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For my project, I propose a multimedia exploration of Otago Harbour (Te awa Ōtākou) and the Otago Peninsula from the broad landscapes to the smallest sea life. Representations of the landscapes and life forms in ceramics, textiles, and photography will encourage people to think about and appreciate this distinctive environment. The beauty and bounty of Otago Harbour and the Peninsula are a major reason that inspired me to come to Dunedin. While the weather is very variable, there are times, in the early morning light or when the sky is flocked with puffy white clouds, that the varied greens of the hills, and the greys, blues and greens of the water in the harbor have magical effect. The Harbour and the Peninsula have inspired many artists, including watercolour artists in the 19th century. Colin McCahon's painting "Otago Peninsula" (1946-49), is perhaps the most well known work; now at the Dunedin Public Library, it captures some of the colour and forms of the landscape. In ceramics, Neil Grant's mural "Otago Peninsula" (1984) at the entrance to Dunedin Hospital presents a central landscape scene bracketed by two panels detailing wildlife and a bit of the city. Many local artists occasionally turn to the Harbour and the Peninsula for inspiration in their works. When considering any landscape there are a host of factors that come into play including the geology, ecology, history and culture, and commerce of the area. The Peninsula and Harbour was created by eruption of a now extinct volcano 16 million years ago. Around 1300, the Māori arrived and found plenty of kai in the area, including fish and shellfish. In the 19th century, whalers and European settlers made their way here and eventually displaced Ngāi Tahu. The question of Māori rights continues to be debated to this day. Meanwhile, the health of the Harbour faces challenges including climate change, ocean acidification, sedimentation, and the effects of large cruise ships. Decisions and actions by the Dunedin City Council, the Otago Regional Council and the national government—and by ordinary citizens in their day to day lives—impact the Harbour. It is important to understand and acknowledge these many different factors, but the focus of my proposal is to convey the beauty and wonder of the landscapes and marine environment. It is not only the landscape views that account for the Harbour area's appeal. The rich variety of animals and plants, particularly marine life adds an additional layer of interest. I do not think one can effectively tell the story of the Peninsula without reference to some specific animals and plants. I propose to select six to 12 species I find interesting and representative (for example, blue cod, beadlet anemone, and bull kelp / rimurapa) and include them in my works, be they photographs, ceramics or textiles. I would like to look into collaborating with University of Otago Marine Studies and with Harbour Fish on these aspects of the project. In ceramics I will attempt to produce two kinds of work: a small scale representation or representations of the overall landscape, perhaps in the form of a tile or tiles or maybe in three dimensional pieces as done by American ceramicist Wayne Higby, and representations of a selection of life forms including fish, shellfish, sea anemones, plankton and seaweed. As discussed with Rob Cloughey, one major consideration is whether to attempt very realistic portrayals of these forms or to do more stylized representations that convey their essential likenesses. In textiles, I am starting with almost no knowledge of techniques. Ultimately, I would like to produce interpretations of the Harbour landscapes in several wall hangings or tapestries. I particularly like the machine-embroidered panels by British textile artist Alice Kettle at the National Library of Australia which nicely convey the essence of the forms and colors of the Australian landscape. However, the descriptive blurb notes that, "Kettle estimates she used 5 million stitches over a period of 18 months to create the panels." I do not know if machine embroidery, quilting, applique or some other technique would present the best option given my limited experience. One person recommended crazy quilt appliqué. The first step is probably to produce small studies of the different landscape elements: the hills, the water, and the clouds and sky. In photography, I have been shooting around town and so far have managed a handful of trips to the Peninsula. I will print some relevant photographs to complement the textiles and ceramics. Also, I hope there are occasions to upgrade my photographic skills and knowledge; I have been shown printing and a bit on lighting by Harry Simpergham and framing and matting by Steev Peyroux. I particularly want to learn photomicroscopy, and would like to include some images of plankton to complete my vision of showing big and small views of the Harbour and the Peninsula. Bibliography Otago Harbour and Peninsula: Landscape and History "Toitū te whenua - Māori Place Names Series." Otago Daily Times, May 22, 2024. Potiki, Megan. "The Otago Peninsula, A Unique Identity." Shima: The International Journal of Research into Island Cultures. 10, no. 1 (2016). Quarantine Island Kamau Taurua Community Incorporated: quarantineisland.org.nz. Te Rūnanga o Ngāi Tahu: ngaitahu.iwi.nz Morphum Environmental. "Te Awa Ōtākou (Otago Harbour) Issues and Opportunities." report prepared for Otago Regional Council, February 2025. Otago Regional Council: www.orc.govt.nz/environment/ McConnell, Glenn. "Minister confirms seabed and foreshore change, limiting Māori rights." stuff, August 5, 2025. Earth Sciences New Zealand: earthsciences.nz Conference: "Mapping the Anthropocene in Ötepoti/Dunedin: Climate change, community and research in the creative arts." Dunedin School of Art and Te Maru Pümanawa, September 26-27, 2025. Otago Harbour and Peninsula: Ecology iNaturalist NZ Guides: inaturalist.nz/guides "Sandy & Muddy Shore Guide." NZ Marine Studies Centre, Department of Marine Science, University of Otago, 2023. Boyd Fisheries Consultants Ltd. "Fisheries resources in Otago Harbour and on the adjacent coast." report prepared for Port Otago Ltd., December 2008. Aquatic Environmental Sciences Ltd. "Information on key species of interest to Ngai Tahu — Supplementary paper for Next Generation Project." report prepared for Port Otago Ltd., May 2010. Art & Artists Exhibition: "Infinite Place: The Ceramic Art of Wayne Higby." Renwick Gallery, October 3-December 8, 2013. Exhibition: "A Land of Granite: McCahon and Otago." Dunedin Public Art Gallery, March 7-October 18, 2020. Kettle, Alice. "Australian Landscapes I-IV." National Library of Australia, 2001. "Sea Creatures Clayart." Ceramics and Pottery Arts and Resources, May 20, 2014. Moyle, Peter B. "Introduction to fish imagery in art." Environmental Biology of Fishes. 31(1):5-23 (May 1991). Howard, Maureen. "Light on the water." Otago Daily Times, July 1, 2019. Taylor, Lynn. "Coccolithophores Impressed: Ōku Moana and The Sandpit Collective." lynn-taylor.blogspot.com, July 14, 2018. Barrar, Wayne. "The Glass Archive." waynebarrar.com Craft Organizations Creative Fibre: creativefibre.org.nz Quilters and Patchworkers of Otago (Inc.): otagoquilters.org.nz Otago Embroiderers' Guild Inc.: www.oeg.org.nz Costume and Textiles Aotearoa New Zealand (CTANZ): costumeand textile.nz Otago Potters Group: www.facebook.com/Otagopottersgroup/ Stuart Street Potters Co-operative: www.facebook.com/PottersCoopDunedin/ note: I particularly appreciate suggestions and insights shared by Pam McKinlay in a conversation on 7 August 2025. initially posted 8 August 2025. |
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