FYI – APS EDITIONS to release Susan Te Kahurangi King portfolio

APS Editions – formerly, ‘Auckland Print Studio’ – are releasing a new portfolio of large-scale lithographs by Susan Te Kahurangi King. The prints will be available to purchase via the APS Editions website.

In this new series of hand-coloured lithographs, Susan King creates emergent, cell-like geometries that teem with possibility, a Cambrian explosion of kaleidoscopic, interlocking colour. King’s lyrical abstractions are networks or lattices for the mind to traverse, meditative spaces that enable dream, reflection and thought to flourish.

Susan Te Kahurangi King (b. 1951) is a self-taught artist whose interest in drawing began during her childhood in the 1950s, and over the subsequent decades has developed into a visually rich, idiosyncratic and evocative practice. Te Kahurangi King is non-verbal. The artist stopped speaking around the age of four – and from then on, her artwork has been her primary form of communication.

During her early years, much of King’s work included a strong focus on the deconstruction, recontextualisation and interpretation of pop culture iconography, ranging from Disney and Warner Bros. cartoon and comic strip characters to motifs drawn from advertising signage and illustrations. Amongst other sources, the fluid, energetic linework and rounded volumes of imported American comics provided King a wealth of motifs; Donald Duck’s blue sailor suit and hat feature in an extended series of 1960s and ‘70s works, while the sleek contours of various Disney characters’ hands, beaks and limbs gradually fold and coalesce into a novel, biomorphic visual discourse that is both culturally resonant and intensely personal.

APS Editions will present at the Aotearoa Art Fair in November. Stay tuned to hear more about the exhibition.

Image: Susan Te Kahurangi King print. Courtesy of the artist and APS Editions. Photography by Sam Hartnett.

FYI – Bergman Gallery opens new space in Tāmaki Makaurau/Auckland

FYI – Bergman Gallery will open a new space in Tāmaki Makaurau, Auckland. Bergman Gallery has been based in Rarotonga in 2016, evolving from its former incarnation Beachcomber Contemporary Art (BCA). The Gallery works with significant Pacific artists and will progressively announce further representation. The Tāmaki Makaurau gallery will be located on Karangahape road, and will be officially opened on Wednesday 25 June from 2:30-5:30pm by Caren Rangi, Chair, Arts Council of New Zealand, Toi Aotearoa. A welcoming blessing will be conducted at 2:30pm.Bergman Gallery celebrates this opening with an inaugural group show, which features new works by Mahiriki Tangaroa, Andy Leleisi’uao, Sylvia Marsters, Telly Tuita, Nina Oberg Humphries, Benjamin Work, Raymond Sagapolutele and  Kulimoe’anga Stone Maka.

Gallery director Ben Bergman states;

“We are constantly exploring new opportunities for the artists that we represent. The new exhibition space in Auckland evolves the gallery mission to develop and exhibit Pacific artists on a domestic, regional and international level. Our extension into the largest Pacific city in the world is an important part of that strategy. We also look forward to being part of the history of K Road, with its unique connection to the Pacific and LGBTQIA+ community and position within Auckland’s art gallery forum.

I am also delighted to introduce our new Auckland Gallery Manager Benny Chan. Benny is a graduate of the University of Auckland, Bachelor of Visual Arts, 2009. He has previously worked with the Auckland Art Gallery Toi O Tāmaki and Te Uru Waitākere Contemporary Gallery. Benny’s experience and love of Pacific and New Zealand contemporary art is warmly welcomed.”

Bergman Gallery will also present a significant exhibition of works at the 2022 Aotearoa Art Fair in November.

Ben Bergman arrived in Rarotonga in 1976 with his family. Raised and educated between the northern and southern group of the Cook Islands, he completed his education in Auckland, graduating from the University of Auckland in 1992. He is Director of Bergman & Sons, Cook Islands Black Pearls and Bergman Gallery. In 2001, he established Beachcomber Contemporary Art Gallery (BCA), which delivered exhibitions of Cook Islands and Pacific art in Rarotonga, New Zealand and New York City; co-curating the traveling group show MANUIA in 2010 and appearing at the VOLTA Art Fair in 2011, 2012 and 2014. He has contributed articles to Art News NZ and Art Monthly Australia and currently sits on the Cook Islands Tourism Industry Council.

