Cuisine - - CONTENTS - Pho­tog­ra­phy Tony Ny­berg / Cu­rat­ing & styling Fiona Las­celles

A col­lec­tion of our favourite prod­ucts from NZ mak­ers

1 / WHAT: Home-grown-wil­low ta­ble trivet WHO: Mike Lil­ian, bas­ket­maker Mike Lil­ian grows his own wil­low to weave into bas­kets and other cov­etable pieces for every need, such as this prac­ti­cal yet beau­ti­ful wil­low trivet. He crafts bas­kets for pic­nics, bas­kets made to mea­sure for your kitchen or laun­dry, ham­pers to store bed­ding and linens, to pile high with logs or the per­fect pro­duce-gath­er­ing bas­ket for a trip to the farm­ers' mar­ket. There are wo­ven wil­low chairs, gar­den sculp­tures, oc­ca­sional ta­bles, and even cra­dles and ba­bies' rat­tles, too – all part of Mike's de­sire to make items that are beau­ti­ful, use­ful and tra­di­tional. wind­wil­low­bas­ketry.com and avail­able from in­sta­gram.com/ frances_­na­tion_shop/

2 / WHAT: Hand­made can­dles WHO: Ho­hepa Hawke's Bay These lovely hand­made can­dles are sourced from Ho­hepa, a proud ar­ti­sanal com­mu­nity that is part of a wider group of in­tel­lec­tu­ally dis­abled res­i­dents liv­ing un­der the holis­tic care of the Ho­hepa or­gan­i­sa­tion. The Can­dles Work­shop is just one of sev­eral work cen­tres where peo­ple learn and mas­ter crafts such as wood­work­ing, can­dle mak­ing, weav­ing and cheese mak­ing. The an­cient craft of can­dle mak­ing con­nects a sense of aes­thet­ics and beauty with a highly de­vel­oped set of skills which suits the work­ers well – mostly adults with an in­tel­lec­tual dis­abil­ity. An en­vi­ron­ment of warmth and colour is cou­pled with a mea­sured work­ing pace which en­gages and sup­ports peo­ple in their phys­i­cal, emo­tional and spir­i­tual well­be­ing. Ho­hepa’s mis­sion is to bring a bright light into ev­ery­body’s life, both the can­dle mak­ers and their cus­tomers and the end goal is al­ways to abide by the mantra: 'Every life fully lived.' ho­hep­a­hawkes­bay.com

3 / WHAT: Potato masher WHO: Der­ick and Jenny Foss From their 10sqm gar­den shed in sub­ur­ban Christchurch, hus­band and wife duo Der­ick and Jenny Foss run a busy lit­tle en­ter­prise spe­cial­is­ing in unique kitchen tools that work well and should last a life­time. Rem­i­nis­cent of the kitchen tools that your granny might have had, this tra­di­tional-style potato masher is hand crafted with a qual­ity-grade stain­less-steel body and a hand­turned New Zealand rimu han­dle; it will not rust, bend or break and is guar­an­teed to work bril­liantly. Avail­able from in­sta­gram. com/frances_­na­tion_shop/

4 / WHAT: Pink ce­ramic can­dle­sticks WHO: Kirsten Dry­burgh Ceram­ics Kirsten Dry­burgh is a stu­dio pot­ter with a back­ground in floristry, il­lus­tra­tion and fine arts. Hav­ing run a pot­tery stu­dio in Herne Bay in the 90s, she was lured back into the pot­tery world four years ago, work­ing from a stu­dio/shop in Grey Lynn from where she sup­plies lo­cal stores such as Wid­dess, The Poi Room and Precinct 35. These cute can­dle­sticks were in­spired by clas­sic forms and then given a con­tem­po­rary twist. They are handthrown us­ing a lo­cal white stoneware clay blended with ce­ramic pig­ment and ground vol­canic rock, then coated in a clear glaze. @dry­burgh­pot­tery

