Nicholas Toyne with some of the Japanese tea pots in his new exhibition. Photo / Bevan Conley
Nicholas Toyne with some of the Japanese tea pots in his new exhibition. Photo / Bevan Conley
Whanganui's Nicholas Toyne will soon be departing these shores for the UK, but he's managed to squeeze in an exhibition at Orphic Gallery before he goes.
A Gentle Reminder That We All Die (A Gentle Reminder That We All Live) is now open and marks the conclusion of four yearsof study nearby at UCOL.
The exhibition showcases Toyne's abilities with ceramics, although he said he'd only really been focusing on the form for the past year or so.
"I wanted to look at facilitating conversations around mortality, and the idea that everything passes and comes and goes, just like we do," he said.
Toyne said he began researching many different cultures at the start of the year, to find a universal sculptural language that conveyed that idea.
"The further I went into it, I realised that looking at Zen Buddhism, which I've done for many years anyway, and the Japanese tea ceremony were good symbols because it's about experiencing the moment and connecting with someone."
Toyne then set about making Japanese teapots and bonsai pots, most of which are fully functional.
"I still kept as much of a sculptural element to it as possible, because a lot of the Japanese techniques, like the Kurinuki technique, are very sculptural.
"Rather than build it up, you start with a block and carve it away.
"Bonsai is another art form I've done for years, so it all felt really natural."
Bonsai (and the accompanying pots) also make up part of the exhibition. Photo / Bevan Conley
Toyne's artistic journey at UCOL began with a Diploma in Arts and Design, focusing on Glass Arts.
He then moved on to a Bachelor of Design and Arts, majoring in Visual Arts.
"One of the reasons I changed from glass to ceramics was the fact that glass was 10 times the price. It's $35 to $40 for a kg, and you get a 10kg bag of clay for the same price.
"That was important with this particular body of work, because it was about making a large volume and getting it through as quickly as possible."
The volume applied to Toyne's research as well, and he produced a photograph a day for 100 days, some of which accompany the bonsai plants and sculptures in the exhibition.
"One example is a compost heap, which is decaying but had beautiful natural colours."
Toyne said he wanted the pieces to be as accessible and reasonably priced as possible, not to commercialise them but to give people the chance to take something home if they found "peacefulness and connection" at the exhibition.
He departs for the Northern Hemisphere next month.
"My partner lives in Hertfordshire, just outside of London.
"We were tossing up whether she came here or I went there. I've never been to the UK though, and my granddad is from there, so I'm going on an ancestry visa.
"She already loves it in New Zealand, so I thought I'd go over and experience life there for a bit.
Toyne said he wanted the pieces in the exhibition to be reasonably priced.
