History in the making
After a couple of false starts, Tauranga is finally getting its very own museum in 2028. But what will it show and why do we need one
After a couple of false starts, Tauranga is finally getting its very own museum in 2028. But what will it show and why do we need one?
words Karl Puschmann
photos Katie Cox + supplied
The grand opening of the new Tauranga Museum may still be four years away but director Greg McManus’ excitement has already well and truly arrived.
When UNO calls for a chat to catch up on how the project’s going he’s bubbling with enthusiasm and bursting with ideas for how he sees the museum benefitting and adding value to the community.
His energy towards the long-delayed project is infectious and leaves you wishing it was opening as soon as possible.
But alas, the museum doors won’t open until 2028. With construction on its prime inner-city site having recently started, it proves the adage ‘good things come to those who wait’. Greg is a 30 year veteran of museums around New Zealand, including stints as Director at Rotorua Museum and most recently as CEO of Waitangi Treaty Grounds where he oversaw the development of two new museums, and feels strongly about the importance of museums to communities
“I believe every community needs a museum,” he says. “Museums house our collective memory, they store and interpret the history of an area, not just for visitors from out of town or overseas, but also for ourselves. We need museums to help us better understand the stories of the place we live in, and also the stories of others who share the place with us. Museums encourage an understanding of diversity and the interwoven relationships we have as people living together in the same place and they play a huge role in inspiring children and young people to have an interest in art, culture, science and natural history.”
The future Tauranga Civic Whare, Exhibition Gallery and Museum.
Strengthening the connection between people and place is one of Greg’s big passions and is high on the priority list for the museum.
He says that people get a greater understanding and sense of belonging from knowing the history of where they live. Tauranga and its surrounding region is full of unique stories and significant sites that deserve our attention.
“When people drive down Cameron Road, they drive past the Gate Pā battle site,” he cites as an example.
“I suspect a lot of people don't know or don’t give it a second thought, but that battle was a really important event in the history of Aotearoa New Zealand, not just Tauranga. There are sites like that all through the region.”
He’s also keen to showcase the many innovations that have occurred here, including the first-ever hot water cylinder to be run off public electricity invented right here in Tauranga in 1915 by Lloyd Mandeno and in the museum’s collection.
In total the museum collection houses more than 33,000 objects in total, with most having never been seen publicly because, until now, there’s been nowhere to display them.
“Obviously, we're not going to have 33,000 objects on display in the museum,” he clarifies with a laugh. “But the permanent exhibitions will be rich with objects from our collection and other collections around the country. It will be a real weaving together of stories, objects and images into a broad, rich experience. Because that’s what museums are: places that tell stories.”
Along with the main, permanent exhibitions, there will also be two large galleries for temporary exhibitions. This, Greg says, will open up Tauranga to world-class exhibitions that we’d usually need to travel to places like Auckland or Wellington to see. He talks about partnering with other museums to bring exhibitions from overseas but also about leading the charge and bringing international exhibitions exclusively to Tauranga. This would enrich our cultural exposure and also encourage people from other parts of New Zealand to visit the region.
“There's a huge circuit of exhibitions travelling around the world all the time,” he says excitedly. “We'll be able to tap into that and bring exhibitions to Tauranga. People love coming to the Bay of Plenty year-round and if we have fantastic exhibitions it will encourage them to stay longer and contribute more to the local economy.”
But all that is secondary to his first objective of telling Tauranga’s stories and encouraging locals to feel a connection with their shared history. He wants residents to have free entry to the core museum experience and, to encourage engagement and a sense of ownership, is starting a Friends of the Museum programme. The idea is to keep people informed about what’s happening as well as provide exciting opportunities and benefits to members.
“It really will make people feel a part of the museum as we build it and make that connection so much stronger,” he smiles.
And that’s what the new Tauranga Museum is going to be all about. Greg says he wants people to come to their museum and see themselves reflected in the stories it tells and perhaps learn a little more about the place they call home and the people they share it with. It's all about providing the opportunity for gaining an understanding of the richness of living in a place.”
He pauses for a second and then laughs and says, “Tauranga’s not just about going to the mall or going to the beach. There's a lot more to it than that and our museum will reflect that!”
Flexing your musical muscle at Totara St.
Great teachers are instrumental in developing a certain gift that keeps on giving, and UNO knows where you can find one.
Great teachers are instrumental in developing a certain gift that keeps on giving, and UNO knows where you can find one.
WORDS NICKY ADAMS / PHOTOS SALINA GALVAN
Having flexed my musical chops at an early age by mastering “London’s Burning” on the recorder, I was a little taken aback to be told by my music teacher as a young teen that I was tone deaf.
The bubble of my fledgling pop career burst by the harsh words of Mr Crabb, I never picked up a musical instrument again (unless you count the triangle in the Christmas nativity play), and although my children have each shown some musical ability, I can lay no claim to being the genetic source of their talent. Music trends have moved with the times, though, and it’s fair to say that the array of possibilities now open to young (and not so young, for that matter) learners is extensive – and, more than that, exciting.
Here in Tauranga, we’re lucky enough to have among our options the Mauao Performing Arts Centre (MauaoPAC) based at multi-function venue Totara St, which offers tuition in every avenue you could imagine. No longer must parents be subjected to the screech of a recorder, when the array of instruments to choose from at MauaoPAC includes guitar, ukulele, bass, keyboards, piano, percussion, saxophone, violin and voice. In group classes and one-on-one lessons, there are up to 12 tutors available who operate out of four rooms.
The idea is to immerse the students not just in their lessons, but in the whole scene; some of the tutors are jobbing musos (until recently L.A.B frontman Joel Shadbolt taught here), and at the end of every term, a concert is put on in the high-tech on-site venue. Budding Billie Eilishes or not, this experience blows the kids’ minds. Although the thought of igniting and facilitating their children’s creative passion tops many parents’ to-do lists, like anything, it has to be the right fit.
Tauranga’s Carly Stewart sends her son to MauaoPAC for electric guitar lessons and her daughter to voice classes. She says she loves the culture because, “It has a laid-back, family feel, and the go-with-the-flow vibe fits nicely with the whole music scene”. When it comes to the benefits of being part of this community, Carly says, “It’s so important and has become a huge part of our lives. The temptations out there for teenagers are real and being passionate about music helps kids focus on the right stuff.” She also enjoys the end-of-term concerts. “They’re a definite highlight. They give the kids something to work towards – and parents love it too.”
It’s not just the musically gifted who reap rewards. Music can open a window for anyone to a truly wonderful world. Aside from the joy it brings in the moment, it’s a gift that keeps on giving. Neuroscience studies prove that music can enhance brain function in children, and it helps to develop the left side of the brain, related to language and reasoning. People who are musically trained have been proven to have better working memory skills, which helps them to remember things even while their minds are busy with other matters. As someone with a shocking memory, this leads me to think it’s not just children who should be encouraged to pick up an instrument. Playing music also requires concentration, and in this day and age when technology cultivates an unhealthy desire for immediacy, training the brain to focus on something for sustained periods is invaluable.
Whether you have the next member of Sol3 Mio in your home or just a kid who loves to bang on a drum, MauaoPAC offers a joyous, encouraging environment for all. Add to this the confidence-building attached to any kind of performing, and even the ‘tone deaf’ like myself will come away richer. As German philosopher and composer Friedrich Nietzsche once said, “Without music, life would be a mistake.”
Wharf Street: Tauranga city’s sparkling new outdoor dining precinct
Come with us as we take a tour of this must-visit destination, where food and drinks, entertainment, art and culture collide, and the only traffic you’ll find is the foot kind.
Come with us as we take a tour of this must-see destination, where food, drinks, and entertainment come together and the only traffic you’ll find is the foot kind.
