Friday 15 December 2023

WAYMARKERS - Interviews!

Letters created for the WAYMARKERS banner



Prior to installing my WAYMARKERS solo exhibition at 
From Out of the Blue Studio Gallery in Opunake, 
I was interviewed by gallery owner Viv Davy to provide a bit of an insight 
into my development as an artist and my working process.


I am now nearing the end of the residency, with just a few days to go. It has been an amazing and enriching experience to have this opportunity of having a dedicated space and the time to focus on my work. I will, in time blog about my time here but in the meantime I thought I would share this interview as bit of background to my practice.





Viv and I also feature on the Sugar Loaf Arts Cast Podcast, hosted by Mikaela Nyman of Access Radio Taranaki. I was recorded during my talk at my opening event and Viv talks about the kaupapa of the gallery and residencies held here on her property.

You can listen to this episode HERE via the Access Radio website or wherever you get your podcasts.



and now, back to...


My Interview with Viv Davy



"Thought Keeper" by Toni Hartill


What initially attracted you to paper as a medium?

Firstly, I love that paper is so accessible and there’s so much variety to choose from, whether it’s scrap paper, old books, ephemera or specialist papers. Secondly, I love how versatile it is, its tactile qualities, and how it can be used to mimic other materials such as leather or fabric. When selecting paper to use I’m inspired by its weight, how it feels, how it tears, what it sounds like, whether it’s self-supporting, malleable, can be wetted, painted or printed on. I’m attracted to the textures and patterns of found papers, whether they show a previous life through wear and tear, are they translucent, can they be layered, glued, stitched, folded, scrunched…?

Considering the “end of life” of my artworks is also really important for me. I love that I can upcycle found papers, giving unwanted items a new purpose. I can also make good use of old or reject work. Being made mostly of paper, most of my work can pack down and be stored flat so it doesn’t require a lot of space like my large canvases did. I also like that, when no longer wanted, most of my artworks can be dismantled and recycled with very little waste going to landfill, unlike my large acrylic (plastic) coated canvases on heavy wooden stretchers. I really like the concept of my work leaving as light a footprint as possible and often being ephemeral, able to disappear with ease, leaving little or no trace.






"Migration" - maxi & mini by Toni Hartill



How was your imagination captured?

As a child I loved to play with paper dolls and to create miniature dioramas that would feed my imagination. I remember building a mini theatre out of an ice-cream cone box. It was so easy to transform everyday detritus into magical realms. Of course, I never considered this might be part of a “grown-up’s” art practice. When I discovered that artist’s books were a “thing”, this was as if I learned that I had permission to “play”, to build my imaginary worlds, and to explore ways of incorporating narrative and imagination into my art work.







"Manawa Journal" by Toni Hartill




What or who were your early influences and how has your life/upbringing influenced your work?

My mum was always very creative and both parents are very practical so anything felt possible to try. Although I was also good at maths and sciences, they always encouraged me to follow my creative spirit and were actually the ones who talked me into filling a gap in my school timetable with art. I was the one who didn’t consider art as a realistic pathway.

I was aware from a young age that I had a relative who was an accomplished printmaker and some of her works hung on our walls. When I inherited some of her materials and tools, this sparked a real curiosity about what it might be like to be an artist and especially to want to experiment with printmaking. It seemed like such a holy grail to “be an artist” - I never really considered that I could be a “real” artist. I remember also being inspired by illustrations in books, especially ones that were made using printmaking techniques. I was drawn to the mark making even then and I aspired to one day try to create these effects.

A lot of time growing up was spent in, on or near the sea and going tramping through the NZ bush. My parents were keen gardeners and were working on writing a gardening book so we would also often visit plant nurseries or botanical gardens while traveling around the country. I guess I took for granted, our adventures in the great outdoors, and it wasn’t until being housebound with my own young children that I realised how much I was inspired and nourished by the natural environment and how important it was to my wellbeing. I’ve come to realise that I feel a strong, visceral sense of connection with the landscapes of Aotearoa, both through nostalgic remembrances and an interest for researching family connections to specific places over the course of 6 generations since my ancestors landed here.





"Where Shall We Go Today?" by Toni Hartill



What was your route to becoming an artist?

I think I was always an artist, I just didn’t realise it for most of my life. I was always creating throughout my childhood. I had an amazing art teacher at high school and she supported and encouraged me to apply for art school. I majored in Design because it allowed me to work in a wide variety of mediums and processes from graphic design through to furniture design.

