03 Magazine June 2026

THE
SOUTH
ISLAND
LIFESTYLE
MAGAZINE
FREE | JUNE 2026
HEALING PROPERTIES: THE FISHING LODGE TURNED LUXURY RETREAT BESIDE THE MARUIA RIVER | CELEBRATING TWO OF
CHRISTCHURCH’S MOST-LOVED CULTURAL INSTITUTIONS: SCORPIO BOOKS + THE CENTRAL ART GALLERY | A TREEHOUSE-INSPIRED
HOME IN DUNEDIN’S OROKONUI VALLEY | GLOBALLY RENOWNED WRITER WITI IHIMAERA SMILER’S COMPELLING NEW MEMOIR
CANTERBURY PASTRY QUEEN WENDY MORGAN’S MUSHROOM TARTE TATIN AND CHOCOLATE CHERRY ICE CREAM PIE

PROUD TO
ANNOUNCE
Three
International
Awards for Qestral!
The 17th World Ageing Festival was recently held in Singapore
for 2026. The festival attracted over 9,400 participants, 200
exhibits and 130 speakers, from more than 40 countries.
Qestral won the ‘Operator of the Year for Residential Aged Care’,
‘Operator of the Year for Senior Living’ (retirement villages) and
‘Innovation of the Year’ for Spritely Telehealth Technology.
Leading the industry in aged care and retirement villages.
New Generation Lifestyle Villages...

qestral.co.nz | alpineview.co.nz | banburypark.co.nz
burlingtonvillage.co.nz | coastalview.co.nz | ashburyheights.co.nz

YOUR SHORTCUT TO
Sunshine
There’s a particular kind of Christchurch winter day. You know the one...
Low cloud hanging over the Port Hills, a chill that seeps in no matter how
many layers you’ve got on. And that little voice in your head that says:
I wish I could be somewhere warmer right now.
Cairns
FIVE TROPICAL LOCATIONS, FOUR DIRECT-FLYING AIRLINES:
Cairns Fiji Gold Coast Rarotonga Vanuatu

The good news is, that feeling doesn’t have to stay a daydream. From Christchurch, you can fly direct to a growing
range of glowing destinations. No pesky stopovers. Just pack your bikini or board shorts, jump on the plane, and a
few hours later you’re in the sun.
Fiji
Take Fiji, for starters. With Fiji Airways flying
direct, it’s an easy leap into island time. Think
clear water, warm evenings and the joy of
switching off. It’s the kind of place where doing as little
as possible feels like the perfect plan.
Cairns
If you’re after something a bit closer to
home but still tropical, Cairns is a solid
option. Jetstar flies direct from Christchurch, opening
the door to the Great Barrier Reef, lush rainforests and
that laid-back Aussie vibe. Equal parts adventure and
relaxation, depending on how you want to play it.
Rarotonga
Then there’s Rarotonga, with Air
New Zealand offering a straight shot
from Christchurch. It’s small, friendly
and effortlessly amazing. You can circle the island in a
hour, but chances are you won’t want to rush anything.
Snorkel, eat, nap, repeat.
Gold Coast
The Gold Coast is another easy
win, with both Jetstar and Air New
Zealand flying direct. Whether it’s beaches, theme parks,
shopping or just a change of scene you’re after, it’s all
right there. Vitamin D on tap and plenty of fun to be had.
Vanuatu
If you prefer somewhere a little less
obvious, Vanuatu is well worth a look.
Flying direct with Solomon Airlines, it offers a slightly
off-the-beaten-track feel, with stunning natural
landscapes and a rich cultural heritage to discover.
As well as dialling up the warmth, these five holiday
hotspots have another thing in common: they’re
incredibly easy to get to from Christchurch. Just one
direct flight there means less time enroute and more
time on the beach.
Sun
ESCAPE TO THE
ENTER, WIN, BOOK!
VISIT CHRISTCHURCHAIRPORT.CO.NZ/SUN
PLUS RIGHT NOW, there’s a little extra incentive
to make it happen. Christchurch Airport’s Escape
to the Sun competition is giving locals the chance
to WIN ONE OF TWO $1,000 HOUSE OF TRAVEL
VOUCHERS, just by entering online. Simply sign up
at christchurchairport.co.nz/sun and you’re in the
draw to put your dream trip into motion.
You can also make bookings to any of these five
drool-worthy destinations directly with the airline
So if you’ve been feeling a tad grey lately, remember
there are brighter skies just over the horizon – and
getting to them has never been easier.

Hello
am very lucky in my role to occasionally have the
I opportunity to sample some very special places and
experiences around the motu – and can say with certainty
that this month’s cover star, Maruia River Retreat in the
Shenandoah Valley, is easily one of the most lovely, lowkey
luxury spots in the country. Read more on what sets
this former fishing lodge apart from page 34.
I also had the privilege to check in with two of
Christchurch’s most beloved cultural institutions – The
Central Art Gallery in the heart of The Arts Centre (page
30) and Scorpio Books (page 22), who as we go to print
are kicking off their 50th anniversary celebrations (a
heartfelt congrats from us!).
We also got the opportunity to chat to absolute literary
legend Witi Ihimaera Smiler (page 60) on his latest
memoir, The Veils’ Finn Andrews as he sets off on an
Aotearoa tour (page 26) and former Frances Hodgkins
Fellow Imogen Taylor on her compelling new exhibition
at Dunedin Public Art Gallery (page 56).
Finally, Canterbury’s undisputed pastry queen Wendy
Morgan has generously shared recipes for truffle brie
pie, mushroom tarte Tatin and my fave – a decadent
chocolate cherry ice cream pie – from page 50.
PUBLISHER
Charlotte Smith-Smulders
Allied Media
Level 1, 359 Lincoln Road, Christchurch
03 379 7100
EDITOR
Josie Steenhart
josie@alliedmedia.co.nz
DESIGNERS
Annabelle Rose, Hannah Mahon
ACCOUNT EXECUTIVE
Janine Oldfield
027 654 5367
janine@alliedmedia.co.nz
CONTRIBUTORS
Alex Adank, Nick Beadle, Frances Carter,
Harry Culy, Kim Dungey, Molawin Evangelista,
Rebecca Fox, Josh Griggs, Shiree Gwynne,
Kallum Harris, Cristina Holopainen,
Lasse Holopainen, Julia Hutchinson,
Linda Robertson, Tom Roelofs, Nancy Zhou
Tom McKinlay, Wendy Morgan
Every month, 03 (ISSN 2816-0711) shares the latest in lifestyle, home,
food, fashion, beauty, arts and culture with its discerning readers.
Enjoy 03 online (ISSN 2816-072X) at 03magazine.co.nz
Enjoy!
Josie Steenhart, editor
Allied Media is not responsible for any actions taken
on the information in these articles. The information and views expressed in this publication
are not necessarily the opinion of Allied Media or its editorial contributors.
Every effort is made to ensure the accuracy of the information within this magazine, however,
Allied Media can accept no liability for the accuracy of all the information.

GLOWING SKIN
IS ALWAYS IN
BabyGLOW by Teoxane: The new skin booster
treatment to elevate your skin’s radiance. Achieve the
“WOW” effect-fresher, hydrated and more luminous skin.
For a personal consultation at no charge please call 03 363 8810
145 Innes Road (corner of Rutland St and Innes Rd),
Merivale, Christchurch
www.facevalue.co.nz

8 Magazine | Contents
In this issue
18
COVER FEATURE
34 Nature retreat
A luxury lodge by the Maruia River
CULTURE
22 Scorpio Books
The beloved Christchurch
bookshop celebrates
50 years in the biz
26 Behind the veil(s)
The Veils’ Finn Andrews on
20+ years of making music
60 Finding the language
Celebrated writer Witi Ihimaera
Smiler’s new memoir
HEALTH & BEAUTY
20 Top shelf
The potions and lotions
we’re testing and loving
DESIGN
42 Tree house
A striking treetop-inspired
home in the Orokonui Valley
FOOD
50 Eyes on the pies
Canterbury pastry queen Wendy
Morgan shares delicious recipes

The Transformational Power of Gratitude
Gertrude Stein once said,
"Silent gratitude isn't much
use to anybody," and I'm
given to agree with this
revered writer's sentiments.
I’ve always been aware of the benefit
of appreciation and gratitude, but
until recently, when I undertook some
research on the subject, I had never
heard it deemed a performance tool.
Hailing from the Latin word gratis, or
‘grateful’, gratitude is much more than a
soft, emotional or optional state of being.
In fact, a body of work undertaken at
Harvard Medical School has identified
that its strength spans multiple fields.
Gratitude shifts attention neurologically.
Our brains have a built-in bias for threat,
risk and problems (some people’s more
than others!), and gratitude redirects
attention to what’s working and what’s
been gained.
Some utilise journalling to double-down
on this benefit, recognising that the act of
writing down what you’re grateful for makes
the invisible visible, whilst also helping to
build motivation and confidence.
I’ve been doing this for some time,
especially at work, where my antennae
can get stuck in a repetitive cycle of
problems and worry. I can tell you, it’s a
challenging space and the uncertainty
apparent in the world right now doesn’t
help.
Taking a few moments at the end of each
day to reconcile what’s been happening
and give thanks for the results or
corresponding learnings has been a gentle
game changer. On every workday page of
my diary, I write in highlighter something
that has lifted the day’s burden, or my
heart, and it never fails to help.
Gratitude doesn’t just change your
circumstances: it changes the quality
of your experience. Think about the last
time you opened a door for someone,
gave up your seat – yes, that still happens
– purchased something or dined out. All
these experiences are elevated if you mix
in some gratitude.
This morning, I read a post on social
media whereby the writer had ventured
into a specialty shop to purchase a
specific food item, asking if they were
still open. The answer was “only if you’re
spending $80” and the writer responded
by walking out. Now, manners or lack
thereof obviously come into this scenario,
but the complete lack of gratitude or
interest in a customer is a bad omen for
any business and given this occurred
here in our own city, there’s space for
improvement.
Where gratitude is expressed as well as
felt, it strengthens and increases trust.
Everyone feels seen and valued, and it’s
an opportunity for the smallest gesture
to provide one of the greatest returns: in
business, that’s loyalty.
Loyal clients, customers or guests
return, refer and stay through market
shifts. They make faster decisions, have
less objections and remain open to the
relationship or product.
I try to express gratitude at every crossroad,
interaction, lesson and experience. I’m
genuinely grateful for everything in my life:
my family and friends, my ability to help
others and to have choices. I’ve worked
hard for that, as have many of the gracious
and grateful people I know.
I think we could all make each other’s days
just a little bit kinder and our load a little
lighter by engaging in more gratitude, and
there’s no time like now to get started.
Lynette McFadden
Harcourts gold Business Owner
027 432 0447
lynette.mcfadden@harcourtsgold.co.nz
PAPANUI 352 6166 | INTERNATIONAL DIVISION (+64) 3 662 9811 | REDWOOD 352 0352 | PARKLANDS 383 0406 |
SPITFIRE SQUARE 662 9222 | STROWAN 351 0585 | GOLD PROPERTY MANAGEMENT 352 6454 |
SPITFIRE PROPERTY MANAGEMENT 027 772 1188
GOLD REAL ESTATE GROUP LTD LICENSED AGENT REAA 2008 A MEMBER OF THE HARCOURTS GROUP
harcourtsgold.co.nz

10 Magazine | Contents
60
OUR COVER
50
Maruia River Retreat in
the Shenandoah Valley.
Photo: Josh Griggs
READ US ONLINE
56
REGULARS
12 Newsfeed
What’s up, in, chat-worthy, cool,
covetable and compelling right now
18 Most wanted
A few of our favourite things
64 Book club
Great reads to please even the
pickiest of bookworms
ARTS
30 Art of the city
The Central opens its heritage doors to
an exhibition showcasing Philip Trusttum
56 Frame work
Former Frances Hodgkins Fellow
Imogen Taylor returns to Dunedin
66 Last Word
A cool new inner city gallery celebrates
its first birthday
FIND US ON SOCIAL
03magazine.co.nz | @03_magazine
GET A COPY
Want 03 Magazine delivered straight
to your mailbox? Contact:
charlotte@alliedmedia.co.nz
RecoveR youR
loved fuRnituRe
Quality fuRnituRe specialists
www.qualityfurniture.co.nz
Monday - tHuRsday 7.00am-4.30pm | fRiday 8.00am-12.00pm
(afternoon appointments by request) closed WeeKends
424 st asapH stReet | Re-upHolsteRy specialists
pHone 371 7500 oR KeitH HaRtsHoRne 027 566 3909

