Ancestral Land
Darcy Nicholas (1946-)
Kahui Maunga and the tribes of Taranaki and Tauranga Moana areas
Acrylic on canvas (framed)
13 x 9.5"
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My ancestral land is dominated by my ancestral mountain, which is a pyramid shape. When I see my ancestral mountain, I can feel the spirit of my ancestors protecting me.

Mangotu - Courage of the Shark
Todd Couper (1974-)
Ngati Kahungunu
Kauri (with stand)
20 x 10 x 7"
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Over the years, Maori have overcome many obstacles that lie in their path and their tenacious nature has helped them survive and succeed in the modern and changing world. The abstracted side of the mask is the stylized head of a mangopare (hammerhead shark) in a wahaika (weapon club) shape that becomes a protective shield to fight the challenges of life. "These characteristics are best described by mangotu - translated as mango (shark) and tu (to stand strong), hence the courage of the shark".

Beyond the Koru
Sandy Adsett (1939-)
Ngati Kahungunu
Acrylic on canvas (framed)
48 x 36"
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These three paintings focus on this important time of contact, the Maori with the indigenous artists of the Northwest Coast. Our folklore, designs and patterns - we are sharing with each other, and have such a similarity in the Earth Mother, Sky Father, Star Land and creation stories. Traditional patterns form the basis of these paintings but I have reflected a more formal arrangement in the overall composition that is inherent in Maori art.

Tutarakauika - Guardian Whale
Todd Couper (1974-)
Ngati Kahungunu
Matai (wall mount)
11 x 67 x 2.5"
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This whale tail form represents the guardian whale, Tutarakauika. The story tells of Tutarakauika, as being a taniwha (spiritual being) in the form of a whale, who accompanied the Takitimu canoe on its voyage to Aotearoa. The tohunga (high priest) of the Takitimu canoe was Ruawharo. Once he settled at Te Mahia peninsula, he planted a mauri (life force) for the whales and fish of the sea. As the population of whales increased at Mahia, Ruawharo decided to send one of his whales, Tutarakauika, to act as a guardian for the chiefs of the Wairoa district. On occasions when canoes at sea were capsized by storms, this kaitiaki (guardian) is said to have taken them back to shore.

Ruatepupuke - Originator of Carving
Roi Toia (1966-)
Nga Puhi
Kauri, Jade inlay
73 x 25 x 14"
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In Maori mythology, the creation of carving stretches back to a time when atua (gods) interacted with man and the cosmic elements were yet to embellish strictly mortal human concerns on man. In this world, Ruatepupuke resided and unknown to him, it was he who was to bring the art of carving to this, our world.

Manuruhi, the son of Ruatepupuke, had offended the Tangaroa (God of the Ocean) by not attending to ritual rights when taking fish from the ocean. This angered Tangaroa so much that he decided to exact revenge by taking from him his human form and turning him into a bird. Treated as a trophy, Manuruhi was then placed in front of his house within the domain of Tangaroa.

Time passed and Ruatepupuke grew worried, knowing misfortune had befallen his son. His suspicion proved accurate, as he found his son's footprints leading towards the breaking waves and beyond. Desperate to find his son, Ruatepupuke entered the domain of Tangaroa and soon found a village hidden within the depths. Entering the strange, yet beautifully carved sacred house of Tangaroa, he soon came across the representation of his son Manuruhi. He then asked why his imprisoned son could not reply to his calls of concern. From inside a carved poupou (carved wall panel) emitted a response. Hearing first-hand of the deeds that led to his son's demise, Ruatepupuke decided that one bad act should be met with another. He would wait until the occupants were sound asleep when he might exact his revenge. Knowing they had an intense aversion to light, Ruatepupuke hid within the house and as dawn approached, he covered every opening so that everyone would think it was still dark.

As daylight encompassed the house it was time to initiate his plan. Quickly, he uncovered the gaps exposing light into the house. Those inside panicked and in the confusion they all struggled to exit the house to find shelter and safety in the shadows of the ocean. Ruatepupuke stood at the entrance and raised his patu (short club) and dispatched as many of the occupants as he could. Some managed to survive this onslaught and fled to the depths as flying fish, stingray, flounder, sharks, octopus, snapper and other ocean dwellers.