On leaving art school I worked as a designer of interior and exterior environments and one-off and bespoke furniture. I also worked extensively in colour consultation and as a decorative artist creating paint finishes for all manner of surfaces and applications, interior and exterior.


Once I started a family and I was finally able to begin to develop my own arts practice, I focused on my painting. The skills and passion I had developed working with colour, informed, in many ways, the way I worked, and still does.

My practice began taking a new direction when I taught art in secondary schools and I was required to teach printmaking. Although printmaking had always held a magical allure for me I hadn’t had the opportunity to pursue it since a short spell in my first year at art school. Creating exemplars and teaching students was ample motivation to delve further into the world of printmaking.


Through attending workshops, connecting with like-minded people, exhibiting in group exhibitions and working consistently at my arts practice, I have been able to continue to develop my own artist’s voice. I find that, as my skills and confidence grows, I am more able to work across disciplines and in a variety of media, always hungry to learn more and to try new things. I am less concerned with what I think I “should” create and feel freer to just create as the inspiration hits me.






"Guiding Light / I Whisper to my Past" by Toni Hartill



Tell us about your process from conception to creation

I tend to start with an idea of what and/or why, and then allow the choice of media and processes to follow to best express my intentions. I might start with a concept I wish to explore and so I consider what structure or format might best convey this idea.

Alternatively, I might have a found treasure, just sitting quietly on my windowsill, waiting for the “right” inspiration to strike. I try not to force an idea but instead to let the idea come to me in an organic way.

I easily get bored doing the same thing so I’m always seeking new ways of working or new materials to work with. I find that one idea feeds many others and so it’s not unusual for me to have several pieces on the go at once. It can be quite exhausting but I hate for my ideas to simply disappear. I work with whatever media and format the current ideas inspire and this can constantly morph as my work progresses.



"Sensing Belonging Workbook" by Toni Hartill




Tell us a bit about your chosen techniques and how you use them.

Although I work with many media, printmaking holds the greatest allure for me because it allows me to be spontaneous, experimental and playful in my work, and to let go of my “perfectionist” tendencies. It is also a great starting point to use to spring off into using other media and processes as the inspiration and imagination demands.

I consider that I am an artist who uses printmaking techniques as just one of many tools I use to create my work. Although I have a particular love for carving lino to create my very detailed narrative images, I also use printmaking techniques as a means to create an endless variety of effects and marks that can be layered and used to transform surfaces to then construct or develop into artist’s books, dioramas or other 3 dimensional structures.

Apart from my linocut images, I rarely use printmaking in isolation and often can’t resist the urge to incorporate other materials or processes. I like to create “artefacts” or objects that imitate another reality and yet, being made of paper and found objects, they are in fact, purely “pretend”.

Printmaking techniques I commonly use are monoprint, collagraph, drypoint and linocut. Other techniques I often incorporate into my work include drawing, painting, stitching, collage, assemblage, paper folding and cutting, and paper making.




"Chorographia II" detail, by Toni Hartill





What currently inspires you?

Working towards my “Waymarkers” exhibition I have been inspired to consider ways that the landscapes of Aotearoa have left their mark on me in a visceral sense. What could it be about a “sense of this place” that has such strong ties for me? It also has had me wondering how others might feel connected to places and ways that they might mark this connection in their lives or their arts practice. I look forward to further exploring this concept while I am in residence.





"Salt Spray II" by Toni Hartill





Tell us about a piece of your work that holds particularly fond memories and why?

My tin-can dioramas “Salt Air” and “Sea Spray” probably capture fond memories the best for me. They are inspired by trips to sea with my brother on his boat. We grew up going away for summer holidays on my grandfather’s launch. Having the opportunity to go to sea with my brother keeps those memories alive and it’s where I feel I can truly breathe and just be. There is nothing better!





"Mark Making, Making Way, Way Marking" by Toni Hartill






How has your work developed since you began and how do you see it evolving in the future?

When I first started creating art for myself, not for any coursework or brief, I painted. I worked quite large, on canvas, and would use photographs as a source for my compositions. I would grid up my canvases, then create a full-colour pastel drawing to check my composition, colour choices, etc. Then I would recreate the image in paint, much larger, on canvas. I cannot imagine anything more boring than to recreate an image I’ve already created and to know, before I start, what it is going to look like when completed! I’m not that person any more. I don’t even know who that person was!