⸀
㘀 ⸀
⸀
㔀 ⸀
アパート⸀
㠀 ⸀
⸀
㈀⸀
㈀⸀
㜀 ⸀
㐀 ⸀
伀 ûⴀ 䐀 甀 琀 礀 圀 攀 攀 欀 攀 渀 搀 匀 琀 礀 氀 攀
圀 椀 渀 琀 攀 爀 眀 攀 攀 欀 攀 渀 搀 猀 愀 爀 攀 洀 愀 搀 攀 昀 漀 爀 猀 氀 漀 眀 椀 渀 最 琀 栀 椀 渀 最 猀 搀 漀 眀 渀 ⴀ 琀 栀 攀 礀 爀 攀 愀 氀 氀 愀 戀 漀 甀 琀 攀 愀 猀 礀 氀 愀 礀 攀 爀 猀
愀 渀 搀 爀 攀 氀 愀 砀 攀 搀 Ⰰ 挀 漀 猀 礀 瀀 椀 攀 挀 攀 猀 ⸀ 䄀 琀 娀 攀 戀 爀 愀 渀 漀 Ⰰ 眀 攀 猀 琀 漀 挀 欀 漀 瘀 攀 爀 㔀 搀 攀 猀 椀 最 渀 攀 爀 氀 愀 戀 攀 氀 猀 椀 渀 猀 椀 稀 攀 猀 㐀 ⬀Ⰰ
愀 渀 搀 眀 攀 ᤠ 瘀 攀 瀀 椀 挀 欀 攀 搀 漀 甀 琀 漀 甀 爀 挀 甀 爀 爀 攀 渀 琀 昀 愀 瘀 漀 甀 爀 椀 琀 攀 猀 琀 漀 洀 愀 欀 攀 漀 ûⴀ 搀 甀 琀 礀 搀 爀 攀 猀 猀 椀 渀 最 昀 攀 攀 氀 攀 û 漀 爀 琀 氀 攀 猀 猀 Ⰰ
戀 甀 琀 猀 琀 椀 氀 氀 瀀 甀 氀 氀 攀 搀 琀 漀 最 攀 琀 栀 攀 爀 ⸀
吀 栀 椀 渀 欀 ⴀ 礀 漀 甀 爀 最 漀 ⴀ 琀 漀 樀 攀 愀 渀 猀 眀 椀 琀 栀 愀 挀 爀 椀 猀 瀀 挀 漀 琀 琀 漀 渀 猀 栀 椀 爀 琀 愀 渀 搀 愀 琀 攀 砀 琀 甀 爀 攀 搀 欀 渀 椀 琀 Ⰰ 氀 愀 礀 攀 爀 攀 搀 甀 渀 搀 攀 爀
愀 焀 甀 椀 氀 琀 攀 搀 樀 愀 挀 欀 攀 琀 Ⰰ 昀 漀 爀 戀 爀 甀 渀 挀 栀 攀 猀 Ⰰ 氀 漀 渀 最 氀 甀 渀 挀 栀 攀 猀 Ⰰ 愀 渀 搀 攀 瘀 攀 爀 礀 琀 栀 椀 渀 最 椀 渀 戀 攀 琀 眀 攀 攀 渀 ⸀ 圀 攀 ᤠ 爀 攀 氀 漀 瘀 椀 渀 最
琀 栀 攀 愀 琀 栀 氀 攀 椀 猀 甀 爀 攀 瘀 椀 戀 攀 漀 昀 愀 猀 琀 爀 攀 琀 挀 栀 礀 眀 椀 搀 攀 ⴀ 氀 攀 最 瀀 愀 渀 琀 眀 椀 琀 栀 愀 猀 椀 搀 攀 猀 琀 爀 椀 瀀 攀 Ⰰ 瀀 愀 椀 爀 攀 搀 眀 椀 琀 栀 愀 猀 漀 漀 琀 攀 攀 Ⰰ
愀 渀 搀 瘀 攀 猀 琀 琀 漀 瀀 瀀 攀 搀 眀 椀 琀 栀 愀 爀 愀 椀 渀 樀 愀 挀 欀 攀 琀 ⴀ 爀 攀 愀 搀 礀 昀 漀 爀 爀 甀 渀 渀 椀 渀 最 攀 爀 爀 愀 渀 搀 猀 漀 爀 猀 甀 爀 瘀 椀 瘀 椀 渀 最 琀 栀 攀 眀 攀 攀 欀 攀 渀 搀
猀 瀀 漀 爀 琀 猀 猀 椀 搀 攀 氀 椀 渀 攀 猀 ⸀ 䘀 漀 爀 猀 氀 漀 眀 攀 爀 搀 愀 礀 猀 Ⰰ 愀 渀 攀 氀 攀 瘀 愀 琀 攀 搀 氀 漀 甀 渀 最 攀 ⴀ 猀 攀 琀 椀 猀 琀 栀 攀 眀 愀 礀 琀 漀 最 漀 ⴀ 爀 攀 氀 愀 砀 攀 搀 欀 渀 椀 琀
瀀 愀 渀 琀 猀 愀 渀 搀 愀 猀 眀 攀 愀 琀 琀 漀 瀀 琀 栀 愀 琀 昀 攀 攀 氀 樀 甀 猀 琀 愀 猀 最 漀 漀 搀 愀 猀 琀 栀 攀 礀 氀 漀 漀 欀 ⸀ 䄀 搀 搀 愀 瀀 甀 û 攀 爀 瘀 攀 猀 琀 愀 渀 搀 礀 漀 甀 ᤠ 爀 攀
爀 攀 愀 搀 礀 ⴀ 猀 攀 琀 昀 漀 爀 愀 氀 攀 椀 猀 甀 爀 攀 氀 礀 眀 愀 氀 欀 漀 爀 愀 渀 攀 愀 猀 礀 漀 甀 琀 椀 渀 最 Ⰰ 眀 椀 琀 栀 漀 甀 琀 洀 椀 猀 猀 椀 渀 最 愀 戀 攀 愀 琀 ⸀
圀 椀 渀 琀 攀 爀 挀 愀 猀 甀 愀 氀 椀 猀 愀 氀 氀 愀 戀 漀 甀 琀 氀 愀 礀 攀 爀 椀 渀 最 Ⰰ 猀 甀 椀 琀 愀 戀 氀 攀 昀 漀 爀 漀 甀 爀 挀 栀 愀 渀 最 愀 戀 氀 攀 眀 攀 愀 琀 栀 攀 爀 ⸀ 䠀 漀 眀 攀 瘀 攀 爀 Ⰰ 椀 琀 ᤠ 猀
琀 栀 攀 昀 椀 渀 椀 猀 栀 椀 渀 最 琀 漀 甀 挀 栀 攀 猀 琀 栀 愀 琀 爀 攀 愀 氀 氀 礀 戀 爀 椀 渀 最 椀 琀 琀 漀 最 攀 琀 栀 攀 爀 ⸀ 䴀 愀 欀 攀 琀 栀 攀 猀 椀 洀 瀀 氀 攀 猀 琀 漀 甀 琀 昀 椀 琀 昀 攀 攀 氀 挀 漀 渀 猀 椀 搀 攀 爀 攀 搀
戀 礀 愀 搀 搀 椀 渀 最 愀 猀 琀 爀 椀 瀀 攀 Ⰰ 挀 漀 猀 礀 欀 渀 椀 琀 漀 爀 琀 攀 砀 琀 甀 爀 愀 氀 猀 挀 愀 爀 昀 㬀 愀 昀 漀 氀 搀 愀 戀 氀 攀 甀 洀 戀 爀 攀 氀 氀 愀 椀 渀 愀 昀 甀 渀 瀀 爀 椀 渀 琀 欀 攀 攀 瀀 猀 礀 漀 甀
漀 渀 攀 猀 琀 攀 瀀 愀 栀 攀 愀 搀 漀 昀 琀 栀 攀 眀 攀 愀 琀 栀 攀 爀 Ⰰ 愀 渀 搀 愀 最 爀 攀 愀 琀 瀀 愀 椀 爀 漀 昀 攀 愀 爀 爀 椀 渀 最 猀 挀 愀 渀 椀 渀 猀 琀 愀 渀 琀 氀 礀 猀 栀 愀 爀 瀀 攀 渀
琀 栀 攀 洀 漀 猀 琀 爀 攀 氀 愀 砀 攀 搀 氀 漀 漀 欀 ⸀ 䤀 琀 ᤠ 猀 愀 氀 氀 椀 渀 琀 栀 攀 搀 攀 琀 愀 椀 氀 ℀
㤀 ⸀
匀 琀 礀 氀 攀 猀 䘀 攀 愀 琀 甀 爀 攀 搀 㨀
⸀
㈀⸀
アパート⸀
㐀 ⸀
㔀 ⸀
㘀 ⸀
㜀 ⸀
㠀 ⸀
㤀 ⸀
⸀
⸀
㈀⸀
アパート⸀
アパート⸀
吀 攀 琀 爀 椀 猀 䨀 愀 挀 欀 攀 琀 ⴀ 䴀 愀 搀 氀 礀 匀 眀 攀 攀 琀 氀 礀
䄀 搀 攀 氀 攀 䌀 愀 戀 氀 攀 䬀 渀 椀 琀 匀 挀 愀 爀 昀 ⴀ 䴀 漀 欀 攀
倀 漀 瀀 䄀 爀 琀 䨀 甀 洀 瀀 攀 爀 ⴀ 一 攀 爀 椀 猀
䄀 氀 礀 猀 猀 愀 䘀 爀 漀 渀 琀 倀 漀 挀 欀 攀 琀 䨀 攀 愀 渀 ⴀ 䔀 氀 洀
刀 攀 挀 琀 愀 渀 最 氀 攀 䈀 攀 愀 搀 䔀 愀 爀 爀 椀 渀 最 猀 ⴀ 䴀 椀 渀 砀
刀 愀 椀 渀 伀 爀 匀 栀 椀 渀 攀 唀 洀 戀 爀 攀 氀 氀 愀 ⴀ 䌀 甀 爀 愀 琀 攀
䌀 栀 愀 爀 氀 椀 攀 刀 愀 椀 渀 挀 漀 愀 琀 ⴀ 䴀 漀 欀 攀
匀 愀 昀 愀 爀 椀 匀 甀 瀀 爀 攀 洀 攀 吀 漀 瀀 ⴀ 䌀 甀 爀 愀 琀 攀
䰀 漀 渀 搀 漀 渀 倀 愀 渀 琀 ⴀ 䘀 漀 砀 眀 漀 漀 搀
䬀 漀 欀 愀 欀 漀 䔀 愀 爀 爀 椀 渀 最 猀 ⴀ 刀 攀 洀 椀 砀
刀 攀 瘀 攀 爀 猀 椀 戀 氀 攀 嘀 攀 猀 琀 ⴀ 䴀 愀 爀 挀 漀 倀 漀 氀 漀
刀 椀 渀 最 攀 爀 匀 眀 攀 愀 琀 猀 栀 椀 爀 琀 ⴀ 䔀 猀 琀 㤀 㜀
吀 栀 攀 䰀 漀 戀 戀 礀 倀 愀 渀 琀 ⴀ 䔀 氀 洀
伀 甀 爀 昀 愀 戀 甀 氀 漀 甀 猀 䌀 栀 爀 椀 猀 琀 挀 栀 甀 爀 挀 栀 琀 攀 愀 洀 ᐠ 䴀 椀 挀 栀 攀 氀 氀 攀 Ⰰ 䨀 愀 渀 攀 Ⰰ 匀 甀 攀 Ⰰ 䌀 愀 爀 漀 氀 攀 愀 渀 搀 䔀 洀 椀 氀 礀 ᐠ 愀 爀 攀 礀 漀 甀 爀
最 漀 ⴀ 琀 漀 猀 昀 漀 爀 猀 琀 礀 氀 椀 渀 最 愀 搀 瘀 椀 挀 攀 ⸀ 嘀 椀 猀 椀 琀 琀 栀 攀 洀 愀 琀 㜀 嘀 椀 挀 琀 漀 爀 椀 愀 匀 琀 爀 攀 攀 琀 Ⰰ 䌀 攀 渀 琀 爀 愀 氀 䌀 椀 琀 礀 Ⰰ 䌀 栀 爀 椀 猀 琀 挀 栀 甀 爀 挀 栀 Ⰰ
愀 渀 搀 氀 攀 琀 琀 栀 攀 洀 栀 攀 氀 瀀 礀 漀 甀 戀 甀 椀 氀 搀 礀 漀 甀 爀 瀀 攀 爀 昀 攀 挀 琀 漀 ûⴀ 搀 甀 琀 礀 眀 椀 渀 琀 攀 爀 眀 愀 爀 搀 爀 漀 戀 攀 ⸀
䐀 䔀 匀 䤀 䜀 一 䔀 刀 䘀 䄀 匀 䠀 䤀 伀 一
䤀 一 匀 䤀 娀 䔀 匀 㐀 ⴀ㈀ 㘀
稀 攀 戀 爀 愀 渀 漀

12 Magazine | Newsfeed
Newsfeed
What’s up, in, chat-worthy, cool, covetable and compelling right now,
specially compiled for those in the south.
Heavyweight tour
A wry sense of humour, some theatre of unease and a voice classed as
not conventionally beautiful all combine to breathe life and space into the
niche Lytteltonian Delaney Davidson has carved out for himself, winning
critical acclaim across the world for his original take on things. New
album Baby Heavyweight (out June 26), born in a kitchen in Switzerland, is
Delaney’s 11th solo album. Described as “somewhat more groovy than
his previous releases” it builds on the smooth depth of previous album,
Out Of My Head, but moves into a new realm of story telling and emotive
music. Hitting the road with a stacked band, Delaney promises a show
that will deliver the album in all its complexity and nuance. South Island
stops include Nelson July 17, Dunedin July 24 and Christchurch July 25.
delaneydavidson.com
Ian Scott, ‘Rita Angus in Taradale’, 1987, acrylic on canvas.
Collection of the Arts House Trust.
Painting New Zealand
Presenting previously unseen or rarely seen works,
Ashburton Art Gallery exhibition Ian Scott: Painting New
Zealand brings together a selection of the artist’s work
from the last three decades of his life, highlighting his
interest in the story of New Zealand painting and painters
and expanding the perception of his practice beyond
his most widely known and exhibited ‘lattices’ series. In
these artworks, Scott brings together what are normally
separate approaches to painting; blending portraiture,
landscape, text, reproduction and abstraction. Portraits
of mid-century New Zealand artists, or their artworks,
literally bustle and vie for attention against New Zealand
iconography and scenery. Runs until June 21, 2026.
ashburtonartgallery.org.nz
Beans and botanics
A year after closing its doors, the beloved Dunedin
Botanic Garden cafe has reopened as Aster, with a
fresh look and menu. New owners Caitlin Holloway
and Jonas Hansen – also owners of city centre cafe
ADJØ – have injected the iconic duckpond-adjacent
umbrella pavilion formerly known as Croque-O-Dile
Cafe with playful colour and a Nordic flavour (think
folded eggs, rich, warming house broth, an addictive
chicken schnitzel and a brown rice porridge with
burnt orange marmalade).
astercafe.co.nz

KINGS BIRTHDAY SOFA
SALE 45
UP TO
%
OFF *
FRI 29 MAY - SUN 7 JUNE
*Conditions apply
25 % NZ MADE
15 % NZ MADE
45 % UP TO
OFF SOFA STOCK
OFF SOFA ORDERS
OFF
IMPORTED
SOFA STOCK
+ ORDERS
179 Blenheim Road, Riccarton, Christchurch. T. +64 3 348 0815 www.lewisandco.nz

14 Magazine | Newsfeed
Book (fight) club
Love books, laughing and perhaps a little
audience participation? It’s a book club. It’s a
fight club. It’s a book fight club. It’s back by public
demand. Eight books are welcomed into the
literati ThunderDome to fight to the death for
our entertainment, but first we’ll need to discuss
them like the civilised consumers of culture
that we are. As seen at the NZ International
Comedy Festival, Melbourne International
Comedy Festival, Adelaide Fringe, Auckland
Writers Festival and World Buskers Festival, El
Jaguar is back hosting the most hilarious and
unusual book club you’ve ever joined. Book
(Fight) Club, Te Matatiki Toi Ora The Arts
Centre, June 27, July 19 and August 22, 2026.
artscentre.org.nz
Light up
Makers of fine New Zealand candles
since 1969, National Candles has
upped the ante yet again with the
release of its first premium scented
candles. The double debut includes
Forest Floor – a verdant, earthy and
transportive scent inspired by a walk
through native bush after rainfall, and
winter-friendly Mānuka Fireside – a
smoky, spiced and enveloping scent
reminiscent of the glowing embers at
the end of an evening spent fireside.
Proudly hand poured in Wellington
from 100% soy wax, natural cotton
wicks, premium phthalate-free
fragrance and essential oil, they come
in 230g ($40) and 350g ($55) sizes.
nationalcandles.co.nz
Embrace every moment
With a heritage of craftsmanship dating back to the 1930s, Skellerup has
long been trusted for quality rubber footwear made for life outdoors.
Today, that legacy evolves into a more elevated expression of modern
living with Skellerup Lifestyle – a new chapter created not just for the
weather, but for the rhythm of daily life. At the centre of the collection is
the Meadow Ankle Boot, made for the in-between moments that shape
the day. Effortless to wear and easy to live in, Meadow blends understated
style with practical comfort, moving seamlessly from garden paths
and school runs to café catch-ups, weekend markets and city errands.
Handcrafted from natural rubber and finished with a cushioned lining
for warmth and ease, Meadow offers dependable weather protection so
you’re ready to embrace every moment. Its clean silhouette and refined
detailing reflect Skellerup’s focus on craftsmanship, comfort and quality in
every step. Practical for unpredictable weather yet elevated for everyday
dressing, it’s available at boutique stockists near you.
skellerupfootwear.com

