NGAI TAHU 6

Ross Hemera Hana Rakena Lonnie Hutchinson Simon Kaan Areta Wilkinson James York

25 July – 15 August 2008

The Ngāi Tahu iwi is the largest in the South Island and the fourth largest tribe in New Zealand. Ngāi Tahu 6 celebrates the varied and distinctive artistic capacities of contemporary Māori visual culture. The exhibition includes, carving, sculpture, installation, painting, jewellery and ceramics. Three male and three female Ngāi Tahu artists, each working in a different medium present a diverse and innovative view of contemporary Māori visual arts in the current climate. Informed by the present, past and future, Ngāi Tahu 6 considers the constantly evolving nature of art and culture within Aotearoa.

For price enquiries please contact Lydia Baxendell: lydia@gallery33.co.nz

Since childhood Ross Hemera (Ngāi Tahu) has been fascinated with the rock art of his ancestors. ‘Ancient rock drawings in the South Island of New Zealand include depictions of birds and birdman figures. Created by the Waitaha people of North Otago and South Canterbury, these drawings tell of the spiritual dimension occupied by birds between land and sky – between whenua and atua.’ (1) Principally recognized for his mixed media sculptures, Hemera constructs his works from materials such as aluminium, ink, paper, wood and muka (flax fibre). Through contemporary resources and methodology the artist repositions and animates the bird imagery and mythology of his ancestors. Hemara reaffirms the significance and cultural relevance of bird imagery which spans across the centuries, acknowledging the ongoing cultural connection to whenua and atua.

Ross Hemera is Associate Professor in the school of Visual and Material Culture at Massey University in Wellington. He has undertaken several significant public commissions, including the Whakamarama sculpture at the entrance to the Maori section of the Museum of New Zealand / Te Papa Tongarewa, and his work has been exhibited internationally including in the “Maori” exhibition at the British Museum in London.

Ross Hemara, Whanau Manu Whenua, Aluminium, Jarrah, paper, ink. 1160x470x40mm	Ross Hemara, Heke Pukihau, Totara, muka. 500x650 x40mm	Ross Hemara, Ka Tuhutuhi Whenua, Aluminium, ink. 1180x30 x30mm

The distinctive vessel forms of ceramicist Hana Rakena (Ngāi Tahu, Ngā Puhi, Ngāti Pākehā) are a means of containment. Bowls, waka and jugs are receptacles for corporeal necessities such as water or food as well as metaphysical carriers of memories, emotions, space and time. Rakena draws inspiration from Maori weaving, ancient pottery and carving as well as natural materials such as stones, shells and plants. The artist explains, ‘I like the idea of remnants passed down. When I touch on something that works, it shows up as a quality that I recognise. It’s a quality that comes from my ancestry and I like to work from that.’ (2)

Rakena’s vessels are coiled and pinched by hand then refined by scraping and carving back. The clay has grog added, providing the directional scratches and texture as the form is developed. After bisque firing, each piece is covered in a fine clay slip and then gas fired. The final colour and pattern is left to the random heat and atmospheric conditions within the kiln

Rakena is a celebrated young ceramic artist who has already participated in major group and solo shows at public and dealer galleries in Auckland, Christchurch and Melbourne.

Hana Rakena, Large orbit bowl, Ceramic. 220x400x400mm	Hana Rakena, Waka set (wall hung), Ceramic. 600x1100mm	Hana Rakena, Small bowls (9 on exhibition), Ceramic. c.90x140x140 ea

Lonnie Hutchinson (Ngāi Tahu / Samoan) is a multi-media, visual, installation and performance artist who exhibits both nationally and internationally. Hutchinson’s signature ‘cut-out’ works constructed from black builders’ paper consist of intricate patterned forms often referencing woman and their role in traditional Pacific arts practice (siapo, tivaevae, weaving etc and the missionary introduction of domestic needlework skills into the Pacific). Hutchinson has developed her own visual language, re-appropriating and fusing contemporary and traditional motifs. Her works narrate stories, bringing to the foreground issues of gender and cultural identity. These labor-intensive works gather imagery from contemporary culture such as hip-hop or pop music as well as drawing upon traditional Māori kowhaiwhai, koru and Polynesian frangipani patterns. There is an element of visual trickery to Hutchinson’s ‘cut-outs’. The eye must navigate complex lace like configurations in a spatial game of shadow play, positive and negative space and silhouette. Hutchinson’s recent wallpaper ‘cut-outs’ introduce additional layers of colour, pattern and meaning to an established repertoire.

Lonnie Hutchinson has exhibited regularly throughout New Zealand in both public and dealer galleries. Her work is held in major private and public collections including the Auckland Art Gallery Toi o Tamaki and Christchurch Art Gallery Te Puna o Waiwhetu.

Lonnie Hutchinson, Ruby's Kitchen, Vintage Wallpaper. 810x290x65mm	Lonnie Hutchinson, Out The Back Of Rangi's, Vintage Wallpaper. 690x680mm	Lonnie Hutchinson, Pinky, Vintage Wallpaper.1265x320x60mm

Simon Kaan (Ngāi Tahu, Kāti Irakehu, Kāti Mako ki Wairewa, Guangzau, Satu Village) paints of disconnection and re-connection. Utilising his characteristic sepia tones and horizontal lines, he depicts a mythological place of land, sea and sky. The surface is divided into enigmatic bands and divisions each building toward a meditative rhythm. It could be ocean swell lines, the horizon point between sea and sky or the grained surface of a bamboo rod. Like narrative points in a journey, land masses, birds and waka drawn in fine tattoo like ink and ochre lines, float within the fragmented space. Kaan is of Ngai Tahu, Chinese and European descent and his work often incorporates elements of his mixed heritage. There is a certain Chinese aesthetic to the artist’s paintings; a Zen-like tranquillity produced through multiple thin washes of paint and an economy of line. The distinctive Kai Tahu boat or waka motif has for some time featured in Kaan’s repertoire. He sees this as not only a Maori symbol but a universal symbol; a vessel for the living and the dead. ‘The waka forms are myself and also people around me – people who have passed away as well as those who are present.’ (3)

Simon Kaan has exhibited regularly throughout New Zealand in both public and dealer galleries. He has curated numerous exhibitions and completed commissions for the likes of the Department of Conservation. In 2007 with the support of Creative NZ and the Gate Gallery Residency Kaan was able to visit Beijing for the third time. He first travelled to China in 2003 - the first member of his family to visit China since his grandfather arrived in Port Chalmers in 1896.

