Art
Combining Maori heritage with contemporary NZ design – David Hakaraia.
By Jane March 23, 2012 No Comments Re-Tweet This Share
Nearly every child in New Zealand grows up listening to the stories of Maori legends. It might be said that the stories of Maui Tikitiki-a-Taranga are some of the most popular. In some of the stories Maui is cheeky, curious, and his inquisitive nature means that he goes on really awesome and dangerous adventures. When he’s old enough Maui starts to question his origins and begins to figure out his own identity. Perhaps unsurprisingly, the legends of Maui continue to influence our lives; like Maui, we are discovering what we find unique about ourselves, what we can create that expresses our own individual New Zealand identity.
David Hakaraia amalgamates his Maori heritage with contemporary designs and practises. The result is a fascinating synthesis: Hakaraia creates works that have a “design approach that is distinctly his own”, they are a combination of Maori storytelling and modern techniques through the use of a variety of media. David is of Ngapuhi and Ngati Paoa descent and grew up in Tokoroa and Kororareka. He graduated with a Masters of Design with Distinction at Victoria University School of Architecture and Design in 2011. David’s aim is ”to develop new ways to express my history by marrying contemporary design technologies with the tradition of Maori story-telling. My hope is that this historically and culturally grounded approach will offer new ways with which contemporary Maori may connect with their history”.
David’s works are obviously reminiscent of his Maori heritage, as seen in his Waka Whakaka, which also combines pacific and western cultures. Intricate koru designs are magnificently laser-etched on a wooden elliptical shape. When switched on, light streams through the cuts, making the patterns on the Waka Whakaka glow.
David’s other light, Mahuika, is directly influenced by Maori legend: it is based on one of the stories of Maui, when he goes to the underworld to get fire from the old kuia, Mahuika. The light is made of porcelain and native timber. Mahuika looks like a multi-coloured flame, and is both bright and delicate at the same time. And pretty soon David is going to become a cleverbastard (which we are very excited about). We are looking forward to having a new and extremely innovative designer join our team. Story by Jane Yonge
Also visited Jo Blogg in her studio in Napier… which happens to be right next door to Fane Flaws.
By paul November 23, 2011 2 Comments Re-Tweet This Share
Jo Blogg’s studio is right next to Fane’s and so it was great to get a look-in on what she’s been working on too. And there’s much to see since my last visit, which is a little surprising as Jo is the antithesis to Fane’s working style…. fastidious, measured, painstakingly detailed [therefore slow] and methodical. But no less inspired. Her techniques remain constant, but her canvases and materials change. Objects that have a previous life as ornaments, like this collection of animals, or utilitarian items like doors, get new life energy breathed into them. Pages from a classic 70’s Playboy serves as the medium for a new work… a hole punch is used to create perfect circles of colour pasted over an old print of Gainsborough’s Blue Boy painting. The juxtaposition and layering of old and new subjects and using unexpected media, make this incredibly fresh work.
Sadly I didn’t get a new photo of the camera-shy Jo this time, but I’ll be back when these works are ready for show. Who knows when that will be but it will be worth the trip. In the meantime check out her current work on CleverBastards…
We’re Back! With a visit to Fane Flaws in his cool new backyard studio.
By paul November 22, 2011 No Comments Re-Tweet This Share
Fane and I go back a long way, having made many TV commercials together back in the 90’s… the Vogels Legends series for one. And man we had plenty of fun. So it was great to see him again, going hammer and tongs in the new-old studio in his Napier back yard, an old school room he’s managed to haul in. He’s given up making ads [me too], but he makes so much more these days… and the evidence is everywhere… drum kit and guitar to one side, easel loaded with a large oil in the middle of the studio, computer in the corner. He plays me a new song he’s recorded and the music video he’s filmed to go with it, a new kid-adult book, which he’s written, illustrated and laid out. Oils in progress, a new swag of ‘Bird’ gouaches, assemblages made of stuff from the demo yard lie against the walls everywhere. This is just a normal day in Fane’s prodigious creative life. I’ve always loved his creative energy… like an exploding head of ideas.
