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Carving out a career

Shaugn Briggs’ shed is a 6m x 3m pop-up gazebo and heavy-duty groundsheet. And that’s just on a bad day. When the sun is shining, the Christchurch limestone carver works alfresco, with the sky overhead and surrounded by trees and music.
The shedless sheddie’s “workshop” consists of a pile of portable Ryobi benches and an assortment of tools in stackable plastic tubes. When not stored in the single garage at the end of his drive, they are loaded on the trailer he tows around to various working and teaching venues.
Shaugn, who is also an accomplished painter, started his working life, somewhat reluctantly, as a painter and decorator. “The art thing was all I ever wanted to do but there is always that pressure to get a proper job,” he says.

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Learn bone carving from the master

When master bone carver Owen Mapp, CNZM, began carving bone and ivory in the 1960s there were no teachers and no bone carvings being sold commercially, so he had to learn just by doing it.
“I was the first one. There were a few jade carvers but nobody was interested in the materials then and I had the field to myself,” Owen says.
He has developed his practice and passion for the art form over 50-plus years, creating original works that are strongly influenced by Māori history, concepts and design; as well as Scandinavian, Asian, and Japanese netsuke designs, symbolism, and traditions.

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The art of bone carving

When the meat lovers among us think about carving up Daisy the cow, we’re picturing the Sunday roast but Lilach Paul sees bare white bones: blank canvases to be brought to their full potential beneath her Dremel drill.

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