The Good Oil

In this episode, I visit Graham Fletcher at his home and studio in Sawyers Bay, Otago.

Graham has several qualifications to him name, including a Master of Fine Arts (with Hons) and a Doctor of Fine Arts, both from the Elam School of Fine Arts at the University of Auckland. He has shown in numerous solo and group shows for over 25 years, and his work is held in many private and public collections, including in the Auckland Art Gallery Toi o Tamaki, The Museum of New Zealand Te Papa Tongarewa, The Sarjeant Galley Te Whare o Rehua and the Dowse Art Museum, and has a long list of awards and residencies to his name.

He is represented by Gow Langsford Gallery in Auckland and Milford Gallery in Ōtepote Dunedin.

There are images of the paintings that we talk about on The Good Oil Graham Fletcher Instagram Post for your reference.

You’ll hear Graham talk about how the combination of a visit to a home in Mt Eden and the Centre Pompidou in Paris, and architecture magazines have had an unexpected and huge impact in the eventual direction of his practice, the relationship between tribal works and contemporary paintings that appear as subjects in his work, the role of the surreal, perfect world of advertisements of the 1960’s as rich reference material and the main lesson that he has taken from Matisse.

In this episode, I visit Ruby Wilkinson at her studio in Tāmaki Makaurau.

Ruby holds a Bachelor of Fine Arts from the Massey University College of Creative Arts, Te Whanganui-a-Tara, and is currently in the Master of Fine Arts program at Victoria College of Arts, Melbourne University.

Her work is held in numerous public and private collections in Aotearoa, including in the Arts House Trust Collection, and she won the supreme winner of the New Zealand Painting and Printmaking Award in 2021, and has exhibited in over a dozen solo and group shows since 2020.

She is represented by Jhana Millers Gallery in Wellington.

There are images of the paintings that we talk about on The Good Oil Ruby Wilkinson Instagram Post for your reference.

You’ll hear Ruby speak about the interesting role figuration has in her process of abstract painting, why she thinks the nature of a her intuitive painting practice is one that so readily translates to viewers, how her paintings can include a lot of private elements that viewers will never see, how she considers a single painting that we see, a layer of multiple paintings that she has created, and, as you’ll hear right throughout the episode, a theme of a young painter that is carefully guiding her evolution with a series of restrictions and deliberate lessons.

In this episode, I visit Grace Wright at her studio in Tāmaki Makaurau.

Grace holds a Bachelor of Fine Arts and a Master of Fine Arts (with First Class Honours) from the Elam School of Fine Arts at the University of Auckland.

She has several awards and residencies to her name, including being the recipient of the 2026 Toi Tauranga Art Gallery Patrons Project and the 2017 Parlour Projects Residency in Hastings. Her work is held in numerous private collections in Aotearoa and internationally, and has exhibited in over 20 solo or group shows.

She is represented by Gow Langsford Gallery in Auckland and Ames Yavuz Gallery in Sydney, Singapore and London.

There are images of the paintings that we talk about on The Good Oil Grace Wright Instagram Post for your reference.

You’ll hear Grace speak about an experiment a few years into her practice which created an historical atmosphere that delivered a significant shift in the paintings, the constant wrestle she has with the paradox that exists in her practice, how reading broadly is an important experiential parallel to her painting, that she is drawing on a unique, unbiased mix including Baroque religious representation, mystics like Hilma af Klint and concepts held by quantum physics as a kind of collective awe of imperfect knowledge to explore painting.

In this episode, I visit John Ward Knox at his home, studio and garden in Karitane.

John holds a Master of Fine Arts from the Elam School of Fine Arts at the University of Auckland.

He has work held in numerous public and private collections, including the Chartwell collection, the Pah Homestead collection and the Govett-Brewster Gallery collection, he has exhibited in over 35 solo or group shows, and has been the recipient of several art awards and residencies, including being the The Francis Hodgkins Fellowship recipient in 2015.

He is represented by Robert Heald Gallery in Te Whanganui-a-Tara, Ivan Anthony in Auckland and Darren Knight Gallery in Sydney / Gadigal land.

There are images of the paintings that we talk about on The Good Oil John Ward Knox Instagram Post for your reference.

You’ll hear John speak about the pace and footprint he wants for himself and the practice, the active role of writing as a parallel to works and exhibitions, a belief that his role as an artist is to create space for someone to exist, but also how viewers can implicate themselves in the duration, or destruction, of the objects that he creates, his relationship to rural, small town and big city Aotearoa, and how he managed to sustain eight years of painting from a single $38 tube of paint.

In this episode, I sit down with Ōtepoti based artist Simon Kaan at Sanderson gallery in Tāmaki Makaurau.

Simon is of Ngāi Tahu, Chinese and Pākeha descent. He has a Diploma of Fine Arts, with Honours, from Otago Polytechnic, and has works held in numerous public and private collections including The University of Waikato collection, at The Arts House Trust and the Christchurch Art Gallery Te Puna o Waiwhetu collection. He has also been the recipient of several art awards and residencies.

He is represented by Sanderson Gallery in Auckland, Gallery Thirty Three in Wanaka and De Nova gallery in Ōtepoti.

There are images of the paintings that we talk about on The Good Oil Simon Kaan Instagram Post for your reference.

In the episode you’ll hear Simon speak about the influences of his Chinese, Māori and European whakapapa on his life and practice, how the absence of a Western art aesthetic growing up made art school more challenging, but also allowed him to create his uniquely own work, the significant influence of Marilyn Webb, his encounters with Ralph Hotere and a kind of parallel of Ralph's painting that Simon sees in his own work, and his ongoing collaboration with ceramicist and uku maker, Wi Taepa