Robyn Kahukiwa Exhibition Archive
2019 Papatūānuku | Earth Mother
2019 Auckland Art Fair
2017 Upoko Tapu/Sacred Head
2015 Tangata Whenua
2014 Wahine me Tamariki
2012 Ngā Atua
2009 Power to Define
2007 Super Heroes for my Mokopuna
2005 Difference Celebrated
2004 NZ Natives
2003 Whanau
2019 Auckland Art Fair
2017 Upoko Tapu/Sacred Head
2015 Tangata Whenua
2014 Wahine me Tamariki
2012 Ngā Atua
2009 Power to Define
2007 Super Heroes for my Mokopuna
2005 Difference Celebrated
2004 NZ Natives
2003 Whanau
ROBYN KAHUKIWA
PAPATŪĀNUKU | EARTH MOTHER
July 27-August 17, 2019
EXHIBITION TEXT:
Kahukiwa's 2019 solo exhibition Papatūānuku | Earth Mother presents a suite of six new paintings. These paintings offer representations of women portrayed in Kahukiwa’s signature stylised hand. The Wāhine communicate core values that are central to Kahukiwa’s practice- ‘Wāhine Toa,’ meaning woman of strength, power and courage.
Papatūānuku is the earth mother. In Māori tradition and history, Papatūānuku is a profoundly important figure, as she represents the generative foundation of all life. Throughout this exhibition Papatūānuku is represented as both human and natural form, Papatūānuku’s body folds and merges into land-like rhythmic forms. Papatūānuku is depicted as providing nourishment, breast-feeding and giving life.
Kōkōwai palettes dominate the exhibition (red-ochre, auburn), a colour selected for its mythological significance. It is said that the blood of Papatūānuku, Mother Earth, flowed into the earth itself and became red clay or Kōkōwai (red ochre). Kōkōwai is considered the sacred red and is utilised in a number of applications in Māori art and ceremony.
The work Hine Kōkōwai continues the conceptual threads of Kahukiwa’s 2018 solo exhibition Upoko Tapu/Sacred Head. In this diptych, compositional focus is placed on the figure’s head which is believed to be tapu or sacred. The inclusion of Huia feathers and Whakakai on the ears further emphasises the Tapu of the head, as these are Taonga (treasures handed down from our ancestors).
The work Tuākana Teina refers to the two-way exchange of teaching and learning between Tuākana (older individual) and Teina (younger individual), which enriches both. In the context of this exhibition the Tuākana/Teina principle could imply the relationship between people and nature. We must behave as guardians for the natural environment, as nature is the generative foundation of all life. This work presents rich symbolism with the figure placing hands on the Kererū. Historically, the Kererū was valued as a food source to Māori and their colourful feathers were used to make cloaks. However, the Māori spiritual connection to the Kererū transcends sustenance and ceremony. The Kererū, like all native plants and animals within our forests, also have a special connection for Māori within the world of Tane - this is the Māori tikanga.
Hine Kōkōwai stands as the largest canvas of the exhibition, it makes an impression on the viewer with the central motif of Hine who meets us with a strong gaze. Hine is depicted as daughter, an intrinsic part of the genealogical thread (Whakapapa), flowing from Papatūānuku. She stands before the Earth Mother, the product of her and the next generation.
Kahukiwa’s Papatūānuku | Earth Mother focuses us on a phase of the Māori genealogical sequence (Whakapapa). This sequence began with nothingness, to a supreme god (Io-matua-kore), to emerging light through the creation of two primeval parents (Ranginui and Papatūānuku), to the natural elements through their children, and finally mankind followed. This ancestral chain reminds us that everything flows from the land and so there is a responsibility conferred on us all to sustain and maintain the well-being of people, communities, and natural resources. As the Māori proverb says, Manaaki whenua, Manaaki tangata, Haere whakamua, (Care for the land, care for the people, go forward).
