Cath Sheard Art

Category: Uncategorized

  • Wanderlust25

    I’ve often started my year by participating in a paid class or worldwide project. It’s a great way to kickstart the art year. I’ve done the Documented Life Project & Creative Jump Start a number of times, along with ‘100 days of …’ and a few one-off classes. I haven’t done anything for about 4 years as Tony’s health, and some other changes, meant I just didn’t have the bandwidth.

    Part way through last year I decided to commit to something for 2025 and tossed up between Wanderlust25 and Fodder School. I went with Wanderlust25, in the hope it might move me away from being brand/product driven in my art journals. It started a couple of weeks ago and yesterday I finally set up my journal and completed week 1 with Iris Fritschi-Cussens.

    As with all paid classes I’ll share what I made, but not specifics around techniques and thinking. I’m delighted with this first spread – it already feels like I’ve gone back to 10 years ago when I was more process driven. You can see it below, along with details close-ups.

    The writing is a reminder to myself that it’s ok to rest when I need to. My health is a bit dodgy yet I very much resist resting. Talking to my sister yesterday I realised it’s because Mum used to make me rest when she was tired and I wasn’t, so I see it as punishment!

  • There’s freedom in collab

    Pen and I have been creating collaborative artwork for years now. We’ve had two exhibitions, shown collab work in multiple gallery exhibitions, sold pieces, taught classes together. We’ve built a huge amount of trust in each other as artists, and in the ability for our relationship to cope with real honesty and our authentic selves.

    Want to write giant black words over something the other did? Do it. Cut a piece into four and make them into a book? Why not! Pour neon pink ink all over something and let it drip. Go for it. We stopped asking permission years ago 😂

    There comes a point, after the pieces have been mailed back and forth between the North to South Islands numerous times, where we start asking if it’s finished. Does it need one more mark, a line, a gold dot? There’s a time when we just know. That time always comes when the pieces are high contrast, richly textured, multi layered.

    Are the collab works like the work we make individually? Yes, and no. There are elements that are absolutely our own. Penny is the queen of “feckn shiny things” and I can’t resist a good drip and some splatter. Penny’s all about rich blues, I love neon pink and orange. The hand of the artists show, but the works are uniquely ours, not mine and hers. It’s a very magical thing and I feel privileged to be creating with someone whose skills complement mine so well.

    The images below are tiny sections out of large works I’ve been adding to tonight. I spent maybe 90 minutes working and used collage, transparent embossing powder, acrylic paint & ink, a green star-filled sparkly paste and a highly textured opaque embossing powder.

  • More playing with florals

    I’m still on a florals kick – exploring materials, styles, mark making, scale… Just playing with ideas to see what sticks.

  • Experimenting with florals

    Months ago I started two 8×8 wooden panels. I’d created multi layer backgrounds, in two or three sections. They were nice, but what next? They sat, and sat…

    I’ve been watching art videos as part of my Christmas break. There’s maybe 20 artists I subscribe to, and it’s been a chance to binge watch their play lists. I was watching Gaynor Pattle create vibrant, over the top florals, and had an aha moment. What if I created florals over the top? Very different to my normal semi-abstract landscapes, but maybe a significant change is what I need.

    Wow, did I have fun! They are fairly abstract, incredibly bright and far from my usual more minimalist approach. I love them, and loved the process – I don’t have a good photo of the finished pieces yet, but will take one in the daylight.

    Last night I started two more 8×8 wooden panels. Tonight I grabbed two huge sheets of Art Spectrum Colorfix paper out of my stash and started another work. What’s shown below is just the starting layer. I don’t know how long this idea will hold me, but I have a feeling it might be a while!

    This is the part of the original background on one of the panels.
    Starting to make some marks, and adding collage.
    Beginning to take shape.
    Almost complete.
    Almost complete too.
    Starting a 3rd 8×8 wooden panel.
    Starting a 4th 8×8 wooden panel.
    Initial layers on a large sheet of Colorfix.

  • Looking back at 2024

    There’s been a lot happen in 2024, most of it good, some of it truly awful.

    The awful? Sandra’s wee dog, Bruno, was savagely mauled. I’m not going to document it here, it’s not my story to tell, but we’re grateful he’s still with us.

    The good, great, and ok:

    • Te Ramanui of Ruapūtahanga, our new library, iSite/AA, art gallery and cafe, opened in Hāwera and it’s incredible.
    • Alan’s daughter Debbie married the love of her life, Jason, and we were privileged to be there.
    • Pen Kirk and I continue to create collab works together, and exhibited at Left Bank Art Gallery in Greymouth, including in LUSH.
    • Alan and I had quite a few trips here and there, including time at the beach at Hari Hari, a couple of nights in Ohakune, and time off grid way at the back of Eltham.
    • We celebrated my 60th birthday with a couple of nights at the Okoroire Hot Springs Spa.
    • I’ve continued to make art, be busy at work, spend time playing Munzees with Sandra and all the other things that make me happy.
    • Tony’s sort of doing ok. Trinity suits him. The rest of it’s not information I can share online.
    Collab artworks for the LUSH exhibition.
    The children’s area in Te Ramanui.
    Alan and I at Debbie & Jason’s wedding.
    60th birthday dinner at Okoroire.
    We’ve climbed down to caves, walked to waterfalls, and much more.
    Dinner in the fresh air while off grid.