Simon Kaan, Korimako, oil on board. 250x750mm	Simon Kaan, Untitled IV, oil on board. 500x750mm	Simon Kaan, Untitled VII, oil on board. 250x500mm

Further information on works by Kaan will be posted on Friday 25th July

Simon Kaan, Untitled VI, oil on board. 250x500mm	Simon Kaan, Untitled VIII, oil on board. 500x250mm	Simon Kaan, Untitled III, oil on board. 500x750mm

Leading contemporary jeweller Areta Wilkinson’s (Ngāi Tahu, Ngāti Irākehu) recent Poi Girl series effortlessly traverse between the realms of craft art and sculpture. With exquisite detail Wilkinson develops upon her previous works which investigated issues of colonization and identity. Her large silhouette brooches, encased in Victorian glass bell jars recreate a popular pre-photography form of portraiture. Here, cameos of contemporary cultural norms such as doing the shopping or texting on ones mobile are elevated in status. Each cameo is a self-portrait of the artist at work or going about her domestic chores. Wilkinson has long held a fascination for methods of classification and display by museums and scientific research. Each Poi Girl is labelled and catalogued with an identifier. In this way, the artist challenges us to question the European method of applying labels and therefore constraints on the way in which artefacts, species and objects are read or considered.

Areta Wilkinson has exhibited regularly throughout New Zealand in both public and dealer galleries contributing to two of three Jewellery Biennial curated by the Dowse Art Museum. She has participated in exhibitions in Australia, Belgium and Scotland, her work is held in permanent collections of Te Papa Tongarewa and the Dowse Art Museum in New Zealand, as well as Cambridge University and the Pitt Rivers Museum in Britain. She one of 9 New Zealand artists participating in Turbulance the 3rd Auckland Triennial in 2007. The artist would like to acknowledge the support of Te Waka Toi / Creative New Zealand and The Arts Centre of Christchurch.

Areta Wilkinson, Poi Girl I, Monel, 9ct gold pin, brass, glass, felt, mahogany 270x200x200mm	Areta Wilkinson, Poi Girl IX, Monel, 9ct gold pin, brass, glass, felt, mahogany 270x200x200mm	Areta Wilkinson, Poi Girl VI, Monel, 9ct gold pin, brass, glass, felt, mahogany 270x200x200mm

Areta Wilkinson, Poi Girl XI, Monel, 9ct gold pin, brass, glass, felt, mahogany 270x200x200mm	Areta Wilkinson, Poi Girl Installation, Monel, 9ct gold pin, brass, glass, felt, mahogany 270x200x200mm	Areta Wilkinson, Poi Girl XII, Monel, 9ct gold pin, brass, glass, felt, mahogany 270x200x200mm

Master carver James York (Ngāi Tahu, Ngāi Puhi) describes his approach as akin to writing a book, the work evolves as the story it tells unfolds. ‘Birding and the titi have been ingrained in me since I was six months old. It’s the time of the year, it’s the call and connection to the untouched whenua. I walk the same tracks that my tipuna did all those generations ago. About six generations of us continue there today. Working as a carver allows me to gather creatively and spiritually in that environment and translate that into the marks and language of our tipuna through whakairo.’(4)

‘Kohatu ki Rakau represents movement in time, from the time of stone to the present, to look forward into the future with courage and foresight to adapt and to hold on to the Toanga left behind by our Tupuna.’

‘Whatu Manawa represents the heart beat, not necessary just the beating heart but people working together with common goals to reach an objective.’

‘Whakamatauraka represents the search for knowledge; the surface design on the central spiral is symbolic of the knowledge gained in the spiral of life. The background shows the pathways traversed to gain such knowledge and the paua shell show the objective.’ (5)

York is currently over seeing a significant project: the wharenui of Puketeraki Marae (in Karetane just outside Dunedin). The development of the Huriawa pa, the creation of panels describing the history of the pa incorporating illustrations by Simon Kaan and the carving of a gateway to the pa, Tiakitaka, have been guided by the hands of master carver James York and completed by runaka members. The first stage of the project was completed to acclaim in November 2007, with York and Ross Hemera currently completing the second stage; the sculpting and adornment of the waharoa or gateway.(6)

James York, Whakamatauraka, Carved totara, carved rimu. 280x1020x40mm	James York, Kohatu kit e Rakau, Carved totara, oamaru stone base	James York, Whatu Manawa, Carved Kauri with stain effect. 145x795x40mm

(1) Ross Hemera, Artist Statement, 2008

(2) Hana Rakena, Akona Ki Nga Rekereke – Learning From The Knee, 2006

(4) James York, Akona Ki Nga Rekereke – Learning From The Knee, 2006

(5) James York, Artist Statement, 2008

(6) Creative New Zealand, Our work - Māori arts: Adorning Puketeraki Marae with Toi Ake support, www.creativenz.govt.nz

Text by Lydia Baxendell 2008