | PARKLANDS 383 0406 |<br />
SPITFIRE SQUARE 662 9222 | STROWAN 351 0585 | GOLD PROPERTY MANAGEMENT 352 6454 |<br />
SPITFIRE PROPERTY MANAGEMENT 027 772 1188<br />
GOLD REAL ESTATE GROUP LTD LICENSED AGENT REAA 2008 A MEMBER OF THE HARCOURTS GROUP<br />
harcourtsgold.co.nz
12 <strong>Magazine</strong> | Contents<br />
48<br />
OUR COVER<br />
64<br />
An award-winning<br />
rammed-earth abode in<br />
Central Otago, designed by<br />
architect Charlie Nott.<br />
Photo: Brent Darby<br />
Resene<br />
Tiri<br />
READ US ONLINE<br />
Resene<br />
Quarter Tea<br />
ARTS & CULTURE<br />
56 Book club<br />
Great reads to please even the<br />
pickiest of bookworms<br />
58 Life imitating art<br />
Julia Holden celebrates fellow artists by<br />
using 44 of them as literal canvases<br />
64 Surveying Aotearoa<br />
A landmark exhibition of Mark Adam’s<br />
work comes to Christchurch Art Gallery<br />
REGULARS<br />
14 Newsfeed<br />
What’s up, in, chat-worthy, cool,<br />
covetable and compelling right now<br />
22 Most wanted<br />
A few of our favourite things<br />
FIND US ON SOCIAL<br />
<strong>03</strong>magazine.co.nz | @<strong>03</strong>_magazine<br />
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䴀 椀 挀 栀 攀 氀 氀 攀 Ⰰ 䌀 愀 爀 漀 氀 攀 Ⰰ 䨀 愀 渀 攀 Ⰰ 匀 甀 攀 愀 渀 搀 䔀 洀 椀 氀 礀 愀 爀 攀<br />
礀 漀 甀 爀 氀 漀 挀 愀 氀 猀 琀 礀 氀 攀 攀 砀 瀀 攀 爀 琀 猀 Ⰰ 瀀 爀 漀 甀 搀 氀 礀 猀 甀 瀀 瀀 漀 爀 琀 椀 渀 最<br />
漀 甀 爀 匀 漀 甀 琀 栀 䤀 猀 氀 愀 渀 搀 挀 甀 猀 琀 漀 洀 攀 爀 猀 昀 爀 漀 洀 漀 甀 爀<br />
䌀 栀 爀 椀 猀 琀 挀 栀 甀 爀 挀 栀 猀 琀 漀 爀 攀 ⸀ 吀 栀 攀 礀 戀 攀 氀 椀 攀 瘀 攀 最 爀 攀 愀 琀 猀 琀 礀 氀 攀<br />
猀 琀 愀 爀 琀 猀 眀 椀 琀 栀 愀 最 爀 攀 愀 琀 昀 椀 琀 Ⰰ 愀 渀 搀 氀 漀 瘀 攀 栀 攀 氀 瀀 椀 渀 最<br />
眀 漀 洀 攀 渀 昀 椀 渀 搀 瀀 椀 攀 挀 攀 猀 琀 栀 愀 琀 愀 爀 攀 攀 û 漀 爀 琀 氀 攀 猀 猀 Ⰰ<br />
挀 漀 洀 昀 漀 爀 琀 愀 戀 氀 攀 愀 渀 搀 琀 栀 愀 琀 昀 攀 攀 氀 樀 甀 猀 琀 爀 椀 最 栀 琀 ⸀<br />
䌀 漀 洀 攀 猀 愀 礀 栀 椀 琀 漀 琀 栀 攀 琀 攀 愀 洀 愀 琀<br />
㜀 嘀 椀 挀 琀 漀 爀 椀 愀 匀 琀 爀 攀 攀 琀 Ⰰ 䌀 攀 渀 琀 爀 愀 氀 䌀 栀 爀 椀 猀 琀 挀 栀 甀 爀 挀 栀 Ⰰ<br />
漀 爀 戀 爀 漀 眀 猀 攀 漀 甀 爀 挀 漀 氀 氀 攀 挀 琀 椀 漀 渀 漀 渀 氀 椀 渀 攀 愀 琀<br />
眀 眀 眀 ⸀ 稀 攀 戀 爀 愀 渀 漀 ⸀ 挀 漀 ⸀ 渀 稀
14 <strong>Magazine</strong> | Newsfeed<br />
Newsfeed<br />
What’s up, in, chat-worthy, cool, covetable and compelling right now,<br />
specially compiled for those in the south.<br />
Works of significance<br />
Nelson audiences have the opportunity to immerse<br />
themselves in the work of one of Aotearoa’s most celebrated<br />
artists, the late Robyn Kahukiwa, as Tohunga Mahi Toi opens<br />
at the Suter Gallery. Curated by Roma Pōtiki (Te Aupōuri,<br />
Te Rarawa), Te Manawa Museum of Art, Science and<br />
Heritage, Robyn’s powerful artworks celebrate Māori identity,<br />
strength, and storytelling. Her paintings open pathways<br />
into mātauranga (knowledge/wisdom) and intergenerational<br />
narratives that shape Aotearoa’s cultural landscape. The title<br />
Tohunga Mahi Toi refers to Robyn’s status and expertise as an<br />
artist, valued here and internationally. Her work has become<br />
an alternate visual rendering of Aotearoa’s history, through<br />
the lens of a Māori woman. Runs to May 3, <strong>2026</strong>.<br />
thesuter.org.nz<br />
Robyn Kahukiwa, ‘Hinetītama’, 1980, Te Manawa Art<br />
Society & Te Manawa Museums Trust Collections,<br />
Palmerston North.<br />
LYT scents<br />
Beloved local home fragrance co Lyttelton Lights has<br />
released a luxe reed diffuser ($72) in two divine fragrances.<br />
The simple glass form is designed to complement any<br />
space, giving a gentle scent throw over time, creating a calm<br />
and balanced atmosphere. Tōtaranui features top notes of<br />
lemon, grapefruit and orange, mid notes of jasmine and a<br />
musk base, while Mo’orea starts with coconut, green apple<br />
and marine, layered with cyclamen, water flowers and<br />
pineapple and base notes of wood and vanilla.<br />
lytteltonlights.co.nz<br />
Music news<br />
It’s a big year for fans of Christchurch-born music icon<br />
Bic Runga with the release of her much-anticipated<br />
new album, Red Sunset, and a national tour that includes<br />
a hometown gig at the Isaac Theatre Royal on March<br />
29. Recorded in Paris during the winter of 2025, Red<br />
Sunset is Bic’s first collection of all-original material since<br />
2011’s Belle. The tour will see her performing songs<br />
from the new album alongside beloved classics from<br />
her celebrated catalogue – from ‘Drive’ and ‘Sway’ to<br />
Beautiful Collision and beyond.<br />
bicrunga.com
Promotion | <strong>Magazine</strong> 15<br />
ASPIRING CONVERSATIONS IN WĀNAKA<br />
Where bold ideas meet good company.<br />
This March, Wānaka will be bubbling with<br />
conversation, curiosity and connection. From<br />
27–29 March, the Aspiring Conversations festival brings<br />
together authors, politicians, musicians, journalists,<br />
theatremakers, and thinkers for a long weekend rich in<br />
ideas and kōrero. You’ll have conversations as aweinspiring<br />
as the landscape.<br />
With more than 30 speakers and performers across<br />
12 events, there’s something for everyone, from big<br />
ideas about climate change, healthcare and Te Tiriti o<br />
Waitangi, to intimate experiences like Wright&Grainger’s<br />
SELENE, an immersive theatre performance following<br />
their acclaimed 2024 show HELIOS. Catch the popular<br />
Breakfast with Papers, join a play reading with the<br />
award-winning theatre company Nightsong, or hear<br />
True Stories Told Live.<br />
Festival favourites return alongside an exciting lineup<br />
including Green Party Co-Leader Chlöe Swarbrick, rally<br />
driver Emma Gilmour, journalist Miriama Kamo, Split Enz<br />
legend Mike Chunn, Te Radar, judge Carrie Wainwright,<br />
economist Shamubeel Eaqub, and kaiwhakahaere Justin<br />
Tipa. Plus, there will be a tribute to the late poet Brian<br />
Turner ONZM and a panel of Gen Z activists.<br />
The festival isn’t just about listening – it’s about<br />
connecting, socialising, and even a little indulging. Festival<br />
goers can grab a coffee or brunch at the Festival Café<br />
and browse the Paper Plus bookshop, where authors<br />
will be on hand for signings.<br />
Whether you’re after bold ideas, playful debate or<br />
just time for thinking, Aspiring Conversations will be the<br />
place for… well, aspiring conversations.<br />
See you there!<br />
Explore the full programme and book your tickets<br />
now at aspiringconversations.co.nz
16 <strong>Magazine</strong> | Newsfeed<br />
Light up<br />
A fresh new collaboration between Ōtautahi-based ICO<br />
Traders and much-loved New Zealand lighting designers Mr<br />
Ralph, these wire pendant lights come in four captivating<br />
contemporary styles that nod to mid-century style and<br />
three chic colourways (Putty, Fern and Chocolate Red) – or<br />
can be custom painted to any shade your heart desires for<br />
an additional $90. Available with a choice of black or white<br />
ceiling rose and cord.<br />
icotraders.co.nz<br />
Ready to drink<br />
Lemon slices at the ready – Scapegrace Distilling Co. has<br />
unveiled its first premium New Zealand distilled G&T in a<br />
can. The new serve pairs Scapegrace’s globally awarded dry<br />
gin with the citrus burst of Hawke’s Bay lemons to deliver<br />
a crisp, smooth and balanced finish, with fresh lemon top<br />
notes. “Scapegrace has always been about elevating the RTD<br />
experience with real distilled spirits, ready to drink,” says cofounder<br />
Mark Neal. “We’ve seen incredible momentum in gin<br />
over the past decade, and this new release will sit alongside<br />
our existing Gin and Soda RTD offering. It’s refreshing, it’s<br />
local and it’s what a proper gin and tonic should taste like.”<br />
scapegracedistillery.com
TEXTURE. TONE. AUTUMN.<br />
The Latest Arrivals<br />
4 Normans Road, Strowan<br />
MON-FRI 10-5 SAT 9.30-4.30 briarwood.co.nz
18 <strong>Magazine</strong> | Newsfeed<br />
Hair care<br />
After two decades pioneering natural skincare, Antipodes founder and<br />
CEO Elizabeth Barbalich applies her scientific lens to a new frontier:<br />
hair. Equipped with a Bachelor of Science, an MBA and qualifications<br />
as a naturopath, Elizabeth brings rare expertise to beauty formulation.<br />
The result is Antipodes haircare: a professional-grade, natural-origin<br />
collection that treats hair with the same respect as skin – rooted in<br />
chemistry, proven by extensive clinical trials and crafted for luxury<br />
performance. “I approach haircare like skincare – through the lens of<br />
physiology,” says Elizabeth. “Each ingredient must serve a clear purpose<br />
in supporting the hair growth cycle through healthy follicles, smooth<br />
cuticles and integrity of the hair fibre. The much-anticipated new<br />
release features three shampoo-and-conditioner duos (Fig + Feijoa<br />
Repair & Nourish, Mānuka + Orange Volume & Shine and Peach Freesia<br />
Smooth & Hydrate) plus a Lime Caviar Intense Nourishment hair mask.<br />
antipodesnature.com<br />
Fancy pants<br />
“The realisation moment came when I clocked that I’d<br />
been essentially building in bras to the dresses and tops I<br />
was designing because I couldn’t find a bra I was happy to<br />
wear with them – especially when they had a low back. I<br />
became obsessed with making bras that I would be proud<br />
to see the back of, and Liam Lingerie was born,” says<br />
designer Emily Miller-Sharma of the label’s new addition.<br />
After developing the initial samples on herself, a six-month<br />
fit and wear testing process began. Working with 50<br />
women across the size 4-24 range of the collection, the<br />
Liam team perfected fits and construction. Wireless bras<br />
are offered in low, medium and full support, and pants<br />
range from recycled nylon mesh G-strings through to a<br />
full recycled-cotton spandex brief. Emily’s personal fave is<br />
a V-front knicker featuring scalloped lace.<br />
rubynz.com<br />
Cool coffee<br />
Hands down the coolest new place in Chch to imbibe your<br />
morning brew, Rook, at 159 Hereford Street, took its name<br />
from the extremely slick yet somehow still friendly-feeling<br />
space’s raw industrial materials and focal-point service area: a<br />
fortified island structure reminiscent of the castle chess piece.<br />
Sample their daily House Coffee on tap or treat yourself to<br />
one of their deliciously experimental offerings (such as their<br />
Mont Blanc – cold brew, orange, vanilla, nutmeg and brown<br />
sugar; Espresso Martini – espresso, milk, hazelnut syrup and<br />
cinnamon cold foam or Strawberry Dream – iced strawberry<br />
& peach crumble tea, vanilla cold foam and dried raspberry).<br />
Open weekdays 7am-2pm.<br />
rook.cafe
Electric Freedom<br />
Starts Small.<br />
From $29,990 + ORC<br />
The BYD ATTO 1 is a city-focused hatch engineered for agile<br />
urban driving, combining sharp design, a spacious interior,<br />
punchy performance, and BYD’s smart in-car technology for<br />