Check out some of his new works here… or some animated videos he’s releasing to go with his kids book “the Underwater Melon Man”
Fane outsie his new studio
Underground art welcome on the underground
By paul August 14, 2010 2 Comments Re-Tweet This Share
Art should belong in the public arena right? What better canvas than a subway train? Wrong? It wasn’t long ago that subversive artists were “doing” their art in these places… illegally. These artists [admittedly not all were artists] were the scourge of the New York and subsequent subways. Now they’re emerging as recognised artists throughout the world. Although some prefer to remain incognito. They’re even legal in some underground railways. And above ground they’re celebrated as enriching cities like Melbourne. Where their works have become tourist attractions with bus tours showing the way. And so they should be. Try these wonderful creations found in Amsterdam. Talk about enriching otherwise boring and ugly environments.
Million Dollar Design were selected by the Amsterdam Public Transport Company to transform one of the old “Zilvermeeuw” subway cars into art [and their work has lived up to their name]. They were one of 40 artists that were selected to create a new subway carriage interior. “With our design, the common dark gray atmosphere of the underground has been transformed into a colorful underwater world. Mermaids swim along, an octopus hides under an umbrella and a turtle takes you on a journey into the unknown. The subway consists of two differently designed so-called ‘bins’ (compartments). One has a predominantly green color which reminds you of the deep underwater, where strange little creatures are floating around. The other which is purple, suggests that it’s closer to the surface, where small fish are flirting with the sparklings of the sunlight onto the water.”
It’s public-minded community art projects like this that make the mundane of cities into exciting, moving, living, giving, enriching environments. Worth living in. Worth sharing with the world. So what about us? Our cities shaping up for the Rugby World Cup? I don’t see much like it on our trains, buses, underpasses… yet?
A glass bird in the hand…
By paul July 16, 2010 No Comments Re-Tweet This Share
Stuck around the back of a nondescript building in Newton, Auckland, I find a treasure trove of glass artists. Katherine Rutecki and Luke Jacomb run a glass studio specialising in glass-blowing and casting glass in the lost wax method. Together they’ve formed Lukeke Design, under which they collaborate on a number of works that, while perform as objects of beauty, perform equally well in other ways in the home. As individual artists they have their own specialities. And it’s Kate I’ve come see about her glass birds…
Her fascination with birds began with a dream which she captured in this sketch, created in the middle of the night…
The birds take on human characteristics in a nightmarish, ghoulish scenario in these drawings.
But the works currently flying out the mould [it's actually a bit more difficult than that] are birds that celebrate flight, life and symbiosis… almost human-like expressions of togetherness, connectedness, an almost exquisite expression of love.
The process starts with a sculpture in clay. After a series of positive and negative versions in rubber, wax, plaster and finally glass, the piece emerges in a rough finish. After grinding and polishing it is finally sandblasted to give it the delicate, glowing finish that diffuses the light rather than bouncing off it.
The art of glassblowing is always fascinating to watch, mesmerising. What I love about these goblets is that, with their sand-blasted finish, they have an almost ceramic-like quality. They look stunning in monochrome white, black and various colours. Quite graphic and juxtaposed with their mix of classic and traditional forms.
Another find while in the studio was these cast glass Power Poles by Simon Lewis Wards… enigmatic yet so mundane. And quite beautiful. I’m looking at the power poles in my street quite differently now.
Nontoxic printmaker Mark Graver, the saviour of NZ printmaking?
By paul June 22, 2010 2 Comments Re-Tweet This Share
On my latest road trip up north to Kerikeri I discover NZ’s only fully non toxic printmaking studio buried in the lush subtropical gardens of Wharepuke. Mark Graver, who trained at Leeds Polytechnic UK and Camberwell College of Arts in London, now calls Northland home. He practices as a full time print-maker and painter but loves sharing his knowledge through teaching, writing books and exhibiting both in the gallery next to his studio as well as abroad. His passion though, is for printing in a clean, non toxic environment using natural and organic materials. He reckons it’s the only way to sustain the art of printmaking, as the usual methods and materials used are highly toxic leading to many studios and teaching facilities closing down.
But sustainable credentials aside, I love the earthy nature of his work, whether it’s the subject or the very materials he uses. For example, this one of series of colour etchings inspired by Monet’s Water Lilly paintings, Nympheas II …
And other etchings, Lavenham and Fairstar….
And in his paintings he mixes in earth, gravel and all manner of natural elements from his immediate environment… as in the painting Drive. I suspect that the very gravelly effect in this work is achieved with elements from his own driveway mixed in with a blend of other media.
So Mark Graver, please carry on your crusade for the true art of printmaking by keeping it clean… and “dirty” in terms of your painting. Oh, and by the way, why not meet Mark by staying at Wharepuke in one the cottages?