$179 per lineal metre
Floorpride Exclusive Price.
Limited quantities.
Bring the beauty of New Zealand into your home.
100% Pure New Zealand Wool Carpet,
Stonefields by Feltex
Stonefields captures the essence of our backcountry with a
striking linear design, blending low and high pile to echo rolling
hills. Crafted from locally sourced wool and made in New
Zealand, it brings natural warmth, texture, and timeless style.
Luxuriously soft and naturally hypoallergenic, Stonefields
features a refined palette of earthy tones designed to
elevate any interior.
58 Mandeville Street Showroom, Christchurch
floorpide.com 03 348 0939

16 Magazine | Newsfeed
Big (beauty) day out
Ballantyne’s much-loved Beauty Festival is back with
a bang this month, with The Ultimate Beauty Day
Out – a spectacular day of indulgence, inspiration
and irresistible offers – promising to be a major
highlight of the calendar. Head in store on Saturday
June 6 (be among the first 300 customers in
Christchurch and 50 customers in Timaru to enter
the Beauty Department to receive a free goody bag)
and enjoy personalised services including makeovers,
skin consultations, LED light therapy and massages,
very special gifts with purchase and a refreshment
stand featuring sweet treats, mocktails and more.
Plus, spend $150+ and build your own gift then spin
the wheel for your chance to win amazing prizes.
ballantynes.co.nz
Fabulous four
Composed of musicians from the Vienna
Philharmonic, the Phileo Quartet will tour Aotearoa
New Zealand for the first time this July. Founded
by New Zealand violinist Benjamin Morrison,
the quartet performs works by Mozart, Brahms,
Korngold and Hugo Wolf – repertoire at the heart
of the Viennese chamber music tradition. Morrison
is joined by Holger Groh, Robert Bauerstatter
and Wolfgang Härtel. The Phileo Quartet,
Dunedin, Glenroy Auditorium, July 22, 7.30pm
and Christchurch, The Piano, July 23, 7.30pm.
chambermusic.co.nz
All day dining
Whether you’re after a 7:30am flat white and
eggs (or croque monsieur), a long lunch (think
pastas or steak frites) with good wine or a
dinner (lamb shoulder, woodfired chicken or
market fish to name but a few) and cocktails
that earn their place on a Friday night, new allday
Christchurch eatery Edizi has now opened
its very stylish doors at 158 Gloucester Street
(opposite the Theatre Royal).
edizi.co.nz

18 Magazine | Wishlist
Most wanted
From autumn florals (groundbreaking), heritage-inspired home interiors
and multiple cult items in shades of pale blue to fancy flower-forward
deodorants and body oils, chic wear-anywhere rubber boots and essential
new books and vinyl, this is our June wishlist.
4
6
1
2
3
5
7
16
8
15
9
13
14
12
11
10
1. Fujifilm Instax Mini 13 camera, $149; 2. Lewis & Co. Savoy tartan and leather lamp, $694; 3. Juliette Hogan Mila dress
in Petal Parade, $649; 4. Deadly Ponies leather glasses case in Iris, $199; 5. By Tonin Bel e Viv lapis lazuli 18k gold-plated
sterling silver round stud earrings, $139; 6. Sarah Wilson, I Eat the Stars: How to Live Fully and Beautifully in a Collapsing
World, Penguin, $40; 7. Half Magic X Euphoria Glitterpill eye paint & eyeliner in Glitter Tears, $53 at Mecca; 8. Curate By
Trelise Cooper Stay Iconic t-shirt, $189 at Zebrano; 9. Skellerup Meadow rubber ankle boots in Black/Olive, $190;
10. Aldous Harding, Train on the Island vinyl LP, $66; 11. Tronque Neck & Décolletage elixir, $130; 12. PHLUR deodorant
in Rose Whip, $39 at Mecca; 13. AKT Everyday Encore body oil in SC.05 Columbia Road, $70; 14. Michael Southern,
Ochre Plains, oil on wood, 130 x 160 x 40mm, $390 at Little RIver Gallery; 15. Twenty-Seven Names Doom & Bloom
silk scarf in Red Floral, $200; 16. Glasshouse Fragrances Born to be Extra limited edition 380g soy candle, $70

EASY SETS. STRONG SILHOUETTES.
Effortless Winter Dressing
4 Normans Road, Strowan
MON-FRI 10-5 SAT 9.30-4.30 briarwood.co.nz

20 Magazine | Health + Beauty
Top shelf
From strawberry milkshake tinted lip balms and serums for floufy brows to
pre/pro-biotic apple sodas and new cult products from Charlotte Tilbury,
Benefit and La Mer, here’s what the 03 team are testing this month.
1
4 6
3
5
7
2
8
14
13
12
11
10
9
1. Lanolips Ceramide Milkshake tinted lip balm in Strawberry, $18 at Sephora; 2. Charlotte Tilbury Exaggereyes eyeshadow
stick in Ballet Quartz, $66 at Mecca; 3. Benefit Dream Sheen brow glaze in Medium, $53; 4. MAC Studio Fix 24HR Colour
Corrector in Mint, $37; 5. Elizabeth Arden Flawless Finish Sponge-On Cream makeup in Gentle Beige, $85; 6. Clinique Take
The Day Off cleansing balm 125ml, $70; 7. Good Sh*t pre & probiotic soda 4-pack in Apple, $22; 8. Tatcha The Melting
lip balm in Papuru, $57 at Mecca; 9. La Mer The Rejuvenating eye cream, $436; 10. Bobbi Brown, Skin Enhancer multi-stick
in Cheeky Pink, $73; 11. Bio-Oil body lotion, $20; 12. The Breakout Hack body milk, $40; 13. Hourglass Phantom Blur lip
balm in Echo, $75 at Sephora; 14. Bouf Flouf Factor Growth lash & brow serum, $35

Pelvic Floor
Treatment
Our non-invasive
electromagnetic therapy
supports women and men with:
Bladder and bowel
control issues
Pelvic discomfort
and dysfunction
Dryness, sensitivity
and intimate concerns
Male performance, bladder
flow and confidence
11,000
KEGELS
IN 28 MINS
The Tannery
37 Tanner Street, Christchurch
021 540 698
info@iwellness.kiwi
www.iwellness.kiwi

ABOVE: Scorpio Books’ Jo Hewitson and Dave Cameron. Photo Alex Adank

Feature | Magazine 23
A real page-turner
One of Aotearoa’s most beloved independent bookshops, Christchurch’s
Scorpio Books – founded by Dave Cameron and now operated with his
partner Jo Hewitson – celebrates 50 years of fearless and fabulous bookselling.
Dave, how/when/where/why did Scorpio Books
come about?
In 1965, I was working at the University Book Shop in
Dunedin after school. I started there just before my 17th
birthday. I quickly realised that bookselling was what I
wanted to do with my life, so I left school and began my
bookselling career fulltime.
It never occurred to me that I might want to open my
own shop until around 1974 when, as acting manager
at UBS, the interference from the new owners became
intolerable and certain reps made the suggestion that
Christchurch would be a good place to open a shop.
The first challenge was finding a location. Landlords
weren’t interested in tenants with no history. But I’m
grateful to my first wife, Jane, who ended up finding out
through her hairdresser about Pisces [a small specialist
bookshop on Fendalton Road] being for sale. Would you
believe that the first day I was open for business was
actually April Fool’s day? I think that speaks volumes.
You started out taking over Pisces Books, which
specialised in “Buddhist books, eastern religions,
organic gardening and self-sufficiency titles that were
difficult to find elsewhere in Christchurch at the time”.
In 1979, the business moved to Phoenix House on the
corner of Hereford Street and Oxford Terrace and
was renamed Scorpio Books for your and Jane’s star
sign. What were some of the books you remember
reading/selling when you first opened as Scorpio?
I read a lot of science fiction back then, as well as
the classics. I enjoyed crime, like John le Carre. I also
remember loving the New Zealand author Ronald Hugh
Morrieson’s books – especially Came a Hot Friday. It was
the funniest book I had ever read.
From modest beginnings in 1976, Scorpio has grown
into a thriving literary hub with three stores, more
than 26,000 titles in stock, 31 staff and a loyal
customer base. How does that feel?
Extraordinary. I never thought it would get this big.
There was probably an ideal size at one point, but we
went past that a long time ago.
What’s wonderful is that people still love browsing
bookshops, they still love discovering books, and they still
value knowledgeable staff and good conversations.
The business has weathered enormous challenges,
including economic downturns, the rise of online
retail, the Covid-19 pandemic and the Christchurch
earthquakes. Scorpio was notably among the first
businesses to return to town, and the first store to
reopen in the BNZ Centre following the earthquakes…
Our customers have always been incredibly loyal. That’s
what’s sustained us through everything.
Any customers you know of who’ve been with you
for the whole time (or a long time at least)?
No one specific, but people do come in all the time
and say they remember Pisces. Also, the children of
customers who shopped at Pisces often stop to share
memories, which is lovely.
A key point of difference back in the day
was Scorpio’s willingness to source obscure,
controversial and hard-to-find titles from overseas
long before that became commonplace…
We ordered a lot of books other places didn’t have or
wouldn’t stock. I never agreed with censorship. I believed
customers should be able to access the books they
wanted to read.
As well as proudly stocking books by LGBTQIA+
authors and on queer issues and a particular
“scandal” over selling Sex With Madonna in 1992,
the shop also found itself under scrutiny for carrying
books about cultivating cannabis…
They sent an undercover cop in to look at our gardening
books. He came in about three times while they assessed
them. About seven titles ended up being banned. He told
us, “Don’t worry, this is a test case – we’re not actually
going to prosecute you”. He was actually a very nice cop
and became quite a good customer.
What have been some of the most interesting changes
you’ve seen for/in Christchurch in this time?
Christchurch has been through a lot, but is now showing
signs of growth. People are coming back into the central
city and enjoying this beautiful space.
Why do you think Scorpio has not only survived
but thrived?
By resisting the urge to cut prices, run deals, or have
lots of sales. First, as a matter of principle: books have
a value, they are important, and it’s important that we
don’t devalue them. Second, there’s a very small margin
in bookselling. If you start cutting the rug out from
under yourself for the sake of short-term sales, you
won’t have anything to sustain yourself through the quiet

24 Magazine | Feature
RIGHT: Scorpio Books
in Christchurch’s BNZ
Centre. Photo Nancy
Zhou for Neat Places
months. Discounting is a race to the bottom.
Also, by choosing a great team. Our staff have a
diverse range of interests and skills, and have a willingness
to go the extra mile, both for customers and the
business generally.
We have built up a solid base of loyal customers by
providing excellent customer service, hosting events, but
also just taking the time to talk to our customers – to
listen to what they like to read and why, and we hope
that is reflected in our collection.
When did Jo come on board and how has she
shaped things?
Jo has been part of the bookshop since 2006, so 20
years! She’s been invaluable. And she literally builds the
shops too – Jo makes all the shelving and fittings.
Jo, tell us a bit about Dave…
The first thing Dave said to me when I first started
ordering books was, “It never hurts to run out of a
title”. I think his old boss, John Griffin, taught him that.
That might sound insignificant, but it’s the key to the
enormous catalogue he has built up over the decades.
Holding his nerve when it comes to ordering, taking a
chance on an unusual title, rather than just ordering in
heaps of the obvious, means we get more rotation on
the shelves – more variety for regular customers, and
things change constantly.
He has a wide range of interests, can talk about
anything, has opinions but is usually well-informed,
because he reads so much.
These days Scorpio is also renowned for its events…
Scorpio has always enjoyed supporting local and
international authors. Events bring a great diversity into
the shop, because people are drawn in by the array of
different topics and interests. Sharing someone else’s
passion is a joy and a privilege, and a fantastic way to learn.
Claudia and the events team are full of energy, fun and
ideas, and work hard to make everyone feel welcome.
They make sure everything is organised and runs
smoothly. I always love being at the events.
You will have just had your big 50th anniversary
party by the time we go to print, but are you doing
anything in June or beyond to celebrate? I hear there
might be a bespoke Scorpio coffee blend roasted
especially for the store by C4 Coffee Co…
We are! We’re planning more fun ways to celebrate
throughout the year, so keep an eye on our socials or
sign up to our newsletter to be the first to hear what
we have on offer.
Finally, Dave – one book you’ve read and loved so far
this year and anything you’re strongly anticipating?
Tom’s Crossing, by Mark Danielewski. It’s definitely the
biggest book I’ve ever read at over 1200 pages, but I
found it utterly captivating.
Here’s my review of it: You might look sideways
at this doorstopper and wonder if it’ll deliver, but
Danielewski is a hell of a storyteller. Most of the
action in his rule-breaking Western takes place over
five days but he packs so much detail into that short
time-frame it has the power of an epic. It’s got guns,
ghosts, horse thievery, avalanches and all the drama
and action that comes with that. But there’s also
real emotional depth in the bond between the main
characters and the horses they want to save and the
surprise reveals kept me hooked to the end. I’ll admit
it’s a heavy book to read in bed, but it’s worth it!
Also the wonderful Iranian graphic novelist, Marjane
Satrapi, I’m reading her autobiographical comics,
Persepolis, which were first published at the turn of the
century in French, but remain incredibly relevant today.
I’m looking forward to Martha Wells’ next volume
in the Murderbot series: Platform Decay. Also whatever
Norwegian author Lars Mytting writes next. I loved his
epic Sister Bells Trilogy. Magnificent storytelling.

Behind the veil s
Legendary Brit/Kiwi musician Finn Andrews of The Veils talks 20+
years of touring/recording, favourite South Island spots and releasing
two new (very different) albums in under two years.
INTERVIEW JOSIE STEENHART

Feature | Magazine 27
Finn, I last interviewed you I think about 14 years
ago at a pub in Devonport, but it’s unlikely you’d
remember that!
I remember it well! Feels like a different lifetime to me,
but an enjoyable lifetime. Thank you for your questions.
Speaking of 14 years – you were writing music at
14 and got signed to a major record label at 16
(were you at high school in New Zealand then?!)
– how has starting out so young helped/hindered
you do you think?
I’m very grateful I got to learn on the job, as it were.
While my friends were all in their last year of high
school I was touring and recording our first record,
which was a bittersweet feeling at the time.
I felt I missed out on adolescence in one sense,
but I got a very different experience in its place. I
agonised a great deal about what I was doing and
certainly didn’t feel I’d earned my place on the Rough
Trade roster at that point. There was a huge amount
of pressure to deliver on my “promise”, I suppose.
But as I said I’m ultimately grateful I got to have
free rein in recording studios from such a young age.
It took me a long time to feel any sense of pride
in that first record because it just reminded me of
trying to be something I wasn’t yet ready to be.
Zooming forward, two albums in 18 months – the
critically acclaimed release of Asphodels in 2025
and “bold and invigorated” Fragile World, out June
19 this year – how did that come about?
It took me 20 years of making records and merciless
touring to feel I had any right to call myself a
songwriter. I feel now that I at least have some sense
of control over what I’m doing, and I guess this has
sped up the process somewhat.
I write every day, sometimes multiple songs a day,
sometimes one song a week – it varies. But these last
few years were very fruitful and I wanted to get the
songs off my desk so I could think about something
else and move on.
ABOVE: Photo Frances Carter
Tell us a little about Fragile World, and the writing/
making of?
This record was quite unlike anything I’ve made
before: we went into the studio with only the vague
outlines of numerous songs but very little idea of the
arrangements or instrumentation and just recorded
them as we figured them out.
It was mostly just me, producer Tom Healy, with
Joseph McCallum coming in at times, and engineer
Paddy Hill in the room following the scent wherever
it felt right to go.
It was all very instinctual, quite full-on, and scary at
times – but a good kind of scary, not scary like the
real world out there.

