Q What process do you go through to immortalise your feathered friends into wooden sculptures?
Extensive research. I continually collect material on New Zealand birds - books, photos and academic papers. I use these to produce working drawings that I can transfer to wood. Sometimes I sculpt a full-size maquette in modelling clay to better visualise form before committing to wood.
I plan regular visits to museums to take measurements and sketch details of birds in their collections. I use hand-carving tools - chisels, gouges, spokeshaves and files - to shape the salvaged native timbers I use to carve my birds; a pyrography (wood-burning) pen for fine detail; and paint with acrylics.
Q What birds are your favourites?
Fantails and falcons are my favourites for different reasons. Fantails have a friendly cuteness while falcons have a majesty mixed with latent menace and power.
There is a point in carving where it ceases to be just wood and ''becomes'' the bird. The fantails say a cheeky ''hello'' while a falcon seems to say, ''I'm watching you''.
I know a sculpture is going well and ''becoming alive'' when I catch myself absently patting some carvings like I would a cat.
Q Is it hard to part with them? What kinds of homes do they go to?
I am happy to part with them as I know most go to an appreciative home, some because of the nice art objects they are, but for the most part bird lovers buy them, from all over the world, not just New Zealanders. I have birds in Australia, the USA, Europe and the UK.
There is a retired couple in the UK that I affectionately call my ''groupies''. Every two years they tour New Zealand and visit to buy a sculpture - so far they have six.
Q How do they sit alongside the other art works at the collective to which you belong, Hullabaloo? What kind of art does the Cromwell gallery display and how does the collective work?
I was welcomed into the Hullabaloo Artspace gallery eight years ago, as my work is a nice addition to the other variety of disciplines that are displayed from the 14 other fellow artists.
It was my first time I officially began to ''put myself out there''. As an ''artist'', it is always a vulnerable stage for anyone when you first open your work to the scrutiny of the world. I found the Hullabaloo group supportive and encouraging. I have grown as an artist faster than if I were pursuing this career on my own.
Every month, the gallery gets rehung with new work, and once a year each artist works to a solo show, which encourages you to come up with something new or special. The gallery is open every day and we all take turns, so there is always one of the artists attending.
Q You have been part of several communities, moving from Alexandra to Cromwell and now living in the Maniototo. What do you like about Central? And why does it seem to appeal so much to artists?
My first introduction to Central Otago was during a solo motorcycle tour of the South Island 18 years ago. I remember being struck by the friendliness of the locals, a contrast to the sometimes stark landscape they lived in.
I never anticipated I would ever be coming back this way until, years later, I found myself driving a van with all my earthly possessions following another new opportunity.
After emerging from the Pigroot, I had an overwhelming sense of coming home more than any place I have actually resided. It's a feeling that has stuck with me. The Maniototo has the strongest community spirit I've ever encountered and I'm pleased to be able to contribute in my small way.
There is a large creative community woven into the fabric of the region. There is something about the land that seems to resonate with all who live or visit - especially perhaps with those with a creative bent.
Q How tough is it making a living as an artist? Should we all be investing in more art works to nourish both ourselves and artists' livelihoods?
Ask any artist relying entirely on their art for a living, it is very tough. It involves a lot of hard work, long hours and uncertain income. I now have great respect for artists who live on their art. It is an aspiration I want to achieve. Artists often live outside the safe confines of the proverbial ''box'' and it takes courage to keep going.
Of course we should invest in art and artists. Art - be it a painting, music, photo, architecture, the written word or performance - it touches all lives and enriches them. It doesn't appear magically, if it isn't supported, it would disappear. Imagine how dull life would be without it.