Wharf Street has been transformed – an exciting development for Tauranga that sees a selection of eateries and bars spill out onto the pavement, creating a bustling atmosphere for everyone to enjoy. Did you go to the precinct’s first Friday Night Live? It was a roaring success and will continue every week from 5:30 to 9pm until the end of April and again next summer. There are also plans for more weekend events, open-air movie nights and outdoor art exhibitions – and the lane will be put to good use during the jazz festival.
Wharf Street is a cosy yet vibrant place to meet, mix and mingle, and breathes new life into the heart of the city, says Sally Cooke of Downtown Tauranga. “This is very much about creating a unique experience, with great diversity in the food and bar offerings, and all kinds of events. People will be able to enjoy it in so many different ways.”
The Barrel Room
Enjoy the finer things in life with plates and plonks to suit all tastes.
Between their mouth-watering dishes and highest-quality beverages, there’s something for everyone to savour at The Barrel Room. You’ll find wine from the best regions in New Zealand and beyond; an exceptional, ever-changing range of craft beers, special Belgian beers and Heineken on tap; and a stellar selection of spirits to sample. The team of chefs have created a menu filled with international flavours, including crowd-pleaser platters, gourmet burgers and traditional-style handmade pizzas. They also offer quick lunch options if you’re short on time.
Get the full Barrel Room experience with Latin Night on Thursdays and live music on Saturdays, along with brewery, distillery and winery tasting events.
The Crown & Badger
British-meets-Kiwi food and hospitality come together at this popular waterfront pub.
The Crown & Badger has held its place as one of Tauranga’s best-loved destinations for 17 years and is thrilled to be part of the Wharf Street transformation. “It’s exciting,” says owner/general manager Jessica Rafferty. “It’s been so cool to see people gravitating towards this new space – it’s just what Tauranga needed.”
With a sell-out quiz every Tuesday, live music on Fridays and Saturdays, and more than 230 drinks behind the bar, it’s a must-visit hotspot both for folks who want a welcoming place to enjoy a classic British meal and revellers ready to dance the night away. The seasonal menu has a Kiwi twist and along with the lunch deals, the Sunday roast is a Crown & Badger fan favourite.
The Hop House
Creativity’s on tap at this boutique craft-beer bar, where you can experience an ever-evolving roster of innovative brews and special occasions.
Whether you’re a long-time brew aficionado or a recent craft convert, you’ll find your hoppy place on Wharf Street. The Hop House is a craft-beer bar dedicated to local and national boutique beverages, with in-the-know staff who offer service that goes above and beyond. They work with innovative brewers; run creative events, including stand-up comedy nights and a Thursday quiz night that gives back to the community; host monthly tasting events and weekly live music performances; and have a function space that seats 50.
Owner-operator David Stanaway says he’s stoked about what Wharf Street brings to our city. “It’s been game-changing. It really makes Tauranga a destination.”
Enjoy a delicious burger or pizza at The Hop House, or choose food from nearby restaurants to enjoy with their beaut beverages.
Sugo
This forward-thinking Italian-inspired eatery lets local ingredients shine in a polished yet relaxed atmosphere.
Take a stroll down Wharf Street and Sugo will stop you in your tracks. If the deep green facade, twinkling lights, and peeps of red and white get your attention, the menu will make you want to stay. Co-owner/chef Ian Harrison focuses on fresh, local ingredients to create dishes that are constantly being reworked to suit the season. Sugo’s ever-popular chicken saltimbocca has just been given a new twist for autumn, with creamed leeks and lemon verbena, and they’ve devised four different but equally delectable versions of their risotto since their opening in November.
Ian says he and his crew are looking forward to making the most of their new surroundings. “We now have this beautiful outdoor area and it’s a really important part of Tauranga growing up. It brings life back to the city.”
The Chook Nook
Serving Korean-style fried chicken in a quirky setting, the newest restaurant on this block brings an irresistible crispy crunch.
A taste of Korea in downtown Tauranga, The Chook Nook has something for all ages. It only opened in March but has already proven a hit with young and older, thanks to its succinct menu focused firmly on fried chicken. The team hope to extend it as the restaurant grows, but for now, you can choose from crispy fried chicken, sweet and spicy, and soy and garlic, or get a platter of the lot.
Co-owners Paul Kwon and Yd Kim say their style of chicken is incredibly popular with foreigners in Korea, so they wanted to bring it to Tauranga to share the flavours of their home country. The Chook Nook’s fit-out is comfortable and cool, but because it’s part of the Wharf Street development, you’re also welcome to order your chicken to go, then munch on it at any of the precinct’s other establishments that take your fancy. The choice is yours!
Creative character: writer and poet Stuart Greenhill and the Fenton Arts Collective
Writer and poet Stuart Greenhill of the Fenton Arts Collective in Stratford talks to UNO.
PHOTOS Andy Jackson and Jane Dove Juneau
UNO: What a beautiful building you are housed in. How did you find it and what was the journey to restoration?
Stuart Greenhill: My partner Jo Stallard was looking for a heritage building to save. In 2016, she offered a ridiculously low amount for the Egmont Chambers building in Stratford, which was earthquake-rated 17%. It was accepted. The building was not listed on Stratford’s District Plan, so no funding was available. Other than that, it was a fantastic journey. We had enough experience from previous projects to ensure the outcome was what we wanted. The renovation won an Architecture Award in 2019 for Renovations and Additions. The building fascinates people, and many come just to see it.
What is the Fenton Arts Collective?
It is a collective of our passions and interests: Art, history, gin and espresso. We are 310 metres up a mountain, so our aspirations are just as high for each of them. The Collective offers people something unique, something intimate, something historical and modern; it offers a genuine experience.
Your partner Jo Stallard is the curator and artist-in-residence. What is Jo's artistic background, and what does she paint?
Jo comes from an art history background and is a portrait artist. She works in the traditional painting technique of “grisaille” or “dead painting” to traverse the landscapes of the human face and body. Looking, seeing and perceiving are the semantics of what a face has to give, share or provoke, and those are the landscapes she loves. So people come to the Collective, grab a coffee or gin from downstairs, and visit Jo’s working studio upstairs -- and maybe even chat about a commission.
Refreshment plays a strong role in your building; we hear gin and espresso coffee flow freely! Tell us more.
To survive in the provinces, businesses require diversity. Coffee, retail, and an art gallery were great, but we needed something more. Making gin is like writing. Botanicals are characters; each brings a different personality, so it was simply a matter of creating fantastic stories. People hear those when they book a gin tasting with me. Our espresso bar uses Proof & Stock coffee, made by our daughter, Adrianna, and offers high-quality healthy options including gluten-free and keto. And Tauranga celebrity Chef Ken Greenhill creates a monthly five-course degustation for us. They are so popular we have a waiting list.
What's your connection to Tauranga?
My brother’s been here since 1997, and Jo and I set up Deckchair on Marine Parade with him in 2007. We sold in 2010, travelled for a bit, and were approached in 2013 to establish Quantum Vis Eatery on Cameron Road. We still have a connection to the Bay, having formed many friendships over those years, and are thrilled that our gin is now carried by Mount Wine Barrel, Maunganui Rd and Fife Lane Restaurant.
And on top of all that, you're a published author! What have you written?
Dante Fog was published by Austin Macauley Publishers in London last year. It is autobiographical fiction (yes, that is a genre). The mother in the novel tells her son, “There are no better observers of life than artists.” I totally agree. Artistic license takes life and makes it art. That’s why I write poetry and prose and make gin and Jo paints. There is a beautiful complexity in discovering and understanding the layers in the mirror looking back at us. Our art attempts to express it so does the character Dante Fog.
What does the future hold for the Fenton Arts Collective?
There’s pressure to grow, but the distillery will remain boutique and so will the Arts Collective. Our gallery is booked for 2021, I am contracted to Austin Macauley Publishers for my next book, and Jo has two exhibitions this year. The future will be busy.