Benny Chan was born in Hong Kong and raised in New Zealand. He graduated with a Bachelor of Visual Arts from the University of Auckland in 2009, and previously worked in Auckland Art Gallery Toi o Tāmaki as Duty Operations Manager and Te Uru Waitākere Contemporary Gallery as Visitor Host Team Leader. He also worked for Creative New Zealand; for the New Zealand Pavilion, Venice Biennale 2019. Benny previously performed in Lee Mingwei’s artwork The Mending Project in the Venice Biennale 2017 and was part of the Bergman Gallery team to deliver Mahiriki Tangaroa’s site specific installation Kaveinga – Angels of the Ocean at Personal Structures, Venice, Italy 2022.

Images: (above) Bergman Gallery Auckland, 582 Karangahape Road, Newton Road Entrance. Pride Crosswalk, Karangahape Rd, Auckland. (Left) Bergman Gallery Auckland Manager Benny Chan. (Right) Bergman Gallery Director Ben Bergman.

FYI – Introducing Peter Adsett

Introducing  Peter Adsett – who will present a solo exhibition with PAULNACHE at the 2022 Art Fair.

After decades studying Māori art, and that of central desert aboriginal artists, Peter Adsett brings new dimensions to his medium of abstract painting. He shares with the latter a technique of horizontality, working flat on the ground, since by this means he avoids looking at the world across distance, with a measuring eye, and thus achieving “good form” (gestalt), which he understands as a kind of picturing. Picturing, in turn, is the imitation of a model, an original, that remains outside painting, at a remove from the material object, the canvas.

Adsett’s tertiary education at Palmerston North Teacher’s College under Cliff Whiting, Frank Davis and others, also shaped this approach to his medium, as did his childhood apprenticeship in his father’s cabinetmaking workshop in Gisborne.  Following his move to Australia in 1981, Adsett gained an M.F.A. from the Northern Territory University, and a Ph.D. from Australian National University and has worked closely with artists from the central desert.

Growing up in the vicinity of Matawhero, near Turanganui-a-Kiwa / Gisborne, fostered an early sense of historic injustices. In recent decades Adsett has dealt with the related massacres at Matawhero, and Ngatapa Pa (Matawhero, Bullet Holes and Bandages, 2009; Betrayal 2012), both exhibitions having been endorsed by Ngāi Tāmanuhiri elder, Olivia Horowia Bradbrook, before travelling to different sites in the North Island of Aotearoa.

Images: Above: Peter Adsett, Tri-Nations 1st 2nd 3rd Test, 2021, Acrylic on linen, 106 x 106cm each. Installation view: Foul Play, Araluen Art Centre, Alice
Springs, Northern Territories, Australia in association with PAULNACHE and courtesy of curator, Stephen Williamson. Left: Tri-Nations 3rd Test, 2021. Acrylic on linen, 106 x 106cm. Right: Number 8 (diptych), Foul Play Series, 2021. Acrylic on linen, 1220 x 1840mm. Courtesy of PAULNACHE.

In late 2019 Adsett showed a two-part exhibition at PAULNACHE entitled October, and Navigation. The show marked the 250th anniversary of Cook’s landing in Poverty Bay, a highly sensitive event for the local population. The paintings were devoid of any imaginable expressiveness, being constructed from pale, cream-coloured raw linen. All the markings – vertical lines of black, cream and grey acrylic – were banished to the far extremes and side edges of the stretcher. On the reverse side of each painting is the date of a particular conflict from colonial times. The series signalled history’s general silence on such matters. On a neighbouring wall, the theme continued with a vast wall on which the painter combined black geometry with erased drawings, leaving ghostly imprints, nails and holes, and naming the whole, with unmissable irony, Navigation.

