Ipu 1 and 2 - Vessels of Knowledge (Whakamaharatanga series)
Wi Te Tau Pirika Taepa (1946-)

VESSELS OF KNOWLEDGE - Whakamaharatanga series.

There have been many great New Zealand artists, Maori and Pakeha (European New Zealander), who have left their creative legacy and set the foundations of identifiably New Zealand / Aotearoa artistic traditions.

Whakamaharatanga (remembrance) is used in the idea of the vessel as an icon associating present creative endeavours with artists who have previously paved the way for us.

He Kakano a Pikiao - The Seeds of Pikiao
Lewis Gardiner (1972-)
Te Arawa, Ngati Awa, Whanau A Apanui, Ngai Tahu
New Zealand pounamu jade (Marsden/South Westland jade)
11.5 x 10.5 x 10"
kx30622

The mask traditionally depicts an ancestral figure. This mask links the descendants of Pikiao past, present and future, which as Maori gives us a sense of belonging and of being one with our maunga (mountains), whenua (land), roto (lake), awa (river) and moana (sea).

Nga Ao E Rua
Lewis Gardiner (1972-)
Te Arawa, Ngati Awa, Whanau A Apanui, Ngai Tahu
New Zealand pounamu jade (South Westland / Siberian jade)
20.5 x 8 x 4"
kx30704

This sculpture is a tekoteko (carved figure) that symbolizes an ancestral form. Nga Ao e Rua tells the story of overcoming Maori and European diversity within the two cultures.

Huia Kaimanawa
Gabrielle Belz (1947-)
Nga Puhi, Te Atiawa
Reduction linocut print on harakeke (NZ flax) paper (edition 7)
29 x 20"

The huia, considered extinct since early in the 20th century, was a bird regarded as extremely precious. The male and female birds had different shaped beaks and were interdependent in their feeding habits. They mated for life and were held as an example of enduring conjugal affection.

Although many birds had feathers that were prized as adornments, the tail feathers of the huia with their distinctive white tips were reserved for those of great prestige and importance.

During the Royal Visit to NZ early in the 20th century, a huia feather was presented to the Prince of Wales, which he placed in his hat. Unfortunately, many New Zealanders not understanding the inference of the gift, thought it gave carte blanche for every-man to wear a huia feather in their hat. This, together with ornithologists gathering specimens for 'scientific study', and introduction of animals such as rats and cats has succeeded in eradicating this beautiful bird.

The print shows both the male (with the short beak) and the female with their tails spread in a fan shape in display. The stylized form of the birds and their positioning is a visual rendering of the need to bring elements into balance.

The kowhaiwhai (painted scroll work) element passing through the centre of the image is partly a representation of plant-life as seen in the bush, but also a lament for the generations of huia that have been cut short through lack of foresight. The paler green that follows through underneath the koru shapes, is the intent that the essence of the huia will continue within peoples' lives, and perhaps in some hidden valley there is still a colony of these wondrous birds.

In short, the print is about the conservation of all things we hold precious.

Kiwi
Gabrielle Belz (1947-)
Nga Puhi, Te Atiawa
Reduction linocut print paper (edition 10)
26 x 15.5"

"Te Manu huna a Tane" (Hidden Bird of Tane) - a saying used to describe people arriving at dark. Tane is known as God of the Forest, a sort of 'Forest Administrator', Light and Life Giver.

Kiwi emerges from his burrow, often made in the base of hollow trees, as the night approaches. His pathways through the forest lead him to search. He is inquisitive, poking with his long beak, with his nose right at the end. Kiwi's feathers are soft like other night birds, allowing them to move quietly. His soft, warm, feathers are reminiscent of the fern leaf shape, are highly prized for ornamenting cloaks and occasionally other prestige items.

One of the kiwi is shown with a manaia type head
instead of bird claws, this is to indicate his leg / foot strength and fast speed.

Commonly used in a 'cutesy-pie' mode in advertising, it's difficult to represent his natural form, without reviving the commercial image. In making this print, the artist has attempted to give back to kiwi some of his mana (prestige).

I Ruia Mai I Rangiatea
Gabrielle Belz (1947-)
Nga Puhi, Te Atiawa
Reduction linocut print on harakeke (NZ flax) paper (edition 9)
29 x 20"

The title is a reference to the words handed down concerning the place, Rangiatea, as being a place of dispersal in the Pacific towards Aotearoa. "E kore au e ngaro; he kakano i ruia mai i Rangiatea" (I shall never be lost; I am the seed which was sown from Rangiatea).

The background of this print uses a weaving pattern that is suggestive of the sails of waka (canoes) as they pass over Te Moana Nui a Kiwa - Kiwa's Great Ocean. The bird shapes, scattered over the land area and edging into the sea, represent of our ancestors stopping off at Rangiatea on their sea travels before heading to Aotearoa. The elliptic shape is a reference to a waka (canoe) shape, or seed shape, both of which are symbols of whakapapa (lineage), and is pointed southwards towards Aotearoa.

The lowest section of the print has lines radiating out to make a veiled reference to the Ara Moana - another weaving pattern used in taniko (ornamental borders on cloak)- meaning Sea Pathway. Taniko refers to a twisted weaving process of fine fibres making intricate patterns, traditionally used on prestigious garments.