Further, Kahukiwa reminds us of the deep connections between Māori identity and land. With the loss of traditional lands, there is a loss of cultural practices and social ties, as everything is linked. As Kahukiwa describes: “We do know our whakapapa, and that's something we will always know because that's something that won't ever be lost…but because we don't have our land anymore… there is a part of ourselves that's missing. So our identity will be a different one, than it was, unless we ever get our land back.” [2]
[1] Interview with Robyn Kahukiwa, Five Māori Painters, 15 June 2014, Auckland Art Gallery
[2] Interview with Robyn Kahukiwa, Five Māori Painters, 15 June 2014, Auckland Art Gallery
Papatūānuku is the earth mother. In Māori tradition and history, Papatūānuku is a profoundly important figure, as she represents the generative foundation of all life. Throughout this exhibition Papatūānuku is represented as both human and natural form, Papatūānuku’s body folds and merges into land-like rhythmic forms. Papatūānuku is depicted as providing nourishment, breast-feeding and giving life.
Kōkōwai palettes dominate the exhibition (red-ochre, auburn), a colour selected for its mythological significance. It is said that the blood of Papatūānuku, Mother Earth, flowed into the earth itself and became red clay or Kōkōwai (red ochre). Kōkōwai is considered the sacred red and is utilised in a number of applications in Māori art and ceremony.
The work Hine Kōkōwai continues the conceptual threads of Kahukiwa’s 2018 solo exhibition Upoko Tapu/Sacred Head. In this diptych, compositional focus is placed on the figure’s head which is believed to be tapu or sacred. The inclusion of Huia feathers and Whakakai on the ears further emphasises the Tapu of the head, as these are Taonga (treasures handed down from our ancestors).
The work Tuākana Teina refers to the two-way exchange of teaching and learning between Tuākana (older individual) and Teina (younger individual), which enriches both. In the context of this exhibition the Tuākana/Teina principle could imply the relationship between people and nature. We must behave as guardians for the natural environment, as nature is the generative foundation of all life. This work presents rich symbolism with the figure placing hands on the Kererū. Historically, the Kererū was valued as a food source to Māori and their colourful feathers were used to make cloaks. However, the Māori spiritual connection to the Kererū transcends sustenance and ceremony. The Kererū, like all native plants and animals within our forests, also have a special connection for Māori within the world of Tane - this is the Māori tikanga.
Hine Kōkōwai stands as the largest canvas of the exhibition, it makes an impression on the viewer with the central motif of Hine who meets us with a strong gaze. Hine is depicted as daughter, an intrinsic part of the genealogical thread (Whakapapa), flowing from Papatūānuku. She stands before the Earth Mother, the product of her and the next generation.
Kahukiwa’s Papatūānuku | Earth Mother focuses us on a phase of the Māori genealogical sequence (Whakapapa). This sequence began with nothingness, to a supreme god (Io-matua-kore), to emerging light through the creation of two primeval parents (Ranginui and Papatūānuku), to the natural elements through their children, and finally mankind followed. This ancestral chain reminds us that everything flows from the land and so there is a responsibility conferred on us all to sustain and maintain the well-being of people, communities, and natural resources. As the Māori proverb says, Manaaki whenua, Manaaki tangata, Haere whakamua, (Care for the land, care for the people, go forward).
Further, Kahukiwa reminds us of the deep connections between Māori identity and land. With the loss of traditional lands, there is a loss of cultural practices and social ties, as everything is linked. As Kahukiwa describes: “We do know our whakapapa, and that's something we will always know because that's something that won't ever be lost…but because we don't have our land anymore… there is a part of ourselves that's missing. So our identity will be a different one, than it was, unless we ever get our land back.” [2]
[1] Interview with Robyn Kahukiwa, Five Māori Painters, 15 June 2014, Auckland Art Gallery
[2] Interview with Robyn Kahukiwa, Five Māori Painters, 15 June 2014, Auckland Art Gallery
ROBYN KAHUKIWA
Upoko Tapu/Sacred Head
10 May- 27 May 2017
EXHIBITION TEXT:
Robyn Kahukiwa "Upoko Tapu/Sacred Head"
Major Maori artist Robyn Kahukiwa’s new exhibition “Upoko Tapu” (Sacred Head) is extremely timely and poignant considering recent exhibitions and developments involving the display of Maori portraiture.
Traditional Maori figurative art expressed in the form of carving was associated predominantly with the portrayal of the head or face. These heads, large or small appeared along palisades, whares and house posts and were important symbols and artworks for the whole Marae and community. As the carvers seek to elicit expression with added design elements such as a tilted head, facial expressions and posture, Kahukiwa likewise reflects this tradition in her authentic “Upoko Tapu” series of portraits.