Adsett’s most recent work, made during the long Covid-19 lockdown in Victoria, has turned to “black and white relations” in a trio of paintings titled Tri-Nations. Begun at the time of the ‘All Blacks’ rugby success in Australia in 2020, and coinciding with the ‘Black Lives Matter’ protests in the USA, with its echoes in Melbourne and Sydney, the work develops a significant aspect of the October series. With his habitual ironic humour, Adsett focusses the spectator’s gaze on the off-sides, the edges of the (‘playing’) field. The surprise produced by this wit is more than a match for the deft, balletic play of the kiwi team.

Travelling back and forth between New Zealand and Australia, for the purposes of teaching and exhibiting, and maintaining close, familial links in both countries, the painter has created his own one-man cross-Tasman ‘bubble!’ – extract from an essay by art historian Mary Alice-Lee.

FYI – Behind the Scenes with Jan Albers.

FYI – Jan Albers (b. 1971, Wuppertal, Germany) will present at the 2022 Aotearoa Art Fair in November with Fox Jensen & Fox Jensen McCrory. Jan Albers was born into a missionary family, grew up in Namibia and studied at the Kunstakademie Dusseldorf, home of luminaries such as Joseph Beuys, Imi Knoebel, Gerhard Richter, and Blinky Palermo. His unique pieces range from the faceted elegance of bronze wall reliefs to the nigh-on chromatic virulence of his painted wedge or chainsaw pieces in acrylic vitrines.

“Bold contrasts permeate Jan Albers’ works. Their specific dialectic of transitions and transformations finds expression in a vibrantly energetic immediateness. They are simultaneously pictures and objects, pictorial sculptures and sculptural painting, exuberant and self-contained, attractive and subversive, light and heavy, disquieting and buoyant.”

– ‘hEavydutybEauty’ by Belinda Grace Gardner.

 

Images right: Jan Albers, grEEdygrEEn, 2021. Spray Paint on polystyrene on plexiglass. 251 x 171 x 20 cm.
hOkusaipOpepOwder, 2021. Spray Paint on polystyrene on plexiglass. 251 x 171 x 20 cm.
Left: Jan Albers photographed in his studio by Robin Hartschen.

Jan Albers trained as a painter at the Dusseldorf Kunstakademie though from the earliest moment he realised that he was not going to be a painter in the orthodox sense. There would be no fine cedar stretchers nor carefully folded linen corners. Rather than offering pictorial space Albers objects sit out from the wall coming out to meet us. Their faceted forms caught happily between Judd and Picasso. Having dislocated the figure down into flat planes, Albers takes the Cubist paradigm and reverses it. Like metallic origami, these figures are folded crisply, visually expanding and so becoming much more than their material.

As much as Albers wished as a student to eschew convention his work touches lightly on various 20th century moments. One feels echoes of Judd and Chamberlain in their robust materiality and determined “object” status, the visceral impact of Fontana’s puncturing of the picture plane in his “chain-saw” lacerations. But there are also reverberations in form and composition that recall his namesake Anni Albers’ refined geometries or Frank Stella’s shaped canvases. Critically though Jan’s work has an extraordinary sense of contemporaneity. As cognizant as he clearly is of history, he feels determined to extend his own artistic vocabulary so that it embraces a range of connections both to architecture, even the environment complete with its blend of allure and toxicity.

Watch the video below, made as a contribution to Kunstmuseum Bonn’s ongoing series “Behind the Scenes” in 2020.

FYI – mothermother

FYI – Introducing mothermother – a collaborative project space where each exhibition is made by two women artists, who then select two more women artists to make the next exhibition.

Founder, organiser and artist, Natalie Tozer describes mothermother as “…a project space for both emerging artists and established artists who may (or may not) be represented by our good friends – the dealer galleries! The aim of the project is to offer space and opportunity to artists to collaborate or initiate work within the mothermother network. The inception of this project was two-pronged. At the time I was doing my MFA where 75% of my fellow students were women. I came to read Fiona Jack’s counterfutures article on the on-going issues of representation in the market and collections, to find the stats revealed 75% male representation. 