5 / WHAT: Tulip bowl stand WHO: Walk in the Park Hus­band and wife team Sam Choi and Jiho Yun be­lieve in a sim­ple, hon­est ap­proach to de­sign where aes­thet­ics and util­ity are in­trin­sic. Orig­i­nally from Korea, Sam stud­ied fur­ni­ture de­sign and Jiho film-mak­ing. Nowa­days wood­turn­ing is Sam’s pas­sion, and from a Ti­ti­rangi stu­dio sur­rounded by bush, he makes bowls, cups, trays, cake stands and fun­nels from sus­tain­ably sourced New Zealand wood, the likes of rimu, kauri, pūriri, kahikatea and re­warewa. The el­e­gant tulip bowl stand fea­tured is made from New Zealand na­tive to­tara and swamp kauri. The name Walk in the Park comes from the idea of tak­ing things slowly and notic­ing the de­tails – think­ing about the jour­ney, not the des­ti­na­tion. walkinthep­ark.big­car­tel.com

6 / WHAT: Pot­tery tea bowl WHO: Elena Renker Ceram­ics For Elena Renker a tea bowl is the most fas­ci­nat­ing and in­trigu­ing thing to make, an ob­ject of con­tem­pla­tion com­bin­ing func­tional and sculp­tural el­e­ments. It has to be well made and well bal­anced, not too heavy, not too light and to feel good in the hand. It has to be pleas­ant to touch and to use.

But one of the most im­por­tant as­pects of a tea bowl is the foot of the bowl. Not only should it match the style of the bowl but it is also a re­flec­tion of the char­ac­ter of the pot­ter, al­most like a sig­na­ture. And a tea bowl has to pro­vide in­ter­est for the eye, to show the clay body it is made of, the touch of the pot­ter's hand, the glaze and the ef­fects of the fir­ing process. Elena's aim is not per­fec­tion, on the con­trary, her be­lief is that im­per­fec­tions make the bowls come alive, make them eas­ier to re­late to, make them more hu­man. Avail­able from Te Uru Waitakere Con­tem­po­rary Gallery. teuru.org.nz

7 / WHAT: Gift lessons in flax-weav­ing tech­niques WHO: Jude Hoani-te Uruti (Auck­land) and Rekin­dle (Christchurch) of­fer cour­ses, but it's easy to find one near you with a quick Google search Learn­ing a new craft can be im­mensely sat­is­fy­ing and a short work­shop can be the ideal way to start. Not only do gifted teach­ers coach you in a new skill but at the end of the day you have a unique self-crafted item to take home or to give as a gift. In Christchurch Rekin­dle run bas­ketweav­ing ses­sions us­ing tī kōuka (cab­bage-tree leaves) at the Arts Cen­tre in Ōtau­tahi. It's just one of the many skills they of­fer – in­clud­ing wood­en­spoon carv­ing, string and rope mak­ing and green­wood-fur­ni­ture mak­ing – aligned with Rekin­dle's aim to teach peo­ple to make what they need from what they have lo­cally, in­clud­ing un­der­val­ued ma­te­ri­als such as cab­bage­tree leaves, flax leaves or green wood.

In Auck­land Jude Hoani-te Uruti in­tro­duces be­gin­ners to the art of weav­ing kōrari (flax) into bas­kets and paaro (food bowls). Work­ing with nat­u­ral ma­te­ri­als not only teaches a skill, but also an ap­pre­ci­a­tion of na­ture and of us­ing ma­te­ri­als in new ways. And as Jude says “To weave kōrari you have to be in the mo­ment. It’s the best mind­ful­ness train­ing any­one could have.” rekin­dle.org.nz or @jh.weaver

8 / WHAT: Stone din­ner­ware WHO: Homeground We defy you not to reach out to cra­dle one of Amie Red­path's cre­ations in your hands, to test the heft of the pes­tle and en­joy the per­fect tac­tile com­bi­na­tion of form and func­tion. She made her first pes­tle and mor­tar eight years ago when she was liv­ing on Great Mer­cury Is­land in the Coro­man­del. Her ex­ist­ing one was frus­trat­ingly small, and it wasn’t like she could just pop out to the near­est home­ware store to buy a new one. So, she went down to the beach, picked up a few nice rocks and made her­self a thick, weighty mor­tar and a nice long pes­tle with rounded ends. Now, as well as gor­geously chunky pes­tles and mor­tars, she makes salt and pep­per bowls (such as the ones pic­tured), soup bowls and plat­ters. She works with what’s avail­able, mainly an­desite, basalt, gra­n­odi­or­ite and gran­ite, as well as some greywacke and schist. These are rocks that are cry­ing out to be picked up and used in your home. homeground.nz