I had the opportunity to begin to learn printmaking techniques while I was teaching at secondary school. The main thing that I was really drawn to with printmaking are the particular marks that are created through the many processes. I revelled in the unpredictability of the processes and the many opportunities to make the most of the unexpected and the happy accidents. As an incurable perfectionist, I especially love that printmaking knocks the edges off my finicky tendencies and encourages me to play, to veer off the intended path and to embrace imperfection and those wabi-sabi qualities that are just waiting to be celebrated.

Through belonging to the PCANZ (Print Council Aotearoa New Zealand) I was introduced to the concept of artist’s books at a summer school in 2016. There were also opportunities to exhibit 3-dimensional works, taking printmaking out of the conventional frame. Artist’s books were a fairly unknown genre in New Zealand, not something that was widely exhibited or often viewed, perhaps not unless you were in a bookmakers’ or bookbinders’ community. Gradually I have become more confident to expand my ideas of what is not only possible but also what was enjoyed by a viewing audience. It enabled me to do more of what I love which is to work with many media and in all dimensions.

Since my first solo exhibition, last year, when I exhibited my artist’s books created over the past 5 years, I was astonished by the enthusiastic response. Many pieces sold and many opportunities opened up to me as a result of that body of work. The experience was hugely reassuring and encouraged me to continue developing my work in this vein.

This opportunity to exhibit at “from out of the blue studio gallery” has allowed me to continue to explore ideas and experiment with different ways of working. Creating a larger body of work has provided me with the time and purpose to think more deeply about concepts and to follow ideas in different and often unexpected directions. At this stage (writing this 2 months prior to opening) I don’t yet know how the whole exhibition will actually all come together as I’ve never done this before but this is all part of my journey of learning and relishing the unknown. There are many aspects that have had me feeling completely out of my comfort zone but I have recognized this as an incredible opportunity and so I have tried to trust that I will work it out as I go and believe that I can do this!

I’m so looking forward to my time in residence, while my exhibition is on, as being an extended opportunity to interact with visitors to the gallery, to seek out other artists in the region and to create as inspiration strikes. I already feel as if my practice is on the cusp of stepping off into new directions. Having this time in residence, away from the usual distractions and familiar surroundings, I am eager to discover what inspires me. I’m eager to focus on developing my mark making vocabulary and skills, experimenting with different ways of working with fibres and papers, and further exploring ways to really capture a true sense of a place. I don’t know how my work might evolve as a result of this experience or what might come next but I am very excited by the not knowing.





"Hiraeth Scrolling" by Toni Hartill





What advice would you give an aspiring artist?

Take time in your practice to play. 

Be experimental and allow happy accidents to happen. 

Don’t be afraid to mess up. There are no rules you have to follow. 

Or, if there are, break them and see what happens. 

Be reflective. 

KEEP A STUDIO JOURNAL 

(I tell anyone and everyone to do this!) to record your processes, 

what went well and more importantly, what didn’t. 

Don’t throw away your mistakes. Keep them, learn from them. 

Then look back on them to see how far you’ve come. 

When something new and unexpected emerges, don’t stick rigidly to your plans. 

Allow yourself to go off the beaten path. 

You never know where this will end up. 

Magic happens when you least expect it.





"False Hopes" by Toni Hartill






Thanks for visiting!



Wednesday 18 October 2023

WAYMARKERS - Opening celebration!

 


Only a couple more weeks til I load up the car
and hit the road for Ōpunake!


Toni Hartill

Waymark: (Navigation) a symbol or signpost 
marking the route of a footpath




For the past 18 months or so I've been working towards 

a solo exhibition (my second) 

and a 6 week artist residency (my first!) 

at the beautiful fibre arts gallery owned by artist Viv Davy



From Out of the Blue Studio Gallery


Photo credit: from out of the blue studio gallery



The gallery is situated in the coastal township of Ōpunake, Taranaki, 

on Surf Highway 45, 

literally just a stone's throw from the mighty Tasman Ocean.


Join us for an opening celebration

Sunday 12th Nov 

1 - 3.30pm



* WAYMARKERS is open for viewing from

1pm on Thursday Nov 9th.




WAYMARKERS by Toni Hartill



PUBLIC PROGRAMME

I will be running workshops in folded structures, and offering demos and talks for visitors to the gallery. A full programme is yet to be finalized so visit the gallery website for updates.


Find out about WORKSHOPS updates here.



