New Zealand Art Prints For Sale By Alexander Vershinin

The Moeraki Boulders sit scattered across Koekohe Beach on New Zealand's South Island — near-perfect spheres, some over two meters across, that look almost too regular to be natural. They're septarian concretions: mineral deposits that formed around a core inside ancient seafloor mudstone roughly 60 million years ago, gradually hardening into solid spheres. Millions of years of coastal erosion have since worn away the softer mudstone cliffs around them, leaving the boulders exposed on the beach exactly as the tide left them. New Zealand's South Island runs the length of the Southern Alps down its spine, with a coastline shaped by the Pacific on one side and the Tasman Sea on the other — a temperate climate that swings from snow in the mountains to mild coastal weather within a short drive. This collection focuses on two of its more distinctive, specific landmarks: the boulders at Koekohe Beach, and the solitary willow known as "That Wanaka Tree," growing out of the shallows of Lake Wanaka — both suited to a large-format wall piece given how much negative space surrounds the subject in each shot.

Two pieces in this collection, "Sovereignty" and "A Throne Below," were both shot at Koekohe Beach, from different angles and different light. The boulders themselves range from about half a meter to over two meters across, and low tide is really the only time to shoot them properly — cover too much of the beach in water and the scale of the formations gets lost entirely. Every piece here is a limited edition of 55, made to order and personally signed. See the sizing guide for help matching a piece to your space.

The Wanaka Tree: New Zealand's Most Photographed Willow

Locals call it simply "That Wanaka Tree" — a single willow standing in the shallow water at the edge of Lake Wanaka, on New Zealand's South Island. It wasn't planted deliberately; the story goes that it grew from an old fence post left in the lake decades ago, and it's since become one of the most photographed trees in the country, largely because of how it sits alone against the water and the mountains behind it, with nothing else in frame to compete for attention. "Sacramentum," the piece in this collection, was shot to lean into exactly that isolation — a single dark silhouette against open water, printed as a Lumachrome TruLife acrylic face-mount or on archival Fujiflex paper, made to order and personally signed.

"The Golden Hall" rounds out the collection with a wider, warmer scene — a pier at sunset, a change of pace from the stillness of the boulders and the tree. Together, the four pieces cover a fairly narrow slice of the South Island rather than trying to summarize the whole country, which is deliberate: each one is a specific place, photographed specifically, rather than a general impression of "New Zealand."