Art at the Civic Centre

Given earthquakes and book writing, I have only just managed to get myself along to the new Christchurch City Council Building - a joint venture between the council and Ngai Tahu - and I must say I am impressed. Who would have thought the old New Zealand Post building would 'scrub up' so nicely. What I particularly like is the building's 'twin face' - the Worcester entrance above, with its wonderful Fayne Robinson powhenua, Te Pou Herenga Waka; and the southern Hereford Street entrance (below), which features the magnificent etched glass mural by Ross Hemera, Tuhituhi Whenua.

Given that the building is a joint venture, a bicultural undertaking as it were, it is also fitting that two other major artworks by leading Pakeha artists are featured - Neil Dawson's Ripple and Feather, which I never actually saw; and the above work, Knot, by Julia Morison. The latter is typical of Christchurch-based Morison's sleek, complex, beautiful perfection - a work that shimmers and changes as you move through the building from one side to the other. It is partially marred here by the scaffolding supporting a large section of inner structure that was damaged in the recent Christchurch earthquake. Based on an 'infinity knot' common in Celtic art, it alludes to the complexities and multiple pathways of communication, which seems entirely fitting for a bicultural public space.

The northern entrance to the building is dominated by the powhenua, carved by Fayne Robinson (Kai Tahu, Ngati Apa Ki Te Ra To, Ngati Porou), which is beautifully offset by the gently cascading water feature. It's there - among a series of decorative tiles representing seven of Canterbury's important waterways, that you'll find the bronze eels by Ngai Tahu artist, Priscilla Cowie (top image). Both water and eels were key determinants in the original settling of Canterbury land. The seven water tiles are mirrored by a further seven tiles on the rear of the powhenua that represent the site's history.

It's the intricate glass mural by Ross Hemera though that I found the most interesting. Hemera (Ngai Tahu, Mamoe, Waitaha), is currently an Associate Professor in the School of Visual and Material Culture at Massey University. 'His creative works draw inspiration from the South Island landscape and in particular the ancient rock drawings found in limestone caves and outcrops that were created by his tipuna (ancestors), the nomadic Waitaha. His works have been exhibited internationally and major commissions include the Wakamarama sculpture at the entrance to the the Maori section of Te Papa Tongarewa, and the beautiful glass windows throughout the interior of Te Runanga of Ngai Tahu, Te Waipounamu House in Christchurch.

His gigantic work for the Hereford Street face of the new Civic Building, is inspired by the words of Matiaha Tiramorehu's petition to Queen Victoria in 1857. In that, "it honours the wishes of Ngai Tuahuriri that these words serve as a aspiration of unity to recognise the partnership between Ngai Tahu and the Christchurch City Council. As it stretches across the wide face of the building, it 'weaves along braided rivers' and over the Canterbury Plains. Ti Kouka, the cabbage tree, has a starring role and willow trees allude to English settlers. All up, it's a stunning work that 'explores both the geological ancrestry of central Te Waipounamu (the South Island) and the material culture of the people' who settled here. More than anything though - more than the beauty of these individual artworks even - I am impressed by the 'recycling' of the old NZ Post building. It was never a high point of any inner city wander and while it could have been demolished and an all-new structure built (at huge cost), it's a credit to both parties that they sought what I think is the harder road - turning an architectural ugly duckling into a thing of beauty.

www.ngaitahu.iwi.nz

www.ccc.govt.nz

Tools of Navigation

It was a grey winter day when I visited the grounds of Parliament in Wellington earlier this year but that only accentuated the wonderful contrast between the bright green grass and this marvellous sculpture, "Kaiwhakatere - The Navigator" by Maori artist, Brett Graham.

Graham is one of New Zealand's most exciting sculptors, well known for his ability to engage in a "dual dialogue of Maori and European histories, at the same time adhering to the Modernist emphasis on form and material quality." Although not overtly Maori in their sculptural traditions, his works invariably draw on ancestral traditions and philosophies.

Although this work was only presented to the city in 2000, there's a lovely sense of the ancient about it - all those tightly packed granite cobblestones carrying the secrets and messages of another time. It's as if visitors from another world have left a strange and provoking souvenir of their visit among the shiny modern highrise.