everyday convenience.<br />
116 St Asaph Street , Christchurch | <strong>03</strong> 366 0229 | euromarque.co.nz
20 <strong>Magazine</strong> | Dining<br />
Hosts with the most<br />
Delicious drinks and dining, live entertainment, premium accommodation,<br />
exciting pop-ups and the hottest location in the city – Rydges Latimer is<br />
the ultimate spot to stay and play in Christchurch.<br />
Perfectly perched in the heart of Christchurch, Rydges<br />
Latimer Hotel has made a name for itself as the<br />
go-to accommodation for leisure and business travellers<br />
alike. It has sweeping views over Latimer Square, but<br />
rugby fans, concert goers and event attendees will be<br />
more interested in another sight – One New Zealand<br />
Stadium, literally just a block away from the hotel.<br />
And the hotel knows it. In preparation for the official<br />
opening of the stadium, their iconic restaurant, Bloody<br />
Mary’s, is revamping the bar menu and creating an<br />
epic Fan Zone that spills out into the carpark for special<br />
occasions. With an established reputation as a premier<br />
steakhouse and whisky lounge, the venue is about to add<br />
best pre-event dining and ultimate nightcap to its offering.<br />
The Fan Zone will initially pop up April 24-26, aligning<br />
with Super Rugby’s Super Round, opening from midday<br />
and able to host up to 200 people. An exclusive menu<br />
will offer $5 freshly shucked oysters and $99 bottles of<br />
champagne, while the kitchen team will have the smoker<br />
going, sending out smoked brisket burgers all day long.<br />
New pizza ovens in the kitchen mean there will be<br />
plenty on the menu designed for sharing.<br />
Screens dotted around the venue will screen all games<br />
live, with a featured LED wall to ensure the game is best<br />
viewed in HD. Live music from Lee Martin will take over<br />
when games aren’t in play.<br />
For year-round action, the Terrace is a freshly<br />
renovated, all-weather events space, providing a casually<br />
excellent spot to grab a bite before walking to the<br />
stadium. With an outdoor feel but the option to be fully<br />
enclosed, The Terrace offers the best of both worlds<br />
and a lighter menu than the restaurant.<br />
Chef Christopher Walker leads the talented team<br />
bringing the finest produce across Canterbury to your<br />
table. New Zealand proteins complement locally-grown<br />
vegetables, and the menus across the restaurant, bar and<br />
fan zones each offer something different while remaining<br />
delicious and elevated.<br />
With such great food and drink, you’d be forgiven for<br />
forgetting the hotel is just through the mahogany doors.<br />
With 175 rooms offering the iconic Rydges Dream beds<br />
and all the modern amenities, Rydges Latimer is the type<br />
of hotel you don’t really want to leave.<br />
Keep an eye on the Bloody Mary’s website –<br />
bloodymarys.co.nz – to see more on when the Fan<br />
Zone is popping up, special events and exclusive offers.
A NEW WAY TO LIVE &<br />
INVEST IN QUEENSTOWN<br />
TWIN RIVERS TERRACES, FROM $979,000<br />
2 – 3 Bedrooms<br />
2 – 3 Bathrooms<br />
Dual Key Options<br />
Carpark and Garage Options<br />
Twin Rivers Terraces sits in the heart of Shotover Country and<br />
delivers something rare: spacious, architecturally designed homes<br />
on generous, fee simple sections. With lower density, more green<br />
space and plenty of parking and driveway room, these homes are<br />
tailored for flexible use, strong yield potential and long-lasting<br />
value in one of Queenstown’s most in-demand suburbs.<br />
Learn more at twinriversterraces.co.nz
22 <strong>Magazine</strong> | Wishlist<br />
Most wanted<br />
From ugly-cute cult-following footwear, unexpectedly captivating deodorant<br />
scents and fabulously feathery bags to urban art on glass, fancy French<br />
knickers and spicy jewellery, here’s what we’re wishlisting right now…<br />
2<br />
3<br />
4<br />
1<br />
<strong>13</strong><br />
10<br />
5<br />
11<br />
6<br />
12<br />
8<br />
7<br />
9<br />
1. Charlotte Grimshaw, The Black Monk, Penguin, $38; 2. Toou Piccolo stool in Dark Green, $195 at Citta; 3. Liam Isabella mid<br />
support lace bra in BB Blue, $99, and Frenchie lace knickers, $49; 4. Jenna Ingram, ‘Midnight Marauder’, mixed media on layered<br />
glass, 283mm W x 3<strong>03</strong>mm H, $850 at Scape; 5. Carolina Herrera La Bomba EDP 30ml, $150; 6. Nike Air Rift sneakers, $190 at JD<br />
Sports; 7. Tom Ford Figue Érotique candle, $255; 8. Westman Atelier Face Trace Contour Stick in Coco, $94 at Mecca;<br />
9. Jo Malone London diffuser in Sakura Cherry Blossom, $2<strong>03</strong>; 10. Meadowlark red sapphire sterling silver chilli charm, $219;<br />
11. AKT London limited edition deodorant balm in Hay Fever, $44; 12. Bic Runga, Red Sunset vinyl, $68 at Flying Nun;<br />
<strong>13</strong>. Deadly Ponies Mr Cinch Mini in Tamarillo Ostrich Feather, $899
RANGIORA EQUESTRIAN SUPPLIES<br />
WWW.RANGIORASADDLERY.CO.NZ<br />
Penelope Chilvers<br />
COUNTRY STYLE<br />
Enduring Style & Practicality<br />
When the weather is unpredictable, a great pair of boots becomes non-negotiable.<br />
Penelope Chilvers’ iconic designs balance effortless style with everyday practicality, crafted<br />
from premium materials and made to last. Each pair is made with the highest attention to<br />
detail, designed not just for one season, but for many years to come.<br />
Our Top Sellers<br />
Leather Tassel Boot - Black Inclement Tassel Boot - Seaweed/Conker Inclement Tassel Boot - Dark Oak<br />
Where Town Meets Country<br />
Achieve effortless country style with a pair of Penelope Chilvers boots. Dress up with tailored<br />
outfits or dress down for effortless everyday wear.<br />
Available exclusively from Rangiora Equestrian Supplies, www.rangiorasaddlery.co.nz
24 <strong>Magazine</strong> | Health + Beauty<br />
Top shelf<br />
Watermelon, cherry, banana and apple… we’re obsessed with all things fruity in beauty<br />
and health this month – not to mention an exfoliating post-workout bodywash, an<br />
iridescent SPF cream, a high-quality organic magnesium supplement, an on-the-go<br />
matcha sachet solution and the return of Clinique’s cult classic Chubby Stick.<br />
3<br />
1<br />
5<br />
6<br />
7<br />
8<br />
4<br />
15<br />
2<br />
14<br />
<strong>13</strong><br />
12<br />
11<br />
9<br />
10<br />
1. MAC Powder Kiss Hazy Matte lipstick in Mull It Over, $51; 2. Nomu Ceremonial Grade On-the-Go matcha sachets, $38; 3. Bioderma<br />
Photoderm SPF50+ suncare serum, $46; 4. Estee Lauder Futurist HydraPlump lip balm in Rosewood Rescue, $85; 5. Clinique Chubby Stick<br />
cheek colour balm in Amp’d Up Apple, $57; 6. Glow Recipe Watermelon Glow Niacinamide Dewy Flush tinted cheek serum in Cherry, $49 at<br />
Mecca; 7. Aesop Resolute facial concentrate 25ml, $155; 8. Mecca Max Brow Guru Cutting Edge brow pencil in Ash, $27; 9. No Ugly SALTY<br />
electrolyte drink 500ml can in Watermelon, 12-pack $50; 10. Umberto Giannini Banana Jelly Styling Gel, $40 at Farmers; 11. kit: SWEAT<br />
Workout Wash exfoliating body cleanse, $44; 12. Daeli Hydration electrolyte sachets in Salted Cherry, $65; <strong>13</strong>. Bio Blends by Dr Libby organic<br />
magnesium, $65; 14. Cadence Period Comfort duo pack, $50; 15. People4Ocean SPF30 Mineral Bioactive Shield iridescent cream, $90
Promotion | <strong>Magazine</strong> 25<br />
Beautiful<br />
momentum<br />
A unique, health-focused<br />
approach has seen Christchurchbased<br />
skincare company Natural<br />
Zest’s star continue to rise.<br />
With a background as a registered nurse,<br />
Amanda Grindrod has built Natural Zest<br />
(which won an impressive 11 international beauty<br />
awards in 2025) on a philosophy of skin health over<br />
quick fixes, quietly redefining what “results” mean in<br />
natural skincare.<br />
Just a few months into <strong>2026</strong>, the momentum<br />
hasn’t slowed; if anything, it has accelerated.<br />
Amanda, what’s happened since we last featured<br />
Natural Zest?<br />
We’ve been incredibly busy continuing to grow the<br />
brand. The response since the awards has been<br />
overwhelming, which reinforces that people are<br />
seeking a health-focused approach to skincare. I’m<br />
also delighted to share that we’ve just received two<br />
honours at the Universal Beauty Awards <strong>2026</strong>,<br />
which includes an award in the Best NZ Beauty<br />
Brand category.<br />
You focus on skin health. What does this<br />
actually mean?<br />
For me, skin health starts with supporting the skin<br />
barrier, the skin’s protective system that keeps<br />
moisture in and irritants out. Unfortunately, many<br />
people get stuck in a cycle of over-treating, stripping<br />
and trying to ‘fix’ their skin. I’ve always believed in<br />
a natural, holistic approach, especially as we age. I<br />
turned 50 last year, and I’m personally navigating<br />
the menopausal transition, which can significantly<br />
impact the skin.<br />
How does menopause affect the skin?<br />
Menopause brings a significant hormonal shift,<br />
particularly a decline in oestrogen. Oestrogen<br />
supports collagen production, hydration and barrier<br />
strength, so when it decreases, the skin can feel like<br />
it’s losing its support system. Within the first five<br />
years, skin can lose up to 30 per cent of its collagen,<br />
often presenting as dryness, sensitivity, irritation and<br />
fine lines, which can feel frustrating and distressing.<br />
What would you recommend for women who<br />
are experiencing skin issues during menopause?<br />
I recommend shifting the focus from treating skin to<br />
supporting it. During menopause, the priority should<br />
be to strengthen the barrier, restore hydration, and<br />
gently encourage collagen synthesis. Harsh products or<br />
using lots of products can increase sensitivity. Instead,<br />
I’d recommend choosing products that calm, nourish<br />
and protect, helping skin become more resilient.<br />
How does your background as a registered<br />
nurse influence the way you formulate and<br />
approach skincare?<br />
I draw on this for an evidence-led approach to<br />
formulation, with emphasis on skin compatibility and<br />
barrier health. I believe healthy skin is beautiful skin,<br />
regardless of age. When we put skin health first,<br />
beauty naturally follows.<br />
What’s next for Natural Zest?<br />
We’re in the exciting stages of developing a new body<br />
product – something our customers have been asking<br />
for – which we hope to launch later this year.<br />
Where can we find Natural Zest?<br />
People can find Natural Zest online at<br />
naturalzestskincare.com, or visit The Apothecary at<br />
The Tannery and Piko Wholefoods in Christchurch.