28 Magazine | Feature
ABOVE: Photo Tom Roelofs
You’ve toured pretty consistently throughout
The Veils’ 20+ year history – what are some
survival tactics?
I’d say we’re a far less inebriated touring party these
days, that’s really just changed out of necessity.
And we don’t tour anything like we did back in the
day: we’ve worked out the parts of the world that like
us and we just keep returning there rather than playing
Tucson on a Tuesday night or whatever. There was a
10 year period where we were averaging 150 shows a
year and that really wasn’t sustainable any longer.
The Veils are renowned for live gigs – why do you
think that is?
I think we just played more shows than it was
advisable to play until we got good at it.
That, and I love it so much. I feel so free on stage
in a way I never do anywhere else, and I really need
it, I need to scream like that, I don’t know what I’d do
without it, and I think people respond to that.
On that note, you’re hitting the road again
soon… What can we expect at your upcoming
South Island gigs?
Yeah more of that I suppose! Screaming and sweating
and singing and making merry.
It feels right to start our Fragile World tour
back home in dear Aotearoa. These are some
of our favourite towns to play in on earth and
we can’t think of a better way [for me] to dust
off this moth-bitten black suit and hat and get
the show on the road.
I’m excited to get to play these songs live for
the first time and to see them come make their
way in the world.
As we’re a South Island-celebrating mag, we’d
love to know about some of your favourite
South Island spots…
Well, Lyttelton is brilliant, we’ve had some great
times on tour there. I love a good ship yard.
I’ve had some of my favourite shows ever in
Dunedin in that old venue Sammy’s – I hope
that place will see the light of day again.
I’d like to spend more time down there, the
landscape is so overwhelming, it’s like being in a
Steinbeck novel or something. I’d like to get to
know it better.
Thanks for your time – see you in Lyttelton
hopefully!
Cheers!
The Veils Fragile World tour, Dunedin June 25, Wānaka June 26, Lyttelton July 2, Nelson (solo) July 8, 2026.

NOW $149,995
NOW $14,995
NOW $19,995
1999 Ferrari 348 TS Targa
NZ New travelled only 67,000kms, Signature Rosso
Corsa Red with Black Leather, Sought after TS
Removable Targa roof, Iconic Pop-up headlights,
Gated Manual Gearbox, 18” Challenge Sports Alloys,
Full Leather interior, Stereo/CD, Air Conditioning,
Pinifarina styling, etc. Very hard to get with these
low kms and NZ New details today.
2001 BMW 540i 4.4 V8 E39 Motorsport Kit Sedan
A true Unicorn, very rarely do we see a low kms 4.4
V8 BMW E39 5 Series like this! One of BMW’S best
ever era’s of 5 Series, Full Leather, Full Factory
Motorsport Styling Package, Factory BMW Original
Stereo, Sunroof, Heated Seats, Remote locking with
2x Remotes etc. Must be seen to be appreciated!
2000 Mercedes Benz S600 LWB V12 Sedan
Very rare V12-NZ New/2 owners from brand new!,
Flagship 5.8 Litre-V12 model, once $400k plus
new!, Attractive Wine Red Metallic with Black
Leather, Soft Close Doors, Command with Radio/
NZ Nav, ABC Suspension, Factory Alloys, Push
Button Start, Full Electrics etc. Full History from
new! One to add to the collection.
NOW $119,995
NOW $119,995
NOW $84,995
2023 Land Rover Defender 110 D300 Diesel Black-
Edition, Santorini Black Metallic with Black Leather!
Added Winter Pack- Factory added Running Boards,
Mudflaps, Roof Rails/Thule Roof Racks fitted,
Privacy Glass, Air Suspension, Apple Car Play/360
Cameras/Navigation/Camera, Full Leather, Heated/
Electric Seats, Radar Adaptive Cruise Control. A very
good-looking Defender 110 in Santorini Black here!
2015 Mercedes Benz AMG GT Dynamic Package 4.0
V8 Bi-Turbo Coupe
Just 20,000kms! Facelift 18MY onwards new style AMG
GT Front Grill, 19/20 inch staggered Black AMG Dynamic
Sports Alloys, Magno Matte Wrap, Stage 1 Tuning,
Heated/Electric Seats, Distronic Radar Cruise, Dual
Sports Exhausts, Command CD/Stereo/Bluetooth/NZ
Nav, Black Plates and more! The F1 Pace-car!
2011 Porsche 911 997.2 S Carrera PDK
Generation 2 Cabriolet
Hard to get model! Much improved and super-quick
7 Speed PDK Gearbox, Carrera White with Espresso
Leather, Electric Softop in Black, 3.8 S Flat 6
Performance, 18” Gloss Black Sports Alloys, Red Brake
Calipers, Porsche PCM with Bluetooth, Sport-Chrono etc.
An intoxicating model to drive and rare in PDK!
NOW $109,995 NOW $109,995
NOW $ 269,995
2021 BMW M5 V8 Bi-Turbo Black-Edition
X-Drive Sedan
NZ New only 45,000kms, Alpine White with Black
Leather M5 Sports Seats, Carbon Roof, 20” M5 Sports
Alloys in Black, Soft-Close Doors, Heads-up, Heated
Seats, BMW Live Digital Cockpit with NZ NAV/Apple
Car Play/360 Cameras, Radar Cruise/Lane Assist and
more!. A true supercar stuck in a Sedans body.
2020 Porsche Boxster S 718 PDK 2.5 Facelift Roadster
NZ New just 22,000kms! Agate Grey Metallic with
full Avid Satin PPF Matte Coating, 20” Boxster S
Alloys, Brilliant 7 Speed PDK gearbox, Switchable
Sports Exhaust, PDLS Upgraded Lighting, Full
Leather with Heated/Electric Seats, NZ NAV/
Bluetooth/Apple Car Play, 350BHP 2.5 Litre/0-100
in just 4 seconds performance!
2022 Porsche 911 992 Targa 4 PDK Black Edition,
Impossible to buy in NZ in Targa GTS format!
20/21 inch RS Spyder Alloys in Black, 4WD, Upgraded
GTS Turbo, Switchable Sports Exhaust System in
Black, 4 Wheel Steering, PDLS LED Lighting, Heated/
Cooling Seats, Heated Steering Wheel etc. The best of
both World’s in Targa format with the best 911 re-sale
value due to very limited build numbers.
522 Blenheim Road | 03 366 8328 | A/H Nick 027 7718012 | christchurcheuropean.co.nz | sales@christchurcheuropean.co.nz

Art of the city
Gallery manager and curator Nadine Muir shares the latest from The Central – the
creative jewel at the heart of Christchurch’s beloved The Arts Centre – including a
must-see exhibition celebrating the late great Philip Trusttum.
INTERVIEW JOSIE STEENHART
Nadine, tell us a bit about The Central, and also the
changes it has seen in the last year or so…
The Central Art Gallery is a dealer gallery in Ōtautahi
Christchurch, owned and operated by Te Matatiki Toi
Ora The Arts Centre.
We represent a small stable of talented
contemporary New Zealand artists, from emerging to
established practitioners, with a strong representation
of artists based in Waitaha Canterbury.
Incorporating painting, sculpture, printmaking
and photography, the gallery’s offering is vibrant
and engaging, and reflects a developing enterprise
built on human connection and trust.
The Central originally opened in 2017, founded
by a group of locally invested shareholders, with
the intention of increasing exposure of New
Zealand contemporary art to a community
still grappling with the aftermath of the 2011

Feature | Magazine 31
earthquake. The opening of The Central also
broadened and deepened the pool of artworks
available to buyers and collectors in Ōtautahi, and
subsequently further afield.
The effects of the 2024 economic downturn, and
differing views between the original shareholders,
brought about the announcement that the gallery
would close in March 2025.
After realisation dawned, the business was offered
to Te Matatiki Toi Ora The Arts Centre Trust as a
gift, in the hopes that the gallery could remain open
for the benefit of the Ōtautahi community and the
gallery’s represented artists. And here we are! I am
incredibly grateful that the Trust said yes, and that
The Central remains open and operating.
It would be remiss not to also pay homage to the
building it’s housed in, which is pretty special, and
the location overall…
Our gallery space is pretty unique! Gallery visitors
remind us every day what it is like to be in the
building for the first time, or to return. With its
lofty ceilings and enormous bay windows there is
a contemplative feeling when you enter the gallery.
And that only adds to the art experience!
The gallery’s building was originally the library for
Canterbury College (now the University of Canterbury)
and, a work of art in itself, was once described as “an
architectural gem but an impossible library”!
Opened in 1916, the library was designed
by Collins and Harman and influenced by the
consultant architect, Samuel Hurst Seager, who
wrote that “(i)n any complete College, the Library
is the centre of (the) intellectual part of College
Life. This should be architecturally expressed by its
occupying a prominent central position”. Hence our
name, The Central Art Gallery.
Tell us about Philip Trusttum, and why it’s so
significant to have his work in the current show?
During 2024, I worked for the Trusttum Trust
cataloguing Philip’s paintings at his studio and home.
You will hear it said, repeatedly, that Philip gave
generously of his time and knowledge to younger
artists and art professionals, which has also been my
experience with Philip; particularly around the lunch
table, where we would discuss his paintings I had
photographed that morning.
Oftentimes lunch ran long as we deciphered text
in paintings – Philip was an inventive speller; discussed
techniques, methods and inspiration – which invariably
led to a valuable art history lesson; and placed
his work within the timeframe of his life, exposing
contributing personal factors – think sport, family,
everyday chores and life events – and the positioning of his
work within the contemporary New Zealand, and often
international, art landscape.
Philip was a regular visitor to The Central, keeping an eye
on who was showing and what they were creating. There
were many conversations between us, around the direction
an artist was heading, the theme around an oeuvre of
their work – or his – or techniques and methods being
developed; all food for Philip’s mind and soul, and fuelling
that afternoon’s session in his painting studio.
Having Philip’s work in The Central’s current
exhibition is significant because it reflects on his ability
to connect with others, across generations, highlighting
important relationships and connections virtually
unknown to most.
And a little about Morks and Luca McDonnell and
their relationships with Philip…
Morks introduced himself to Philip about 3 years ago,
looking for feedback on his paintings and hoping to gain
a mentor in the process. Both ensued, particularly once
the pair bonded over rugby – Morks’ grandfather, Harry
Frazer, was an All Black and a contemporary of Philip’s
father who, in 1937, trialled for the All Blacks – and a
firm friendship formed.
Morks’ painting practice is founded in a teenage foray
into graffiti; learning the art of tattooing while serving
in the New Zealand Army; and a love of street art,
spanning decades.
Varying techniques, methods and styles from these
major influences can be seen in Morks’ new canvas
works exhibited at The Central, as well as new
painterly-influences inspired by Philip. While Morks
brings his own unique style to his painted works, the
energy, colour play and level of detail are comparable
to Philip’s.
Luca McDonnell also introduced himself to Philip,
but by way of a letter and gift; a 3cm high, 3D printed,
hand-painted sculpture of Philip gazing up at a floating
airport staircase.
A senior sculpture student at Ilam School of Fine Arts,
University of Canterbury, Luca was hoping to obtain a
Philip Trusttum painting through the age-old trade of
bartering; a Philip Trusttum painting in exchange for a
Luca McDonnell sculpture? Gardening services, perhaps?
He even offered up his vintage moped, but finally they
settled on his word processing skills and the typing of
Lee’s [Philip’s wife] poems for a book.
Subsequently, the pair fell into a comfortable mentor/
mentee relationship which developed into friendship,
spending time together discussing their art, and visiting
the gallery together. Now an Honours student, Luca’s
sculptural work has, up until recently, been diminutive in
scale but Philip’s passing inspired him to think big.

How/when/why did Two-Way Street come together as
an exhibition?
The idea for Two-Way Street came about after Philip’s
passing. Morks and I were speaking at Philip’s funeral and
he was keen to organise a tribute show for Philip.
As it happened, I had a gap in our exhibition schedule
so suggested an exhibition that included work by Philip,
Morks and Luca; inspired by the reciprocal respect in
their mentor/mentee relationships.
Both Morks and Luca were keen; Philip’s son, Martin,
thought it was a fantastic idea; and I knew, thanks to Philip’s
endorsement, both Morks and Luca had the work ethic
needed to create quality work in a short period of time.
From my time working with Philip, I knew I could easily
locate his works I had catalogued and, with the help of
Martin, and Philip’s current cataloguer, Michelle Donnelly,
I could locate others.
Philip was never one to muck around; when there
was a deadline, self-imposed or not, he was all over it. It
almost felt like he was directing things from wherever he
was, making sure we achieved our goal in record time!
The exhibition includes one of the last paintings Philip
was working on…
‘Hallenst Jersey’ is one of my favourite paintings from
a series of Philip’s clothing and personal effects that
he was working on when he passed. It depicts one of
Philip’s favourite rib-knit jumpers and includes some
classic Trusttum elements – a perspective from his own
visual vantage point, looking down on his own hands and
jersey splayed out; abstract use of colour, the blue of
his hands suggests maybe they were cold when he was
painting… or maybe not abstract at all and he had a pair
of blue gloves; big blocks of colour laid down through
the background with a broad palette knife, clean
sharp edges delineating areas of the canvas; seemingly
accidental splashes of contrasting colour but, when
you look closely, the same colour is strategically placed
throughout the work; and patterned linework through
the negative spaces of the painting, creating a dynamic
flow and energy between his hands and jersey.
Before his passing, Philip had quizzed Morks on the
consistent and regular-weighted linework in one of his
paintings and Morks introduced Philip to the paint pen,
a staple requirement in any graffiti artist’s toolbox and a
revelation to Philip!
Up until that point, Philip had used various techniques
to create his own linework, including the tip of a bread
and butter knife, reusing empty paint tubes filled with
his choice of paint colour, and permanent ink markers.
In ‘Hallenst Jersey’, the blue linework through the
negative spaces appears to be consistent with a used
permanent ink marker and irregular ink flow onto
the canvas, but the painterly dark maroon lines of the
ribbed jersey, consistent in weight and flow, suggest
Philip may have found himself a paint pen and embraced
a tool and technique new to him at 86 years of age.
It must have been a very poignant, but also hopefully
celebratory, opening?
The opening speech was one of the hardest, and leastprepared-for
emotionally, speeches I’ve ever had to give!
However, the evening was definitely a celebration of
the relationships formed between the three exhibiting
artists, of Philip’s life, and a tribute to the legacy he has
left in our care.
Two-Way Street, The Central Art Gallery, Christchurch, until June 20, 2026.

