At Arte Haus Gallery we are drawn to artists whose work carries both craft and character — and Isaac Weston’s copper sculptures do exactly that. Known for his striking patinated works inspired by the ocean and natural forms, Isaac has developed a distinctive practice that balances technical skill with a willingness to embrace the unexpected.

Working primarily in copper, his pieces evolve through a careful dance between form, chemistry and environment. Patinas bloom across the metal in vivid blues, greens and earthy tones, each one shaped by reaction, timing and the unique conditions of the New Zealand climate. The result is work that feels alive — shifting with light and revealing new layers over time.

But behind the finished pieces is a process that is equal parts experimentation, intuition and persistence. In this conversation, Isaac shares how he first discovered copper, the unpredictable nature of patina, the role his partner Lara plays behind the scenes, and why sometimes the best results come from letting the material lead the way.

How did you first fall into working with metals — was it intentional, accidental, or somewhere in between?

Somewhere in between. I’ve always needed to work with my hands, I’m not very good at sitting still. Copper sort of found me. I started experimenting with it and quickly realised it was not only fun, but also more forgiving and enjoyable to work with than other metals.

When did you decide to take the leap and become a full-time artist?

I was burnt out from my work as a travel agent and began playing around with creating sculptures. My wife was incredibly supportive and suggested I just “make art” and see where things went. It was more of a steady realisation than a single leap. The commissions kept growing, the ideas kept coming, and eventually it felt like the right time to back myself, and I haven’t looked back.

Copper seems to have a mind of its own — do you feel like you’re controlling the material, or collaborating with it?

Collaborating, definitely. Copper has varying textures, and depending on the thickness, it can be either easy or challenging to work with. I try to bring out the best in whatever piece I’m working with rather than pushing against it.

Copper is notoriously unpredictable — how long did it take you to really understand how it behaves?

Years… and I’m still learning. You start to recognise how it reacts to acids, sunlight, humidity and timing, but it can still surprise you. That unpredictability can be challenging, but it’s also what makes each piece truly one of a kind.

Was there a moment when working with patina finally “clicked” for you?

I enjoy creating all the different patinas and I’m still learning as I go. Sometimes the end result turns out even better than I’d hoped, those are the days when everything feels like it’s in flow.

How much do you plan the form… and how much do you just let the metal lead?

I usually start with a clear idea of what I want to create, but sometimes the copper suggests a different shape or direction. I keep an open mind and let the artwork evolve naturally.

Do you plan the colour outcomes in advance, or are you genuinely surprised when the patina develops?

I plan within a range. I know which reactions will lean blue, green, earthy or deep bronze, but there’s always a reveal moment. Sometimes it does exactly what I hoped. Sometimes it does something even better.

How do you know when to stop the reaction process — before it tips too far?

It’s taken years of experimenting to develop a good sense of timing. I usually know when to step in, but it can still be a juggling act, especially when the weather plays such a big part in the final outcome.

Have you ever completely ruined a piece in the pursuit of the perfect finish?

Absolutely. Anyone who works with copper and says they haven’t is either very lucky or not experimenting enough. Even the “disasters” teach you something, and occasionally they become unexpected favourites.

Does the New Zealand climate influence the way your work develops?

Definitely. The strength of our sun, the humidity, even salt air, it all affects how the patina develops. I factor our intense sunshine into the sealing and finishing process, especially for outdoor works.

What’s the biggest misconception about working with copper?

That you can create a patina to order with exact precision. I can guide it, but I don’t have complete control over the final vivid colours that have become synonymous with my work. That unpredictability is part of the beauty.

What part of the process do you secretly love the most — the forming or the chemistry?

The chemistry. There’s something slightly mad-scientist about watching blues and greens bloom across warm metal. It never gets old.

What role does your trusty sidekick Lara play in the business (and does she keep you in line)?

Lara is the calm to my creative chaos. She handles client communication, marketing, mock-ups, gallery relationships, logistics, basically everything that keeps the wheels turning. And yes, she absolutely keeps me in line. Without her, I’d probably still be in the workshop experimenting.

Your cat often features on social media… is she a good employee?

Morale booster: excellent. Workshop assistant: questionable. Respect for artwork drying times: non-existent. She is very much our fur kid and very loved.

What’s your workshop soundtrack — silence, rock, reggae, or full mad scientist energy?

It depends on the task. If I’m deep in a patina process, it’s quiet and focused - Massive Attack, Leftfield.

If I’m cutting and shaping, there’s usually something with a bit more energy behind it, like the Chemical Brothers or a bit of disco.

You’ve been spotted at more than a few local coffee spots — what’s your go-to order?

Piccolo, one sugar. Essential workshop fuel.

What do you hope someone feels when one of your pieces lands in their home?

Connection. Calm. Depth. Copper has warmth and movement, it shapeshifts with light and environment. I hope people feel they’ve brought something into their surroundings that they truly connect with.