145 Years of<br />
Confidence in Education<br />
Choosing the right school is<br />
one of the most important<br />
decisions a family will make.<br />
At The Cathedral Grammar<br />
School, we believe the early<br />
years of education should do<br />
far more than prepare children<br />
academically. As an Anglican<br />
school, Cathedral Grammar<br />
is grounded in a values-led<br />
approach to education, where<br />
children are nurtured to grow<br />
in confidence, character, and<br />
a genuine love of learning that<br />
stays with them long after they<br />
leave the classroom.<br />
Located in the heart of central<br />
Christchurch, Cathedral<br />
Grammar offers a distinctive<br />
education for boys and girls<br />
from Pre-School through to<br />
Year 8. With small class sizes,<br />
specialist subject teaching, and<br />
a strong focus on personalised<br />
learning, every child is known,<br />
supported, and encouraged<br />
to flourish. Teachers take<br />
time to understand how xxx<br />
each child learns best, xxxxx<br />
tailoring their approach to<br />
support individual strengths,<br />
growth, and confidence xxx<br />
with care, consistency, and<br />
and encouragement.<br />
Through the Eyes of Parents<br />
What families notice most is<br />
how quickly their children’s<br />
confidence begins to<br />
grow. Built through strong<br />
relationships, this confidence<br />
is seen in the way children<br />
speak, interact with others,<br />
and approach new experiences<br />
with assurance. From Pre-<br />
School and Junior School<br />
through to the Preparatory<br />
years, Cathedral Grammar<br />
students grow into articulate,<br />
self-assured young people who<br />
are comfortable engaging with<br />
adults and peers alike.<br />
From a young age, children are<br />
given meaningful opportunities<br />
to speak publicly, perform on<br />
stage, collaborate with others,
Principal Scott Thelning reflects, “Cathedral Grammar is a<br />
place where children are nurtured, challenged, and supported<br />
to become confident, capable young people.”<br />
and take on leadership roles<br />
as they progress through<br />
the school. Whether through<br />
operetta, choral singing,<br />
chapel, classroom discussion,<br />
or school events, confidence<br />
is nurtured naturally<br />
and consistently. These<br />
experiences are not extras —<br />
they are woven into the fabric<br />
of school life.<br />
“The confidence our child has<br />
gained is incredible. They can<br />
speak comfortably with adults,<br />
stand up in front of others,<br />
and approach new situations<br />
without fear.”<br />
Alongside strong foundations<br />
in literacy and numeracy,<br />
Cathedral Grammar offers<br />
rich opportunities in music,<br />
sport, leadership, and the arts.<br />
Children are encouraged to<br />
discover their strengths, try<br />
new things, and challenge<br />
themselves in a supportive<br />
environment. Parents<br />
frequently comment on the<br />
independence, resilience,<br />
and maturity their children<br />
develop, noting how quickly<br />
they grow in both capability<br />
and self-belief.<br />
The Preparatory Boys’<br />
and Girls’ School builds<br />
deliberately on the<br />
foundations laid in Pre-School<br />
and Junior School, supporting<br />
children through the important<br />
middle and intermediate years<br />
of their education. These<br />
years are given time and care,<br />
recognising that confidence,<br />
independence, and character<br />
are shaped well before<br />
secondary school begins.<br />
Preparation is intentional, not<br />
urgent, ensuring students<br />
are supported academically,<br />
socially, and emotionally so<br />
that when they move on, they<br />
do so with confidence and<br />
genuine choice. Secondary<br />
schools consistently note<br />
the readiness of Cathedral<br />
Grammar students, particularly<br />
their communication skills,<br />
independence, strong<br />
character, and ability to engage<br />
positively in new environments.<br />
“The nurturing culture at<br />
Cathedral Grammar gave our<br />
daughter confidence and a<br />
sense of direction. She learnt<br />
to embrace challenges and<br />
developed resilience and<br />
determination, which prepared<br />
her well for secondary school.”
Enrol at Any Year<br />
Level – Seamless Entry,<br />
Equal Opportunity<br />
While most families join<br />
Cathedral Grammar in the early<br />
years, the school welcomes<br />
enrolments at any year level,<br />
subject to availability. Each<br />
child’s transition is approached<br />
with care and understanding,<br />
recognising that families come<br />
to the school at different<br />
points and for different<br />
reasons. With small class sizes<br />
and a strong pastoral focus,<br />
teachers support new students<br />
to settle quickly, build<br />
friendships, and re-engage<br />
with learning.<br />
“Moving our child to<br />
Cathedral Grammar was the<br />
best decision we made. The<br />
transition was handled with<br />
such care, and the confidence<br />
our child gained in a short time<br />
was remarkable.”<br />
Guided by Anglican values of<br />
kindness, integrity, service,<br />
and respect, Cathedral<br />
Grammar is a community<br />
where each child is known<br />
and valued as an individual,<br />
supported to be themselves,<br />
and encouraged to grow<br />
into thoughtful, capable, and<br />
compassionate young people.<br />
As Principal Scott Thelning<br />
reflects, “Cathedral Grammar<br />
is a place where children<br />
are nurtured, challenged,<br />
and supported to become<br />
confident, capable young<br />
people. When families<br />
choose Cathedral Grammar,<br />
they are choosing more<br />
than a school — they are<br />
choosing a community that<br />
walks alongside children<br />
and families with care,<br />
integrity, and confidence in<br />
the journey ahead.”<br />
Families considering Cathedral<br />
Grammar are warmly invited to<br />
experience the school firsthand<br />
at one of our Open Days<br />
or to contact the school for a<br />
personalised tour.<br />
Open Day<br />
Both start with the Principal’s<br />
welcome at 9am.<br />
• 24 March<br />
• 27 October<br />
Scholarships<br />
Academic, Sport, Music<br />
and Choral Scholarships.<br />
Applications close 4:00pm<br />
on Friday 8 May <strong>2026</strong><br />
For more information visit:<br />
cathedralgrammar.school.nz
YOU’RE<br />
INVITED!<br />
SHOWHOME<br />
OPENING.<br />
SATURDAY<br />
21 FEBRUARY<br />
11AM TO<br />
4PM<br />
Come along to 41 Arbor Green Boulevard, Rolleston for a look through our brand new 3<br />
bedroom Show Home. This modern design includes a work-from-home space, two lounges and<br />
a family orientated open planning living and kitchen area.<br />
Join us for the opening on Saturday 21 <strong>February</strong> from 11am to 4pm. Our Master Build award<br />
winning team look forward to showing you through this new space.<br />
FOR MORE INFORMATION PLEASE CONTACT:<br />
Vivek Srivastava | 021 054 5460 | viveks@generation.co.nz<br />
Generation Homes Canterbury
30 <strong>Magazine</strong> | Feature<br />
New Zealand rustic<br />
This award-winning rammed-earth abode<br />
is a natural fit for its ruggedly beautiful<br />
Central Otago surrounds.<br />
PHOTOS BRENT DARBY<br />
Land can exert a powerful attraction, and a rugged tract<br />
of barren and rocky terrain did just that to a Wellington<br />
couple who wanted to build somewhere that would stretch<br />
their artistic souls.<br />
They had searched around Queenstown, Wānaka and<br />
Hāwea without feeling magic and nearly given up when a tip-off<br />
from an Ophir café owner sent them stumbling up a shingle<br />
track at dusk following a map drawn on a paper napkin.<br />
“I could hardly breathe; my heart was beating so fast,”<br />
she recalls.<br />
“This is it,” he announced, and it was. Dry, magnificent<br />
land studded with tors of weathered schist, carpeted<br />
with wild ramblings of tussock, thyme and sweet briar<br />
looking north across a broad valley to the shoulders of the<br />
Dunstan mountains.<br />
They sat on a ledge of warm rock worn by centuries of<br />
wind, inhaled the perfume of thyme and, as they watched<br />
the light fading on the mountains and plains before them,<br />
they began to dream of a life on this land.<br />
The couple, both designers (he graphic and she garden),<br />
have never regretted choosing to live in the extreme<br />
Manuherikia Valley climate where a 20-degree Celsius<br />
temperature variation can happen on any season’s day. It is<br />
where the country’s hottest and coldest temperatures are<br />
recorded, and where a 200-kilometre-an-hour gust of wind<br />
was felt.<br />
“There is such a monumental feel to this land; we knew<br />
we had to build something elemental,” they say.<br />
Six years holidaying on the land in an Airstream caravan<br />
enhanced their respect for the elements, especially the wind,<br />
and headed them towards a rammed-earth house.<br />
He says that inspiration came from the site’s many rabbits<br />
who enjoy peaceful tranquillity beneath the soil.<br />
“We just built our rabbit warren above the ground.”<br />
The peace and solidity that come from their thick walls<br />
and heavy double-glazed windows have worked to create a<br />
warm and peaceful haven in the wildest conditions.
ABOVE: Pivoting shutters above the north-facing<br />
window of the house mirror those facing the<br />
central breezeway at the southern end of the main<br />
room and provide ventilation. On hot days, the<br />
difference in air temperature between the front<br />
and rear of the house creates a useful airflow. The<br />
owners did not want opening windows to mar the<br />
spectacular view from the living room.
Feature | <strong>Magazine</strong> 33<br />
OPPOSITE TOP: Three magnificent mountain<br />
ranges seek attention through these windows:<br />
the iconic Hawkdun Range to the east, Mount<br />
St Bathans and the broad-shouldered Dunstan<br />
Mountains to the west. The windows were left<br />
uncurtained to frame the dramatic night sky. Like<br />
much of the owners’ furniture, the Eames chair<br />
and stool, Danish Børge Mogensen chair and Vitra<br />
occasional table are treasures found decades ago.<br />
OPPOSITE BOTTOM: The kitchen lampshades,<br />
replicas of Copenhagen’s street lights, came from<br />
Backhouse Interiors in Wellington. A commercial<br />
stainless steel sink unit and a wooden-topped tool<br />
cabinet used as drawers (by the fridge) helped<br />
to keep down the cost of the kitchen and defray<br />
the expense of siting the house for the best view.<br />
“Views are more important than fancy kitchens,”<br />
say the owners.<br />
TOP RIGHT: The most colourful object in the<br />
house is a patterned bed cover from the 150-yearold<br />
blanket maker Pendleton Wool Mills of Oregon.<br />
In a rammed-earth house, pouring the floor comes<br />
last, unlike in most new builds, as it is susceptible to<br />
construction damage. The damp earth mixture was<br />
wheelbarrowed in, machine compacted, and then<br />
sealed. Its slightly curvy surface is of no bother, and<br />
its softness is appreciated.<br />
BOTTOM RIGHT: The exterior bathroom wall<br />
opens to a courtyard for inside-outside showering.<br />
Lightweight concrete was used for the vanity unit<br />
and the shelf below it was rescued from a burn pile<br />
at the local dump.