Ruatepupuke then took his son in one arm and in his flight extracted a poupou (carved post) from the porch. Returning to land, he placed the carved panels in his house. Unfortunately, in his haste to escape he had grabbed carvings that stood silent. To this day carvings still are unable to converse with man, yet tell their stories in the adornment of surface design and tribal styles, allowing man to communicate issues of morality, values, sacredness and wisdom.

Ruatepupuke is celebrated by this depiction in human form. The 'pure form' of the toki (adze) is placed behind Ruatepupuke, implying the successful attainment of the art of carving and it's journey into this world. The surface design is unaunahi, representing fish scales, paying reference to the elements of the ocean. The three crescent shaped groupings that adorn the body represent that of whanau (family), hapu (sub-tribe), and iwi (tribe).

(+/-) mhlo.P2.10.dp 2003
Saffronn Te Ratana (1975-)
Ngai Tuhoe
Mixed media on canvas (framed)
33 x 26 x 2.5"
CDN$2650. / U$1920.
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What is important for me as a Maori artist is the potential for marks to generate notions of space both within and outside of the physical reality of the painted field. For me, marks are the binder of concepts. Marks can impart notions of a Maori continuum and negotiate the cultural complexities that define diverse Maori realities. Maori notions of time offer interconnections that parallel the interface between positive and negative space. Within these works positive space is referenced not only in three-dimensional form but also in two-dimensional form as marks and passages of colour. Naturally, each element is inter-dependent on and relative to the other, and one's perception, like time, can be subject to reinterpretation.

Ipu Waiora
Manos Nathan (1948-)
Te Roroa, Ngati Whatua, Nga Puhi
Burnished clay - raku fired, paua shell inlay
11 x 19 x 11"
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A vessel to hold life-sustaining waters. Waiora translates into English as 'living waters'. It also means health, welfare, well-being, all manifestations of mauri, the life force or life essence. Mauri is the force by which all of creation is upheld, sustained and replenished. On this particular vessel, the mauri is symbolised by the perforated spiral form complimented by the manaia. (The manaia is explained in the design on my Manarua o te Roroa vessel).

Manarua O Te Roroa
Manos Nathan (1948-)
Te Roroa, Ngati Whatua, Nga Puhi
Burnished clay - raku fired, paua shell inlay
4.75 x 15 x 9"
CDN$3000. / U$2174.
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This vessel acknowledges the brothers, Manumanu and Rangitauwawaru, the founding ancestors of the Te Roroa tribe. The mana of the brothers is affirmed by the two manaia. Manaia - (literally - containing mana) is an element widely used in Maori carving.  The manaia is a symbol of the mana of chieftainship, power, prestige and charisma. It is also used to express spiritual and tapu (sacred) states of humanity. The manaia appear in many forms and there are significant tribal variations. The form however, always is shown in profile and includes eye, mouth, and usually, hand.

Toroa - Albatross
Todd Couper (1974-)
Ngati Kahungunu
Kauri (with stand)
13 x 40 x 11"
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The albatross is such an important bird to the Maori / Moriori culture. This sculpture honours the many qualities that this majestic bird epitomizes with its graceful, inspiring presence. The albatross, an ocean guardian, gliding effortlessly on a sea breeze, patrolling the waters. 

These great birds were an important resource, the meat provided food for survival, the prized plumes worn by chiefs on special occasions, and the strong wing bones were fashioned into chisels for the art of ta moko (tattooing). The bird was also respected for spiritual reasons, as it is said in earliest times that the ancestor, Tawhaki, brought the albatross down from the 12th heaven after his battles with Whiro (God of Evil). He went to seek knowledge and the pure white plumes of this and other sacred birds to adorn his wife. The white colour signifies brightness, light, life, the sun and moon.  

This bird has a massive wingspan, a balanced and tapered body, but I felt the head was the most interesting feature to explore, with such a delicate, streamlined form, designed for power.

Mana 1 - Dignitas
Colleen Waata Urlich (1939-)
Te Popoto, Nga Puhi, Ngati Whatua
Clays, terra sigillata with wax resist, oxides, muka (flax fibre), jade
14.5 x 13 x 6"
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Reflects the mana (prestige) of the great navigator Kiwa, the eponymous ancestor of Te Moana nui a Kiwa - the Pacific Ocean. The taniko cloak border depicted on the vessel; the attachment of a pounamu jade eardrop; the moko (tattoo) on the face, are all references to the mana of the man.

