Driving Creek Journal

• Blog
• Pottery

Jacopo Cucci Country: ItalyField of Art: CeramistInstagram: @fango_ceramics Jacopo Cucci, an Italian ceramist, embraces the playful nature of working with clay, choosing the name "Fango" (meaning "mud") to remind himself to have fun and explore through his craft. He creates unique, functional objects full of character and details that reveal themselves over time, using collected materials for sustainability and a personal connection to the materials. Jacopo specializes in stoneware, porcelain, and wild clays, mostly wheel-thrown, and enjoys atmospheric firings. He mixes his own glazes and has fired in wood kilns across Italy, Portugal, and Hungary, even building his own gas-powered kiln for soda firing. This residency is Jacopo's first and he is planning to start with clay, possibly digging or collecting some, and hoping to use the wood kiln and mini gama for firing of his work. Ellie Woods - Leach Apprentice Country: UKField of Art: CeramistInstagram: @elliewoodspottery We at Driving Creek Pottery are excited to welcome our first pottery apprentice Ellie Woods from Leach Pottery. Ellie Woods has worked as a pottery apprentice at Leach Pottery in Cornwall since the summer of 2021 learning production pottery full time. Over the past three years, she has mastered technical skills such as creating standard ware shapes, mixing glazes, and firing gas kilns, while also developing her own work. Ellie focuses on making functional stoneware pottery for everyday use. Eager to expand her practice, during her three month exchange at Driving Creek she is interested in exploring new environments, experimenting with different materials, and learning alternative methods of making and firing to further develop her work. Patrick Ferris Country: New ZealandField of Art: CeramistInstagram: @_ferris_ceramics Patrick Ferris is a New Zealand ceramic artist with a passion for clay that started in his youth. After studying at the Dunedin School of Art, where he graduated with a degree in Ceramics in 2022, his work has evolved to combine traditional pottery with digital techniques like 3D printing. Patrick enjoys sourcing his own materials, using local clays such as Temuka and experimenting with cullet for vibrant colors. He values sustainability and avoids harmful substances in his clays and glazes. His work focuses on functional pottery for everyday use, often wheel-thrown, with a particular interest in form and function. Currently, he is exploring a series of printed objects that warp and collapse in the kiln, aiming to create a wall installation and deepen his understanding of wood and gas firings, flashing, and bright colors. Driven by commercial success, Patrick is focused on creating pottery that is both beautiful and functional. Georgia Hodierne Country: UKField of Art: SculptorInstagram: @georgiahodierne Georgia Hodierne is an emerging UK sculptor who creates vibrant, satirical sculptures that challenge societal norms and the unspoken rules of adulthood. Her work emphasizes the transformative power of play and aims to reconnect adults with curiosity and creativity, often overlooked in busy, work-centric lives. Through storytelling, her sculptures spark conversations and alternative perceptions, encouraging innovative ideas while rejecting the pressure to have all the answers. Her creative process begins digitally, using sketches and Procreate to explore compositions before choosing materials that align with her conceptual ideas. She works primarily with paper pulp, paper clay, and ceramics, valuing non-traditional techniques to subvert fine art norms and embrace playful, absurd narratives. Her work draws on ancient civilizations, particularly ceramics, as a medium for storytelling, using humor and vibrant colors to challenge established cultural beliefs. Georgia also values collaboration and community, seeking environments like the Driving Creek residency to exchange ideas and refine her skills. Currently, she is exploring the erotic ceramics of ancient Greece and their relevance to contemporary culture. Born in Wellington, New Zealand, and raised in England, she holds a BA in Fine Art Sculpture and is committed to creating, curating, and pursuing freelance projects. The residency offers her the ideal space to explore new artistic directions and deepen her practice. Birthe Morberg Nielsen Country: DenmarkField of Art: CeramistInstagram: @bmorberg Birthe Morberg Nielsen is a Danish ceramic artist returning to Driving Creek for her second residency. Birthe's work is deeply inspired by the natural surroundings at Driving Creek, she prefers the use of Coro Gold Clay processed on site for her pieces, and is hoping to participate in a wood and soda firing to capture the essence of plants, trees, and animals in their vibrant forms. Birthe's practice spans a wide range of ceramic expressions, from functional items like plates, mugs, and boxes, to more imaginative sculptures of animals, aeroplanes, and other objects. Her work often features a playful twist, incorporating humor and charm into each creation, inviting a lighthearted and engaging experience for viewers. Neeti Gokhalay Country: IndiaField of Art: CeramistWebsite: neetig.comInstagram: @neetigoclay Neeti Gokhalay Kheny is a Bangalore-based ceramic artist whose work is inspired by her deep connection to the sea and nature. With a Professional Diploma in Visual Communication from Srishti Institute of Art, Design and Technology, Neeti’s artistic journey is influenced by her experiences growing up in a merchant navy family, frequently traveling across the Atlantic, and becoming a certified Advanced Open-Water Diver. Her ceramic sculptures capture the intricate beauty of the underwater world, distilling these experiences into tactile forms that invite curiosity about aspects of nature that many may not often consider. Neeti hand-builds her pieces, beginning with sketches and planning techniques before moving on to coiling, pinching, and ornamentation with slips and underglazes. Her work is characterized by bold designs, delicate textures, and the use of glazes that interact in creative ways. Firing her pieces in an electric kiln, Neeti documents the entire process, using images, videos, and notes to reflect on what works and what doesn't. Currently at the beginning of her journey with clay, Neeti is eager to further explore and refine her artistic voice. She seeks to push the boundaries of her work by learning new techniques and experimenting with various firing methods, including wood and reduction firings. Neeti is particularly excited about the opportunity to engage with fellow artists at the Driving Creek residency, where she hopes to expand her understanding of clay, glazes, and firing processes, while developing a cohesive body of work that reflects her love for the oceans and nature.