Healing properties
Set in pristine native bush in the Shenandoah Valley, Maruia River Retreat has
been transformed by owners Cristina and Lasse Holopainen from a fly-fishing
lodge into a haven of rest, relaxation – and delicious dining.
INTERVIEW JOSIE STEENHART | WORDS CRISTINA HOLOPAINEN | RECIPE LASSE HOLOPAINEN

Lasse, how did you and Cristina come to be
kaitiaki (guardians) of this amazing place?
Our journey to Maruia was a result of a
profound lifestyle shift. Before moving to
Auckland in 2017, we were established yoga
teachers and studio owners in the Philippines. By
late 2018 we realised we were no longer quite
suited for city life and began looking for a place
where we could pursue our various personal
interests, heal physically and emotionally (I
was, and still am, recovering from quite severe
nerve damage), while developing a deep,
uninterrupted connection to nature and to our
adopted country.
In 2018, we discovered this hidden sanctuary
in the South Island, and everything just seemed
right, almost as if the place chose us.
The business itself had been shut for a few
years, but the upkeep was still immaculate. For us
it represented both potential, with an attached
18 hectares of paddocks and a stunningly
beautiful setting, but also purpose, as it sits on
180 hectares of primary growth forest, adjacent
and intertwined into the Kahurangi National Park.
It was only over time that we realised what
a huge responsibility it was. Becoming kaitiaki
means more than just owning the land – it means
acting as stewards of the native beech forest
and the Maruia River, ensuring that the spirit of
“Maruia” (which means sheltered or shady in
Māori) is preserved for every guest who seeks
sanctuary here.
What is so special about it?
Maruia River Retreat is a rare pocket of the
South Island where nature does the heavy
lifting for your wellbeing. It’s what we call
“passive wellness.”
As mentioned, the estate sits within 180
hectares of ancient native beech forest, which
releases natural oils called phytoncides that boost
the immune system. Meanwhile, the rushing Maruia
River generates a high concentration of negative
ions, which naturally helps lower cortisol and stress.
There is also the belief that spending time in
a forest is healing, as its mana (spiritual power)
embraces and suffuses you. It is this mana that
makes it so special, and as kaitiaki we view part
of our jobs as manaakitanga (literally “the act of
uplifting someone’s mana”). Not only enhancing
the energy of the land and its humans, but
directing it and making it useful.
In many ways this is the core principle of the
retreat experience – our retreat is built on the
foundation of manaakitanga, ensuring every
guest feels a deep sense of belonging and care
from the moment they arrive.
With only seven luxury villas on 500 acres, the
sense of privacy and scale is absolute. You aren’t
just visiting the forest; you are immersed in it.
The silence here isn’t empty – it’s filled with the
songs of native birds and the rhythm of the river,
providing a “quiet luxury” that is increasingly
hard to find in a busy world.
Tell us a little about the history of the
land/property…
The Maruia Valley has long been a place of
passage and protection. For Māori, it was a
traditional pounamu trading route as it leads
through the mountain passes to Hokitika.
At the turn of the last century it had an influx
of Pākehā (Europeans), who came for the gold
mined on the West Coast. Along the nature
trails you will stumble upon old gold mine
tailings that were worked around then.

In more recent history, the valley became a symbol
of New Zealand’s conservation spirit; the 1975 ‘Maruia
Declaration’ was signed on the banks of this very river,
becoming a blueprint for the protection of our native
forests. The forest itself is very special, being situated on
river terraces and being an ideal environment for both
ancient native beech species.
The property itself was originally established as a
premier fly-fishing lodge, taking advantage of the worldclass
trout fishing right on our doorstep. It has always
been a place that celebrated the “wild”, but its evolution
into a dedicated wellness destination is its newest chapter.
What was there when you took it on, and what have
you changed/built on/left the same?
When we arrived, the “bones” of a beautiful fishing
lodge were here – the seven villas, the main lodge, the
incredible river access, as well as the pristine rainforest.
What we left the same: we have kept the 500-acre
forest and the river trails largely untouched, allowing the
wildness of the land to remain the star of the show.
What we changed: we transformed the focus from
adventure-only to holistic wellbeing. We upgraded
and modernised the villas into sanctuaries and built a
professional, light-filled yoga shala and wellness centre,
including a Finnish dry sauna, infrared forest sauna and a
heated magnesium pool. The perennial favourite though
is soaking in our outdoor hot tubs and hydrotherapy spa.
What we built for the future: we recently
commissioned our own mini-hydro plant, harnessing
the power of an on-site stream to ensure the retreat is
carbon neutral, aligning our operations with the health
of the land.
We’re planning a 130 kW solar installation to create a
surplus of energy that we can export to the grid to help
support local energy use while neutralising the “carbondebt”
of our guests.
We’re also looking at expanding our gardens, planting
more heritage fruit trees, and a gradual conversion of
the paddocks into fully organic silvopasture fields.
What is ‘regenerative travel’ and how does what you
do/offer encompass that?
Regenerative travel goes beyond “sustainability.”
Sustainability is about doing no harm, but regeneration is
about leaving a place – and a person – better than you
found them.
For the land, this means our carbon-neutral energy
initiatives and our “locavore” sourcing that supports the
regional economy. For the guest, it means shifting from
“checklist tourism” to “regenerative seclusion”.
We encourage a minimum two-night stay because it
takes time to move from doing to being. When guests
leave us feeling restored and reconnected, they take that
renewed energy back to their own communities – that
is the ripple effect of regenerative travel.
The food at Maruia River Retreat is delicious! Where/
how do you get your produce? And why is food such
an important part of the experience you offer?
We view food as “nourishment” (or kai) that should heal
and energise. Our philosophy is inspired by holistic and
macrobiotic principles – balancing seasonal, nutrient-rich
ingredients to support the body’s vitality.
We source as much as possible from our own
kitchen garden, including fresh herbs, vegetables and
honey from our estate hives.
For everything else, we look to our neighbours and
then further afield, curating the best ingredients that
New Zealand has to offer. We serve eggs from the farm
next door, local yoghurts and regional staples like Pic’s
peanut butter and Yum granola.
Food is central because you cannot truly “retreat” if
your body isn’t being fueled by the land you’re walking on.
Our three-course menus change daily to reflect what
is in season, ensuring that every meal is a literal taste
of the best of New Zealand in a very distinct, evolving,
Maruia River Retreat style that has earned rave reviews,
and has, for the more food-focused guests, become the
main reason to visit.
Cristina, you also offer a variety of set retreats
throughout the year. How did the writer’s retreat
with Naomi Arnold, which I was lucky enough to
attend, come about?
The idea for our Writer’s Retreats grew organically. We
discovered that many of our solo guests were already
using their time at Maruia River Retreat as a personal
writing escape – finding the quiet, space and inspiration
to work on memoirs, novels and stories.
One guest suggested we create a dedicated retreat
where writers could not only have uninterrupted time
to write, but also be guided, mentored and inspired
alongside others on a similar journey.
Naomi was a natural choice to lead our Creative
Writing & Reading Retreat. Having just completed
her book tours [for 2026 Ockham NZ Book Awards
shortlisted Northbound] and writing workshops around
New Zealand, the timing was perfect for her to bring
fresh insights and experience into this inspiring, peaceful
and nurturing environment.
It also helped that Naomi had stayed with us twice
before and already knew first-hand that Maruia River
Retreat was the ideal setting to create and share
something truly special.
Due to popular demand and encouraging feedback
on our first one, we are running the second Creative
Writing & Reading Retreat with Naomi this winter,
June 5-8.
Anything else people are surprised or interested
to learn?
Many guests, including locals, are surprised by just how
much more there is to discover – and fall in love with –
about the forest, the trees, the river, and the birds that
surround us at Maruia River Retreat.
Guests often share that their time here reminds them
of the familiar feeling of simple joys and meaningful
moments. They realise on their own that true rest is
necessary, and that time in nature creates the balance
they’ve been missing in everyday life.
It’s often only through fully immersing themselves in
the experience – slowing down, breathing deeply and
with us taking care of them – that they become more
present in the natural environment, making their stay a
regenerative holiday and time well spent.

Feature | Magazine 37
FROM TOP, LEFT TO
RIGHT: A private villa. an
outdoor lounge, the yoga
shala; fine dining. Photos:
Molawin Evangelista; the
breakfast buffet. Photo
Nancy Zhou
PREVIOUS PAGE, FROM
LEFT: Maruia River Retreat.
Photo Josh Griggs;
owners Cristina and Lasse
Holopainen with pup Ronda.
Photo Nancy Zhou
NEXT PAGE: A villa interior.
Photo Nancy Zhou

38 Magazine | Feature
BETTER SLEEPING
If there’s one thing to address that can make the
healthiest impact in your life in these times, it’s getting
better sleep. The quality of your sleep determines
your mood, energy levels and more importantly, your
ability to function with a sharp mind and limber body
for the work day ahead.
It can be a challenge to manage the recommended
seven to nine hours of sleep for adults, especially
in these extraordinary times, but there are a few
practical things you can do to improve, little by little,
the quality of your everyday sleep.
Create a simple and soothing bedtime ritual
Set aside 30-minutes before your usual bedtime to
set up your sleeping space. Find enjoyment in setting
up your bedroom with sensory pleasures. Some
examples are having fresh and clean sheets, releasing
essential oils or lavender mist sprays into your
room, dimming the lights to a low level brightness,
eliminating any loud sounds or playing relaxing music.
Develop these into regular rituals to create an inviting
environment for pleasurable and deep sleep.
Find your optimal sleeping position with the help of
pillows, blankets and other props
Choose the right props for your sleep – pillows,
blankets and even side pillows to hug and cuddle
with. Choose those that provide you with a tactile
feel that will be conducive to relaxation and rest. The
ideal sleeping positions are on your back or on your
side (so your neck is not cranked to one side nor are
your lungs restricted by sleeping on your chest). If
you sleep on your side, support yourself with a head
pillow that allows for room in your shoulders. You can
add pillows to hug between legs and arms for space
to allow for expansion even while the body collapses
to rest. If you sleep on your back, you can add pillows
on both sides of your waist and even under your
knees for snugness and lower back release.
“When guests leave us feeling
restored and reconnected, they take
that renewed energy back to their
own communities – that is the
ripple effect of regenerative travel.”
Know the effects of stimulants on your sleep schedule
Studies have shown that caffeine would have anywhere
from nine to 12 hours of stimulation and wakefulness.
So if you intend to get to bed at 10pm, work the hours
back – that would mean you should have your last cup
of coffee at 10am so you can ease yourself into the
night. Observe your own alertness and wakefulness with
alcohol and caffeine and make adjustments according to
how it affects you.
Set aside time for soothing breaks during your day
Take mini-breaks during the day, especially as you wind
down your day. A 20-minute nap could help bring back
energy levels and calm your temperament and you can
add a restorative practice and breathwork at the end
of your day to signal the start of relaxation into your
evening ahead.
Develop a daily rhythm
Movement and exercise is key during your waking hours.
Exercise, move and realign your activities during your
wakeful and alert hours of the day. The body will want
to move and express itself throughout the day so that it
can release any unwanted and excess energy, which will
make it easier to induce rest and relaxation. The trick is
to get the body to know when it’s time to be awake and
alert and when it’s time to rest, release and recover.

Recipe | Magazine 39
MARVELLOUS
MARUIA MUFFINS
I came across the Jordan Marsh
blueberry muffin recipe when
I first started offering onsite
baked goods. Over the last four
years it has evolved considerably,
to what I consider a more
wholesome, healthy and even
more delicious muffin recipe.
Makes: 16 standard muffins
400g all-purpose flour
100g wholemeal flour
(we use purple wholemeal)
4 teaspoons baking soda
1 teaspoon salt
250g butter
300g sugar (add or subtract
or swap for other sweeteners)
4 eggs
250ml plain yoghurt
2 teaspoons vanilla essence
100g white or dark chocolate
(optional)
400g berry of choice
(500g if no chocolate)
Preheat oven to 180°C.
Prepare two large mixing bowls. To the first bowl add both
flours, baking soda and salt. Dry mix with hand mixer or whisk.
To the second bowl add butter and sugar. Mix or whisk until
well combined, then add and mix eggs one at a time, yoghurt
and vanilla essence.
Mix or whisk again until fully combined and no lumps remain.
Empty contents of first bowl into second bowl and mix with a
spatula until just combined (lumpiness is ok but break up any
clots of dry flour).
Add chocolate, if desired.
Add 400g of berry of choice (500g if no chocolate). Pro tip: if
using frozen berries, rinse them in a strainer under cold water
for a minute or two to avoid staining the batter.
Mix with the flat of the spatula, turning the batter rather than
cutting through it to maintain berry integrity.
Portion into a muffin tin (lined or cases). I prefer using a level
large ice cream scooper (the one with the wiper) to portion as
the consistency of this batter is good for this.
Bake until internal temperature of 93°C (about 18-20 minutes)
– add time if needed.
Cool in tin for 10 minutes. Transfer to a cooling tray. Top with
whatever you prefer (no need really) and enjoy the goodness.