The sculptures are based on the traditional tools of navigation - "Throughout Polynesia, the navigator is exalted as pathfinder and innovator for visionary qualities necessary for discerning leadershop," says Graham. The granite shapes represent a bird's head (manu), a waka (canoe) and a tuahu (altar). "The bird's head guides the traveller. It is a symbol of our inheritance in this land and of the future and the paths we may follow. The waka, or crescent moon shape symbolises a hopeful new beginning. The canoe suggests embarking on a journey, as did our ancestors, Maori and Pakeha. The tuahu, an altar of stones, built on arrival in a new land, suggests promises and challenges." (www.sculpture.org.nz)

Although stunning in its own right, I think the placement of this work is a major contributor to its power. It straddles the bright green hillocks of the parliament grounds confidently - like some ancient reminder to those in the 'halls of power' that soar above it, those 'navigating our future', that we are never far from our past.... no matter how much we would like to pretend otherwise.

Kaitiaki - Trustee/Guardian

I love walking a city and unexpectedly coming upon a work of public art.

Wellington is perfect for that because of the intimate nature of the city and the proliferation of public artworks. Here, in Auckland, because of the far greater spread of the city and the tucked-away nature of many of the sculptures (and, it must be said, a lack of promotion), I tend to "stumble on artwork" far less often. So I was delighted when I walked around the corner and discovered this gleaming work "Kaitiaki II" (Trustee), by Maori artist, Fred Graham.
It's located down the lower end of Queen Street.

A few days later, I happened upon this second dramatic piece by Graham, Kaitiaki .

It's part of the Auckland Domain Scupture walk, initiated in 2001 and funded by the P.A. Edmiston Trust with assistance from the NZ Lotteries Grants Board Millennium Fund.

Fred Graham (b 1928), Ngati Koroki, Ngati Raukawa, studied art at Ardmore and Dunedin Teachers' College and became one of the young Maori artists to work under celebrated Maori carver, Pine (Pineamine) Taiapa, Ngati Porou (1901-1972), who between 1946-71 worked on 39 traditional meeting houses, including the spectacular whare runanga on the Waitangi Treaty Grounds). Graham though, soon became interested in alternative materials and non-traditional expression and moved toward sculpture, using stainless steel, copper and native and exotic timbers. This work in the Auckland Domain, close to Auckland Museum, represents a hawk.

I like the way it's huge, swooping, menacing form so perfectly represents the predator qualities of the hawk at the same time, casting a vast, protective shadow across the land beneath.

A Giant in Miniature

A Giant Sculpture

Rendered Small

Takahanga Marae

Kaikoura

Feb.2010. Ajr

Capital Art - A Maori Perspective.

"Spinning Top"

Robert Jahnke 2002

Woodward St. Wellington

This is one of my favourites among the many contemporary New Zealand sculptures commissioned by the Wellington Sculpture Trust in partnership with the Wellington City Council, to enhance the capital city's urban environment. It was created by leading Maori artist, Professor Robert Jahnke, who is currently Head of School and Maori Visual Arts Co-Ordinator at Massey University in Palmerston North. Jahnke (Te Whanau a Rakairoa, Te Whanau a Iritekura, Ngai Taharoroa, Ngati Porou), was born in the East Coast settlement of Waipiro Bay in 1951. He has exhibited widely throughout New Zealand and internationally since 1982 and his work and career is an exploration of what it means to be a Maori artist. While an advocate for biculturalism, Jahnke often explores the issues around injustices to Maori through his artwork; and his sculptures often feature both Maori and Pakeha symbolism. Along with many wood constructions, Jahnke has also worked as an illustrator and in film and two of his best known commissions are door works for the Museum of New Zealand Te Papa Tongarewa and the wall reliefs for Bowen House in Wellington.

The Four Winds of Tawhirimatea

I photographed these two sculptures outside New Plymouth's Puke Ariki a few days ago - during the one sunny break I had in three days there. The plaque above, refers to the two images of the same sculpture above, which sits on the grass down below the entrance to the museum.

