Driving Creek’s 50th Anniversary was a weekend to remember, bringing together our community to celebrate the legacy of Barry Brickell and the enduring impact of Driving Creek. The event offered something for everyone, from thought-provoking panel discussions to creative exhibitions and engaging activities.
One of the highlights was the Nottapotta Exhibition, the first of its kind, showcasing an eclectic selection of Barry’s personal collection, including pots, paintings, sculptures, and writings. This carefully curated exhibition, on display in the Driving Creek Gallery, offered a unique insight into Barry’s artistic world and featured works by celebrated New Zealand artists such as Ralph Hotere and Colin McCahon.
The panel discussions provided a platform for rich conversations about Driving Creek’s past, present, and future. Moderated by notable hosts, these sessions featured a diverse range of panellists. Discussions explored Barry Brickell’s legacy, Driving Creek’s evolution over the years, and aspirations for its future. These conversations captivated audiences and sparked ideas for preserving and growing Driving Creek’s vision.
Guests also enjoyed live music, storytelling, and an oral history recording project in the Memories Lounge, which helped capture the voices and experiences of those who have been part of Driving Creek’s journey. The kiln firings, workshops, and creative activities allowed attendees to get hands-on with pottery, a fitting tribute to Barry’s passion.
Thank you to everyone who joined us to celebrate this milestone. Your presence and support honour Driving Creek’s rich heritage and inspire its future. Stay tuned for more exciting initiatives as we build on the momentum of this incredible weekend!
The Coromandel Peninsula, known for its stunning landscapes and rich biodiversity, is home to one of New Zealand's most iconic trees: the Kauri. These magnificent giants showcase the region's natural beauty and play a vital role in the cultural and ecological landscape. Driving Creek has played a part in replanting Kauri and other native trees through the hard work of Barry Brickell and his family and friends.
History of Kauri
Kauri trees (Agathis australis) are among the largest and longest-living trees in the world. Kauri can grow up to 16m in girth, 50 metres tall and can live for over 2,000 years. Tāne Mahuta is the largest remaining Kauri tree and lives in the Waipoua forest measuring 45m tall. Kauri trees once covered 1,200,000 hectares of New Zealand. Now only 7,500 hectares of mature Kauri trees remain due to the logging industry. These ancient trees have thick, straight trunks and distinctive, spreading crowns. The wood of the kauri is renowned for its durability and resistance to decay, making it highly prized for construction and carving.
Logging of Kauri
Add dates - in the 18-1900’s? To harvest the wood, teams of bushmen would saw through the logs with a double-ended saw for upwards of 12 hours per log. Once the Kauri logs were felled in flatter regions they were towed out of the forest using a team of bullocks or horses. In the Coromandel region, the terrain is quite extreme so towing wouldn’t be a viable transport option. A method used to get the logs out of the forest was ‘driving’. Driving Creek is named after its past use in driving Kauri logs down to the harbour. Creeks were dammed up in the hills and filled with logs. Huge volumes of water were then released, washing the logs downstream to be milled or exported. Thousands of logs were sent down to booms below, though only 20% were estimated to arrive in a usable condition. In addition to the wood, the Kauri tree was also prized for its gum or sap. From the 1840s, kauri gum was exported to Britain and America to make varnishes. Between 1850 and 1950, 450,000 tons of gum were exported.
Cultural Significance of Kauri
Kauri trees hold deep cultural significance for Māori, the indigenous people of New Zealand. They are often associated with spirituality, and their timber has been used in traditional carving and construction. The Kauri gum was also used to make ink for Tā Moko, a traditional Māori tattoo. The gum was burnt and the ash was combined with animal fat to make ink. This ink was tattooed into the skin and as it hardened, caused a raised effect. Māori people would also use the Kauri sap for medicinal purposes and chew on it like gum combined with a plant called Puha to cure stomach aches and headaches. Kauri gum was also used for cooking and lighting because of its flammable properties.
