Savour the Bay

The BOP’s Plates of Plenty Challenge saw chefs from all over the region competing for the best dish. Here, some of the competitors – including the winners – share their divine recipes. Enjoy!

Cadera’s Blue Cheese Jalapeño Poppers

Mount Eliza Blue Cheese Popper in a Mount Brewing Co. High Line Hazy Pale Ale batter with Nana Dunn + Co curried onion chutney.

Makes 25 pieces

INGREDIENTS

Whole marinated jalapenos – we use La Morena

350g cream cheese

150g Mount Eliza Blue Monkey cheese

1 can Mount Brewing Co.

Hazy Pale Ale beer

1½ cups self-raising flour

Nana Dunn + Co’s Curried Onion Chutney to serve

METHOD

• Slice the jalapenos lengthways making sure not to cut the whole way through. Remove all the seeds.

• Combine cream cheese and blue cheese.

• Using a piping bag, fill the poppers with the cheese mixture being careful not to overfill
  - about three-quarters full.

• Mix beer and flour until smooth in texture.

• Dip the stuffed jalapeno into the batter to fully coat it and transfer straight into the deep fryer or oil at ideally 180°C.

• Cook until golden brown.

• Serve with the curried onion chutney.

Pearl Kitchen’s Pie & Beer

Smoked fish pie with blue cheese potato, curried onion chutney and smoked fish gravy, served with a beer.

Makes 10-12 pies.

INGREDIENTS

Blue cheese sauce

25g butter

1 tbsp plain flour

150ml milk

50g Mount Eliza Blue Monkey cheese, chopped or crumbled

Fish pie mix

1 onion, finely chopped

2 celery stalks, finely diced

1 carrot, chopped/diced small

250ml cream

1 tsp Dijon mustard

100ml of Mount Brewing Co. low carb ale

Olive oil for frying

1 small handful of flat-leafed parsley, finely chopped

500g-650g smoked kahawai, cut into biggish chunks

Pastry + egg wash

750g frozen puff pastry

2 egg yolks

15ml milk

Charred pearl onions

100g pickling onions

50ml sherry vinegar

METHOD

Blue cheese sauce

• Melt the butter in a pan over a medium heat, then stir in the flour and let cook for 1 min or so. Gradually pour in the milk, stirring constantly, until the sauce is smooth and all the milk has been added.

• Bring the mixture to a simmer and stir in the cheese. Cook until the cheese has melted, and the sauce has thickened slightly, then season to taste.

Fish pie mix

• In a pan, fry the onion, carrot and celery for about 5 minutes in the olive oil then add the ale, cream and bring to a boil. Add the spinach leaves and Dijon and stir to wilt.

• Add your chunks of smoked kahawai to the mix at the end as it's already been smoked.

Pastry + egg wash

• Cut your puff pastry into small circles or desired shape. Brush egg wash onto the bottom and add your fish pie mixture into the centre of the pastry leaving enough room at the sides so you can add another layer of pastry on top and can seal the sides. I used a fork on the edges to make sure the pastry was pushed down and sealed properly.

• Before baking, egg wash the top of the pastry. Bake at 175°C for 15 minutes.

Charred pearl onions

• Boil onions with skin on in vegetable stock or water until onions become soft.

• Let them cool down completely and cut them in half.

• Get a smoking-hot pan with a little olive oil and place the onions cut side down for about 30 seconds. The onion should start to char and go black — this is when you can add the sherry vinegar to deglaze the pan and the onions will soak up all that flavour.

• When the onions have cooled down, you can take out the middle heart of the onion (we will use this in the chutney) and start to take out the onions’ petals. They should be charred on the outside.

The Trading Post’s Agnolotti del Plin

A handmade pasta in a typical Piemontese shape, filled with Mount Eliza Blue Monkey cheese in a Noble & Sunday Earl Grey-infused butter sauce with Mama Kali's Farm microgreens.

Serves 5

INGREDIENTS

Pasta

350g flour

150g semolina

200g eggs

100g egg yolk

8g cocoa powder

Filling

300g Mount Eliza

Blue Monkey cheese

150g cream

1 egg white

Pinch of salt

Sauce

50g butter

Pinch of Noble & Sunday

Earl Grey tea

Fresh Mama Kali’s Farm microgreens

METHOD

Pasta

• In a bowl or on the table, place the dry ingredients, then in the centre place the eggs and yolk and knead to a smooth dough texture. Set aside in the fridge for 1 hour.

Filling

• Blitz in a food processor the cheese and cream quickly then add egg white until smooth and thin but not whipped. Place in a piping bag and refrigerate until use.

Pasta continued

• With the help of a pasta machine or rolling pin, laminate the pasta dough close to 1mm thickness and cut in long strips.

• Then pipe a small amount of filling along the longer side on the pasta strip (you want the filling to be one finger apart from one another).

• Proceed to fold the pasta over itself and pinch the pasta with your index and thumb between the filling – squeezing a touch towards the centre of the filling.

• With the use of a zig-zag cutter, cut between the pinched pasta and the “plin” will look like little lollies. Cook the pasta in salted boiling water for about 3 minutes.

• Remove and toss in a pan with butter and a pinch of Earl Grey to emulsify the sauce.

• Add cooking water a little bit at a time and continue tossing to avoid the pasta getting stuck to the pan. This also gives a velvety look to the sauce.

• Plate and garnish with microgreens and add grated cheese as per your liking.

But First Dessert’s Biscoff Cheesecake

If you haven't tried Biscoff yet – this is your sign to run to your nearest supermarket, grab some Biscoff and whip up this delicious cheesecake.

Serves 8

INGREDIENTS

Base

240g Biscoff biscuits

80g butter

Cheesecake

450g cream cheese

200g Biscoff spread

250g cream

Topping

200g white chocolate

50g Biscoff spread

100g cream

METHOD

• Line a 20cm x 20cm cake tin (or individual cake rings like we use) with baking paper.

• Crush 240g Biscoff biscuits in a bowl, pour melted butter in and mix together well.

• Press into the bottom of the cake tin, place in the freezer to set and begin to prepare the cheesecake mix.

• Add cream cheese, cream, and Biscoff spread into a bowl. Whisk until nice and thick. Spoon this on top of the biscuit base and use a spatula/spoon to make sure it's nice and smooth for the ganache topping.

• Pop the cheesecake into the fridge for at least 3 hours to set before adding the ganache topping.

• Put the white chocolate and Biscoff in a bowl and set aside. Heat cream in a pot, stirring frequently to ensure it doesn't burn. Pour the hot cream over the chocolate and Biscoff. Whisk until nice and smooth. Gently spread the ganache over the cheesecake.

• If you have any remaining cream or crushed biscuits, whip the cream and pipe swirls on top of the cheesecake (if you have piping bags/nozzles) or sprinkle over the crushed biscuits.

• Pop the cheesecake into the fridge for at least another hour or two before slicing.

Surf’s up!

One of Tauranga Museum’s first exhibitions will celebrate the region’s pivotal role in Aotearoa’s surfing culture.

words Karl Puschmann

boards Dusty Waddell Collection

Mount Maunganui is world-famous in New Zealand for its rolling surf and golden sands. Each summer people flock to the beaches to hang ten or catch rays. But, outside the surfing community, not a lot of folks know about the region’s rich history and contribution to Aotearoa’s surfing culture.

That’s all about to change. The Tauranga Museum team is hard at work putting together one of the first exhibitions to go on display when the long-awaited new museum opens its doors in 2028.

“The exhibition on surf and beach culture will be one of our earlier exhibitions on display when we open,” museum curator Fiona Kean enthuses.

It will certainly be hard to miss. Following the museum’s acquisition of local surfing icon Dusty Waddell’s legendary surfboard collection, the museum is already preparing 120 surfboards for display. These all hold national significance and physically chart the evolution of surfing in New Zealand.

“There’s shortboards and longboards, and in addition to those there’s boogie boards, belly boards, skim boards… there's probably another 50 of those,” Kean says. “We’ve even got 40 skateboards. We've had to create a special space at our storage facility for it all.”

Through the various shapes and sizes of the surfboards, you’ll see trends come and go as you progress through the years. It will also highlight beach culture with displays of fabulous local swimwear, wetsuits and ephemera like surf posters. We have an amazing hollow board that is over four metres long. It was made at the Mount in 1952 by Ron White and Jock Carson using the famous Tom Blake design. Kean is also in discussions with a local shaper who makes surfboards from – of all things – wool.

“It’s an exciting idea because most surfers are really interested in their environment and in cleaning up and preserving the water they swim in,” Kean says. “Surfboards in the past have been made of foam and more toxic materials, so innovations like that look at how surfing can be more environmentally friendly.”

While we all recognise the region for its good surfing, its epic contributions to the sport aren’t as well known. Surfing and surfboard manufacturing in Tauranga goes all the way back to the early 20th century. Through her research, Kean discovered there were, in fact, two surfboard makers here in the 1930s making, selling and hiring their boards out to summer beachgoers in that era.

Once established here, surfing never left. In the 1940s and ‘50s more shapers arrived and the era of plywood boards began.

“Plywood is an important story for Tauranga,” Kean says. “That takes you down a whole other rabbit warren of the people making hollow surfboards out of plywood. And then you have the leap into foam-core or surfboards made with foam blanks. You've got probably one of the biggest names in surfboard making, a man called Bob Davies, who comes to Tauranga and sets up a factory here, and at the same time another local guy, Ted Davidson, owns a sports shop on Cameron Road and he starts making surfboards out of that shop.

From there, it’s honestly like a wave of shapers and makers around the country flowing in and out of each other’s lives and businesses and the Mount and Tauranga were an important part of that scene.”

It’s fascinating to hear her talk about how huge Tauranga’s impact on New Zealand surfing actually was. It will be even more fascinating to see it. Surfboards are big items, especially the older longboards, which on average stand at a towering 12 feet tall. The scale of the exhibition is going to be awesome.

Kean is excited about the project and can’t wait to share everything being discovered about Tauranga’s rich surfing history when the museum opens.

“We want people to have a greater understanding of surf and beach culture and its significance to where they live. We’re a really important piece of that overall surf culture puzzle. For example, the first surfing nationals were held at Mount Maunganui in 1963,” she says. “The museum hopes to give people a sense of belonging to this place. I’d love for locals to feel pride in our role in the surf industry and to come away with a sense of enjoyment. It will be a fun exhibition but one that does have moments for reflection and moments where you’ll feel challenged.”

For those who simply can’t wait until 2028 to see what’s barreling down the pipeline, Kean reveals how you can get a sneak peek at the surfboards and, essentially, the Bay’s surfing history on Tauranga Museum’s website.

Kean says the exhibition will appeal to non-surfers just as much as those who like to hit the waves, as the experience the museum team is curating showcases not just surfing but wider beach culture.

With a few more years of prep work, research and collaboration with the community before it opens, Kean has a very simple objective for the exhibition in mind.

“We want it to blow people away,” she laughs.

letstalk.tauranga.govt.nz/projects/tauranga-museum

Gin-gin!

Hayley Barnett toasts to a deliciously novel local experience.

photos Erin Cave

Who doesn’t enjoy a good gin? Floral, spicy, citrusy, nutty, sweet – there’s one to suit everyone these days, but making your own brings the appreciation to a whole new level.

Matahui Distillery in Aongatete offers gin lovers the experience of creating and bottling their own unique gin – from choosing your own botanicals, through to naming and labelling your creation. Before heading there to experience it for myself, I’d imagined making gin would be a time-consuming process and I’d have absolutely no idea what I was doing when it came to choosing which flavours go with what. I can barely cook. It turns out you can’t really go wrong. Not at Matahui anyway.

Gin enthusiast Shelley Broadbent leads our group of intrigued soon-to-be-mixologists and first educates us on the complexities – and simplicities – of the making process. Each station is set up with beakers and various measuring apparatuses, reminiscent of high school science class, only a lot more fun. Though the teenage trauma still lingers for me, Shelley assures us it’s a straightforward process – and it is.

Taste-testing the botanicals.

Pick your botanicals, mix your alcohol and water, then add everything to your distiller. You do get some guidance, of course. When it comes to choosing botanicals, it’s important to know that juniper berries usually make up around 80 percent of a gin profile, although these days it’s common for gin to include less juniper, to make way for other fanciful flavours. Then it’s wise to use coriander seeds, orris root and angelica root to get a well-rounded flavour profile. Some distillers use crushed and roasted coriander seeds, but we’re using them whole. After that, it’s a free-for-all to do as you please. Citrus is highly recommended but not essential. We play it safe and go for fresh lime peel. Next, we add bold, daring horopito, macadamia and liquorice, feeling as though we’re living on the edge.