Similarly to traditional statues, meeting house or post carvings, the torsos here are posed with the head facing sideways or full frontal, yet the faces of the heads here are far more reflective and pensive rather than confrontational, particularly in the painting “Upoko Tapu”. As a painter Kahukiwa invariably has more license to portray the sitter’s character, feeling and expression and this the artists conveys admirably with her unique stylized design of the figures and facial expressions in each work. The headdress, predominately of huia feathers, accentuates the strong design and sculptural aspect of each painting, together with pounamu hei tiki and whakakai (earrings). Kahukiwa says, “Tapu Head 2017 series is based on traditional Maori Tikanga (culture), where the head of a person is believed to be tapu or sacred. I have used the huia feathers to emphasize the tapu of the head because huia feathers are taonga – treasures handed down from our ancestors”. Detailed representation of tattoo is also an important element of both carving and painting and the rendering of the moko by Kahukiwa in each new work here is no exception.
In the “Art of Robyn Kahukiwa” Hinemoa Hilliard states…. “ (often) Kahukiwa creates an intimate reflection of herself as a Maori Woman. The female form is often referred to as the “Whare Tangata” (house of the people), which acknowledges women as the bearers and nurturers of the next generation….the guiding principles that have helped steer her course have been the wish to uphold Maori cultural values, to uplift Maori people (women and children in particular) and to contribute to our understanding of the history and whakapapa of our country.” (1)
Robyn Kahukiwa is an important NZ Maori artist, with a body of work which has established and benchmarked an evolution in the development of traditional and contemporary Maori art.
(1) “The Art of Robyn Kahukiwa” Hinemoa Hilliard essay, p12, 16, Reed Publishing, 2005
Major Maori artist Robyn Kahukiwa’s new exhibition “Upoko Tapu” (Sacred Head) is extremely timely and poignant considering recent exhibitions and developments involving the display of Maori portraiture.
Traditional Maori figurative art expressed in the form of carving was associated predominantly with the portrayal of the head or face. These heads, large or small appeared along palisades, whares and house posts and were important symbols and artworks for the whole Marae and community. As the carvers seek to elicit expression with added design elements such as a tilted head, facial expressions and posture, Kahukiwa likewise reflects this tradition in her authentic “Upoko Tapu” series of portraits.
Similarly to traditional statues, meeting house or post carvings, the torsos here are posed with the head facing sideways or full frontal, yet the faces of the heads here are far more reflective and pensive rather than confrontational, particularly in the painting “Upoko Tapu”. As a painter Kahukiwa invariably has more license to portray the sitter’s character, feeling and expression and this the artists conveys admirably with her unique stylized design of the figures and facial expressions in each work. The headdress, predominately of huia feathers, accentuates the strong design and sculptural aspect of each painting, together with pounamu hei tiki and whakakai (earrings). Kahukiwa says, “Tapu Head 2017 series is based on traditional Maori Tikanga (culture), where the head of a person is believed to be tapu or sacred. I have used the huia feathers to emphasize the tapu of the head because huia feathers are taonga – treasures handed down from our ancestors”. Detailed representation of tattoo is also an important element of both carving and painting and the rendering of the moko by Kahukiwa in each new work here is no exception.
In the “Art of Robyn Kahukiwa” Hinemoa Hilliard states…. “ (often) Kahukiwa creates an intimate reflection of herself as a Maori Woman. The female form is often referred to as the “Whare Tangata” (house of the people), which acknowledges women as the bearers and nurturers of the next generation….the guiding principles that have helped steer her course have been the wish to uphold Maori cultural values, to uplift Maori people (women and children in particular) and to contribute to our understanding of the history and whakapapa of our country.” (1)
Robyn Kahukiwa is an important NZ Maori artist, with a body of work which has established and benchmarked an evolution in the development of traditional and contemporary Maori art.
(1) “The Art of Robyn Kahukiwa” Hinemoa Hilliard essay, p12, 16, Reed Publishing, 2005
ROBYN KAHUKIWA
Tangata Whenua
24 March- 11 April 2015
EXHIBITION TEXT:
As a staunch supporter of traditional culture and history Robyn Kahukiwa has revived, revitalized and preserved many aspects of Maoritanga through her various art forms and mark making.