ABOVE: An east-west breezeway separating<br />
living and sleeping areas frames the view of a<br />
dramatic schist face. Positioning the house to<br />
engage this outlook meant extra expense, but<br />
it gives daily pleasure, often enjoyed from a<br />
vintage cane armchair found in a Wellington<br />
secondhand shop.<br />
LEFT: The five-metre flue to the Warmington<br />
Studio Stove wood fire is effective despite<br />
the small firebox. The over-height stud was<br />
the outcome of wanting to see a particularly<br />
beautiful schist rock face from the breezeway yet<br />
maintain a simple one-plane roof line. “Our brief<br />
to the architect Charlie Nott was that the house<br />
be understated, as well as elemental. The height<br />
of this room makes it feel generous, whereas it is<br />
not large.” The ruru, or morepork owl, lamp base<br />
was found in Omarama, perhaps made by a local.<br />
With a woollen shade and a round of firewood<br />
for a perch, it suits the aesthetic very nicely.<br />
Extracted from<br />
New Zealand<br />
Rustic by Kate<br />
Coughlan, Tessa<br />
Chrisp and Yolanta<br />
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36 <strong>Magazine</strong> | Drive<br />
The mark of luxury<br />
Cantabrian Jaguar fanatic John Graham’s Mark 1 is one of the many<br />
special cars to be showcased at this year’s Avid Classic Brit & Euro<br />
Canterbury Car Show at Wigram Airforce Museum.<br />
WORDS & PHOTOS JOHN COSGROVE
Drive | <strong>Magazine</strong> 37<br />
To many, the Jaguar Mark 1 was always a luxury<br />
status symbol. A working man’s Rolls-Royce was<br />
how one owner described it.<br />
For Kiwis and Brits alike, it was a true muscle car<br />
long before Americans coined the phrase to describe<br />
their huge V8-powered two-door behemoths in the<br />
late 1970s.<br />
It appeared decades before American car<br />
manufacturers discovered the marketing appeal of<br />
powerful pseudo sports cars in a growing affluent<br />
youth market, saturated with ponderous aircraft<br />
carrier-sized sedans.<br />
The Jaguar Mk 1 is a British luxury saloon car<br />
produced by Jaguar between 1955 and 1959.<br />
It was a true people’s car, as both ends of society<br />
valued it for its refined looks and the strong sense of<br />
power it exuded.<br />
Initially powered by a 2.4 litre short-stroke version of<br />
the XK120’s twin-cam six-cylinder engine, it was rated<br />
at 112bhp by the factory at its launch in 1955.<br />
From <strong>February</strong> 1957, the larger and heavier 3.4<br />
litre 210bhp unit already used in the Jaguar Mark<br />
VIII stately sedan became available, largely thanks to<br />
pressure from US Jaguar dealers.<br />
It set the standard for combining power and<br />
sweet handling into a four-door package that excited<br />
aficionados of speed and style, but it also quickly drew<br />
the attention of the nefarious elements of society due<br />
to its appeal as a speedy getaway car in Britain.<br />
Television also helped establish its appeal, as many<br />
boomers can still recall watching early 70s cop shows<br />
from the BBC: Z Cars, Softly Softly and the like, where<br />
the good guys – the cops – screamed around London<br />
chasing the bad guys, both in their Mk 1 and Mk 2 Jags.<br />
With a top speed of 101.5 mph (163.3 km/h), the<br />
2.4 litre Mk 1 saloon with overdrive could accelerate<br />
from 0–60 mph (97 km/h) in 14.4 seconds.<br />
By 1957, the later 3.4 litre automatic saloon car had a<br />
top speed of 119.8 mph (192.8 km/h).<br />
From late 1959 to 1967, the Jaguar Mark 2 was<br />
produced by Jaguar in Coventry, England.<br />
Retaining the sleek, fast shape of the Mk 1, it was an<br />
equally fast and capable saloon, reinforced by Jaguar<br />
founder/owner and designer Sir William Lyons’ 1950s<br />
advertising slogan: Grace . . . Space . . . Pace.<br />
It was available with all three versions of the<br />
advanced Jaguar XK engine: the 2.4, 3.4 and 3.8 litre.<br />
Here in New Zealand, the Jaguar Mk 1 and 2 were<br />
celebrated as both a family sedan of distinction and a<br />
handy sports car popular in car racing circles.<br />
Jaguar Mk 1 owner John Graham says they were<br />
the cars of his dreams.<br />
“I bought my Mk 1 3.4 at the end of March last year.<br />
I had been looking at buying other cars, but I realised<br />
that what I had always wanted was a British Racing<br />
Green Mk 1 3.4, as I was a fan of Mike Hawthorn.”<br />
Hawthorn (1929-1959) was a British racing<br />
driver who competed in Formula One from 1952<br />
to 1958, winning the Formula One World Drivers’<br />
Championship in 1958 with Ferrari.<br />
In endurance racing, Hawthorn won both the 24<br />
Hours of Le Mans and the 12 Hours of Sebring in<br />
1955 with Jaguar.<br />
Sadly, he died in a road accident in 1959 at the<br />
wheel of his Jaguar 3.4.<br />
When John grew up near Rotorua, he says the<br />
local roads around the family farm were like the<br />
Nürburgring – true driver’s roads.<br />
“In those days, the Jaguar ruled the road there, and<br />
they flew through there well above the speed limit.<br />
They were great to watch as a young man. While<br />
pushing my Hillman Minx as fast as I dared on those<br />
roads, they would scream past me so fast I felt like I<br />
had stopped.<br />
“My brother and I were often found drooling over<br />
the Jags all parked outside the local pubs.”<br />
He says he had to relearn how to drive a manual<br />
when he bought his Jag.<br />
“It has a beautiful gearbox, which is one reason why<br />
I bought it, but it has no power steering, which means<br />
you get a good upper body workout just negotiating a<br />
parking lot or driving out on the Port Hills.”<br />
He says he has always preferred the shape of the<br />
Mark 1, acknowledging that Lyons got the shape perfect.<br />
“I loved it despite its narrow track and drum brakes.<br />
“It represents both power and status with a lovely<br />
club atmosphere, thanks to the leather and wooden<br />
veneer work inside.<br />
“They were a bit loud in their day – the wide boys’<br />
car – but they seem to have acquired class with age,<br />
and driving them has a fun element as they attract a<br />
lot of new friends wherever I go.<br />
“They are a Kiwi car – any Kiwi can aspire to own<br />
one,” says John.<br />
The Avid Classic Brit & Euro Canterbury Car Show, March 7, <strong>2026</strong><br />
at the Air Force Museum grounds Wigram, Christchurch.
Feature | <strong>Magazine</strong> 39<br />
Entering Kiwi country<br />
Comedy guy Te Radar and wife Ruth Spencer talk South Island<br />
connections, their quirky new book on the bits and bobs that make up rural<br />
New Zealand life, and how they came to own Sir Rob Muldoon’s one-eared<br />
taxidermied lamb.<br />
WORDS OLIVIA CALDWELL | INTERVIEW JOSIE STEENHART<br />
PHOTO AUDREY SPENCER-LUMSDEN | ILLUSTRATIONS JOSEPH CARRINGTON<br />
New Zealand documentarian Te Radar<br />
describes his living situation as a bit of a<br />
cosplay. He’s not quite a farmer, he’s not quite a<br />
comedian and he’s not quite serious – but every so<br />
often he’ll don the hat that fits.<br />
When he was called up for a chat about his new<br />
book Kiwi Country, he was digging a hole to build<br />
a fence on his 10-acre block at the bottom of the<br />
Waitakere Ranges.<br />
“This is going to be a nightmare, I thought ‘how<br />
hard it can be to stick 60-odd posts and seven<br />
wires together’.”<br />
His book, written with wife Ruth Spencer, is a<br />
humorous documentation of rural New Zealand<br />
through 100 of its objects.<br />
It’s an entertaining history of rural life in New<br />
Zealand told through artefacts, gadgets and<br />
ephemera that tell a story that goes deeper than<br />
the objects themselves.<br />
Having researched much of rural New Zealand<br />
for the book and being brought up on a dairy farm<br />
in the north Waikato town of Ohinewai, building a<br />
fence might be second nature.<br />
“You would think so, I have watched some<br />
YouTube videos.<br />
“I am going to call myself a cosplay farmer, with<br />
my 10 acres and I have just enough land to be a<br />
pain in the bum.<br />
“And no tractor, I drive on my ride-on mower<br />
with my little trailer and I call it a tractor.”<br />
The couple graze shire horses on land Te Radar<br />
described in a way you would not find in glossy<br />
real estate brochures.<br />
“Low hill country, it’s not steep, well, some of it<br />
is steep, it is foothilly.”<br />
His book follows this line and sense of humour; a<br />
self-deprecating take of the rural Kiwi object, be it<br />
hay bales in the paddocks, Sir Edmund Hillary’s bee<br />
smoker in the orchard, bungy cords, a mountain<br />
goat bike, the trusty No. 8 wire, quince jelly,<br />
Waimate’s giant White Horse monument, Sir Robert<br />
Muldoon’s stuffed one-eared lamb of 1976, or the<br />
hilltop trig.<br />
“I was really surprised how many jobs involved<br />
men spending very long periods alone, doing things<br />
like living at trig stations, or in the mountains literally<br />
yelling at sheep.<br />
“We’re a country that’s always had a sense of<br />
humour about itself,” he says.<br />
Te Radar laughs at himself often too and proudly<br />
admits to owning Muldoon’s taxidermied lamb.<br />
“A friend pointed out there was this lamb in a shop<br />
in Milford which was gifted by Sir Robert Muldoon to<br />
the young farmers, so I bought it.”<br />
He paid less than $100 for it about two decades<br />
ago and it was not for sale.<br />
“I am looking at it right now, it sits on the bookshelf<br />
behind the desk with its one ear missing and has a<br />
curious, delighted look at the world,” he says.<br />
The couple decided to tell the story of rural New<br />
Zealand through its peculiar, useful and fascinating<br />
objects because they all have a culture behind them.<br />
“Initially, 100 objects was a little daunting and then<br />
Ruth said, well let’s break it into 10 sections.<br />
“It made me look at things again in a different light.<br />
Stuff you see all the time and never really think about.”<br />
The book was broken into 10 sections of rural<br />
New Zealand, such as the shed, the homestead, the<br />
side, the orchard; and completed in record time – 100<br />
chapters written in 150 days.<br />
“The object tells a story, first about the object itself<br />
and then the wider sense of what’s around it, the<br />
stories, how it changed things.”<br />
The duo are the perfect book-writing pair, but that<br />
was according to one half of them.<br />
“She would research it in the morning and throw a<br />
draft out by the afternoon, we moved on relentlessly,”<br />
Te Radar says.<br />
The couple would write at opposite ends of the<br />
house and communicate via email and text, he says.
40 <strong>Magazine</strong> | Feature<br />
Ruth and Te Radar, how/why did the idea for the book<br />
come about?<br />
Our particular area is weird history – we have a longstanding<br />
interest in unearthing the untold local stories, the<br />
bizarre, hilarious and fascinating tales from the archives.<br />
The publishers, HarperCollins, had approached Radar<br />
about a ‘100 Object’ book to do with rural innovations;<br />
we started from that angle but there’s already been some<br />
great work done in that area, notably the No.8 Re-Wired<br />
book and website by David Downs and Jon Bridges.<br />
What excites us is the lost and obscure stuff, so our<br />
focus shifted towards some of the almost unseen objects<br />
and the unknown history behind them – things that just<br />
sit around on a rural property unnoticed, but which tell<br />
part of the story of New Zealand life and culture.<br />
A scone, a bungee cord, or a home brew bottle might<br />
actually be the story of training vets to manipulate cow<br />
uteruses or a yarn about Aunt Daisy, but you’d have to<br />
come to the show to find out which.<br />
Is this your first collaborative project?<br />
We’ve been collaborating on projects for almost<br />
20 years. Radar was already working in the comedy<br />
documentary/history area, and Ruth was a comedian and<br />
writer. She began contributing jokes and working on the<br />
visual presentations for Radar’s shows, later moving into<br />
research and writing for TV projects and live shows.<br />
Some of our big projects together include the TV show<br />
Te Radar’s Chequered Past and the live shows Te Radar’s<br />
Antarcticana and most recently Te Radar’s Cookbookery.<br />
Cookbookery was so fun to work on, because as well<br />
as delving into the amazing trove of old kiwi cookbooks<br />
we’ve accumulated, we tried many recipes as well.<br />
Cold Sour Kiwifruit Soup, Marmettes, Lime Jelly Salad,<br />
Artificial Cherries (carrots soaked in raspberry jelly),<br />
Wine Soup; they were all hilarious taste sensations.<br />
How long was the original list and how did you get it<br />
down to 100?<br />
We couldn’t include everything! Ones that were in<br />
contention but didn’t make the cut include the combine<br />
harvester, the ball float from a water trough, a washing<br />
line pole, butter churns.<br />
Sometimes it was a case of not finding the right story<br />
to draw us beyond the object, and sometimes we had<br />
another too-similar object. Many people might look<br />
askance at the fact that ‘Tractor’ is not an object in the<br />
book, but which tractor? Tractor people know tractors<br />
too well for us to tell them anything new about them,<br />
and they come into so many other stories.<br />
Everyone would have a different 100 objects, and<br />
we didn’t aim to cover everything as much as let<br />
these hundred stand for the whole. These hundred<br />
are not meant to be the definitive hundred. There are<br />
thousands of objects that contribute to NZ country life,<br />
some of them antique and forgotten, some that have<br />
persisted for many decades and there are new ones<br />
being developed all the time.<br />
These are objects we felt had a fundamental<br />
connection to the rural character of New Zealand, ones<br />
that have shaped us, and ones that we have shaped out<br />
of necessity. The ones we’ve chosen have something<br />
funny or fascinating to tell us, some curious origin<br />
story or diversion or unexpected impact. Each of them<br />
revealed a world of characters, weird tales, fun facts and<br />
mysterious lore that we couldn’t have expected going in.