During the distillation process, we walk around placing our fingers under other distillers (invited of course), to taste and see if we can recognise where the flavours come in. It’s fascinating to see how each taste combines with the others before it.

Angela takes us on a tour through the gardens.

One of the best things about Matahui is that they grow their own herbs, fruit and vegetables, offering up the very real experience of farm to plate. While our gin is distilling, we take a walk around the garden as Angela Howard, co-owner with husband Paul Horak, gives us a rundown on various flavours and where they come from.

Back in the lab, Shelley gets us started on the bottling process. Although she doesn’t own the place, it’s her we have to thank for our foray into gin distilling. She’s the one who twisted Angela and Paul’s arms to set up the distillery. Angela made a hobby out of turning alcohol into liqueur and Paul enjoyed experimenting with home distilling. They often talked about growing their own botanicals and turning their hobbies into a commercial business, but it took Shelley’s infectious positivity and persuasion to convince them to turn their dreams into reality.

Paul, Angela and Shelley.

A year ago, they invested in a state-of-the-art still to help them produce the highest-quality gin possible, and came up with their own brand, Adventurers Gin. Today, all three welcome groups onto their farm to try their hand at distilling and sample the various liquors on offer. Sharing their passion with locals and visitors is a dream come true for the trio, but they say they’ve only just started their adventure.

MATAHUIDISTILLERY.COM

Beyond the waves

He’s signed to pop star Benee’s record label and counts Elton John as a fan. Now Raglan musician Muroki has released his third EP, the emotion-filled Timezones, and made a major move.

words Karl Puschmann

UNO’s first question to Muroki leaves him stumped. He scratches his dreadlocked hair, which is pulled back behind his studio-grade headphones, and says, “Um…”.

Thinking for a moment, the singer-songwriter sensation from Raglan eventually says, “Good question,” then looks around his room and wonders aloud, “What am I doing here?”

He’s stayed up late for our interview – it’s approaching midnight when he Zooms in. Just nine days ago, he flew out of Auckland, where he’d been living, to set up shop in Berlin.

“I didn’t really have a huge plan. I just kind of came over here,” he says in answer to the question of what he’s doing in Germany. “I wanted to switch it up, in life and with music, and expand my horizons. I was getting over what I was doing in Auckland. I enjoyed my time there but felt I needed to move on and do something else for a bit.” Then he grins and says, “I’ve never lived in another country before, so I’m just giving it a go.”

He’s certainly jumped right into the deep end. He has few contacts in the city and doesn’t speak the langauge. Aside from his German partner, the person he’s spoken to the most so far is an old Turkish fellow who lives in the same building.

“This old dude’s always outside,” he says. “He doesn't speak very good German and doesn't speak a word of English. I don't think he knows that I don’t speak German! We have these weird interactions every single morning. It's pretty funny.”

By chance, we’ve caught Muroki on the cusp of beginning a new life chapter, one in which the future is uncertain. “I’ve been battling with it a little bit,” he admits. “It’s kind of weird not knowing exactly what’s happening next. It’s a strange period. I think it’s really good, but sometimes you’re like, ‘Is this the right decision?’” He pauses for a second, then says, “I think it is.”

The move has been on Muroki’s mind for a while, with his plane tickets purchased nine months ago. The shift also helps decode and add extra depth to Timezones, his newest EP that has just been released and is the reason for our chat.

The seven-track EP pushes him into deeper emotional territory than previously and expands his genre-hopping sound while losing none of its characteristic smooth flavour, synth-funk grooves and feel-good vibes. Fans of his platinum-selling single, Wavy, will find a lot to love here.

Timezones’ seven songs were recorded quickly, with Muroki writing, recording and laying down the tracks in a blisteringly fast 11 days. “It happened swiftly,” he says. “I’m really happy with how it all came out, and in the process of making it, I learned a lot in terms of how I want to go about creating things in the future.”

He says the sudden success of his 2020 debut, Dawn, led to feeling intense pressure while creating his 2022 follow-up, Heading East. He burdened himself with expectations and on reflection says he didn’t particularly enjoy the process. The fast turnaround of Timezones was a successful attempt to rediscover the joy.

“I didn’t let it consume me,” he says. “I’m really happy with how the third one’s come out.”

He’s described the EP as “an emotional awakening”. This, it turns out, was another benefit of working quickly. He didn’t have time to second-guess or edit himself.

“I tapped deeper, man,” he says. “I was trying to be more authentic with how I was feeling and the experiences I was having. It came out by not overthinking. I didn't go into the record thinking, ‘I’m going to open up.” I just let it happen and let it all come out naturally.”

Muroki may be new to Berlin, but the similarities with his hometown of Raglan are already apparent. Size discrepancies aside, it’s the city’s huge support for the arts and music scenes that reminds him of home.

“I love Raglan. It’s cool, man. There’s a nice sense of community – everybody knows everybody and everybody's supportive of each other. Everyone was really supportive of what I was doing from a pretty young age. It’s got an artsy scene there. Some good stuff comes out of it. But it’s the sense of community that makes it. A lot of people there support and come to the shows.

“When I started out, everyone would come down to the gig,” he continues. “I’d have a sold-out gig and I hadn't even released a single yet! There’s a confidence boost.”

Then he smiles and says, “I don’t think I’d be where I am without the people from Raglan.”

Muoki’s new EP Timezones is out now.

Blonde ambition

This cool, charming, casual-but-classy diner in the Mount offers an all-American experience that fits right in.

words Hayley Barnett

They were always going to do it again, one way or another.

Palace Tavern’s sister eatery, Blondie, has opened its doors on Maunganui Road – a 1950s-style diner offering a daytime menu that doesn’t include your average eggs benny.

“We don’t really like cafés,” admits co-owner Brad Dellar. “We like to create something unique and different, but also know we need to stay in our lane.”

Their “lane” is traditional all-American fare – hot dogs, chicken waffles, reuben sandwiches, cherry pie – similar to their southern American-style eatery and bar around the corner at Palace Tavern.

“We’ve stuck to our usual style, which is risky because it’s the Mount,” says Brad. “It’s where fit people hang out. With Palace, we didn’t know if it would work. We didn’t think it was vegan enough for them. But I think people get sick of that sh*t because, well, meat’s great.”

Brad and his business partner, Sam King, had been scoping out a joint for a new bar when the former Gusto Café owner offered up the perfect location.

They had just five weeks to fit the place out. Impressively, they did most of the work themselves, calling in a couple of friends to help out with some of the more challenging tasks.

“We’ve fit out all our own restaurants and cafés, since the beginning,” says Brad. “Everything from custom tables, tiling and painting, to kitchen fit outs.”

Though they had the vision and the practical skills to pull it off, they still needed a name.

“Blondie just had a good ring to it,” says Brad.

The walls are adorned with famous blondes, including the likes of Debbie Harry, Twiggy, Marilyn Monroe and Kate Moss. The mostly black and white photos work perfectly with the diner scene.

While it might seem ambitious to open in the Mount’s most quiet months of the year, Brad’s confident the locals will be on board.

“It’s that inside kind of soul food,” he says. “It’s what you want to eat when you’re nestling in for the winter. We’ll touch wood, but so far, so good.”

Blondie Diner
200 Maunganui Road, Mount Maunganui

Off the beaten path

 In the back blocks of Hawke’s Bay, surrounded by native plants and sculptures, Tony Prichard of de la terre is turning winemaking into an art form.

words Jess Easton  |  photos Jamie Troughton/Dscribe Media

Tony nurtures every part of the winemaking process with passion and patience, infusing each vintage that de la terre produces with a unique story.

You won't find Tony Prichard's wines on a supermarket shelf. You won't find his wines before judging panels either, hunting medals or looking for accolades.

Some of his wines, you won't even find on the list at his cellar door at de la terre, the Hawke's Bay winery he runs with wife Kaye and self-appointed winery dog and welcoming committee Gracie.

What you will find, however, when you finally track down one of his wines, is utter deliciousness.

With nearly 40 years in the winemaking business, including stints at Montana and Church Road, he's so adept and confident in crafting intricate and mouth-watering flavours out of grapes that he's more than happy to let his wines do the talking.

And talk they do. His Viognier will verbalise, the Aneis with enunciate and he’ll get his Chardonnays whispering in tongues of flint and zest. Tony’s Tannat, meanwhile, will sit you down by the fireplace, all gravel and gravitas, and patiently explain why there's more than one great red varietal grown in New Zealand.

It's almost like Tony decided a long time ago that making mediocre Merlots and perfumed Pinot Gris, like so many of his contemporaries, just wasn't that much of a challenge and he was going to test his mettle on exotic wines outside the box. Even more mainstream wines – like his mind-blowing EVB Chardonnay – are so finely crafted and deliberate that they couldn't possibly be confused for anything else but a de la terre.

Sampling the hand-labelled, hand-numbered wines at the cellar door.

Passionate and humble, a patient and engaged teacher, Tony likes to challenge established norms and turn popular opinion on its head. While others chase sales or even perfection, he's after emotion. He encourages each vintage he makes to tell a story about the soil it grew in, the sun that warmed it and the hands that formed it. And each vintage he strives for refinement at every stage of the winemaking process. 

This is winemaking as an art form. Hand-picked and handmade, Tony and Kaye even hand-label and number every bottle that comes out of their winery. “It shows that someone cares,” he explains.

Elsewhere on the premises, Kaye has turned her long food technology background into a thriving café. She laments, with a laugh, that Tony’s other passion – bending and welding steel into wild and spectacular sculptures of swooping eagles and giant dragonflies – is turning the place into a theme park.

If the theme is interestingly delicious, however – it seems like the couple have got it nailed.  

Jess Easton is a Tauranga-based lawyer and director and owner of St Amand events venue and Kitchen Takeover.

Taste of tradition

One word sums up this Tauranga restaurant: Classic. A classic setting, classic cuisine, and classic vibes make it a local favourite for a reason.

words Hayley Barnett

Mention Harbourside to a Bay local and you’ll hear nothing but good things. As the pinnacle of traditional fine dining here, it offers everything you need from a waterfront eatery – stunning views, great food, friendly service, and a refined yet unpretentious vibe.

Having bought the restaurant back in 2011, husband and wife team Peter and Anita Ward know how lucky they are to own such a perfect spot on the Tauranga Harbour. There’s nothing else quite like it.

Peter had been managing Harbourside for four years when they jumped at the offer to purchase the restaurant. In that time he’d learned exactly what their clientele expected, mainly because they’d tell him.

“Consistency is key,” says Peter. “Even now, if you take something off the menu we’re nearly run out of town.”

The menu is full of classic dishes with a blend of Kiwiana and South Pacific tastes, as well as time-honoured European fare. Only slight variations are made during the change of menu each season.

“Many people here have traditional values and tastes and they simply want consistent quality,” explains Peter. “We provide that quality and consistency without throwing anything out there that’s too left field. It’s important to meet your market.”

Known for its simple fish and chips, these days other favourites consist of agresto crusted lamb backstrap and the popular Harbourside Seafood Chowder. This isn’t the place to come for an experimental, risky food adventure. Here you know what you’re getting every time.

It's all in the family for Harbourside, with Peter, Anita, Nicole and Cameron running the show.

And most of the staff stay consistent too. These days, it’s a family affair with Peter and Anita’s son, Cameron, running the kitchen as head chef, Cameron’s wife, Nicole, as maître d', and their son, 18-year-old Taylor, running the bar. Mixing family and business aligns with their ethos of providing a warm, welcoming atmosphere, where they treat their guests like family. It’s a formula that works and owner Peter isn’t about to do anything silly like change it.

“For us when we first arrived in Tauranga, Harbourside became our staple,” says Peter. “We’d get a table outside, order a wine and fish and chips. It was our favourite spot to be.”

That’s exactly what they want to continue offering to diners: a perfect experience in a tranquil setting, where you’re comfortable enough to order the fish and chips.

Harboursidetauranga.co.nz

Year-round faves

Taupō local Vanya Insull, aka VJ Cooks, shows busy families how easy it is
to throw together classic Kiwi recipes that taste as good as they look.