One characteristic of important artists is often their ability to work on a large scale and in a variety of medium. Kahukiwa has successfully achieved this throughout her long and diverse artistic career completing large marae commissions (eg. “Hine Pukenga”), to illustrations for several books (eg. “Nga Atua” 2012).
In the course of this journey the artist has also displayed a remarkable ability with drawing and design. While this is a notable strength of Kahukiwa’s work there exists a further element worthy of acknowledgment. This relates to control over a much reduced palette. This is clearly evident in paintings such as “Hongi”, “Pou” and “Wahine me Tui”. In “Hongi” a chiaroscuro effect reflects a sensitive and intimate greeting, while in “Pou” the almost monochromatic finish serves to enhance the strong sculptural appearance of the gate or marae post figures.
Paintings such a “He Wahine He Tane”, Wahine me Pounamu” and “He Wahine” also bring a freshness and clarity to this exhibition “Tangata Whenua”. The strength and inspirational appearance of the youthful figures depicted here deliver a bright and potent spirit to the exhibition.
In “Tangata Whenua (Still Here)” the artist has incorporated almost symbolic imagery into the work, symbols which represent traditional Maori objects such as Hei Tiki, Whare, waka, maunga etc). The imagery is reinforced with supporting text which expands growing in stature towards the figure head below.
In the painting “Nga Tamariki a Tane” (the children of Tane), the artist explains “ this narrative shows the bones of our ancestors, a living wahine and the extinct Huia bird with a living Tieke (Saddle back) which is a relation of the Huia. All are placed on Papatuanuku the earth mother, with Matariki (Pleaides) shown on Ranginui the sky father Tane, the son of Papatuanuku and Ranginui, was responsible for creating birds and people and he placed the stars on the body of his father after he separated them and let in the light, Te Ao Marama”.
Text by Warwick Henderson, March 2015
One characteristic of important artists is often their ability to work on a large scale and in a variety of medium. Kahukiwa has successfully achieved this throughout her long and diverse artistic career completing large marae commissions (eg. “Hine Pukenga”), to illustrations for several books (eg. “Nga Atua” 2012).
In the course of this journey the artist has also displayed a remarkable ability with drawing and design. While this is a notable strength of Kahukiwa’s work there exists a further element worthy of acknowledgment. This relates to control over a much reduced palette. This is clearly evident in paintings such as “Hongi”, “Pou” and “Wahine me Tui”. In “Hongi” a chiaroscuro effect reflects a sensitive and intimate greeting, while in “Pou” the almost monochromatic finish serves to enhance the strong sculptural appearance of the gate or marae post figures.
Paintings such a “He Wahine He Tane”, Wahine me Pounamu” and “He Wahine” also bring a freshness and clarity to this exhibition “Tangata Whenua”. The strength and inspirational appearance of the youthful figures depicted here deliver a bright and potent spirit to the exhibition.
In “Tangata Whenua (Still Here)” the artist has incorporated almost symbolic imagery into the work, symbols which represent traditional Maori objects such as Hei Tiki, Whare, waka, maunga etc). The imagery is reinforced with supporting text which expands growing in stature towards the figure head below.
In the painting “Nga Tamariki a Tane” (the children of Tane), the artist explains “ this narrative shows the bones of our ancestors, a living wahine and the extinct Huia bird with a living Tieke (Saddle back) which is a relation of the Huia. All are placed on Papatuanuku the earth mother, with Matariki (Pleaides) shown on Ranginui the sky father Tane, the son of Papatuanuku and Ranginui, was responsible for creating birds and people and he placed the stars on the body of his father after he separated them and let in the light, Te Ao Marama”.
Text by Warwick Henderson, March 2015
ROBYN KAHUKIWA
Wahine me Tamariki
02 April- 22 April 2014
EXHIBITION TEXT:
Robyn Kahukiwa is one of New Zealand’s senior and foremost women painters and is currently one of the artist’s included in the major exhibition “Five Maori Painters” on show at the Auckland City Art Gallery (22 Feb to 15th June 2014).
While her paintings refer to Social History, they are vital and relevant to current events. A skilled and experienced practitioner the artist paints without compromise and for this she makes no apology. “I want to paint the reality of Maori life today…”(1) Kahukiwa stated in an interview recently with the Auckland Art Gallery.