• Blog
• Events
• Pottery

Exhibition curated by Karl Fritsch The NOTTAPOTTA exhibition at Driving Creek Gallery is a tribute to the visionary artist, potter, and conservationist Barry Brickell. More than just a showcase of his diverse art collection, this exhibition immerses visitors in Barry’s unique way of thinking and creating—his philosophy of process over outcome, encapsulated in his ethos: “It’s not the thing, but how.” Wrertings: The Foundation of the Exhibition At the heart of NOTTAPOTTA are Barry’s writings—or as he called them, “wrertings”—a playful and deeply personal form of expression that captures his musings on art, nature, life, and the trains that became such a central part of his world. These words, painted in sloppy clay on the gallery walls, form the base layer of the exhibition, setting the tone for the artworks displayed around, on, and over them. A Collection of Stories and Influences Barry Brickell was not only a prolific artist but also a passionate collector, gathering pieces that resonated with him over the years. Notta Potta features an eclectic mix of styles and approaches, from paintings acquired from local artists to works gifted by renowned national and international creatives who visited Driving Creek. Many of these artists were drawn to Barry’s unique environment, staying, working, and creating in a space where art and nature intertwined seamlessly. Experience NOTTAPOTTA This exhibition offers a rare glimpse into Barry’s world—one where art was not just about the finished product, but about the journey of creation itself. Whether you are familiar with Barry’s legacy or discovering his work for the first time, NOTTAPOTTA invites you to engage with his vision in a deeply immersive way. Exhibition Details:📍 Location: Driving Creek Gallery🕒 Opening Hours: Tuesday – Sunday, 11 AM – 3 PM📅 Closing Date: February 29, 2025 Don’t miss this opportunity to explore the artistic mind and collection of one of New Zealand’s most beloved creative figures. NOTTAPOTTA is more than an exhibition—it’s an experience of Barry Brickell’s enduring spirit.