Sticky pineapple chicken bowls

These bowls are so fresh and delicious. The combination of the sticky chicken and rice with avocado, radish, and edamame beans is a family favourite.

Ready in 30 minutes  |  Serves 4

Ingredients

1 tsp sesame oil
600g boneless chicken thighs, diced
400g can pineapple pieces
3 tbsp low-salt soy sauce
2 tbsp sweet chilli sauce
1 tbsp cornflour
1 tsp crushed garlic
1 tsp crushed ginger

To serve

2 cups cooked rice 
1 cup edamame beans, cooked
2 radishes, finely sliced
flesh of 1 avocado, sliced
1 spring onion, finely sliced
1 tsp sesame seeds

METHOD
Heat the sesame oil in a non-stick frying pan. Add the chicken and cook, stirring, for 5 minutes.

Drain the can of pineapple pieces, reserving the juice. 

Add 1 cup of pineapple pieces to the frying pan with the chicken and cook for 3 minutes, until the pineapple starts to brown.

To make the sauce, measure 100ml of the reserved pineapple juice into a bowl or jug. Whisk in the soy sauce, sweet chilli sauce, cornflour, garlic and ginger.

Make a gap in the centre of the frying pan, add the sauce and cook, stirring, until the sauce thickens up and the chicken is cooked through.

To serve, divide the cooked rice between 4 serving bowls, then top with the sticky chicken and pineapple. Add some edamame beans and some sliced radish, avocado and spring onion to each bowl and sprinkle with sesame seeds.

Tips and tricks

Diced pork would also be amazing in this dish.

I like to give the leftover pineapple pieces to my kids as a snack or save them to use on a pizza.

Seed and nut bars

If you’ve ever eaten a sesame snap, you’ll have an idea of how these bars taste. Chewy and crunchy with a subtle honey flavour, they’re a great alternative to muesli bars in school lunchboxes.

Ready in 20 minutes + setting time  Makes 16 pieces

Ingredients

½ cup sunflower seeds
¼ cup pumpkin seeds
¼ cup sesame seeds
1 cup desiccated coconut
½ cup rice bubbles
½ cup coarsely chopped roasted cashews
½ cup coarsely chopped roasted almonds
100g butter
⅔ cup brown sugar
¼ cup honey

METHOD
Line a 27 x 17cm slice tin with baking paper.

Place the sunflower, pumpkin and sesame seeds in a dry frying pan over a gentle heat and toast for 5 minutes, stirring constantly to ensure they don’t burn.

Transfer to a large mixing bowl and add the coconut, rice bubbles, cashews, and almonds. Set aside.

Place the butter, sugar and honey in a small pot on a low heat, until melted and bubbling. Continue to bubble for a further 2–3 minutes, stirring constantly.

Pour over the dry ingredients and quickly mix to combine.

Transfer to the prepared tin and spread out to the edges, pressing down firmly with the back of a spoon.

Chill until set, then cut into 16 bars. Store in an airtight container in the pantry.

Meatball subs

The beauty of these subs is that you can either make them from scratch with the meatball recipe below or, if you’re short on time, you can use pre-made meatballs from the supermarket.

Ready in 30 minutes  |  Serves 4

Ingredients

500g lean beef mince
¼ cup breadcrumbs
1 small onion, grated
1 egg
2 tbsp barbecue sauce
1 tbsp Worcestershire sauce
1 tsp dried mixed herbs
1 tsp garlic powder
½ tsp salt
1 tsp oil, for frying
325g tomato pasta sauce

To serve

4 long rolls
1 cup grated cheese
fresh Italian parsley, chopped

METHOD

Preheat the oven to 200°C fan grill. Line a baking tray with baking paper.

To make the meatballs, place the mince in a large bowl with the breadcrumbs, onion, egg, barbecue sauce, Worcestershire sauce, herbs, garlic powder, and salt. 

Mix together with your hands or a wooden spoon. 

Shape into 12 large meatballs or 16 smaller meatballs.

Heat the oil in a large frying pan and fry the meatballs until nicely browned and cooked through.

Add the pasta sauce and cook, stirring, for a few minutes, until heated through.

Cut the rolls in half and place them on the prepared tray. Divide the meatballs and sauce between the rolls.

Scatter with the cheese, then place under the grill for 10 minutes until
the cheese is golden and bubbling.

Scatter with parsley and serve immediately.

Tips and tricks

You can eat these as they are or add your favourite toppings, such as sour cream, mayonnaise, barbecue sauce, or fresh salad ingredients.

Chocolate whip cheesecake cups with berries

These deconstructed cheesecake cups have it all − a crumbly cookie base,
a creamy chocolate cheesecake centre, and a tart berry sauce. They can be prepared the day before and topped with fresh berries just before serving.

Ready in 30 minutes + chilling time Serves 4-6

Ingredients

150g plain biscuits
80g butter, melted
2 cups frozen mixed berries
2 tbsp caster sugar
100g milk chocolate
225g cream cheese, softened
½ cup icing sugar
1 cup cream
sliced fresh strawberries, to serve

METHOD

To make the cookie crumbs, place the biscuits in a food processor and blitz to a fine crumb. Add the butter and blitz again until combined.

To make the berry coulis, combine the berries and sugar in a pot and simmer over
a gentle heat until the berries have broken down. Mash any large berries if need be.
Set aside to cool, then chill until needed.

To make the chocolate whip, break the chocolate into a microwave-proof bowl and microwave in bursts until melted. Allow to cool slightly.

Place the cream cheese and icing sugar in the bowl of a stand mixer and whisk until smooth. With the mixer still running, slowly pour in half the cream. Once combined,
add the remainder of the cream and continue to whip until soft peaks form.

Remove the bowl from the mixer. Gently pour in the cooled melted chocolate, carefully folding it through to create chocolate swirls. Do not combine completely.

To assemble, divide half the cookie crumbs between 4-6 glass tumblers. Add half the chocolate whip and then half the berry coulis. Repeat with the remaining cookie crumbs, chocolate whip and berry coulis.

Chill for at least 4 hours or overnight, before serving topped with the strawberries.

Tips and tricks

You can use super wine biscuits or arrowroot biscuits in this recipe.

Images and recipes from Summer Favourites by Vanya Insull, photography by Melanie Jenkins (Flash Studios), published by Allen & Unwin, RRP $39.99.

A perfect fit

Owner of an iconic Tauranga store, Wendy Simister of Wendys Boutique, celebrates 40 years in fashion.

words Nicky Adams | photos Jahl Marshall

Preconceptions are tricky to shake, so when meeting Wendy Simister, with her beaming smile and gentle manner, it’s hard to believe that she’s a businesswoman celebrating 40 years of running her own fashion store, Wendys Boutique. If proof was needed that it’s possible to possess business acumen and the kindest of natures, look no further than Wendy.

The second of four daughters, at just 18 years old Wendy began working in Maison Monique, a local premium ladies' store. With a core value of hard work drilled into her by her parents, it wasn’t long before Wendy thought about owning her own premises. Although young, she had been taught, “With drive and determination you can do anything.” By 21, Wendy had opened her own fashion boutique. With 17-year-old sister Sandy by her side, the doors were opened to the same premises on Eleventh Avenue that Wendys Boutique still operates from today. “We laughed our way through the day, but I remember wondering if we would actually sell anything,” Wendy recalls.

Forty years ago, this area was considered the outskirts of town: “It was all I could afford, but I always thought if people wanted to come shopping they would travel. It was about the experience.” Wendy was clear on her direction and had always appreciated beautifully made clothes; “I wanted things that were different, but that aligned with what I liked as well,” she explains. Trawling Auckland for stock, paid for upfront and brought back in the boot of her car, she says, “I tried to get things that weren’t readily available in Tauranga.” 

From the get-go Wendy had her finger on the pulse, even down to having the foresight it took to build up a database from the very start. “I used to handwrite newsletters to my customers – you just didn’t have the technology. I’ve always tried to personalise everything. Of course, fashion and the business side of things are very important, but above all it’s the people – the customers, the staff, the ones you surround yourself with. Because they’re your network of support and there’s always a seesaw where you need help, or you give help.

Wendy’s strengths undoubtedly lie in inspiring loyalty and continuity in her team. When sister Sandy left to travel 12 years after the launch of the business, her other sister Sally came to work in the back office, and stayed as a sounding board, buying buddy, and PA until her passing last year. Wendy remembers the time her now adult children (Matt and Hannah) were young, being busy business ones. “We very quickly grew to quite a big team. At one point it was all-consuming. There were a couple of times I was asked to franchise but I couldn’t see how I could do that. The biggest component is the people factor, and you can’t just duplicate that.” 

Wendy’s strong bond extends to suppliers and designers; among too many to mention, Loobie’s Story and Trelise Cooper are labels with whom Wendy shares a long history, that has crossed into friendship with owners/designers Laurinda and Trelise. Wendy is emphatic: “Both have just done so much for New Zealand fashion.” Laurinda, she says, has amazing vision when she creates her collections, and Trelise “is so incredibly creative, I hold her in such high regard.” Loyalty and support characterise these relationships – “it’s very much a two-way business with suppliers – and a mutual respect for what the other is trying to achieve. When suppliers went online they were effectively in competition, but you could either take it the wrong way or see it as the way of the future.”

With the advent of the internet came the explosion of online shopping and access to global fashion. Wendy is quick to identify changemakers and will adopt new strategies at lightning speed. Always trying to be ahead of the curve has been a deliberate methodology. I wonder if she’s a risk-taker, which she ponders
for a moment – “Probably, but not too intensely. At the end of each season, I evaluate everything. I take notice of others, but I always want to do something original. I’m already thinking about what hasn’t been done before – which sounds crazy now with the internet. I’m forever grateful I knew instinctively that setting up the online store was the right thing to do. And I’m not scared of change.”

One aspect of Wendy's longevity has been accommodating her loyal clientele and their trend-led needs, while simultaneously embracing a new demographic. Her solution was to open Tilda on Mount Main Street in 2015. I wonder why she didn’t just trade on her already successful name and open a second Wendys, but she says, “I thought that it was a good opportunity to bring in new brands and a younger feel.”

I wonder if she would consider whether she has made many mistakes over
the years. “I’ve made so many! But experience is knowledge. You don’t
learn if you don’t make mistakes. Things might not go as well as you’d hoped, and you must always be prepared for a rainy day. But the great thing about fashion
is that you get the chance to start again each season.” While Wendy may give the impression of having sailed along, buoyed by her naturally sunny personality, it’s clear that her keen mind and intelligence, along with a never-ending thirst for knowledge, have been trusty tools in her toolbox. Far from jaded, she seems as passionate as she would have been 40 years ago, with her joy for the industry as undimmed as her smile. As she says with total conviction: “I love people and I love fashion.” 

wendysboutique.co.nz

Peak performance

A 12-year-old from Tauranga is scaling new heights on the big screen,
starring in local dramedy The Mountain.

interview Hayley Barnett

Playing the role of Bronco in the new Kiwi film The Mountain, 12-year-old Terence Daniel (Ngāti Kahungunu, Raukawa ki Wharepūhunga, Kuki Airani – Aitutaki) never imagined he’d end up on the big screen. But he’s fully embracing his newfound talent.

The Tauranga local and pupil at Te Pūwhāriki-Maungatapu School is hoping this will be his stepping stone to swapping the school stage for the bright lights of Hollywood. The Mountain is Kiwi actress Rachel House’s directorial debut. Released in March 2024, the film is a heartfelt dramedy about three children on a mission to find healing under the watchful eye of Taranaki Maunga, and discover friendship in the spirit of adventure. Here UNO asks Terence a few questions about his foray into film.

UNO: How did you get into acting?
Terence: This is my first acting role! My nan found it on Facebook and she told my mum. My mum asked me, and I said, ‘Sure, I’ll give it a go!’ After my first audition, I got a call back from Rachel (House) who rang me on Zoom and told me I’d got the part. I was stunned. It didn’t really sink in until I saw my mum was really happy. Then I ran to tell my neighbours and my nan. My nan was proud as. I had always thought I wanted to play rugby or be a mechanic, but now I think I could actually do acting as a job.

UNO: What was it like to act in such a large production?
Terence: It was so much different to what I thought it would be like. I do Kapa Haka as part of Te Pūwhariki but that’s in front of a live audience. This had heaps more people. We had a great crew helping us, including the awesome Carrie Green, our acting coach. They all really supported us kids.

UNO: What was the highlight?
Terence: Being a part of the whole crew and production. That, and getting to be up on the maunga and waking up to the incredible view.

