Ian Thorne has carved out more than just exquisite pieces of art. His journey, woven into the very fabric of recycled bones, stones and traditions, unfolds as a timeless dialogue between artist and material.
Formative Years
Ian’s artistic genesis echoes the rhythms of childhood play, where he danced with his grandfather’s antique chisels, carving not just into materials but into a growing passion. From a mischievous exploration of his father’s workbench to the deliberate strokes of lino cutting in school, Ian’s journey was a prelude to the diverse symphony of materials that would one day find expression in his creations. His forays into engineering and, later, the culinary world took a turn when he discovered the magical world of carving bone. In his flatmate’s workshop, amidst discarded steel and coloured toothbrushes, Ian unearthed the philosophy that would guide him through the labyrinth of artistic creation: “do it properly, and you can carve anything”. Thus, a kaleidoscope of materials – bones, horns, tusks, and eventually whalebone, pounamu, and marble – became the palette for his artwork.
Art as Coping Mechanism
For Ian, art is an emotional sanctuary, a respite for his long-present ADD (attention deficit disorder). Much like the rhythm of music, carving provides him with satisfaction and a tangible connection with the results. His art becomes a source of solace, weaving pieces that resonate as taonga, treasures that connect with people in myriad ways. It’s an endeavour that transcends mere craftsmanship; it’s about taking someone’s vision and elevating it, making it better than they had hoped:
“I try to weave in whakapapa by gathering insights from whānau and hapu. My main goal is to craft something unique and different, be it in medium, style or cultural influence. Along the way, I’ve taken on commissions from Māori, Polynesian, New Guinean, English, Celtic, Native American and other backgrounds, learning a lot each time. It’s truly a privilege.”
Creative Alchemy
Ian’s creative process is both meticulous and fluid. Whether he lets the material speak to him or follows a preconceived plan, each piece undergoes a journey of transformation. Take, for example, his favourite theme, ‘Growing Together’, where two koru join and entwine, supporting each other in a dance of creation. From a simple line drawing on paper to the careful selection of material, the handsaw’s first cut to the final polish – each stage is a dance between the artist and the material.
Carving with Consciousness
Having sold his initial brooches at the Craft Council Gallery, creations like the Stingrays and ‘Growing Together’, alongside kererū, fantails and seals, showcase the organic connection between art and nature.
Culturally, Ian’s exposure to tikanga Māori since childhood, despite disruptions like the cancellation of language programmes, has been a guiding force. Weekends spent on marae visits with his father, who was involved in legal efforts to protect Māori land, instilled a deep respect for Māori culture. This journey, coupled with participation in the antiracism movement, redirected Ian towards a more meaningful artistic path, away from the confines of a kitchen. The influence of legends like James Webster, Hirini Melbourne, and Richard Nunns, and technical guidance from Chris Charteris, has further enriched his art.
The discovery of Taonga Puoro marked a turning point, fusing music and carving in Ian’s artistic exploration, creating unique pieces that harmonise auditory and visual arts.
Web of Connection and Fair Artistic Trade
From 1998 to 2002, Ian ran The Bone Studio and Gallery, a dynamic space that housed the works of 50 carvers.
After many negative encounters with gallery owners who often displayed arrogance and ignorance, he sought to create a space that not only showcased the artists’ creations but also celebrated their identities. Ian decided to take his venture online, giving birth to carving.co.nz
Under the guidance of a local American web designer, the site became a pioneer in publishing information on taonga puoro and emerged as the most discoverable carving website globally for well over a decade.
He consistently paid artists more than their asking prices, going against conventional practices that did not benefit the carver. Ian prominently featured artists’ CVs and cultural information alongside their works. This commitment to welfare and the pursuit of quality resulted in The Bone Studio and Gallery gaining a reputation for the highest quality in the country, surpassing even museums and galleries that had previously dismissed Ian’s work.
Facing Challenges
Every artist encounters challenges. Health becomes a formidable adversary, sapping energy that could be devoted to the meticulous craft. Finances pose another hurdle, especially when stonework demands relentless tool maintenance. Yet, Ian’s resilience shines through. Stacked materials and a well-equipped tool shelf tell tales of overcoming obstacles, while the constant pursuit of new ideas keeps the workshop vibrant.
A Call to Collaboration and Exploration
Ian’s commitment to top-tier work and his engagement with visitors at his workshop have greatly contributed to the Coromandel Peninsula’s art scene allure. Travellers and art devotees become part of the artistic process, picking up pieces that resonate with them, learning about the craft, and leaving with more than a souvenir – an experience etched into their memories.
Ian Thorne continues to carve not just art but a narrative. He envisions restarting the Taonga Puoro group and passing on his skills. Visitors can explore his work on carving.co.nz, contribute ideas and perhaps become part of a collaboration.
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