Jane Hyder
Artist
Jane Knox Hyder is a Wellington based artist. She completed her Graduate Diploma in Fine Arts at Massey University in 2010 and has had art studios all around Wellington. After always wanting to paint from an early age, she travelled overseas on art trips, fueling her passion and gathering inspiration for artworks she would later create back home in New Zealand. She is also a trained interior decorator and taught art for many years. Currently she has a studio at Toi Poneke Arts Centre, as well as a home studio at Messines Road, Karori. Filming and editing by Emma Tiller Videography. Music: Big Joe by The Speedbumps. Available at Musicbed.com
● 1980 and ongoing art study trips to Europe, The United Kingdom, USA , Australia. Group exhibitions. Work held in public and private collections.
● 1994 Solo Exhibition Merilyn Saville Gallery Wellington.
● 2004 Solo Exhibition Pacific Renaissance, New Zealand House, London.
● 2010 Awarded a Graduate Diploma Fine Arts, Massey University, Wellington.
● 2011 Solo Exhibition Full Circle, Colonial Cottage Museum, Wellington.
● 2012 Solo Exhibition Pacific Power, Taupo Museum and Art Gallery.
● 2012 Solo Exhibition The Garden Party, Kiwi Art House Gallery, Wellington.
● 2013 and ongoing Studio 21 Toi Poneke Art Centre ( Wellington City Council) Wellington, New Zealand.
● 2014 Solo Exhibition Floral Dance, The Suter gallery (McKee Room) Nelson.
2016 Jane Knox Hyder New Zealand Artist book published in The United Kingdom by Thumbnail Media. Copies held at The British Library and The National Library of New Zealand.
● 2018 Solo Exhibition The Return Home , The Angela Morton Art History Room, Takapuna Library (Auckland City Council)
Jane Hyder produces paintings, prints and cards from her studios in Karori and Toi Poneke Art Centre, Wellington, New Zealand. She has a graduate Diploma in Fine Art from Massey University and has been an exhibiting artist since 1978 both in New Zealand and the United Kingdom. These are colourist prints and paintings that could be transported as though personal icons, but, embedded with the histories of their own production, their iconography becomes suggestive of the importance of the art-making process to the artist. The narratives here are thus double-sided. There are both the narratives if the art objects' histories and the narratives which the paintings themselves depict.
Above all, these are prints and paintings which translate faith through the creative process into art and in turn offer a gift, a generosity of spirit, from the artist to the viewer.
– Hamish Clayton, November 2008.