UNO: What do you love about acting?
Terence: It’s really easy, but also really hard at the same time. Performing on camera
is heaps different to Kapa Haka, but I’m used to acting on stage so that definitely helped.

UNO: What and/or who inspires you?
Terence: Our Māori chiefs and our ancestors really inspire me. We have so many amazing stories and I love hearing them.

UNO: What is your favourite movie and why?
Terence: This movie. And why? Because I’m in it! 

The Mountain, rated PG, was released in cinemas nationwide on March 28.

Art of change

Tauranga Art Gallery’s planned renovation has begun; in the meantime, opportunities for art continue throughout the local community.

words Monique Balvert-O’Connor

Although the iconic Tauranga Art Gallery has temporarily shut its doors, there’s more than a silver lining to the closure. What will follow is pure gold, explains excited gallery director Sonya Korohina.

The gallery’s main building is closed for renovations, reopening next summer as a more inclusive and connected facility. Gallery visitors can expect some “wonderful” new inclusions, such as a creativity centre for all ages, a gallery space especially for tamariki, a dedicated retail space for destination shoppers featuring a high proportion of works by Tauranga Moana artists and designers; and a café offering a curated food experience by day, plus a bookable hospitality space by night. Adding immediate wow will be a grand new entrance allowing a “lovely interplay” with Masonic Park, and a view into the gallery.

The gallery’s closure coincides with work beginning on the redevelopment of Masonic Park. The art gallery’s entrance will relocate from Wharf Street to the opposite side of the building, to be part of the new Te Manawataki o Te Papa vibrant community space. The art gallery will open up into this new cultural precinct, kept company by the likes of Baycourt and the new museum and library. The licensed café will be to the side of the gallery entrance.

“The café will enhance the gallery as a social space, offering people a place to gather before or after their gallery experience. A great espresso is a good way to attract new visitors – ones who have been at the café and then decide to venture beyond into the exhibitions,” Sonya explains.

The gallery’s revamp will involve working within the building’s footprint, except for extending to the parameters of the gallery’s land to accommodate the new entrance. Internal spaces will essentially remain the same, except for the relocation of the foyer, and a reimagining of space in the children’s area. The creativity centre will move to what’s currently the entrance/foyer on Wharf Street, and above (in what’s now a super-high ceiling void) will be a children’s gallery.

“We have to always be looking to the future and creating a world that the next generation can live in and be uplifted by,” Sonya says. The gallery project will fit the bill.

Art opportunities continue during the main building’s closure. Check out the TAG POP UP Gallery and learning space on Devonport Road, opposite the library. POP UP Exhibitions include Tauranga Moana Waterscapes: 1800s – Present and Wunderboxes (involving a map and a quest to find captivating, interactive art installations hidden throughout central Tauranga Moana).

artgallery.org.nz

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?

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!”

letstalk.tauranga.govt.nz/projects/tauranga-museum

Making a splash

A popular craft brewery and eatery has just expanded
into Ōmokoroa. Karl Puschmann checks it out.

Photos Jahl Marshall

There’s a new bar and eatery that’s been making quite a splash in the seaside village and holiday hotspot of Ōmokoroa. It may have only opened its doors in December but local craft beer enthusiasts and dumpling connoisseurs have been quick to jump into The Rising Tide.

It’s fair to say its reputation preceded it. Ōmokoroa’s Rising Tide is the first expansion for the incredibly popular Mount Maunganui institution of the same name that’s been brewing and serving award-winning craft beers since 2016. 

But it’s not just the flavourful and distinctive range of its beer brand Mount Brewing Co., the juicy burgers or famous dumplings, the sun-drenched deck that overlooks the Soper Reserve or the relaxed and welcoming atmosphere that’s made it a favourite in the Bay. 

Rather, it’s the combination of all of those things along with a much more intangible quality; character. This is especially important to craft beer bars because craft beer lives or dies on its character. That's its whole thing. 

“It's been a lot of time planning it all out. We wanted to replicate the Mount and have the same atmosphere,” Ellie Kirk, the general manager of both branches of the Rising Tide, tells me. 

We’re sitting out on the bar’s spacious deck in Ōmokoroa, enjoying a couple of their signature Golden Hour hazy’s in the warmth of the midday sun. 

“You can sit more than 150 people here, easy,” she smiles, looking around at the breezy space, before detailing plans for a large, fixed, all-weather marquee that will offer shelter from the elements and allow the Rising Tide’s popular live music programme to kick off in this new location. 

“We wanted to duplicate what we have at the Mount and bring it to Ōmokoroa because it works so well there,” she says. “There's nothing like this around here.”

Getting here has paradoxically been an extremely long journey and also something of a rush. The idea for a new Rising Tide began formulating around three or four years ago, with Pāpāmoa being the chosen location. But then Covid struck, slamming the brakes on those plans. A couple of years later, when the worst of it was over, the Pāpāmoa site that’d been earmarked was no longer available. Undeterred, scouting for a new location began. 

“It was so funny. Last May the owners just turned around to me one day and said, ‘Hey, we’re going to open up in Ōmokoroa. I was like, ‘What? This year?’” Ellie laughs, thinking back. “I said, ‘Okay, let’s go for it’.”

She came out to see the new location for the first time, a mere seven months before the planned opening.  

“It was so different to how it is now,” she says. “I couldn't envision it. In my head, I was like, This isn't The Rising Tide’.” 

The fixtures were all wrong, there was no room for a brewery (something that’d been part of their Pāpāmoa plans) and the vibe just wasn’t there. But the biggest offence was a giant, floor-to-ceiling mirror right behind the bar. Ellie says, that was the first thing that had to go. 

“We wanted the same wall as the Mount. Visually, the taps are a big thing, because we are a craft beer bar,” she says. “It’s huge.”

Once the Rising Tide’s signature white tiles and the long row of beer taps went in, Ellie says the bar began to feel more like home. There are a whopping 30 taps to select from, including taps for Mount Brewing Co.’s special, limited-edition beers and ciders.

“Every limited release we’ll have here. I told them, ‘Don’t leave Ōmokoroa out!’,” she laughs. “Rising Tide in the Mount gets allocated three kegs and we get one keg. So once it’s gone, it's gone. We’re actually tapping on two new beers today.”

Great beer? Check. Cool vibe? Check. But there’s one other thing Rising Tide is known for, its food. Particularly the dumplings from their in-house kitchen, Johney’s Dumpling House. You can go ahead and put a big ol’ check next to that as well.

“There’s a lot of foodie people here,” Ellie says. “The quality of food, the service standards, the presentation are all exactly the same. That's a big thing for us here.”

Then she smiles and says something that will come as a huge relief during the current cost of living crises.

“And the deals are the same! We have the cheap beer, burger and fries deal on a Wednesday, you can come and get dumplings really cheap with a beer every Thursday.”

It’s been a lot of work, and a long time coming, but all the things people love about the original Rising Tide have successfully washed up in Ōmokoroa. 

We’ve been sitting out enjoying the deck for about an hour while people have trickled in, eager to take advantage of the hot sun and a cool lunchtime meal and drink deal, and I can’t help but feel tempted to get another pint myself. 

therisingtidemt.com/omokoroa

Small steps, big impact

Katikati local and waste-free warrior
Kate Meads shares some simple
food waste tips to help us all be
more sustainable

Put simply, food waste is a problem for the environment, but by thinking about some simple changes to how you buy food, store it and then consume it is an easy climate action we can all take. 

Better food storage reduces waste. There are lots of ways we can store our food better and make it last longer. Most of our fresh vegetables like carrots, lettuce and celery will store for a long time in the fridge if they are put in airtight containers. When it comes to things like lettuce leaves, storing them in the bag they come in is the worst way to store them. Take them out of the bag and put them in an airtight container with a paper towel under them - doing this will make them last three times longer. With veggies like broccoli being the flower of a plant, they are best stored like a bunch of flowers - in a glass jar with water in the fridge. 

Using a meal kit delivery service helps Kiwis reduce food waste. Planning what you are going to cook during the week is a really effective way to waste less food. Using a meal kit delivery service can be really beneficial to people who are short on time, not great at planning meals, or who just generally find they waste a lot of food. The idea of having exactly what you need to cook arrive at your doorstep once a week is really helpful. Meal kits are perfectly pre-portioned and the planning is completely removed for you. You can also pause at any time if you are going on holiday, or you can order bigger potions if you are entertaining. 

First in, first out. A lot of people who waste food do so because they lose track of what should be eaten first. My best tip for this begins when you bring home your groceries or receive your meal kit for the week. Start by moving all of the older products in your fridge, pantry and freezer to the front, and place new products to the back. Label things “eat me first” if it has an approaching expiry date, incorporate it into your meal planning, and eat what you have!

Consider food packaging. Being mindful of packaging waste is all part of the journey too. This is where I see brands needing to lead the way in providing packaging that is minimalistic or easily recyclable. Make sure your tins are kerbside recyclable, and wash soft plastics out and drop them off at your local soft plastic collection point. 

When it comes to your recycling, make sure it is clean and dry. One thing to make sure of when you have packaging that you want to recycle is that it must be clean. All containers such as plastic, glass, tin, and aluminum need to be well rinsed. Cardboard and paper need to be clean and not food-contaminated before being put into the recycling bin. Importantly, soft plastics also need to be clean and dry before you drop them to the drop off points. 

Reducing our food waste doesn’t need to be complicated – small changes at home can make a big difference to our impact on the planet. 

The world is your oyster

Stacey Jones savours the local kaimoana
with a side of social enterprise.

Kaimoana is the jewel in the crown of the Bay of Plenty’s food story. A delicious bounty that supported Iwi for centuries, as they gathered kai in the plentiful harbours of Tauranga, Ōhiwa and Makatu over the summer months, preserving for the winter months ahead.

But kaimoana has become a scarce commodity, a result of relentless overfishing. It’s perplexing – our region boasts one of New Zealand’s most extensive coastlines, yet obtaining fresh, local kaimoana is akin to locating a pearl in a sea of oysters. 

So you can’t imagine how big my smile was when I heard the oyster farm in Ōhiwa, newly named Tio Ōhiwa (“tio” means oyster), had been purchased by a collective of Māori tono (bid) for shares in the oyster farms’ development, with an aim to regenerate the oysters in the harbour, along with scallops, mussels, and pipis. Not only that, they’re also planning to offer a culinary tourism experience through a social enterprise, providing work opportunities to rangatahi (young people) who may find the school system challenging, but have potential.

The masterminds behind the project are directors Wini and Simon Geddes, quintessential Kiwis known for their no-nonsense approach to getting sh*t done. In my initial meeting with Wini, I quickly grasped the essence of her character. When I asked about her role, she replied, “I mainly clean the toilets” – which, while true to an extent, belies her role as director of Tio Ōhiwa.

Initially, their plan was to focus on training rangatahi to deliver a qualification in aquaculture, and then move onto the tourism experience at a later stage.

However, they swiftly realised the tourism opportunity could not wait. As Wini aptly puts it, “The tourism part of the project was a five-year plan, but we seem to have done it in five weeks.” 

The newly reopened farm, established in 1968, offers daily tours, fittingly named the “Shuck ’n’ Cruise”. These tours include the chance to wade out to the oyster crates, shuck oysters, ride a boat into the harbour to see the farms firsthand, and savour the delectable kai offered at the onsite takeaway shop. Plans to create a new waterfront restaurant are in the making, with pontoons and a helipad, plus a boardwalk to Tauwhare Pāpa. They will also be offering year-round production so you’ll never have to go a day without oysters and champagne.

Remarkably, theirs could very well be New Zealand’s busiest seafood takeaway, dishing out 2000+ oysters a day during the peak season. This is just the beginning of their ambitious plans, with the owners aiming to reach a staggering five million oysters in annual production.

So this summer, take a trip to Tio Ōhiwa to experience their plentiful kaimoana. Book a Shuck ‘n’ Cruise, bring your friends, and go the extra mile to help this place become a must-visit tourism destination. After all, it’s not every day you get to experience fresh kaimoana right from the source, created by the most get-sh*t-done Kiwis I’ve ever had the pleasure to meet. They are truly making the world our rangatahis’ oyster, while putting the “plenty” back in the Bay’s seafood story. Ka pai! 

ohiwaoysters.com

Fancy footwork

Marlborough’s magnificent whites have so much more to offer than perfumed savs, as UNO wine columnist Jess Easton discovers.

