ART Nelson Tasman – Q&A with Nicole Russell

A stock market crash leads to a sailing adventure as Nicole Russell humorously shares her tales of exploration, and the sometimes outrageous lengths she’ll go to save her watercolours from the rain.

Can you tell us a bit about yourself and your journey as a watercolour artist?

My journey as a watercolour artist started not too long ago in 2009. Originally I trained as a banker and lawyer specialising on stock exchange listings, a 24/7 job in Frankfurt am Main, Germany. It wasn’t until a stock market crash and a sailing adventure that I met my husband to be who conveniently sailed from Greece to New Zealand. We married in in Pokeno in 2003, founded a company, had two beautiful children with me as a stay-at-home mum and helping in our company. It wasn’t until 2009 when we had to move to the US (Annapolis, MD) that I had some time for myself. The kids started school and I signed up for a watercolour class at the local community arts centre (Maryland Hall, Annapolis). My watercolour journey took off from there thanks to my fantastic tutor Christine O’Neill. She taught me all the tips and tricks with watercolours and encouraged me to become a member of the Annapolis Watercolour Club as well as taking part in exhibitions. It was so much fun! 

After a couple of years of watercolour classes with Christine I signed up for more workshops with other tutors and then two more years of training in drawing and watercolours at the local university, Anne Arundel Community College. Bear in mind that a “college” in the US is a university, not a high school, like in New Zealand, which can get very confusing. By then I was working again in my husband’s company, but I could squeeze in those two courses. I have been painting in watercolours ever since.

What inspired you to pursue a career in art, and how did watercolour become your preferred medium?

What inspired me to pursue a career, and I guess most professional artist have a similar experience, is the consistent desire to paint and to be involved in art related activities, e.g. visiting exhibitions, talks, and galleries, watching art related movies, reading art books, etc. When you start to talk about your art journey with your family on a daily basis (pour them!) then you know that you are hooked and your life will always be connected to art. 

One day the idea developed to become a professional artist and I started to look at other successful professional artists to learn how they proceeded with their careers and what made them successful. After returning to New Zealand in 2017 and with the support of my family I could make it happen and I have been a professional artist ever since. This deep desire to paint every day is what is necessary to keep me going in this professional career, which to my knowledge is one of the hardest careers possible. 

It was really a coincidence that I started off with watercolours. At the time I simply chose the art class that fitted into my schedule and it so happened that it was a watercolour class. But what was most important to me was that I immediately connected with my tutor Christine and thoroughly enjoyed her teaching style. The motivation and enthusiasm she kindled in me was extraordinary. One term Christine was not available and I signed up for a watercolour class with a different tutor. Unfortunately I was rather underwhelmed. I realised that if this other tutor had been my first tutor I probably would not have continued with the medium. So you see, I was very lucky. 

Are watercolours really my preferred medium? I don’t think so. I love the fluidity and transparency of the medium. Also, watercolours can be a bit unpredictable since they are very much influenced by the quality of the paper, the humidity level in the air and some other components. Consequently the “oops” moment comes regularly when you are painting, but no other medium is capable of creating such happy accidents and I love the surprise effect as much as the easy painting process. 

However, watercolours couldn’t  create a chunky heavy surface like oils and I had the urge to develop into this area as well. So about five years ago I added oil painting to my repertoire. Here my method is alla prima (wet-on-wet). 

You may want to ask which medium I prefer and I can’t answer the question. However, I can say that after painting a project in watercolour I can’t wait to be painting in oils again and after some time working with oils watercolours seem such a relief. It’s like Ying and Yang. 

How did you get started with plein air painting, and what drew you to teaching it to others?

My second watercolour class I took part in was a plein air painting class. It was called “Watercolour Journaling” and I loved it from the very beginning. The idea was that you are painting in a little journaling book in various locations. 20 minutes was all you need to get a little painting done. I quickly learned that even during a busy day I could make 20 minutes painting happen. Also, the advantage of the journaling method was that it didn’t have to be a good painting since the little book is only for yourself and nobody else to view or judge. 

I loved how this approach made me an observer of my environment. Rather than racing through life I was forced to have a look at what was happening around me and paint it in my journal or on canvas. Needless to say I have far better memories of moments I painted than the quick photos I tend to take. My collection of journaling books is now pretty decent and all the paintings are connected with memories such as what the weather was like, who was with me and what the rest of the day was like. 

Thanks to my family and thanks to Glenys Dellabosca at Impressions Art Supplies, Richmond, I started teaching. My family probably had enough of me talking about nothing else but painting and suggested I should teach others and Glenys suggested I should teach a watercolour class. I offered my first Watercolour Journaling Class in 2018. 

