Mother, farmer and award-winning, self-taught artist Karen Scott will be joined by her daughters Rosa and Sophie Scott, who both graduated from the Ilam School of Fine Arts at the University of Canterbury, for a show titled "From this Land".
The trio attended the opening in the gallery in the Mountaineer building last night, and the exhibition runs to April 24.
Although the family was often inspired by the same dramatic landscape surrounding their home at Loch Linnhe Station, each artist displayed her own vision in her own medium, gallery owner Pauline Bianchi said on Wednesday.
Mrs Scott has painted for the past 20 years and won the Invercargill Licensing Trust Art Award in 2008, the Yellow Pages Art Awards in 2009 and was a finalist in the Gallipoli Art Prize in Sydney last year.
She provided nine oil on canvas pieces for the show, which depicted "childhood memories, family snapshots and favourite ponies", she said.
"It's a such a big deal getting your own show together, and we help each other a lot. I think there is a correlation between the way we do work and living where we do. The landscape comes through unconsciously in your work.
"I'm first and foremost a farmer, and painting is my passion when I'm not farming. I've got the best of both worlds."
Rosa Scott (24) said her six oils on board for the show were "more mindscapes, ambiguous and different places and the viewer can put themselves where they want to be".
Based in a Christchurch studio after graduating from Ilam, Rosa was selected to exhibit at the Christchurch Art Gallery in "Uncanny Valley: An Exhibition of Contemporary Practice" in the summer of 2010 and 2011. "Not Dark Yet" was her first solo exhibition at Chambers@241.
She won the Ethel Susan Jones Fine Arts Travelling scholarship and embarks this month on a European tour before taking an English language teaching position in Japan.
Sophie Scott (22) used stencils, oils and plywood and found materials to contribute nine pieces to the show, and is preparing to travel this year as well.
Mrs Bianchi said the 2011 Bickerton Widowston memorial scholarship winner's use of stencils in abstracts of San Francisco cityscapes and Chicago industrial landscapes revealed their "essential geometry".
A triptych showed flood water rising in stages in Queenstown in 1999, a series created because she wanted to do something specific to the resort, Sophie said.
The way oil paint was absorbed by the grain of the wood helped determine "what is significant, what to leave in or leave out; that optimum point or a unique forming or dissolving", Sophie said.
