Auckland artist Josh Davison is redefining the boundaries between painting and sculpture through his innovative technique of creating three-dimensional floral artworks using acrylic polymer paste. His recent solo exhibition "In Colour" at Turua Gallery showcased his unique approach to art-making, which combines traditional painting methods with sculptural elements that cast shadows and interact dynamically with light.
Nature serves as both inspiration and therapeutic foundation for Davison's artistic practice and personal well-being. "I walk the bush track near my home every day, and it plays a big part in keeping me mentally balanced," the young artist explains. His daily nature walks provide constant inspiration, from the intricate symmetry and color palette of dahlias that heavily influence his palette knife works to the abstract chaos found in random snapshots of foliage.
The "In Colour" exhibition marked a significant milestone for Davison, representing both his first show with the contemporary gallery in St Heliers and a personal homecoming of sorts. "I met gallery owner and director Melissa years ago, before I'd even exhibited my work, and she showed me real encouragement at a time when I was just starting out," Davison recalls. "Since then, she's been a great support. The gallery is in St Heliers, where I grew up, so it felt like the natural home for my second solo show."
Davison's revolutionary technique involves using palette knives and custom-made implements to pipe acrylic polymer paste, creating a process he compares to 3D printing. This method allows him to form the detailed structure of flowers and leaves, building up layers that create genuine three-dimensional relief on the canvas surface. "What I've discovered is that this space between sculpture and painting holds endless creative possibilities," he explains. "Working with shadow, for example, adds a whole new dimension. With wall sculptures, the light falls differently than on traditional free-standing works, casting shadows that interact directly with the composition."
The artist's studio practice reflects a careful balance between creative intensity and personal wellness. He typically works seven to eight hours daily, occasionally extending those hours when facing deadlines, but has learned the importance of avoiding burnout through structured routine. "My daily to-do list shifts frequently, but I've learned that including exercise and personal downtime is essential to maintaining balance," Davison notes. His methodical approach extends to his workspace, which he keeps clean and orderly, believing that this sense of structure and stillness naturally carries through into his artwork.
Davison draws creative energy from multiple sources, finding that both sculpting and painting offer different meditative qualities. "Sculpting wood is quite meditative – it has a rhythm and simplicity to it," he observes. "Painting, especially when it comes to mixing and placing color, requires much more focus. Both processes teach patience in different ways, and together they help me stay present." This rhythmic, tactile approach gives his work a distinctive presence that resonates with viewers seeking calm and visual harmony.
The therapeutic impact of his art on audiences has become an unexpected but meaningful aspect of Davison's work. "I've had messages from people saying my palette knife works helped ease their anxiety or brought them a sense of calm," he shares. "That always hits home. It's a powerful reminder of what art can mean to someone, and it's given me a sense of responsibility I didn't always feel early on." This connection between his naturally calm personality and the soothing effect of his vibrant yet peaceful compositions has added deeper meaning to his artistic mission.
The "In Colour" exhibition culminated in a striking creative breakthrough that signals a new direction in Davison's evolving practice. Breaking away from his signature piping technique, he introduced a figurative wall sculpture that represents a significant technical and artistic advancement. "I decided to map the painting in Procreate, creating a kind of topographic layout of each flower and leaf," he explains. "I cut those forms out of MDF, layered and sculpted them individually, then attached them to the board. This shift has been a game-changer."
This innovative approach represents what Davison describes as "a blend of portraiture and botanical impasto painting," combining two foundational practices in his artistic development. The method involves digital planning through the Procreate app, followed by precise cutting of medium-density fiberboard forms that are then individually sculpted and layered to create complex, multi-dimensional compositions. "It's unfamiliar territory and definitely a challenge, but I haven't seen much of it in my art education or in the wider art world – which makes it all the more exciting," he notes.
As Davison closes one chapter with the conclusion of "In Colour" and quietly opens a new phase in his artistic journey, his work continues to evolve much like the natural cycles that inspire him. His commitment to showing up in the studio daily, combined with his deep connection to the natural world and innovative technical approaches, positions him as an artist to watch in the contemporary art scene. Through months-long buildups to exhibitions, he has learned to trust his process and understand that consistent daily practice forms the foundation of meaningful artistic development.
