A photography course that introduces concepts of composition, creativity and confidence, through a Māori lens. An opportunity for students to actively participate in the arts and experience high-quality New Zealand photography through close reading of artist models.
Workshops Oct 2018 Hokowhitu marae, Whakatāne, NZ May 2018 Te Manuka Tutahi, Whakatāne NZ April 2018 Te Kōputu, Whakatāne NZ
Image by Taoitekura Eruera (2018)
Workshop held at Mataatua, Te Manuka Tutahi, October 2018
Mauri + technology by Te Iwitoa Kruger Taylor (2018)
Oreo's Sampler (2018)
This cross stitch was produced in response to an open-call by the Waitangi Treaty Grounds for a group show, ‘X-marks: Conversations in Cloth’. An exhibition of contemporary art inspired by histpric samplers and textile exchange that underpinned the developing relationships between Māori and Europeans in the Bay of Islands between 1814 and 1825. Works in the exhibition aligned to the following brief: in 1820 a sampler marked by “Oreo” was sent to the Church Missionary Society in England. In 1821 this sampler arrived in London. What did this sampler look like? Who was Oreo?
Exhibitions September 2018 X-marks Waitangi Treaty Grounds and Museum, Waitangi NZ
The Museum Builders (2018)
A commissioned project by Whakatāne Museum to document the construction crew of the new Collections and Research Centre. Each image will in turn be archived into the museum’s collection as a way of honouring their work. Director Eric Holowacz hopes this project will act as something that might tell the future about the builders, tradies and construction workers who helped create the building.
Nahiraka Te Riini
Ngārara Bacteria Monster (2017)
Glazed Earthenware Private Collection
Merit Award winner at the Molly Morpeth Canaday 3D Art Awards 2018.
This butter dish takes its form from pātaka, customary Māori food storehouses. As a child, celebrating custom, I gathered kaimoana at Waiotahe pipi beds with my grandfather. Today, I am not able to share this long-established practice with my daughter. Now at Waiotahe, the water and shellfish are polluted with E coli; by low-lying, flood-prone dairy farming. An industry which provides financial affluence to very few, has poisoned our sacred pipi beds and stolen our capability to uphold tradition, to access shellfish where our ancestors once did. It’s increasingly difficult to see the benefits of the dairy industry when our free kaimoana makes us sick and the cheapest butter in the supermarket is $6.
March 2018 Molly Morpeth Canaday 3D Art Awards Whakatāne Museum and Gallery, Whakatāne NZ
Ōpōtiki: New Zealand's first drone-friendly town (2016)
A series of six portraits and three landscape panoramas. Dimensions: 48 x 12 inches.
If tino rangatiratanga is the concept of sovereignty, what does agency over one's image look like within a digital era?
Ōpōtiki is a coastal town, home to about 4000 people in the Eastern Bay of Plenty of Aotearoa, New Zealand. In September 2015, the Ōpōtiki District Council established blanket approval for the recreational use of remotely piloted aircraft systems (RPAS), also known as drones on council-owned land, reserves and roads.
Privacy focused fashion is produced through mixing anti-surveillance “stealth wear” with customary Māori knowledge of native flora. Aided with these adornments, Ōpōtiki residents stake a claim for privacy and identity protection by hiding in plain sight from RPAS cameras. They are in essence, one with the land...
Exhibitions April 2017 Ōpōtiki Tāneatua Gallery, Tāneatua NZ October-November 2016 Ōpōtiki Blak Dot Gallery, Melbourne AUS
Ōpōtiki: public workshops
A series of workshops engaging the public in dialogue about agency, privacy and identity in a time where ones image is continuously captured.
First held at Blak Dot Gallery, Melbourne, in October 2016.
Workshops April 2017, Taneatua Gallery, Eastern Bay of Plenty March 2017, Whakatāne High School, Whakatane October 2016, Blak Dot Gallery, Melbourne AUS
Karakia/ Ritual Chants (2016)
A digital video Duration: 2 minutes, 9 seconds
A video work created as a part of Ōpōtiki: New Zealand's first drone-friendly town.
Karakia/ Ritual Chants is an incantation to protect against surveillance technology. It calls on a customary platform to influence a modern concern. As stated in the maoridictionary.co.nz, "Karakia enable people to carry out their daily activities in union with the ancestors and the spiritual powers".
Audio production by Zach Webber Kupu and Vocals by F. Snow Te Tau
Exhibitions Nov 2017 TransOceanic Visual Exchange, Melbourne Aus May 2017 Oberhausen International Short Film Festival, Oberhausen DEU March 2017 Māoriland Film Festival, Ōtaki NZ October 2016 Ōpōtiki Blak Dot Gallery, Melbourne AUS
A digital video. Duration: 3 minutes, 34 seconds.