Kauri Dieback Disease
Kauri forests are rich ecosystems that support diverse plant and animal life. The trees provide habitat for various species, including birds such as the Tūīi and Kererū, as well as insects and other wildlife. The days of Kauri logging are now gone as the Department of Conservation has protected Kauri trees since 1987. Although logging is now banned, Kauri forests face significant threats from pathogens like Kauri dieback disease, which has led to widespread tree mortality. Kauri dieback disease poses a significant risk to our Kauri. It is a microscopic pathogen that is spread via infected soil. The pathogen that causes Kauri dieback disease, was first recorded on Great Barrier Island in the early 1970’s. There is no known cure for Kauri dieback so all Kauri trees which become infected will die. To help reduce its spread, visitors must carefully and respectfully follow the rules when visiting Kauri forests- not walking directly on Kauri roots or near Kauri trees, disinfecting their shoes and staying on formed tracks. Conservation efforts are crucial to protecting these ancient giants and the unique ecosystems they support.
Kauri at Driving Creek
Driving Creek is nestled in the heart of The Coromandel and is more than just a tourism operation. It’s a testament to the late Barry Brickell's pioneering spirit and unwavering dedication to art, engineering, and conservation. Barry set out in the 1970s to return the Driving Creek land to pre-colonial times by replanting the 24-hectare property with over 27,000 native species including Rimu, Totara, Matai, Miro, Kowhai and Kauri. “The whole district, including my block, had undergone 150 or so years of savage exploitation that was, in fact, ecological plunder. From virgin kauri forest to cut-over and logged forest, to repeated burn-offs, to freshly ‘broken-in’ farms, to abandoned, weed-infested, highly eroded hills, to 60 or so years of regenerating scrubland and fern. When I moved on to the land, the better parts were in tall Kanuka forest, which is really mature scrubland with the merest fraction of the diversity of plant and animal life of the original forest. Aware of this ecological history through study, my vision became fixed on reversing the decline of biodiversity.” - Barry Brickell.
Following Barry’s wishes after his passing in 2016, Driving Creek is now a not-for-profit organisation that delivers on its vision to protect and enhance the environment through pest animal and weed control and enrich the artistic community with our unique artist residency programme. We continue Barry’s conservation legacy of protecting and enhancing our native biodiversity by operating intensive pest animal and environmental weed control programmes, performing environmental research, running free conservation events, and connecting people with New Zealand’s natural qualities through enriching, educative and unique experiences. Today, the property is covered in second-generation native forest and is QEII covenanted to protect the land for perpetuity. Driving Creek continues Barry’s vision and commitment to the Tiaki promise to protect, maintain and enhance our natural environment, be a community leader and centre for understanding and contribution to conservation initiatives, and continue improving the health and wellbeing of our local community and visitors.“To inspire others to heal and respect the land by showing what is being done and why. Appropriate utilisation rather than exploitation is demonstrated. Showing and telling is aimed at making the viewer and listener think and hopefully act.”- Barry Brickell.
Did you know there are three types of frogs in The Coromandel? Two are native, and one is an introduced species. The frog you often see in the garden is likely the green and golden bell frog, a species introduced from Australia. These frogs, with their green or yellow bodies and gold or bronze patches, are now common across the North Island. Bell frogs are the largest in New Zealand, growing up to 10 cm long with a loud call. Females can lay between three and ten thousand eggs, which hatch into tadpoles in about two days and become frogs within two months.
Rare Archey’s Frog Discovery at Driving Creek
Our native frogs are very different; they belong to an ancient group that has remained unchanged for 70 million years. These small, silent, and cryptic frogs include Archey’s frog, our smallest and rarest, growing up to 3.7 cm long. Archey’s frogs, typically found in damp forests 400 meters above sea level, were recently discovered on Driving Creek land—a thrilling find as they are a threatened species and extremely hard to spot!
Hochstetter’s Frog Thriving at Driving Creek
We also have Hochstetter's frogs at Driving Creek. These semi-aquatic, nocturnal natives are brown-green to brown-red with warty skin and dark bands. Much smaller than bell frogs, adults are less than 5 cm long. Unlike bell frogs, Hochstetter's frogs don't croak and skip the aquatic tadpole stage. They lay only about 20 eggs per season, and it takes 3-4 years for the froglets to reach full adult size. Hochstetter’s frogs are more frequently seen at Driving Creek, as they are slightly larger and have consistent habitat preferences.
Protecting Our Native Frogs
We are fortunate to have such remarkable creatures here on the property. To protect these rare native frogs, we actively engage in extensive trapping work to reduce the presence of introduced predators, which are a key threat to their survival. By enhancing predator control at key sites and restoring stream habitats, we strive to create a safer environment where these native frogs can thrive.
Recently, the Driving Creek conservation team had the opportunity to delve deeper into the fascinating world of moths. Local moth enthusiast Tony Steer visited our team and generously shared his extensive knowledge.
