AAF22 Masterworks e-catalogue

AAF 2022

E-CATALOGUE:

Serene Hodgman Stevei Houkāmau Neke Moa Jude Te Punga Nelson Layla Walter

SERENE HODGMAN (Samoan)

Tāmaki Makaurau/Auckland based artist Serene Hodgman (nee Timoteo) has a BA in Pacific Studies and English Literature, having graduated with a Bachelor of Fine Arts (Honors) from Elam in 2015 and a Masters of Teaching and Learning (Primary) later in 2017.

Serene embroiders and weaves silk ribbon through the surface of woven plastic mats, creating vibrant work expressing her identity whilst contemporising and paying homage to traditional Pacific making practices.

Heavily inspired by her upbringing in Tāmaki as a second generation New Zealand born Samoan, Serene integrates traditional handmade crafts such as tivaevae (Cook Island embroidery), ‘ie toga (Samoan fine mats) and more recently kapa kuiki (Hawaiian quilting) into her work. Serene uses various inexpensive materials sourced from local emporiums to transform simple woven mats into a playful and unique contemporary artform. Her use of motifs reflect the diaspora of Te Moana nui a kiwa as well as a form of storytelling that celebrates nature and the changing seasons we live through.

Flora and Fanau series

All of these works are named after songs or lullabies that have had an influence at some point on my practice since becoming a mum

Va’ai Lau Fuala’au/See My Pretty Flower, 2022

Stevei Houkāmau affirms whakapapa as the centre of her uku practice. Stretching through and beyond her personal biography, her works connect with legacies of Māori making, migration from te Moana nui a kiwa, and kinship ties with Atua, exploring the spiritual connection from Atua to tāngata.

Stevei’s series of Whakapapa chains comprise of seed forms in black, terracotta and white clay. Seeds have an ongoing metaphorical resonance for the artist. These works visualise an intergenerational concept through seeds. All seeds come from somewhere, and all seeds can potentially sew. Marked this way between offspring and eventual progenitor, the seed sits in the middle of time, between past and future, connected equally to both directions. The metaphor is made all the more clearly through the act of chaining, linking each seed to its place in the in between. Stretching back into the whakapapa of Māori forms then allows Houkāmau to simultaneously reach out across waters, to reconnect with shared customs across the ocean.

Stevei’s mahi acknowledges Māori migration from and the kinship ties with Te Moana nui a Kiwa. Her now characteristic carved marks that combine tā moko and tatau inspired patterns and designs, reflect the blended Māori/Pasifika demographics of Cannons Creek, Porirua where Stevei was raised.1

E kore au e ngaro, he kākano I ruia mai I Rangiātea I shall never be lost, a seed scattered from Rangiatea

STEVEI HOUKĀMAU (Ngāti Porou, Te Whānau ā Apanui, Rangitāne)

1 Ioana Gordon Smith, Te Ira Atua, Te Ira Tangata, essay for exhibition at Toi Poneke, January 2022.

Ko te uhi a Uetonga (The Uhi of Uetonga), 2022 $4,500 Black uku, mother of pearl, pounamu, cord, paint, harakeke Set consists of: Uhi, Mahoe, Apu, Pa’u

Matt: 710 x 395mm, L360 x Dia20mm, L360 x 85 x 20mm (with blade), 95 x 85 x H55mm, Dia85 x H35mm

Contributors: Terence Turner, Tim Hunt, Charlene Fraser

Te whai a Pawa (The stingray of Pawa), 2022 $1,500 White uku, paint Dia230 x H97mm

Korero: Pawa was a founding Tīpuna from the Horota Waka, scientists say that there are approx 34 35 generations to date. Kahukura captained Horota to Hawaiiki to obtain the Kumara. Kahukura decided to stay in Hawaiiki and passed the command of Horota to Pawa his son. On the return to Aotearoa, there first stop from hawakii was Ahuahu Great Mercury Island. Shortly after departing the Island, they were meet with a violent storm the waka struck a rock and capsized. Those that could got back onto Horota and Pawa gave the captaincy to Kiwa to slowly sail into Wharekahika. Pawa with woman and children took to the whenua to make their way to Wharekahika. As Kiwa arrived at Matakaoa kaitiaka (guardian) stingray was seen and then it dived and was never seen again. A large rock formation in the sea at Matakaoa Point was then named Te Whai a Pawa Stingray of Pawa. Horouta and Pawa hold a significant identity of tribes of Te Tairawhiti.