Feature | <strong>Magazine</strong> 41<br />
What are a few of your favourites?<br />
Radar has a long-standing love of the Bob Semple tank, which<br />
he convinced his father to make a half-size working replica of<br />
for the TV show Te Radar’s Chequered Past.<br />
The steel blade from a boxthorn hedgecutter is another<br />
favourite he’s covered before.<br />
He also owns some of the objects: a mounted boar head,<br />
the taxidermied lamb presented to Robert Muldoon, a Red<br />
Band gumboot that represents his Fred comedy award.<br />
Ruth’s favourites include the milking cluster, which has both<br />
some comically grotesque imagery and a lovely story about<br />
Norman Daysh who quietly revolutionised milking with his<br />
cow Daisy.<br />
She also likes Quince Paste, which for her invokes some<br />
nostalgia for summer holidays on a farm in south Marlborough.<br />
The Gazetteer of New Zealand Place Names has some<br />
evocative names for creeks, and Stick of Gelignite is just<br />
fun with explosives. The story of punts, represented by<br />
the Tuapeka Mouth Ferry, is a litany of near-disaster and<br />
inconvenience and watery mishaps. There were too many<br />
anecdotes to fit in.<br />
As a researcher, Ruth became fond of any object that<br />
offered up unexpected stories, where a dry sort of object<br />
suddenly became an epic tale of bravery or hilarity.<br />
“There was an awkward moment at the wedding when relatives discovered that both<br />
our grandmothers were from Ophir. Some quick genealogy was done to determine that<br />
we weren’t in fact related, but our families must have known each other back then.”<br />
Any objects of note with specific South Island connections?<br />
Lots of them are specific to the South Island.<br />
In Dog Whistle, there’s a great story of a sheep trial in<br />
Ward, which is coincidentally near where the quince orchard<br />
of Ruth’s youth was.<br />
There are whitebait stories from the West Coast and<br />
Christchurch; pie cart stories from Nelson and Invercargill; the<br />
Finnpike Egg Carrier from the Egg Carton chapter debuted at<br />
the Nelson A&P show.<br />
Ten mongooses were released in Kaikoura in the 1870s,<br />
which is discussed in the Canned Rabbit chapter.<br />
Washdyke appears in a discussion of Place Names for the<br />
number of times they’ve tried to have their name changed.<br />
A coal shovelling record was set on the Brunner Bridge<br />
on the West Coast which gets us into a discussion of the<br />
Banjo Shovel.<br />
Bull semen straws were flown to farms from Ashburton to<br />
Timaru after flooding in 2019.<br />
A marching band opened the Pelorus Swing Bridge – that’s<br />
a favourite chapter of both of us – to hilarious effect.<br />
This is just a few off the top of our heads but the whole<br />
country is represented across the book – Stewart Island/<br />
Rakiura makes it in as well, in the Whitebait Fritter chapter,<br />
when unfamiliar locals in the 1930s thought the little fish not<br />
really worth the effort of pinching the heads off.
42 <strong>Magazine</strong> | Feature<br />
Tell us a little about your own South Island connections?<br />
There was an awkward moment at the wedding when<br />
relatives discovered that both our grandmothers were<br />
from Ophir. Some quick genealogy was done to determine<br />
that we weren’t in fact related, but our families must have<br />
known each other back then.<br />
While Radar’s family settled on a dairy farm in the<br />
Waikato, Ruth’s is all South Island based, and she grew up<br />
first in Invercargill and then Blenheim, before going to the<br />
University of Canterbury.<br />
Radar lived in Dunedin, studying at Otago University<br />
for several years where his comedy career began in the<br />
student scene. His first comedy history show, Hitori,<br />
was commissioned by Ngāi Tahu in conjunction with the<br />
Christchurch Arts Festival and specifically covered South<br />
Island stories.<br />
Also South Island related: you’re hosting an event at<br />
this year’s Aspiring Conversations in Wānaka – can<br />
you share some hints at what attendees might expect<br />
from that?<br />
The book has proven to be a conversation starter, so<br />
this show is part presentation, part conversation with the<br />
audience, and the aim is to have a lot of fun.<br />
The book now also exists as a live show and so there<br />
are elements that we’ll bring in, our favourite objects and<br />
stories; but we are also hoping the audience will bring their<br />
own stories, either of the objects already in the book or<br />
of their own object (which they are warmly encouraged<br />
to bring in, unless it’s an actual combine harvester or<br />
something) that represents some aspect of rural life.<br />
While we use archive materials and our own experience<br />
to inform the research, there are so many unrecorded<br />
stories that get passed down in families, or things that<br />
actually happened to members of our audience, and we<br />
want to hear them.<br />
So it will be a fun, funny celebration of all the things,<br />
actual things, that make us the people we are.<br />
Actually, combine harvesters didn’t make it into the<br />
book because we couldn’t find anything funny about them,<br />
so if you do have an amusing fact or story about them<br />
please bring it along.<br />
Anything on your must-do list while in Wānaka<br />
and surrounds?<br />
We will have our 10-year-old daughter Audrey with<br />
us, and it will be her first time in the area. We’ll be<br />
exploring and doing all the kid-friendly things like the<br />
luge in Queenstown and Puzzling World.<br />
Radar loves the Toy and Transport Museum but<br />
he’s unable to leave a museum without reading every<br />
plaque and looking at every object, so he might save<br />
that for when he has some quality alone time.<br />
We might bore Audrey driving out to Ophir and<br />
touring all the family history. We’re really looking<br />
forward to coming down and getting amongst it all.<br />
Kiwi Country: Rural New Zealand in 100 Objects<br />
by Te Radar and Ruth Spencer, HarperCollins,<br />
RRP$40. Te Radar & Ruth Spencer, Kiwi Country,<br />
Aspiring Conversations, Wānaka, March 29, <strong>2026</strong>.
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Say it with flowers<br />
From painted petals to blooming beautiful wallpapers, here’s<br />
how to use florals to create a bed of roses in your home.<br />
Resene<br />
Coast<br />
Resene<br />
Dream Big<br />
ABOVE: Soft blues let the delicate florals and dramatic background of this<br />
wallpaper sing in this dining room without dominating the space. Upper wall in<br />
Resene Wallpaper Collection 456738 with lower walls painted in Pattens Blue.<br />
Floor in Black White and Triple Black White, table in Coast, chairs in Solitude<br />
and Dream Big, tray in Rice Cake and vases on shelf in Duck Egg Blue, Lemon<br />
Grass and Inspire. Project by Annick Larkin, image by Bryce Carleton.<br />
Floral interiors have a timeless charm that<br />
can breathe life into any space, but they<br />
can be polarising. Too much of the wrong<br />
type of floral design or the wrong colour<br />
combination can put some of us off and<br />
lead us to think that all floral designs are<br />
too busy, or too old-fashioned. But, armed<br />
with some knowledge on how to put a<br />
floral look together, and with the right<br />
Resene paint colours and wallpapers, you<br />
can create a look that is bold, modern,<br />
soft, delicate or vintage – or whichever<br />
combination of those works best for you.<br />
Resene colour expert Meryl Southey<br />
says balance and attention to detail are key<br />
when it comes to creating a floral-inspired<br />
interior that is beautiful, sophisticated and<br />
unique, and works with the rest of your<br />
interior design.<br />
“If you’re working with a floral wallpaper<br />
design, for example, first consider the<br />
location, the ambience you want to<br />
achieve and the scale of both your space<br />
and floral pattern,” she says.<br />
“If you have a very large room and want<br />
to evoke a feeling of relaxation, a very busy<br />
design or one saturated in multiple colours<br />
might be overwhelming. On the flip side, if<br />
you have a large-scale mural with a simple<br />
floral motif, there needs to be space to<br />
admire it from a distance, before taking in<br />
the finer details up close.”<br />
Take into account that in a small room,<br />
large-scale florals can visually shrink the space<br />
by appearing too big for the walls they’re<br />
on. In smaller rooms, smaller patterns create<br />
a sense of depth and intricacy without<br />
overpowering the room, but in a large<br />
room they may feel lost and too wispy,<br />
particularly in delicate or pastel colours.<br />
When it comes to balance, one way to<br />
break up a bold floral pattern over a large<br />
stretch of wall is to add a mirror, which<br />
can also help add light to a room, or a<br />
neutral headboard, Meryl says.<br />
“You can also layer the look with white<br />
or neutral soft furnishings. Try soft dreamy<br />
curtains in linens or sheer fabrics, like many<br />
of those in the Resene Curtain Collection,<br />
to soothe the impact of a bold floral print.”
IN FULL BLOOM<br />
Quick tips for a balanced floral finish:<br />
Choose a focal point: Select one area of the room where<br />
you want a floral design to stand out, such as a feature<br />
wall, a statement piece of furniture or large artwork. The<br />
florals will draw attention without dominating.<br />
Pair with neutrals: Balance bold floral patterns with<br />
neutral colours on the surrounding walls, floors and<br />
larger furniture pieces.<br />
Use floral design but not colour: If you love the look<br />
of florals but are concerned about colour overload, look<br />
for designs such as Resene Wallpaper Collection 333100,<br />
which give you the botanical look in a neutral shade.<br />
Opt for subtle patterns: If you prefer a more<br />
understated look, choose smaller floral wallpaper<br />
patterns or motifs and use more muted tones than<br />
saturated shades. These can be incorporated into<br />
cushions, curtains or rugs to add a touch of nature<br />
without becoming overpowering.<br />
Mix with solid colours: Break up the floral patterns with<br />
solid colours. If you have floral wallpaper, consider solidcolour<br />
cushions or a plain rug in a complementary versatile<br />
neutral, such as Resene Sea Fog or Resene Silver Chalice.<br />
Use sparingly: Less is often more when it comes to<br />
florals. Limit the number of floral items in the room to<br />
just a few key pieces. This could be a floral armchair<br />
paired with plain curtains and cushions, creating a<br />
balanced, elegant look. When working with a busy floral<br />
pattern keep other features plain or keep to two or<br />
three framed drops of a robust botanical pattern such as<br />
Resene Wallpaper Collection 33304.<br />
If you need help choosing the florals that will suit your<br />
project best, ask the Resene ColorShop team to help you<br />
view wallpaper samples in the wallpaper library at your<br />
local store, Ask a Resene Colour Expert online, resene.<br />
com/colourexpert, or book in a colour consultation,<br />
resene.com/colourconsult.<br />
Resene<br />
Rewilding<br />
Resene<br />
Spanish White<br />
ABOVE: Subtle accents pick out the<br />
floral design of Resene Wallpaper<br />
Collection 220482 against a neutral<br />
background to create a balanced<br />
look. Lower wall painted in Spanish<br />
White, floor Quarter Spanish<br />
White and Double Spanish White,<br />
light shade in Cest La Vie, console<br />
table in Half Duck Egg Blue, mirror<br />
in Rewilding, tall vase in New York<br />
Pink and round vase in Soothe.<br />
Dining table and chairs from<br />
Danske Møbler. Project by Annick<br />
Larkin, image by Bryce Carleton.<br />
Resene<br />
Duck Egg Blue<br />
Resene<br />
Valentine<br />
LEFT: A hand-painted headboard of stylised<br />
flowers gives this bedroom a charming retro<br />
vibe. Walls painted in Resene Eighth Blanc<br />
walls, floor stain washed in Colorwood<br />
Breathe Easy, headboard background in Fuel<br />
Yellow with hand-painted flowers in Eighth<br />
Blanc, Valentine and Watermark, drawers<br />
in Eighth Blanc, Clockwork Orange and<br />
Valentine, small planter in Soul Searcher,<br />
large planter in Ebb and bookends in Moon<br />
Mist and Duck Egg Blue. Bedding from Small<br />
Acorns. Project by Annick Larkin, image by<br />
Bryce Carleton.
