William Patino is a full-time landscape photographer, with a passion for exploration and capturing the wilderness of New Zealand. Growing up in the coastal town of Wollongong, Australia, his early photography was heavily influenced by the ocean but he soon found his calling in the mountains and he now resides with his family in the mountainside town of Te Anau, in the South Island of New Zealand.  He has an affinity for dramatic weather and evocative scenery, with both being the key foundation of his work. Will is most at home when he is teaching and guiding on his photography workshops, taking people out into the landscape and giving them memorable experiences in the natural environment. His work is displayed in galleries and publications around the world and he’s worked with brands like Apple, Samsung, Sony and numerous tourism bodies across the globe.  Wills photography has a strong emphasis on light and atmosphere, portraying the raw and wild beauty found within nature’s fleeting moments.

Tim Li is a contemporary Wellington artist producing graphite-on-paper drawings of New Zealand’s marine species. His work displays dramatic monochrome contrast, delicate attention to line detail and true representation of coarse and fine organic textures.

Pāua shells adorned with algal growth, kingfish, orange roughy, albacore tuna and tāmure are just a few of the oceanic objects Li has etched in glorious graphite detail. He hopes that these patiently constructed designs engender a respect and admiration for our shared marine environs. Li’s honest, meticulous and truthful representations are offered as an antidote to a growing brag-culture egged on by social media. Too often publicly shared images of fish are deconstructed into objects of status, or ego-baiting. Li offers these precise, magnified representations as objects of fascination; to be admired and appreciated with a botanical reverence. Nature here is returned to a space beyond kill-culture. If art can be said to save lives, Li’s work opens conversations of sustainability, resource management, respectful practise and even gratitude.

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Since graduating from Canterbury School of Fine Art in 1983 she has been working as an artist and exhibiting regularly in NZ .   Although her work largely involves people and their place in the world, she has since 1983 incorporated images of rivers forests and the sea , exhibited on a large scale on layered loose canvas. In 1990 she was fortunate to be included in the Artist in the sub Antarctic scheme to visit Auckland and CampbelI Is . She also spent time working in Papatowai in sth Otago, and later was involved with Save the Rivers project and exhibition in Canterbury. Linda has an interest in the circular interrelationship and energy of the forests ,land, rivers and the sea, particularly  in areas of New Zealand with a small human foot print. For this reason she engaged with Fiordland and the opportunity to create work inspired by this area of the world.

Work is available for display in public spaces..

Ginney Deavoll spent the last twelve years exploring and then painting about our backyard here in New Zealand in the hope that people will see her work and be inspired to go and explore for themselves.

This was from our first snorkel where I looked up and saw this branch hanging over the water covered in life; ferns, moss, sandflies and birds singing in the bush beyond. Then when I put my head down and looked below the surface there was a broken branch hanging down equally covered in life; all sorts of seaweed swaying with the current, mussels and fish darting around. Often when we think of Fiordland we think of the picture perfect reflections so this is a bit of a play on that but showing that beneath the reflections is another world equally beautiful, vibrant and alive.

I've always thought that when people experience it for themselves, and have that feeling of awe, they will care and help to ensure it's protection for generations to come. Being a part of Tamatea Art speeds up the whole process and it's so satisfying to see my work directly benefit an area I love so much. My first visit to Dusky was ten years ago when my husband and I spent seven weeks sea kayaking the length of Fiordland. We were in Dusky a week weaving our way through the myriad of islands; watching seals play, dolphins cruise by and sea birds patrol the sky. It was a magic experience but even better is to now go back and see such a huge difference and see that magic enhanced. The bush was louder, kaka swarm and screech over islands where we had seen none before, saddleback and yellowhead were easily spotted and kiwi called through the night. While on Flightless it was amazing to not only hear of all the successes but to see the evidence for myself and to learn of all the exciting projects to come.

I'm incredibly inspired by Fiordland; the worlds both above and below the surface. More work on the topic will appear but if anyone does have something in mind that they'd like I will accept a commission on the grounds that I like the idea. I don't often do prints of my recent work and if I do I always limit them to a run of ten, slightly smaller than the original and never of a commissioned piece. However if someone wanted to commission a piece of Dusky I would ask that they give permission for me to give a run of ten prints to Pure Salt with the purpose of supporting the Restoration Project.  

Who goes to Dusky with the variety and abundance of fish and paints spottys? I couldn’t help it. I loved swimming amongst the weed and watching then dart in and out sometimes disappearing completely or appearing a few metres away. I was struck by the warm tones of the underwater world. When I think of Fiordland I think blue, green and cool tones not the red, magenta and oranges that dominated below the surface.  

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I love crafting clays into pottery.            

I find turning clay on a pottery wheel is both a journey of problem solving, repetition and practice but also a soothing process rewarded by success with my wellbeing and products. My success with my pottery has not always come easy without courage, experimentation, and failure. Pushing my fear of failure aside and reaching out into uncharted territory has given me huge unexpected rewards with clay and glaze colours.

My journey to Dusky Sound with Seán and Maria inspired both my Pottery and Conservation passions and how I can link these two with pottery design. The ever-changing complex ethereal hues of Dusky Sound (Tamatea) water, forest, and sky teased my desire to reflect these colours with my limited clay and glaze resources. My desire to find the best glaze chemistry and colours is now more than just finding a good fit of colours but an effort to see waterfalls, forest greens, horizons and more, as I saw with the overwhelming colours of Dusky Sound. I have crafted some Dusky Sound/Tamatea mugs for your memorabilia and to help our contribution to pest control on Indian Island.

Each mug is unique and I hope that you will see some of Dusky Sound/Tamatea in this mug while you sup.Chris MorisonPotter 

There's an explorer etched deep into my soul; a pioneering spirit imbued with an unceasing search for beauty and mastery. My art captures this passion. New Zealand is my playground, where soaring scenery mingles with jaw-dropping light and vistas.  As an avid tramper and outdoorsman, Wayne not only captures the beauty of the New Zealand backcountry but the rich, varied moods and nuances. Lean in closer to the work and you can almost smell my deep inhalation of the rain-soaked leaf-litter under the forest canopy. As the explorer gives way to the artist, however, my signature is exposed, one brushstroke at a time.

Light tones are applied thick and impasto.  Dark tones glazed flat. Pigments, painstakingly mixed and blended, become nature itself.

Each mark of paint on canvas is not only a relentless pursuit of depth and detail but evidence of the hand creating an ever-evolving surface.

This is the magic of the process, and of the paintings I loves to create.