“My Maori Supa Heroes, Maui and Hina, represent Maori men and women who are fighting daily for Maori rights, both on the national scene and at the flax roots level. “2 Hina Supa Heroes 2014”, is a homage to Maori women who have committed their lives to the ongoing struggle of Maori to reaffirm ourselves as Tangata Whenua of Aotearoa/ New Zealand. Ka nui te mihi aroha ki a Papaarangi Reid, Annette Sykes, Leonie Pihama, Margaret Mutu, Mihirawhiti Searanche, Emily Karaka and myself”.(2)
There are many superb compositions in this exhibition and no better examples are the major works in the show “2 Hina Supa Heroes” and “Hapu”. “In “Hapu (Taranga)” 2014 I have painted a pregnant woman with her baby shown in the womb where the baby is already aware and learning. Taranga is the mother of Maui who has a kereru on her shoulder. The kereru features in the traditional story of Taranga and Maui.”(3)
Other paintings such as Shame, Child Hunger/Damaged Potential and “Pikau” refer to topics Kahukiwa is particularly concerned with. Kahukiwa says “Shame” 2013 is a comment on the appalling fact that thousands of children are living in poverty in New Zealand today. The number has risen from 270,000 to 285,000 this year… The works on paper are a comment on the actual effects of child hunger on the children themselves. Their ability to learn is reduced and they will get sick more often. I see these children as truly damaged potential.”(4)
Kahukiwa has embraced modern technology as well establishing a “Kaupapa Kids Fund” on Facebook, a further initiative displaying the artist’s commitment and passion to a heartfelt cause. The artist’s ability to reach an audience and convey her message emphatically however, is by way of more traditional and enduring methods. This staunch Maori woman painter has a proven history of successfully constructing powerful and major narratives on canvas. “Hina Supa Heroes”, a feature work in this show (mentioned earlier) is just one example and the current exhibitions featuring Kahukiwa’s work embody several significant examples of the artist’s ouvre.
(1) Five Maori Paintings – Auckland Art Gallery Toi O Tamaki, interview with Robyn Kahukiwa. http://www.aucklandartgallery.com/whats-on/events/2014/february/five-maori-painters/media
(2) Email to Warwick Henderson Gallery 12.03.2014
(3) Ibid
(4) Ibid
Text By Warwick Henderson March 2014
While her paintings refer to Social History, they are vital and relevant to current events. A skilled and experienced practitioner the artist paints without compromise and for this she makes no apology. “I want to paint the reality of Maori life today…”(1) Kahukiwa stated in an interview recently with the Auckland Art Gallery.
“My Maori Supa Heroes, Maui and Hina, represent Maori men and women who are fighting daily for Maori rights, both on the national scene and at the flax roots level. “2 Hina Supa Heroes 2014”, is a homage to Maori women who have committed their lives to the ongoing struggle of Maori to reaffirm ourselves as Tangata Whenua of Aotearoa/ New Zealand. Ka nui te mihi aroha ki a Papaarangi Reid, Annette Sykes, Leonie Pihama, Margaret Mutu, Mihirawhiti Searanche, Emily Karaka and myself”.(2)
There are many superb compositions in this exhibition and no better examples are the major works in the show “2 Hina Supa Heroes” and “Hapu”. “In “Hapu (Taranga)” 2014 I have painted a pregnant woman with her baby shown in the womb where the baby is already aware and learning. Taranga is the mother of Maui who has a kereru on her shoulder. The kereru features in the traditional story of Taranga and Maui.”(3)
Other paintings such as Shame, Child Hunger/Damaged Potential and “Pikau” refer to topics Kahukiwa is particularly concerned with. Kahukiwa says “Shame” 2013 is a comment on the appalling fact that thousands of children are living in poverty in New Zealand today. The number has risen from 270,000 to 285,000 this year… The works on paper are a comment on the actual effects of child hunger on the children themselves. Their ability to learn is reduced and they will get sick more often. I see these children as truly damaged potential.”(4)
Kahukiwa has embraced modern technology as well establishing a “Kaupapa Kids Fund” on Facebook, a further initiative displaying the artist’s commitment and passion to a heartfelt cause. The artist’s ability to reach an audience and convey her message emphatically however, is by way of more traditional and enduring methods. This staunch Maori woman painter has a proven history of successfully constructing powerful and major narratives on canvas. “Hina Supa Heroes”, a feature work in this show (mentioned earlier) is just one example and the current exhibitions featuring Kahukiwa’s work embody several significant examples of the artist’s ouvre.
