Leaving school at a young age and joining the family jewellery business exposed Donn to the soon realized constraints of a 9 to 5.30 existence. Restricted creative impulses in this commercial world soon gave rise to an increasing unease, birthing an intense desire to be independent of conforming to perceived social norm.
Subsequent searching for a viable alternative was rewarded with a brief encounter to the crude greenstone carvings of an elderly compatriot of his father. The spark of interest generated by that momentary contact with carved jade ignited the heart fires and all else thereafter faded into near oblivion. In that era very little writing could be found covering the techniques of physically working this intriguing, tough material known as jade. Many months research and experimentation followed. Particularly rewarding was access to private collections of old Maori Greenstone Carvings. |
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A hand carved kaka poria in translucent NZ Jade. The parrots foot is drawn through the center hole rendering it captive. Now it is used as a decoy to attract other birds. |
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In that era very little writing could be found covering the techniques of physically working this intriguing material. Many months research and experimentation followed. Particularly rewarding was access to private collections of old Maori Greenstone carvings which eventually illustrated the crucial key to understanding the principle all Neolithic man used to form this stone of the Gods. |
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| Persistent trial and error culminated in the first saleable piece being completed in 1968. A simple KAKA PORIA Donn’s subsequent jade carving development was rapid, initially emulating old pieces. As skills developed exploration into stylized ethnic design evolved. This is when his own unique design sense began to emerge. Leading to contemporary jade carvings of non ethnic origins which quickly became an increasingly important factor of the finely carved jade from out of Donn’s studio. |
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