“A woman of colour’s self-love is political and radical, and it is unsettling for the status quo because she is choosing bravely to dismantle to narratives of racist aesthetics against her. So when people bully a girl of colour for being content and satisfied with her appearance – a reality that is subjected to racist, sexist slurs in cosmetic industries and when they tell her to be “humble” which is normative code for “Nah, you’re not special, you’re not light and delicate in a Eurocentric way” then she has every right to chew their hearts and spit them out. A non-white girl’s self-love is revolutionary and anyone trying to water it down needs to back right off.” – Mehreen Kasana
The word ‘Putanga’ in the Māori language can have many different meanings. In certain contexts, it can mean outlet or vent. It can mean emergence, appearance and escape; at other times it can refer to a ‘symptom’. The loaded and layered meaning of the word Putanga, expresses the complicated and conscious relationship I have with my brown body every day.
Exhibitions Nov 2017 TransOceanic Visual Exchange, Melbourne Aus May 2017 Oberhausen International Short Film Festival, Oberhausen DEU March 2017 Cindy Sherman: A Symposium Wellington City Art Gallery, Wellington NZ December 2016 All Lines Converge Govett-Brewster Art Gallery, New Plymouth NZ September 2016 50 Shades of Blak Blak Dot Gallery, Melbourne AUS
Installation image photo credit: Govett-Brewster Art Gallery facebook page
A series of four digital videos. Duration: 5 minutes
A project inspired by the objects in the collection of the Whakatāne Museum. Ariā is defined as the physical representation of an atua (ancestor with continuing influence). These influential characters could manifest as all types of supernatural beings, deities or guardians. These works aim to represent the intrinsic connection between museum object, whenua (land/site) and atua.
Exhibitions February 2016 Tangata New Zealand Fine Art Academy, Wellington NZ April 2016 Kava Club: Taneatua was an Islander Taneatua Gallery NZ February 2016 Tangata New Zealand Fine Art Academy, Wellington NZ July-September 2015 Inamata, Onamata, Anamata Te Kōputu a te whanga a Toi, Whakatāne NZ
Installation image credit: Whakatāne Museum and Arts Facebook page
A series of six digitally manipulated, historical photographs. Dimensions: 18 x 12 inches
Parawhenuamea can be considered the guardian of freshwater and the personification of floods. The series uses historical imagery from the Whakatāne Museum collection to emphasise the power of the goddess of floods and freshwater, and in turn, the power that all women hold. The interconnecting design is derived from tukutuku imagery, a typically female art practice, and also borrows angled forms from whakairo.
Exhibitions May 2018 Te Tangi o te Awa, Tacit Gallery, Hamilton NZ July-September 2015 Inamata, Onamata, Anamata Te Kōputu a te whanga a Toi, Whakatāne NZ
Manatū Ahu Matua (2014)
A series of three photographs and one moving image Dimensions: 18 x 12 inches Duration: 12 minutes, 33 seconds
Named after the New Zealand Ministry of Primary Industries, Manatū Ahu Matua is a project exploring the impact of introduced species and practices on the whenua in Aotearoa. These works are interested in the ethics and impact of our 'primary industries' on the land, people and in turn, the atua. The imagery explores aspects of fisheries, forestry and agriculture where consumers are active participants in the commodification of the land and sea. The project also intertwines aesthetics of BDSM culture to open a dialogue about consent and the relationships we have with the primary sector.
Exhibitions December 2016- March 2017 All Lines Converge Govett-Brewster Art Gallery, New Plymouth NZ February-March 2016 Manatū Ahu Matua Absolution Gallery, Christchurch NZ April-May 2015 After 1985: He Aha te ahurea-rua? St Paul St Gallery, Auckland NZ December 2014 Māori Art Market TSB Arena, Wellington NZ
A series of four digital prints on card. Dimensions:
Expressed through collectable movie tokens, this series of works explores the film industry's representation of cultures with brown skin by examining the career of Māori actors. As actors who have gained notoriety through the capacity of ethnic ambiguity, these artist's filmography are rich with portrayals of all and any non-white cultures. I am interested in the demand of exoticism in the current media climate, brown skin on show with little to no cultural context. Brown as exotic, brown as token, brown as commodity.
Exhibitions January 2014 Te Pū o te Wheke at the Ngā Puhi Festival, Kaikohekohe NZ May-June 2013 Mana for Jam Toi Pōneke Arts Centre, Wellington NZ
Other Identities: portrayals from the past and what remains in the present (2010)
An extended essay and exhibition in fulfilment of the Master of Fine Arts post-graduate degree at Massey University Wellington, New Zealand.
This project was centred around the following thesis statement; "how can the reintroduction of colonial depictions of Māori women in early 1900's photography engage a modern audience in dialogue concerning the aestheticisation of Māori women, both past and present?". Whoa, what a mouthful, the extended essay can be found here.
Exhibitions May-June 2014, Mata Waka the Nathan Homestead: Manurewa Arts Centre, Auckland NZ May-June 2011, Maiden Aotearoa the Deane Gallery: Wellington City Art Gallery, Wellington NZ February 2010, MFA Show Massey University College of Creative Arts, Wellington NZ