(1) Five Maori Paintings – Auckland Art Gallery Toi O Tamaki, interview with Robyn Kahukiwa. http://www.aucklandartgallery.com/whats-on/events/2014/february/five-maori-painters/media
(2) Email to Warwick Henderson Gallery 12.03.2014
(3) Ibid
(4) Ibid
Text By Warwick Henderson March 2014
ROBYN KAHUKIWA
Nga Atua
12 November- 01 December 2012
EXHIBITION TEXT:
It is perhaps fitting that an exhibition relating to Maori Folklore and legends has been mounted by Robyn Kahukiwa, who is herself a legend amongst artists in New Zealand. Her latest works are all about legends and Maori Folklore, a subject among others, she often has addressed throughout her high profile career. The main theme of her exhibition this year comprises of most of the illustrations for a children’s book – “Ngā Atua” – a book in which Robyn delightfully illustrates the legends, gods, goddesses and stories of traditional Maori Folklore.
Uenuku is for example in charge of Rainbows. Tāwhiri-mātea is in charge of the four winds and the weather – a very important person with supernatural powers. There are two beautiful depictions of Hine-te-iwa-iwa, the protector of all women and babies. In one glowing image, the goddess holds her friend Te Marama (The Moon) in one hand and her powerful heitiki in the other. Maui, Tane and other more ‘well-known’ Atua are all depicted in these superbly illustrated and original works, which were formulated to illustrate the book. Robyn says: “This significant narrative reflects my holistic depiction and interpretation of the land and the way we see the physical world.” All have been framed and are for sale.
Two large scale paintings are also part of the exhibition. One entitled “Whakapapa of Water”, depicts Parawhenuamea, the personification of water, a female head. Other god-like figures are also depicted, such as Ranginui – the sky father, Tane and Papatūānuku – the earth mother. Tane is painted as a stylized red totem-like figure, inverted and holding the sky. “Haehae” is a large figurative work depicting a stylised female figure nurturing a baby.
Robyn Kahukiwa is regarded as a senior and important New Zealand woman artist and her work is represented in every major gallery in New Zealand. Her painting was also featured in a recently published international contemporary art book. She has dedicated the book and exhibition “Ngā Atua” to her five Mokopuna (grandchildren).
Uenuku is for example in charge of Rainbows. Tāwhiri-mātea is in charge of the four winds and the weather – a very important person with supernatural powers. There are two beautiful depictions of Hine-te-iwa-iwa, the protector of all women and babies. In one glowing image, the goddess holds her friend Te Marama (The Moon) in one hand and her powerful heitiki in the other. Maui, Tane and other more ‘well-known’ Atua are all depicted in these superbly illustrated and original works, which were formulated to illustrate the book. Robyn says: “This significant narrative reflects my holistic depiction and interpretation of the land and the way we see the physical world.” All have been framed and are for sale.
Two large scale paintings are also part of the exhibition. One entitled “Whakapapa of Water”, depicts Parawhenuamea, the personification of water, a female head. Other god-like figures are also depicted, such as Ranginui – the sky father, Tane and Papatūānuku – the earth mother. Tane is painted as a stylized red totem-like figure, inverted and holding the sky. “Haehae” is a large figurative work depicting a stylised female figure nurturing a baby.
Robyn Kahukiwa is regarded as a senior and important New Zealand woman artist and her work is represented in every major gallery in New Zealand. Her painting was also featured in a recently published international contemporary art book. She has dedicated the book and exhibition “Ngā Atua” to her five Mokopuna (grandchildren).
