When iconic Kiwi chocolate manufacturer Whittakers recently teamed up with newish artisan dairy food manufacturer Lewis Road Creamery to produce chocolate milk, the marriage of these two brands was apparently so successful that demand has massively exceeded supply and a whole marketing campaign has been built around scarcity, rationing and a “black market” in chocolate milk.
Not being in the target demographic, it’s a campaign that would probably have passed me by except that the FaceBook page of my favourite greengrocer/artisan grocer — Boric Food Market — got in on the act. Then the boy-child started talking about it too.
Still not being quite aware of the extent of the shortage, I vaguely started looking for the stuff in Boric and my local supermarket, thinking I’d buy a bottle for the kid so he could tell me if it was worth the hype (and the price).
I still haven’t actually seen it stocked anywhere!
But luckily some lovely artist friends brought me a bottle for the boy while we were working at NZ Sculpture OnShore. It took a few hours before I managed to get it home to him, and I was worried about it spoiling, but — as the pics show — it was fine. Better than fine it seems. I’m told it’s the best chocolate milk he’s ever had. Given that I don’t really think of chocolate milk as a premium product, I’m not quite sure how great an accolade that is. But the demand is high, people are willing to queue for the one-bottle-per-person they’re allowed, and I just noticed someone sold two 750ml bottles on TradeMe (the local eBay) for $32.
Meantime, I had to capture some shots of the moment when the boy child enjoyed his gift.
Waiting for the boy-child to complete his last exam yesterday, I visited the Wintergarden at Auckland Domain. The temperate house in particular was full of colour and scent – and tourists. And why not; it’s a wonderful place.
Piled in the entryway of an underground tunnel at a historic military site; Lang Ea’s cement heads – eyes closed, without ears – were for me the most powerful work at NZ Sculpture OnShore. Lang Ea came to New Zealand from Cambodia as a child, and this work, ‘Listen’ resonates with the imagery of Cambodia’s brutal Khmer past.
On the other side of a small glade, in another underground room, Sam Harrison’s ‘Gretchen’ leans against a wall. Exhibited at an event which raises funds for Women’s Refuge, this work inevitably suggest a strong emotional response, yet many visitors have been moved by the simple beauty of her form.
Ramon Robertson is a Scottish artist now living in New Zealand. His work often features plaster and concrete figures – apparently mass produced, yet somehow unique. The title of this work comes from French phenomenologist Maurice Merleau-Ponty’s statement “only in the context of the world we inhabit do we know who we are and what our purpose is.”
In contrast to the human forms depicted in the other artists’ work, Taranaki-based sculptor Anna Korver allows the garment to represent the form. She has developed a considerable body of work based on “the dress.” This piece in basalt is one of three that was exhibited at NZ Sculpture OnShore.