Award-winning Israel Randell talks art, new challenges and the bigger picture
“If people ask me [to explain my work], I want to have a conversation. That’s really all art is, a conversation. Sometimes it’s real honest, like, ‘What the hell is that?’ or ‘Why do I hate this work so much?’” That’s the kind of things that artwork brings.”
Through multi-media, moving image and sound, award-winning Tauranga artist Israel Randell articulates the spiritual and unseen. Now, in her new role as curator at Whakatāne Museum & Arts, she wants to help amplify the voices of local talent.
WORDS Maria Hoyle PHOTOS Quinn O’Connell
The question ‘what is art?’ is a tricky one to answer. One person’s masterpiece may be another’s monstrosity, making it hard to reach a consensus. Yet for multi-disciplinary artist Israel Randell, it’s not complicated at all. Art, she says, is a conversation, and as a newly appointed exhibitions curator at Whakatāne Museum & Arts, it’s one she is very much looking forward to having with the local community.
Originally from Hamilton (Tainui, Ngāti Kahungunu) and of Cook Islands descent, the mum-of-one has her work cut out for her when she arrives at her post (the week after talking to UNO). She and the team will be busy preparing for the February exhibition of the winners of the Molly Morpeth Canaday Award: Painting & Drawing, presented by Arts Whakatāne and held at Te Kōputu a te Whanga a Toi – Whakatāne Library & Exhibition Centre. Although that will be Israel’s immediate focus, she talks excitedly about the bigger picture.
“I’m really interested in being embedded in the community, getting to know the artists, and finding out how I can help them to realise their ambitions and be that person who bridges the community and the gallery,” says the Toi Ohomai Bachelor of Creative Industries graduate. “I’m also excited to be learning from my colleagues. Going into any new role, it’s good to be listening.”
Listening will be crucial for her dialogue with local artists too. Some may not see the gallery space as relevant to them – for example, those who may be more focused on selling their work, or those from other disciplines such as dance, theatre or acting.
Is it fair to say that galleries are often seen as no-go zones for certain sections of the community? “Yes,” she says decisively. “A gallery space is definitely always viewed as a white space by people outside looking in.”
So breaking down the boundaries between practices is one way not only to showcase a wider variety of work, but also to change the perception of what and who a gallery is for, of reaching those who aren’t, for whatever reason, engaging with it. “It’s constructive to help different types of creatives,” says Israel. “I think it does start with having a structure that caters to every kind of practice, not just the 2D practice or sculptural practice.”
Israel’s no stranger to having a dialogue across disciplines and amplifying the voices of indigenous artists. She arrives in her new role fresh from a Mana Moana research residency with arts agency Circuit, where she looked at the experimental practices of Māori and Pasifika visual artists, writers, choreographers and musicians to produce a collection of interviews and online content.
Israel’s own work experiments with moving image, multi-media and sound – quite a departure from the large-scale paintings she did as an art student in Auckland. “I took a break, moved to Tauranga and started off again at Toi Ohomai. But I didn’t want my work to be flat on the wall anymore – I wanted to occupy the space between the walls. I wanted to paint with light in space, so I was looking for materials that would let me do that. Lots of painters say all painting is about light and dark. I was interested in using light in a sculptural way to activate space.”
She originally considered working in neon, but it was costly. A classmate suggested wire would be cheaper, so she sourced some on Trade Me and started experimenting with it in the school studio.
Playing with wire and light sounds like a lot of fun, but it was no walk in the park. Israel’s daughter Lola, now two and a half, was just eight months old when Israel started the course. “I was still breastfeeding so I was worried. But I needed something else, a direction or passion, that was separate from my identity as a mother. I needed that for my own mental health and that in turn made me a better mother.”
It also, she believes, made her a better artist. “You go in there with no bullshit, no excuses – you get things done. You don’t have time to fluff around, then go home and work till 2am, because at home it’s all about your child. So I was way more focused. I think that drive elevated my art practice to something it maybe couldn’t have been when I was a single person.”
“I didn’t want my work to be flat on the wall anymore – I wanted to occupy the space between the walls.”
That ‘elevated something’ is a compelling body of work that speaks clearly to ‘maatauranga’ – what she describes as “the whole way of being Māori, the many layers that there are.
“I look a lot to cosmological narratives to explore things that aren’t material,” she says. “I’m interested in actualising the intangible. It’s hard… I don’t know if I’m successful half the time. This year’s body of work has focused on water and the elemental phases it goes through, and the spiritual things they hold for Māori and Pasifika people. I’m interested in exploring things that I can’t see that have been told by generations of elders, and trying to connect with it and make sense of it in my own way.”
Israel might not know if she’s successful half the time, but her work certainly impressed the judges of the 2020 Miles Art Award, presented In March by the Tauranga Art Gallery Toi Tauranga. To her surprise, she landed the Supreme Award for Wahi Ngaro, a compelling installation in which triangles of electroluminescent wire reference whakapapa and an in-between space with infinite potential. It’s a beautiful piece, one you can appreciate without knowing what it represents. Does it bother her when she’s asked to explain her work?
“If people do ask me, I want to have a conversation,” she says. “That’s really all art is, a conversation. The artwork is there to trigger that. Sometimes it’s real honest conversations, like, ‘What the hell is that?’ or ‘Why do I hate this work so much?’” That’s the kind of things that artwork brings.”
And then sometimes the work exists, well, just because. “Sometimes we totally make it because we want to make it. It’s important to let people know that and uncomplicate the way we speak.”
Featured in UNO Issue #51 - subscribe to get yours
Tauranga’s Dominic Tupou makes his on-screen debut as a young Jonah Lomu
At a family reunion, Dominic Tupou sat down with Jonah Lomu’s mum Hepi and found out just how much he and his distant relation were alike. “I did some character study with his mum and family,” Dominic says. “I learnt a lot about Jonah. In Tongan we call it fie tangata lahi. It means ‘wanna be old’. Because Jonah was surrounded by older cousins and uncles, he wanted to be like them. That was just like me.”
WORDS Casey Vassallo PHOTOS supplied
At a family reunion, Dominic Tupou sat down with Jonah Lomu’s mum Hepi and found out just how much he and his distant relation were alike. “I did some character study with his mum and family,” Dominic says. “I learnt a lot about Jonah. In Tongan we call it fie tangata lahi. It means ‘wanna be old’. Because Jonah was surrounded by older cousins and uncles, he wanted to be like them. As soon as I told my family that that was just like me.”
It was December 2018 that the now 16-year-old headed to Auckland to audition for the role of young Jonah Lomu for a television mini series. “I didn’t think I did too well. We did the scene where I was crying after I got a hiding from my dad,” he says. “I thought I over acted.”
But he nailed it and began filming mid-March in Otara, Auckland. So committed to the role, he even had his newly fitted braces removed to film after finding out he’d got the part.
Dominic says he got a lot out of working with Director Danny Mulheron and the on-set Tongan adviser Nua Finau. “I learnt that acting on stage and acting on camera are two completely different things,” he says. “Acting on stage is more dramatized. You have to make everything big: sing louder, act bigger, all your emotions have to be over-exaggerated.”
“On camera, they’re right there, so you can’t act as much,” Dominic says. “I found it a challenge, especially because all my online stuff is still really exaggerated so everyone understands the character I’m playing.”
In early January 2018, Dominic started posting videos inspired by real-life experiences on Instagram (@holyboy.domtupou). “I started making little skits, funny videos, because I was watching @samoansefaa – he’s a big online creator in the Pacific community,” he says. “I think my first big, big one was How To Be Sexy.”
Today, he’s racked up over 76,000 followers. His following suddenly grew when American-born Polynesian singer Dinah Jane joined one of Dominic’s live streams. His reaction to the former member of the girl-group, Fifth Harmony was funny enough for her to post it to her 3.9 million followers.