ROBYN KAHUKIWA
Power to Define
12 September- 03 October 2009
EXHIBITION TEXT:
Traditional Maori Art i.e. carving is largely unique, original and has always centered around the human figure. Its content was usually narrative relating to legend and mythology. Maori commemorated and carved mythological gods, ancestors and leaders in magnificent style and form leaving a legacy which has gained international acclaim and recognition. Robyn Kahukiwa is an important South Pacific and Maori artist who has transformed ideals and narratives onto canvas in a vital and contemporary manner. Kahukiwa has pushed boundaries throughout her career often combining art with an underlying political theme. The celebration and empowerment of woman, the depiction of Maori women in mythology and more recently her “Superhero” (Hina) series enhance a lengthy catalogue of powerful and arresting images.
Since the 1970’s there has been an edge to Kahukiwa’s work where social, political and gender concerns are readily apparent. Urban dislocation, the ignorance of cultural traditions and loss of identity are all subjects which have been addressed by this matriarchal artist. These new works are no exception and Kahukiwa has completed two seminal works which depict and incorporate defining aspects and contentious issues within Maoridom and Aotearoa.
“Resistance/Te Tohenga” and “Power to Define” are two large stretched canvases which each measure three metres by two metres. The paintings took over 6 months to complete and are the central works in the exhibition. “The two large works are “theatrical” in that life-size characters are placed on a stage in front of the audience – the backdrop is Aotearoa New Zealand” says Kahukiwa. Many contentious topics are addressed in these paintings relating to identity, gender,the balance of power, historical and contemporary issues. These paintings refer to the beginning of colonialism, the signing of the Treaty, biculturalism and the adoption of western culture. (e.g. the foreground in Resistance/Te Tohenga depicts a small boy holding a greenstone mere and a cell phone). These works continue a series of major narratives such as “Whakapapa, Birth and Death” 2006, “Hikoi” 2004 and “Nga Whawharua” 2001.
An interesting aspect of Kahukiwa’s art has been the constant fluctuation from stylized or abstracted female forms to more realistic depictions of the figure. Traditional Maori art reveals abstracted forms (such as the Tiki figure) and Kahukiwa has developed both art forms with marked individuality. A new series of works which complement the large works is the “Haki” series, a group of flag paintings which depict stylized figures and manaia (heads) set against a backdrop depicting the Maori Flag (Tina Rangatira tanga). The strong design aspects of these paintings reflect traditional Maori carving designs inherent in the works and also the Maori Flag, the artist’s flag of choice in the current flag design debate. These compositions depict traditional aspects of Maori carving where the figures or heads are contorted or stylized, particularly in the lively work “Tahi”. Another shows the head in the sideways position, a position indicating attitude and strength. In this diptych the figures are reaching up to a traditional and important carving, the Waka Huia (feather box) a metaphor or symbol of their culture and heritage.
Since the 1970’s there has been an edge to Kahukiwa’s work where social, political and gender concerns are readily apparent. Urban dislocation, the ignorance of cultural traditions and loss of identity are all subjects which have been addressed by this matriarchal artist. These new works are no exception and Kahukiwa has completed two seminal works which depict and incorporate defining aspects and contentious issues within Maoridom and Aotearoa.
“Resistance/Te Tohenga” and “Power to Define” are two large stretched canvases which each measure three metres by two metres. The paintings took over 6 months to complete and are the central works in the exhibition. “The two large works are “theatrical” in that life-size characters are placed on a stage in front of the audience – the backdrop is Aotearoa New Zealand” says Kahukiwa. Many contentious topics are addressed in these paintings relating to identity, gender,the balance of power, historical and contemporary issues. These paintings refer to the beginning of colonialism, the signing of the Treaty, biculturalism and the adoption of western culture. (e.g. the foreground in Resistance/Te Tohenga depicts a small boy holding a greenstone mere and a cell phone). These works continue a series of major narratives such as “Whakapapa, Birth and Death” 2006, “Hikoi” 2004 and “Nga Whawharua” 2001.
An interesting aspect of Kahukiwa’s art has been the constant fluctuation from stylized or abstracted female forms to more realistic depictions of the figure. Traditional Maori art reveals abstracted forms (such as the Tiki figure) and Kahukiwa has developed both art forms with marked individuality. A new series of works which complement the large works is the “Haki” series, a group of flag paintings which depict stylized figures and manaia (heads) set against a backdrop depicting the Maori Flag (Tina Rangatira tanga). The strong design aspects of these paintings reflect traditional Maori carving designs inherent in the works and also the Maori Flag, the artist’s flag of choice in the current flag design debate. These compositions depict traditional aspects of Maori carving where the figures or heads are contorted or stylized, particularly in the lively work “Tahi”. Another shows the head in the sideways position, a position indicating attitude and strength. In this diptych the figures are reaching up to a traditional and important carving, the Waka Huia (feather box) a metaphor or symbol of their culture and heritage.