9 / WHAT: Clean & Dry han­dem­broi­dered linen tea towel WHO: Com­pan­ion Code­sign Made by mi­grant and for­mer refugee women now liv­ing in New Zealand, this 100% linen tea towel is em­broi­dered with Ara­bic and Amharic text, il­lus­trat­ing the beauty of di­verse so­ci­eties. Will and Ka­reen Durbin of Com­pan­ion Code­sign un­der­stand that mean­ing­ful em­ploy­ment is a cru­cial com­po­nent for mi­grants to in­te­grate suc­cess­fully, so they cre­ate op­por­tu­ni­ties for peo­ple to con­nect through craft­ing fur­ni­ture and tex­tile items. Build­ing on the skills car­ried here by mi­grants they ex­plore the out­comes of col­lab­o­ra­tions be­tween dif­fer­ent tra­di­tions. Much of what they make is unique – show­ing the very marks of the ar­ti­sans' hands and minds. com­pan­ion­code­sign.com

10 / WHAT: Wooden spoon WHO: Tom Muir, wood­worker Sculp­tor-chef Tom Muir is pas­sion­ate about cre­at­ing prac­ti­cal items of last­ing beauty with a strong con­nec­tion to Aotearoa. De­scribed as her­itage cook­ware, kitchen items such as this wooden spoon are made to be used and to be passed on, like trea­sured pos­ses­sions. All the im­ple­ments and boards are made from sus­tain­ably sourced New Zealand na­tive tim­bers. Most of the knife blades and spoon heads are fash­ioned from black maire, one of New Zealand's hard­est tim­bers, used by the early Māori for cul­ti­va­tion tools and weaponry. The spoons, spat­u­las and servers are all in­di­vid­u­ally made so there is vari­a­tion in the style and types of wood used for the han­dles. The aim is to pro­duce one that feels just right for you, so left han­ders are catered for too.

He also make a di­verse range of boards – from small to large and from solid rus­tic to fine el­e­gance – fea­tur­ing rare and beau­ti­ful na­tive tim­bers. Avail­able from kura­gallery.co.nz

11 / WHAT: Forged soup spoon WHO: Nate Sav­ill (Nate the Black­smith) Nate 'dis­cov­ered' black­smithing while hitch­hik­ing through the South Is­land in 2010, where he met 'Greeny' a black­smith in West­port. Sub­se­quently he moved there to com­plete a one-year course in black­smithing, fol­lowed by a three­year vis­ual arts de­gree in Auck­land.

To­day he makes such widerang­ing items as bot­tle open­ers, fire pok­ers, door han­dles and can­dle hold­ers to con­tem­po­rary sculp­ture, chan­de­liers and gates. Fas­ci­nated by black­smithing as the an­tithe­sis of mod­ern mass pro­duc­tion, each piece of Nate's work, such as this won­der­fully quirky soup spoon, has its own unique qual­i­ties, and it is these small im­per­fec­tions that make his work stand out.

He forges pri­mar­ily in steel but has also forged in cop­per and sil­ver. Avail­able from Te Uru Waitakere Con­tem­po­rary Gallery. teuru.org.nz

12 / WHAT: Ike­bana pot WHO: Fiona Mackay Fiona Mackay started tak­ing classes in ceram­ics just un­der two years ago, and she im­me­di­ately fell in love with the whole process of throw­ing on the wheel and trans­form­ing the raw prod­uct of clay into a fin­ished and func­tional piece.

With a back­ground in fur­ni­ture de­sign, she is drawn to and loves prod­ucts with very sim­ple, clean and well-pro­por­tioned lines. This is ev­i­dent in this el­e­gant ike­bana pot, in­spired by Fiona's grow­ing col­lec­tion of for­aged twigs and in­ter­est­ing pods that she has col­lected while out walk­ing. Per­fect for those who love the sim­plic­ity of just a sin­gu­lar flower or two or just those of us frus­trated by their in­abil­ity to ar­range flow­ers in a vase prop­erly. The lit­tle ike­bana pots work well with ei­ther one sim­ple for­aged flower or a col­lec­tion of in­ter­est­ing pieces of fo­liage – not that we're ad­vo­cat­ing that you go out and steal your neigh­bour's prized blooms for your ta­ble cen­tre­piece. fiona­mack­ayc­e­ram­ics.co.nz

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