• Blog
• Pottery

Andrea Gaskin Country: New ZealandField of Art: Ceramist/Art EducatorWebsite: www.connectthedots.org.nz Introduction:Andrea Gaskin is an artist and arts educator committed to removing barriers to arts participation and celebrating diverse visual languages. She has focused her practice on arts education, particularly in the areas of brain injury and dementia, and now aims to expand her own artistic journey. A passionate hand builder, Andrea has years of experience in both practicing and teaching handbuilding techniques, valuing the individual expression that each maker brings to the craft. She has held a residency at Studio One Ponsonby in Auckland and integrates her pottery skills into her charity, Connect the Dots. Andrea is soon visiting India to explore combining pottery with textiles, particularly through block printing. Her goals include dedicating uninterrupted time to her pottery practice and connecting with like-minded artists. Sam Dickenson Country: New ZealandField of Art: CeramistInstagram: @samdmakes Introduction:Sam Dickenson is a passionate ceramic artist who discovered his love for pottery as a teenager. She went on to study ceramic design at Central St Martins and spent five years designing and creating pottery in London before relocating to Auckland in 2007. After a break from her practice due to family commitments, Sam has returned to ceramics with the support of the Auckland Studio Potters. She now explores handbuilding, working with slabs, plaster, and ceramic molds made from found and self-created forms. Sam enjoys creating functional pieces like mugs and platters, valuing the experience of using and enjoying his work. She aims to loosen up creatively, connect with the community, and embrace a fun, open-minded approach to his craft. Georgia Hodierne Country: United KingdomField of Art: SculptorInstagram: @georgiahodierne Introduction:Georgia Hodierne is an emerging sculptor whose work challenges societal norms through vibrant, satirical sculptures. Her practice explores the transformative power of play, reconnecting adults with their innate curiosity amidst a fast-paced world. By questioning culturally established narratives and offering playful, absurd scenarios, Georgia invites alternative perspectives and fosters conversation. She combines her background in digital drawing and collage with material choices like paper pulp, clay, and paper mache, which she uses to create pieces that subvert traditional art forms. Drawing inspiration from ancient civilizations and the role of ceramics in storytelling, her work conveys humor and challenges norms. Passionate about collaboration, she is eager to contribute to communities like Driving Creek, where creative exchange thrives. Currently, she is exploring the artistry of ancient Greek erotic ceramics, aiming to contextualize these historical creations in a contemporary setting. Raised in England and born in Wellington, New Zealand, Georgia has completed her BA Hons in Fine Art Sculpture and is actively pursuing creating artworks while curating shows and engaging in freelance projects. Sasha Polonko Country: United StatesField of Art: CeramistWebsite: www.girlpots.comInstagram: @girlpots Introduction:Sasha Polonko, founder of Girl Pots, is a Costa Rican-American ceramicist based on Whidbey Island. Her work is deeply rooted in sustainability and her connection to nature, reflecting her Costa Rican heritage. Sasha creates her own glazes and clays from raw materials she forages locally and globally, with a focus on durability, comfort, and beauty. Influenced by pre-Columbian ceramics, particularly from Costa Rica, Sasha blends contemporary pottery with ancient aesthetics. She experiments with found clays and natural glazes, sometimes combining them with commercial products. Her process involves gathering materials, developing clay bodies and glazes, and choosing firing methods that best honor the materials. Sasha is eager to explore pre-Columbian pottery techniques further, aiming to create a collection using locally sourced materials and traditional firing methods. Cindy Huang Country: New ZealandField of Art: Multi-disciplinary ArtistInstagram: @cindyhuang.studio Introduction:Cindy Huang is an interdisciplinary artist whose work spans installation, painting, performance, and social sculpture, exploring themes of exchange, generosity, and adjacency. Her research delves into the histories of Chinese migrant communities in Aotearoa New Zealand, particularly the relationships between Māori and Chinese communities. Huang's practice includes large-scale installations that blend ceramic sculptural objects with social engagement and community building. She draws from historical accounts of Chinese life in Aotearoa and the concept of being tangata tiriti. Currently, Cindy is focused on expanding her studio practice, particularly in clay, and is developing a new body of work exploring migrant relationships with the landscape, blending regional New Zealand painting with Shan Shui (Chinese Mountain Water) aesthetics and personal identity. Yvonne Matstoms Country: SwedenField of Art: CeramistWebsite: clayspacestockholm.comInstagram: @clayspace.stockholm Introduction:Yvonne Matstoms is a Swedish ceramic artist whose creative journey began after the loss of her spouse, finding solace and purpose in clay. She feels strongly that art and to creativity is a true connection with the mystery and the greater in life.With a background in art history and a deep aesthetic appreciation, she realised her own artistic potential later in life. Yvonne draws inspiration for her work from organic forms, the Arts and Crafts movement, archaeological findings, and Japanese everyday ceramics. Yvonne primarily creates functional, beautiful items like bowls and vases, blending several techniques such as throwing, coiling, and slab-building in her work. Her goal is for her work to be cherished and displayed, even when not in use. Currently, she’s exploring sculpture, particularly a series inspired by the need for protection in today’s turbulent world, including sculptures of angels and swans symbolizing strength and blessings. Sara Buchner Country: AustraliaField of Art: CeramistWebsite: silvesterart.comInstagram: @silvesterart Introduction:Sara Buchner (SilvesterArt) is a multidisciplinary artist whose work is inspired by dreams, creating small, heartfelt illustrations and prints. Drawing from the Wiener Werkstätte and the publication Ver Sacrum, her pieces blend clean lines with narrative, resulting in expressive and animated works. Sara incorporates discarded materials, like scrap wallpaper and linoleum offcuts, into her watercolors and linocuts, adding a surreal, everyday quality to her art. Her printmaking utilizes non-toxic ink on small-scale lino and plywood blocks, while her ceramics feature slab-built, architecturally inspired sculptures, vases, and planters. Sara is currently focusing on incorporating native plant motifs and landscape-inspired sculptures into her ceramic work and was looking to explore new mediums and techniques during her residency at Driving Creek.

• Blog
• Events

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!

• Blog
• Conservation

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.

• Blog
• Conservation

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. https://www.reptiles.org.nz/herpetofauna/native/leiopelma-hochstetteri https://www.reptiles.org.nz/herpetofauna/native/leiopelma-archeyi

• Blog
• Conservation

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.

• Blog
• The Coromandel

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! Day 1 (Saturday): Auckland to Coromandel Town 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. Day 2 (Sunday): Exploring the Coromandel Peninsula 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.

• Blog
• Pottery

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.