ROBYN KAHUKIWA
Super Heroes for my Mokopuna
12 November- 30 November 2007
EXHIBITION TEXT:
It is appropriate Robyn Kahukiwa as an important Maori figure has engaged super heroes in this latest exhibition in an attempt to provide inspiration to all people (Ngā iwi o te motu), and her mokopuna (grandchildren).
Characterized superheroes materialized during a period of world recession and war in the 1930’s and 40’s. Superhero cartoon and comic-strip characters transported children (and adults) to a fantasy of escapism, where real hope and superheroes reigned – a world where all those in danger were delivered safe from evil. An abundance of superheroes patrolled the skies, streets and alleyways – Superman, Batman, The Shadow, The Phantom, Buck Rogers and Captain Midnight.
In a disturbed 21st century, superheroes from decades ago such as Batman, Superman and Superwoman have been involved in a huge renaissance through blockbuster movies, DVD’s and action toys. Robyn Kahukiwa has supplanted these heroes into Aotearoa as female Maori “Supa Heroes”.
With this new series of paintings Kahukiwa states… “Super Heroes (and real heroes) provide heroic inspiration to Maori, other New Zealanders and Polynesian peoples”.¹ Kahukiwa has created her own “superheroes” to provide a positive contribution to a child’s upbringing. “…When I see my mokopuna (grandchildren) playing with Action Man, Superman, and Wonderwoman, I am determined to give them their own superheroes. My Maui and Hina are contemporary Maori superheroes who have whakapapa (genealogy) to Polynesia. ²
The artist has skillfully converted these characters into Maori “Supa Heroes”. In the painting Hina Keha/Pale Hina, Hina references the traditional Atua, Hine teiwaiwa, who is the deity (guardian) for babies and children. This is a powerful painting where the taiaha bearing, superwoman swoops down from above to save the defenseless and naked child. Kahukiwa states “my superheroes come from Aotearoa/New Zealand and can provide heroic inspiration to all. ³
(1) Robyn Kahukiwa – artists statement October 2007
(2) ibid
(3) ibid
“Supa heroes for my Mokopuna” is dedicated to Syd Jackson my superhero.
Characterized superheroes materialized during a period of world recession and war in the 1930’s and 40’s. Superhero cartoon and comic-strip characters transported children (and adults) to a fantasy of escapism, where real hope and superheroes reigned – a world where all those in danger were delivered safe from evil. An abundance of superheroes patrolled the skies, streets and alleyways – Superman, Batman, The Shadow, The Phantom, Buck Rogers and Captain Midnight.
In a disturbed 21st century, superheroes from decades ago such as Batman, Superman and Superwoman have been involved in a huge renaissance through blockbuster movies, DVD’s and action toys. Robyn Kahukiwa has supplanted these heroes into Aotearoa as female Maori “Supa Heroes”.
With this new series of paintings Kahukiwa states… “Super Heroes (and real heroes) provide heroic inspiration to Maori, other New Zealanders and Polynesian peoples”.¹ Kahukiwa has created her own “superheroes” to provide a positive contribution to a child’s upbringing. “…When I see my mokopuna (grandchildren) playing with Action Man, Superman, and Wonderwoman, I am determined to give them their own superheroes. My Maui and Hina are contemporary Maori superheroes who have whakapapa (genealogy) to Polynesia. ²
The artist has skillfully converted these characters into Maori “Supa Heroes”. In the painting Hina Keha/Pale Hina, Hina references the traditional Atua, Hine teiwaiwa, who is the deity (guardian) for babies and children. This is a powerful painting where the taiaha bearing, superwoman swoops down from above to save the defenseless and naked child. Kahukiwa states “my superheroes come from Aotearoa/New Zealand and can provide heroic inspiration to all. ³
(1) Robyn Kahukiwa – artists statement October 2007
(2) ibid
(3) ibid
“Supa heroes for my Mokopuna” is dedicated to Syd Jackson my superhero.