The other reason I started this project was based on my research around collective modes of knowledge sharing and unearthing. Usually my unearthing is geologically based,  but I also wanted to start a more conceptual and didactic journey about the ground. I started looking at grass-roots organisations with flat, non-hierarchial, anti-capitalist formations and I wondered what an anarchist syndicalist network would look like in the art world! It was then I decided the space I had the privilege to share should be for woman artists. I’m definitely a fan of exploring the murky grey space of complex issues but in this case the simplicity of 100% representation seemed like the right thing to do.

My role is to organise the projects curatorial function where exhibiting artists pass the baton by inviting the next artist into the collective. It’s an ever-expanding circle of caretakers that ensure space is available for future generations of the project. We’ve been going since mid 2019 and I cant wait to share the upcoming work!”

mothermother will be presenting the work of all 18 “mothermother” artists in their 18 sq metre booth in He Itithe section of the 2022 Art Fair for new galleries and artist-run spaces, on the mezzanine of The Cloud.  For more information on the artists click here.

Natalie Tozer, Companion Pieces, 2021, paper, 530 x 400mm (framed) Photo: Stephen Robinson.
Caitlin Devoy, Power, 2021, silicon, 150 x 95mm. Photo: Stephen Robinson.
Sandra Bushby, Unknown Sea Lilly, 2021, oil and water colour on canvas, 460 x 355 mm. Represented by Sumer. Photo: Sam Hartnett

FYI – Scott Lawrie Gallery moves to Mt Eden

Scott Lawrie Gallery has moved to a new, permanent space in Mount Eden. Alongside the stunning gallery space (designed by Paul Clarke from Studio2 Architects and built by Axiom Projects), there are also some new ventures in the pipeline for the gallery. As Scott explains;

 We now have three distinctive spaces in the gallery to showcase work, plus a dedicated digital wall, where we’ll be showing digital art by significant artists from around the world under a new sub-brand called ‘Fountain’ – named after Duchamp’s seminal work of the same name. This launched with a show of existing and new work by Hye Rim Lee.”

Hye Rim Lee ‘Black Rose’ (2022 Edit) courtesy of the artist and Scott Lawrie Gallery.

“… My biggest show ever, SENSATION_22 – which opened in April, was a fascinating and hi-energy snapshot of current work being produced in Aotearoa, Australia and further afield. The show  introduced some new artists such as Marcus Hipa, and also work from the brilliant young painter James Collins in the UK. Our 2022 presentation for Aotearoa Art Fair in November will be no less exciting – watch this space!” 

To learn more about Scott Lawrie Gallery click HERE.

Marcus Hipa, ‘Petals Adrift’ 2022 courtesy of the artist and Scott Lawrie Gallery.

FYI – Emma Fitts (Melanie Roger Gallery) at Objectspace

Lapping at Your Door is a sculptural commission by Emma Fitts, now showing at Objectspace in Tāmaki Makaurau Auckland.  Emma is represented in Aotearoa by Melanie Roger Gallery and will be showing new works with the gallery in a group presentation at the Fair in November.

In the meantime, Melanie Roger Gallery has a few of Emma’s works currently available – including works resulting from Emma’s residency at McCahon House and some that were recently shown at Christchurch Art Gallery in the exhibition, Touching Sight curated by Melanie Oliver see images below.

Images: Emma Fitts, Muse with Lace in the Laundry, 2018, inkjet print on archival cotton fibre paper, framed in European Beech , 490 × 370mm | edition of five with one artist proof (Made as part of the McCahon House residency).
Composition in Green, Flashe on canvas with Southern Beech wood, 950 × 1000mm variable.
Jacket Cut Out 9, 2019, flasche paint on canvas with Beech frame, 530 x 400 mm (made as part of the Headlands Residency, San Francisco).

