All original paintings are conservation framed unless otherwise stated. We now use UV70 glazing for its brilliant clarity and virtually non-reflective enhancement of the image.
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ALL art reproduction prints are in Limited Edition runs of 35 for each available size: original, and, for selected prints, one or two smaller sizes. All are available framed or unframed. Please feel free to discuss with us your framing requirements.
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KAKANUI
KAKANUI
Original sold. Superb reproductions available.
This striking painting captivates viewers with its dramatic depiction of the high tussock country of Central Otago. This is a part of the Kakanui Range the borders the north eastern side of the Maniototo Valley in Central Otago, NZ. Captured in late autumn with the last sun striking its flanks.
Dimensions: Original, framed (see photo): 850mm x 670mm SOLD
Print, original image size: 650mm x 462mm
Print, A3 size, image size: 420mm x 295mm
PAINTING INFORMATION
This is an original watercolour painting by Central Otago artist, Russell Perry.
Walking along a section of the Otago Rail Trail one winter afternoon, he happened to look up through a gap in the trees and saw this magnificent sight. There lay the Kakanui mountains in all their glory. They’re not particularly high, but they stand proud as the northern guardians of the Maniototo hinterland. Frequently their tops seem to nudge the sky. To the observer, there is this marvellous visual chaos: where do the mountains end? where does the sky begin?
As the sun arced towards the horizon, the tussock slopes responded to the light, defining curves and emphasising the last warmth of the day on the cusps of sculpted folds.
This is such a satisfying land for an artist’s restless brush. Already, the decision has been made to paint Kakanui grandeur again. Soon.
RUSSELL’S WORK:
Two themes prevail: the celebration of creation and the passing of seasons.
The first attempts to capture something of the gloriously varied, colourful and imaginative output of the Master Creator. In “Kakanui”, God’s artistry is visibly applauded.
The second theme – the passing of seasons – is savagely explored here. The tree is bare. The gold of autumn is fallen. Beyond seems to lie other gold – the sun-bathed tussock lands, attractive to the eye – yet that gold is beyond reach, useless to the tree, and intensely ephemeral. In just minutes, it is gone.
Our lives are a bit like that. We take root, we grow, we extend, we cover ourselves with glory where we can, but it’s all useless to us when our season is over. And just as the high mists obscure mountain top and sky, this artist deeply rues that so many of his acquaintances do nothing to remove the obscurity of muddied thinking about life and death. Behind that mist, two discoveries await: there IS AN END to the mountain; the sky beyond is HAS NO END. The sky is very different to the mountain, but through the wonder of flight, you can go there. There IS an end to mortal life too, and, despite “misted” thinking, the eternity beyond is endless AND you can go there. Where? To an eternity called Heaven, to be with God.
Why then do so few engage their demisters to fully explore this idea? Why is it intellectually so readily dismissed? Why are we such earnest gold seekers and at the same time such insipid God seekers? Until one dares to read the Bible, to address the key concepts of Christian faith, to confess sin and seek redemption through Jesus Christ, how can truth be known? Is it so scary?