Raglan-based painter Harrison Synnott chats to the Local Rag about his art and life in Raglan.
Can you please describe your style of painting and practice?
I am a representational painter. My subject matter changes but I either paint still lifes, portraits or come up with an idea in my head and find or create references to turn it into a painting.
I want to say I am a self-organised artist as opposed to self-taught, because my teachers are primarily from online workshops and books coming from a lineage of painters of the academic and impressionistic traditions. Here in New Zealand we do not have a long standing atelier school that you can go to full time and study these more traditional methods of drawing and painting in oil, so you have to find your own way.
When did you decide to pursue art as your main vocation and why?
About 8 years ago I fell in love with painting the landscape outside in oils and thought that it would be a really enjoyable way to make a living. I don’t paint landscape much now but the more I paint the more I love it and realise how important art is to society and how much we need art and art history in an our culture today.
What makes Raglan the right location to do this?
Raglan is full of artists and open minded people. It feels like a community that is consistently trying to do interesting things. A place that people from the city want to come and visit to see what’s going on.
What are the steps you have taken to make artistry become a viable business model ?
I think it has been about finding how to have multiple sources of income. From commissions, selling small original works online, larger works at exhibitions, and teaching. If you look at the majority of successful artists from the past they all seem to do these three things: commission work, teaching and selling originals to private collections or museums. I also work 2 days a week at the coffee Hut in Rangitahi and that helps too.
What do you think are the challenges for artists to make this work?
I think the biggest challenge we face as artists is our own self-doubt and resistance that stops us from consistently showing up to do the work that matters, which is actually making the art and putting it out there into the world. I find that even if you have a full time job, if you push yourself to get up at 4:30 in the the morning before work to paint for an hour or so, or dedicate an hour instead of watching netflix in the evening, then you will feel much more fulfilled. But even then we can be sabotaged by self-doubt and perfectionism when we complete a project and never put it out there.
When it does work what are the benefits?
There are so many benefits. I genuinely have this deep feeling of gratitude, and I feel like my life has this deep sense of purpose and excitement. Even though sometimes it is hard not knowing where the next money is coming from, it is completely worth it. I don’t think that will ever go away but having autonomy over my day and living like an art monk outweighs any stress of it.
How do you market yourself and your work?
I am not the best at marketing my work. I believe most artists struggle with it because it’s not really the fun part. I have mainly used word of mouth and instagram organically, just putting up new pieces as I do them. Occasionally I will put out a newsletter to update collectors with what’s going on. I don’t like using marketing tactics that flood the market these days. That stuff personally just puts me off wanting to buy something and I don’t think we should be trying to force people to buy our work. I think today there are enough people screaming for our attention and that as artists we shouldn’t have to do that. I think we should try to strive to make work that we are proud of and adds value to other people’s lives. I am reminded of a blog post I read from Seth Godin, a great marketer who believes in a more moral way of marketing. He says, if we show our work to ten people who know and trust us, and if it moves them, then they will each show that to ten more people that they know and trust. Your business will grow, not as fast as you want, but faster than you can imagine. We’re not marketing to anonymous masses anymore.
Tell us about what’s happening this month for you.
I have just finished a 4 week block of art classes teaching beginners to draw and paint once a week, which is really fun, so I will be preparing for the next one in November. I have multiple commissions in the works. And a really cool large painting to finish for Raglan Arts Weekend. I will also be doing a preview exhibition at The Hut in Rangitahi the weekend prior, 17th – 19th of October.
What plans do you have for moving into 2026?
I am really excited about painting the portrait at the moment. So I am just looking forward to any commissions that come my way in that regard.
Besides that I have been inspired by some history painters of the 19th century, especially Ernest Meissonier, who would dedicate himself deeply into studying every minute detail of certain battles and historical figures. Everything in his paintings had an accurate historical purpose. All the clothing, even the horses in his paintings, were authentic and painted from life. So I have an idea for a large scale New Zealand history painting but I won’t be disclosing it at this stage. It may take me a while.
