Uploaded August 2017 | Updated September 2026, 1 week ago
Learn more at chchdilemmas.co.nz
The 1200 residents of Southshore enjoy enviable access to both the estuary and the Pacific Ocean. But for how much longer?
As coastal communities throughout the country grapple with complex sea-level rise scenarios, the residents of Southshore are seeking out their own solution.
Disappointed with both the Government and Council’s response to a request to repair collapsed walls along the red-zoned estuary edge, the Southshore Residents’ Association has put forward its own plan for an engineered berm.
Association Chair, Bill Simpson, says the community has weathered the “perfect storm” three times in the last two years.
“What that means is you get high tide, high rainfall and a pretty mean wind coming from the other side of the estuary, and that forces water against the water edge here, and the water is driven up into the houses.”
Residents who rebuilt post-quake now live in higher homes, and many who were one or two houses back from the estuary, now have sea views.
Lindsay and Vivienne Johnson can now see across the estuary to the recently-completed Beachville sea wall at Redcliffs.
Would such a wall protect Southshore from a predicted sea level rise?
“Beachville has a deep navigation channel that yachites use so they can have violent storms over there I'd imagine” says Simpson. “Theirs is a hard rock solution, the solution for Southshore might be a lot different.”
In fact, the solution supported by 98% of Southshore residents, is for a planted berm, with space for a walk/cycleway on the top.
Deidre Hart, Senior Lecturer in Coastal Studies at the University of Canterbury says “there is more than just the physical elements to look at here, there's pros and cons for a community and the values that they have for this area.”
She says the post-quake Estuary environment is dynamic and ever-changing, in the same way the Napier coastline is still adapting to the effects of the 1931 earthquake.
As for sea-level rise, Hart says there’s been a 21 centimetre increase over the last century. She says a 20-40 centimetre rise is predicted over the next 50 years.
“After that it is not so much that there's disagreement but there are different scenarios based on what we do as humans in terms of our interaction with the atmosphere. So there's potential to change our future.”
Vivienne Johnson says the earthquake has “increased our awareness of our vulnerability,” and she worries “for the new people coming and investing in new properties for their future.”
Watch the video for the full story - Southshore and the Sea - Christchurch Dilemmas.
Learn more at chchdilemmas.co.nz
The 1200 residents of Southshore enjoy enviable access to both the estuary and the Pacific Ocean. But for how much longer?
As coastal communities throughout the country grapple with complex sea-level rise scenarios, the residents of Southshore are seeking out their own solution.
Disappointed with both the Government and Council’s response to a request to repair collapsed walls along the red-zoned estuary edge, the Southshore Residents’ Association has put forward its own plan for an engineered berm.
Association Chair, Bill Simpson, says the community has weathered the “perfect storm” three times in the last two years.
“What that means is you get high tide, high rainfall and a pretty mean wind coming from the other side of the estuary, and that forces water against the water edge here, and the water is driven up into the houses.”
Residents who rebuilt post-quake now live in higher homes, and many who were one or two houses back from the estuary, now have sea views.
Lindsay and Vivienne Johnson can now see across the estuary to the recently-completed Beachville sea wall at Redcliffs.
Would such a wall protect Southshore from a predicted sea level rise?
“Beachville has a deep navigation channel that yachites use so they can have violent storms over there I'd imagine” says Simpson. “Theirs is a hard rock solution, the solution for Southshore might be a lot different.”
In fact, the solution supported by 98% of Southshore residents, is for a planted berm, with space for a walk/cycleway on the top.
Deidre Hart, Senior Lecturer in Coastal Studies at the University of Canterbury says “there is more than just the physical elements to look at here, there's pros and cons for a community and the values that they have for this area.”
She says the post-quake Estuary environment is dynamic and ever-changing, in the same way the Napier coastline is still adapting to the effects of the 1931 earthquake.
As for sea-level rise, Hart says there’s been a 21 centimetre increase over the last century. She says a 20-40 centimetre rise is predicted over the next 50 years.
“After that it is not so much that there's disagreement but there are different scenarios based on what we do as humans in terms of our interaction with the atmosphere. So there's potential to change our future.”
Vivienne Johnson says the earthquake has “increased our awareness of our vulnerability,” and she worries “for the new people coming and investing in new properties for their future.”
Watch the video for the full story - Southshore and the Sea - Christchurch Dilemmas.