Photos Jamie Troughton/Dscribe Media

There are many ways to become a master winemaker and while Richelle Tyney may have taken a slightly unorthodox route, the result is still going to end up the same.

The Nelson-raised, Blenheim-based wahine – who has strong Bay of Plenty whakapapa (Ngāti Maniapoto/Ngāti Porou) – manages the winemaking programme at Greywacke, working alongside enigmatic founder Kevin Judd.

That’s the same Kevin Judd who helped put Cloudy Bay, Marlborough and New Zealand on the world wine map, forever changing the perception of 'new world' wines and Sauvignon Blanc as a variety.

He started his own label Greywacke in 2009, named for the relatively bland bedrock that underpins most of Aotearoa, and started producing vintages that are anything but bland.

Before joining Greywacke in 2021, meanwhile, Richelle had spent the best part of a decade working with the likes of Mahi’s Brian Bicknell and Spy Valley’s Paul Bourgeois.

Before that, however, she’d studied exercise science in Christchurch, played representative touch rugby and been a handy basketballer.  Two uncles – Jamie Joseph and Terry Mitchell – were All Blacks and she knew far more about sport than wine, apart from that it came in at least three different colours and was good fun at parties.

Her OE changed all that. Landing a nannying job in Switzerland, she was introduced to fine wine by the family she was working for and a lightbulb went off in her head. Before she knew it, she was back home, enrolled in winemaking at Lincoln University.

A very similar lightbulb went off in my head the first time I tried a Greywacke Riesling, building up to Kitchen Takeover’s Ki Tua event earlier this year. 

Smooth and delicious, with layers of honeysuckle, citrus peel and juicy
stone-fruit flavours, subtly emerging and swirling rather than bursting and punching.  And, wait a minute – it’s from Marlborough? A region that is known for being Sauvignon Blanc centric with not much else.

A morning tasting with Richelle dispelled that misconception forever, as she unleashed the full spectrum of Greywacke’s white wine wizardry. Riesling, Pinot Gris, a startlingly good Chardonnay and a Wild Sauvignon that was wildly interesting and jaw-droppingly tasty.

Greywacke is all about hand-picking and hand-crafting. And the thing I love about Richelle is how she’s completely unfazed at working with an industry legend; her own confidence and sense of self are only going to grow the depth and quality of Greywacke’s offerings.

“Kevin’s both highly creative and very detailed at the same time – which is what makes him so talented – and there's a mutual respect where questions are asked and decisions are made,” she explains. “It’s rewarding to work with an industry icon and know that my input is genuinely contributing to the wine style."

And maybe there’s something in her sporty background that helps too; a sure-footedness when the pressure comes on and the weather throws curve balls.

“I love it at harvest, with all the problem-solving and thinking on your feet. That’s the beauty of it – no year is ever going to be the same.  I wouldn’t recommend it but I love it.” 

Jess Easton is a director and owner of Kitchen Takeover, complementing her career as a Tauranga-based lawyer.

Art and soul

Visual artist Shona Moller brings artistic diversity and a unique approach to Mount Maunganui's arts scene.

After more than 20 years of professional practice from her beachfront Kapiti studio gallery, Shona Moller now calls Mount Maunganui home. From her gallery space at 102 Maunganui Road, Shona creates new works within two very different genres that tell stories of heritage and belonging within contemporary artworks, and reflect the unique Bay of Plenty light and energy through lusciously applied oils in representational works of local landscapes and seascapes.

UNO: Tell us about your background. How did you become an artist? 
Shona: Perhaps, to some extent, artists are born into it. I was a curious, explorative child, expressing and recording through artworks from an early age. In some respects, then, art is my first language. 

How would you explain your art approach now?
Similar to that as a child; explorative, intuitive, although now I work within two diverse genres where each allows me to express myself fully in different ways. Through representational works, which is really just a flash word for an artistic representation of what you can see, I explore my surroundings, my environment, intimately. I sketch, photograph and plan larger works on canvas where it is my intention to capture essence, mood, and resonance as opposed to finer details. My more contemporary urban inspired works tell stories of heritage, English and Maori, employing icons like the London Tube map with New Zealand place names. These speak on a national level as well as a |personal one.  

You self represent. Why does this work for you?
I realise how fortunate I am to have my own gallery; I don't take this for granted at all. Self-representation works for me on many levels. First, it frees me to work how I want, at a pace where I can do my best work. I am
not obligated to gallery directors, to create what sells well, to deadlines and timeframes. While I take commissions, I can be selective, and I'm very grateful that my work has commemorated many significant milestones in peoples' lives. Also, being accessible allows for a real connection with those for whom my art resonates. 

What inspires you to create?
Too many things! I'm inspired by East Coast sunrises, full unapologetic new beginnings. I'm inspired by (what someone much more articulate than me coined) the DOGS, the Dead Old Guys; Van Gogh, Monet, Picasso, Vermeer, Rembrandt. I'm inspired by those artists that had the foresight and the genius to simplify forms when others strove for realism, to leave brushstrokes proud where others blended, to use pure colour where others mixed. I'm inspired by narrative, and the circle of energy created between myself as the artist, a completed artwork, and the viewer.

What is your favourite piece and why?
It sounds very PC to say, but it's always the one I'm working on. 

What have been your career highlights?
I have loved every aspect of having my own space. Over and above that, the sell-out London show was an unexpected success. Travel, art tours; I've painted in Renoir's garden, followed Van Gogh's exact footsteps in Arles, sketched where Monet painted his water lilies. I've featured in many media outlets over the years; magazines and Holmes back when that was a thing. Katherine Ryan interviewed me for Radio New Zealand, and most recently 7 Sharp spent a full day with me. The article aired in July, and anyone interested can view it via my website. I think the biggest career highlight though, in all honesty, in no small part because of the amazing support I have received, is that I get to live my art every day.  Oh, and UNO, obviously!

UNO: What do you love about living in the Bay?
Let me count the ways. Sunrises, as mentioned. The sense of coming home, evident in the smells of white sand warmed by a spring sun, sea foam, and rock pools. Mynar birds. Tui song alarm 'clocks'. Coffee at café sharing tables. Dappled sunlight through ancient base track pohutukawas. Port lights reflected in the inky sea. Mauao, her moods, her constant grounded reassuring presence in all weathers. 'God rays' through thunder clouds. Whānau. The people! Bay people are good people. I have been so beautifully welcomed into the community here, and from what people are telling me, they're delighted to once again have an organic, authentically artist-run gallery space at The Mount. So, can I just say thank you to everyone for their generosity of spirit. I feel seen, acknowledged, and home. 

Shonamoller.com

Season’s eatings

Great Kiwi Bakeoff winner Alby Hailes showcases his latest book, Good Vibes, with a selection of delectable, fresh recipes, each offering delicious flavours, perfect for celebrating.

Words Aaron Mclean

Turmeric roast potatoes with crispy kawakawa & brown butter whip

The perfect roast potato recipe, and potatoes this good deserve special treatment – kawakawa leaves, a plant endemic to Aotearoa, bring complexity to the brown butter and crisp up beautifully when fried to garnish. If kawakawa is unavailable, use fresh sage.

Hands-on time 30 mins

Total time 1 hour 10 mins

Serves 6–8 as a side

Ingredients

Brown butter whip

• 150g butter, chopped into small cubes

• 6 kawakawa leaves

  Turmeric roast potatoes

• 100ml canola oil

• 2kg agria potatoes, peeled and cut into 4cm chunks

• 1 tbsp + 1 tsp sea salt

• 1 tbsp finely chopped sage

• 2 tsp ground turmeric

• ½ tsp cracked black pepper

• 2 tbsp olive oil

• 8 kawakawa leaves

Method

First start the brown butter whip. Melt the butter with the kawakawa leaves in a heavy-based saucepan over medium heat. Continue to cook for 3–5 minutes, stirring regularly and swirling the pan, until it starts to foam and the butter turns a deep golden brown (be careful here as it can rapidly go from brown to black). Pour the brown butter (including any flecks that have solidified) into a bowl, and discard the kawakawa leaves. Refrigerate the butter until cooled to the consistency of room temperature butter (this can take up to an hour). Stir a couple of times as it cools to mix up any browned solids with the melted butter.Remove from the fridge and set aside.

Preheat the oven to 190°C fan-forced (or 210°C conventional).

For the turmeric roast potatoes, pour the canola oil into a large roasting dish and place in the oven to heat. Place the potatoes in a large saucepan, cover with cold water and add 2 tbsp salt. Bring to the boil over high heat. Once boiling, parboil the potatoes by cooking for 5–10 minutes, until a knife can go easily through the outer edge of a potato but they are still firm in the centre. Drain then return to low heat and stir for 1 minute to dry out the potatoes a little. Remove from the heat and give the saucepan a decent shake until the edges of the potatoes are fluffed up. Add the sage and turmeric, tossing to coat. Carefully remove the roasting dish from the oven. Add the potatoes and carefully toss to coat with the hot oil. Roast for 35–40 minutes, until golden, crispy and cooked through. Remove from the oven and sprinkle with the pepper and remaining 1 tsp salt, tossing to coat.

To finish the brown butter whip, beat the brown butter with an electric hand mixer for 3 minutes until fluffy and whipped.

For the crispy kawakawa, place the olive oil in a small frying pan over medium-high heat. Once the oil is really hot, add the remaining kawakawa leaves and fry for 20–30 seconds on each side until blistered and crispy, then remove from the oil and place on a paper towel-lined plate to drain.

Serve the potatoes warm, topped with dollops of brown butter whip and the crispy kawakawa leaves

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Lazy-day pulled pork with apple & beetroot slaw

This combination of pork and slaw can be stuffed into bao, tacos and flatbreads, or served with your favourite sides. A healthy swig of rum and grated green apple give the meat incredible flavour. Allowing the slaw to marinate 30 minutes in the fridge lets the cabbage soften just a little.

Hands-on time 15 mins

Total time 5 hours

Serves 6–8

Ingredients

Pulled pork

• 1.5kg pork shoulder or leg, bone-in

• 2 tsp ground sumac

• 1 tsp ground chipotle chilli (or other chilli powder)

• 1 tsp ground ginger

• 1 tsp ground cumin

• ¼ tsp ground cloves

• 2 tbsp soft brown sugar

• 1 tbsp finely grated fresh ginger

• 4 cloves garlic, finely chopped

• 1 large green apple, grated

• 60ml apple cider vinegar

• 60ml golden rum

• 2 tbsp tomato paste

• ½ tsp sea salt

• ½ tsp cracked black pepper

• 2 red onions, thinly sliced

• 400ml can coconut cream

  Apple & beetroot slaw

• ¼ red cabbage, shredded

• 1 large green apple, halved, cored, cut into matchsticks

• 1 small beetroot (about 125g), finely grated

• 70g unsweetened natural yoghurt

• 3 tbsp apple cider vinegar

• freshly squeezed juice of 1 lemon

• 2 tbsp pomegranate molasses

• 2 tbsp chopped mint leaves

• 1 handful coriander leaves

Method

For the pulled pork, trim any excess fat or skin from the pork. Pat the meat dry with paper towel. Using a sharp knife, score the meat diagonally a few times, making cuts just 1cm deep. This lets the marinade penetrate the flesh. Place into a medium–large (about 25cm diameter) Dutch oven or casserole dish with a lid. In a bowl, whisk together the spices, sugar, ginger, garlic, apple, vinegar, rum, tomato paste, salt and pepper until well combined. Pour over the pork and massage into both sides of the meat. Cover with the lid and leave at room temperature for 1 hour to marinate.

Preheat the oven to 140°C fan-forced (or 160°C conventional). Add the onion and coconut cream to the meat and stir through to coat. Cover and cook for about 4 hours, until the meat is very tender and falling apart.

For the apple & beetroot slaw, combine all ingredients in a bowl and toss together. Refrigerate for 30 minutes.

To serve, transfer the pork to a chopping board. Using two forks, pull the meat into shreds. Return the pork to the casserole dish and mix through the sauce to absorb all the moisture and flavour. Serve warm with the apple & beetroot slaw, either on their own or stuffed into tacos, buns or flatbreads.

