British Printmaker Mark Graver Swaps London, England for Kerikeri, N.Z.

Your CV says you're a painter and printmaker from St. Albans, Hertfordshire, U.K., that you studied art at Leeds Polytechnic, then Camberwell College of Arts in South London, and that between 1995 and 2003 you enjoyed a series of art residencies in the U.K. Then in 2003 you turn up in Kerikeri, New Zealand. Would you care to elaborate a bit on the process which led you to make the leap, and how you feel about having done it?

My partner, Tania, is from Kerikeri. We met in the UK 11 years ago and decided to move here in 2003. I spent two six-month periods in N.Z. before moving and set up some shows here and dealer connections while still in the UK. It's a great place to live - we're on land that Tania's grandfather bought in 1938. It's been divided up between her father and his three brothers but in essence is still intact. Our part is two hectares of subtropical garden planted by Tania's father. And recently awarded "Garden of Regional Significance." We have five self-contained cottages for tourist accommodation set in the garden, garden tours, the print studio and a venue were we put on a variety of events including music gigs.

Mark Graver, at work in his new studio in Kerikeri, N.Z.

Now, in 2007, you have just opened your own printmaking workshop there. How did that come about? What were the factors which convinced you that a workshop could be a success there?

I made my first prints on a foundation course in Watford UK, in 1984 and continued printmaking throughout my first degree at Leeds. Ever since that time I've had the ambition to have my own press and print studio. It's primarily set up as a place for me to make my work so isn't reliant on course numbers for its success.

There's a strong interest in the arts in Kerikeri but it is a small population to attract potential students from , however interest has been positive. I hope to also work with the local Polytechnic (I currently teach printmaking there but the studio has better facilities so I'm hoping it becomes an extension of the campus).

We can also offer on site accommodation which allows us to market courses and workshops to a wider audience and there's a huge influx of tourists over the summer months so can offer short courses then as well.

I'm hoping to attract professional artists who want to come here to make prints and artist printmakers to take workshops - we have Dan Welden coming to run a Solarplate workshop next year.

The name of the workshop is not easy to forget: "Wharepuke Print Studio and Gallery." Would you care to tell us where that came from?

It means "House on the Hill" in Maori. Whare (Faray) = House, Puke (Pookee) = Hill. It was named by Tania's Grandfather when he bought the land

How did you finance it? Just off to the bank for a loan, or does New Zealand have programs which help artist/entrepreneurs with this kind of projects?

The main funding came through an interest free loan from my father. There was also some funding for one of the presses and a compressor from the Birgit Skiold Memorial Trust, a UK based trust for printmakers. The funding bodies I looked at in NZ don't fund for capital items.

From the photographs the workshop looks beautiful. Who designed it? Let's give them a plug.

The building was designed by Martin Evans, a prominent NZ architect. He is now based in Auckland but has a number of significant buildings around Kerikeri. It was originally designed for Robin (Tania's father) as a potting area so was an existing building that I've renovated for studio use. There's a one bedroom flat above where we live, a mezzanine with a small bedroom, sitting area and storage then the studio and office below. The studio space is about 9 x 22 metres.

What programs will the workshop offer?

A variety of courses and workshops in non toxic techniques primarily focused on Acrylic Resist Etching.

We will have weekend courses and probably a series of longer evening courses. Short courses will be available for guests staying in the accommodation and groups will be able to tailor their own courses in consultation with me. If a group wants to come for a holiday in the Bay of Islands they will be able to structure the intensity of workshop time and holiday time to suit their needs.

We will also have open access slots available for those with proven knowledge of the techniques or those who have completed an induction course.
There will be visiting artists running courses in other techniques and we hope to get a residency programme running in the future.

The gallery is part of the studio and is there mainly to showcase my own work. I tend to sell through dealers here in NZ and London so the gallery isn't primarily a commercial space - though if someone wants to buy some work that's allowed!

Who do you think your principal clients will be for the gallery?

Probably tourists but I will have a couple of openings throughout the year for locals.

Your workshop is billed as "environmentally friendly." Could you elaborate on that a bit?

All the techniques used in the studio are non toxic. We use the Edinburgh Etch system, vertical etching tank and acrylic resists. The inks are Akua water based Intaglio so wash up with soap and water. We distribute Akua inks in NZ too.

Nothing but water goes into any drains as we have our own bio - sewerage system on the property. Chemical waste is disposed of by local professionals through a free drop off system at one of the agricultural suppliers.

What about printmaking equipment and materials? Are they available locally?

Many of the materials we use are from the supermarket - soy sauce for degreasing, floor polish for acrylic resists, vegetable shortening for lift grounds etc. I did find it hard to source the more specific items in NZ. The large Conrad Press came from USA and other specialist items from Australia - acrylic aquatint solutions, tint screen etc. But most of the day to day things can be found within NZ - though I can't find Somerset printing paper which was a favourite in the UK. I can get Hahnemuhle here though and Tiepolo which are the two main ones I use. The internet has proved very useful for ordering direct from abroad. Our connection with Akua allows me to bulk order their inks which are for sale through the studio

Suppose I wanted to come to Kerikeri and do an etching course with you. Where would I stay?

On site at Wharepuke Subtropical Accommodation. We have 5 self contained cottages, set within the award winning garden, which are managed by my partner Tania. You can see them here - www.accommodation-bay-of-islands.co.nz

We also have a sixth cottage for long term use and are hoping to use this for resident artists' visits in the future. We're exploring funding options at the moment.

Where's Kerikeri? What's it like compared to, say, London?

Kerikeri is in the Bay of Islands in the north of New Zealand's North Island. It's a small community of about 6,000 and is one of the fastest growing towns in the country. It is very important historically as it was the place of first contact between the Maori and Pakeha (European) settlers. The Stone Store is NZ's oldest stone building and Kemp House the oldest existing wooden building.

I lived in London for 9 years, in Hackney in the East End, before I moved here. Kerikeri is predominantly white, middle class and conservative. Hackney was a vibrant multi cultural melting pot.

We're very lucky with the property we live on here in that it hasn't been sub divided and sold off for housing. Kerikeri was built on the citrus trade but the large areas of orchard have all but gone now. Tourism would be one of its main industries. It's very quiet compared to London and we are very close to the sea and the greater Bay of Islands area which is stunning

If you had to do it over, what would you do differently?

I might have looked at costing a purpose built studio rather than renovating an existing space, but I think financially that would not have been viable - for the amount of space we have it's cost very little really and one day I may build somewhere else on the property.

If you could give one piece of advice to someone starting out on a printmaking-workshop project, what would it be?

Research and ask advice - sorry that's two isn't it?

Note: For more information, here's Mark's (very complete) website address: http://www.nontoxic-printmaking.co.nz/