Dunedin-born Rodney Hamel, 87, who specialised in landscapes and portraits, was a much-loved teacher at St Paul’s Collegiate School from 1963 to 2000. A number of Collegians and past staff members are on a labour of love to collate the images of Rod’s art.

Rod’s sister Clare Hamel, nephew Antony Hamel, Collegians Chris Clarke (School 1974-1977), Jeremy Wells (Sargood 1994), Benny Castles (Williams 1997-2001), and former staff members Emma Bettle (Pullar) and Gregor Fountain are collaborating for the project. The project was sparked by Emma’s question, “Where are Rodney’s paintings?” and has now culminated in more than 400 images of his paintings being collected. Antony has compiled these into folders, accompanied by anecdotes, ensuring Rodney, now based in care in Dunedin, can reflect on and enjoy his work during these twilight years.

In 1963, Rod joined the staff at St Paul’s and quickly made an indelible impact. From his Caesar haircut and stove-pipe trousers to his unconventional ideas and sharp wit, Rod challenged the norms of a sport-dominated school, bringing a fresh cultural and academic perspective. He introduced Art History in 1975 when the subject first became available to New Zealand secondary schools. He was also a teacher of Drama, Geography, History, Classical Studies and English and head of History during his time at St Paul’s. Rod left St Paul’s briefly from 1971 to 1976, when he served as head of English at Melville High School, before returning to St Paul’s.

Rod’s contributions to St Paul’s were transformative. Rod’s passion for drama saw participation levels soar, with students engaging in junior and house drama, play readings, and major productions. His impact extended to the classroom, where he inspired students to think critically, read widely, and question conventional assumptions. Collegian John Allen (Hall 1974-1978) reflected, “Rod was a remarkable teacher and transformed my view of what was possible in life.”

Rod also played a pivotal role in the Seventies Club (1976-1997), established to broaden students’ horizons. Through this initiative, he exposed students to theatre, literature, and notable guest speakers, organising trips to Auckland to attend major theatre productions. In addition, under Rod’s guidance, the school magazine, the St Paul’s Collegian, underwent a significant makeover, introducing new layouts and modern typefaces.

Rod’s creativity also extended to theatre, where he directed several notable productions that pushed boundaries and captured imaginations. His 1968 production of Twelfth Night was particularly innovative, reimagining the play amidst milkshakes, mini-skirts, and a backdrop of 1960s counterculture. While daring, his theatrical vision sparked enthusiastic admiration and lively debate within the school community.

Rod’s influence wasn’t limited to the canvas and classroom. Emma Bettle recalls being one of the lucky benefactors of Rod’s famous picnics on Maungakawa Hill. “Rodney had such a wonderful way of making these occasions special. He’d bring a proper Caesar salad and a basket, and we’d dine under the wild rhododendron tree, with sweeping views of the Waikato. It wasn’t just a meal; it was an experience of art and storytelling.”

Rod’s connection to Maungakawa Hill was deeply personal and artistic. The hill, with its former sanatorium and dramatic landscapes, became a recurring theme in his paintings. Rod’s sister recalls, “Rodney was a romantic landscape painter inspired by the countryside around him. This was the subject matter for many of his paintings, but each was unique with variations in the vivid palette, sky—particularly clouds and the moon—trees, strange little buildings, and people engaging in somewhat puzzling activities.”

Rod began painting at the age of 13, initially working with watercolours. Encouraged by celebrated artists such as William Reed, one of New Zealand’s few surrealist painters, Rod transitioned to oil painting in the 1990s. He described learning to paint with oils as a lengthy apprenticeship, often working late into the night to refine his technique.

Central Otago also held a special place in Rod’s heart with family holidays always spent in Queenstown. The Central Otago paintings came to life on his hessian-covered canvases.

Rod’s art allowed him to travel widely. It took him around the world, visiting people he knew—many of whom he had taught—and having extraordinary adventures that became the source of much hilarity around the dinner table.

The dedicated efforts to preserve Rod’s work are a testament to the lasting impact he has made on his students, colleagues, and the community. As one Collegian aptly reflected, “Rod was a remarkable teacher and transformed my view of what was possible in life.” As one Collegian recalled, “He ranks among the best.”