In this episode, I visit Star Gossage at her home and studio in Pākiri.Star is Ngāti Wai and Ngāti Ruanui. She received a Diploma of Fine Arts from Otago Polytechic School of Art in 1995. She has work held in numerous public and private collections, including The Fletcher Collection, The Auckland Art Gallery Toi o Tāmaki, The Museum of New Zealand Te Papa Tongarewa, The University of Auckland Art Collection and the Christchurch Art Gallery Te Puna O Waiwhetū. In 2020 and 2021 her practice was the subject of a major survey show exhibited at the New Zealand Portrait Gallery, and in 2014 she was included in the Five Maori Painters exhibition held at The Auckland Art Gallery Toi o Tāmaki.Star is represented in Tāmaki Makaurau by Tim Melville, and in Te Whanganui-a-Tara by Page GalleriesThere are images of the paintings that we talk about on The Good Oil Star Gossage Instagram Post for your reference.You’ll hear Star speak about how she was first drawn to painting by the texture of materials rather than images, the presence of the past, the present and the future that appear in her paintings, the finely balanced process of painting figures to capture their essence, a desire to return to creating purely abstract works, and her deep connection and still evolving understanding of place in Pākiri.

In this episode, I visit Star Gossage at her home and studio in Pākiri. Star is Ngāti Wai and Ngāti Ruanui. She received a Diploma of Fine Arts from Otago Polytechic School of Art in 1995. She has work held in numerous public and private collections, including The Fletcher Collection, The Auckland Art Gallery Toi o Tāmaki, The Museum of New Zealand Te Papa Tongarewa, The University of Auckland Art Collection and the Christchurch Art Gallery Te Puna O Waiwhetū. In 2020 and 2021 her practice was the subject of a major survey show exhibited at the New Zealand Portrait Gallery, and in 2014 she was included in the Five Maori Painters exhibition held at The Auckland Art Gallery Toi o Tāmaki. Star is represented in Tāmaki Makaurau by Tim Melville, and in Te Whanganui-a-Tara by Page Galleries There are images of the paintings that we talk about on The Good Oil Star Gossage Instagram Post for your reference. You’ll hear Star speak about how she was first drawn to painting by the texture of materials rather than images, the presence of the past, the present and the future that appear in her paintings, the finely balanced process of painting figures to capture their essence, a desire to return to creating purely abstract works, and her deep connection and still evolving understanding of place in Pākiri.

Ep 34 Star Gossage

In this episode, I visit Jacqueline Fahey at her home and studio in Tāmaki Makaurau Auckland.Jacqueline was educated at the Canterbury College School of Art, that would later become the Ilam School of Fine Arts at the University of Canterbury. She is now into her 8th decade of what remains a remarkable painting practice. She has work held in numerous public and private collections, including The Fletcher Collection, The Auckland Art Gallery Toi o Tāmaki, The Aigantighe Gallery in Te Tihi-o-Maru, The Museum of New Zealand Te Papa Tongarewa, The University of Auckland Art Collection and the Christchurch Art Gallery Te Puna O Waiwhetū.Jacqueline is represented in Tāmaki Makaurau Auckland by Gow Langsford GalleryThere are images of the paintings that we talk about on The Good Oil Jacqueline Fahey Instagram Post for your reference.You’ll hear Jacqueline speak about how her practice is born out of hard work rather than talent (although we might beg to differ), of being willing to risk not being ‘acceptable’ in a societal sense to ensure she could pursue making paintings she wanted to, hiding in plain view with her painting trolley to capture domestic moments in the family home, what she sees in Goya paintings that are still painfully relevant today, and the necessity for her to keep painting at the age of 95, but talks about what might be, heaven forbid, her last painting.A couple of quick corrections before we get into the conversation. I refer to Jacqueline's cat as Elvis, their name is Alvin. Sorry Alvin. By the way you might also Alvin in the background in the episode. When discussing the painting ‘Look Mum They Killed Her’ about the killing of the American Palestinian journalist Shireen Abu Akleh, I mistakenly refer to that event happening in Israel, it happened in The West Bank.Also please note, if you’re listening with any sensitive ears, Jacqueline and I refer to the title of a painting that includes an expletive.We started by talking about her friendship with, and valuable life lessons learnt from, Rita Angus.