Taonga o oku tīpuna I (Taonga of my ancestors), 2022 $1,800 Black clay, paint, waxed cord Dia87 x L615mm

Taonga o oku tīpuna III (Taonga of my ancestors), 2022 $1,800 Black uku, paint, tanekaha dyed muka Dia135 x L730mm

Ruataupare II (The exposure to sight of the femininity of a woman), 2022 $1,250 White uku, spray paint Dia115 x H60mm

Kuhakauri II (The toasting before fire of her lungs), 2022 $1,250

White uku, spray paint

Dia120mm x H65mm

Auahikoata (The dastardly orgy of passing a woman’s charms thru smoke), 2022 $1,250 White uku, spray paint Dia120 x H60mm

Three Sisters Korero: Daughters of Hinemaurea who has two whare named after her and was the sister of hinerupe(16th Century). Hinemarea and Te Aotaki had 2 boys and 3 girls. The eldest was killed as Utu. Two stories explain why, one is that Hinemaurea ordered the killing of a servant from another hapu or that the hapu itself was rejected by Hinemaurea hapu. Because of this my G+ Grandmother Ruataupare (2nd daughter) became the eldest. She eventually went on to have children with Ngati Porou, great chief Tuwhakairiora. This marriage was to ensure Ngati Tuiti security of the whenua which has lasted through to today. Dual Identity: Te Whanau a Tuwhakairiora and Te Whanau a Aotaki

Ngaro nga tikanga tuku iho (Lost traditions of my ancestors), 2022 $1,800 Black uku, wax, paint, muka Set consists of: Potaka I and Potaka II, Tahiri Handle, Whip cord handle L95 x Dia75mm, L75 x Dia50mm, L280mm, with muka L740mm

Potaka Aitutaki (Spinning top of Aitutaki), 2022 $1,600 Black uku, muka Tahiri handle: black uku, muka Potaka Ta: Black uku L100 x Dia50mm, L260 x Dia15mm, with muka L700mm

Korero: This work is based on the shape of an amphora and is wrapped with the korero or my Tīpuna. As a child we were brought up to understand that we whakapapa to the Egyptians in a time when people could walk the earth. This work explores that idea but also explores the past. The amphora is also a water/ wine vessel and how through water we can sustain our whakapapa, water is life, it ensures the continuation of our whakapapa, of life itself, it also is a demonstration of how connected we are not only to the whenua but also to the awa and moana.

2022 $950 Black uku, Paint

x L130 x W125mm Spiritual realm that flows through us as human beings, invites us to connect with the unique wisdom within us = Balance.

Ira Tangata Ira Atua (Human Genes, mortal & Supernatural life Atua gene),

Uira (Human Gene), 2022 $450 Black uku, paint Dia50 x H65mm

Kia whakatōmuri te haere whakamua, 2021 2022 $33,000 (I walk backwards into the future with my eyes fixed on my past) Terracotta, black uku, paint, powder coated wire, Toroa, Weka 8000mm, 11kg

Neke Moa works in collaboration with materials gathered from te taiao to tell pūrākau (timeless stories) of the atua (deities) who shape te ao māori, te ao tāngata. The pieces channel connections between atua, tohunga, and tāngata offering us guidance and protection in our daily lives. Her mahi toi sculptural, adornment and objects, elements woven, carved and designed to uplift the materials and kaupapa of the pieces. She works closely with her partner, a tohunga from Taranaki, together they gather, collect, research, interpret and write the Atua stories.

NEKE MOA (Ngāti Kahungunu ki Ahuriri, Kai Tahu, Ngāti Porou, Ngāti Tūwharetoa)

Rangitoto Series

This series reaffirms Neke Moa’s connection to Rangitoto and Takapuna where she was born, uplifting the mana of Atua using natural taonga collected from their geographical areas.