Korowhai - The Cloak
Colleen Waata Urlich (1939-)
Te Popoto, Nga Puhi, Ngati Whatua
Clays, terra sigillata with wax resist, oxides, muka (flax fibre), feathers
12 x 7 x 15"
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The cloak is a symbol of mana customarily worn by those of chiefly birth. The named cloaks were woven by master weavers, from prepared flax fibre known as muka, and created using a finger weaving technique. Many cloaks are decorated with taniko borders and hems.

Nga Tupana 1 - The Ancestors
Colleen Waata Urlich (1939-)
Te Popoto, Nga Puhi, Ngati Whatua
Clays, terra sigillata with wax resist, oxides, muka (flax fibre), Paua shell
12 x 7 x 15"
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A tribute to ancient ancestors who explored the Pacific region and settled within the Polynesian triangle of Te Moana nui a Kiwa - the Pacific Ocean.

Tihei Mauri Ora - Toki / Adze
Fayne Robinson (1964-)
Kati Mamoe, Kai Tahu, Ngati Apa Ki Te Ra To, Ngati Porou
Totara, kauri, jade (with stand)
34 x 9 x 4"
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This toki (adze) has a relationship with Maui, who was the eponymous ancestor of the Maori people in New Zealand.

According to the people of Ngati Mahaki ki Makawhio, Maui's toki was called "Tihei Mauri Ora" and on his arrival in Aotearoa. He landed at Porakiraki (Bruce Bay) in his waka 'Mahnui'.

Prior to his landing, Maui had to slay two taniwha (powerful sea elements) at either end of the bay. Mako-horo-pekapeka was at the southern point named Here-taniwha, while Mako-tipua was situated at the northern point, which was called Makawhio. Maui slew the two taniwha with his toki, "Tihei Mauri Ora".

Maui and his deeds were well known throughout Te Moana nui a Kiwa (the Pacific) by the Polynesian people, and according to the Ngati Mahaki hapu, Maui's first landing place was at Porakiraki.

This adze form, Tihei Mauri Ora, stands prominent and is the symbol of Maui's prowess, while the two taniwha, Mako-horo-pekapeka and Mako-tipua, are enslaved within. The unpredictable nature of the western currents of the South Island (Te Tai Poutini) is the underlying feature of this composition. The carving is further enhanced with the prestigious pounamu jade.

An oft-repeated whakatauki (proverb) of Maori "Ahakoa he iti, he pounamu" is said to have the meaning "Although small, it is the most precious", and this whakatauki is spoken reverently when referring to one's most important taonga (treasure). To the Maori, pounamu was (and still is) such a taonga. Because pounamu is sourced in the rohe (tribal area) of the Ngati Mahaki people, they became the kaitiaki (caretakers) of this important asset. By using pounamu in Tihei Mauri Ora, it recognizes the importance of this taonga to my people.

This adze form acknowledges the functional importance to Maori, through the art of canoe and house construction. (Without the adze, it would have been impossible to build houses or canoes). The binding is representative to remind us, that for the toki to become a practical tool, it needs to be bound to its handle in a symbiotic partnership.

Tihei Mauri Ora has personal significance. One of my hapu (sub-tribes) is Ngati Mahaki ki Makawhio. About 150 years ago, my people, although then known by another ancestral tribal name, occupied the Makawhio Pa. Through colonization and isolation, the pa (fortified village) was abandoned and fell into disrepair over time. This year has seen the Ngati Mahaki people commence constructing their own marae at Porakiraki, named "Te tauraka waka a Maui" (Maui's landing place). I have been commissioned to create the carvings for the wharenui (meeting house) for the marae. Such a project has been a lifelong dream of mine. I will be representing many tupuna (ancestors) through the carvings, which will tell stories to our children, grandchildren and generations to come.

Carvings being created for our wharenui have inspired the adze form. This carving depicts the functional use by its form (adze) and recognizing my people, who were well known as boat builders.

"The light behind illuminates what may be hidden within".