Taranaki ki tai

March 3 — 26, 2017
"Taranaki ki tai"—Taranaki to the tide — Taranaki looking outwardly — Taranaki looking beyond the limitations of a shore line".
Whakataka te hau ki te uru,
Whakataka te hau ki te tonga,
Kia maakinakina ki uta,
Kia maataratara ki tai,
E hi ake ana te atakura,
He tio, e huka, he hau huu,
Tihei mauri ora!

Cease the winds from the West,
Cease the winds from South,
Let the breeze blow over the land,
Let the breeze blow over the ocean,
Let the red-tipped dawn come with a sharpened air,
A touch of frost, a promise of a glorious day,

WharehokaSmith continues to develop a personal visual repertoire in the use of Toi Maori elements, shapes and forms, from the disciplines of Kowhaiwhai Raranga Tukutuku and Whakairo while discussing the concept "Taranaki ki tai"— Taranaki to the tide — Taranaki looking outwardly — Taranaki looking beyond the limitations of a shore line".

In this body of work there is a focus on the element "Unaunahi" (the fish scale). This element can often be seen used in the discipline of Rakau Whakairo (wood carving). Here the artist is using this element because of its obvious relationship to the Moana (the sea). WharehokaSmith explores Unaunahi and its potential within the discipline of Kowhaiwhai (the painted rafter discipline).

Unaunahi over Taha Whenua iv
Unaunahi v, Kauri/rimu on canvas
(wall assembly) 1200mm x 1200mm $3600
Horokai (Gluttony) is a reference to Rangi Apiti Rua and his unsatisfiable greed.
Acknowledging all that has gone before with this discipline, WharehokaSmith is attempting—here and now—to bring attention to this traditional discipline of architectural enhancement. Although, in this exhibition being applied away from the rafters, the artist sees Kowhaiwhai sitting within the contemporary architectural context, and is therefore asking the viewer to now consider this work even further than Toi Maori (Maori art) on a wall—to see Kowhaiwhai re-establish itself with its traditions, yet providing functionality meaning and purpose within a modern context, enabling people to have a greater connection to who they are and where they come from within their own spaces.

Unaunahi iii, acrylic, canvas, ply (wall assemblage)
5.3m wide$5400
''The content of my art practice is based on an awareness of ancestry, all those before me, their art forms, how and why they made what they did. The print process has become for me, a favoured tool to communicate concepts about the past and future of the world we inhabit .

As a Maori printmaker I'm intrigued by Aotearoa's (NZ) history of print, and the interest in the printed word by Maori during early years of contact. Thinking what it might mean to suddenly have symbols for sounds- a mark making reo, another way to 'kanohi ki te kanohi' eyeballing a paper that could 'talk', and the impact this process has wrought on our history.

The layering of textures and images are my interpretation of the many layers of connectedness we have to each other and to the world around us, sometimes including the influences of past actions and possible futures affecting the present.'

Gabrielle Belz
Nga Puhi, Te Atiawa

Kuri linocut, 2015.
Gabrielle Belz in her studio 2014.
Known for printmaking, but also working in other 2D formats, since 2002 Belz's design work for public spaces around Auckland and Manukau has included parks furniture, inlays for paving, murals, and applications on glass walls. The inspiration is people, identity, the land, our history, and environments.

Recently relocated to Taranaki Gabrielle has had a long career in the visual arts working as an arts educator during the 80's and 90's, by the early 90's beginning to co-ordinate and curate exhibitions, taking part in international print exchanges, while exhibiting widely in NZ and overseas. She has been part of cultural exchanges in the US, Samoa, Australia, Hawai'i and Canada. Her work is represented in public collections – the NZ Justice Department, The Sarjeant Gallery Whanganui, Pataka Gallery in Porirua Wellington, the Auckland City Council Collection, the Benneton Monde Project Collection, and in private collections in NZ and countries in Northern and Southern hemispheres.

Poster image: Kuri Tracks by Gabrielle Belz, c.2005, kokowai and acrylic

Tracking Kuri/
diamonds are a girl's best...
Gabrielle Belze

March 3 — 26, 2017
'Tracking Kuri/ diamonds are a girl's best...' is a series of paintings that focus on particular landscapes where there are stories with reference to kuri. Some work plays with the nature of kuri. Gabrielle follows material from different sources, some of the snippets about kuri that have come from oral tradition, written material, along with personal observations. There will be a mix of painted works on canvas and some printed work. Much of the imagery is pure speculation.

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