Although I will often be onsite in the studio or in the gallery, I will also be spending some time offsite visiting local artists, exploring the area and working on my artmaking so do phone ahead if you especially wish to catch up with me. 



From out of the Blue Studio Gallery
18 Halse Place, Opunake

Gallery hours: Thurs - Mon 1 - 5pm
or by appointment

Ph 021 407 424

viv@blacknosugar.com




Photo credits: from out of the blue studio gallery


ARTIST RESIDENCY opportunities 

at From out of the Blue Studio Gallery



CALL FOR ENTRY

opportunity to exhibit at

From out of the blue studio gallery




Work in progress by Toni Hartill



For more details about the gallery 

and my residency plans 

please visit my earlier blog post HERE.



Dioramas by Toni Hartill


I aim to post regularly about my progress  to 

InstagramFacebook

and hopefully also find time to provide updates here so

FOLLOW this blog 

by clicking the button in the top right corner 

of the side column.



SEE YOU THERE!

or

HERE!







Monday 21 August 2023

WAYMARKERS - Solo Exhibition and Residency, 9 Nov - 17 Dec, from out of the blue studio gallery, Opunake

 




Early in February 2022, as I was preparing for my first-ever solo exhibition, 

Viv Davy contacted me via my blog and extended an invitation 

to have a solo exhibition and to do a residency at her gallery

from out of the blue studio gallery.




Photo credit: from out of the blue studio gallery

 

from out of the blue studio gallery


18 Halse Place,

Opunake


Instagram

@threadthinker


Facebook



Website


Artist's Profile and exhibition intro:

 https://fromoutofthebluestudiogallery.com/toni-hartill/


ALSO EXPLORE:

all of the other artist's connected with the gallery

https://fromoutofthebluestudiogallery.com/category/artists/






Keep an eye out for our ART NEWS NZ Ad!






After my initial suspicions were dispelled (that this invitation must surely be a scam) I was beyond delighted, and excited, at the prospect and immediately set about percolating ideas for a completely new body of work focusing attention on my artist's books and mixed media structures. 






Waymarkers, Work in Progress, Toni Hartill


Diorama detail, Toni Hartill






Viv also invited me to exhibit a collection of pieces 

in The Beach group exhibition at the gallery last summer. 

This was a wonderful chance to participate with 

this creative community and I’m so grateful 

to have been invited to contribute alongside such talent. 






Artist's books by Toni Hartill, "The Beach" group exhibition


View earlier blog posts about The Beach HERE

including detailed images of my works.





The extreme weather events of Jan/Feb 2023 

hindered my plans to visit the gallery at the time 

however I did have the chance to pop down 

to Opunake in July. 





Road trip to Opunake, Taranaki, July 2023



Read my earlier blog post HERE about my visit to Opunake.





"Taradise" artist's residence and holiday accommodation, Opunake.




Meeting Viv, seeing the gallery and staying in the residency gave us ample opportunity to discuss everything from installation nitty gritty to possible workshops and residency plans. My time with Viv quelled my fears and sent my excitement levels through the roof! 



Now, in Aug 2023, I am at the pointy end of preparations. 




Waymarkers, Work in Progress, Toni Hartill





I think I have completed all new work, more or less... 

and I’m now embarking on the many admin tasks 

required to prepare so many pieces, of such diverse 

size, shape and form, for the exhibition. 





Waymarkers, Work in Progress, Toni Hartill

Waymarkers, Work in Progress, Toni Hartill




Residency Goals



I’m also beginning to plan my goals and intentions for the residency. 



Having this very special time and space to work on my art, away from the distractions of my everyday life, is beyond thrilling. 


Unlike some residencies, where you might be expected to produce a body of work to present at the end of the residency, I have no such commitment. I look forward to creating as inspiration strikes, with time to focus on experimentation and play! 





Now, which sketchbooks should I take? 




My particular interest is to experiment with mark making inspired by the landscape using all manner of media, with a goal of increasing my mark making "vocab" and continuing to grow my arts practice in new and unexpected ways. 


I also hope to make the most of any opportunity to learn new skills 

and to develop ideas for different ways of working.





See you there! 



I am also so looking forward to sharing my work with a new audience and am especially excited to meet some of the many creative people who have a special connection with Viv and her gallery. 



Stay tuned!


Nearer the time, we will announce details for planned


talks, 

demos, 

workshops 

&

gatherings.




And you're invited!






"The Raine it Raineth Every Day" Toni Hartill