• Blog
• Pottery

Have you been wondering what journey your pottery encounters after you leave your pottery class? This article describes the incredible process your pottery goes through from when you make your unique item in your pottery class at Driving Creek, to your pottery being delivered to your home. Drying the Clay After your class, and once you have moulded the clay into its final shape, the pottery is left to dry to ‘leather hard’. The initial drying process can take up to one week but varies based on how thick the clay is and even what the weather is like. Once the pottery reaches this semi-hard level, it is then trimmed by one of our Pottery Tutors to remove excess clay from the bottom and is then set aside to dry fully.  Bisque Firing When the pottery is fully dry it is ready to be bisque fired in a kiln. A bisque firing is where the pots are fired, or more simply baked, in a kiln at 950°C. This firing removes any remaining moisture, which reduces the size by approximately 15%, and makes the pottery more durable and porous enough to absorb glazes.  The bisque firing also makes the pottery pieces stronger and more convenient for handling during the glazing process. The firing takes around 12 hours, and is then left for another 12 hours to allow the pottery to cool slowly. The Art of Glazing Once the pots are out of the bisque kiln they are ready to be glazed. Glazing is a truly amazing process where pottery comes to life by adding colour, texture and depth to the surface.  Glazes are made using minerals and oxides that add colour through colouring oxides such as cobalt, copper, iron, chrome, manganese, rutile, nickel, vanadium, and rare earths which are used in our range of pottery class glazes you were able to choose from. You can even change the way a glaze appears through different combinations, layering and techniques.  The glazing process is both a science and an art with many ways of applying a glaze from brushing and dipping, to spraying and pouring, each method alters the final result. The firing temperature, viscosity (thickness) of the glaze and atmosphere inside the kiln all play a role in the final outcome. Glaze Firing After the pottery is glazed it is then fired in the kiln for a second and final time. The second firing is called a ‘glaze firing’ and is where your pottery is fired for approximately 8.5 hours to slowly reach 1220°C. The specific temperature is to ensure the clay is vitrified (becomes a glass like substance) and the glazes are melted, creating a durable and beautifully finished piece of pottery. The pottery is then left in the kiln for 2 days so it slowly cools before opening it to prevent cracking the pottery due to a sudden change in temperature. The Unveiling While the pottery cools the anticipation builds and the moment of truth arrives- the unveiling of the finished piece. What was once a ball of clay has been transformed into a work of art, rich in colour, texture and character. Each piece being uniquely handcrafted in your pottery class.  The pieces are then carefully packaged by our Pottery Tutors and picked up by the courier to be delivered to you to enjoy in your very own home!

• Blog
• Engineering

Elephant, one of Driving Creek's beloved trains, is undergoing an upgrade. Elephant was Barry Brickell’s favourite train and holds a very special place in Driving Creek’s history. The Driving Creek Engineering Team have converted Elephant to a diesel-hydraulic powered motor alongside Gavin Brickell, Barry’s brother and mechanical engineer. Elephant was originally built by Barry as a workhorse in 1979, using salvaged and reconditioned parts. The original motor was repurposed from a Fordson diesel truck and had a 4-speed gearbox from an old Bedford truck. The gearbox was later switched to a Paragon marine gearbox that connected to a driveshaft and spline universal, allowing the same 4 speeds forward and reverse to better traverse the unique railway. During the early years and as the train tour became more popular, an open-side passenger carriage was made to be towed by Elephant, allowing more visitors to experience the railway. Although Elephant is not used for rail tours anymore, it is still used for track work and as a towing vehicle in case of breakdowns. Its powerful engine and small size allows it to fit in the switchbacks, alongside the larger trains when towing. Maintaining this system became very difficult and costly with the need to replace the old worn gearbox. After searching for a replacement paragon gearbox and compatible hydraulic drive to the Fordson motor proved fruitless, it was decided a complete engine replacement was necessary. As Driving Creek’s other trains have been designed or converted to a diesel hydraulic system to more effectively operate on Driving Creek’s mountain railway, it was also decided to use this opportunity to convert Elephant to hydraulics. The recent conversion included replacing the old Fordson motor with a reconditioned Perkins engine which the engineering team converted from 24 volts to 12 for the injector and start motor. A purpose-built hydraulic tank, built in the workshop, a new hydraulic pump, hydraulic drive and sprocket were also installed. Other modifications made to Elephant over the years have included Barry’s handmade exhaust manifold, which was adapted to fit the new engine to keep the same original aesthetic. Elephant also was upgraded with a new radiator so all three ‘big trains’ are interchangeable with one another. *Pictures show Elephant in the workshop with Gavin, Beran and Jade, the engineering team.

