A Q&A on conservation, creativity and protecting what inspires us.

From a childhood spent in Central Otago, Dunedin-born Artist, Greer Clayton leans on the dynamic landscape of the region to influence her breath taking paintings. Her works offer a perspective of moody belonging. There’s a sense that you know the place captured by her paint brushes as each depiction remains wonderfully non-specific yet utterly familiar. Greer recently paid us a visit at our pop-up Winter Store in Arrowtown. She was on her way home after an 8 day excursion onboard the boat ‘Flightless’, as part of a conservation programme established by the Department of Conversation (DOC) and Pure Salt. Designed to nurture a connection between artists and the environment of Dusky Sound, the programme invites artists to share their experience through art that, in turn, can become a fundraising piece for what is surely a vital endeavour. Greer appears to effortless capture almost the entirety of our beautiful country — from beaches to bays, from Dunedin to Devonport – where Greer now lives and works from her home studio. We’re delighted to share her art with you in this conversation with Greer Clayton. 

Q — Firstly, thanks for choosing a Davaar! What made you select the 101 and how does your jersey weave into your daily life — say, on beach walks or creative retreats?

A — These sort of ‘homespun’ inspired jerseys are especially good down south when the weather requires a comfy warm layer but also when I’m working in my studio which is a converted garage so it can sometimes be colder than expected. I like to have the doors open allowing for natural light and so I can make a mess in there!

I had a wool jumper as a teenager that mum bought for me from the Tarras merino store after I begged her! In Dunedin I wore it everywhere, my Marle 101 reminds me of that jersey and the authentic wool smell brings back childhood memories — I love it!

Q — Could you tell us about your current artistic focus and what continues to fuel your creative vision?

A — My obsession with our NZ landscape continues to fill my cup with regular trips both North and South to inspire and inform my work… what resonates and then transfers onto the canvas back in the studio.

Q — Your paintings emerge from memory and atmosphere rather than literal depiction. How do colour, light and form guide that process?

A — Within the work I’m seeking to capture the ‘mood’ and ‘feel’ of a place rather than its exact topographical location. Through layering techniques I’m enhancing the way the light moves across the landforms or hitting the water. That mid horizon where my eye rests, I’m looking out and seeing that line across the water so I use silver or gold tones and washes to convey sunbeams and light striking through the clouds.

Q — You live in Auckland now but frequently return to the South Island for inspiration. What draws you back, and how do those landscapes influence your studio work?

A — The South Island feels like home. The mountains and lakes draw me back, they are like no other — the schist rock and smell of thyme on the hills, the changing colour palette the seasons bring. It’s all very special.

Q — You've collaborated with conservation partners in Dusky Sound. Could you share how that opportunity arose and what it's meant to your work and the landscape?

A — Through a residency down to the Sub Antarctics with Heritage Expeditions I met some incredible people and that led to an introduction to the Pure Salt team working with DOC in Dusky Sound, Fiordland where I have been lucky to experience the area and work with them on their conservation project. My contribution is to create paintings inspired by the trip and the Dusky environment, and these works are then sold to fund traps for birdlife protection in the area.

Q — What was the outcome of that relationship — both artistically and for the Dusky Sound restoration efforts?

A — Having just returned from another trip, I have two new pieces finished and ready for sale. One is particularly green as this colour was so present in the water and reiterated by the deep forests on the mountains. It was incredible. They are doing important work eradicating pests, re-introducing missing species and filling biodiversity gaps in the area. It’s been a privilege to be a small part of helping in that.

Q — Your signature landscapes are dreamlike and ethereal. How do these qualities support conservation messaging or encourage environmental connection?

A — When the viewer connects with the work and can be transported to a place important and familiar to them there is an opportunity to talk about the significance of protecting the unique places we call home.

Q — You participated in World Wildlife Foundation’s "Whale Tales" trail with your piece Whakaora. How did this project align with your artistic ethos and environmental values?

A — Whakaora, meaning to save and restore. My landscape paintings represent a connection to a ‘sense of place’ like the whale seeks to connect to its oceanic environment. Living in Auckland and surrounded by the Hauraki waters this attention on the endangered Bryde’s whale species was important to be part of. WWF are addressing issues such as over-fishing, climate change and marine pollution — shedding light on its impact and educating us to do our bit where we can.

Q — Is there a specific piece of clothing, gear or object that's become meaningful on your creative journeys? What story does it carry?

A — In my work it’s my Italian lime wash brush. It’s the best tool I have as it’s used for my layering technique and has special soft bristles that allow for the paint to be lifted softly off the canvas. I was introduced to these brushes whilst working in Australia and I wouldn’t be without it.

Q — How do you engage socially with your art community, conservation partners, or audiences — to elevate the stories behind your paintings?

A — I work with a dealer gallery in Auckland and have regular exhibitions, most recently this year the Aotearoa Art Fair and later in September releasing some new pieces with Parnell Gallery and for Pure Salt. Social media channels are a great tool in getting the work seen and connecting with galleries, other artists and collectors.

Greer Clayton
greerclayton.com
@greerclayton

Parnell Gallery
parnellgallery.co.nz
@parnellgallery

Pure Salt
puresalt.co.nz
@puresaltnz