A Q+A with Judi: A Life in Ink

Judi Bagust’s artistic journey is one of evolution, exploration and deep connection to place. With a career spanning decades, her work has been shaped by a rich tapestry of influences, from the landscapes of Aotearoa to the abstract expressionists of the international art world. Known for her gestural ink drawings and poetic approach to mark-making, Judi’s practice is both intuitive and deeply considered.

In this Q&A, she shares insights into her creative process, the mentors and experiences that have shaped her art, and the inspirations behind her most recent works.

How has your artistic style evolved over the years, and what key moments have shaped your journey?

My artistic journey started many years ago when I grew up surrounded by my grandfather Charles Bryant’s beautiful Van der Velden-style oil paintings, which filled both our home and those of our family.

I was always drawing as a child and throughout my teens, using my elder sister’s Australian Art Correspondence Course as another guide while she worked as a practising commercial artist. I developed my own style of landscape painting in oils, influenced by both my father and his brother, who were also painters. Painting outdoors (plein air) always suited me best.

After marrying in the 1970s, I joined the Wellington Art Society with a good friend who was also a painter. We painted under tuition, attended guest artist talks and demonstrations, and absorbed a variety of influences. Over the decades, I took lessons in different mediums; acrylic, watercolour, and drawing, wherever I was living, including Wellington, Christchurch, Auckland, and during a three-year stint in the UK. While in London, I worked on a collaborative project creating a massive fabric banner of a high-backed wave with wax pigs, an exciting venture. I also had the opportunity to see many great artists and galleries, which deeply enriched my understanding of art.

Have any mentors or peers played a significant role in your development as an artist?

I had always longed to paint abstraction, and my breakthrough came when I discovered Anton Chapman’s work at an Auckland gallery. I began classes with him and a great group of artists in the old Scripture Union building on Queen Street. It felt like attending art school, which I valued immensely. He taught me abstraction and encouraged me to pursue a Master’s degree after I had co-founded a small gallery space in Devonport with Nikki Bath, which we ran for two years.

Locally, I was influenced by John S. Parker from Blenheim and by New Zealand’s Max Gimblett, who mentored me and introduced me to gestural ink on paper. I completed three workshops with him, which helped me refine my drawing practice using ink to achieve the feel and expression I was searching for.

During my degree, my influences expanded to include Brice Marden and Cy Twombly, both American abstract expressionists whose drawing methods had a profound impact on me. I was also drawn to the work of Silvia Bächli, a Swiss visual artist and photographer, and Roni Horn, along with discovering American artist Wade Guyton, who created works using an Epson stylus inkjet printer. His work, though only recently gaining prominence, resonated deeply with me. I have also been inspired by several notable Chinese ink artists.

Could you walk us through your creative process, from conceptualisation to completion? How do you decide on the materials and mediums you work with?

The conception of a work can happen well in advance, or it can be influenced immediately by a visual experience. It is never the same twice, some ideas percolate internally for a while, while others emerge quickly.

I work exclusively with ink on paper, though I also draw privately with charcoal and pastels. One day, I may explore ink on other surfaces. Before starting a piece, I conceptualise the work in my mind, meditate, and always play music. I warm up by working on 50-metre rolls of brown paper until I feel "in the zone," allowing the ink to flow fluidly. Only then do I move to my best papers and complete a body of work. I avoid judging the works in the moment, instead stepping away and returning with fresh eyes. I also seek the opinions of others to gain additional perspective.

What are the primary influences or inspirations behind your recent works?

My influences often stem from place, where I am, what I see, experience, and feel, as well as the places that hold deep significance for me.

For example, after the grief and reflection that came with losing my sister, I dedicated an exhibition to her called The Inbetween. Polynesians describe it as “the space between the sea and the sky” something indefinable, abstract, felt, and experienced rather than seen. I sought to capture this liminal space through painting.

During the Covid lockdowns, feeling trapped and disconnected from freedom, I found inspiration in tui flight. Observing their aerial dexterity and effortless movement led me to create works celebrating their agility and spirit.

I also painted more awa (river) works, this time weaving the river through the land rather than as a separate element. I longed for my river, Te Hoiere, to wrap itself around me. I missed seeing it, being in it, and being on it.

Being able to holiday on Aotea (Great Barrier Island) profoundly influenced my work. The ocean became a major theme, and I received both private and commercial commissions for moana (ocean) works, completing three sets.

What concepts or themes are you currently exploring?

My recent works continue to explore moana (ocean) themes, always shifting, rolling, and sometimes roaring with energy. Walking along Medlands Beach on Aotea, where we are fortunate to have land, has deepened my connection to the ocean.

I have also been inspired by wairua (spirit), painting from felt experience while incorporating more water into my inks.