Uncovering New Zealand’s Moth Diversity
The exact number of moth species in New Zealand remains unknown, as new species continue to be discovered and taxonomic revisions occur regularly—identifying moths can be quite complex. The Driving Creek team learned that identifying similar species often requires a detailed inspection of moth genitalia. Additionally, the team discovered that there are approximately 1,700 described species of moths in New Zealand.
The Ecological Importance of New Zealand’s Endemic Moths
New Zealand’s isolation and unique environment have led to the evolution of many endemic moth species found nowhere else in the world. Moths play crucial roles in ecosystems as pollinators and as a food source for various predators, including lizards, birds, and bats. These moths inhabit a range of environments, from forests and grasslands to urban areas. While most moths are nocturnal, some species are active during the day. Certain moths are host-specific, laying their eggs only on particular native plants, meaning that understanding moth populations can also provide insights into local plant species.
Future Efforts to Study and Protect Moth Populations
With Tony's guidance, the Driving Creek team will soon deploy special light traps to assess the diversity and abundance of moth species at Driving Creek. The team extends their gratitude to Tony for his invaluable introduction to this captivating world.
A weekend trip from Auckland to the Coromandel Peninsula offers the perfect blend of nature, adventure, and relaxation. We’ve created an itinerary to help you make the most of your weekend away!
Morning:
Start your journey early from Auckland, which is a 2 to 3-hour drive to Coromandel Town, depending on traffic. Consider stopping in Thames, a charming halfway point, for a quick break. If you’re up for a challenge, the Pinnacles hike offers an adventurous start to your trip.
Midday:
Arrive in Coromandel Town around midday. Take some time to explore this quaint town, known for its artsy vibe and charming galleries. You might enjoy visiting the Coromandel Historical Museum to learn about the area’s rich history, including its gold mining past. If the weather is warm, consider a refreshing dip at Oamaru or Waitete Bay—more beach options are available in our ‘Top Beaches’ article.
Afternoon:
Spend your afternoon at Driving Creek Railway, Pottery, and Zipline for a unique experience. Enjoy a scenic train ride through native forests while learning about Driving Creek’s history, or, if you’re seeking an adrenaline rush, try the zipline tour. For those inclined towards creativity, a beginner pottery class might be just the thing. Driving Creek has something for everyone!
For lunch, consider one of the local eateries, such as Weta or Umu.
Evening:
A sunset walk around the Kauri block walk is a lovely way to end your day. This 1.5 km walk starts with a steep uphill climb that rewards you with stunning views of the sun setting over the ocean.
Check into your accommodation—Coromandel Town offers a range of options, from cozy B&Bs and boutique hotels to holiday parks. For a luxurious stay, Buffalo Lodge is a great option, while both the Coromandel Top 10 Holiday Park and Shelly Beach Top 10 Holiday Park offers a relaxed family vibe.
End your day with dinner at a local restaurant or pub. The Pepper Tree Restaurant or the Star and Garter Pub are both excellent choices.
Morning:
Start your day with a short 20-minute drive from Coromandel Town to Waiau Falls and Kauri Grove along the 309 Road. You’ll find a beautiful waterfall (perfect for a swim if you’re brave enough to face the cold!). Nearby, the Kauri Grove walk offers a chance to see some of the largest Kauri trees in the region.
Midday:
Continue along the 309 Road until you reach Whitianga. The Lost Springs Day Spa is a must-do in Whitianga, offering relaxation and calm. Afterward, stretch your legs along the Whitianga waterfront and grab lunch at one of the local spots. Blue Ginger, a popular Asian fusion restaurant, or Grace O’Malley’s, a classic Irish pub, are both excellent options.
Afternoon:
After lunch, begin your drive back to Auckland, aiming to arrive home in the afternoon. This will give you plenty of time to unwind and reflect on your Coromandel adventure.
By Holly Morgan
Nestled amongst the rolling hills and lush trees in the coromandel, a group of eager clay workers from around the country gathered at the iconic establishment Driving Creek Railway (DCR). Connected by a material, excitement built as we were about to embark on a five day Onggi Masterclass by Korean Master Kwak Kyung Tae & Marco Minetti. The class was nothing short of masterful, filled with eloquent techniques designed to gain an in-depth understanding of the ancient art of making Onggi. My hands are trained in production potting (on the potter's wheel) and each day we were challenged with new interesting skills that by the end of the course we could string together to give us a base level of training to take back to our studios to practice.