40 Magazine | Drive
An elevated experience
The BYD Sealion 8 sets a new benchmark for large plug-in hybrid SUVs with its
commanding presence, advanced technology and exceptional versatility. Combining
bold, refined design with BYD’s latest Super Hybrid powertrain, it delivers an
effortless balance of efficiency, performance and intelligent (and enjoyable!) driving.
WORDS JOSIE STEENHART | PHOTOS KALLUM HARRIS
The last BYD I wrote about in these pages was the
Atto 1 – a spacious-feeling but super compact
auto that was as easy to zip around in as its price
point was on the bank account ($29,990, in case you
were wondering).
This month, Euromarque put me in the driver’s seat
at the other end of the BYD spectrum, with the PHEV
Sealion 8 in its Premium AWD model ($91,990).
Comparing the two is like apples and oranges, top
of two entirely different categories, but let’s just say if
you’re partial to a larger car and a little (actually a lot
of) luxury, you’re going to love the Sealion 8.
This big beauty is more than five metres in length
and rides on 21-inch alloy wheels, though its smart
proportions and sleek design aesthetic keep the
exterior from looking/feeling bulky – and inside, of
course, that just translates into space, glorious space,
including a potential seven seats (all of which have
airbags btw) and up to 1,960L of rear trunk capacity.
While we’re in there, clock the lush leather seats in
the first two rows featuring ventilation, heating and my
favourite – massage settings – (all in Premium only),
rich all-black-everything interiors, generous screens/
displays and striking signature details at every turn.
It comes in Aurora White (as standard), Ridge Grey,
Cosmos Black or an edgy yet sophisticated nod to its
aquatic namesake, Dark Aquamarine.
And it’s not just visuals: the Sealion 8 Premium
boasts an upgraded, immersive sound system
complete with 21 speakers, for a high-definition sound
no matter where you’re seated, while front windshield
double-layer sound insulation, double soundproof
front doors, rear windshield and door privacy glass
and an electrically operated trunk door ensure it’s an
all-round smooth operator.
She’s also big on intelligence: featuring BYD’s latest
technology including a 26-inch ultra-wide Head-Up
Display (HUD), 10.25-inch digital Instrument Cluster
and 15.6-inch infotainment system with advanced
voice recognition.
Additionally, the Sealion 8 debuts New Zealandfirst
Car Wash, Nap and Camping modes – and
consider me both impressed and obsessed.
Car Wash mode automatically disables the rainsensing
wipers, folds in the side mirrors, locks the
windows and turns off the charge port door to
prevent accidental openings and water damage.
Nap mode automatically adjusts the driver’s
seat into a relaxed zero-gravity position, dims
the cabin lights, plays ambient nature sounds and
turns on the climate control system to maintain a
comfortable temperature while keeping the car’s
engine off.
And while I am very partial to a good nap, it’s
the Camping mode that I find the coolest and
most compelling. Its key features include a climate
control that keeps the AC or heater running
through the night and the ability for extended
use of the infotainment screen for watching
movies or listening to music without draining
the 12V battery, while the smart cutoff function
automatically shuts off the AC if the battery’s
State of Charge (SOC) drops below a set reserve,
ensuring you have enough power to drive to the
nearest charger.
Combine it with all that decadent cabin space,
and you could have yourself some low-keyluxurious
road trips and skip the hassle and
expense of hotels every night (or the hassle and
discomfort of actual camping).
Final facts and figures – also large and
impressive: Sealion 8 Premium has a combined
359kW of power and 675Nm of torque, promises
up to 152km in electric only range, and will take
you from 0-100km/h in 4.9 seconds if you want to
put your pedal to the metal. Defined as a super
hybrid, the emphasis is on the electric, which
provides a refined, ultra-quiet driving experience.
An elevated experience in all senses of the
word, the BYD Sealion 8 starts at $74,990 + ORC.
Contact Euromarque for more information.
120 Saint Asaph Street, Christchurch. euromarque.co.nz

Drive | Magazine 41

Tree house
A strikingly shaped home in Dunedin’s Orokonui Valley creates the
feeling of living within a forest canopy – complete with native birds.
WORDS KIM DUNGEY | PHOTOS NICK BEADLE

S
ome people looking at this house have seen a sail or a
tent. One even thought it looked like a spaceship. But for
most, the sculptural roof echoes a canopy of trees, which is
what the architect intended.
The design was inspired by nature and, in particular, the
home’s location. Sited below the Orokonui ecosanctuary, it’s
surrounded by regenerating native forest.
Owners Richard Butler and Fi McMillan previously lived
near the Dunedin Town Belt and were keen to replicate the
feeling of ‘‘living in the trees’’, surrounded by birdlife.
After telling architect Gary Todd they wanted something
that was one of a kind, with seamless indoor-outdoor
spaces and access to natural light from every room, he took
a piece of cardboard and drew inverted triangles with lines
beneath them.
‘‘It was really bold and really different,’’ Fi recalls.
‘‘For us, it was a big adventure and a bit of a dream, and if
you’re going to do that, you don’t want something boring.’’
Gary says the project was based on biophilic design – the
idea that integrating elements of the natural world into
buildings can enhance people’s wellbeing.
Using timber and tree-like forms not only linked the home
to its surroundings but created a warm, inviting atmosphere.
The result was a comfortable, calm space where the
owners could ‘‘experience indoor and outdoor living
immersed in the natural environment’’.
Design | Magazine 43

44 Magazine | Design
“Using timber and tree-like
forms not only linked the
home to its surroundings
but created a warm,
inviting atmosphere.”
While the Colorsteel roof is reminiscent of a
canopy, the timber-clad steel portal frames on the
interior are designed to mimic tree trunks, using
timber battens set out like branches.
Builder Mike Kapua says the portals support
upside-down roof trusses which were made from
200mm x 100mm laminated beams. These heavy
internal trusses act as counterweights for 3.6m
cantilevered trusses which extend out to form the
external soffits, finishing at a point only 5cm deep.
One advantage of the wide eaves is there is
always somewhere sheltered to sit outside, no
matter what the weather.
Located 20 minutes north of Dunedin, the
Orokonui valley was home to a private boys’
boarding school until being bought by the
government in the early 1900s as a home for
recovering alcoholics. Later, the wooden villas
on the plot became an extension of Seacliff
psychiatric hospital. The last patients moved out
in the early 1980s and from 2012, the land was
divided into lifestyle sections.
Orokonui, a Kāi Tahu name referencing a
peaceful planting phase of the moon, is a ‘‘poetic
fit’’ for a valley now dedicated to ecological
renewal, Gary says.
Home to at least 20 native species of birds,
including kiwi, kākā and takahe, the ecosanctuary
also hosts six species of lizard, the unique
tuatara and the country’s tallest tree: an
Australian mountain ash which is over 80m high.
Richard says he and his wife fell in love with
their 0.4ha site as soon as they saw it and were
excited not just about building a house but
‘‘having a project’’.
‘‘We wanted, when we were older, to be out
of town but close enough that you’d go in for
the evening… To be somewhere peaceful and
natural and then to build a garden.’
‘‘Sometimes we go and sit down the bottom
at night when it’s completely dark and we’ll
listen to the ruru calling and the kākā flying
home and it’s absolutely brilliant.’’

46 Magazine | Design
After cost estimates came in, the couple decided
to downsize the house by almost 40sqm, replacing
the double garage with a single one and relocating the
laundry to a cupboard in the kitchen.
However, they were determined to retain
the ‘‘purity’’ of Gary’s design, which meant not
compromising on the shapes or materials.
The plan includes two ensuite bedrooms and two
living areas, one of which they use for listening to music
and jamming with their adult children.
As well as ensuring there were views through the
house, the architect included high-level windows which
provide unexpected glimpses of the skyline.
The interior is deliberately ‘‘clean and simple’’ so the
undulating ceiling is the main focus. To achieve this, the
walls were painted the same recessive colour as the
roof; an added benefit is that the dark shade makes the
owners’ art collection sing.
For Richard, who’s the general manager for
electronics at Fisher & Paykel and manager of its
Dunedin design centre, the kitchen was an opportunity
to use appliances his teams have worked on.
‘‘I wanted it to be minimalist and to fully integrate
everything but also for the kitchen to feel warm and
inviting,’’ he says, adding they added subtle colour and
texture with green tiles, granite bench tops and a tactile
dining table, made from an elm tree which once stood
on the property.
A storeroom holds the family’s musical instruments
and Fi’s weaving supplies.
‘‘We wanted to have a house full of art and music. We
have space for that so it’s awesome but, to be honest,
we spend all our time planting the garden and battling
rabbits,’’ she says, laughing.
Given its large expanses of glass, the home would have
struggled to meet passive house standards but the aim
was to use the energy of the sun as well as possible.
The airtight outer shell helps the house remain at a
consistent temperature, the concrete floors serve as
thermal mass and the 30-degree slope of the eaves keeps
the harsh summer sun out while allowing winter sun to
reach all the main areas.
There’s also underfloor heating and a balanced
ventilation system.
The owners say the end result is testament to an
architect and builder who cared about the fine details.
‘‘It’s a very practical house in terms of heating, sunshine
and fresh air but it’s also fun and designed for the way
we wanted to live, which was inside and outside.’’
Architect Gary, too, is pleased with the final outcome.
‘‘I’ve done a lot of houses,’’ he says, ‘‘but none of them
look like this.’’

829 Colombo Street, Christchurch | (03) 379 0600 | accentlighting.co.nz

48 Magazine | Promotion
DIRECTORY
HOME & LIVING
SOBHNA’S
What started as a small, family-run
stall at the local market has now
become a mouthwatering empire
of authentic curry pastes, spice
blends and condiments, still made
by hand from the highest quality
ingredients and led by 74-year-old
Sobhna and daughter Nimeesha.
Made for you to easily and quickly
replicate delicious, traditional
home-made Indian food in the
comfort of your home, each
versatile jar can make up to four
family meals, making them both
convenient and cost-efficient.
sobhnas.co.nz
LITTLE RIVER GALLERY
Nature’s tiniest details transformed into wearable art –
West Coast jeweller Adele Stewart’s botanical-inspired
pieces remain a perennial favourite in the Little River
Gallery space. Discover a covetable selection of Adele’s
work in gallery and online via the website.
littlerivergallery.com
ANY EXCUSE
Made in France, the Macaron glassware collection
reflects the pleasure of a food and wine pairing. Its
bold, rounded shapes are at the service of wines:
they reinforce their power by double-locking and
opening the glass. Available in white and red, and
priced at $69.99 for a set of two.
anyexcuse.co.nz

FREE
ENTRY
HOME
IDEAS
26-28
JUNE
10AM - 4PM
Wolfbrook Arena,
Addington
SHOW SPECIALS FREE SEMINARS EXPERT ADVICE
ENERGY SAVINGS SMART HOMES LANDSCAPING
RENOVATIONS DECOR FOOD TASTINGS
BE IN TO
OF FLOORING FROM
www.starhomeshow.co.nz

50 Magazine | Recipes
Easy as pie
Born to bake – she grew up working in her family’s Lincoln bakery – Christchurchbased
chef Wendy Morgan’s passion for pies shows no sign of waning.
WORDS, PHOTOS & RECIPES WENDY MORGAN
New Zealand pies are a thing of national pride
– it’s in our DNA. Bakers, chefs and home
cooks all over the country are crafting pastry
indulgences with no limits.
I can remember making mud pies as a kid and
baking them in the sun on the bumper bar of my
father’s DeSoto.
I don’t just love cooking pies; I love eating
them. I will plan road trips around where the best
bakeries are. I often find myself comparing notes
with family and friends on where to find the best
pies, and I know I’m not the only one.
I follow Instagram accounts about pies; I buy
other people’s pie books, and I find myself craving
a pie if I haven’t had one for a few days.
When I am in a pie shop, I always find myself
looking out the back, feeling empathy for the tired,
pasty-looking bakers who never get to see enough
sun. The baker/owner at my local pie shop waves hello
to every single customer who walks through the door.
Not only do you get a great pie, but it comes with a
lovely, warm, sincere greeting that makes your day.
A great pie is a textural delight and it begins with
the pastry. Some people find their pleasure making
a loaf of bread or a cake, mine comes from making
pastry, and I’m guessing if you’re reading this, you
are already with me on this or are at least ready
to experiment.
Don’t feel you have to follow my cues here with
the recipes; get creative with what suits you. Mix up
different pastries with different fillings. Bake individual
pies as large pies and vice versa. Use different-shaped
pie tins. Make them yours; there are no rules, well, no
rules that can’t be broken.
TRUFFLED BRIE PIE
My favourite way to serve this pie is to cut it into wedges with a salad of pear and walnut dressed
with a lemony vinaigrette. It’s very rich and the acid pairs well with it. Drizzle some extra truffle oil
on when you’re serving if you like a big truffle kick.
1 quantity Rough Puff Pastry (see recipe)
2 dried figs
1 heaped teaspoon honey
125g wheel of brie
1 teaspoon truffle oil
6 rosemary leaves, cut in half
Pinch flaky salt
Pinch black pepper
1 egg
Pinch poppy seeds
Preheat the oven to 200˚C fan bake.
Remove the central, hard stalk from the figs
and cut them in half horizontally. Drizzle the
honey over them and microwave for 30 seconds.
On a lightly floured bench, roll the pastry out
to 3mm thick. Use the brie as a measure and
cut a circle 4cm wider around the Brie to make
the pastry base. Use your pastry base as your next
measure and cut another circle 2cm larger than
your base and this will be your lid.
Place the pastry base on an oven tray lined with
baking paper. Place the brie in the centre and top
with the figs, honey, truffle oil, rosemary and salt
and pepper.
Brush the edges of the pastry with water, then
lay the lid over and press the two layers together.
Crimp around the edges with your fingers or press
with the tip of a fork.
Whisk the egg and egg-wash the top of the pie.
Make some air holes around the side of the pie with
the tip of a knife, then sprinkle with poppy seeds.
Bake the pie for 18 minutes, until nice and golden
brown. Let rest for a few minutes before cutting
and serving.

Recipes | Magazine 53
MUSHROOM
TARTE TATIN
This tarte Tatin makes a fantastic
vegetarian meal with a salad on the
side. Rich pastry, meaty mushrooms
and sweet onions – it’s a showstopper
for the eyes and the palate.
Use a 26cm round oven-proof frying pan
1 quantity Rough Puff Pastry (see recipe)
1 onion, halved and sliced
4 teaspoons butter
10 portobello mushrooms, thickly sliced
(about 6–7mm)
2 tablespoons sherry
1 teaspoon honey
2 teaspoons fresh thyme leaves
Preheat the oven to 200˚C fan bake.
On a lightly floured bench, roll the pastry to
4mm thick and use the pan as a measure to cut
a round disc.
In the pan you are going to cook the tarte in,
sauté the onion gently in 1 teaspoon of the
butter until just starting to colour. Set aside.
Working in two batches, cook the mushrooms
in the same pan, with a teaspoon of butter,
until brown on both sides. Add 1 tablespoon
of sherry and continue cooking until it
evaporates. Set aside and repeat with the other
half of the mushrooms, sherry and a teaspoon
of butter then set aside with the first half.
Smear the final teaspoon of butter and honey
over the base, and up the sides a little, of the
frying pan, then sprinkle the thyme leaves over.
Arrange the mushrooms in the bottom of the
pan, sprinkle the onion over and then place
the pastry disc on top, tucking it in a little
around the edges.
Place in the oven and bake for 20 minutes.
Let it sit for a minute or two to settle before
carefully flipping upside-down onto a plate.
ROUGH PUFF PASTRY
200g high grade white flour
200g butter, room temperature firm,
cut into cubes
Pinch salt
100ml cold water
Place the flour, butter and salt into an
electric mixer with the paddle attachment
and mix until the flour has coated all of
the butter cubes and is starting to break
them down a little. Add the water and
mix until a rough dough forms. Remove
the dough from the mixer, form into a
ball, flatten a little, wrap in cling film and
rest in the fridge for 15 minutes. Roll the
dough out to a rectangle to approximately
35cm x 20cm and fold into thirds. Give the
pastry a quarter turn on your bench and
roll out to the same size rectangle, then
fold into thirds again. Wrap back in cling
film and rest in the fridge for 15 minutes.
Repeat this procedure two more times.