Note: Alternatively, cook the pork in a slow cooker on LOW for 8–10 hours or HIGH for 6 hours, until tender and falling apart. Ensure you still marinate the pork first for maximum flavour

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Black sesame, rose & cardamom cake with honey mascarpone icing

If there is a quintessentially me cake, this is it. This cake has fed hungry hospital nurses, been cut by a married couple, and even featured as the base for one of my showstoppers on The Great Kiwi Bake Off. I love how visually striking the grey tones of the crumb are against the whipped cloud-like mascarpone. The combination of black sesame, rose, cardamom and black pepper is an unusual one, and it’s sure to become a favourite.

Hands-on time 20 mins

Total time 1 hour 30 mins

Serves 12

Ingredients

Cake batter

• 100g butter, softened to room temperature

• 200g caster sugar

• 2 eggs

• 125ml canola oil

• 2 tbsp rose water

• 2 tsp vanilla extract

• 75g black tahini

• 125ml coconut cream

• 150g plain flour

• 110g ground almonds

• 2 tsp baking powder

• 1 tsp ground cardamom

• ¼ tsp sea salt

• ¼ tsp ground black pepper

  To decorate

• 1 tbsp white sesame seeds

• 1 tbsp black sesame seeds

• 200g mascarpone

• 1 ½ tbsp honey, plus extra to drizzle

• 2 tsp rose water

Method

Preheat the oven to 160°C fan-forced (or 180°C conventional). Grease a 20cm round cake tin and line with baking paper.

To make the cake, beat the butter and sugar in a large bowl, using an electric hand or stand mixer with the paddle attachment, for 3 minutes or until pale and fluffy. Add the eggs and beat for 1 minute, until well combined. Pour in the oil, rose water and vanilla. Beat for 1 minute, until smooth. Add the black tahini and coconut cream and beat for an additional minute, until smooth. In a separate bowl, whisk together the flour, ground almonds, baking powder, cardamom, salt and pepper. Fold the dry ingredients into the wet until smooth and just combined. There should be no remaining specks of flour left in the cake batter. Pour into the cake tin and bake for 45–50 minutes, or until a skewer inserted into the centre of the cake comes out clean. Leave to cool in the tin for 15 minutes before turning onto a wire rack to cool completely.

To decorate, toast the sesame seeds in a small frying pan over medium heat for a few minutes, until starting to brown and pop. Transfer to a small bowl to cool. In a separate bowl, whisk together the mascarpone, honey and rose water until smooth. Pipe or spread the honey mascarpone evenly over the top of the cooled cake, then sprinkle with the toasted seeds and drizzle with extra honey.

Serve on the day of baking, or refrigerate in an airtight container for up to 4 days. Bring to room temperature before serving.

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Matcha & pistachio amaretti

In the style of Italian amaretti, these biscuits are wonderfully chewy due to a base of egg whites and ground nuts. Matcha and pistachio are buddies in green and a dangerously moreish combination, so if ingredients are on hand, this recipe is always worth doubling.

Hands-on time 15 mins

Total time 1 hour 10 mins

Serves 15 small cookies

Ingredients

• 100g pistachio kernels

• 110g ground almonds

• 200g caster sugar

• 1 tbsp matcha powder

• pinch of sea salt

• 65g egg whites (about 2)

• 1 tsp vanilla bean paste

• 75g icing sugar

Method

Place the pistachios in a food processor and blitz until finely ground. Transfer to a large bowl, add the ground almonds, caster sugar, matcha and salt, whisking to combine. In a separate bowl, use an electric hand mixer to beat the egg whites until soft peaks form. Add the egg whites and vanilla to the dry ingredients. Use a spatula to gently fold together to make a soft, slightly sticky paste. Cover the bowl and refrigerate for 40 minutes, so that the mixture can be rolled into balls without sticking to your hands.

Preheat the oven to 150°C fan-forced (or 170°C conventional). Line 2 oven trays with baking paper. Sift the icing sugar into a shallow bowl. Roll the chilled dough into small balls (about 30g each). Roll the balls in the icing sugar to coat generously. Place on the oven trays spaced at least 4cm apart, as they may spread a little as they bake.

Bake for 15–20 minutes, until cracked, fragrant and just starting to turn lightly golden brown at the edges. Leave to cool on the trays for 10 minutes, before carefully moving to a wire rack to cool completely. Store in an airtight container for up to 3 days.

Love conquers all

He’s one of Aotearoa’s biggest music stars and she’s working hard to make a difference in our community. Together Rachel Axis Taane Tinorau and Tiki Taane are one of the Bay’s most recognisable couples. Here they talk about their unusual love story, overcoming addiction and ghosts.

Words Karl Puschmann | Photos Graeme Murray + Supplied
Styling Nicky Adams | Hair Sam Henry | Make up Desiree Osterman

Moving up to the Bay from Christchurch had been a dream come true for Rachel. But the dream turned into a living nightmare when a ghost showed up. “I had a rough time when I first moved here. There was a weird energy and a spirit,” she tells UNO over a piping hot cup of cinnamon tea. “We nicknamed him Spirit Fingers.”

We’re sitting in the comfy lounge of the Pāpāmoa Beach home she shares with her husband, musician Tiki Taane. It may be a gloriously sunny afternoon but her haunting story and the spirit’s creepy nickname cause a shudder. 

It’s fair to say that Spirit Fingers put something of a spooky damper on the excitement the couple had been feeling. They’d spent two years making their long-distance relationship work. Rachel’s move up in 2015 marked the beginning of not just their life together but, as they each had a child, also the beginning of their life as a blended family. The couple couldn’t have been happier. 

Until…“I’d wake up with someone standing next to the bed or at the bedroom door,” Rachel continues. “When Tiki was away, walking down the hallway would freak me out. It was creepy. I could feel there was always someone there. It was full-on.”

Tiki, who has planted himself in a huge, comfy beanbag, nods and says, “Where we are there’s a lot of spiritual energy. And a lot of spiritual history as well.”

He explains that the area was used as battlegrounds and that there are urupā (burial sites) underneath the nearby boardwalks that stretch along the beachfront. “That’s why it’s up high,” Tiki explains. “There’s a lot of bones in that area.”

There was something strange in their neighbourhood, but both being spiritual people, they weren’t about to call Ghostbusters. Instead, they wanted to show respect and understanding. They had a karakia (a traditional Māori prayer to invoke spiritual goodwill) written, which they then recited in their home. “It was basically to say to them, ‘You're welcome to be here’,” Rachel says. She laughs, then adds, “But just please don’t interfere with my sleep.”

Looking back now, she thinks it was curiosity, rather than a terrifying Hollywood-style haunting, that was the spirit’s motive.

“Tiki’s been settled here for a while so they were probably like, ‘Who’s this bitch?’” she grins. “They were just sussing me out. Since the karakia, it’s been sweet. There’s definitely still an energy, but not a bad one.”

“This whole area of Pāpāmoa has an energy that I really enjoy,” Tiki says. “I love it here.”

His connection to the area runs deep. He moved here back in 2010 but first visited in 1996, when his former band, the award-winning group Salmonella Dub, played in the Mount. 

“The first time I came it blew me away. Then I just loved coming back here,” he says. “It’s always been good vibes.”

When Tiki first laid eyes on Rachel, she wasn’t even there. He was in Auckland getting a tattoo when he saw a photo of his tattooist and her friend. “I was like, ‘Who’s that hottie?’ and she was like, “Oh, my God! I’ll hook you up!’” he laughs. 

Rachel of course knew of Tiki, but even with their mutual friend putting in the good word, she wasn’t prepared to rush a meeting with a stranger.

“Rachel was like, ‘This is a red flag’,” Tiki laughs. “She didn't give me her number. She gave me her email. So I started emailing. Then emails led to texting and texting led to phone calls. We'd call each other every night.”

In that regard, it was quite an old-fashioned courtship, with Tiki really trying to impress her. “Yeah. Hard,” he grins.

When Tiki appeared somewhat out of the blue, Rachel was concentrating on being a solo mum to her toddler and not at all about relationships. “I hadn't had very good experiences with men, so I had my boundaries up,” Rachel says. “I was quite weary. But Tiki was really respectful. He wasn't creepy. So when I had trust through the emails, I was like, ‘Okay, here's my number’.”

While the pair hadn’t committed to each other, they were becoming bigger parts of each other’s lives. But they hadn’t yet met and were still, in the words of Rachel, “doing our own thing.”

About six months on from their virtual meeting Rachel entered a radio competition to win a trip to Rarotonga. It was a typical shock-jock style of radio competition, which saw five married men going to the island with five single women and their friends.

“It’s so wrong and looking back now I’d be so anti it,” Rachel admits. “But I entered as one of the single chicks and won. I told Tiki and it turned out the dates I was there he was actually going to be there as well.”

In what can only be described as serendipity – a word Tiki would also use when he wrote a love song to Rachel before proposing on camera during the making of its music video – he was going to be there with the drum ’n’ bass group Shapeshifter.

The pair arranged to meet the night she arrived and he zipped over to her hotel on a scooter. After their six-month courtship, the couple finally met, and embraced, for the first time.

“Then she got on the back of my scooter and that was it,” Tiki beams.

“I pretty much spent the whole time with Tiki,” Rachel smiles. “It was a great first date.”

After the fairytale romance in Rarotonga, the real world hit hard when they returned home. Rachel’s friends were worried she’d get too attached and her mum was concerned her old habits might return.

“My mum was absolutely horrified. I'd been through such an intense time with addiction that she was really scared about the rock-and-roll, party lifestyle. Tiki was not like that at all. But there was an assumption, a stereotype, that the music industry
is all about getting slaughtered and taking drugs all the time. It may be in some groups, but not ours.”

Having finally met Rachel, Tiki wasn’t about to let her go. He already knew she was the one. He emailed her tickets to fly to Auckland that weekend so they could go to a dance party. 

“You told me that you loved me and I was like, ‘Ooof. This is a red flag’, because it had only been a week of physically knowing each other. But you asked me that weekend to be your partner. I was like, ‘Yeah!’ and here we are!”

“We both had the same mindset and just really connected, big time,” Tiki says. “We were talking for months and months and months before we actually met in person. So we built our connection that way.”

“Yeah, we had the same values and passions, like advocacy. We both had a kid, they’re only two years apart,” Rachel adds, referring to her daughter Karcia (12) and Tiki’s son Charlie (14). “And a similar life story in a way. Both of us have been through addiction and both came out the other side of that. We're both of a similar vibe.”

Because Rachel’s mentioned it a couple of times, I ask about her addiction. 

“I was a meth addict for four or five years, from age 14 to 19,” she replies. “I'd done my work well prior to Tiki coming along. I went to rehab when I was 19.”

Rachel escaped into addiction due to trauma. Her parents separated when she was two years old and Rachel's relationship with her father has had its challenges ever since. She moved schools a lot due to bullying and at just 14 years old she was sexually assaulted in a park after a party. The culmination of all this trauma at such a young age led her to meth. 

“I still struggle with PTSD,” she says. “I hate the word addiction. I look at it more as escapism. When people use a lot that's usually because they're trying to numb or hide from something that's either happened or that's going on. But me and Tiki have a really good relationship where if there’s something going on, we both talk about it. We don't need to get wasted to numb anything.”

Those dark days are well and truly behind her. Having turned her own life around, she’s now determined to help others do the same. She does public speaking at events where she shares her journey through trauma, addiction and recovery and is also a qualified social worker who previously worked at Women’s Refuge and now goes into the Bay’s secondary schools to deliver consent education and healthy relationship education.

“As someone who has had sexual trauma, I wish that I’d had this education when I was younger,” she says.

Depending on the situations she encounters and the people she helps, it can sometimes be hard for her to switch off at the end of the day. But she knows Tiki is always ready to support her.

“I listen and I wait till she’s got it all off her mind,” he says. “It’s been a huge education for me as well and made me really become more talkative about sexual harm in the music industry. When you start delving into the subject, this kaupapa, you've got to look at yourself, what you've done and start questioning the behaviours that you've done in the past. Some of it might not be nice. I can't sit here and go ‘this, this, this and this’, I have to look at what I've done and think about that and go, ‘How come that happened?’ or ‘Why does this happen?’. It's a really vulnerable opening you've got to do, and I think a lot of people are scared to do that. For me, I've learned loads from Rachel. Untold amounts of stuff.”

Tiki, in turn, has also been sharing his knowledge with Rachel. Over lockdown, he taught her how to DJ and now she often plays support slots for him at his shows. Because he’s away playing his own shows so much he doesn’t often get to interact with the local music scene here that much. 

