Making the most of our backyard

November 20, 2017

Perfect weather in Mt Aspiring National Park made for a delightful relaxing walk to camp amid our great mountains in the bush clad Matukitiki river valley.
It is great to see that vegetation and native bird life is being protected by an extensive pest eradication programme managed by the NZ Department of Conservation with many volantears.

NZ Robin

Tititea, Mt Aspiring

Rob Roy Glacier

Philippa in the Matukituki River valley

A cool resting place

Three prints find a good home in Germany

November 14, 2017

Our online store is open!

And there is nothing like a satisfied customer! This is what Julia wrote:

“The prints are on my wall – finally! I really love your prints – Synergy, Bracken Sphere and Tide Cycle.  I think the framer did a good job too!  I have them in the room where I work. I am a psychotherapist and my patients like the prints as well!”

Our latest exhibition in China

November 7, 2017

In order to present our land art prints in the beautiful natural landscape where the International Photography Festival is being held,Na Risong, Curator at Inter Gallery, Beijing, made special prints and installed them on stands in the grounds of the luxury mountain venue.

It’s a small yet unique photography festival featuring 18 Chinese and foreign photographers’ works in the valley of Tiantai Mountain in the province of Sichuan.Na Risong being Interviewed by the the press







Online store is open

November 5, 2017

After more than 20 years of international publishing and exhibiting of my environmental sculpture photographs I have opened an online store on my website. So I can now share them online as original artist’s fine art prints.

Now you can buy an original signed land art print of your own from my online store using your preferred payment method and have it shipped safely direct to you anywhere in the world.

All the land art sculptures are made by hand in wild places using natural materials found at each site, often in collaboration with my partner Philippa Jones.

After I have made the perfect photograph of them they are left to disperse harmlessly back to nature. All that is left are our memories of their making and the photographs from which I hand make these fine art prints.

Online store





We are in good company

October 5, 2017

Art Agency, Partners. A subsidiary of Sotheby’s

Beyond the Wall
By Chelsea Perkins, editorial assistant at AAP







The Lightning Field. Walter D Maria               Snow Circle. Martin Hill & Philippa Jones 

Snow Circle 1996 was recently included in a curated gallery of Land Art on the AAP website.

We are pleased to be placed among the world’s most significant Land Artists including Robert Smithson, Richard Long, Andy Goldsworthy, Richard Serra, Walter D. Maria, Nancy Holt, Agnes Denes and Maya Lin, by New York’s significant art advisors.
22 works are featured dating from 1970s to today.

Slideshow: Land Art    VIEW GALLERY


Beauty celebrated

September 29, 2017


In a world currently focussed on so much conflict, hatred and ugliness it is inspiring to be featured in BeautifulNow where beauty is a guide to wellbeing and happiness.
If we look at the world with a child’s eye it is still very beautiful. If we look through nature’s lens it is wondrous. How we choose to frame the world becomes how we live in it. It is our choice to follow the beauty or the ugliness.

Enjoy BeautifulNow it may not last.

“The Art of the Sustainable” – an interview published by PhotoWorld China

September 21, 2017

Back in April 2017 PhotoWorld China published an interview about our environmental art by Alasdair Foster, a cultural development consultant based in Sydney, Australia. This is his introduction:

The forms and processes of Nature are not shaped by design, but by time. Yet, when viewed as pieces of design, they prove both elegant and efficient.

While human designs are created by intention, natural design evolves simply by being sustainable. But if natural design takes time – eons of it – human design is impetuous and short sighted.

This has been especially so since the age of industrialisation, for the aim of human industrial design is money and instant effect. It travels the shortest distance between wanting and making; and when wanting fades and making proves imperfect, the product is cast aside and the voracious appetite of humanity pushes onward, making more and more things, using more and more resources, creating more and more waste.

Such a design process is called a ‘linear system’ and it follows a ‘take-make-discard’ model of production. Natural processes, on the other hand, test every variation that arises in the crucible of time. What does not prove efficient and maintainable dies away simply by the fact that it cannot be maintained. What is left, after the test of ages, is design which is not only efficient, but sustainable. To be sustainable, it cannot be wasteful as are the processes of industrial humankind. It must extract maximum effect from minimum materials and energy; and it must recycle perfectly, as the dying remains of one natural form become the means by which another comes into being.

Such a design process is called a circular system and it follows a restorative and regenerative model of production.