• Blog
• The Coromandel

Coromandel Town has a range of attractions and activities visitors can do for free we would love to share with you. Coromandel Town is a historic town known for its mixture of coast, native forest, history and artistry. It is a haven for talented artists and craftspeople inspired by the land and seascapes. Along with its broad range of paid tourism experiences, there are free attractions that draw people here too. Here are some of Coromandel Town’s best must-do’s, hidden gems and local favourites to add to your Coromandel escape. Please remember to care for these incredible places by leaving them as pristine as you found them and keeping to the Tiaki Promise.  Waiau Falls Along the 309 Road lies the entrance to the Waiau Falls trail. You can walk through a beautiful lush bush to the stunning waterfall and deep pool below. If you’re feeling adventurous and keen on a refreshing plunge, this is the perfect adventure for you. The waterfall is a popular local swimming hole, so don’t forget your towel! Getting there: Waiau Falls is 10km from Driving Creek. To get there from Coromandel Town, head up the 309 Road towards Whitianga. Travel 7km along the 309 Road until you reach a parking space on the left hand side of the road where the track to the waterfall starts. You can also click Waiau Falls to open it in Google Maps. Waiau Kauri Grove The Waiau Kauri Grove is a spectacular stand of Kauri trees that soar above the surrounding native forest, with the walkway starting 1km further along the road past Waiau Falls. These Kauri are of special significance to The Coromandel, being the largest easily accessible grove of mature Kauri in the region- they are truly magnificent.  The track is very well formed with footbridges and boardwalks, which take you close to the trees while protecting their roots. An excellent walk for nature lovers. If you are planning on walking through the Kauri Grove, please be sure to use the wash stations and keep to the tracks to protect these ancient natural taonga from kauri dieback disease. The walk takes approximately 30 minutes each way and is a must-do experience. Getting there: The Waiau Kauri Grove is 10.2km from Driving Creek. To get there from Coromandel Town, head to the 309 Road. Travel 7.2km along the 309 Road, 200 metres past the waterfall, until you reach a parking space on the right hand side of the road. You can also click Waiau Kauri Grove to open it in Google Maps. Kauri Block Walk The Kauri Block offers you a fantastic panorama of land and sea with a variety of uphills and down. The walk follows a ridge through regenerating bush and native plantings beneath the Te Kauri Pā. The track forks 10–15 minutes in.  If you head up the right-hand fork, you will reach the highest point- an old pa site that offers spectacular 360° views of ocean, islands, township and surrounding ranges. The left fork will keep you on the main track following the ridge through the bush until it emerges at Harbour View Rd. The entire walk takes one and a half hours at a gentle pace. Getting there:  The Kauri Block Walk is 3.4km from Driving Creek and close to the Coromandel Town centre. You can access the track from Harbour View Road. Park opposite the Kauri Block Walk sign in the gravel car park, and be sure to clean your footwear at the station provided to protect the Kauri trees. You can also click Kauri Block Walk to open it in Google Maps. Long Bay Walk Another favourite walk of ours in Coromandel Town is from Long Bay, through Tuck's Bay and onto another Kauri Grove track. The walk is an easy 1-hr return loop along the coast with stunning ocean views and through beautiful bush, including a 1200-year-old kauri tree and many younger kauri. The walk is best done at high tide to encompass the best of both beach and bush, and offer the opportunity to cool off in the ocean afterwards. The Long Bay walk is also a spectacular sunset spot looking out across the Hauraki Gulf. Getting there: The Long Bay track is 5.5km from Driving Creek and starts by the Long Bay Campground. Parking is on the left hand side of the road by the beach. You can start the walk from either the north end of the beach or opposite the beach towards the forest. Clean your footwear at the easy to use shoe-cleaning station at each end of the bush section to help prevent the spread of kauri dieback disease. You can also click Long Bay to open it in Google Maps. Pump Track and Bike Park If you’re a keen biker or have a need for speed, then the Ride Coromandel Bike Park and pump track is the place for you with options for all levels. Using the network of mountain bike trails, flow trails, downhill and gravity jumps and pump tracks is free for all bikers.  The family skills area is suitable for all levels of riders. There are also grade 2, grade 3 and grade 4 descent trails and two intermediate single tracks in the Kauri Block: Ara Tuatahi at 5.5km long and Rickers Return at about 1.8km. To protect against kauri dieback disease please pass through the wash station before you ride. You can take your own bike or rent a bike from Hike & Bike Coromandel, based in Coromandel town. Getting there:  The bike park is 4.1km from Driving Creek and based just a kilometre out of Coromandel town. You can either bike or drive there with parking available on site. You can also click Ride Coromandel Bike Park to open it in Google Maps. Going to the Beach! The Coromandel peninsula is most known for its golden beaches and picturesque bays that make for the perfect summer’s day. A few of our favourite beaches within an hour of Coromandel Town include Little Bay, Opito Bay, Crayfish Bay, New Chums Beach, Waitete Bay, Port Jackson and Otama Beach. Check out our previous article about the Top 6 Beaches in The Coromandel for more information. Looking for even more activities in The Coromandel? Head over to The Coromandel to find even more awesome activities, both free and paid, that you can experience while visiting The Coromandel to make your trip even more incredible.