Te ara ō Rangitoto 2022, tells of the underground pathways that connect the ahi kā fires below whenua in the space of Rūaumoko. Often referred to as the Pacific ring of fire, it is Mataoho who created this resource to raise her island papakāinga, Rangitoto to the surface.

Tuatua shell, muka, kōwhatu turua $2800

Mataoho, created the Pacific ring of Fire as a pathway for communication and travel between these nations. Having previously visited both Hawai’i and Tahiti, Mataoho travelled to Aotearoa, the first Atua to arrive here.

Driftwood, matangongore shell neck piece, pastel $3800

The Atua and the Tohunga This piece depicts the relationship between tohunga, and atua they often share the wairua space, two souls within one body. The ability of the tohunga to move aside and allow atua to share body and mind, as a tool for atua and as affirmation for Tohunga as messengers for the atua.

Kukupa feathers, coal, driftwood, shell, paint $4200

Papalau, 2022 This creator sister is responsible first for communication, and ways in which whakapapa can be maintained between people. This can be seen in waves sound, sea and in bloodlines. Tongan ufi shell, bracelet, pāua, seaweed, shells, coal, driftwood, muka, acrylic enamel $7,500 H540 x W230 x D110mm

Rākau whakarawe – weapons for the everyday Choose your weapon! Everyday we face challenges that require action, inaction, and/or reaction. From the realm of the Turehu (magical beings), materials gifted from Taiao (environment), this collection of weapons cater for those that wish to join the battle to protect and fight purposefully, and powerfully in this reality and in the realms seen and unseen.

Maripi 2020 to draw blood, cleanse and purify. Pounamu, driftwood, cord, muka, shell $3,200

Pakohe manawa reka series Waimataku is the taniwha who lives at Waikorari. The job of this ancient beast is to protect the sweet nectar produced by the flowers of the harakeke bushes, from people that prove themselves to be unworthy of such a treasure. This space is one for tohunga, where they can become better at the craft of karakia and communing with Atua through medicine, art, meditation and remembering. People successful in the harvesting of these plants leave with greater knowledge of themselves and others.

Pakohe, muka, bone, paint $1,200

Waikomarero resides in Apirima at a place called Waikorari. The harakeke that grows in this place are renowned for the sweetest nectar, a treasure for those lucky enough to taste it. It is Waikomarero job to ensure that the harakeke are fed each season so that they can continue to produce the delicious syrup found within the folds of the flowers. Waikomarero flits from plant to plant tasting the nectar, and cheekily calling people in to harvest these most pleasurable sips. Not all people who enter this place return. Those that are deemed unworthy are pulled into the swamplands to feed the plants for the following year.

Pakohe, muka, shell, paint, bone $1,200

Pounamu

Pouakai Haast Eagle, smart, sharp, elegant and powerful!

Pounamu, muka, paint $1,800

Kia mau to be worn, held and loved Pounamu, muka, paint $1,600

JUDE TE PUNGA NELSON (Te Āti Awa)

Jude stepped into the Māori weaving world through Te Wananga o Aotearoa, 2012. She graduated in 2016 with a BA Maunga Kura Toi (Raranga). Through this journey, she has come to recognize that something was missing in her Pakeha upbringing, and she feels like her life and art are coming into focus as she discovers her Māori roots and traditions. Currently she is exploring the art of Tāniko. This uniquely Māori variation of finger twining is used to create colourful geometric borders on highly prized cloaks. Each pattern has spiritual and physical meanings: sadly, some meanings have been lost over time. Jude states, “I’m in awe of the ancestor’s weaving. No graph paper and coloured pencils, no Excel spreadsheets, no good quality lighting and no glasses, no running hot water to keep their hands clean. And yet their mahi was highly complex and superbly woven.” Her work has been purchased by museums, corporations, and private collectors across Aotearoa.

Kete Piu, 2022

A white Muka Kete with black hukahuka (tassels with a “Z” direction twist) and single piu piu sewn onto the top border of the kete.

The kete is inspired by a portrait of Mrs. Paramena painted by Gottfried Lindauer in 1840. Techniques:

Kaupapa. The foundation of the kete is muka (flax fibre stripped of its greenery using a mussel shell to reveal the fibre). It is washed, beaten and rubbed to soften and whiten the fibre. It is weft twined in whatu aho rua (double pair weft twining) technique.