In the outdoor installation, Lapping at Your Door, a series of dyed and layered canvas panels attached to a tubular steel structure form a new architecture for Objectspace’s courtyard plinth.

Emma’s soft architecture folds together various research threads: modernist design, the body in relation to built environments and the construction of clothing, and how queer physicality can be expressed through the collapsing of architectural space.

Between 1926 — 1929 Eileen Gray designed and constructed E-1027 on the coastline of the Côte d’Azur in the south of France. The front façade of this iconic piece of modernist architecture is spanned by a canvas canopy, its textile softness creating a porous threshold where delineation between spaces is softened.  Gray’s canopies serve as an example of the architectural and design developments made by women who both practiced within and subverted historical cannons. For Fitts’, these designs embody the desires of their creators and occupants. They are a backdrop for socialising and conversation in open space — often in radical ways, and in queer company.

Referencing these histories and the architecture of her own home, Fitts’ has constructed an outdoor installation for Objectspace, incorporating her signature fabric banners, imagining how bodies of space that resist clear demarcation provide alternative ways of seeing and making.

For more info on Emma Fitts practice, and contact details for Melanie Roger Gallery, click here.

Emma Fitts, Lapping at Your Door, installed at Objectspace. Image courtesy of the artist and Objectspace.

FYI – New exhibition at Toi Māori Aotearoa ‘Whiriwhira’

Whiriwhiria is an exhibition showing now at Toi Māori Aotearoa featuring new weaving (made over the summer) by a group of Māori weavers connected to the Kāpiti Coast township of Ōtaki and the tertiary weaving programme at Te Wānanga o Raukawa.

Curator, Pip Devonshire, describes Whiriwhiria as demonstrating “…our broad base of weaving experience and profiles individual creative expression. Each artist has a distinctive style and their weaving exemplifies dexterity in form and woven detail inspired by the rich foundation of ancestral weaving.”

Of the 13 weavers in Whiriwhiria three – Sonia Snowden (Ngāti Whatua, Ngā Puhi, Ngāti Wai, Ngāti Hine), Karl Leonard (Ngāti Rangiwewehi, Ngāti Pahipoto, Ngāti Raukawa) and Kohai Grace (Ngāti Toa Rangatira, Ngāti Porou, Te Ātiawa, Ngāti Raukawa) – will be showing work on the Toi Māori Aotearoa stand at the 2022 Art Fair in November.

The exhibition title, Whiriwhiria, was given by Whaea Sonia Snowden, “…the beloved elder of the group and cherished for her strong leadership within the weaving community of Ōtaki over many years. Sonia is also a member of Te Kāhui Whiritoi, the master class of Māori weavers acknowledged by the national Māori weavers committee and New Zealand Māori Arts and Crafts Institute, whose work was the focus of a recent exhibition at Christchurch Art Gallery Te Puna Waiwhetā.”

Karl Leonard is widely respected for the delicacy of his work in raranga and whatu, and is an expert in the challenging art of tāniko. Mastery of these skills are required to create piupiu, and there is high demand for Karl’s piupiu, particularly among the highest-ranked kapa haka groups in Aotearoa.

Despite that acclaim, Karl’s passion lies with raranga harakeke and experimentation with the kete form, along with his constant return to tāniko poi and exploration of rare and original variations.

Karl’s intriguing poi taniko, is a very rare form of contemporary Māori weaving, which emulates the COVID-19 structure and relates the transference of the poi from hand to hand to the transmissibility of the virus.

Kohai Grace’s first solo exhibition was in 2007 titled ‘Tūkākahumai – garments stand forth’, a series of ‘black on black kākahu’ that encapsulated her research, exploration, and ‘obsession’ with muka and whatu woven forms within her Master of Māori Visual Arts study, completed in 2008.