• Blog
• The Coromandel

The Coromandel is renowned for its picturesque golden sand beaches. Cathedral Cove, Hahei, Whangamata and Hot Water Beach are world-famous and very popular. However, The Coromandel is full of other hidden beaches that allow you to escape the crowds, so here are Driving Creek’s top 6 hidden beaches to give you a few ideas of places to visit. While we love to share our beautiful beaches, please remember to care for them by leaving them as pristine as you found them and keep to the Tiaki Promise.  Little Bay Little Bay is a small 660 metre long beach located in between Tuateawa and Waikawau. Its charming character includes a mussel buoy with books to read and swap hanging from a pohutukawa tree, and usually a pontoon floating in the water to relax on. The bay also allows freedom camping- how unreal would it be to wake up with such a stunning view right on the water?! Getting there: From Coromandel Town head towards Waikawau, the drive is approximately 55 minutes. The bay is located where Tuateawa Road meets Waikawau Beach Road. Directions are available on maps too. Opito Bay & Crayfish Bay Opito Bay is a sandy beach with a gorgeous cove tucked just around the corner. Crayfish Bay is the perfect spot to go exploring and climb over the unique rock formations that make this bay special. The water is clear and the rockpools make it an ideal spot to swim and snorkel. The rocky ledge also makes for the perfect jumping spot. There is a small ladder attached to the sides of the rocks to help you climb back up; however, be aware of the swell and the sharp rocks while getting out of the water.  Getting there: From Coromandel Town, Opito Bay is a 45-minute drive. To get around to Crayfish Bay, walk along Opito Beach towards the Pa- roughly 100 metres before the end of the beach, you will see a faint track marked with a sign pointing you over the fence to Crayfish Bay. Climb over the fence and follow the grassy path across the farmland to Crayfish Bay.  New Chums Beach New Chums, or Wainuiototo, is a secluded beach only accessible by foot. New Chums can be busy over the peak of summer but are mostly remote the rest of the year. The journey is a combination of rock hopping and walking through native bush including an impressive grove of Nikau, New Zealand’s native palm. When you reach the beach you are greeted with insane views, white sand, clear water and shade offered by an abundance of lush pohutukawa trees. Climb up the rugged and steep track off the small saddle between Whangapoua and New Chums to the viewpoint for unforgettable coastal scenery. Take along a ball to have a friendly game of volleyball, a book to read while soaking up the sun or a hammock to sway in the trees. The waves here are thrilling so be sure to be a confident swimmer if the swell is up; however, plenty of fun is offered by this hidden gem.  Getting there: From Coromandel Town, drive to the nearby Whangapoua beach (roughly a 25-minute drive). Drive to the far end of Whangapoua and park in the signed area. Head along the beach, cross the stream and continue to follow the rocky shoreline until it meets the path. Follow along the track and into the bush, then down onto the beach. The walk takes approximately 30 minutes, but it is worth it for the reward waiting at the end. Waitete Bay Looking for a short trip out of Coromandel Town? Waitete is the perfect spot for a swim or a small escape from the town. Waitete Bay is a beautiful sandy beach hidden away from the masses. A classic Kiwi beach, great for quiet days when you want to enjoy some peace. Getting there: From Coromandel Town, head towards Amodeo Bay and turn left at the old sign. There's a gravel road about 200 metres long that will take you to the beautiful bay. Port Jackson Port Jackson is at the northern tip of the peninsula. It is where the Coromandel Coastal Walkway is based, so if you are a fan of mountain biking or hiking, this beach is for you! The incredible coastal walk takes 3.5 hours one way to Port Charles and encompasses the full beauty and remoteness by capturing the bush, farmland and coastline of the upper Coromandel Peninsula. Be prepared for an easy gradient to begin followed by short steep sections into and out of bays along the way. Stony Bay and Fletchers Bay mark the start and end points of the track and are great places to cool off after your adventures. Getting there: From Coromandel, follow Colville Road north to Colville Bay. From there, take Port Jackson Road to Fletcher Bay or Port Charles Road for 20 km to Stony Bay.For more information, head to the DOC website. Otama Beach If you are in search of the perfect spot for a beach day, Otama is the place: glorious golden sand, pohutukawa trees offering shade and tame waves to swim or surf in for hours. Pack a picnic and take your hammock along for the ideal beach day. There is an estuary nearby for families with younger kids to splash in the shallow waters and sand perfect for building sand castles. It is one of the more accessible beaches and very family-friendly or ideal spot for a relaxed beach day. Getting there: Otama is located 35 minutes from Coromandel Town. Wind your way over the hill towards Whitianga and turn off onto Blackjack Road, in Kuaotunu. Keep heading along Otama Beach until you reach the far end where you can turn off into a car park and head down the beach access. If you’re looking for more beaches go and check out https://thecoromandel.com/activities/beaches/ for a comprehensive collection of The Coromandel's many beaches.

• Blog
• Conservation

Driving Creek is home to the threatened Coromandel Striped gecko also known as the Northern striped gecko. The species is threatened and nationally vulnerable. For a while, northern striped geckos were so rarely encountered they were considered to be the 'rarest geckos in the world.' More recent survey efforts have confirmed they are on the northern Coromandel Peninsula and can be locally abundant at sites with good pest control. (NZ Herpetological Society). Early in 2023, a Driving Creek Conservation Team member discovered a Coromandel Striped gecko just outside of the Driving Creek boundary. This prompted a visit from the Auckland Zoo herpetological team to survey the habitat of this rare native species. Luke from the Driving Creek Conservation team guided the Auckland Zoo team through a tour of the property and discussed the conservation efforts of the team. Luke also was able to show the Zoo team where he first spotted the Coromandel Striped Gecko. The group discussed habitats and survey methodologies while viewing the Driving Creek Gecko enclosures.  The Coromandel striped geckos have slender bodies and can grow up to 95 mm in size (from snout to vent) plus their tails which are longer than their body length. The geckos have tan stripes covering their length and may have fine flecks of spots. Male striped geckos have three large pointed scales on each side of the tail base that differentiate them from the females. The geckos have brown or grey eyes and have a distinctive mouth with a pink lining and orange-coloured corners. The striped gecko is similar to the Pacific gecko and goldstripe gecko however, the orange in the corners of the mouth differentiates them. (“Toropuku Inexpectatus | NZHS”) The striped geckos are arboreal meaning they live in trees and are nocturnal- active at night. They are found inhabiting coastal forests and shrubland. In the Coromandel, they have been seen sun basking on branches and tree trunks, often with their limbs parallel to their bodies. Captive Coromandel striped geckos have been observed leaping with force and speed as a form of escape technique rather than dropping like other native geckos. (“Toropuku Inexpectatus | NZHS”) References: “Toropuku Inexpectatus | NZHS.” www.reptiles.org.nz, www.reptiles.org.nz/herpetofauna/native/toropuku-inexpectatus. Accessed 12 Mar. 2024. Driving Creek Conservation Park Update and Work Plan 2024/2025