“There was a phase where Mum and the rest of my family were like, ‘nah, that’s a waste of time,’” he admits of his insta-fame. “But now they’re all supportive because they’ve seen how much of an influence I am to the younger kids; a lot of them really look up to me.”
And it’s true. Dominic is often asked to visit several schools and chat about everything from role models to identity. He’s also been an MC, on panel discussions, a dance tutor and guest performer at a list of events around the region.
Born in Auckland, Dominic moved to Tauranga when he was and is now in grade 11 at Tauranga Boys’ College. He’s part-Tongan, part-Cook Islander, part-New Zealand Māori and lives with his number one supporter, mum Malia Soifua Tupou Pearson, along with his stepdad and four younger siblings, Marcus (13), Sammie (10) and twins Malia and Evelingi (11).
Dominic won his first talent quest in year three covering One Voice by Billy Gilman, and proceeded to take it out in years five and six. “I’ve been singing ever since I was in kindie,” he says. “I’ve always been interested in the arts. From singing and winning the contest, I started taking piano lessons, learning the ukulele, and then I moved onto musical theatre.”
First off, he landed a lead role in the Selwyn Ridge Primary production of Made in New Zealand in 2014 at age 10. Dominic played Professor Ludwig Von Drake (the German duck) from Mickey Mouse and sung The Spectrum Song. “It was a fun character to play. Ever since primary school, I've been the class clown,” Dominic says.
Then it was on to bigger things, playing Aladdin in 2015 and by Lord Farquaad in Shrek in 2017, both for the Tauranga Musical Theatre. “It was a step up from just your normal school play,” Dominic says. “With proper costumes, makeup and lighting.”
Red carpets aren’t the long-term dream for Dominic. Instead, he looks to what Samoan filmmakers and siblings Stallone and Dinah Vaiaoga-loasa are doing in the industry behind Take Home Pay, Three Wise Cousins and Hibiscus & Ruthless. “Watching and listening to them has inspired me to be where they are,” says Dominic. “Making movies, telling our people’s story through the screen and being able to share it with everyone.”
Dominic is currently in the midst of more auditions, with another role inevitably around the corner. “If that doesn't go to plan, I’ll study psychology and become a detective,” says Domimic. “I like the idea of being in the police force without a uniform.”
Mr G: capturing and connecting with whakapapa through art
"I respect the portraits that Goldie and Lindauer painted, but what I have that they didn't is direct hononga to the culture, so I feel that puts me in the best possible place to be Māori portrait artist of the future. My plan is to do more portraits of Māori, sourcing materials where they are from, and telling stories of hononga to their whakapapa and homeland."
With his large-scale portraiture work proliferating around the globe, UNO discovers that it’s Graham Hoete’s deep connection to home that gives this artist’s pieces a depth that extends far beyond their physical size.
WORDS JENNY RUDD / PHOTOS QUINN O'CONNELL
"Let me talk you through this portrait of my dad," says Mr G, showing me a photo on his phone. I'm having dinner with UNO publisher Mat and artist Graham Hoete, “Mr G”, in Izakai at Bayfair in the Mount. There's quite a bit going on around us in the busy restaurant as they serve a five-course degustation but, at our table, all I can hear is Graham's euphonious voice as the future of Māori portraiture explains why hononga [connection] to the art he's creating has become his true north.
Graham is best known for his large-scale spray paint murals. I wonder how far afield his art can be found and discover a video online of him in an All Blacks shirt and a kilt, painting a mural of his ancestor, John Alfred Borrowdale Murray, onto a wall of the oldest building in the village of Moffat, Scotland, where John Alfred was born. "I wanted to pay tribute to my Scottish three-times great-grandfather on behalf of all the Murray whanau in Aotearoa who are descended from him," says Graham. If you keep looking online, you'll find more celebratory photos unveiling Mr G murals across the world, most of which are portraits.
His current artistic focus plays a film in my head, starting with Graham in front of huge crowds – like the one where he unveiled an eight-metre mural of Prince in Minnesota – running backwards to New Zealand, then Bay of Plenty, then finally to the tiny island of Mōtītī where he grew up and, before him, his father. Home.
Graham is putting together pieces for an exhibition called Home to be shown at Tauranga Art Gallery from November 9, 2019. Graham and photographer Quinn O'Connell flew to Mōtītī to take photos that show the importance of his hononga to home.
It's easy to underestimate the everyday things that are so precious to us. Quinn's photo of jars of preserved peaches sitting on a stove resonated with Graham. "To someone else, it's just fruit and glass but, in the context of my life, it's so much more. It's a symbol of home. I felt the deepest of hononga when I saw those peaches. And it won't last forever as, one day, my mum won't be here to make them, and someone else will be in this house, using this stove."
That takes us back to the portrait he's showing me on his phone. "I'm going to talk you through every aspect," he says. "You will see and feel something else when you understand the context."
"Portraiture isn't just about painting a face, it's about representing a person and all they are connected to."
Every element in the multidisciplinary portrait has some kind of hononga to Graham's father. Photorealism, spray-painting, whakairo [wood carving], sculpting, weaving, fabrication; each has its role in connecting Graham's dad to his past, his whakapapa [genealogy], whenua [land], and to the artist, his son.
"Portraiture isn't just about painting a face, it's about representing a person and all they are connected to." And in this, the first in the series, the artist is part of the story; the bloodline is the ultimate connection. The next day we meet in Graham's Papamoa studio, where I can see, touch and feel it all.
Capturing a father’s spirit
Graham's dad grew up on Mōtītī Island. The islanders grew maize and spent time in the ocean. "He's a hardy, gruff, old school kind of guy," says Graham. As the kaumātua at the marae, he introduces himself by saying,
Ka tangi te titi
Ka tangi te manu
Ko te manu ko te karoro
ko te karoro ko kere am e Hoete
"He's saying he's a black-backed seagull. The first time I heard him say these poetic and soulful words, I was blown away. It was true, too, as that's what we would have seen all the time while he was working in the fields or on the beach. And, when I see the birds from Papamoa where I live, I feel hononga to my Dad."
Painting the face
"I chose to spray-paint the face because it represents the hononga to my artistic journey. Using spray-paint to convey this level of detail isn't easy, and I really went steroids on the photorealism. It helped not having the time constraints that I usually have on a mural.
"Photorealism has an amazing ability to engage and attract people. It's universal. They always buzz out saying, 'Oh, it's so real, look at the lines on the face!' It draws everyone in, no matter their background. You then have their attention to look at the context of the image through the visual storytelling around the frame.
"It's not a traditional head-and-shoulders portrait. The face is pushed forward because I wanted to focus on his eyes, the most engaging component of a portrait. He's always had a great weathered, journeyed look which is well-suited to a portrait. I maximised every detail.
The yellow G
"In the centre of the portrait there's a yellow portion. That's a zoomed-in painting of the yellow pōhutukawa flower. These yellow trees were discovered on Mōtītī Island in 1814, and they are the symbol of the islanders who'll be reminded of home every time they see the bright flower. There are only two of the trees left on the island and one of them's outside my dad's house. The G symbol will continue throughout this portrait series."
The frame
The face has a beautiful aesthetic and spray-painting has a modern, edgy, street feel to it. That contemporary discipline has been fused with whakairo, the ancient art of Māori storytelling through wood carving. The frame tells the story of the central portrait. The wood is a blend of kauri and matai, and it's extremely heavy. It took three people to lift it onto the wall at the gallery for the photoshoot. The physical weight and density of the wood gives heft to its role in the portrait – to solidify and make tangible the histories and stories of Graham's father, his tribe, his home.
"I have always wanted to learn how to carve. I used to live with one of my uncles, he was a master carver in the traditional style. Its purpose is to tell each tribe who they are and show their cultural identity visually. The history of a tribe is told through carvings to future generations.
