The Waitaki App would like to share an artist’s story each month. If you are an artist or know someone clever and creative you would like to nominate, please email [email protected]. This month we talk to Beth Strickland.

Q. Tell us a little about your background and what led you to becoming an artist…

I’m originally from Wellington, but have lived in a few different countries including Holland, Australia and Argentina which may have influenced me in some way.

I first took classes while living in Europe – really just to meet people – then continued classes here and there in the Bay of Islands, Auckland and Wellington, as I moved around once back in NZ. I have also worked as a colour consultant, which helps.

When COVID hit I lost my job, but the silver lining was I got a scholarship at The Learning Connexion (TLC) in Wellington. That’s when I really started getting serious with art. 

I could never get into the art classes at college but was creative from an early age with things like weaving and crotchet/textiles. Apart from that, it’s been a relatively late start.

I had some great mentors at TLC and I liked how it wasn’t too structured and really focused on experimentation. You could just run with your ideas.

I also did some art history papers at Victoria University and textile design papers at Massey University as well, as I got more and more obsessed with creativity and art.

From that, my confidence has gone up in huge leaps and bounds. I don’t worry about what people think of my work, or compare myself to others. 

My favourite saying is: “It’s my job to make art to a level I’m happy with – it’s the audience's job to find artwork that resonates with them”.

Q. Tell us about your art...

I mainly do painting/drawing and printmaking and love pottery (but need to put more time into it). I would also like to give carving a go – especially now with Ōamaru stone.

Currently my painting work is very abstract, it could be described as spontaneous with chaos underlying structural elements, but I don’t like to be put in a box.  

I have a lot of different styles and techniques, but realism is not my thing. 

I love what I call semi-cubism figure work and being loose and expressive in all my work. Mark-making, shapes and value are big for me.

I use a variety of mediums including charcoal, ink, pastels, acrylic and oil, usually finishing with a layer of oil and cold wax.

I use the same process – with stages of play, explore and clarify – but always with different results. It usually goes through a really “ugly” stage, which just means I have to be a better problem solver – calling in all the skills and knowledge I am always accumulating in the toolbox.

I use lots of different tools as well - some handmade - and my favourites from the hardware store. The brushes get put aside after the first layers.

Syntropy, by Beth Strickland.

Q. What has landed you here in the Waitaki?

A change of lifestyle. We wanted to get back to a simpler life – without the hassles of living in a bigger city. 

What shocks a lot of people is that we put an offer on the house in Kakanui without ever being to Ōamaru and the surrounding area. Turned out to be the best move ever. I also knew the area would be great for an artist.

Q. What do you love about where you live?

It’s a simple life. Very quiet and relaxing. I love the coast, local beach, river and view of mountains from Kakanui.

The light is wonderful, especially in summer with the long days. I love the climate - even winter has been fine with clear sunny days after a cold frosty morning.

I also love that such other amazing scenery is right in our backyard. By that I mean within a few hours.

The area hasn’t been overtaken with McMansions like I see happening in many other areas around NZ. I hope it stays like that. 

Q. How does it inspire your work?

To be honest, I get inspiration from everything, so I never know how to answer questions about what inspires me.

Recently I’ve been fascinated with the seaweed down at Kakanui Beach. The colours, shapes, texture and marks are making great photos, and I think I can do a series of work based on them alone.

The colours of Waitaki and Otago are something else. It’s a nudge for me to get stuck into landscapes – but find my own style with it.

Q. What is your favourite thing to do outside of art?

I can’t narrow it down to one thing - discovering new places and cultures, reading, planning our garden (not maintaining it). Being with and taking care of our new puppy, Alfie (mostly). Ending the day in front of the fire with a glass of red wine in these colder months.

Q. What aspirations do you have for your work?

I just want my work to end up in peoples’ spaces/homes – where it holds their interest and brings them joy.  

For me, I’d like to do some new work with hidden meaning. Like a code people need to crack. I also really want the ultimate art studio with tons of natural light, that I can open to the public when it suits. I just want to be able to keep doing art. Art for me will never be boring, there is always something new to learn and try. That’s why I love it.



Disarray, by Beth Strickland.

Q. What have you got coming up or going on that people might be interested in? 

From July 29 to August 27, my work will be in the Forrester Gallery, in an exhibition called Disorderly Order.

I've been working towards this exhibition for about a year now with larger 1m x 1m canvas. While I don't like to suggest what people should make of my work, the idea behind the works are that order and disorder create tension, but when they merge, it can help us focus on the beautiful and the unusual.

I was thinking about how many of us don't like to be told what to do, but in order for any group or community to function effectively - most have guidelines, rules or values. So the order is represented in the work by lines/grids/pattern and the disorder is represented by more chaotic painting.

I hope it will stimulate people to think about what rules, values or guidelines may need to change in order for growing communities to adapt, change and see the value in diversity.

I’m also strategically putting proposals for some galleries in Central Otago also, but don’t want to over commit or feel under pressure with timelines if they are accepted. I have built some great relationships with galleries in Wellington, Nelson and Tauranga – so can send my work there sometimes as well.

I’m also considering running workshops in Ōamaru, after the Forrester Gallery exhibition, using oil and cold wax medium. 

It’s a process which helps people really loosen up and be free with their work. It also helps people who aren’t confident with abstract art. 

I’m not definite about running these yet, as I’d need to know there is enough interest as they take a lot of organising and energy. If people are interested, they can contact me by email on [email protected] and get on the waitlist. I’ll take it from there and provide details if there is enough interest.

People can find out more about my work in one of these places

www.bethsart.shop | FaceBook – bethsART | Insta – beth.sart

Dystrophy, by Beth Strickland.