In the first edition of our ‘Art Journal: Conversations with friends of Parnell Gallery’ series, we are delighted to feature Clare Chapman, Editor-in-Chief of HOME Magazine, New Zealand’s premier design publication. With a remarkable 16-year career as a journalist, editor, and writer, Clare has contributed to some of Australasia’s most respected design forums. Since taking the helm of HOME in 2020, and more recently becoming owner / publisher in 2023, Clare has continued to blend the magazine’s celebrated legacy with a contemporary, cross-platform approach.
As a cherished friend of Parnell Gallery, we’ve had the pleasure of collaborating with Clare and her talented team on numerous projects over the years and we are so grateful to her for being our first feature – thank you Clare.
In this special feature, Clare shares how art has shaped her personal and professional life, and she has thoughtfully selected a collection of our gallery’s past and present artworks that resonate with her—works we’re excited to share with you.
Above: Left: Michelle Bellamy, ‘Lull of the Tides, Orakei’ (giclee print). Centre: Sally Bulling, ‘Storms & Silence: Caribbean Green‘. Right: Olivier Duhumel, ‘Rosie’
What does art bring to your world – both in your personal life and from a professional capacity in your role as Editor/Owner of HOME Magazine?
I’ve always loved art, so much so I have an undergraduate degree in art history!
Art brings so much to almost every aspect of our lives. To me, it is about understanding, being in the moment, and connection – with the piece, the story it tells, its context, and the creativity that drove its creation. Art offers us an opportunity to consider the world in different ways, through the lens of another.
From a professional capacity, art and architecture are innately connected, and so often we find ourselves appreciating architecture in the way we would an artwork. One of the things I enjoy most about telling the stories of New Zealand architecture is seeing the different ways people use art to adorn their homes, how it gives life to the architectural canvas, and has the ability to dramatically change the experience of it.
Above: Stephen Howard, ‘After the Rain, Lake Kaniere’ (Oil on Board)
Can you tell us about a few favourite pieces of art in your own collection and what they mean to you?
One of my favourite pieces is an etching of Nassau Hall at Princeton University that was originally gifted to my grandfather by my father in 1969. There’s something so delicate and perfectly articulate about it that has always fascinated me. Another piece I love is one by Linelle Stacey, Lindis in Light. The folded forms of the mountains and the way the artist has captured the light falling across them; there’s a clarity to it that just transports you there. A lovely gift I received recently sits perfectly next to this piece, a photograph by Simon Devitt. It’s a beautiful shot of an area near Tekapo. He’s framed a scene of perfect stillness; golden light on grasses across a tapestry of gently undulating hills that reach out to jagged, snow-capped peaks in the distance. Tyre tracks wind through the centre, dwarfed in the vast expanse.
When do you buy art, is it a sporadic occurrence, or is it built around milestones … or something in between?
It’s definitely a sporadic occurrence for me. The pieces I enjoy most are always those I have purchased on a whim. Art is such a personal thing; I think there’s something to be said for the instant connection you feel with a piece.
Above: Stephen Howard, ‘The Red Bench’ (giclee print)
Clare graciously shared a selection of recent and current works that resonated deeply with her—though she found it difficult to keep her choices to a minimum, as so many pieces spoke to her in meaningful ways.
Manunui, Hauturu II, Don Binney
Storms & Silence – Caribbean Green, Sally Bulling
Lull of the Tide, Orakei, Michelle Bellamy
After the Rain, Lake Kaniere, Stephen Howard
Above: Don Binney, ‘Manunui Hauturu II’. Below: Neil Driver – ‘Macrocarpa’ and ‘Draped Shed’