54 Magazine | Recipes
CHOCOLATE CHERRY
ICE CREAM PIE
This makes a pretty big dessert pie, so
if I haven’t got a crowd to feed, I preportion
it into containers in the freezer,
ready for a quick weeknight dessert.
1 quantity Chocolate Pastry (see recipe)
150g 72% dark chocolate, chopped
500ml cream
1 can (395g) condensed milk
300g cherries in syrup (drained, syrup reserved)
200ml cream
On a lightly floured bench, roll out the pastry a
little larger than the tin to 5mm thick. Line the pie
tin by rolling the pastry backwards onto your rolling
pin and then forwards over the tin. Trim the edges
with a sharp knife. Chill in the fridge for 15 minutes.
Preheat the oven to 180˚C fan bake.
Line the pie shell with baking paper and fill with
rice or baking beans. Bake for 15 minutes, then
remove the baking paper and rice and bake for a
further 5 minutes. If the pastry starts to puff up,
insert the tip of a sharp knife to release the air.
Leave the pie shell to cool in the tin.
To make the ice cream, place the chocolate in a
bowl, heat 150ml of the cream to just boiling and
pour over the chocolate. Whisk to combine – it’s
fine if there are a few pieces not melted.
Whisk the remaining 350ml cream to soft peaks,
then add the condensed milk and whisk until
smooth. Gently whisk in the chocolate until
combined and then stir through the cherries.
Spoon the ice cream mixture into the pastry shell
and freeze for at least 4 hours. You may have a bit
too much, in which case just freeze the leftovers in a
separate container to eat on its own.
Once the pie is frozen, whip the cream and spread
it on top. Return to the freezer for another hour
before serving.
NOTE: I like to serve this in wedges with a little
syrup from the cherries drizzled over.
CHOCOLATE PASTRY
150g cold butter, diced
180g high grade white flour
40g cocoa
50g icing sugar
Pinch salt
1 egg yolk
2 tablespoons cream
½ teaspoon vanilla essence
Place the butter, flour, cocoa, icing sugar
and salt into a food processor with the blade
attachment and process until it resembles
fine breadcrumbs. Add the egg yolk, cream
and vanilla, and mix until it just comes
together. Remove from the processor and
finish bringing it together with your hands.
Form into a ball and flatten a little, then
wrap the pastry in cling film and rest for 20
minutes in the fridge. Rest for a further 10
minutes at room temperature before using.
Easy as Pie: A
relaxed approach
to pastry and pie
making by Wendy
Morgan, published
by Bateman
Books, RRP$40.

We’re Back!
11 Matipo Street, Riccarton, Christchurch
OPENING
SPECIAL
30% OFF ALL
Water Features & Pots
OPEN: Monday–Friday 9am–5pm, Saturday 10am–4pm, Sunday Closed
Come visit us. There’s lots more arriving on site!
P: 365 9945
E: info@garden.co.nz
w: www.garden.co.nz
Blenheim Rd
Matipo St
Grow Landscape
& Lifestyle

Frame work
Returning to the southern city for a new (uniquely displayed) exhibition
at Dunedin Public Art Gallery after six years away has been a profound
experience for artist Imogen Taylor.
WORDS REBECCA FOX
Following in the footsteps of 20th century
expatriate painters who left New Zealand for
Europe to immerse themselves in the culture of the
“old country”, Imogen Taylor has settled in London.
Imogen spent some time researching those painters
during her tenure in Dunedin as the Frances Hodgkins’
Fellow in 2019.
While the Aucklander discovered a love for
Dunedin during that time, she left for her long-awaited
Wallace Art Award residency in New York as soon as
the fellowship finished.
Only Covid-19 hit and closed the residency, sending
Imogen back home within a month.
“It felt like it was opening up my whole world and
then the literal world shut down.”
She moved back to Auckland seeking to be immersed in
a larger community of artists, before deciding in 2024 her
career was in the right place to be able to move overseas.
“It’s been a really tricky time since Covid. It’s made
making art particularly hard and I think it’s made isolation
really hard and isolation can be great for a practice but
also it can be really difficult, so London’s been really
great for the work.
“It’s just being immersed in so much art and just
having the proximity to amazing exhibitions and being
able to travel to Europe really easily and see that work.”

Arts | Magazine 57
“Uprooting can be
really difficult. I
don’t know how
Frances Hodgkins
did it with her
European journey
paintings, how
she managed to
continue a practice
throughout moving
and relocating to
all of those places.”
OPPOSITE: Curator Dr
Kirsty Baker (left) and artist
Imogen Taylor at From Behind,
Dunedin Public Art Gallery.
Photo: Linda Robertson
LEFT & NEXT PAGE:
Imogen Taylor, From Behind,
2026. Installation views,
Dunedin Public Art Gallery.
Courtesy of the artist and
Lett Thomas.
One of the exhibitions that stands out for her is
American painter Kerry James Marshall’s survey The
Histories at the Royal Academy last year.
At the time Imogen, who moved with her partner
and dog Dusty, was thinking she would abandon her
acrylic paints for oils because “everyone works in oil
paints there”.
“But his work is all in acrylic and there’s something
really masterful. I’ve always worked in acrylics. It’s
seen as being the kind of lowbrow cousin of oil
painting. So, to see that work really elevated the
medium that I work in, it kind of encouraged me to
keep working in the way that I do.”
During the past two years she has kept her ties
with New Zealand alive by working on From Behind,
an exhibition curated by Dr Kirsty Baker from City
Gallery Wellington Te Whare Toi, being shown by the
Dunedin Public Art Gallery.
It has been three years since Kirsty first approached
Imogen to do the exhibition as it has been delayed by
City Gallery unexpectedly closing for renovations.
“From when it was conceived it has changed a lot,”
Imogen says.
The exhibition now features work from the past
four years, some she painted while living in Auckland
in 2022 through to works she has made while living
in London – some in a small studio no bigger than a
bedroom until she had to seek out a larger space.
Kirsty says the exhibition picks up on the ideas
Imogen has been exploring throughout her practice.
“So her engagement with the history of landscape
painting in this country is in the show, her engagement
with queer art history is present, her interest in the
painterly process is very evident in the show and so
there are all these thematic strands in her work that I
was really drawn to as both a curator and a writer.”
Having written about Imogen in her book Sight
Lines (2024), Kirsty has been thinking about the artist’s
practice for a long time and believes the exhibition has
brought together a group of paintings that represent
the complexity and depths of Imogen’s practice as well
as the way painting operates as a mode of thought
and exploration around quite big ideas.
The ideas “are always kind of laced with humour
and a real awareness of the act of encounter for a
viewer and a painting”.

58 Magazine | Arts
“I think this show offers a way into an entire body
of practice that expands beyond this gallery space, so
I’m hoping people will come in, pick up threads that
link paintings, maybe be surprised by things that link
paintings, but then want to go away and explore what
else she’s done, her practice beyond this period that’s
represented here.”
The works range in scale to create “a little bit of friction
or tension” for the viewer.
The exhibition space is divided in two by a half-height
wall to “interrupt the space” as well as providing more
hanging space and decorated with a picture rail responding
to the title of the show From Behind.
“We’ve set up quite a bit of that friction for people
as they come in so you’re seeing the fronts and backs of
works at the same time, you’re seeing different scales at
the same time, if you stand here you completely erase
the work on the other side, but if you move just a few
feet in one direction it pops out and a different one
becomes invisible.
“So really making physical that idea of positionality as
being a really important determining factor in what you’re
seeing and how you experience something.”
Imogen says the rail also highlights the thread of
domesticity in the paintings.
“There are razors and cigarettes and dishcloths, and a
picture rail is typically in a domestic space.”
She has been worried that the two bodies of work –
those made in New Zealand and those in London – might
feel like they were done by different people.
“Now that they’re in the space, they’re having conversations
even though they’re over a four-year period which is, in a
painting life, a long time, a lot can happen.”
Returning to Dunedin for the exhibition has led Imogen
to think a lot about her time in the city for the fellowship.
“I feel like a different person. Obviously, I was 32 and
now I’m 40, and that’s quite a jump in ages.”
Back then she also had no interest in her ancestry but
moving to the United Kingdom on an ancestry visa has
changed that.
“My family are originally from there and I was thinking
about Pākehā identity and how Pākehā identity relies on
abandoning ancestry from the UK in order to establish
identity here, so I was kind of looking back.”
She was also in regular talks with Kirsty, who is Scottish.
“I was in the UK talking to her in Aotearoa, she was in
Aotearoa talking to me in the UK, so there was this kind of
crossing over of constructed identities.”
Along the way Imogen has also discovered Dunedin was
the entry point for her ancestors coming to New Zealand.
“At the time I didn’t realise I had all these ancestors
buried here as well. Now knowing that, it’s a lot more
profound coming back.”
It has also made her reflect on how important the
fellowship was to her, given the pandemic that followed.
“That was a couple of years that I didn’t predict for my
practice, so I think that fellowship financial support is what
got me through those couple of years because it provided
me with a break and a patch of time to really develop quite
“We’ve set up quite a
bit of that friction for
people as they come
in, so you’re seeing the
fronts and backs of
works at the same time,
you’re seeing different
scales at the same time.”

Arts | Magazine 59
a lot of work and get really strong in my practice, and
then also just having the financial support to not have to
be selling work at that time.”
She is “troubled” by the difficulties facing the fellowship.
“I think the future of it is worrying and I really hope
that it can get back on track because it just made such a
huge difference to my life and to my work.”
The creative sector overall is facing difficult times,
forcing financial constraints on artists, she says.
“We were just talking about [New Zealand painter]
Lois White [1903-84] and her practice, and how during
the Depression she had to work on cardboard. I think
we’re starting to see these things at the moment, the
arts aren’t getting as much support as they used to at
the moment under the current government so I think
those outside things are really affecting the way the
artists can work.”
In London, after two years, Imogen is finally feeling
comfortable in her practice again. It’s the first time in 10
years she has spent more than two years in one place.
“Uprooting can be really difficult. I don’t know how
Frances Hodgkins did it with her European journey
paintings, how she managed to continue a practice
throughout moving and relocating to all of those places.
“I think you can kind of see it in her work. It makes
the work quite restless and slightly unsure of itself, which
I think can also be a good thing. It means you’re still
learning as you’re going along as a painter.”
For Kirsty, having the exhibition open in Dunedin in
May was exciting and kind of a “double homecoming’’
for Imogen.
When it moves to Wellington later this year it will be
the first time Kirsty has worked in the newly renovated
gallery spaces.
“So I’m really excited to figure out spatially how that
plays out and how we draw connections across the two
different gallery spaces that the show will be in. Maybe
adding some things in. And just really looking forward to
hearing feedback from how it has sat here and how its
life has kind of shifted as it has been up and running.”
Imogen Taylor, From Behind, Dunedin Public Art Gallery, until September 13, 2026.
06 - 29 June 2026 OPENING EVENT 6 June 2pm
BIRDS OF A
FEATHER
Kirsty Nixon and
Fiona Garlick
03 325 1944
art@littlerivergallery.com
littlerivergallery.com

Books | Magazine 61
Finding the language
Internationally renowned author Witi Ihimaera Smiler is on a journey to write
a trilogy entirely in te reo Māori. His new memoir, Te Kaikaukau | The Swimmer,
tells the story so far.
WORDS TOM MCKINLAY | PHOTO HARRY CULY
Witi Ihimaera Smiler is back on the high-dive
board at the municipal pool. The highest of the
platforms, to which very few ever venture.
Far below is his target, but not the generously deep
and wide expanse of the diving pool. Rather, he’s aiming
to splash down through the neck of a beer bottle.
This, figuratively, is the task he has set himself.
Literally, he’s taking the plunge into a trilogy written
entirely in te reo Māori. So, a feat that almost certainly
comes with a much higher degree of difficulty.
“It’s going to be difficult because I am having to
change my writing process, one I’ve relied on for 50
years,” he says.
“But I’ll start the research phase and word/world
building soon. Then go to the bank and get a loan to tide
me over, take a deep breath, do the dive and hope to
hell I’ll end up in that beer bottle far below.”
They will be Witi’s first novels entirely in te reo Māori,
after a lifetime of writing about te ao Māori in English,
“writing in plain sight”, as he puts it.
It is now possible for the internationally celebrated
writer because of his decision, a couple of years ago, to
go back to school, aged 80.
In 2024 he enrolled at Takiura’s rumaki reo course,
a total immersion fulltime, full-year course with a
daunting reputation.
By the end of the course, students must stand to
speak, deliver whakapuaki, for an hour, in te reo Māori
anake (only), without notes.
For Witi, those orations involved much the same highdive
courage.
“Lucky I don’t get vertigo,” he says.
“A lot of times I missed and went splat. Ah well, try again.”
While we wait for the trilogy, we now have his
account of the Takiura experience, detailed in a new
book that mixes rich memoir as it goes.
“The book that I have written about my journey thus
far, Te Kaikaukau: The Swimmer i te ao o te reo, is kind of
like a signpost, half in English, half in te reo, showing my
stepping out on that rori hou o pereki kōwhai (new
yellow brick road),” he says.
Of course, none of this was necessary, in as much as
Witi’s reputation is beyond secure.
The Distinguished Companion of the New Zealand
Order of Merit (one of the honours from the brief
moment when we consigned knights and dames to
history. Most of those so awarded later traded them in
for “Sir” or “Dame”, but not Witi) was the first Māori to
publish a novel, Tangi (1973), has since that time written
any number of New Zealand classics, The Matriarch,
Bullibasha and The Whale Rider among them, several of
which became movies – then there are the memoirs, the
plays, the librettos, the children’s books, the investigations
into pūrākau (oral narratives)… Add to those
achievements his career as a diplomat and academic.
Nothing left to prove.
Yet, Witi disputes that.
“I thought, well, yeah, I do have to prove something,”
he says.
“I have to prove that te reo is absolutely a gift to our
country and that through it, we will be able to recreate
that Waitangi partnership linguistically.”
As a bicultural country we might, through the
language, “create optional ways of thinking and writing
ourselves into existence”.
Then there was the request from his father, Tom Smiler.
“My father, Tom, appeared to me in 2023 in a way
that some people might think spooky, as Dad had died in
2010 – now I know how Hamlet felt.
“Dad reminded me that time was ticking by. Since
1972, I have created a 50-year career as a published
Māori writer writing entirely in English. But I still have
to whakawhanake he pukapuka auaha i te reo anake –
publish a novel in te reo only.
“In answering to dad’s gentle reminder, I will of
course bow to the onamata (past) and the anamata
(future), the world of our ancient origins and the world
of āpōpō (tomorrow).”
The kaupapa, the intention, is to nurture the children
of today, he says, quoting the whakataukī at the heart of
the kohanga reo movement, Morimoria a tātou tamariki,
ko rātou hoki te iwi o āpōpō. Cherish our children, for
they are the people of tomorrow.
For Witi, going back to school, to Takiura, meant
stepping away from an already busy life to make space
to study.