Can you share some of the most memorable moments or milestones from your artistic career?

When I taught my first watercolour journaling class in Nelson we had very bad weather one day. Broadgreen Historic House allowed us to use their conservatory as a refuge. What I didn’t know was that the roof was not waterproof and we were all shuffling left and right trying to find a spot were the water didn’t drop on our paper. It was hilarious, especially since the subject for the day was painting water (river, lake, ocean).

Another memory was when I painted by the Suter and a seagull stole my sandwich. 

Or, when I painted at Founders Park and a young boy of maybe 5 years old passed by twice holding his mum’s hand. The first time he said nothing (I had just finished the initial sketch on the canvas), but when he came back two hours later he said: “Phew! This is much better! I was worried before.”

Then there was the day when I had to hang on to my journaling book because we very painting at Grossi Point, Mapua, when it was blowing a gale. 

Or there was the Sunday when my husband and daughter decided to go fishing in our little dinghy in front of the Kina Peninsula and I decided to paint them on the boat. The waves got worse and worse and I almost puked but I finished the painting. 

One day a Weka stole my water container and I had to run after it. This was at Flora Hut, Mt. Arthur. 

Or when my watercolour journaling students were trying to get their paintings dry during an overcast and almost rainy day without any sun around. We finally gave up and squeezed into my little car (8 people) to hold our works in front of the heater outlets. Quite cozy.

And then there was the day when we were walking back from Hacket Hut (Aniseed Vallery) and it started to drizzle. I had just finished a painting in my journaling book which was wet and I couldn’t close the book. For about two hours I had to carry the book open, upside down so the rain wouldn’t get the pages until we finally arrived at the car.

And so on …

Otherwise there a the typical milestones like selling my first painting and my first print. 

I was in tears when one of my paintings got an Honourable Mention at a watercolour exhibition in the US. Also, I couldn’t believe it when my paintings receive a People’s Choice award and an another time a Merit Award, etc.

Other big milestones were when I was asked to become a member at Wall To Wall Art Gallery and when I became the president of the Art Group Nelson. 

Painting on stage at the Nelson Centre of Musical Arts during one of the lunchtime concerts was exhilarating.

Also it was so exciting to share an exhibition with Paul Deacon at the Nelson Suter Art Society.

What challenges have you encountered as a watercolour and plein air artist, and how have you overcome them?

A big challenge as a watercolour artist and plein air artist is that watercolours can sometimes be very difficult when the weather is not cooperating. It can be rainy and your paint doesn’t want to dry or it is too hot and your paint dries as soon as it touches the paper, or the sun hits your paper and reflects right into your eyes so you can’t see anything. 

My solution: paint with oils! Oils definitely have an advantage when it comes to plein air painting. However, nothing beats my little watercolour journaling book. 

Now, the other challenge as a plein air painter can be safety. There were a few times when I was out on my own and a car stopped with some dodgy looking people inside. This made me feel so uneasy that I quickly packed up my gear and left the area. The solution to this problem is painting with a group of people and therefore I have been organising a plein air painting group for several years now (Facebook @ Plein Air Painting Nelson Tasman). We are a lovely group now and have been exploring beautiful locations together.

Is there a particular painting or project you are especially proud of? What makes it stand out for you?

The most recent project I have been working on and just finished as of yesterday (28th October 2024) is about a little cafe in Mapua, called Java Hut. It started with the idea of painting a nighttime scene which was inspired by Edward Hopper’s Nighthawks.  Java Hut was ideal since it opened at 7am and during winter it was still dark that early in the morning. On top of that a few family members went there every morning to grab a coffee before going for a morning walk. The thought of painting a nighttime scene plus people I knew was very exciting. The project started with daytime sketches, one plein air watercolour painting, three more studio watercolour paintings, lots of photos and then finally two nighttime oil paintings. The final painting being 60cm x 90cm. I had a lot of fun with the project, especially since it was a local scene and the people in the painting are known to me. The painting included my daughter who was standing in front of the cafe chatting to the other family members.

What makes this project stand out for me is the connection to the people and to the location. It was the first time that I felt emotionally so strongly connected to a work that even the most difficult hurdles didn’t cause any frustration and were tackled with joy and satisfaction. 

Going forward this means for me that I will stick to local scenes and these scenes have to be special to me one way or another. 

What initially brought you to Nelson Tasman, and how long have you been active in the local arts scene?

We used to live in Auckland before we had to move to the US. When it was time to return to New Zealand we didn’t really have to go back to our old place. Therefore, our first task after buying a car was to travel the country and find a place that we liked. The requirements were an airport for my husband who travelled quite a bit, good schools for the children, and access to outdoor activities. The Nelson Tasman area seemed perfect and our offer for a house in Richmond was accepted. In 2017 we moved in and I immediately contacted a local painting group and was active in the art scene ever since.