The circular motifs that make a semi-circle around the 'casting off' place of the kakano / waka (seed / canoe) are a reference to the tapu (sacred) nature of a place that was a gathering of chiefs, and the rituals associated with correct process before an undertaking.

Briefly, the underlying theme of the print is genealogy, and the connections we have made with each other over time and place.

Tui - The Orator
Gabrielle Belz (1947-)
Nga Puhi, Te Atiawa
Reduction linocut print on paper (edition 12)
15.75 x 22"

"Ka tangi te koko." - The tui calls. The tui is standing on red sacred ground - representing the marae atea, space for discussion, concerning topics of import for iwi (tribe).

The tui with his wonderful eloquence becomes a synonym for the orator.

Within the ritual of encounter, Ranginui (the Sky Father) and Papa Tu a Nuku (the Earth Mother) are acknowledged as part of the speechmaking, thereby reminding the people of the brotherhood of man and all life, and the responsibilities of kinship.

The pattern within the sky area is a mnemonic for constancy in the social structure as revealed in the inevitable cycles of nature. "Ka mate he tete kura, ka tupu he tete kura" (As one fern frond (leader) dies, another fern frond grows). The colour yellow the artist identifies as illumination, both of light and understanding. The dark space under the red is the journey we all travel at this life's end.

Kaitiaki - Ruru
Gabrielle Belz (1947-)
Nga Puhi, Te Atiawa
Reduction linocut print on rag paper (edition 10)
16 x 32"

The alert watchfulness of the ruru (morepork - small native owl) has entered te reo (the language) - in the word 'whakaruru', denoting the action of guardianship, stewardship, vigilance. The ruru has been designed within this print format with the whare (house) in mind. The wings / arms stretch out to cover and provide protection to the manaia figures. The artist has used a manaia form to depict status within the iwi (tribe) at all times. The head of the ruru becomes front and centre of the whare (house) looking towards those approaching. The design on the body of the ruru is inspired from the fern leaf pattern, making a link between all the children of Tane - mankind, birds and trees.

Reo 1 (Voices of the Land series)
Israel Tangaroa Birch (1976-)
Ngati Kahungunu, Nga Puhi
Lacquer on MDF
12 x 12"
kx30705

During 2001, I had the opportunity to visit with the late master, Hirini Melbourne, and learn about the whanau (family) of Nga Taonga Puoro (Maori musical instruments) and also their philosophies. Hirini Melbourne is instrumental in the revival of these taonga (treasure) and has worked with friends, Richard Nunns and carver Brian Flintoff, over a period of twenty years to revive this long lost treasure. My work is a direct influence to the voices of these instruments and I wish to create works that sing, whether in painting, print or sculpture. The title 'Nga Reo O Nga Whenua' (Voices of the Land) comes from the show that Hirini and Richard perform when exhibiting their voices of these taonga. These works are part of a series of paintings under this title which I am working on at present. I am trying to locate a sense of visual sound within my works. Each Maori instrument has it's own mauri (life force), wairua (spirit) and reo (voice). When given life through the medium of breath, they sing. I see my work as having the same concept, but it is the light that breathes the work into existence.

"Rhythm and Movement are the essence to life" Hirini Melbourne.

Manawa 1 and 2
Paerau Corneal (1961-)

These are part of a new series, based on the poutokomanawa (centre post in the meeting house) that depicts an ancestor from which those people descend. The poutokomanawa is the manawa (heart) of the house.

Tiheru - Canoe Bailer
Lewis Gardiner (1972-)
Te Arawa, Ngati Awa, Whanau A Apanui, Ngai Tahu
New Zealand pounamu jade (Siberian jade)
10.5 x 19 x 9"
kx30623

The tiheru was traditionally a functional vessel given an ancestral name to show its importance to the iwi (tribe). The tiheru has a strong, simple, flowing form, as a reference back to the sea.

Stingray Medicine Pot
Colleen Waata Urlich (1939-)
Te Popoto / Nga Puhi / Ngati Whatua
Clays, oxides, terra sigillata with wax resist
10 x 7 x 7"
k30602
The ray is regarded as a Kaitiaki / Guardian / Messenger, among some northern tribal people and as such is a sacred animal. Here it guards the contents of healing that are to be placed within the vessel.

Family of Whales Platter
Kerry Tamihana (Thompson) (1967-) & Granville Haworth
Ngati Paoa
Kauri, whalebone, cattlebone
2 x 21" diam.
k30702

The meaning is based on the theme of father, mother, and child...the family. The platter depicts the family of Humpback whales making their journey, migrating to warmer waters. The white bone pieces symbolize the currents that the whales follow to their destination. The Humpbacks migrate in winter across the Pacific from the waters around New Zealand to Hawaii, Mexico, and the Caribbean. The centre piece represents the continuous cycle they repeat every year. The whales are carved out of whalebone with inlays in mother of pearl and cattle bone. The wood is 1000-2000 year old Kauri wood. Granville Haworth prepared the platter for me then I designed and inlaid all the materiels into the platter.