This second sculpture is placed outside the Puke Ariki/New Plymouth Library. Puke Ariki, incidentally, is an excellent little museum. www.pukeariki.com

A Wellington Sculpture

I came upon these pou whenua, by Maori sculptor, Ra Vincent, when I was walking in front of Parliament on my way to the NZ Archives building last week. I was in a hurry, hence my short-cut of photographing the sculpture notes rather than noting them in my book. But the message is the same and sometimes it's quite nice to see the actual plaque.

I think they make a strong and visually interesting statement on the patch of land in front of the Beehive on one side and the Old Government Buildings on the other.

Searching for Tangaroa

Leading Maori sculptor, Brett Graham (Ngati Koroki Kahukura), opens his Wellington exhibition ‘Searching for Tangaroa’ at Bartley & Company Art tomorrow night, October 6th. It’s his first show in the capital for a number of years – though many Wellingtonians will be familiar with his large public sculpture, Kaiwhakatere, which sits behind Parliament Buildings on Bowen Street. Graham has exhibited extensively – nationally and internationally – over the last decade and he is highly regarded as one of the most exciting and accomplished contemporary Maori sculptors. Although many of his works are not overtly Maori, they are the product of Graham’s interest in “a dual dialogue of Maori and European histories, adhering to the Modernist emphasis on form and material quality.” His concepts and titles though, invariably draw on his Maori heritage. The small illustration here (courtesy of bartley & company art) shows sculptural detail from work in his upcoming Wellington exhibition – a solo show that reflects Graham’s ongoing fascination with water as a cultural site. Searching for Tangaroa explores the convergence of ancient and contemporary beliefs and technologies. He employs high-tech underwater scanners in a mythical quest for the location of Hui te anga nui, the house of the god of the sea and the original site of the carving. As a metaphor for the human search for meaning, the scanners reference a range of issues from the foreshore and seabed act to values systems and religions. Graham has also collaborated with fellow Maori artist, Rachael Rakena, who I featured here a couple of weeks ago. Their collaborative works (Aniwaniwa and UFOB) have attracted significant international attention and have been shown at both the Venice and Sydney Biennales. www.brettgraham.co.nz www.bartleyandcompany.co.nz

Art - Inside and Out

Christchurch. July 2009. Ajr

I was wandering through the Christchurch Arts Centre Market last weekend when I noticed this paint job on the outside of Te Toi Mana Maori Art Gallery, which is where leading Maori carver, Riki Manuel bases himself. In addition to Riki's carving studio, which has a glass wall so you can watch him at work, the gallery also presents a great selection of traditional and contemporary Maori paintings, drawings, crafts and sculptures. I don't remember the building being painted like this on the exterior though. Maybe it's had a facelift in the months I've been out of Christchurch researching and writing Frommers New Zealand? Or maybe some garden greenery has been removed. Not that it matters of course. The good thing is, now you can't miss it!

"A Cloak of Words"

"A Cloak of Words" by Lyonel Grant, Rotorua. May 2009. Ajr
Being a writer by profession, I suppose it’s understandable that I would instantly be drawn to works of art that incorporate words. So it was with this marvellous work, “A Cloak of Words,” by Maori sculptor/carver, Lyonel Grant, which is located on a small grassy rise beside Rotorua Museum. According to the accompanying plaque, it was unveiled in June 2001 to mark the new millennium. “Supported by the Millennium Trust and Rotorua Energy Charitable Trust, the Waitukei sculpture was created by Rotorua artist and master carver, Lyonel Grant. His inspiration was the people of this area (Rotorua) and the rich melding of Maori and European cultures. Created in bronze over a two year period, it depicts two symbolic male and female figures.”

Rotorua. May 2009. Ajr
What I especially loved about the work is that the closer you get to it, the more it reveals, for every surface is heavily etched with patterns, words and texture – in much the way a traditional cloak is heavily textured. The colour too, is filled with rich variants of brown, grey, blue and bronze – quite lovely! I’ve added a link to Lyonel Grant’s website here, so you can read about his inspirations and style of work in more depth. www.lyonelgrant.com www.rotoruamuseum.co.nz

Art in the Street

Auckland. April 2009. Ajr

I came upon this sculpture on Queen Street outside Burger King. It's called "Te Waka Taumata o Horotiu" by contemporary Maori artist, Fred Graham.