The New Zealand artists Martin Hill and Philippa Jones have been collaborating over two decades on the creation of ephemeral sculptures and land installations, which they then preserve as photographs. Their images speak to these concerns for sustainable design and circular systems, urging us to recognise the wisdom time has bestowed on Nature and to understand that we too can learn and adopt its processes.

This is no idle matter for, as we are now becoming increasingly aware, the stability of the macro-systems of climate and environment, which form the very space in which we all live and air we breathe, are under severe threat from the intense and wasteful linear systems of the past few hundred years.

So intense is this change, that archaeologists and geologists used to measuring the geochronological epochs in millions of years, have named this newest geological era the Anthropocene, because it is the period during which industrialised human activity has become the dominant influence on climate and the environment. On its current trajectory, the Anthropocene promises to be very short indeed. Unless we change the ways we live, and learn from the efficiencies and cycles of natural systems, our linear design will drive us straight to oblivion.

Nonetheless, the art of Martin Hill and Philippa Jones displays great peace and poetry. They address these threatening and potentially overwhelming questions through installations and images of great stillness and simplicity. Their sculptural forms harness the very processes they wish to promote, creating images that are both symbolic and elegantly demonstrative of Nature’s circular systems and
truly sustainable design.

Below, the article, including an indepth interview as it appeared in China:


Symbol of hope

July 2, 2017

In 1996 Philippa and I made Snow Circle on Mt Ruapehu in New Zealand.
The idea behind the sculpture was to refer to the need to shift to a circular regenerative economic model to become ecologically sustainable. To eliminate waste, flows of materials in the economy must circulate by becoming resources for something else, as in nature.

We spent a day piling and carving snow into a symbolic circle of life and photographed it with the volcanic peak of Mt Ngauruhoe beyond.

More than twenty years later Kate Raworth has drawn the same shape as the model for the economics we need for the 21st century to become safe, fair, destributive and regenerative.

Her briliant book Doughnut Economics eloquently describes how the old linear economic frame has failed us and how the safe and just place for humanity to flourish lies within a circle of life between ecological planetary boundaries and the social foundation of wellbeing – the space where we can meet the needs of all within the means of the planet.

If you believe that images can be powerful, memorable metaphors that people can use to create new meaning and as models to share new thinking, this book is recommended reading.

Vision for the future

June 27, 2017

Sky Stone Circle: This sculpure was made by floating pumice stones on the still surface of Lake Taupo in New Zealand in 1993. I wanted the stones to appear to float in the sky so I made the image without showing the surrounding landscape and focussed on the clouds reflected in the lake to achieve the impossible appearance of stones in the sky. I made the sculpture in order to refer to carbon in the atmosphere causing global warming. The circle refers to the design of a circular regenerative economy modeled on nature as its solution.

Here I am floating the volcanic pumice stones to make the sculpture in 1993

In the same year Paul Hawken’s breakthrough book The Ecology of Commerce was published, opening the world’s eyes to the potential of a regenerative economy. Now with an outstounding worldwide group of qualified scientists and researchers he has done it again with DRAWDOWN

The path to reversing global warming in thirty years is within our grasp. Drawdown is the point at which greenhouse gases in the atmosphere begin to decline year by year. The Project Drawdown team over the past few years has identified, researched and modelled the hundred most substantive existing solutions to address climate change: “The task now is to accelerate the knowledge and growth of what is possible”.



“Is Nature Stable, Delicate or Random?”

April 24, 2017

Nine years ago Stone Circle was chosen for the cover of a Yale School of Forestry and Environment report titled “Toward a New Consciousness: Values to Sustain Human and Natural Communities.” Yale Programme on Climate Change Communication have chosen to use Stone Circle again for an online report they are releasing for Earth Day this week titled “Is Nature Stable, Delicate or Random?”

Here is the summary:

“Americans have diverse beliefs about the balance of nature – ranging from very stable, to very delicate, to random and unpredictable. Differences in these underlying mental models about the balance of nature are related to more specific beliefs about particular issues. For example, people who believe nature is very stable tend not to believe that global warming is happening, while people who believe nature is delicately balanced are much more likely to believe global warming is happening.

“Here we explore these deep underlying mental models of nature, how they influence global warming beliefs, and which demographic groups tend to prefer one model vs. another. The analysis comes from a nationally representative survey on the environment conducted in November, 2014 by the Yale School of Forestry & Environmental Studies and the AP-NORC Center for Public Affairs Research.”

The report should reach more than 100,000 social media followers.

The full report is available here