The Lack Of N.Z. Artists

Press, Volume CIII, Issue 30558, 29 September 1964, Page 12

The Lack Of N.Z. Artists

Why is it possible for hundreds of artists to make pots, produce exquisite silver and fine furniture in Denmark, and not here in New Zealand? That Danish craftsmen can do this means they are able to work full-time, produce their works economically, sell enough at prices to run house and workshop, send their children to school, and, like most other professional people, enjoy a full and varied life. The prices do not deter millions of buyers each year, and I have yet to hear anyone complain they have not received good value for money. Is it that New Zealand artists (and I use this term to include weavers, potters, silversmiths, cabinet-makers, engravers) are incompetent, or mediocre? No, I am sure this isn’t true. Is it, then, the geographic situation which prevents our artists from reaching a sufficiently wide public to enable them to work continuously and so reach even the higher standards that can only be maintained by working consistently 10 hours a day, six days a week, 40 weeks a year? This probably comes closer to the truth. But surely this will change, for more and more people are visiting this attractive and interesting country. Certainly our artists should, in future, persuade their agents to present their work in places likely to be seen by

visitors, for example, in tourist hotels, the betterdesigned airport buildings where suitable facilities

exist, and small galleries like the Craft Centre, Hay Hill, London. There are New Zealand pot-

ters, weavers and silversmiths whose work is so good that it seems paradoxical that they are unable to practise their skills full-time, earn a reasonable living and in so doing, enrich this country's culture and traditions. Consider the illustration which shows a coffee pot of silver and rosewood, 10 inches in height, made by Peter Noonan. Its craftsmanship reaches standards which make it acceptable in any other country, even Denmark, similarly its beauty of line, perfection of form, and general delicacy. Though, of course, these are very much matters of personal taste. The spout, which has both firmness and freedom, works perfectly. The rosewood handle, delicate to the point of daring, provides a comfortable grip and the pins which lock it at the top, made from ivory instead of the more usual nickle silver, cannot accidentally burn the hand. The foot lined with rosewood conserves heat and prevents damage to polished surfaces. The knob, separated from the lid by a thin slice of ivory, is also insulated. The coffee pot is extremely satisfying both in its shape, skilled craftsmanship, its searching attention to detail ensuring every convenience in use. This is but one work typical of many achieved by artists born and trained in New Zealand. Every year many works of such excellence are produced. Regrettably conditions are such that few are working full-time. —John Simpson