• Blog
• Conservation

The hard work and dedication of Driving Creek’s Conservation Team is producing great results for our beautiful native forest and wildlife. We now have evidence of a thriving kiwi population in the forest that surrounds Driving Creek and overlooks Coromandel Town.  Our Conservation Team has been trapping pest animals and expanding traplines to target mustelids, possums and rats since 2019; working to protect forest on surrounding Public Conservation Land as well as our own property. The conservation department seeks to create a safe habitat for the Coromandel Brown kiwi and other native species. Our Conservation Team uses various methods to gage kiwi numbers in our area, including a trail camera network. The cameras are triggered by movement and capture images of kiwi or other animals that pass through key points in the project area. This allows the Conservation Team to track not only the presence of kiwi but also pest species.  Region-wide Kiwi call survey: Tracking progress yearly In late 2023, Driving Creek was again part of a region-wide kiwi call survey, the second year in a three year survey organised by Predator Free Hauraki Coromandel Community Trust. Kiwi call surveys are one way to determine the presence of adult kiwi in different areas, with a positive bias towards male kiwi due to females calling less frequently. They can also be used to estimate and compare the relative abundance of kiwi populations, and are useful for understanding long term trends.  Simply put, a kiwi call survey is performed by walking to a high ridge late at night, sitting quietly, and listening for the kiwi distinctive calls for three hours in the dark over three consecutive nights. When the Conservation Field Ranger hears a kiwi call, they record the time, direction, estimated distance of the call (distance from the listener) and the gender of the kiwi, which is identifiable by the type of call, and record it on a data sheet.  “We want to stress that our kiwi listening emphasises minimal intrusion," says the Driving Creek Conservation Team. "Our aim is to let the kiwi live as naturally as possible while we learn more about their abundance and habitat preferences in our area." Positive Results and Expansion Plans Based on two years of our kiwi survey data, we can estimate there are two breeding pairs of kiwi plus an additional male bachelor in the area. We think this is the case, as kiwi only call when they are of breeding age and searching for a mate. When a male and female kiwi call in a repetitive pattern in close proximity, we identify these as “duet calls,” which is an indicator of courting pairs of kiwi.  Even more good news is that the recent kiwi survey data shows a dramatic increase from 1.38 calls an hour in 2022 to 5.75 calls an hour in 2023. This increase highlights the positive impact of Driving Creek’s Conservation work in trapping pest animals, removing environmental weeds and protecting the local wildlife.  We are ecstatic about this result and are planning to further expand the area which is covered by traplines to remove pest animals, expanding across more Public Conservation Land. We hope that the two pairs of kiwi will breed and their chicks will make it into adulthood to continue increasing our kiwi population.  Heartfelt Encounters: Building Trust with Wildlife While the survey results alone are incredible, our Conservation Team also experienced a rare, heartfelt encounter with a young inquisitive male kiwi, now affectionately named ‘Squeaky.’ The young male approached a Field Ranger during a kiwi listening survey, to within touching distancing and was seemingly unfazed by the rangers presence. "This is a brilliant example of the  vulnerable nature of young inquisitive kiwi, and how important it is to keep pest animals and pets such as dogs and cats out of our forests" says the Field Ranger who had the chance to share this unforgettable moment with the young kiwi. A Shared Success Supported By Tourism As we celebrate this milestone at Driving Creek, we would not be able to perform our conservation work without the support of other local conservation groups such as Moehau environment group, our relationship with Te Papa Atawhai and the financial support from Waikato Regional Council to buy traps for Public Conservation Land. We also must thank all of those who visit Driving Creek’s railway, zipline and pottery activities. As a not-for-profit we are continually expanding our conservation work to better protect and enhance our native environment and wildlife, with the evidence of a thriving kiwi population being an incredible outcome that we can share with visitors to Driving Creek.

