The story begins with acclaimed artist Sir Grahame Sydney, a stalwart of the art world, championing both the splendor of his South Island homeland and the significance of dedication to one’s craft. His studio, nestled in central Dunedin, was located directly above a car repair shop for two decades, providing a unique blend of artistry and workaday realism that deeply influenced his perspective.
Sydney believes artists are everyday people with a unique vocation, requiring the same diligence and commitment seen in all lines of work. This belief became a philosophy, grounded in the early morning sun of his Cambrians home and the affinity he felt with the mechanics industriously reconditioning engines in the workshop beneath his studio.
The iconic artist discards society’s tendency to glorify artists, writers, and poets as being somehow elevated from ordinary individuals. Despite his knighthood, he insists on shedding titles and maintaining a down-to-earth approach to his vocation and life. Sydney’s circle of creative friends, including luminaries like Sir Sam Neill, Owen Marshall, and Sir Vincent O’Sullivan, share this philosophy, viewing themselves as dedicated craftspeople rather than special individuals.
Sydney lives enmeshed in the expansive landscapes he beautifully renders on canvas—his artistic domain, a physical reflection of his deeply ingrained love for Central Otago. His vibrant and evocative artwork captures the silent beauty of Otago’s vast open spaces, snow-covered mountains, sprawling skies, and treeless, tussock-covered hills, forging an intimate connection between the artist and his beloved homeland.
Yet the idyllic landscapes Sydney immortalizes are under threat from wilding pines. Their unrestrained proliferation, which Sydney likens to a “killer cancer”, is progressively replacing the distinctive regional character of various landscapes with a monotonous, verdant blanket.
This devastation is a sobering reality for Sydney, whose doorstep bears witness to the destruction. Compounding his concern is the planned cutback in funding for the Central Otago Wilding Conifer Control Group, an organization he helped establish to halt the invasive pine population.
Sydney also devotes time for introspection, as seen during his visit to Amsterdam for a Johannes Vermeer exhibition. He contemplated the appeal of New Zealand for overseas tourists, surmising that the attraction lies in the country’s preserved nostalgia—an experience of the environment reminiscent of the world they’ve lost. And yet, he laments, the role of the Department of Conservation is undermined by insufficient funding and attention.
Despite his concerns over his homeland’s environmental conservation and societal issues, Sydney remains devoted to his craft. His reluctance toward social media stems from a disdain for its pervasive triviality. He would rather immerse himself in his work, hoping for a greater recognition of its relevance and his enduring contribution.
Sydney remains optimistic about his legacy, staying true to his father’s words about leaving behind stepping stones, evidence of a lived life. As he approaches his twilight years, his fervor for his craft remains undiminished. He strives not only to realize his fullest potential as an artist but also to leave behind a legacy synonymous with his love and passion for Central Otago’s unique landscape.
Sydney’s tale is a testament to the essence of perfecting one’s craft, the pursuit of architectural beauty, and the importance of preserving our natural environment.