![Sam and Alison - Artists Lives
Under the branches of an old pittosporum on the grounds of an historic flour mill in Waikari, North Canterbury, a solitary figure sits on a chair. Rugged up in coat and cap, left ankle crossed over the other, he holds a cup of coffee, now speckled with twigs; the book in his other hand opens on to a poem: “Don’t just sit there you complicit / bastard; get up and do something!”
“This is the one that gives me the shits every time I walk past,” says sculptor, writer and activist Sam Mahon. “Who the f… is this?”
Of course it is him, Mahon himself, a sculptural representation of the artist by the artist at the artist’s home; a call to arms for environmental or political action that for Mahon is what art is all about.
“I think all art should be political. Every good sculpture should have context, form and story.”
Can’t some be there just for the beauty of the work?
“That’s called wallpaper. Art has a voice and the minute that voice is taken away from us by some corporate who says we should only have decoration and no story, we are in trouble.”
It is 40 years since Mahon bought the mill, then a cheap but derelict place on a 2.8-hectare patch of mainly bare land.
Now it is the home, studio, garden, foundry and horse paddock for Mahon, his partner, artist Alison Erickson, and their 15-year-old daughter Charlie.
When Frank Film visits on a bitter June morning, Erickson, in gloves and duffel coat, is heading outside to start up the furnace to melt the bronze in an age-old process of lost wax casting.
At school, she says, Erickson was the sort of kid “who was always in the art room at lunch time”. While living down the road, she became a frequent visitor to the studio. “Sam would hand me a block of limestone or he taught me how to make stained glass,” she recalls. “I just thought it was wonderful, kind of magical.”
Then, at the age of 18, “I never left.”
Since then, Erickson has built a figurative sculptural practice recognised for its contemplative evocations of environmental change and human intimacy. In Canterbury, these include Looking for something that will last (2019) in Diamond Harbour, The winds of change (2015) outside the Rangiora library and A room of one’s own (2022) at Tai Tapu Sculpture Garden.
“I enjoy the technical sides of casting bronze as well as the actual sculpting and the ideas that initially go into it,” she says. “It’s fun to push the edges a little bit and see how tiny you can get things.”
Where Erickson focuses on sculpture, Mahon’s career has straddled painting, sculpture and writing, including The Year of the Horse, winner of the Best First Book Award in 2003, the much acclaimed The Water Thieves in 2006 and, in 2008, My father’s shadow: a portrait of Justice Peter Mahon, an insight into the man best known as the Royal Commissioner into the Mount Erebus disaster.
His art spans the spidery subtlety of Regret in Christchurch’s Botanic Gardens (1997) to the more than twice-life-size rendition of former environment minster Nick Smith squatting, trouser-less, over a glass of water – a highly public protest against the impact of intensive dairying on Canterbury’s rivers and aquifers.
It was blunt, divisive, indicative of a self-styled voice of protest that drives his work.
In the studio, alongside a small figure of Swedish environmental activist Greta Thunberg, stands the head of Israeli prime minister Benjamin Netanyahu. “I dont like him very much,” says Mahon, brushing a hand over his wrist, “so I carved his face then painted it with my own blood.”
Inside the lofty spaces of the workshop, he points to a small kinetic work combining the intrigue of a mid-century mechanical toy with political dissent. At a push of a button (or the insertion of a coin), small figures swing into Sisyphean action: a woman with a child on her back pushes a lever, a man works a grinding machine, another supports a plinth on which a rotund figure, a “one-percenter” says Mahon, referring to the wealthy elite who make almost twice as much as the bottom 99 percent of the world’s population, lounges back, large hand grasping the slender stem of a wine glass. The miniature movable bits, says Mahon, draw people in, “and then they get the idea – that [US comedian] George Carlin idea that if you want to cut somebody’s throat you put a razor blade in the muffin.”
He points to the moving carousel: “This is the muffin.”
It is uncompromising work built in an uncompromising climate. Canterbury’s winters are cold, the mill is old, the work itself hard.
“It’s spare, but it’s rich,” says Mahon. “Everything we’ve done here, all this, is built on art and art practice.”
By Sally Blundell of Frank Film
Credits:
Producer/Director/Cameraman/Interviewer: Gerard Smyth
Writer/Researcher: Sally Blundell
Editor: Oliver Dawe
Researcher/Second Camera: Ellie Adams
Line Producer: Erina Ellis
Sound Design/Mix: Chris Sinclair
Production Manager: Jo Ffitch
Attributions:
Nick Smith photos courtesy of Andrew Lukey Sam and Alison - Artists Lives](https://i.ytimg.com/vi/xPOXNBVA6R4/mqdefault.jpg)