What do you enjoy most about living and working as an artist in Nelson Tasman?

For plein air painting this area is ideal. You find every type of subject and the weather is mostly cooperating. There are not many areas where you can paint the ocean with snow capped mountains in the background. The artist scene is great with lots of support, exhibition opportunities and contacts. Also, to have Impressions Art Supplies right here is worth gold. 

In what ways has the local arts community influenced or supported your work and teaching practice?

Thinking back it was like a string of events where one thing lead to another. 

When we moved into the area I found out about a plein air painting group through the local newspaper and immediately joined. 

The artists there introduced me to Impressions Art Supplies and the Art Group Nelson where I became a member, then committee member and later president (3 years).

Without the encouragement and support of Glenys at Impressions I would probably not have started to teach. 

Next, through showing my work at the Art Group Nelson I was asked to join Wall To Wall Art Gallery. 

Then I was encouraged to join the Nelson Suter Art Society.

Because I was president of the Art Group Nelson I was approached by the Nelson Centre of Musical Arts to coordinate an event where artist where invited to paint on stage during a couple of lunchtime concerts. The Arts Council Nelson, especially Lloyd Harwood, supported us and we called the event “Art and Music”. 

After that a member artist at Wall To Wall Art Gallery suggested that I should take over her teaching role of her evening class at Waimea College.  One class (Painting) became two classes (Painting + Drawing). 

Next another member suggested I should join Gravity Gallery in Mahana. 

And so on and so on…

These opportunities were amazing and I believe a big part is the positive and supportive nature of the artists in the area plus a bit of my enthusiasm to get the ball rolling. About 5 years ago I took over organising the local plein air painting group which keeps me going in my painting practice even on days when I don’t really feel like it. There is never a dull moment in this community when you are open to suggestions and put a bit of effort in.

What projects are you currently working on, and do you have any exciting classes or exhibitions planned?

There are two projects I’m working on at the moment. One is focusing on local scenes which involves showing what life is like in the Nelson Tasman area. My Java Hut paintings are part of that project and who knows, it might lead to a solo exhibition.  

The other project is writing a book. I’m doing this alongside my current painting practice which feeds into the book. The outline of the book is already established but it will require about 200 (good!) paintings and at the rate the I’m going this will take about two to three years. So watch the space.

No, I don’t have any classes planned at the moment. I realised something unexpected a few months back when I was still teaching at Waimea College and offered classes and workshops in my own studio: I started to lack confidence in my own work. Strange right? I could teach painting principles to my students, no problem. However, the administrative part of organising classes, the preparation of the classes as well as gallery duties meant less and less time working on my own paintings and I started to feel inadequate in my own painting approach. Hey, every artist will tell you that you can only evolve through your own practice, and this is what I taught my students but I didn’t have the time to apply it to my own practice. 

After nearly seven years of teaching I gave notice at Waimea College and cancelled all my classes and workshops. Currently I only offer the occasional private lessons. My studio confidence is back, my painting output is increasing and so are my sales in the galleries.

Where do you envision your art and teaching practice evolving in the next few years?

Focusing on local scenes in watercolours and oils will keep me entertained for a fair bit and so will writing and painting my book. 

At the moment I’m very happy to be taking a break from teaching classes. However, I still teach private lessons can see that workshops might be coming up at the horizon. 

Are there any new techniques, themes, or styles you’re interested in exploring?

A few years ago I signed up with the Learning Connexion in Wellington and received my Advance Diploma in Art and Creativity. During my time as their student I had the opportunity to explore almost every part of art and technique, including sculpture, encaustic and painting with all sorts of materials including broccoli instead of a paint brush. It was a fantastically creative exploration and important to understand who I really am as an artist. I can now say that I’m very satisfied with my very traditional methods of watercolour and oil painting.

And lastly a Random Question! 

If you could paint outdoors with any three artists, living or dead, who would they be and why? 

This question is very difficult to answer. It made me wonder if I would have liked to paint with any of the old masters, e.g. Monet who did a whole lot of plein air work and today the answer is “maybe”, but not an easy “yes”. Last year, however, it would have been a definite “yes” as I was at a different stage in my painting career.

Today, when I go out with other artist to paint en plein air it is because we share the same enthusiasm and enjoy each others company. Over the years a core of regular plein air artists has developed and every now and then we  go on a bit of an adventure, e.g. drive out to the Nelson Lakes, take the ferry to Haulashore Island or maybe go up to Beebys Knob one day. So yes, I love to go with this group and no, I can’t choose any three artists from this group. 

Nicole Russell