“This is my home. This is where I live. When I think of doing gigs and stuff, I think outwards. I don't think about playing locally. It’s quite interesting. I don't know why that is.”

As well as touring, Tiki produces artists and bands in his purpose-built home studio and recently released his first feature film, the award-winning concert-documentary Tiki Taane in Session with CSO, which he produced, directed and performed himself. Following rave reviews at the New Zealand International Film Festival, it has since been accepted into numerous festivals around the world and continues to clock up awards.

“It's doing really awesome. It's been a wicked buzz,” Tiki says of the project which took him three years to complete. “I'm so stoked that I rolled the dice on it.”

Spend some time with Rachel and Tiki and it’s easy to see why they work so well together. They’ve both overcome demons and found each other, and then overcame their initial physical distance to connect in a deeper, spiritual way. Their personalities complement each other with Rachel outgoing and Tiki more laid back. And with Spirit Fingers no longer haunting the hallways, their home has a chill vibe and a welcoming atmosphere. 

“We definitely made the deal, the commitment,” Tiki says of their relationship. “I knew from the beginning that I’m in this for the long run.”

Then, smiling warmly, he says, “It's been incredible.” 

Tiki Taane in Session with CSO is available to rent
at Tiki’s website tikidub.com

The art of ink

UNO talks to local experts about the transformation of the Bay’s tattoo industry and the healing power of this often misunderstood art form.

Words Karen Clarkson

In 2012, when celebrated tā moko artist Julie Paama-Pengelly (Ngāi Te Rangi) set up shop in Mount Maunganui, there were four tattoo studios in the area. Today, the local body-art industry has expanded to nearly 100 artists, operating from Waihi to Te Puke. 

“Only a decade ago, the perception of the tattoo industry wasn’t positive. It sat within a genre which was not understood or recognised as mainstream. Aotearoa is now considered in the top five in the world as a destination for body art, and the scene here in the Bay of Plenty is as vibrant as ever,” says Julie, owner of Art + Body Creative Studio, which embraces a range of experienced artists offering contemporary tattoo alongside traditional tā moko and custom Māori design.

Overall, New Zealanders are becoming more discerning, respecting the honoured tradition and its therapeutic benefits, and selecting artists who value authenticity and originality. “For a while there it became a copying profession and people were wanting the same as a friend, or choosing a design straight from the wall. Tattoo is like any fine art form, where originality is what drives and defines what we do, and there is more appreciation for that now,” says Julie, who features in World Atlas of Tattoos, a book showcasing 100 notable artists from around the globe.

Tattoo as therapy

Tattoo artist Veronica de Oliveira, of Black Orchid Collective Studio, moved to New Zealand 20 years ago from Brazil and agrees the perception has changed radically. “When I first got my neck tattoo and walked around, people just stared. There is a renewed appreciation and respect for this form of self-expression, including its transformative power,” she says.

“Tattooing alters your state of consciousness,” she explains. “The chemicals your body produces to manage the discomfort changes the energetic field and transforms your body into a different state. When you alter the vibration, you can heal the cells, make new cellular memories, and create a new state of mind. It's a special, sacred process that can heal people,” Veronica says.

Julie agrees. “In the tā moko space, it is very much a therapy-based practice. Yes, there is execution, care and aesthetics that goes into the marking. But you’re also confronting pain, past trauma, covering scars or claiming a new path, which opens a healing, spiritual and cultural journey for people.”

The COVID-19 pandemic presented an interesting phenomenon for the local tattoo industry, with a huge spike in demand after lockdowns and studios booked out months ahead. 

“People were confronted with mortality, loneliness, and disconnection from the world. They had time to research a meaningful piece of art that reflects their story, where they have come from and where they are going. For some, it was a way to mark a critical time in their life or to set a future goal,” Julie explains. 

TRENDS

International artists sharing their work online and connecting with people globally have challenged stigmas, resulting in a range of ages and stages getting inked – from Gen-Z first-timers or groups of millenials wanting to memorialise something, to an 80-year-old ticking off their bucket list. 

“Larger, colourful pieces seen on heavily tattooed people in Europe or America are gaining momentum here alongside full sleeves, legs, necks and heads. I recently did a project with an older lady, maybe in her 70s, who wanted to fully cover her back. It was a beautiful, vulnerable experience,” says Veronica. 

Cover ups or redos are on the rise, too, with Kiwis wanting to reink old tattoos, or cover “regret” and “party” tattoos. “Some people go for years hiding a tattoo that reflects a bad memory or experience in their life. We can take something shameful and create something beautiful together,” says Veronica. 

MODERN TECHNOLOGIES

From hand-tattooing to machine-produced designs, new technologies are constantly evolving and opening the doors to a range of clients desiring thinner, more stylised lines, shading, florals, and delicate work.

“The rise of portraiture and realism in the Bay of Plenty mirrors the growth internationally. Micro-tattooing allows portraits across smaller
areas using finer needles, different machines and ink,” says Veronica. 

Julie credits the Māori art revival as playing an important role in the changing psyche of New Zealanders and popularity of tattoo. “We are highly regarded for tā moko and the work of Aotearoa tattoo artists is honoured around the world. Indigenous cultures that have embraced this sacred art form have created a pathway for tattoo in general,” she says.

“Tā moko and tattoos are one of the most powerful forms of communication. There's authentic connection and cultural function that is created through this historical practice. When you get a tattoo, you embody that art form, its power and healing, and share that everywhere you go.”

Read on to discover the many tattoo artists around the Bay.

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Sacred honour

Veronica de Oliveira brings art and healing together through her collective of creatives.

While the Western world may have adopted tattooing in recent decades, ancient cultures around the world have performed this sacred art form for millennia. One local tattoo artist has set up a creative studio combining body art with holistic healing, products and services, all honouring a theme of healing, transformation and community.

Black Orchid Creative Studio in downtown Mount Maunganui is a collective of artists offering tattoos, hair and barber services, piercing, massage, coffee and healing reiki. Owned by Veronica de Oliveira, tattoo artist and mum of three, she is determined to transform the male-dominated industry, reclaiming its feminine history. 

“Ancient cultures used body markings to acknowledge the energy of the divine feminine, and some of the earliest recorded tattoos were found on female Egyptian mummies. Considered gods of birth, Egyptian women were tattooed on the abdomen and upper thighs, to celebrate creation and provide protection over the birth,” she says. 

Veronica studied Reiki and is passionate about increasing understanding about the transformative power of tattoos by offering a large range of healing modalities alongside body art. “Tattooing is a historic blood ritual that transforms energy through art to someone's skin. There's an opportunity for more people to be educated on this sacred experience for its ability to heal trauma, overcome shame, provide empowerment and increase body positivity,” says Veronica.

Inspired by her own journey to becoming a body art professional, Veronica believes with the accessibility of Youtube tutorials, and machines easily purchased online, it's important to create opportunities for the next generation to learn all the elements needed to become a professional tattoo artist. 

“My goal is to create an educational platform and offer workshops, education and guest speakers so up-and-coming artists can not just hone their artistic talent, but learn about the history of tattoo, its healing powers, how to honour the client, as well as the ins and outs of running your own business,” she says.

Quick questions with Veronica de Oliveira

UNO: How long have you been in the industry?

Veronica: About seven years.

How did you become a tattoo artist?

I’ve always been an artist; I believe you are born like that. I am a self-taught person, and when something interests me, I can’t stop until I master it. Before tattooing, I was working as an interior and events designer and as a florist. I tried a friend’s tattoo machine once and never went back! I was quite good on it to start, which made me buy my own equipment. I’ve offered free tattoos for family and friends until I worked as a volunteer in the Tattoo & Art Extravaganza and met my mentor, Pepa, who gave me my first opportunity to work in a shop. By that time, I had two small children on my own. It was my return to work life, and I knew I was supposed to do something big with my life. 

What do you love most about your job? 

My job empowers me. Through art, I can transcend reality and bring happiness to people. My studio is my temple, my dream. I love to come to work, meet people, share energy and heal. 

Do you have a favourite piece of work? 

At the moment I’m working on a collection of star sign goddesses. I’m in love with it! I create large pieces with my clients’ astrology characteristics in a black and grey neo-traditional style. 

Who and/or what inspires you?  

I could name so many artists that  inspire me, but my real inspiration comes from my family and my devotion to women, the Divine Feminine. I think we are so resilient, so powerful and beautiful. Most of my clients are women, and we learn so much from each other. 

What do you think makes a good tattoo artist? 

Drawing skills, creativity, drive, humility, compassion, cleanliness, good customer service, ethical professional mentality, good communication and understanding, intuitive people reading. Good common and aesthetic sense. Hunger for learning.

What do you think has changed positively in the tattoo industry in the last 10 years? 

The increase of women in the industry and the technology. We now can rely on amazing equipment and material. Social media became a great marketing tool for artists to show their work. There is also less discrimination against tattooed people and artists. I also love that we see young and older people getting tattooed in the same room. Tattoo art has also evolved significantly – these days, artists are doing the most incredible art on peoples bodies. 

What do you want to see in the future for the tattooing industry? 

I would like to see more recognition
of the profession from governmental institutions through more regulations and more educational incentives to apprentices and mentors. At the moment, I’m in the planning phase of an introductory tattoo course and workshops, to be released next winter. I believe that so many people out there are trying to learn on their own and wanting some guidance, support
and the opportunity to succeed
in the profession. 

 Ladydragontattoos

 Blackorchidcollectivestudio

Blackorchidcollective.co.nz

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Making her mark

Characterised by openness and support,
this tattoo studio balances the mana of its artists with deep respect for its clients.

Step into Art + Body Creative Studio in Mount Maunganui, and embrace a vibrant, collaborative, light-filled space buzzing with a large team of artists including tā moko and contemporary tattoo artists working alongside eager apprentices. The open-plan workshop, complete with
bus-theming throughout signifying the shared journey between artist and client, is the antithesis of the closed-off, traditional tattoo shop stereotype; a deliberate design by owner Julie Paama-Pengelly. 

“When I opened ‘Body’, I wanted to reject the conventional male-led tattoo paradigm; expose the mainstream to the often hidden nature of the industry, while also demystifying tā moko. As a result, we have created an environment where the powerful, intimate and transformational practice of tattoos is shared and celebrated,” explains Julie.

Considered one of New Zealand’s leading tā moko artists, Julie (Ngāi Te Rangi), has played a key role in the revival of Māori arts since the 1980s. With a background as a university lecturer, arts faculty leader and renowned arts advisor, it was natural to combine her experience in education space with her commercial studio, evolving a pathway for apprentices since 2015.

“As client demand for experienced moko artists took off, I knew I had a role to play to support the succession of artists. More female practitioners were also coming to me asking, ‘How do we get access to more knowledge, more learning, more mentors?’, and I was passionate about supporting the rise of Māori women practising tā moko,” she explains.

In the last nine years Julie has trained over 20 artists, with one to two per year graduating to full-time employment at  Art + Body Creative Studio or starting their own successful business. 

“Our apprentices learn technical skills and hone their artistic niche, but at the forefront of our kaupapa is creating an environment to support the clients' physical, emotional and spiritual transformation. This includes learning protocols, tikanga, health and safety, and coordinating an open and supportive client dialogue - which is less about the purchase and more on creating an honourable, respectful exchange,” she explains. 

Julie’s education work also extends beyond the studio, into orchestrating festivals, exchanges and exhibitions working to strengthen and enrich Māori arts and indigenous tattoo around the world. Toi Kiri, the world indigenous arts festival, developed by Julie and the team from Te Tuhi Māreikura Trust, was held in Tauranga last month. The fourth world indigenous tattoo event is held annually in October over 10 days, featuring a symposium, exhibition and public event showcasing 45 tattoo artists and 200 cultural performers from 16 different nations around the world.

“We have worked hard to create a healthy and vibrant tā moko and tattoo community in Tauranga, and as a result of the vision here, New Zealand is at the forefront of an international movement supporting the revitalisation and exhibition of indigenous arts around the world,” says Julie.

Tā moko on display

Julie Paama-Pengelly is one of eight cultural tattoo practitioners selected to take part in a world-first exhibition at the Museum of Vancouver in 2024. Internationally-acclaimed tattoo artist Dion Kaszas is curating “True Tribal: Contemporary Expressions of Ancestral Tattoo Practices”, an exhibition featuring podcasts, documentary, live performances, living portraits and a photographic exhibition; all celebrating the work of contemporary indigenous tattoo artists around the world. 