Day one, this was spent making very long coils, I particularly found this step quite satisfying. Stretching otherwise solid particles of dirt and water and forming them into 8 sided faceted 'noodles' that we could carry, stack, sling and slide along our hands. Slowly. At the end of the first day, I knew that it was just the beginning and we got a glimpse into the level of detail Kwak and Marco had put into the course. I could tell from the outset that the week was going to be challenging, fun, and inspiring.
Day two, things turned up a notch, our hands really went to the gym and I found myself dreaming about Onggi and waking up at 2am to massage kawakawa balm into my hands. We went on to making our bases, adding our first coils, and were introduced to 'taryeom jil' the art of attaching the coils. It's within this particular technique that I believe holds one of the special charms in making Onggi. When proficient, you have the ability to build forms in a day and manipulate the clay in a way that gives the work structure, height and support with a relative speed. For me, and others when I asked around - this was the most challenging step in the process. I felt very grateful to have been given the opportunity to have it broken down and spelled out. Even so, I felt like my brain couldn't connect to my hands and it wasn't until the last day that I felt a sense of ease. Maybe it was because i'd been beaten into conformity, like the wall of an Onggi pot. Onggi 1 Holly 0.
The following days merged into the melting pot, our guards dropped and with a couple of social evenings cooking pizza under the starry sky, and sharing meals huddled around Barry's Kauri slab table things felt like they were just warming up. We sunk into a rhythm, and the dedication, commitment and focus was unanimous amongst our group of ten. Participants often slipped into class before the day started or skipped half of lunch to head in early to get a couple of extra coils under their belt so to speak. Attaching the coil was a complex yet visually simple motion which involves the slide and movement of both hands working in unison. Squeeze, slide, rotate, up, compress, fill, lock, attach, okay adjust, now the next 1cm. What the videos you see online don't highlight, is the generational knowledge and the sense of feeling and connection with the clay. The material that we are all so familiar with, now being used in a rhythmic dance. I wonder if Kwak ever switches off and allows his mind to wonder?
The final steps of making onggi was to use the su-rae and do-ge to shape and form the jar. When thinking back, getting the hang of this technique was largely about sound as it was how the tools were used. Steady hands grasp hand shaped tools, pop pop pop. The items had been designed by Kwaks teacher and had been soaking in water for a few weeks to add weight. pop pop pop ''Too much power' 'more power' striking a fine balance to create equal amounts of pressure to let the tools bounce and peel off the clay. A seismic meditation. Before long, voluminous bellies emerged each with the motion and essence of the creator or creators in some instances. As someone who feels comfortable exploring large round forms, I've described working away on pieces similar to these as 'therapy pots' so many tiny moments and opportunities for them to take on a life while you're spending time with them. It wasn't all smooth grooves and sunshine, there were moments when you thought that maybe things weren't going too well - and it was amazing to see what a few slaps from your hands on the walls of the vessel could do to improve the shape so you could carry on. Many in the class got to take home a couple of jars by the last day, it was so cool to see the progress. As I'm a slow hands on learner, I took my time and ended up with one larger form which I named 'hand holiday' - mostly because it was not. And to be honest, I snuck off to throw a pot at one point to make sure my hands did still remember what to do. They did - phew!
The whole process had a symbiotic rhythm and movement to it, just like wheel throwing when you get it, you can make it look easy. Fluid tai chi motions when stretching the coils, through to the transfer of energy between you and a lump of earth. It's beautiful, mesmerising and easy to let the world around you slip away. Kwak and Marco were wonderful teachers, Kwaks dedicated approach with humour and delight in the craft accompanied by Marcos' patience, kindness and lightness complimented each other and their approach. They made the participants feel at ease to make mistakes and instilled the confidence to try something completely new and out of their comfort zone. Moreover, aside from our basic Onggi training, we were shown ways for us to see how these new techniques could be used in modern and contemporary ways - re-thinking the way we approach the material. As the dust settles in a pink haze I'm enthused and excited to introduce my new tools to my studio and see what I can do from attending this course. I feel like I've been rewired, and with a small evening practising since the course ended - I can't look at coils in the same way. With the limited time that we did have, I know that the Korean ceramic history is rich and deep - while I know i've only brushed the surface, I do hope to one day make it to Korea to first hand experience Onggi in their homeland and to learn more about this ancient art.