Queen Street Figure

Auckland. April 2009. Ajr

This handsome figure stands on the corner of Queen and Quay Streets. It's entitled "Maori Figure in Kaitaka Cloak" and has been sculpted by Molly MacAlister

Capital Culture

Civic Square, Wellington. April 2009. Ajr

This is Te Aho a Maui (Maui's Line), in Wellington's Civic Square.

Maui is the legendary figure who fished up the North Island. The design is symbolic of the land meeting the sea - and in fact it follows on from the City to Sea Bridge that I wrote about here on Monday and last Saturday. Te Aho a Maui is represented by the terracotta paving unravelling from the mountains to the sea. The mountain and adjacent waterfalls represent and reflect the complexities of New Zealand's heritage.

More Matchitt

City to Sea Bridge, Wellington. April 2009 Ajr

Following on from Saturday’s images of Wellington’s City to Sea Bridge (scroll down), here are some close-ups of a number of the Para Matchitt sculptures that sit at the top of the bridge. “How We Got Here” is the theme of the gateway poles; and according to the nearby artist’s statement, “the celestial representations and symbols of love illustrate how our ancestors arrived in Aotearoa – as people are now arriving at the waterfront or crossing to the heart of the city.”

A Meeting of Cultures

A Spanish Flamenco Guitarist

Busking

Beneath the Maori sculpture on Wellington's Waterfront

April 2009. Ajr

City To Sea

City to Sea Bridge, Wellington. April 2009. Ajr

I don’t know how many times I’ve driven UNDER Wellington’s City to Sea Bridge but today, for the first time ever, I walked OVER it. I’ve always admired the glimpses I’ve had of Para Matchitt’s sculptures and now I can safely say, they’re even better up close. Matchitt, a Hawke’s Bay-based contemporary Maori artist, created the works in 1993. This is a detail of one of the wooden works. I’ll bring you the best of them here on Monday morning.

Plastic Maori

Jacob Scott, Karanga (foreground) and Nga Mahanga (behind), 2009. Courtesy of TheNewDowse
Jacob Scott, Karanga, 2009. Courtesy of TheNewDowse
I can’t wait to get to Lower Hutt in the North Island to see what promises to be one of the most exciting exhibitions of contemporary Maori art I’ve seen in a long time. Plastic Maori is now showing at TheNewDowse. Curated by Blumhardt Foundation/Creative New Zealand Curatorial Intern, Reuben Friend (of Pakeha and Ngati Maniapoto/Tainui descent), this colourful extravaganza is an exhibition of works by fourteen Maori artists, who have taken plastic and other synthetic materials and created thought-provoking works that explore the issue of cultural authenticity in contemporary Maori art. From the development of stone tools soon after their arrival in New Zealand hundreds of years ago, the Maori have never shied away from new technology and this exhibition continues that tradition as it looks into the appropriation, commodification and mass production of Maori taonga (treasures).

Says Reuben Friend: “Plastic Maori asks the viewer to consider what happens when synthetic materials replace the customary organic materials used in Maori art. Can a plastic hei tiki really be as valuable as a bone or greenstone hei tiki? Can laser cut sheets of Perspex replace carved wooden ancestral figures? Plastic Maori invites you to consider some of these issues and to observe how each of these artists has negotiated these matters in their art work.” The show includes vibrant and thought-provoking works like Gina Matchitt’s tukutuku panels made out of recycled computer keys; and resin tiki lollipops by Wayne Youle. Aroha Armstrong and Tawa Hunter of Rotorua’s Too Luscious, present resin jewellery based on customary Maori designs; and Christina Wirihana has used plexiglass, brass and plastic grip to weave korapa – the woven nets she used as a child to catch fresh water koura (crayfish). There’s much more – and you have plenty of time to get to Lower Hutt as the show runs to August 9, 2009. www.newdowse.org.nz
The work above – Michael Parekowhai, Pākāhā (the security guard), Kapa Haka Series (detail), 2003. Courtesy of TheNewDowse. "Pākāhā (brown) is one of 15 fibreglass sculptures from Parekowhai’s 2003 Kapa Haka series. These works were modelled after Parekowhai’s elder brother, who was working as a security guard at the time. Each sculpture is named after a colour and has that name written in te reo Maori on its security badge.”