"About a year ago, I started to learn how to carve, and I'm lucky to be learning from one of the best Māori carvers in the world, Todd Couper. He's just a real Jedi when it comes to whakairo. I was walking up Papamoa Hills one day and he was walking down. He called out, ' Hey, Mr G!', and, from then on, we became friends. His work is exquisite. He's an exceptional perfectionist, and shows his work around the world. He lives in Papamoa, so we see each other most days.
The kupenga
Each marae has a theme which connects the local iwi, hapū and whanau to their ancestry and story. In Tamatea ki te Huatahi marae, which is the main marae on Mōtītī Island, the kupenga [fishing net] plays a central role in its interior storytelling. There are carvings on the pillars as you enter the marae and references throughout the buildings. The curved shapes on the bottom left and right of the frame echo the kupenga hanging below the fame.
“I feel very connected to my dad through his sea-venturing stories, especially through my own love of the moana."
"It shows the connection to the moana [sea] and that lifestyle. My mum and a few of my aunties still go diving for kina and pāua. It's not often you see groups of ladies my mum's age going diving! They are legends.
"There's strong hononga with this element of the portrait. The kupenga has been woven by my sister. She went and collected harakeke [flax] from Mōtītī, and the sinker stones are from Tumu Bay on the island too.
"When my dad was young he used to take me out diving. I loved watching him and my uncles spear fish with a Hawaiian sling. They were graceful, like the fish they swam after. As a young guy, I was inspired to watch them. Many people never get to go diving but, to them, it's second nature. Dad and Uncle Patu used to have competitions to see how many fish they could catch, as kids. They'd make their own spear guns out of poles and bits of rubber and spear blue maomao then thread them and trail them around as they fished. I feel very connected to my dad through his sea-venturing stories, especially through my own love of the moana."
The carved heads
As we move through the portrait, it's clear that the role of the sea is absolutely central to Graham's dad's life as an islander. The two faces on the left and right are based on the amo [posts] outside the marae.
At first glance, the eyes which look inwards at the portrait appear cartoonish. But Graham explains they've been painted to represent maramataka [the lunar cycle], and the waxing and waning crescents of the moon around which island life is based. The phases of the moon affect the tides, when to fish and when to plant crops. The economy and lifestyle of the island is centred around the moon. Mōtītī is so small, but all life upon it is driven by cycles way bigger than any of us.
The double tongues on the faces are common in Māori portraits. And there are various different meanings. Te Kau wae wai runga, Te Kau wae raro refers to the celestial and terrestrial language we use, but it can also refer to how you speak to people inside and outside the marae. Protocol is a big part of Māori culture, especially on the marae ātea [open area in front of the meeting house]. The two tongues can also represent division and deception. You'll often see the double-tongue depiction on maraes on the east coast in the Bay of Plenty, towards Whakatāne."
A closer look reveals many elements of traditional whakairo in the faces with their own inherent meanings. The little notches or taratara ā kae along the tongues represent food
and eating, and the pattern above the mouth is called pākati and is one of the main surface
patterns of whakairo.
"And at the top of the portrait is kōruru, which represents the main ancestor of his marae, Tamatea ki te huatahi. It's the same face that presides over our marae and is the symbol of our tribe and so it's fitting that he does the same job over the portrait of my dad."
The future
Learning about Graham's portrait has opened up discussions about how we relate to each others' cultures and what we can all do to stay respectful. And what's happening to Māori culture in its home, New Zealand, and how we can keep its roots watered and well.
Later this year, Graham and his wife Millie are travelling to Art Basel in Miami – one of the world's biggest and most prestigious exhibitions of modern and contemporary art – to see what place in the world his series of portraits could hold.
Graham believes his portraits are unique and are the future of Māori portraiture. "I respect the portraits that Goldie and Lindauer painted, but what I have that they didn't is direct hononga to the culture, so I feel that puts me in the best possible place to be Māori portrait artist of the future. I have a commision for a lady in Hamilton after she saw my father's [portrait]. My plan is to do more portraits of Māori, sourcing materials where they are from, and telling stories of hononga to their whakapapa and homeland."
When you go to the Home exhibition, you are now able to stand in front of this magnificent portrait and know the connection of this man to the life he has led.
Home Exhibition
Tauranga Art Gallery
9 November 2019 - 9 February 2020
hapū (ha-poo)
sub-tribe, clan a number of whanau (families) make up a hapu, usually from the same ancestor. A group of hapu make up an iwi.
harakeke (ha-ra-kee-kee)
flax
hononga (hoh-nung-uh)
connection
kaumātua (koe-mar-to-ah)
tribal elder
korero (koh-re-roo)
black-backed seagull
koruru (koh-roo-roo)
carved faced on gable at the marae
kupenga (koo-pen-nga)
fishing net
manu (ma-noo)
bird
marae (muh-rye)
meeting house
marae atea (muh-rye ah-tee-uh)
flat piece of land in front of the wharenui
maramataka (mah-ra-ma-ta-ka)
lunar calendar
moana (moh-ah-nah)
sea
takarangi (ta-ka-ran-gee)
the heavenly realm
taonga (tah-ong-ah)
possessions
whakairo (fuh-ky-roh)
Maori carving
whakapapa (fuh-kuh-papa)
genealogy
whanau (fah-noe)
family
wharenui (fa-re-noo-ee)
the main building at the marae
whenua (fen-ooa)
land
The Framer
Looking around, there are stacks of pieces - paintings, prints and photographs, each waiting for the right casing to bind them and make them wall-ready. Danny boasts some of the best machinery in town, including an ancient looking guillotine; apparently it’s one of a kind.
WORDS TALIA WALDEGRAVE PHOTOS TRACIE HEASMAN
Ten years ago, Danny Redwood was admitted to hospital on a Friday afternoon and told “If you are alive on Monday, we’ll start chemo.”
Before that cheery conversation, Danny had been working on his family’s farm, and ignoring the signs that his body was finding the relentless, menial toil, tough. He was neglecting creativity and became very, very sick. “I was working harder, not smarter, and had become increasingly run down for months. When I couldn't lift my arms above my head, I knew something was seriously wrong.
It was his mother Barbara who eventually encouraged him to go to the doctor. Barbara recalls “Looking at Danny next to his brother, his skin looked a ghostly grey. I had to plead with him to see someone.”
Danny says “My blood cells were completely out of whack and although I had been given the all clear for cancer a couple of weeks earlier, in a short space of time. I’d developed the early signs of acute lymphoblastic cancer, an incredibly rare form of leukemia in adults.”
“I needed a bone marrow transplant. Thankfully, my brother James was a perfect match. He is my only blood sibling so the odds of him being a match were pretty slim. In fact, I met someone else in the same boat as me - he had eight siblings - and none were a match.”
“The recovery was brutally intense but as soon as I was strong enough, I picked up a paintbrush. I now know everyone needs to have a creative outlet. It’s so important for our mental health.”
Ten years on, and an herculean recovery later, I meet Danny at work, Artisan Framing and Plaques, in the Chapel Street shopping centre in Tauranga.
"I love being an artist, but it's not always sustainable financially, so I wanted to do something that incorporated what I love to make a living. Being an artist puts me in a great position as a framer."
"I bought this business because it had a great, long-standing reputation. I then moved into this space because I wanted to have room to exhibit work from local artists. We’ve got so many great artists in Tauranga, but we are limited as to where they can showcase that work."
Looking around, there are stacks of pieces - paintings, prints and photographs, each waiting for the right casing to bind them and make them wall-ready. Danny boasts some of the best machinery in town, including an ancient looking guillotine; apparently it’s one of a kind.
