Photography: Anna Briggs
The first seed of Morgan Paige Taitoko’s distorted floral paintings was planted when the New Plymouth-based artist caught a glimpse of the obscured glass on her front door. The idea has subsequently bloomed into magnificent paintings and screen-printed silks that are transporting and incredibly satisfying.
Tell us about your art journey so far.
I’ve been making things for as long as I can remember. As a kid, I was always drawing, painting, or finding something creative to do. It felt pretty instinctive, like second nature. That love of creating eventually led me to study art and design, and from there I moved into the design industry, where I’ve worked for more than a decade.
During that time, my art practice quietly sat alongside my design work. I was always experimenting, developing my style and making work whenever I could. About three years ago, I decided to give my art
a bit more space and focus. I started committing more intentionally to my practice, trusting my creative direction and slowly building momentum. That shift has allowed my art to become a much more central part of my life and career.
Realism has played a massive part in your art to date. What inspired your interest in distortion?
Realism taught me a lot about patience, observation and attention to detail, but over time it also started to feel a bit limiting. I reached a point where I wanted more freedom to experiment, without completely letting go of structure. Distortion ended up being the perfect middle ground.
The spark actually came from something very ordinary: the obscured glass in my front door. Looking through it, I started noticing how light softened, shapes warped and familiar scenes felt slightly dreamlike. That small moment completely shifted how I looked at my surroundings and opened up a new direction for my work.
What does your creative process look like?
My process usually starts with photography. I photograph florals, objects and colour through obscured or retro glass, focusing on how the glass bends light and distorts form. I’m really drawn to the way the subject becomes slightly abstract, while still holding onto its original identity.
From there, I choose an image to use as a reference for painting. I work with acrylic paint on board, slowly building up layers and taking my time with the details. Many of the works are finished with a resin layer, which adds depth and reflection and brings the process back to the glass that first inspired the image.
Does your approach to photography differ from your approach to painting?
Very much so. Photography feels light and exploratory. It’s often done outdoors, surrounded by nature, where I can move freely, experiment and follow my instincts. Painting, on the other hand, is much quieter and more considered. It’s where I slow right down, focus on detail and really settle into the process. That contrast between the two helps keep my practice balanced.
Your silk prints are stunning. How did you find the process of painting for textiles?
Working with textiles felt like a natural extension of my painting practice. My work already had a softness and sense of movement to it, so translating it onto fabric made sense. Materials like silk and sheer voile allow the imagery to move with light and air, giving the work a different presence in a space.
For these pieces, I digitally paint the artworks before they’re printed, making sure the detail still comes through while letting the fabric add its own flow and transparency.
What inspires you?
I’m inspired by nature, architecture and light. I’m always noticing how light filters through glass, reflects off surfaces, or completely changes the mood of a space. Those small, everyday moments often become the starting point for new work.
You’ve dabbled in so many media – are there any others that you would like to try?
I’d love to keep exploring large-scale installation work. Draped sheer fabrics, movement and projection really interest me, especially the idea of creating immersive environments that people can walk through and experience.
Is the colour palette always determined by the real flower?
Colour often starts with the real flower, but light plays a huge role. The way light hits a subject can completely change its colour and tone. As the painting develops, I also allow myself to subtly adjust colours if it feels right. It’s a balance between observation and intuition.
What do you have on the horizon for your art?
There’s a lot taking shape behind the scenes. I’m working toward another solo exhibition, with some very exciting collaborations in the pipeline. I’ll also be exhibiting at Art in the Park in Auckland later this year and would love people to come along and say hi.
How can our readers find you and your work?
My website morganpaige.co.nz and my Instagram @morganpaige_art
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