• Events

For the second year, Driving Creek will host The Coromandel Pestival on Saturday 6th of May from 10am to 6pm at the Driving Creek Gallery in Coromandel Town.  The Coromandel is home to beautiful coastlines and beaches, and precious forests and wildlife. This free all-day educational and networking event will focus on our native species and what we can do to protect them. The Pestival is open to anyone interested in conservation, hard-working volunteers, local community groups and organisations involved in The Coromandel's effort to become pest-free. The event will be an ideal opportunity for networking, learning about new innovations and best practice methods, and listening to insightful presentations from environmental experts such as Dr. Trevor James, Dr. Andrew Veale, Danilo Hegg, Doug Ashby, Richard Johnson and Benson Lockhart.  With workshops, exhibits, stalls, kids activities and guided tours throughout the day, it will be an educational day for the whole family.  The Pestival is a free event but a koha is much appreciated. Download Schedule

• Events

Anneke Borren + Caitlin Moloney Ceramic Collaboration Exhibition You are warmly invited to attend the exhibition of Anneke Borren and Caitlin Moloney's collaborative works at Driving Creek Railway and Potteries Gallery in Coromandel town between Friday the 24th March and the 9th of April.These ceramic pieces have been two years in the making, each taking up to two months to create. This journey has been a labour of love and commitment to the integrity of each other's work.  Official opening Friday the 24th at 5:30pm. All are welcome.Open 10am - 4pm daily. The exhibition Two Birds by Anneke Borren and Caitlin Moloney is a collaboration grounded in a respect for the mastery of each other's work.  These forms have been two and a half years in the making speaking to the slow and methodical process of Caitlin's creative practice. Anneke and Caitlin met at Driving Creek briefly during the summer of 2019, where Anneke was attending an artist residency and Caitlin was working while still maintaining her creative practice.  One day, while stacking a kiln, Anneke handed Caitlin one of her porcelain forms and said, "Here, decorate this"!  The results were so stunning that from this one pot the collaboration formed. Both makers are inspired by social anthropology, of how humans are shaped by and connected to the natural world.  Much of their time working together was in conversation around these topics, feeding into the development of these works. Caitlin is unique in her approach to Anneke's forms showing an understanding of their structure, of how to enhance them through her surface treatment and ceramic embellishments while retaining the integrity of the pieces.  While working, Caitlin was reminded of the regal nature of birds, their natural beauty and grace being a source of wonder and connection, in turn inspiring the ceramic embellishments on some of the forms. This collaboration has been a stunning journey of bringing Anneke's forms from the world of domestic ware into decorative sculptural pieces, of seeing how far they could be pushed. About | Anneke Borren Ceramiste M.N.Z.M If ever there was someone born to be a potter it is Anneke Borren. Since she was 12 she has passionately pursued that single course, improving, changing, experimenting and growing. Born in Holland and now resident in New Zealand, her early career saw her working as an artist potter at "De Porceleyne Fles" the Delft-Blue factory in Delft, Holland. Later she was to take up ceramics and glass studies at the Konstindustri Skolan in Gothenburg, Sweden. Anneke Borren met Barry Brickell in 1970 when they were both members of the N.Z.Potters Guild set up to promote professional potters careers in this country.  All the top names of the small but active group of potters making a living solely from clay, were part of this group.  The Guild quietly reintegrated into the N.Z. Potter's Society at the end of 1976 because actually, we were all too busy making a living.  But it created a strong bond between us all. and over the years that grew.   DCR became one of our focus areas.  Decades later, Barry became part of the N.Z.Ceramic Heritage Collection group, custodians of the evidence of the standard N.Z Potters set themselves in the 1980s and 90's.  We were up there with Mino, Japan, hundreds of years of clay culture, Faienza, Italy and Auckland N.Z, 30 yrs via Fletcher Brown Build Challenge creating the three top exhibitions in the world!!  The N.Z Ceramic Heritage Collection is now housed at DCR.  Anneke was part of all that, and more. So while Caitlin and Anneke were collaborating at DCR, Anneke was also creating her own clay memories there. All the pots Anneke made , for herself, called the " kauri Bark Series,"during her collaboration period, to celebrate Barry's conservation contributions, will be part of the collaboration exhibition, as these works are made of Barry's Coro gold clay, and his stoneware, on site at DCR. It's also acknowledging Barry's huge generosity in fostering international and local potters careers. We raise our dinner glass of wine, each night at DCR, with a toast to Barry, in remembrance, in affection, and in celebration of his iconic stature in the Ceramic world.In 2022 N.Z. New Years Honours list Anneke was made a Member of the N.Z.Order of Merit, for services to Ceramic Art. About | Caitlin Moloney Caitlin Moloney is an Australian born multidisciplinary artist of Celtic, Iberian and north west European descent. Her early exposure to multiculturalism, community care and social justice has instilled in her a deep curiosity to explore an integrated culture in a colonised world. What is our language of connection to place and to each other? In her making Caitlin turns repeatedly to the rhythm and shapes found in nature, our plants and animals - and their constant renewal.Caitlin studied at Queensland College of Art in Brisbane, Australia where she touched on her interest in sculpture by majoring in metal work.  Caitlin has always been a maker, whether she was drawing, working with paint, textiles or metal, the need to create has always been there.  Finding the Coromandel clay community at Driving Creek Railway and Potteries in 2005, Caitlin was taught skills by local and international artists.  Over time Caitlin found herself creating sculptural forms integrating clay and metal, revisiting her earlier interests in bringing materials together.  Caitlin is excited to see how far she can take her ideas and by how far she can push the development of different mediums.Driving Creek is an environment shaped by living so close to the earth, in rhythm with the land. This has formed a community of unconventional makers, supporting Caitlin's creative growth with grassroots learning.