Being someone who loves and appreciates art, Danny uses the very best stock, top quality fastenings and mountings for all his frames. “My machinery enables me to provide conservation framing. It’s a very high level of framing, which displays an artist’s work in the best way possible, lasts longer and galleries will far more seriously. It’s also about preserving family memories and making them shine in just the right way.”
It’s clear Danny’s experience has given him a mental calmness and clarity which extends to his work, giving life to the many beautiful prints and paintings he is tasked with preserving.
The one, the only…
Anyone who’s watched Ben Hurley perform will tell you he’s a bloody funny guy, but he isn’t your typical Kiwi comic.
The Katikati-based comedian makes Friday nights funny nationwide on TV3’s 7 Days, and now he’s set to make us locals laugh as the host of the second-annual Mount Comedy Festival.
WORDS Andy Taylor PHOTOS Brydie Thompson
Anyone who’s watched Ben Hurley perform will tell you he’s a bloody funny guy, but he isn’t your typical Kiwi comic. He didn’t grow up using humour as a defence mechanism like so many others. “I really liked school, actually,” he says.
Has he always wanted to be a stand-up comedian? “At the end of fourth form, the school sent around these forms that we had to fill out to check that we were taking the right subjects the following year, for whatever you wanted to do as a career. I’ve always been somewhat suspicious of authority, and I thought it was ridiculous that they were asking 13- and 14-year-olds what they wanted to do in life, so I put down ‘male model’. Then I crossed that out and put ‘comedian’, because that was the next most ridiculous thing that anyone could do. So ‘technically’, yes, I have always wanted to be a comedian. But I was living in a small-town in Taranaki at the time, so it wasn’t really an option.”
University, however, was, and Wellington beckoned, so off Ben went to study politics at Victoria. “They had an improv comedy club, and I met my best friend Vaughan King, who was an actor and comedian and started doing stand-up – and that kind of motivated me to do my first gig in 2001 at the Wellington Fringe Festival.”
“I thought it was ridiculous that they were asking 13- and 14-year-olds what they wanted to do in life, so I put down ‘male model’. Then I crossed that out and put ‘comedian’.”
So much for the politics degree. “Yeah. It’s just what you do isn’t it, something academic? Stand-up is something you shouldn’t really do straight out of school because you just don’t have the life experience, so politics and international relations it was. Dai Henwood has a degree in eastern religion, Jeremy Corbett has a computing degree and Jon Bridges has a philosophy degree – or something like that. And then there are people like Ewen Gilmour and Mike King who came to comedy out of the workforce. Ewen was the funny guy at the factory and Mike was the funny guy on the ferry, and they just got pushed into it by their mates. So you kind of have these two schools and to be honest I don’t really know if there is a stylistic difference between the two or not, or whether it’s more about influences.”
For young Hurley, the influences were the usual suspects: Billy Connolly, Jerry Seinfeld, Blackadder, Basil Fawlty. Humour was always appreciated in the Hurley household, and his father was a big fan of British comedy – although in those pre-internet days, you tended to like what you were given. “It was not like now, where you have every single comedian who has ever been at your fingertips,” says Ben. “There was a very limited range of stuff that we could see. If you were lucky, maybe the Montreal comedy festival or something like that, and the Kiwi show A Bit After Ten, which had the Corbett brothers on it. I was probably about 14 or 15 and I loved their running gags. They’d say, ‘Shall we do the Floyd gag?’ and then never, ever do the Floyd gag. And they had an open-mic section, where I saw some comedians who are good friends now and that I’ve worked with often. In fact, I still say, ‘Shall we do the Floyd gag?’ to Jeremy. I’m probably the only one who remembers it, though.”
(The early-’90s A Bit After Ten can be found at nzonscreen.com and is definitely worth a watch. In addition to an outrageously young and clean-shaven Jeremy Corbett, it also features the wonderful spectacle of contestants vying for the grand prize of a 14-inch TV.)
After making a name for himself as a comic in New Zealand, Ben started gigging in the UK, and toured extensively in Europe and Asia. The winner of the two biggest comedy awards in New Zealand (the 2004 Oddfellows Billy T Award and the Fred Award in 2008), advocate of cricket as a way to achieve world peace (“No two cricketing nations have ever gone to war with each other – that’s a fact”) and one of the few Kiwis to be invited onto America’s prestigious Comedy Store TV show now calls the Bay of Plenty home, but touring is something he knows an awful lot about. Google his name and it’s clear he spends more time on the road than a Fonterra truckie.
“I was in England for four years, gigging around the country five, six, seven and eight times a week, sometimes doing two shows a night, because the clubs are really full and lively over there, and doing it over and over again is how you learn your craft. I love being on the road – well, not so much now that I have a family, but I can’t imagine going to work at the same place every day. It’s hard to be away, but I guess I’m just hardwired to do it.”
Ben says there are regional differences in what people find funny, though they’re relatively subtle in New Zealand. “There are some places that are a bit more conservative than others, but that’s changing. And it all comes down to it being relatable. I mean, I can’t do a joke about Winston Peters in America or anywhere outside of New Zealand really, but even in New Zealand you have to keep it relatable. When Winston Peters left Tauranga as an MP, I made the joke that this was the first time a 70-year-old man had ever left Tauranga. And although that’s a joke that works really well in the North Island, in the South Island they just don’t know that many old people move to live in Tauranga – in the South Island they have their own version of that, it's called Nelson.
“In America, they don’t get the self-deprecating humour so much – that’s very much a UK thing. American comics are much more defined. It’s much more about the character – you’re the angry guy or the party girl or whatever – whereas in the UK, people just say funny things.”
Although the constant gigging and vibrant comedy circuit scene in the UK was formative for Ben, he was also happy to come home with a new appreciation for Kiwiland. “After being in the UK, I came back to what has proven to be a bit of a renaissance in New Zealand comedy over the past 10 years or so,” he says. “And that largely comes down to the TV networks and the overseas success of people like Flight of the Conchords and Rhys Darby. That woke up the networks to the success of comedy and the need to give it some legs here and air some home-grown stand-up. And out of that we got 7 Days, which has been the most popular and longest-running comedy show in New Zealand history. So people get out now to see stand-up, and that’s great.”
His extensive gigging across the globe must also have honed his skills for dealing with those who get out to see stand-up and feel the need to chip in. “Yeah, I kind of encourage hecklers now, to a certain degree. Well, I encourage interaction at least. On this tour, for the first half of the show I pretty much just chat to the crowd, and try to keep it as fluid and interactive as possible. In New Zealand, the heckling is almost never nasty – its just drunk people wanting to be a part of the show. I’ve done thousands of gigs, and I can count the times that heckling has been genuinely nasty on about three or four fingers. But, then again, if they don’t shut up, I do start feeling bad for everyone else.”
In an industry known for driving ambition and raging egos, Ben has a refreshingly down-to-earth approach and concern for his audience and his community. Last year, in response to what he describes as a sense of helplessness about the state of things in the newly Trumped world, he put together a three-night festival at Auckland’s Classic Comedy & Bar. Called Comedy in Action, it raised money for some great charities while also showcasing some top Kiwi talent.
“It was just a reaction to what I saw as the whole futility of people commenting on injustice on social media,” he says. “Liking a post actually changes nothing, so instead I wanted to do something that would have an actual effect – and make people laugh.”
Now he’s at it again, and is busy organising the second annual Mount Comedy Festival, which he’ll host in January. Ben says this year’s event is going to be even bigger and even better than the last. “Tauranga is New Zealand’s fifth-biggest city and I just thought there was a real need for it. There wasn’t really anything going on comedy-wise in the area; there was the odd thing going on with people coming through to play Baycourt, but no regular event. Last time, we had three nights with basically three shows, but this year we’re expanding things over five days. We’re also going to do some matinee shows with family-friendly comedy.