In this episode, I visit Jacqueline Fahey at her home and studio in Tāmaki Makaurau Auckland. Jacqueline was educated at the Canterbury College School of Art, that would later become the Ilam School of Fine Arts at the University of Canterbury. She is now into her 8th decade of what remains a remarkable painting practice. She has work held in numerous public and private collections, including The Fletcher Collection, The Auckland Art Gallery Toi o Tāmaki, The Aigantighe Gallery in Te Tihi-o-Maru, The Museum of New Zealand Te Papa Tongarewa, The University of Auckland Art Collection and the Christchurch Art Gallery Te Puna O Waiwhetū. Jacqueline is represented in Tāmaki Makaurau Auckland by Gow Langsford Gallery There are images of the paintings that we talk about on The Good Oil Jacqueline Fahey Instagram Post for your reference. You’ll hear Jacqueline speak about how her practice is born out of hard work rather than talent (although we might beg to differ), of being willing to risk not being ‘acceptable’ in a societal sense to ensure she could pursue making paintings she wanted to, hiding in plain view with her painting trolley to capture domestic moments in the family home, what she sees in Goya paintings that are still painfully relevant today, and the necessity for her to keep painting at the age of 95, but talks about what might be, heaven forbid, her last painting. A couple of quick corrections before we get into the conversation. I refer to Jacqueline's cat as Elvis, their name is Alvin. Sorry Alvin. By the way you might also Alvin in the background in the episode. When discussing the painting ‘Look Mum They Killed Her’ about the killing of the American Palestinian journalist Shireen Abu Akleh, I mistakenly refer to that event happening in Israel, it happened in The West Bank. Also please note, if you’re listening with any sensitive ears, Jacqueline and I refer to the title of a painting that includes an expletive. We started by talking about her friendship with, and valuable life lessons learnt from, Rita Angus.

Ep 33 Jacqueline Fahey

Welcome to episode two and three of The Good Oil, conversations with Aotearoa painters. In this episode (part one of a two part interview) I visit Sir Grahame Sydney at his home and studio in the Cambrian Valley in the Maniototo, Central Otago. In over 50yrs of practice Grahame has made a huge contribution to NZ art, receiving a knighthood in 2021 for services to art. His work is held widely in public and private collections including Te Papa, Auckland Art Gallery Toi o Taamaki, Christchurch Art Gallery Te Puna o Waiwhetu, Dunedin Public Art Gallery and the Ballin Collection.I know this is a bit presumptuous doing this so early in the life of this podcast, but the conversation with Grahame was a long one, with it being so entertaining and interesting I’ve decided to present all of it, but split it into two episodes.In this, part one, you’ll hear Grahame talk about his early years and discovering Central Otago, his miserable move to London, establishing his practice, agonising over if $200 was too much to try to sell a painting for, his close proximity to so much of New Zealand contemporary art history including encounters with Derek Ball, Ralph Hotere, Jeffery Harris, Brent Wong, Colin MacCahon, Michael Smither and Peter Webb, and the bewildering experience of security not letting him into his first Auckland exhibition because he didn’t have a ticket.<a href="https://www.grahamesydney.co.nz/">Sir Grahame Sydney Web Page</a>

Welcome to episode two and three of The Good Oil, conversations with Aotearoa painters. In this episode (part one of a two part interview) I visit Sir Grahame Sydney at his home and studio in the Cambrian Valley in the Maniototo, Central Otago. In over 50yrs of practice Grahame has made a huge contribution to NZ art, receiving a knighthood in 2021 for services to art. His work is held widely in public and private collections including Te Papa, Auckland Art Gallery Toi o Taamaki, Christchurch Art Gallery Te Puna o Waiwhetu, Dunedin Public Art Gallery and the Ballin Collection. I know this is a bit presumptuous doing this so early in the life of this podcast, but the conversation with Grahame was a long one, with it being so entertaining and interesting I’ve decided to present all of it, but split it into two episodes. In this, part one, you’ll hear Grahame talk about his early years and discovering Central Otago, his miserable move to London, establishing his practice, agonising over if $200 was too much to try to sell a painting for, his close proximity to so much of New Zealand contemporary art history including encounters with Derek Ball, Ralph Hotere, Jeffery Harris, Brent Wong, Colin MacCahon, Michael Smither and Peter Webb, and the bewildering experience of security not letting him into his first Auckland exhibition because he didn’t have a ticket. Sir Grahame Sydney Web Page