Presently Kohai has turned her attention to tukutuku. She enjoys a project that stimulates and challenges the mind whether it be in its form, ‘story to design’ or use of materials, and celebrates its relevance and value not only confined to the wharenui, but for public display and in private homes, and says ‘ there is always a story to tell’.  Kohai is currently working on two large tukutuku artworks for display in Porirua, being her iwi rohe of Ngāti Toa Rangatira; one panel acknowledges and reminds us that we also have chiefly tūpuna wāhine to celebrate, and the other ‘a flag’ commemorating Ngāti Toa Rangatira signatories to TeTiriti o Waitangi.

The exhibition provides a snapshot on the intergenerational movement of Māori weavers nationwide and the operations of Toi Māori Aotearoa. The quality, ambition and execution of work in the Whiriwhiria exhibition testifies to the high standing of these weavers within the national body of Māori weavers.

Whiriwhiria in on now and closes 17 June 2022. To learn more about the exhibition, and to see and purchase works, click here.

Images: Sonia Snowden (Ngāti Whatua, Ngā Puhi, Ngāti Wai, Ngāti Hine), Tatai Whetū Ki Te Rangi-I Te Ao, I Te Po Kete Whakairo 2022, kiekie, muka, traditional dyes, 300 x 300 mm. Image courtesy of the artist and Toi Māori Aotearoa.
Kohai Grace (Ngāti Toa Rangatira, Ngāti Porou, Te Ātiawa, Ngāti Raukawa), Te Ao, Te Pō (A Series, No. 4), Kiekie, pine, cane, paint, Tukutuku panel, mūmū pattern. Lightness, darkness, 900 x 385 mm. Image courtesy of the artist and Toi Māori Aotearoa.

FYI – Introducing Atong Atem and MARS Gallery

FYI – Introducing Atong Atem whose photographic works will be presented by Naarm/Melbourne based, MARS Gallery at the 2022 Aotearoa Art Fair in November.

Atong Atem is an Ethiopian-born, Naarm/Melbourne-based artist who works predominantly with photography, although Atem works also in video and is a writer and curator. The South Sudanese artist uses portraiture as a means of recounting indigenous stories that throughout history have been lost – or rather overwritten by colonial knowledge. Atem’s work reclaims this knowledge. She uses a vibrant colour palette coupled with a critical lens to create works which are eye catching yet also deeply political and sincere. In a recent article with The Guardian, Atong Atem commented on her work saying: “‘Yes, it’s political, gendered and racial,’ Atem says. ‘But what isn’t?’” ¹

Atong Atem’s photography will be shown by MARS Gallery in a solo exhibition at photo basel next week – Switzerland’s first and only international art fair dedicated to photography based art.

Atong Atem has also recently released her first photo-book; Surat,  which will be available from the Iffy Is Art Bookshop at the 2022 Aotearoa Art Fair.

Images: (left) Atong Atem, Green Fields, 2022, digital photograph, 1500 x 1000mm. (Right) Atong Atem, I Have Two of Everything 1, 2022, digital photograph, 1500 x 1000mm. Images courtesy of the artist and MARS Gallery.
¹ Keeping it real: the vivid photography of Atong Atem in pictures.

Earlier this year, Atong Atem was the first recipient of the La Prairie Art Award, an acquisitive award championing the work of Australian women artists presented by the Art Gallery of New South Wales in Sydney, and La Prairie.

The new partnership between the Art Gallery and Swiss luxury skincare house La Prairie, the prestigious award supports Australian women artists through the development or expansion of a new body of work. The La Prairie Art Award aims to support and nurture the recipient’s practice and increase their international profile. Each work will be acquired by the Art Gallery for its collection.

Atem was selected as the inaugural recipient of the award by the Art Gallery of NSW and La Prairie’s global board of directors. Atem was awarded for her originality and ambitiously crafted and vibrant photographic portraits that celebrate their subjects.

Atem has exhibited her work across Australia, including MUMA Monash, Gertrude Contemporary, Australian Centre for Contemporary Art and is represented in the collections of the National Gallery of Victoria, Art Gallery of New South Wales and State Library Victoria. Atem was also the recipient of the inaugural National Gallery of Victoria and MECCA M-Power scholarship in 2018.