Ben says the support has been amazing. “I mean, it is the place to be, because everyone loves the Mount, so it's something that people want to be involved in and a lot of people have come on board with, like UNO for example. But it does really seem like this is really a thing that has found it’s time.”
Ben makes it sound like it happened, but with scheduling, promotion and venues, not to mention getting the right mix of performers, producing something on this scale isn’t easy. “I really made it the best I could, and it really is a great line-up,” says Ben. “We’ve got Wilson Dixon [aka Kiwi comedian Jesse Griffin) headlining, who is, um, ‘technically’ from America; we’ve got the great Josh Thomson; Justine Smith, who was on the line-up last year and so loved that we brought her back again; newish comedian Hayley Sproull, who’s a 7 Days regular; Brendhan Lovegrove, who will be hosting a new acts competition, so if any locals want to test the water, this is their chance; and Te Radar, who will do his one man show 'Eating the Dog'. So yeah, something for everyone.”
This well-travelled, internationally known performer is bringing something for everyone to our neck of the woods because it’s now his necks of the woods too. After growing up in Taranaki, and living in Wellington, Auckland and the UK, Ben now calls a little piece of paradise in the Western Bay home – a lifestyle block somewhere between Katikati and Waihi Beach with “some sheep, some chickens, some kiwifruit”. Where does he find time to manage that, with all he has going on? “Fortunately, my wife is the property manager,” he says.
Of all the gin joints in all the towns in the world, why here? “I don’t really know,” says Ben. “I just like it here. It has a real lifestyle thing going on, it’s a great place to bring up kids, it’s beautiful, but it's not a million miles away from everywhere else. I mean, I love Taranaki as well, but unfortunately it’s just a little bit too isolated. So here kinda has it all. The best of both worlds. The best of all worlds.”
Ben’s not a typical comedian, no. But for his originality and the fact that he not only makes us laugh but also makes us think, he’s definitely one of our best. And you know what? He might be onto something about the cricket.
Grace Wright: Tauranga artist
We meet Tauranga girl and artist Grace Wright as she prepares for the Auckland Art Fair.
We meet Tauranga girl and artist Grace Wright as she prepares for the Auckland Art Fair.
INTERVIEW CLAUDIA CAMERON / PHOTOS HEATHER LIDDELL / SAMUEL HARTNETT
UNO: How did you start out as an artist?
GRACE: I grew up in Tauranga, so when I finished Elam in 2014 I moved back home for a year to have time to develop the ideas I had generated during my BFA at Elam School of Fine Arts, without financial pressure. During this time I rented a studio space out the back of Zeus Gallery, when they were based on Eleventh Ave. I loved painting there, with the industrial-style spaces, plus having the time to intensively work and establish my practice.
Although I live in Auckland now, I love coming back to see my family and have some down time. Tauranga will always be home.
UNO: What have you been working on lately?
GRACE: Recently I have been working on a series of paintings for the Auckland Art Fair as well as planning for my upcoming show at Parlour Projects in July. My practice is a continually evolving one, so I’m always trying to push myself forward and create something that surprises me.
UNO: Ah, yes, Parlour Projects in the Hawke’s Bay selected you as the recipient of its inaugural artist-in-residency programme. Congratulations!
GRACE: I was so honoured to be selected for this residency and have the support to bring my ambitious 11m x 6m installation concept to life. I had been wondering how our body would feel if we experienced painting more spatially by thinking of the room as a canvas. The body has always informed my work throughout its evolution and in this residency I wanted to recreate the physical sensation of how you feel when you stand beneath something monumental in scale.
UNO: Can you tell us a bit about your process?
GRACE: I see colour as a construction process, so the painting almost builds itself. I never know what the paintings will look like in the end, but I start with one colour or gesture and construct the colours and layers until the final work emerges.
UNO: What inspires you and your work?
GRACE: I’m inspired by an international style of painting that has a real presence with the viewer through scale and the relation to the body. In 2015 I visited Albert Oehlen’s exhibition Home and Garden at the New Museum in New York. It was such a thrill to stand before these huge, three metre square paintings. This feeling of intense physicality is what I’m interested in creating in my own work.
UNO: You’re showing at the Auckland Art Fair as part of the Parlour Projects stand, what can we expect to see from you there?
GRACE: I will be exhibiting a series of new large-scale works measuring 1200 x 1500mm which continue to explore a sense of artificial space and gestural abstraction reminiscent of the body. Recently I’ve been interested in constructing space through subtle illusion and colour combinations so the work will reflect these ideas too.
UNO: You’ll be joined by a number of incredible artists and galleries showing at the AAF this year, what are you looking forward to the most about the event?
GRACE: It’s such a unique experience to see all these galleries in one space, along with work from top galleries in Australia and some further afield. I also love the social aspect of the art fair! It’s a great way to catch up with lots of people in the industry and celebrate all the hard work put in by artists and galleries.
UNO: What are you hoping to achieve from being part of the Art Fair and speaking to an international audience?
GRACE: I’m excited to be exhibiting at the fair and have the support of Parlour Projects. My goal generally is to build up steadily and create work that endures. At the end of the day, art is what makes life worth living, as are the ideas and conversations that surround it.
UNO: What’s it like making art as a full-time job?
GRACE: I love it! I’m pleased with how I’ve set up my week to allow myself the time to paint. I’m definitely a morning person, so my day starts by getting straight into painting. In the afternoons I tend to stretch canvas and gesso, then attend to admin later in the day.
UNO: What skills do you think are useful in your job?
GRACE: I think you need to have a lot of faith in yourself and belief in what you’re doing.
UNO: Can you share a piece of advice for anyone wanting to move into a similar creative space?
GRACE: The best advice I ever received was learning that talent will only get you so far. The way you think determines the rest.
INSTAGRAM: @gracewright08
Taaniko: the woman behind the mural
If you’ve driven down Totara Street recently, chances are you’ve seen it. A young Māori woman’s striking features, painted by famous Irish street artist Fin DAC, embellish a 7-metre-high wall in what has become one of The Mount’s most recognisable murals.
WORDS Laura McCleannan PHOTOS Tracie Heasman
If you’ve driven down Totara Street recently, chances are you’ve seen it. A young Māori woman’s striking features, painted by famous Irish street artist Fin DAC, embellish a 7-metre-high wall in what has become one of The Mount’s most recognisable murals. Her hair is wild, her stance strong, and her eyes are a clever reflection of Mauao in the distance (if you look close enough). Her name is Taaniko Nordstrom. She’s the model, artist, and entrepreneur behind Soldiers Rd Portraits – a unique Māori portraiture business that Taaniko runs with her sister-in-law, Vienna, in Cambridge.
“People don’t realise it’s me, until they see me wear the moko,” Taaniko explains during our photoshoot. Seeing the two faces side by side, however, it’s clear Fin is one helluva talented artist. He first flew to New Zealand in 2015, in search of a muse for the Mount Maunganui Street Art Festival. “His usual aesthetic is Asian women,” Taaniko says, “but he wanted to paint someone indigenous. He googled ‘Māori woman portrait’, and my face came up. I said yes straight away because I knew it would be a statement – a Māori woman with a moko in the middle of The Mount? How cool!
“Fin didn’t know anything about the Māori culture, be he wanted to learn. So when he started to paint the mural, I came to Waiata Tautoko, and sang for him. I told him this is how we show support in our culture, and he was blown away. After getting to know me a bit better, Fin felt like my hair needed to be wilder, so he went back and changed it. We really vibed as artists.”
While Fin was painting her, Taaniko was trying to keep up with her own portraiture business, which was exploding in New Zealand as well as internationally. “I’m the typical Kiwi entrepreneur story – I got back from travelling in 2013 and was dirt broke. Mum is an artist so we always had portraits of native American chiefs on the wall. But it wasn’t until I saw the original photos of these chiefs (at the Smithsonian in New York) that I started thinking about photos of Māori leaders. I wanted to bring them to life in some way.