Another new body of work is Visual Sonnets, inspired by a poetry workshop with Anthony Joseph at a recent Writers Festival. Seeing an example of a visual sonnet helped me reconnect with mark-making after a challenging period that included Covid, family illness, moving house, and personal upheaval.

I now find sonnets in everything. From the simple act of unwrapping presents at Christmas to the songs of tui, the movement of rivers, the spirit of a place, and the landscapes that surround me. These works are abstract impressions of a life lived with eyes wide open.

What advice would you offer to someone starting their journey in the art world?

If advising a young artist, like my granddaughter, I would suggest they complete their Fine Arts degree in New Zealand, then travel overseas for their Master’s. Experiencing international galleries and as much art as possible while travelling will expand their skill set and artistic perspective.

Personally, my journey has been, and continues to be, a lifelong love affair with art. I have travelled specifically to certain countries just to see particular galleries and exhibitions, and I have never been disappointed.

It is never too late to pursue art. We all have creative potential, and every artistic endeavour, no matter how simple, adds to that ability. Ultimately, it is about putting in the time and embracing the 10,000-hour principle.

Judi Bagust’s dedication to her craft is a testament to the lifelong nature of artistic growth. From early plein air painting to large-scale abstract works, her practice has continuously evolved, embracing new ideas and influences while staying deeply rooted in personal experience.

Her latest works, Visual Sonnets, Moana series, and ink explorations of wairua, invite viewers to experience a world of movement, energy, and connection. Through her intuitive mark-making, Judi captures not just landscapes but the felt essence of place, spirit, and memory.

Her journey reminds us that art is not just about making marks on paper, it is about being present, open, and engaged with the ever-changing rhythms of life.

ARTIST BIO

Judi Bagust is a contemporary New Zealand painter whose work is deeply rooted in heritage, environment, and gestural mark making. Coming from a lineage of artists spanning five generations, she continues a family tradition of creative expression. Her grandfather, Charles Bryant, was recognised for his oil painting Whanganui River at the 1925 New Zealand & South Seas Exhibition, an artistic milestone echoed a century later by her granddaughter achieving a Bachelor of Visual Arts in painting from The Dunedin School of Art (2025).

Earning a Master of Fine Arts from Whitecliffe College in 2013, Judi’s work is characterised by dynamic ink gestures exploring movement, place, and rhythm. A poetry workshop with Anthony Joseph at the Auckland Writers Festival sparked a new phase in her practice, merging sonnet writing with painting to create a visually poetic series. Her ability to translate emotion into fluid compositions is exemplified in her large scale ink commission for The Auckland Abstract Hotel’s Blue Room. Connection to land and water remains central to her work; unable to visit her ancestral river, Te Hoiere-Pelorus, in 2020-2021, she layered colour over earlier black and white river marks, creating a striking three dimensional effect. This exploration of place extends to her Native Bird Flight series, inspired by New Zealand birdlife. Judi’s artistic journey also includes cultural engagement and learning, notably studying Te Reo Maori at Te Wananga o Aotearoa (2018-2019), enriching the depth of her work. She has collaborated on major commissions, including a 4.5 meter ink drawing for Paska Dining Room at Auckland’s Naumi Hotel, which was later recognized by Forbes as one of the top ten airport hotels worldwide.

Judi’s exploration of gestural mark making has been influenced by the mentorship and workshops of friend and artist Max Gimblett, his practice of gesture and personal encouragement was influential in the distinctive style she developed during her fine arts degree at Whitecliffe. This was followed by two solo exhibitons, Ipseity – Essence: The Interior Being of Self at Auckland Exhibitions Gallery in 2014 and The Inbetween at Wellington Exhibitions Gallery in 2015.

Growing up in Waitohi/Picton, Judi’s deep connection to Te Waipounamu, the South Island, and the waters of Te Hoiere-Pelorus remain an enduring influence in her work. She relates deeply to the whakatauki of Whanganui iwi, Ngati Haua, ‘Ko au te awa, ko te awa ko au’ / I am the river and the river is me. This proverb speaks to the essence of her artistic philosophy, the way she channels herself and place as inseparable though movement and mark making.

A finalist in eight national art competitions, including The Parkin Drawing Prize and Molly Morpeth Canaday Art Award, Judi’s work continues to be exhibited, collected, and commissioned, demonstrating her lifelong dedication to artistic inquiry.

EXHIBITION STATEMENT

This collection explores Place in Aotearoa, capturing land, sea, and experience through expressive ink marks. Inspired by the Pacific Ocean, her brushwork follows the rhythmic movement of tides, echoing the moon’s influence on land and mark making. The sweeping ink strokes embody the ocean’s vast presence, enveloping the page as the Pacific embraces Aotearoa. Here, Judi merges moana, tui flight, and poetic expression into fluid gestures of life and belonging.