46 <strong>Magazine</strong> | Promotion<br />
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Food | <strong>Magazine</strong> 49<br />
Farm to table<br />
Much-loved Kiwi foodie Nadia Lim shares an update on farm and<br />
family life on Royalburn Station in Central Otago – plus some elevated<br />
country-style fare from her latest cookbook<br />
INTERVIEW REBECCA FOX | RECIPES NADIA LIM | PHOTOS HOLLY WADEMAN<br />
Nadia, a lot has changed in your life since your<br />
last major Nude Food cookbook. You’re a mum of<br />
three, live and work on a farm. How has all of that<br />
influenced your cooking and relationship to food?<br />
It’s made my cooking simpler and more grounded.<br />
Meals need to be nourishing and quick, but still feel a<br />
bit special.<br />
Going into farming has deepened my understanding<br />
and respect for how we produce food and get it to<br />
our plates – we eat what’s abundant, waste less, and<br />
cook in tune with the seasons.<br />
What have you learned over that time that has<br />
surprised you?<br />
Being in the farming and food production game gives<br />
you a real appreciation for how little control we have<br />
over nature, and therefore how well (or not) we will<br />
do from each season, which is humbling.<br />
What’s been the most bizarre moment you’ve<br />
experienced?<br />
Standing in a field of millions of sunflowers during the<br />
“golden hour” (when the sun is setting) is surreal.<br />
What is your favourite time of year food-wise?<br />
I love all the seasons, but in late summer/early autumn,<br />
the garden and fruit trees are overflowing. There is such<br />
an abundance of fresh produce to cook with and eat!<br />
What dish is frequently on the menu for the boys<br />
for dinner at the moment?<br />
I’ve just taught the boys how to make smashed beef<br />
burgers (from the cookbook) and gnocchi (also from<br />
the cookbook) themselves. So the plan is they’re on<br />
dinner duty at least once a week.<br />
How do you juggle the boys’ different tastes and<br />
food preferences?<br />
Ninety percent of the time they have the same meal<br />
Carlos and I are having. The rule is they don’t have to<br />
eat something if they reeeeally don’t like it, but they do<br />
have to at least try it. And if they’re not going to eat<br />
their veggies at dinner time, then they need to have<br />
some veggie sticks and/or fruit after dinner.<br />
It seems to be working – both my older boys, who<br />
are 6 and 9 years old now, will try everything and are<br />
pretty good eaters, but they weren’t always. Arlo (who<br />
is 2 years old), on the other hand, can be picky – he<br />
loves meat and fruit, but not that much else. I end up<br />
feeding him his leftover dinner when he’s in the bath!<br />
Tell us about the new book...<br />
I’m so excited about Nadia’s Farm Kitchen launching – it’s<br />
my best book yet!<br />
It’s a collection of over 90 recipes we cook for family and<br />
friends on the farm using the produce we grow, as well as<br />
from our local region, woven with stories of farm life.<br />
Divided into seasons, it shows the connection between<br />
what’s on the plate and where it comes from.<br />
The photography in the book, which has been captured<br />
through the seasons over the last five years on the farm,<br />
is stunning.<br />
What are your can’t-do-without ingredients to grow<br />
and then cook with?<br />
Lemons, extra-virgin olive oil and fresh herbs.<br />
Given your busy life, do you have any tips for timepoor<br />
parents wanting to put good food on the table?<br />
Keep it simple. Batch cook so you’ve got at least part of a<br />
meal to pull out of the fridge/freezer on those extra busy<br />
nights... and don’t forget, beans on toast with a poached<br />
egg counts as dinner too!<br />
Any tips for budding gardeners out there looking to<br />
plant a few things this year?<br />
Grow what you’ll actually eat lots of – salad greens,<br />
tomatoes, herbs – they’re all things that are quick and<br />
easy to grow, with a fast turnover... and invest in<br />
good compost.<br />
Get into the habit of picking/harvesting at the right time<br />
before things go past their best.<br />
If you were having a few friends and their families<br />
around for a casual spring/summer gathering, what<br />
would you have on the menu and why?<br />
A menu straight out of my new book – grilled peaches<br />
with marinated tomatoes and burrata, herbed lamb<br />
on the barbecue, grilled greens with Greek yoghurt<br />
and lemon burnt butter, a fresh salad, new potatoes or<br />
the sunflower oil focaccia from the book. And either<br />
roasted stonefruit ice-cream for dessert, or sunflower oil<br />
chocolate mousse.<br />
It’s a great menu for entertaining because you can premake<br />
dessert, pre-marinate the lamb and the starter is a<br />
really quick and simple one to make.
50 <strong>Magazine</strong> | Recipes<br />
CHARRED MEATBALLS WITH PEANUT CHILLI CRACK<br />
These Vietnamese-inspired meatballs are packed with flavour. Ideally cooked on the BBQ<br />
for that smoky char, they’re lifted to new heights by the addictive Peanut Chilli Crack – a<br />
spicy, salty, crunchy topping that brings heat and texture to every bite. Serve with noodles<br />
and lettuce cups, or straight from the pan with a cold beer. A true crowd-pleaser.<br />
Serves 4–6 | Prep time: 45 minutes | Cook time: 15 minutes<br />
PEANUT CHILLI CRACK<br />
½ cup roasted peanuts<br />
1 clove garlic, thinly sliced<br />
1 teaspoon finely grated ginger<br />
1 tablespoon chilli flakes<br />
1 tablespoon soy sauce<br />
1 teaspoon brown sugar<br />
MEATBALLS<br />
2 shallots, finely diced<br />
1 stalk lemongrass, finely chopped (optional)<br />
3 cloves garlic, minced<br />
1 tablespoon finely grated ginger<br />
800g lamb, pork or chicken mince<br />
(or a combination)<br />
1 tablespoon soy sauce<br />
½ tablespoon fish sauce<br />
1½ teaspoons brown sugar<br />
NOODLES<br />
250g vermicelli noodles<br />
1 teaspoon sesame oil<br />
CHILLI LIME DRESSING<br />
1 red chilli, finely chopped<br />
juice of 2 limes<br />
2 tablespoons sweet chilli sauce<br />
2 tablespoons fish sauce<br />
2 tablespoons water<br />
APPLE CARROT SLAW<br />
1 apple, cut into fine matchsticks<br />
2 carrots, coarsely grated<br />
100g mung bean sprouts<br />
1 bunch fresh mint, chopped<br />
Finely chop or pulse the peanuts in a food processor until<br />
coarsely crushed. Heat a generous drizzle of oil in a small<br />
pan over low heat. Add the garlic and ginger, and sizzle<br />
gently for 1 minute. Stir in the crushed peanuts and chilli<br />
flakes and cook for another 30 seconds. Add soy sauce<br />
and sugar, mix well, and remove from heat. Set aside to<br />
cool and crisp up.<br />
Finely dice the shallots and lemongrass (if using), and add<br />
the garlic and ginger. Alternatively, blitz everything in a<br />
food processor to form a rough paste.<br />
In a large bowl, combine shallot mixture with the mince,<br />
soy sauce, fish sauce and brown sugar. Mix well. Use a<br />
tablespoon measure to portion and roll into balls, then<br />
flatten slightly. Cook on a hot BBQ, or in a large cast-iron<br />
or non-stick frypan over medium-high heat until nicely<br />
charred and cooked through, about 2–3 minutes per side.<br />
Place vermicelli in a heatproof bowl or pot. Pour<br />
over boiling water to cover and let sit for 5 minutes,<br />
stirring occasionally, until soft. Drain noodles, rinse<br />
under cold water and snip in a few places with kitchen<br />
scissors to shorten the strands. Toss with sesame oil to<br />
prevent sticking.<br />
To make the dressing, in a small bowl, mix together chilli,<br />
lime juice, sweet chilli sauce, fish sauce and water.<br />
Toss apple, carrot, bean sprouts and mint together in a<br />
bowl. Drizzle with half the Chilli Lime Dressing and toss<br />
to combine.<br />
Serve the meatballs alongside bowls/plates of vermicelli<br />
noodles, lettuce leaves, Apple Carrot Slaw, remaining<br />
dressing and the Peanut Chilli Crack. Serve with lime<br />
wedges, fresh coriander and a sprinkle of crispy fried<br />
shallots if desired.<br />
Let everyone serve themselves.<br />
TO SERVE (optional)<br />
leaves of 1 large cos lettuce<br />
lime wedges<br />
fresh coriander<br />
crispy fried shallots
52 <strong>Magazine</strong> | Recipes<br />
LAST OF THE SUMMER<br />
TOMATO, EGGPLANT,<br />
BEAN & POTATO<br />
COCONUT CURRY<br />
As summer slips into autumn, the garden<br />
is still giving plenty – the last of the sunripened<br />
tomatoes, straggler green beans<br />
and glossy eggplants hold on while cooler<br />
nights start to roll in. This gently spiced<br />
curry celebrates the overlap of sweet late<br />
summer produce with spicy, comforting<br />
flavours. Whilst you could use canned<br />
tomatoes, fresh tomatoes really do make<br />
this curry sing. It’s the sort of meal you<br />
crave as the air turns crisp.<br />
Serves 4<br />
Prep time: 15 minutes<br />
Cook time: 30 minutes<br />
600g ripe, sweet summer tomatoes<br />
(enough to make 1 ½ cups puréed)<br />
1 onion, chopped<br />
1 teaspoon black mustard seeds<br />
2–3 cloves garlic, chopped<br />
2 stalks lemongrass, finely chopped<br />
1–2 makrut lime leaves, finely sliced<br />
1 teaspoon grated fresh ginger<br />
2 teaspoons curry powder<br />
½ teaspoon each ground coriander and<br />
ground cumin<br />
1 teaspoon ground turmeric<br />
2 medium potatoes, scrubbed and cubed<br />
(or 2 cups peeled, cubed pumpkin)<br />
1 large eggplant, cut into 2cm cubes<br />
200g cherry tomatoes<br />
1 x 400g can coconut milk<br />
1⁄3 cup desiccated coconut<br />
1 teaspoon salt<br />
2 cups trimmed and halved green beans<br />
TO SERVE<br />
roasted, chopped cashew nuts or<br />
peanuts (optional)<br />
chopped coriander<br />
steamed rice
Recipes | <strong>Magazine</strong> 53<br />
Blend fresh tomatoes in a food processor or blender<br />
until smooth.<br />
Heat a good drizzle of oil in a large pan over medium heat.<br />
Add onion and cook for a few minutes until softened.<br />
Stir in the mustard seeds, garlic, lemongrass, makrut lime<br />
leaves, ginger and spices. Cook for 1 minute until fragrant.<br />
Add puréed tomatoes, potatoes, eggplant, cherry<br />
tomatoes, coconut milk and salt. Stir and simmer for<br />
about 20 minutes, or until the potatoes are tender, stirring<br />
occasionally. Add a splash of water if it looks too thick.<br />
Stir in the desiccated coconut and green beans. Cook for<br />
another 2–3 minutes, until the beans are just tender.<br />
Serve hot, scattered with nuts and coriander if using,<br />
alongside steamed rice.<br />
BELOW: Seasonal frangipane<br />
fruit tart, page 54.
54 <strong>Magazine</strong> | Recipes<br />
SEASONAL FRANGIPANE FRUIT TART<br />
If there’s one dessert worth having up your sleeve, it’s this one. A seasonal fruit tart with frangipane<br />
is simple to make but feels a bit fancy – perfect for when you have people over. Sure, you could take<br />
a shortcut with store-bought sweet shortcrust pastry, but honestly, making your own is way easier<br />
than you think (especially with a food processor), and it does make a difference. As for the fruit,<br />
just go with whatever’s in season. In summer, think apricots, peaches or berries; in autumn, pears,<br />
plums, feijoas and quince are all beautiful. The rich almond filling is called frangipane, and it’s what<br />
makes this tart so lush and special.<br />
Serves 6–8 | Prep time: 15 minutes | Cook time: 30–35 minutes<br />
PASTRY CRUST<br />
150g plain flour<br />
1⁄4 cup caster sugar<br />
115g cold butter, cubed<br />
3–4 tablespoons iced water<br />
2 tablespoons milk, to brush<br />
2–3 tablespoons sliced almonds<br />
FRANGIPANE FILLING<br />
50g butter, softened<br />
1⁄4 cup sugar<br />
1 free-range egg<br />
1 teaspoon vanilla extract<br />
100g ground almonds<br />
TO SERVE<br />
2–3 small poached pears or<br />
other seasonal fruit<br />
(e.g. sliced plums, apricots,<br />
peaches, strawberries)<br />
icing sugar, to dust (optional)<br />
crème fraîche<br />
In a food processor, combine the flour, sugar, a pinch of<br />
salt and the cold butter. Pulse until the mixture resembles<br />
breadcrumbs. Add iced water, starting with 2 tablespoons, and<br />
pulse until the dough just comes together. Alternatively, mix<br />
the dry ingredients in a bowl, rub in the butter by hand, and<br />
stir in the water gradually until a dough forms.<br />
Turn the dough out onto a clean surface, knead briefly to bring<br />
it together, then form into a disk. Cover in cling wrap or a<br />
damp tea towel and refrigerate for 15 minutes.<br />
Make the frangipane in the food processor (no need to clean it)<br />
by creaming the softened butter and sugar until pale and fluffy.<br />
Add the egg, vanilla and ground almonds, and pulse until<br />
combined. Alternatively, cream the butter and sugar in a bowl<br />
with a wooden spoon, then stir in the remaining ingredients.<br />
Preheat oven to 190°C. Let the chilled pastry sit at room<br />
temperature for a few minutes to soften slightly. Roll it out<br />
on a lightly floured piece of baking paper into a rough circle<br />
about 0.5cm thick. Transfer the pastry (still on the paper) onto<br />
a baking tray. Spread the frangipane in the centre of the dough,<br />
leaving a 3–4cm border. Slice your chosen fruit and arrange<br />
it over the frangipane. Fold the pastry edges gently over the<br />
filling to form a rustic crust.<br />
Sprinkle the tart with sliced almonds and brush the pastry<br />
edges with milk. Bake for 30–35 minutes, or until the crust is<br />
golden and the frangipane is puffed and set.<br />
Let the tart cool slightly. If using poached fruit, drizzle over a<br />
little of the syrup. Dust with icing sugar, slice into wedges and<br />
serve with a generous dollop of crème fraîche.<br />
Extracted from Nadia’s<br />
Farm Kitchen by Nadia<br />
Lim, published by Nude<br />
Food Inc, RRP$55.
