Penny Otto

Interesting times: the question of whether to exhibit works “Tectonic” and “Maungarei”? These paintings what I call the ‘Glen Innes series’. Or should I exhibit the more recent works based on our city trees?  The Morrinsville Gallery in the Waikato has offered each Moa Egg Collective member (of which I am one) a 3m x 3m exhibition space.

“Maungarei” acrylic on canvas 1m x 1m

“Tectonic” acrylic on stretched canvas 1m x 1m

Running parallel to exhibition plans, I’ve visited friends’ lush back gardens—and spent time working in my own—I’ve been inspired to depict trees as they strain, stretch, and reach toward the light. Their limbs often appear to strike graceful ballet poses, which has led me to consider a title that evokes the language of dance…

“Ballet 2” acrylic on art paper 640mm x 900mm

However, this doesn’t quite reflect what I’ve depicted in another garden piece below. I became absorbed in the quiet alchemy of old branches rotting beneath the trees—returning to the earth to enrich the soil, and in turn, nourish the life above. I painted quickly, hoping to capture the energy I sensed moving through that cycle of decay and renewal.

“Bush Alchemy” acrylic on backing board 870mm x700mm

Lastly, I’ve just sent a newly reframed painting to Hastings for my goddaughter and niece. Of all the artworks on my website, she chose an early watercolour depicting the mountains Tekoa and Te Kuiti, as seen from our family farm in Hawarden, North Canterbury. I painted it around 1958 . I painted it around 1958, when I was about 19 — a lifetime ago, yet the view still feels familiar. While the frame had aged considerably, the painting itself remained surprisingly well preserved.

“Canterbury” water colour