Quick questions with Julie Paama-Pengelly

UNO: What's your background? How did you become a tattoo artist?

Julie: I have a background in design and did an undergraduate degree in anthropology, which gave me a cultural context to Māori ethnography, world view, and also the importance of our historical art objects. This led to an interest in Māori and Pacific Island development and a Masters of Third World Development. I then did a Bachelor and a Masters in Māori Visual Arts and went on to teach at Massey University School of Design, doing tā moko on the weekends. Tā moko is a cultural signifier of identity and pride; in the early days, it was a community practice that happened on marae and in whanau contexts, as part of the ongoing reclamation of health and wellbeing for Māori.

How long have you been in the industry?

I have been applying tā moko for more than 30 years, at times around my other roles as teacher, writer, exhibiting artist, and parent to two children. When I moved to Tauranga to be closer to my tribal base (I’m from Matakana and Matapihi), I saw the contrast between an affluent Western community and the relative position that Māori now occupied in Tauranga after suffering loss of land and capacity during colonisation. In 2011, I decided to open a studio to locate tā moko within other tattoo practices, to clarify the relative differences between tā moko and tattoo, and to engender further acceptance of tā moko – particularly facial markings which had historically faced discrimination in Western tattoo history.

How would you describe your style?

I am a tā moko specialist and since I have been practicing for an extended length of time, this practice has developed quite a bit. I understand that the principles of tā moko design are underpinned by an inherited language vocabulary (Māori didn't have a written language so our arts served a powerful role), and once you know this, its up to the tā moko artist to expand on this and to reflect the changing nature of Māori experiences and society. When non-Māori copy tā moko, they fail to understand the language system, the design meaning as a personalised engagement between the wearer, their community and Māori ancestors, connecting us with our ancestors throughout time.

Do you have a specialty or area of expertise and if so what?

Within tā moko, I now focus most of my attention to doing moko kauae (the chin area) and moko peha (the lower back, buttocks and down the legs) on women. My body doesn't hold up like it used to, so my focus is now on what I can contribute to the ongoing practice of tā moko. As one of the few female practitioners, it is important for me to consider what unique voice I bring and how I can help keep the art form current into the future.  

What do you love most about your job?

Tā moko is all about the people, and while this requires energy, it is the most rewarding part of the job. Particularly the therapy that we each share on the journey, what their story is, their hurdles and celebrations, and being able to collaborate to bring forth something that holds the meaning of generations of Māori. With bigger pieces where clients return time after time, they become family and we all feel connected, and this affects our studio too. Some clients will seek out our other artists to get pieces that reflect their specialties, which makes for a really nice working environment.

Tell us about your most memorable experience with a client.

This is a difficult one, but I have had affirmation of the healing power that tā moko can have. One client who received a significant piece (some
60 hours of work) as a moko peha had a significant history of understanding that she couldn't conceive. She went on to have a child four years later, and more recently reflected that the moko peha might have contributed to this.

Do you have a favourite piece of work?

I treasure my large projects the most, as they allow me to build a significant design relationship between the elements as well as a bond with the receiver. My original first full moko peha piece on Jeanette Rata in 2004 still resonates with me, because the work flowed quite spontaneously from session to session, and the image has been widely viewed so I have had plenty of time to be critical of the work. My current moko peha piece on Erena Mikaere represents how my practice has developed over a 20-year period.

What inspires you?

The work of my ancestors, particularly when I see photos and marvel at the expertise of what they executed with tools fashioned from nature. They remind me of why it’s important to continue this practice, not necessarily to replicate their work, but to look at how they responded to the world. If only we had more primary material from artists back then! I am also inspired by everyone that takes on the commitment to wear tā moko. It’s a mark of bravery and a commitment to wear their identity, experiences and journey forever. They are the ultimate muse, creative influence and legacy for our tā moko traditions.

Artbody.co.nz

artbodycreative

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Art with heart

Pepa Heller of Bohemian Tattoo Arts in Tauranga strives to provide a friendly, relaxed atmosphere in his well-established, legendary parlour, with plenty of talent to choose from.

UNO: How long has Bohemian Tattoo Arts been open?

Pepa: We opened the studio in 2002, so we've been established for more than 20 years now.

Did you have a big party to celebrate the anniversary?

Not quite a party but we wanted to do something special that would also support the wider community, especially those in need of help. We also wanted to express gratitude to our clients and supporters, so we decided to run a mental health awareness fundraising project for I AM HOPE. It took us more than a year in preparation and about four months to execute. 

What was the project about? 

One of our team members, Jeffrey Robinson, had the idea of coming up with an animation in support of mental health. It consisted of 100 sketches of John Dory fish in support of men's mental health. The storyline is that the fish was absorbing a lot of darkness and negativity and became sad, only to realise that it could speak 'bubble' to become a happy fish once again. This was to represent mental health struggles. Everyone was really excited about this, so we decided to go ahead with it. The task was to tattoo 101 animation frames on 101 people. All profits were donated to I AM HOPE. Tattooing that many people takes a lot of time, so we called for more tattoo aficionados, mostly the ex-Bohemian crew to help us out. By the time we finished, it had taken us four months to complete all 101 tattoos. We are very happy to have fundraised over $15,000 for a great cause.

That's amazing. How many artists worked on the project and how many do you have in the studio?

Fifteen artists took part in completing the John Dory frames. We have eight amazing tattoo artists at the studio at the moment.

Could you elaborate on your artists and their styles?

Our team, from four different continents, consists of incredible talent and covers a broad spectrum of tattoo art styles. I cover large-scale realism/freehand kirituhi, while Julie of Reconnectink has her own unique style that is strongly connected to nature and good energy. We are both from Czech Republic. Grace of Ink_trek (NZ) is a master of fine lines, mandala art and stipple shading. Paul Collier (NZ) is amazing with large-scale colour and black and white realism. Bryn of spookeestuff.tattoo (UK/NZ) specialises in traditional tattoo style with solid lines and fine shading. Matias of Eme_Ese from Argentina is a solid artist on the rise. Sanjay of Swostiktattoo (Nepal) holds a Masters degree in Arts and focuses on oriental style and realism. Last but not least, Aidan Holland (NZ) covers most styles. Just as cherished and important is our shop manager, Aja, along with professional piercer Olive, both hailing from Bohemia, Czech Republic. 

What do you think makes a great tattoo?

I believe there must be a great deal of understanding and good communication between the artist and the client. The client needs to be tattooed by an artist whose style aligns with what the client wants. We are very fortunate to be able to cover most styles of tattooing at Bohemian Tattoo Arts. A great tattoo must strike a balance between scale, proportion, and flow while meeting the client's goal.

How do you work with clients to create a custom design?

First, we arrange for a free, no-obligation consultation, during that time we discuss the client's ideas and offer our own professional input. For the best possible result, it is important to come to a mutual understanding regarding the concept. Once we strike that balance, an appointment is determined and we start designing.

What's the most interesting tattoo you've ever done?

My awesome client Brent gave me his full back to do whatever I wanted, so naturally, I reached for a portrait of a majestic horse. During the first session, to my surprise, Brent was keen to make the commitment and come along with me to the Las Vegas Tattoo Convention in only four weeks. At that point, it sounded impossible to finish such a large-scale tattoo, but in the end, that’s exactly what we did. There were a lot of hours squeezed into a short time, but it was well worth it.

What do you love most about your job?

I am the luckiest man in the world to have the job that I do. It is creative and intimate; I get to know my clients very well and I feel privileged to be part of their life and journey. In the end, they will never be the same after they leave my chair. 

Do you have a favourite piece of work?

The personality of my client and the project itself go hand in hand to determine my favourite projects, and there are a lot of these. So, if you’re reading this, and have a tattoo in mind, don’t hesitate to get in touch!

Bohemiantattooarts.com

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Body of work

With almost 20 years of history, this tattoo studio is a multi-generational hub of creativity, where originality and custom designs take centre stage.

Originally established in Dunedin in 2004, Visual Intelligence is a boutique-style tattoo studio, which recently moved to Pāpāmoa from the Mount. With three tattoo artists – Aaron, Emily and Kyah – the studio has a combined experience of almost 50 years. Macaela, who paints canvases for the studio gallery, is the manager and what the staff call the “organiser of everyone’s lives”. The studio specialises in all styles of tattooing and offers a friendly, professional and personalised service, together with high-quality artwork, in a comfortable and relaxed environment. 

Here UNO asks the team a few burning questions.

UNO: How long have you been in the industry?

Aaron: Visual Intelligence has just celebrated its 19th birthday! I’ve been tattooing for 26 years, Emily for 20 years, and Kyah for two years.  

How would you describe your style?

Aaron: We don't box ourselves into one particular style. We specialise in all styles of tattooing, from realism/portraits, to Tā Moko and Polynesian, full-colour, black and grey, illustrative, neo-trad, fineline, and everything in-between. We also custom design almost all of our work because, first and foremost, we are artists.  

What is your favourite style of tattooing?

Aaron: I prefer big, bold custom work in black and grey or colour – tattoos that are built to last and will stand the test of time. I also have a large portfolio of Tā Moko/Māori, Polynesian and Japanese-style work.  

Emily: I love illustrative and neo-traditional art, but am happy to do all styles of tattooing.  

Kyah: I’m Aaron's apprentice and son, so I’m following in Dad's footsteps. I have a passion for tā moko/Māori, Polynesian and Japanese art.

What do you think makes a great tattoo?

Macaela: A customised design which has been skilfully executed, aesthetically pleasing to the eye, and one that both the artist is happy with and the client is proud to wear. It's also important to note that even a perfectly executed tattoo needs to be followed up with a perfectly well-healed tattoo. We provide personalised aftercare advice which is the responsibility of the client. This would include keeping the fresh tattoo clean at all times and out of the sun, sand and surf, using an aftercare product specifically for tattoos, and even once healed, using sunscreen whenever exposed to the outdoors.

How do you work with clients to create a custom design?

Macaela: The client would come to us with an idea or reference images and we then go through a consultation process, with the artist talking through their ideas, what will and won't work, size and placement and whether they're wanting colour or black and grey. Consulting with the client eliminates the need for multiple designs to be done, as a solid tattoo plan is discussed prior to any designing. There also needs to be an element of trust between client and artist. At the end of the day, the client has come to us through either a recommendation or because they've loved the work they've seen, and are happy to wait months in advance for a booking. Some clients like to see a design prior to their booking; however, most trust our process and only see their design on the day of their booking.

What inspired you to become a tattoo artist? What is your background? How did you become a tattoo artist?

Aaron: I’ve been drawing since I could hold a pencil and I’ve been an artist my whole life.  Drawing and design led me to becoming a self-taught tattoo artist and eventually Macaela and I opened Visual Intelligence in Dunedin in 2004. I also enjoy digital art and painting in oils and acrylics, and as well as being a tattoo artist, I was an aerosol artist for many years in Dunedin, painting large-scale murals. More recently I’ve been busy with commissions for custom-carved skate decks, inspired by my love for music, art, culture, skating and tattooing. 

Emily: I was brought up in West London and, as a teenager, was into the punk scene and also enjoyed designing tattoos for friends to get tattooed by other tattoo artists. I was always stoked to see my own designs as tattoos on my friends and one of them suggested I should look for an apprenticeship. I approached one of the best tattoo studios in West London for an apprenticeship, and that's where it all started! I have since tattooed in London, Perth and Sydney, and then joined the
Visual Intelligence team in 2018. I also enjoy painting in oils, acrylics and watercolours.

Kyah: My parents are Aaron and Macaela and I’ve basically been brought up in a tattoo studio my whole life. I’ve always been surrounded by their art and seeing what my dad could do in the tattoo studio inspired me to focus on my art at college. In my final year, I received the Mana Toi Tāne Award, which is awarded to "the male student who represents their culture through visual arts with perserverance, commitment and pride." I also completed a Certificate in Art & Design at Toi Ohomai and started my tattoo journey in 2021.

What makes your studio unique?

Macaela: Our studio not only produces high-quality, custom work, but also provides our clients with an experience.  We have a beautiful new studio in Pāpāmoa and our environment is a professional hub of creativity, artistic flair, with a personalised service created for each individual client. Our clients feel welcomed, listened to and looked after throughout their tattoo journey.  The majority of our clients are also repeat customers and are always thinking ahead and discussing with us the next project they wish us to help them undertake, whether that be on skin, canvas or a wall! 

Visualintelligence.net.nz