56 <strong>Magazine</strong> | Read<br />
Book club<br />
Great new reads to please even the pickiest of bookworms.<br />
Gone Bush<br />
Paul Kilgour | HarperCollins, $30<br />
The story of a wanderer, long-distance tramper and hutbagging<br />
legend. Paul Kilgour was bitten by the tramping bug<br />
early. He began going on epic trips as a young boy, beyond<br />
the farm and along the coast. During these wanderings,<br />
he met old folk living simply in tiny huts out the back of<br />
farms and on clifftops, and swaggers walking in remote<br />
and beautiful locations. Even at that early age, deep inside<br />
Paul stirred the spirit of adventure and a longing to go<br />
further. And further he went. Gone Bush is about a lifetime<br />
of walking the backcountry. It tells stories of the eccentric<br />
characters he met along the way, some of the 1200 huts<br />
he’s visited, and his most unforgettable journeys, including<br />
his ‘long walk home’ from deepest Fiordland to the top of<br />
Golden Bay.<br />
Surviving White Island:<br />
And Everything That Came After<br />
Kelsey Waghorn | HarperCollins, $40<br />
“I heard someone say, ‘Wow!’ And someone else<br />
exclaimed, ‘Look at that!’ I had my back to the crater. I<br />
turned around. The moment I saw it, I knew what was<br />
happening. The island was erupting. An enormous blackand-grey<br />
plume was rising above the island, already higher<br />
than the peak. It was beautiful actually, set against the<br />
bright blue sky.” Kelsey Waghorn, a guide on Whakaari<br />
White Island on that ill-fated day in December 2019, tells<br />
her story for the first time, from physical rehab for her<br />
life-threatening burns to her mental struggle with PTSD.<br />
Written by a brave and powerful woman with a wicked<br />
sense of humour, this is an uplifting story of strength,<br />
perseverance, acceptance and hope.<br />
A Better Life<br />
Lionel Shriver | HarperCollins, $37<br />
Gloria Bonaventura, a divorced mother of three living<br />
with her 26-year-old son Nico in a sprawling house in<br />
Brooklyn, decides to participate in a new city programme<br />
– Big Apple, Big Heart – that would pay her to take in a<br />
migrant as a boarder. Gloria is thrilled when sweet, kind,<br />
helpful Martine arrives. But Nico is sceptical. A classic<br />
live-at-home, unemployed Gen Zer, Nico resents the<br />
indignity of moving from his self-contained basement flat<br />
and back into his childhood bedroom. As the months go<br />
by, Martine endears herself to Nico’s mum and sisters,<br />
but as her disturbingly dodgy compatriots begin to show<br />
up, he grows only more hostile to both his mother’s<br />
altruism and the ‘migrant crisis’ in general – though turns<br />
out to be anything but a reliable narrator himself. From<br />
the National Book Award finalist So Much for That, the<br />
New York Times bestseller The Post-Birthday World and the<br />
international bestseller We Need to Talk About Kevin.<br />
Leather and Chains<br />
Kate Camp | Te Herenga Waka University Press, $40<br />
“I never kept a diary, except for one year of my life.<br />
The year I turned fourteen. The year my parents<br />
divorced. The year I had sex for the first time. The<br />
year I learned to use the microfiche.” In this unique<br />
follow-up to her memoir You Probably Think This Song<br />
Is About You, Camp turns her poet’s eye on her 1986<br />
diary. Reading The Diary in its entirety for the first time,<br />
she revels in 80s touchstones like Revlon Custom Eyes<br />
and Ghostbusters on VHS. But amid the daily details,<br />
like smoking menthols in Suzy’s Coffee Lounge and<br />
wearing Jazzercise tights in a phone box, are moments<br />
of drama, even tragedy – being black-out drunk in<br />
a spa pool, or watching her father move out of the<br />
family home. These entries – over 100 reproduced<br />
in full – are a time capsule of a very different era. “An<br />
irresistible blend of darkness and light.” – Catherine<br />
Chidgey, author of The Book of Guilt and Pet.”
Read | <strong>Magazine</strong> 57<br />
SCORPIO BOOKS’ STAFF PICKS<br />
Hoods Landing<br />
Laura Vincent | Āporo Press, $38<br />
Rita Gordon is not well. But Christmas is coming, so it’s time to tell the family<br />
while they’re all together. Although when it comes to the Gordon family, it’s<br />
hard to get a word in. And Rita’s not the only one with a secret. This novel is<br />
immensely hospitable. We’re given a seat at the table as meal preparations, old<br />
resentments, deep affection, in-jokes, philosophical discussions and the hunt<br />
for extra bedding tumbles around us. It’s chaotic, intimate, raucous and a lot of<br />
fun. Here is a novel that hasn’t been extruded from the mainstream publishing<br />
machine. A delightful comfort read that’s full of Kiwi heart and humour.<br />
– Bel<br />
Hiding Places<br />
Lynley Edmeades | Otago University Press, $35<br />
Within this experimental book, Lynley Edmeades fictionalises her experience of becoming<br />
a mother, and how her creative process changed as a result. She flickers between historical<br />
excerpts, intertextual references and correspondence with her loved ones and the writermother<br />
she obsesses over. These are peppered with redacted text, anonymised characters,<br />
concertinaed perspectives and timelines that simultaneously complement and agitate each<br />
other. All this sounds bewilderingly avant-garde, yet it’s a joy to read, and the calculated<br />
effect is brilliant and often hilarious. It made my brain implode in the best way: with a desire<br />
to read, write, and keep digging. For fans of Deborah Levy, Emilie Pine and Rachel Cusk.<br />
– Rosa<br />
Murderland<br />
Caroline Fraser | Little Brown, $40<br />
The idea that environmental degradation and interpersonal violence may be linked is<br />
not new, but this book investigates the point with chilling frankness in examining the<br />
circumstances that produced Ted Bundy and a generation of serial killers. Fraser shows<br />
how the violence of capitalism breeds a much more personal type of violence, oozing<br />
into our psyches much the same way as pollutants ooze into the environment. The<br />
result is toxicity nearly beyond comprehension, hidden in plain sight and leaving countless<br />
bodies in its wake. Fraser holds nothing back: to poison the land, the air, the waterways,<br />
is to poison ourselves. Compelling and unsettling, this is a brilliant work of non-fiction.<br />
– Kazia
Arts | <strong>Magazine</strong> 59<br />
Life imitating art<br />
Responding to the cutbacks to the arts in New Zealand, renowned artist Julia Holden<br />
wants to highlight the work of her fellow creatives through her own art practice,<br />
using 44 of them – including some familiar South Island faces – as literal canvases.<br />
WORDS REBECCA FOX<br />
winemaker, architect, bread baker, art educator,<br />
A jeweller, musicians, poet, painter, comedian – Julia<br />
Holden has ticked off quite a few of the 44 creatives on<br />
her list.<br />
She has begun a long-term project, The Artist, aimed<br />
at highlighting the work of New Zealand’s creative<br />
industry, which is facing ongoing cuts to its funding.<br />
“It does feel a little bit like this government’s a bit<br />
dismissive of the arts and is not willing to fund it, and<br />
yet it is such a massive employer in so many different<br />
areas that New Zealand is known for its creativity.<br />
“It’s an extremely tough time in the arts right now.<br />
So this is a way for me to hopefully be helpful to artists<br />
and also really get people thinking about what is the<br />
definition of an artist. I know we think of artists in<br />
terms of sculptors, painters, photographers. But it’s a<br />
much broader church than that.”<br />
Baker Geoffrey Heath is an example. She has included<br />
the maker of The People’s Bread in her list of 44. He<br />
handmakes bread using grain from a farm in Canterbury,<br />
which he mills himself.<br />
“It’s a whole process and the bread is insanely<br />
good. I’ve also got an architect. I’ve got a winemaker<br />
representing that art.”<br />
It’s also a chance to highlight artists in regional areas<br />
of New Zealand and the care and attention all artists<br />
bring to their practice.<br />
“I’m very keen to bring more of the regional artists to<br />
the attention of wider Aotearoa. Because oftentimes it<br />
can be very capital, larger city-centric, the arts. So this is<br />
a way of liberating the artists from a particular place.”<br />
The multi-disciplinary artist from Waiheke Island<br />
merges traditional painting with sculpture, performance<br />
and photography, particularly in her collaborative<br />
portraiture projects.<br />
The idea for her latest project developed on her<br />
drive from Waiheke to Dunedin last year to take<br />
up a residency at the Dunedin School of Art,<br />
although it turned out slightly differently given time<br />
and space limitations.<br />
“Driving is the perfect way to think through ideas.<br />
Sometimes I think the simplification of a concept<br />
strengthens it.”<br />
Her plan was to create portraits of artists, but not<br />
in the normal sense. Julia’s canvas is the person she is<br />
painting. The end result is photographed and sometimes<br />
the whole process is done in front of an audience.<br />
“I’m making a doppelganger of the artist, if you like.<br />
I mean, it’s helpful to think of it in those terms. The<br />
photograph is a record of the performance that’s<br />
happened in the studio.”<br />
In this latest project, she also wanted to incorporate<br />
something from each individual’s artistic practice in<br />
the portrait – something she would create to indicate<br />
visually what they do.<br />
Dunedin artist Michael Greaves is pictured with his<br />
paintbrushes, jeweller Octavia Cook with a copy of one<br />
of her brooches made from cardboard and painted by<br />
Julia, and poet Isla Huia with her book created from<br />
wood and clay.<br />
“Artists generally, and I include myself in this, are quite<br />
shy and are not so inclined to be photographed. So<br />
because we’re making this artwork together, it becomes<br />
this other portrait, this sort of painting, sculpture,<br />
rendering. So it’s kind of a mask.”<br />
Some are a bit more difficult to work out. While<br />
she often looked for the glamour or drama in what an<br />
artist did, with composer John Psathas a sweatshirt and<br />
headphones were the best representation, while with<br />
Mt Edward winemaker Duncan Forsyth they decided<br />
on recreating the headwear of the woman on his wine’s<br />
promotional material, hence his elaborate headgear in<br />
the portrait.<br />
The artists’ hair is shaped out of clay, and their<br />
clothes, often from secondhand shops, are painted with<br />
house paint.<br />
“I go and find some options for them to wear, or<br />
we’ll talk about how they’d like to be represented<br />
within the constraints of how I can work.”<br />
Julia aims to get the paint fully wet and dripping – just<br />
about at the point of collapse – so she has to work<br />
quickly but carefully to get the result she’s after.