FYI – Stevei Houkāmau has two significant upcoming exhibitions

Stevei Houkāmau, (Ngāti Porou, Te Whānau ā Apanui, Rangitāne descent) who will present at the 2022 Aotearoa Art Fair with Masterworks Gallery, has two significant exhibitions opening this month (June), one featuring her own artwork and one which she has curated. The Suter Art Gallery Te Aratoi o Whakatū, will be presenting a solo exhibition of Houkāmau’s uku (clay) works, including several new pieces. At the same time, at Masterworks Gallery in Tāmaki Makaurau, Houkāmau will curate Te Matapihi, bringing together works by Neke Moa (who will also present at the Aotearoa Art Fair with Masterworks Gallery), Xoë Hall, Jaime Berry, Isaac Te Awa, Victor Te Paa, Shainey Moreli, Mirima Grace-Smith, Gina Kiel, Suzanne Tamaki, Terence, Turner, Kerimei Zagrobelna and herself. More information about both exhibitions can be found below.

Ira Tangata Ira Atua 18 June – 2 October 2022, The Suter Art Gallery Te Aratoi o Whakatū

Ira Tangata Ira Atua is a solo exhibition of uku (clay) works by Wellington based Ngāti Porou Uku artist Stevei Houkāmau.

Her uku (clay) practice is distinctive for its carved surface designs that draw upon the indigenous tattoo practices of tā moko and tātau. Ira Tangata Ira Atua springs from research into the artist’s whakapapa. By acknowledging and celebrating her whakapapa, Houkāmau unwraps narratives that will be retold through uku, projection and soundscape.

Ira Tangata Ira Atua includes 4 large new uku works in the artist’s Whakapapa series – Houkāmau has also hand built and carved over 200 seed forms which represent ipu (vessels) and act as extensions of us as a people. Each seed is a unique shape and individually carved with Māori and Pasifika inspired patterns which reference the artist’s whakapapa. In her practice, Houkāmau explores vessel forms as both literal and metaphorical containers, with markings forming a visual language encoded with knowledge and genealogy. Ira Tangata Ira Atua also includes a series of carved sculptural vessels and a collaborative installation with moving image artist Jamie Berry that draws out connections between whakapapa and whenua.

In her uku works, Houkāmau acknowledges the revival and reinterpretation of the ways of Māori tīpuna in Aotearoa. Like the whakataukī “Kia whakatōmuri te haere whakamua” – “I walk backwards into the future with my eyes fixed on the past” Houkāmau emphasises the importance and relevance of whakapapa in our lives.

Images: (top right) Stevei Houkāmau ‘Taonga o oku tīpuna’ (Taonga of my ancestors) Black clay, paint, tanekaha dyed muka L655 x D110mm. (Above) Shainey Moreli ‘Pukeatua’ (kete whakairo),  Neke Moa ‘Whareakēakē’ – atua (pounamu, brass, paint, shell), Xoë Hall. (Right) Stevei Houkāmau ‘Ngutuau te hapu’ (uku). Images courtesy of the artists and Masterworks Gallery.

Te Matapihi 11 June – 16 July 2022, Masterworks Gallery 

Curated by Stevei Houkāmau, Te Matapihi offers a glimpse into the world of a group of artists who are based or have spent considerable time in Te Whanganui-a-Tara. Developing connections to the whenua and moana, Poneke has been a home away from home and they feel forever changed by the Mauri of Te Whanganui-a-Tara. Stevei has brought together a group of artists across a diverse range of materials, including – Jamie Berry, Neke Moa, Isaac Te Awa, Victor Te Paa, Shainey Moreli, Miriama Grace-Smith, Gina Kiel, Xoe Hall, Suzanne Tamaki, Terence Turner, Keri-mei Zagrobelna, and Stevei Houkāmau.