Hukahuka. The muka (dressed harakeke) is rolled on the thigh to form a tightly plied two ply decorative cord that accentuates the movement of the wearer.

Piu piu. A blade of harakeke with selected portions of the green material removed, exposing muka. In a cold dye, only the muka will absorb the colour.

Muka, Harakeke, Teri dye; H305 x W310 x D30mm. $3000

Kete Kaitaka Huaki Aronui 2, 2022

Muka, Teri dye; H340 x W315 x D20mm $3,500

Both of these kete are white Muka Kete with four horizontal panels of Tāniko and a muka fringe on three sides of the kete.

The Tāniko pattern is inspired by a cloak held in Te Papa. Te Papa’s website describes a “kaitaka” as follows. “Kaitaka Huaki are fine flax cloaks with two, sometimes three, lower borders of tāniko (geometric patterning) that give the appearance of multiple cloaks when worn”.

Techniques:

Kaupapa. The foundation of the kete is muka (flax fibre stripped of its greenery using a mussel shell to reveal the fibre). It is washed, beaten and rubbed to soften and whiten the fibre. It is weft twined in whatu aho rua (double pair weft twining) technique. It is woven horizontally.

Taniko (a uniquely Māori variation of finger twining that creates coloured geometric patterns)

Kete Kaitaka Huaki Paepaeroa, 2022

A white Muka Kete with six vertical panels of Tāniko and a muka fringe on three side of the kete. The Tāniko pattern is inspired by a cloak held in Te Papa. Te Papa’s website describes a “kaitaka” as follows. “Kaitaka Huaki are fine flax cloaks with two, sometimes three, lower borders of tāniko (geometric patterning) that give the appearance of multiple cloaks when worn”.

Techniques:

Kaupapa. The foundation of the kete is muka (flax fibre stripped of its greenery using a mussel shell to reveal the fibre). It is washed, beaten and rubbed to soften and whiten the fibre. It is weft twined in whatu aho rua (double pair weft twining) technique. It is woven vertically.

Tāniko (a uniquely Māori variation of finger twining that creates coloured geometric patterns)

Muka, Teri dye; H345 x W350 x D20mm. $4,500

Kete Taranaki,

2022

A white Muka Kete with Karure and Tāniko. The Tāniko pattern is inspired by Taranaki and the hidden Mawhitiwhiti (woven crossing over pattern in the body of the kete) forms steps towards excellence.

Kaupapa. The foundation of the kete is muka (flax fibre stripped of its greenery using a mussel shell to reveal the fibre). It is washed, beaten and rubbed to soften and whiten the fibre. It is weft twined in whatu aho rua (double pair weft twining) technique.

Tāniko. A uniquely Māori variation of finger twining that creates coloured geometric patterns. Karure. Three ply twined muka that separates into an unravelling, DNA like tassel as it dries. Karure represent the ancestors.

Muka, Teri dye; H350 x W235 x D35mm $3,500

LAYLA WALTER (Pākehā)

The practice of Tāmaki Makaurau/Auckland based artist Layla Walter is predominantly autobiographical. Her works are deeply focused around the relationships and the people who have played a significant role in her life. Having grown up amidst the natural environment of the Coromandel, these relationships are linked to flora and fauna that Layla associates with these people. Layla is a key figure in the glass history and future of Aotearoa, following in the footsteps of her friend and mentor Ann Robinson.

A talented drawer, Layla’s characteristic style transforms her imagery into exquisite carvings that are cast into the surfaces of her glass vessels. Combining micro and macro details from nature, she embeds allegorical stories into physical form.

For the first time this latest series includes impressions of the human body and work to instill a sense of movement and to suggest the presence of the person.

These dramatic new bowls by Layla are the result of two years of experimentation. Leaving behind the familiar lost wax technique has enabled her to achieve impressive scale. This significant technical and conceptual development is in part due to the generous support by Creative New Zealand.

Layla Dahlia #4, 2022 $32,000

Cast 45% lead crystal, Sapphire Rose Gaffer glass; H365 x D460mm, 35.4kg