60 <strong>Magazine</strong> | Arts<br />
PREVIOUS PAGE: Julia Holden, ‘Self<br />
Portrait’, archival pigment print, 2025.<br />
RIGHT: Julia Holden, ‘The Jeweller:<br />
Octavia Cook’ and ‘The Painter: Michael<br />
Greaves’, archival pigment prints, 2024.<br />
OPPOSITE: Julia works on Arrowtown<br />
sculptor Fiona Garlick.<br />
“Once we start, there’s no going back. I try<br />
to prepare as far as possible, but you never<br />
really know what’s going to happen. It’s a oneshot<br />
deal. That’s what’s exciting and scary and<br />
fascinating about it.”<br />
As she wants the experience to be nice for<br />
her portrait subjects, she has the paint and<br />
clay ready to go when they get to the studio.<br />
It enables her to work quickly and calmly while<br />
enjoying conversation with her subjects, some<br />
of whom she knows and others she has only<br />
met through the project.<br />
“The conversation is fantastic. You know,<br />
I really love it. We are in a little bubble<br />
while we’re making the work. We’re very<br />
connected. I need to talk to them about<br />
where I’m at. You know, I’m going to be<br />
painting here next.”<br />
She gessoes their clothing as she would<br />
painting on a canvas, priming the clothes and<br />
making them stiffer, before bringing in the house<br />
paint. The face is the last thing she paints and it<br />
requires the sitter to be very still.<br />
“It is a very intimate process. They do<br />
need to let me into their personal space in<br />
order to make the work. So it can be quite<br />
transformative for people, I think.”<br />
Julia then takes the photograph, often<br />
taking several in slightly different poses, but<br />
due to the nature of the work, the poses are<br />
mostly predetermined.<br />
“Once I feel I’ve got it, then I’ll get them out<br />
of it. They are free to go and have a shower and<br />
wash it off. And then I’ll do the finishing work.”<br />
She doesn’t paint right up to their eyes for<br />
obvious reasons so she needs to do some digital<br />
adjustments to fill those areas in.<br />
Then when the works are exhibited she uses<br />
a museum audiovisual app to provide further<br />
information about the artists and their work.<br />
“I’m using the portrait as a way in, to reveal<br />
more about that particular artist’s practice.”<br />
Julia has been making portraits this way for<br />
about 10 years and enjoys that it gets her out of<br />
her studio on Waiheke.
62 <strong>Magazine</strong> | Arts<br />
Her first portraits were made in Christchurch after<br />
the earthquakes. In those, she asked artists what their<br />
favourite artwork or the most influential work in their<br />
practice was and then painted it on them. Back then she<br />
also painted their hair.<br />
“I need to be in the community and, you know, in a<br />
place where I can meet a range of people, and explore<br />
possibilities.”<br />
Over the years, her process has evolved from paint to<br />
using wigs to now using clay for the hair.<br />
“I really enjoyed the results of that. It really does<br />
transform the entire figure into much more of a<br />
sculpture. And I do like the way the final image baffles<br />
the eye.”<br />
The practice developed from Julia’s experience at<br />
Elam School of Fine Arts in Auckland. At the time she<br />
attended it was going through massive change and<br />
painting and portraiture were not popular.<br />
“So it presented a puzzle that I wanted to crack, I guess.”<br />
Then she came across the work of British artist Boo<br />
Ritson featured on the cover of Art News. Boo is a<br />
sculptor who makes “amazing pop images” using people<br />
as her canvas.<br />
“It was from that era of pop art. And I immediately<br />
thought, ‘oh, my god, that’s so amazing. Why didn’t I<br />
think of that?”’<br />
But it wasn’t until 10 years later when she was<br />
working in Christchurch and came across the same<br />
magazine again that she looked into it further.<br />
“I thought, ‘Oh, I wonder what she did with that’.<br />
Because, of course, I could see immediately how rich it<br />
would be for painting. And she actually only did it for this<br />
very short period of time and had left it and gone back<br />
to her sculptural installation work.”<br />
So Julia decided to see what she could do with the idea.<br />
“Through a lot of experimentation, I figured out an<br />
approach that would work. I started with resin test<br />
pots, which I don’t advise. It doesn’t come off very<br />
easily. I did it on myself first to work it out. I thought,<br />
‘well, I can’t possibly ask anyone else to do this if I’m<br />
not willing to do it myself’.”<br />
Luckily, the artists she asked to take part were very<br />
forgiving as she worked through those processes.<br />
“I’ve done all kinds of different work. It depends<br />
on who I’m talking to and how open they are, how<br />
comfortable they are.”<br />
In Queenstown jeweller Jessica Winchcombe’s<br />
case it was a full collaboration with the jeweller<br />
providing some objects, rings and top she made<br />
for another project and Julia bringing in references<br />
from 18-century classical painting.<br />
“But then I brought it into the contemporary space<br />
by putting some sunglasses on her. And I think that’s<br />
a pretty successful portrait as well.”<br />
Julia has also done a self-portrait. Just before<br />
packing up to return to Waiheke from Dunedin,<br />
she wondered if she could do the whole process<br />
on herself.<br />
“There was no one else around, so I took the<br />
opportunity. It was an experiment just to see if I<br />
could and how unmanageable it would be. I had to<br />
do it in the mirror and take the photograph. It was<br />
kind of chaotic. My hair was a bit long, so I snipped<br />
it and trimmed it up but forgot to do the other side<br />
so while I was painting, it was starting to slide. It was<br />
never supposed to see the light of day.”<br />
Then the New Zealand Portrait Gallery got in<br />
touch as it was doing an exhibition titled, Me, Artists<br />
Paint Themselves, and asked if I had a self-portrait.<br />
“So I was like, I’d better finish it then.”<br />
Julia Holden, The Artist, Te Atamira, Queenstown, to <strong>February</strong> 24, <strong>2026</strong>.<br />
Janie Porter<br />
Jane McCulla<br />
Beverley Frost<br />
28 <strong>February</strong> -<br />
23 March <strong>2026</strong><br />
OPENING EVENT<br />
28 <strong>February</strong> 2pm<br />
ON THE EDGE<br />
art@littlerivergallery.com<br />
<strong>03</strong> 325 1944 - littlerivergallery.com
7 March – 26 July | Free entry<br />
Exhibition<br />
developed and<br />
organised by<br />
Premium<br />
partner<br />
Mark Adams 25.05.1988. Rapanui. Shag Rock. Ōpāwaho-Ōtākaro hapua. Heathcote-Avon Rivers mouth. Ōtautahi Christchurch. Te Waipounamu<br />
South Island 1988. Silver bromide print. Collection of Christchurch Art Gallery Te Puna o Waiwhetū, purchased 2011
Surveying Aotearoa<br />
A landmark exhibition offering the first comprehensive exploration of the work<br />
of acclaimed photographer Mark Adams is coming to Christchurch Art Gallery.
Arts | <strong>Magazine</strong> 65<br />
ABOVE: Mark Adams ‘19.05.1989.<br />
Te Ana o Hineraki. Moa Bone<br />
Point Cave. Redcliffs. Ōtautahi<br />
Christchurch. Te Waipounamu<br />
South Island’, 1989. Gold-toned<br />
silver bromide fibre-based prints.<br />
Collection of Auckland Art Gallery<br />
Toi o Tāmaki, gift of the Patrons of<br />
the Auckland Art Gallery, 2014.<br />
Across a career spanning more than 50 years, Mark Adams<br />
has photographed Aotearoa New Zealand – its landscapes,<br />
peoples, complex, multilayered histories and the cultural<br />
relationships that shape it.<br />
With Aotearoa as his tūrangawaewae (standing place), his<br />
images explore the migration of artistic and cultural practices<br />
across the globe and examine the role of museums and<br />
photography in this dynamic and ongoing cross-cultural exchange.<br />
His practice documents sites of significance across the country,<br />
including places where Captain James Cook and his crew came<br />
ashore on their visits in 1769 and the 1770s, and locations where<br />
Te Tiriti o Waitangi was signed in 1840.<br />
Over the decades, Mark, who was born in Christchurch’s<br />
Linwood in 1949 and studied at the Ilam School of Fine Arts<br />
(1967–1970), has sustained a deep and ongoing engagement with<br />
subjects of interest.<br />
He has photographed whakairo Māori (Māori carving) both<br />
here and overseas and the work of celebrated tufuga tātatau<br />
(master tattoo artists) in Samoan communities in Tāmaki<br />
Makaurau Auckland for over 30 years.<br />
Developed and first presented at Auckland Art Gallery Toi o<br />
Tāmaki in 2025, Mark Adams: A Survey | He Kohinga Whakaahua<br />
showcases more than 65 photographs spanning his remarkable<br />
50-year career. Bringing together black-and-white and colour<br />
photographs made decades apart, it examines his compelling and<br />
distinctive approach to image-making in Aotearoa.<br />
The exhibition is curated by Dr Sarah Farrar, head of curatorial<br />
and learning at Auckland Art Gallery, who also authored an<br />
accompanying book on the celebrated photographer’s work that<br />
has recently been long-listed for the <strong>2026</strong> Ockham New Zealand<br />
Book Awards.<br />
“Part of what makes Mark’s photography so compelling is its<br />
sheer range, from intimate contact prints to panoramas that<br />
stretch across entire gallery walls,” she says.<br />
“This survey provides an unprecedented opportunity to<br />
experience his key works together in one space and closer<br />
inspection reveals abiding interests that span the decades.<br />
“Although Mark has an extensive exhibition history, few of<br />
these exhibitions included photographs from across multiple<br />
bodies of work. They have usually been focused on a single series.<br />
“We have kept in mind a broad public audience who will<br />
experience the exhibition and the book – from people who may<br />
have never seen Mark’s work before to those who have been<br />
avidly following it for years. Hopefully we’ve struck the right<br />
balance of major works and material that has scarcely – if ever –<br />
been seen in public before.”<br />
“It was challenging to make a truly comprehensive exhibition<br />
given the scale of many of Mark’s works – some measure over<br />
11 metres in length – and I wish we could have included even<br />
more of them in the exhibition. Thankfully, the book enables us<br />
to include a more generous selection of photographs, and in this<br />
way it both complements and extends the exhibition.”<br />
“Mark’s photographs are technically very accomplished,” she says.
66 <strong>Magazine</strong> | Arts<br />
ABOVE: Mark Adams ‘<strong>13</strong>.11.2000. Hinemihi. Clandon<br />
Park. Surrey. England. Ngā tohunga whakairo: Wero<br />
Tāroi, Tene Waitere’, 2000. Colour inkjet prints.<br />
Collection of Auckland Art Gallery Toi o Tāmaki, gift of<br />
the Patrons of the Auckland Art Gallery, 2014.<br />
RIGHT: Mark Adams ‘07.10.1978. Triangle Road. Massey.<br />
Tāmaki Makaurau Auckland. Tattooing Tom Ah Fook.<br />
Tufuga tātatau: Su‘a Sulu‘ape Paulo II. Solo: Arona<br />
and Leo Maselino’, 1978. C-type print. Collection of<br />
Museum of New Zealand Te Papa Tongarewa, gift of<br />
the artist, 2021.<br />
“Many photographers I know are mad keen on his<br />
work – they geek out at his mastery of the large format.<br />
Mark is a self-confessed perfectionist and the level of<br />
detail his photographs contain is remarkable.<br />
“That said, the late Ron Brownson, a former senior<br />
curator at Auckland Art Gallery, always stressed to me<br />
that Mark was a ‘conceptual photographer’. Following<br />
this logic, his choice of a large format, 19-century field<br />
camera is as much a conceptual statement as it is a<br />
technical preference. As Mark himself has said over the<br />
years, he is trying to be ‘the Burton Brothers in reverse’<br />
– to use the same camera to different ends from his<br />
19th-century New Zealand photographic counterparts.”<br />
Christchurch Art Gallery director Blair Jackson says it<br />
is a privilege to present this nationally significant survey<br />
in the artist’s home city.<br />
“Mark Adams is one of our most influential<br />
photographers, and his connections to this city make<br />
this exhibition particularly meaningful. We’re thrilled to<br />
share this body of work.<br />
Blair says visitors to the Gallery can expect “a<br />
powerful and immersive experience”.<br />
“Many of these works have become touchstones in<br />
New Zealand photography and seeing them brought<br />
together at this scale is extraordinary.<br />
“We’re grateful for the opportunity to host this<br />
exhibition and to celebrate an artist who has contributed<br />
so profoundly to our visual and cultural understanding.<br />
“Accompanying the exhibition is a beautifully crafted<br />
book of the same name, co-published by Auckland Art<br />
Gallery Toi o Tāmaki with Massey University Press. This<br />
publication is the first ever detailed consideration of<br />
Mark’s entire body of work and will be available from the<br />
Gallery’s shop in-store.”<br />
Mark Adams: A Survey | He Kohinga Whakaahua, Christchurch Art Gallery Te Puna o Waiwhetū, March 7 to July 26, <strong>2026</strong>.
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