62 Magazine | Books
“You’re timing yourself out of your ordinary life to
embark on an extraordinary journey. You have to have
stamina, as immersion is not for sissies. But the rewards
are… extraordinary, which sounds much more physical
and transformational in its Māori usage, whakaharahara.”
The thing here is that, as readers of his work will
know, Witi Ihimaera began his life in the small te reo
Māori speaking village of Waituhi, near Gisborne –
which has doubled as the setting for many of his novels.
So, there’s every chance that Witi’s experience was one
of regaining, rather than gaining, proficiency in te reo.
“Learning te reo became not only a reclamation
of language but also a reclamation of my world and
confrontation with loss,” he says.
At Takiura, he helped set up a forum so students
could talk about the trauma of language loss.
“Some of us cried. Others were angry. Some were
really pissed,” he writes.
All this at the same time as the nation was debating
the Act Party’s Treaty Principles Bill, widely regarded
as, among other things, a direct attack on te reo Māori.
The politics of the Bill were an ever present background
noise to the school’s extracurricular activities, visits to
marae, to honour the passing of a king in the Waikato
and the coronation of a new queen.
“Therefore, language immersion was also cultural
immersion. This was why Te Kaikaukau became not
only a workbook of what happened at Takiura but a
historical analysis or memoir of what happened to a boy
from Waituhi as he traversed the colonial boundaries
that all indigenous people have been challenged by.”
Profoundly, Witi was confronting who he was. Which
is to say, a Smiler or an Ihimaera. The author on the
cover of Te Kaikaukau, is Witi Ihimaera Smiler.
“To clarify, I took up the name Witi Ihimaera at 15
when I sat school certificate, as an act of whakamana
and rangatiratanga, as my political identity,” he explains.
Witi is a Ringatū name that remembers the support
Te Whānau-a-Kai, his iwi, provided to the prophet Te
Kooti Arikirangi.
“The ‘Smiler’ part of it, given by missionaries to my
grandfather, I have discarded for some 65 years – though
of course iwi and whānau know me by that surname.
But that part was the colonised part of my life and didn’t
really belong in the ‘authorised’ narrative or version of it.
When I finished writing the book, however, I realised that
I needed to acknowledge that boy’s survival. Te Kaikaukau is
his story.”
It involved a huge psychic release, he writes in the
book, when Witi Ihimaera bent his forehead and nose
to Witi Smiler.
“The draining away of years of doubt about myself,
even self-hatred.”
So, Witi Ihimaera Smiler safely navigated the Takiura
experience, sometimes fearing “immersion” might
involve drowning, but ultimately keeping his head above
water, right up to and including that final whakapuaki,
standing to speak in te reo Māori for an hour – he
both spoke and sang – so that all that remains is for
him to write his novel in te reo rangatira.
He gave himself two years, post the course, to fix
the language in place, before beginning.
But it’s no simple thing. Witi is determined it will not
be the writer doing the same thing he has always done
but in another tongue, writing in te reo but within a
horopaki (context) Pākehā.
He’s moving on from the rules of the coloniser.
“I guess the puzzle has always been how to
represent the iwi Māori in fiction in ways that are
clear and based on kaupapa, tikanga, whakapapa and
rangatiratanga,” he says.
“I could only go so far in English and according to its
structure and narrative, let alone linguistic traditions, by
warping myself – or them – to fit.”
The new writing will emerge from te ao Māori
informed by its pūrākau (legends), karakia (prayers),
waiata (songs) and whakataukī (proverbs).
They will appear intertextually, much as a writer in
English might work Shakespeare into their own text,
he says.
“I’m really excited by the opportunity to create
subtext through karakia and try to also involve the
singing nature within sentences.
“That, I think, is one of the gifts that comes from
my understanding and my better engagement during
the year.”
The hour is approaching when all this learning will be
put into practice, on paper.
“The good news is that although 2025 was very busy
– catching up on what I had set aside of my life while
at Takiura, chairing a new Māori writer organisation,
rehearsing my play Tiri Te Araroa, completing the three
books that will come out this year, travelling to Rūrutu
and France, let alone Waituhi, being a granddad and all
that – I was able to trial three options,” Witi says.
That feat of high-board athleticism might have landed
in various places, but in the end splashed down on a
trilogy set in te ao tāwhito, in history.
“The first book will be called Waenga, Between,” he says.
“I will be writing for a Māori audience but also for
Pākehā, that won’t change,” he says.
“Except they’ll have to know te reo to do it.”

Do you have
unwanted, broken
or worn out
gold jewellery?
• All forms bought, including Alluvial
• We also buy Antique Jewellery
Gold & Silver Bullion/Coins Bought & Sold
Trusted since 1967

64 Magazine | Read
Book club
Great new reads to please even the pickiest of bookworms.
Yesteryear
Caro Claire Burke | HarperCollins, $37
Natalie lives a traditional lifestyle – and her followers
are sick with envy. Her charming farmhouse, her
handsome cowboy husband, her homemade
sourdough boules, each more beautiful than the last.
So what if there are nannies, producers and industrialgrade
ovens behind the scenes? What her followers
don’t know won’t hurt them. Then, one morning,
Natalie wakes up in a strange, horrible version of
reality. Her home, her husband, her children – they’re
all familiar, but something’s off. Is this a hoax? A reality
show? A test from God? Natalie knows just two
things for sure: this isn’t her perfect life, and she must
escape, by any means possible. Now being adapted
into a major film starring Anne Hathaway.
The Nowhere Boy
Ann Cleary | Allen & Unwin, $38
The stunning debut novel by the winner of the Allen
& Unwin Fiction Prize 2025. Three-year-old Oliver
vanishes from a remote carpark while his young father,
Scott, carries fishing gear down to the beach. When
he returns, the car is empty. His son has vanished
without a trace. Angry and drowning in her own guilt,
Oliver’s mother Fae is pulled back into Scott’s orbit
as police launch a desperate search across a wild
coastline and dense pine forest. Far from the search,
a grieving woman convinces herself she’s been given
a second chance. Tessa has lost three babies and the
future she believed was hers. When she encounters
a small abandoned boy, she sees not a crime, but a
miracle she can’t surrender. As the hunt intensifies and
pressure continues to mount, everyone involved is
forced to confront the same terrifying question: when
love becomes possession, how far is too far?
Enough
Dawn French | Penguin, $38
The eagerly awaited, hilariously dark new novel from
#1 bestselling author Dawn French. Etta is 68 years
old. Happy, healthy and an active participant in her
world, she’s gathered her family together for an
unforgettable weekend. At 5am that Saturday morning,
Etta wakes her daughter, her granddaughter, her son
and her daughter-in-law up to lead everyone down to
the beach, to ‘Etta’s Hollow’, where a roaring fire has
already been lit. With the sun just starting to rise for
a glorious dawn, Etta’s family bask in the beauty of the
moment – a memory to be cherished forever. Until 20
minutes later, when she announces to her assembled
beloveds something as shocking as it is alarming. ‘You
see, the thing is, today is my last day alive.’ Over the
next 24 hours, Etta and her family are about to have
the most surprising, affecting and life-affirming day of
their lives.
Stakes
Noelle McCarthy | Penguin, $40
Growing up in Catholic Ireland, Noelle McCarthy is
captivated by Bram Stoker’s Dracula. The vampire is
a risk-free fantasy, a suave alternative to the fraught
realities of desire. Twenty years later, exhausted by her
unruly appetites, Noelle returns to Dracula, reckoning
with her own history and a changing world: generationspanning
shame and trauma given voice by #MeToo
and the horrors emerging from Irish soil. More than a
century after readers were first mesmerised by Dracula,
Stakes transposes its electric themes of transgression,
intoxication and sexual danger onto Noelle’s own life,
asking: what’s the difference between an inheritance
and a curse? A darkly funny, sparkling follow-up to the
New Zealand-based writer’s acclaimed memoir Grand.

Read | Magazine 65
SCORPIO BOOKS’ STAFF PICKS
London Falling
Patrick Radden Keefe | Picador, $40
Completely riveting! Keefe explores the reverberations of past wars, empires and
geopolitical power shifts in contemporary London society and human psychology
through the mysterious death of one London teenager, and the blurred
economies of the city’s super-wealthy underworld. He then winds right back in
to the central individuals, exposing in forensic detail the impulses of deception
and greed at the heart of the story. This is superb and eye-opening narrative
non-fiction from one of the masters. For fans of David Grann and Tom Burgis.
– Harriet
The Things We Never Say
Elizabeth Strout | Viking, $38
When high school teacher Artie Dam discovers a secret that upends his world,
he must reconsider everything he holds dear. While perhaps not quite as elegant
as Strout’s Olive Kitteridge or Lucy Barton masterpieces, this novel provides a
poignant window into the deep grief and disillusionment many Americans are
feeling right now. Strout fans will immediately relax into the chatty narration, enjoy
the flawed but relatable characters endeavouring to do their best, and feel Strout’s
trademark ability to knock the wind right out of us with her uncanny insight and
deceptively simple prose. A slender yet profound allegory for our baffling times.
– Bel
Rose/House
Arkady Martine | Tor, $25
Martine is a writer whose work is shaped by the words she chooses as much as
the story she tells, and she uses language in this book to create a creepy, sinister
unease. The house at the centre of this imaginative novella is sometimes referred
to as a ‘haunt’, and the story has an undeniably haunting, surreal quality to it.
The house has its architect’s consciousness built into it via AI, and Martine uses
this device to explore our fears about AI manipulation and control. The story
has elements of psychological horror and ‘locked room’ mystery but is also
poetic and dreamlike – a hard-to-pigeonhole, highly enjoyable mix of elements.
– Jo

66 Magazine | Last Word
Art beat
Dunedin’s Hutch gallery
– opened by Julia and Jay
Hutchinson in a heritage
building on Moray Place
– recently celebrated its
first birthday.
WORDS JULIA HUTCHINSON
PHOTO SHIREE GWYNNE
was born in Dunedin, and aside from our five-year
I stint in Pōneke Wellington, this has always been home.
My husband Jay moved to Ōtepoti in 1998 to attend the
Dunedin School of Art. At the time, he was really into
the Dunedin noise scene, and once he arrived, it quickly
became home for him as well.
When I first met Jay back in 2011, he was running his
own small gallery on Princes Street called A Gallery. Not
long after that, I decided to move to Pōneke to study
industrial design, and in a brazen act of love (haha) Jay
closed the gallery, left his day job at the Dunedin Public
Art Gallery, and moved with me.
Fifteen years later after moving back to Dunedin, getting
married, having a child and everything else life brought in
between, we felt it was finally time to give it another go.
Since returning to Ōtepoti in 2017, we had talked
about opening another gallery, but each year the “maybe
next year” mindset got in the way. I was working in a
busy management role in the public sector, while Jay had
returned to full-time work at the Dunedin Public Art
Gallery. Eventually, with the savings we had carefully built
up, we found ourselves asking: “If not now, then when?”
Despite opening the gallery during a “recession,” we
were overwhelmed by the support we received from
the very beginning. It quickly became clear that Ōtepoti
was ready for another gallery, and we continue to be
deeply grateful for the incredible support of the local
arts community.
As a dealer gallery, sales quite literally keep the lights
on, but beyond that, one of our greatest motivations
for opening Hutch was to contribute to the vibrant
creative community we care so deeply about. Whether
it’s showing up to openings, spreading the word, stopping
by for a kōrero or purchasing artwork, every gesture of
support has meant the world to us.
Hutch is housed within the Chambers Building,
constructed in 1874 for the Dunedin Temperance Hall
Company, an organisation formed by members of the
Pioneer Lodge of the Temperance Order of Good
Templars. This historic venue once hosted gatherings of
a vibrant and influential social movement. Today, visitors
can still see echoes of its past in the original bluestone
rear wall, the high ceilings designed to enhance oratory
and the 151-year-old kauri floorboards underfoot.
When we first took on the space, it was painted pink
and blue, with around 40 layers of paint and glue built
up on the floor. With a busy toddler in tow, Jay and I
spent approximately 90 hours sanding the floors back
(by far the biggest job!). Fine dust lingered for weeks,
and it was difficult at times to picture the final result.
Once the floors were complete, we moved on to
painting, building an internal structure to hang the
artwork, and shaping the space into what you see
today. We love the building’s original features and aimed
to honour its historic character whilst modernising it to
suit a gallery business model.
Jay and I have always found the art scene in Ōtepoti
to be incredibly active, supportive and inclusive. Jay
is a practising artist himself and has exhibited in
galleries all over Aotearoa. He often says that Ōtepoti
is his favourite place to show work because of the
committed, warm and enthusiastic crowd. Rain, hail
or shine, the creative community tends to turn up to
openings to support their friends and colleagues.

IMOGEN TAYLOR From Behind 2026. Acrylic on canvas. Courtesy of the artist and Lett Thomas. Photography by B J Deakin
IMOGEN TAYLOR
FROM BEHIND
Developed by City Gallery Wellington Te Whare Toi and curated by Dr Kirsty Baker.
02.05.26 – 13.09.26
FREE: OPEN 10AM–5PM DAILY
WWW.DUNEDIN.ART.MUSEUM
DEPT. DUNEDIN CITY COUNCIL
Exhibition Partner

CHRISTMASTIME ON THE
LEGENDARY DANUBE
WITH 2 NIGHTS IN PRAGUE
DEPARTS 02 DECEMBER 2027
FROM $16,995 * PER PERSON, TWIN SHARE
16 DAYS | CHRISTCHURCH RETURN
Join Selese to experience sailing through a winter wonderland
and revel in the Advent season as each town is festively lit and
decorated, and Christmas markets selling traditional wares,
abound. From Prague to vibrant Budapest, this Danube River
cruise takes you to four countries each with its own beauty,
history, and cultural treasures.
NUREMBERG
Main
Danube
Canal
REGENSBURG
PASSAU
GERMANY
LINZ
2
PRAGUE
7
CZECH REPUBLIC
MELK
Wachau
Valley
VIENNA
Danube
River
CRUISE HIGHLIGHTS
■ Personally escorted from Christchurch by Selese
■ 2 nights hotel accommodation in Prague
■ 7 night Avalon Waterways River Cruise aboard the Avalon Panorama
■ 1 night hotel accommodation in Budapest
■ Daily breakfasts, 6 lunches, 7 dinners
■ Port Charges and gratuities
■ Expert Cruise Director and knowledgeable local guides
■ Deluxe outside accommodation with Avalon’s exclusive Comfort
Collective Beds
■ 1 night stopover in Singapore or Dubai enroute to Europe
■ 2 nights stopover in Singapore or Dubai enroute to New Zealand
■ Return Economy Class flights from Christchurch with Singapore
Airlines or Emirates
AUSTRIA
BUDAPEST
HUNGARY
BEDS THAT FACE
THE VIEW
AWARD-WINNING
PANORAMA SUITES SM
FLEXIBLE DINING AND
WORLD-CLASS MENUS
CHOICE OF EXCURSIONS
ACTIVE, DISCOVERY OR CLASSIC
FEWER GUESTS
MEANS MORE SPACE
FOR MORE INFORMATION OR TO REGISTER YOUR INTEREST CONTACT:
TRAVEL MANAGER - SELESE ROWE
CALL 027 2336 396 | EMAIL SELESE.ROWE@TRAVELMANAGERS.CO.NZ
*Terms & conditions: To secure booking a non-refundable & non-transferable deposit of $1,000 per person is required within
7 days of booking confirmation. Pricing is subject to change at any time. Cruise restricted to 18 years and over. Final payment
due by 31 August 2027. Further terms & conditions apply, contact Selese for details.