“When I got home I went to the op shop and asked mum to help me whip up some old-school korowai (cloaks), piupiu (skirts) and collars. I got dressed, went into the shed, drew a moko on myself, and took a photo on my iPad. I aged the photo with a filter and chucked it on Facebook. Almost immediately I had people asking where I had the photo taken and how much it cost. I was like, what? People would pay for this?!
“I called Vienna and told her to bring her camera to the Kawhia Kai Festival. She’d never done a portrait before – she’s a landscape photographer. But she loved the idea, so we packed up a big suitcase of props and an old broken gazebo, and set up a stall. It was completely hotchpotch – our backdrop was a duvet cover from the Sallies in Cambridge. We did over 40 portraits that day, and two days later we rocked up at the South Auckland market and did another 50 portraits. The rest is history.”
“We’ve moko’d up kids in a New York subway, a barber shop in Brooklyn, and couples under the Eiffel Tower. We got a lot of attention quite quickly because no one does what we do.”
In true laid-back kiwi style, Taaniko didn’t even organise market stalls – they just turned up and sweet-talked their way in. I suppose tenacity is a given with six older brothers. “My family have always encouraged me to be proud of my culture and to think outside the square. In fact, the name Soldiers Rd was inspired by memories of travelling to The Mount from Cambridge as a child. Whenever we’d pass Soldiers Rd at the bottom of the Kaimais, Mum would ask us what we thought the name meant. I thought it represented someone’s story, or their journey through life. When we first started editing our portraits, all of the eyes looked so defiant. Immediately I thought of Soldiers Rd, and the name stuck.”
From homeless men on the street to the Duchess of Austria on her private yacht, Taaniko’s shot thousands of people, and her work has taken her across the globe. “We ran Soldiers Rd from Papamoa for a year and have a studio in Cambridge, but our whole business packs into two bags, so we’re always travelling. We’ve moko’d up kids in a New York subway, a barber shop in Brooklyn, and couples under the Eiffel Tower. We got a lot of attention quite quickly because no one does what we do – no one had taken moko off kapa haka stages and used it in a completely different space.” So, what’s the Soldiers Rd experience like? “It’s authentic,” Taaniko explains, “but it’s also a modern take, because we shoot all nationalities. Whether you’re brown, white, yellow or green, the first thing we do is whakawhanaungatanga – we talk about where we’re from and establish a relationship. I start styling as soon as people walk in the door. But this connection sets the vibe for the day, and that's the most important part. If I can’t connect with the person and make them feel proud of who they are, their eyes will look dead in the photo. I have half an hour to mould a mind and create a story. The fastest part is taking the photo!” She’s not a trained makeup artist or hairstylist, but Taaniko credits her love of fashion and time as a flight attendant for her beauty and styling skills. “We dress clients, style their hair and use a stencil to do a temporary moko. The stencils have been blessed for the purpose of reuse. All of our props are from op shops or old theatres. I chop them up and use big clips from Bunnings to keep clothing in place.”
Taaniko is proudly contributing to a resurgence of Māori culture in New Zealand. If you haven’t seen her on Totara Street yet, look up next time you drive away from The Mount. “Twenty years ago, it wasn’t possible to have a job that paid me to inspire Māori and non-Māori through Māori culture. I’m so excited to think that my kids will grow up surrounded by Kiwis with a connection to our important culture. Everyone has a legacy and a story, and my favourite thing about Soldiers Rd is that I get to visually capture it for people.”
The real glamour in the real Vegas: Kharl WiRepa
Designer Kharl WiRepa has won award after award for his wildly glamorous couture. He met Trelise Cooper at 15. At the age of 23, Anna Wintour’s gang have come knocking.
Designer Kharl WiRepa has won award after award for his wildly glamorous couture. He met Trelise Cooper at 15. At the age of 23, Anna Wintour’s gang have come knocking.
WORDS JENNY RUDD PHOTOS MICHELLE CUTELLI
Kharl WiRepa has been named as one of the country’s top 20 influencers under the age of 25 by www.scout.co.nz, had two shows at New Zealand Fashion Week at which front row tickets were requested by US Vogue. At age 15 he was the only person at a fashion show to be able to curl Trelise Cooper’s locks properly. So he has talent by the truckload.
The 23 year old born and bred Rotorua boy is sooo fashion, darling, all high cheekbones, slender physique, svelte tailoring and dark glasses. He’s also as cheeky as an imp and his honesty probably gets him into trouble. Half the stuff he says isn’t printable and is naughty and funny enough to necessitate plenty of covering of mouths to stifle giggles and scoffs from both of us. Warm and confiding, he’d definitely make the perfect dinner guest: outrageous, beautiful, fun, well spoken and well read.
NOT FOR ME
An only child, Kharl went to a smart, private Catholic school. He said he found it hard there with both the other students and the teachers.
“They wanted to mould everyone. I didn’t feel I needed to be moulded as I am quite happy as I am. Why should I be something I’m not? I will do what I like because I am not subject to anyone’s conditions. As an only child, I was used to socialising with adults and I didn’t appreciate being spoken down to at school by the teachers. What makes them better and more important than the students?
“I was bullied severely for the way I behaved and carried on. Gang bashings were commonplace. I can throw a punch though, I stand up for myself. I don’t like losing so I was happy to get stuck in. I suspect it’s different going to school now for people like me. I hope it’s better.”
YOUNG STARTER
“At 18 years old, I was the first ever male and youngest ever senior manager at Supré, I looked after all the store managers nationwide. I had the skills to do it but was far too young for that kind of role and that kind of money. I got carried away with it all and ended up in casinos, spending money on things I shouldn’t have, taking drugs and hanging out with the wrong people.
“I thought my whole life would be at Supré, I loved the job. I was a stylist at Cleo magazine at the same time, buying clothes and styling models. When it all spiralled out of control I lost everything: my car, all my money, everything. Apart from my jewellery of course. I couldn’t lose my Chanel watch.”
Kharl’s design as seen in British Vogue.
A stint at rehab and a move back home to live with his family in Rotorua led to enrollment in fashion school. He didn’t even finish the course, just got on and started work. One to court interest, TV3 produced a documentary on him. He produces collections but everything on his catwalk shows can be made to measure. Haute Couture is where he wants to be.
GIVING BACK TO HIS PEOPLE
He’s also generous and clever. That’s an enormously useful combination. The manager of the Rotorua Salvation Army Store approached Kharl to help them find a way to increase sales.
“Each day, the Salvation Army give out 32 food parcels. There are so many people who need them – I know lots of those who do; some of my own friends and family, my indigenous people. To fund these parcels the Salvation Army need to increase their sales. Each year, we put together a fashion show ‘A Million Dollar Look for $2’. We use the stock in the store, local models and hold a catwalk show.”
He takes the Salvation Army show as seriously as his high profile shows. And that’s what makes him so endearing. He can play the game at being utterly fabulous, with plenty of emphasis on the first syllable accompanied with air-kissing but is also knowledgeable about how a large chunk of the demographic live in New Zealand and the politics behind it. He also spoke of the exploitation of young models and is working within the industry to expose those with poor working practices.
TRAFFIC STOPPER
On December 5th, the streets in central Rotorua are closing. Salon St Bruno and Kharl are putting on a summer fashion show with other local designers.
“The council are renovating the square in the middle of Tutanekai Street but they are waiting until after the fashion show.” He clearly gets a kick out of holding up the council in favour of a flurry of glitz.
Next year will be big: he plans to open a store in Tauranga straight after New Zealand Fashion Week. “I’m thinking all white and perspex.”
The range of experience and insight for a 23 year old is quite astonishing. The boy has gumption, ability in spades, a love of sparkle and is, quite firmly, in the ‘look out world’ category.