Welcome to episode two and three of The Good Oil, conversations with Aotearoa painters. In this episode (part one of a two part interview) I visit Sir Grahame Sydney at his home and studio in the Cambrian Valley in the Maniototo, Central Otago. In over 50yrs of practice Grahame has made a huge contribution to NZ art, receiving a knighthood in 2021 for services to art. His work is held widely in public and private collections including Te Papa, Auckland Art Gallery Toi o Taamaki, Christchurch Art Gallery Te Puna o Waiwhetu, Dunedin Public Art Gallery and the Ballin Collection.I know this is a bit presumptuous doing this so early in the life of this podcast, but the conversation with Grahame was a long one, with it being so entertaining and interesting I’ve decided to present all of it, but split it into two episodes.In this, part one, you’ll hear Grahame talk about his early years and discovering Central Otago, his miserable move to London, establishing his practice, agonising over if $200 was too much to try to sell a painting for, his close proximity to so much of New Zealand contemporary art history including encounters with Derek Ball, Ralph Hotere, Jeffery Harris, Brent Wong, Colin MacCahon, Michael Smither and Peter Webb, and the bewildering experience of security not letting him into his first Auckland exhibition because he didn’t have a ticket.<a href="https://www.grahamesydney.co.nz/" rel="noopener noreferrer">Sir Grahame Sydney Web Page</a>

EP 02 Sir Grahame Sydney (Part 1)

In this episode of The Good Oil I visit Judy Millar in her Auckland West Coast home and studio.Judy has a long and impressive record spanning four decades that is built on constant experimentation. She has represented Aotearoa at the Venice Biennale, is held in numerous public and private collections across NZ, Australia and Europe, and shows regularly with gallerists including Robert Heald in Wellington, Sullivan & Strumph in Sydney and Singapore and Mark Mueller in Zurich.She clearly thinks deeply about her practice, as you’ll hear as we talk about her early career, how she is always seeking to translate her experience of the world into her paintings, the importance of the West Coast of Auckland to her and her work, her technical approach, her unorthodox and diverse range of tools, and how she is influenced by Rafeal Nadal.Links<a href="https://judymillar.com/">Judy Millar Web Page</a><a href="https://www.instagram.com/judymillar.jm/?hl=en">Judy Millar Instagram</a><a href="https://roberthealdgallery.com/artists/judy-millar">Robert Heald Gallery Judy Millar Page</a><a href="https://www.sullivanstrumpf.com/artists/judy-millar/">Sullivan+Strumpf Judy Millar Page</a><a href="https://www.markmueller.ch/category/artists/#/judy-millar/221/">MarkMueller Judy Miller Page</a>

In this episode of The Good Oil I visit Judy Millar in her Auckland West Coast home and studio. Judy has a long and impressive record spanning four decades that is built on constant experimentation. She has represented Aotearoa at the Venice Biennale, is held in numerous public and private collections across NZ, Australia and Europe, and shows regularly with gallerists including Robert Heald in Wellington, Sullivan & Strumph in Sydney and Singapore and Mark Mueller in Zurich. She clearly thinks deeply about her practice, as you’ll hear as we talk about her early career, how she is always seeking to translate her experience of the world into her paintings, the importance of the West Coast of Auckland to her and her work, her technical approach, her unorthodox and diverse range of tools, and how she is influenced by Rafeal Nadal. Links Judy Millar Web Page Judy Millar Instagram Robert Heald Gallery Judy Millar Page Sullivan+Strumpf Judy Millar Page MarkMueller Judy Miller Page

In this episode of The Good Oil I visit Judy Millar in her Auckland West Coast home and studio.Judy has a long and impressive record spanning four decades that is built on constant experimentation. She has represented Aotearoa at the Venice Biennale, is held in numerous public and private collections across NZ, Australia and Europe, and shows regularly with gallerists including Robert Heald in Wellington, Sullivan &amp; Strumph in Sydney and Singapore and Mark Mueller in Zurich.She clearly thinks deeply about her practice, as you’ll hear as we talk about her early career, how she is always seeking to translate her experience of the world into her paintings, the importance of the West Coast of Auckland to her and her work, her technical approach, her unorthodox and diverse range of tools, and how she is influenced by Rafeal Nadal.Links<a href="https://judymillar.com/" rel="noopener noreferrer">Judy Millar Web Page</a><a href="https://www.instagram.com/judymillar.jm/?hl=en" rel="noopener noreferrer">Judy Millar Instagram</a><a href="https://roberthealdgallery.com/artists/judy-millar" rel="noopener noreferrer">Robert Heald Gallery Judy Millar Page</a><a href="https://www.sullivanstrumpf.com/artists/judy-millar/" rel="noopener noreferrer">Sullivan+Strumpf Judy Millar Page</a><a href="https://www.markmueller.ch/category/artists/#/judy-millar/221/" rel="noopener noreferrer">MarkMueller Judy Miller Page</a>

EP 01 Judy Millar

The Good Oil is dedicated to long form conversations with Aotearoa / New Zealand painters about their lives and practices.

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The Good Oil is dedicated to long form conversations with Aotearoa / New Zealand painters about their lives and practices.

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