Learning with every project
When you talk to Peter Felix Muller, you get the sense that he’s never been in a rush. That’s not to say he hasn’t achieved a lot – he’s done plenty. But his approach to art, whether it’s behind a camera or at the jeweller’s bench, has always been more about flow than force.
Peter’s artistic journey started early. “Silversmithing came about from a teenage interest and admiration of Jens Hansen’s work in Nelson,” he says. As a teenager, he stumbled into a workshop after bumping into his former art teacher, Ray Mitchell. That brief encounter was enough to spark something. Soon after, a summer course with Hansen and Gavin Hitchings deepened his connection to the craft. “Jens was a good teacher, and I enjoyed his robust style, use of a good hammer and Flat Bastard file,” Peter says.
But it was photography that took the lead early on. He studied at Wellington Polytechnic Design School and ended up spending decades immersed in the photographic world – running labs, working briefly for Kodak, and eventually co-owning New Zealand’s largest commercial photo lab. “We introduced digital imaging in 1993 with Photoshop version 2,” he adds casually, like someone mentioning they were at the birth of the internet. His work evolved into supporting major exhibitions, including at Te Papa and the Waitangi Museum.
A Sculptor at Heart
Despite the decades in photography, the pull of metal never left. In 2022 – after a 47-year break – Peter returned to silversmithing. He’s not easing in gently, either.
“My interest has changed to using New Zealand stone, pounamu, etc., in a more rustic, sculptural, Kiwi-inspired form,” he explains. “I’m a ring maker. I like rings.”
His pieces, especially the rings, feel like they’ve been unearthed from the land itself – bold, solid, and full of texture. “I want to show these stones in a different light,” he says. That often means skipping sketchbooks and jumping straight into three-dimensional problem-solving. “An idea comes to me over a few days or weeks until I imagine it clearly – and then transpose it in metal.”
There’s a beautiful synergy between his jewellery and photography. “Both are influenced by shape, texture and shadow,” he says. The fingerprints of the Bauhaus movement, Germanic precision, and Scandinavian minimalism are all over his work. That makes sense – Peter’s roots are Swiss with a touch of Danish, and he’s never strayed far from those influences.
From West Coast Rivers to Whitianga Sands
Though Peter now lives in Whitianga, he says it’s still too soon to claim the Coromandel has made its mark on his style.
“I’ve now lived here four years, but I think my recent work is reflecting a childhood regularly visiting the South Island West Coast,” he says.
“Walking beaches and rivers with my family looking for greenstone or panning for gold – that’s where the seeds were planted.”
That said, he acknowledges the Coromandel will leave its imprint in time.
How could it not?
The Power of Collaborating
Peter shares a studio and life with fellow artist Peter Augustin, and their creative dialogue is ongoing. “Peter’s idea was the Elementa 5 exhibitions,” he says, referring to the collaborative shows hosted at Driving Creek (2024) and at the Whitianga Arts Centre (2025). “They’ve been excellent exhibitions – great quality, teamwork, and support for each other’s art form.”
Peter has always been surrounded by art and artists. His maternal grandfather, a Swiss painter and porcelain designer, was part of a long line of creatives. “As a family, we mixed with artists, attended exhibitions and concerts. It just felt normal.”
Highlights and Hurdles
Peter doesn’t sugarcoat the challenges. Starting over after nearly five decades away from silversmithing has required patience – and YouTube tutorials. “My challenge has been to re-learn and expand my skills,” he says. “Luckily I’ve got a practical mechanical ability, so these processes translate to bending metal.”
Despite the learning curve, the achievements keep stacking up. He has sold pieces through local connections and was recently named a finalist in the Small Sculpture Awards 2025 for his ‘corrugated wave’ two-finger ring. “I look forward to my future work being more art-sculpture linked rather than mainstream,” he says.
As for photography, Peter’s abstract work has been recognised internationally and locally – his images have been finalists in prestigious awards from Japan to New Zealand. But it’s clear that jewellery is where his hands are happiest at the moment.
Advice from the Workshop
For anyone dabbling in multiple art forms – or just figuring out where to start – Peter’s advice is grounded and generous: “Immerse yourself in art.
Visit exhibitions, talk to and become friends with artists. Ask questions.”
He also champions the unfashionable, but reliable – books.
“Books hold secrets to your end result.”
Social media is helpful, sure. But nothing replaces doing the work, making mistakes, and learning from every piece.
“I’m learning with every project,” he says.
“It takes time.”
Website: augustin-muller.com
Instagram: @peterfelix_art
Words by Leonardo Magri
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