Inspired by the Waikato, Renee Marjolein’s woodcuts celebrate home, nostalgia and nature.
Working from her Waikato studio, Renee Marjolein loves the slow, meditative process of carving woodblocks by hand, and creating evocative prints that celebrate New Zealand's landscapes.
There is a sense of familiarity woven through Renee Marjolein’s woodcut prints. A hidden bach nestled among native bush, a winding stream bordered by ferns, or a kererū concealed within layers of foliage can evoke memories of places visited, holidays taken, or favourite landscapes.
Working from her Waikato studio, Renee creates richly detailed woodcut prints that celebrate New Zealand’s connection to home, nature and place. Her works distil the landscape into bold graphic forms, transforming foliage, architecture and waterways into rhythmic compositions of line, shape and pattern. Although she holds a Bachelor of Visual Arts majoring in printmaking from Auckland University, Renee’s return to the medium came after years spent teaching and raising a family. Encouraged by her sister to pick up carving tools again in 2019, she quickly rediscovered her passion.
“I was immediately hooked,” she says. “I love the graphic marks, the slow, meditative process and the delight of the final reveal.” Woodcut is a medium that demands patience and commitment. Every mark is permanent, with no opportunity to paint over mistakes or revise a composition once carved. “Once a cut is made, there’s no going back,” Renee explains. “It’s about embracing the process.” Her images begin as drawings before being reversed and transferred to timber blocks. Areas not intended to receive ink are carved away, creating the raised surface that forms the final woodblock. The block is then rolled with ink and hand-printed onto specialty printmaking paper using a press built by her father. Subtle variations ensure every work is unique.
Renee lives on a lifestyle block overlooking the Hakarimata Range, where orchards, gardens and changing seasonal landscapes provide constant inspiration. “Starting to make art again was like putting on glasses and the world coming back into focus,” she says.
That renewed perspective is evident throughout her work. Native plants such as kawakawa, flax and ferns feature prominently, while tūī, kererū and pīwakawaka often hide among the leaves, rewarding careful observation.
While road trips around New Zealand provide endless inspiration, it is the Waikato’s distinctive light and abundant greenery that continues to shape her visual language. “Having recently walked Te Awa river trail, from Hamilton Gardens to the Horotiu Bridge, my relationship to the river and the bridges has changed a little. I’m curious to see what work will grow out of that.”
Recent projects have pushed both scale and complexity. Her solo exhibition The Bright Side featured vibrant multi-block prints layered with lush foliage and hidden native birds, while Bright and Beautiful — her largest print to date — won the People’s Choice Award at WaiPrint 2024.
For Renee, the ultimate reward is creating work that resonates with viewers. “So many people felt they recognised the place,” she says. “That’s really the point — the joy of recognition.” Looking ahead, she dreams of creating a large-scale public commission. Until then, she continues to carve, print and celebrate the beauty of New Zealand’s landscapes, one carefully considered mark at a time.
