aki(to encourage, to challenge, to launch)
2018 Graduating ExhibitionBachelor of Māori Arts, Toi Te Wai-Ngārahu ‒ Maunga Kura ToiUekaha Anthony Dunn | Graham Nathan | Marjory Paewhenua | Tui Te PaaBachelor of Applied Arts, Visual & DigitalReghan Anderson | Heath Bell | Sophie Bickers | Joshua Michael Bradshaw |Florence Brouwer | Guillaume Kimiora Chevolleau | Walter Ching |Sandra Guest | Nimmy Santhosh | Carmen Snelgar | Emma Snell | Tod Tao |Renée Kathleen Weatherall
IntroductionToi Te Pito is the arts precinct that is home to our two contemporary arts degrees — Bachelor ofApplied Arts and Bachelor of Māori Arts – Maunga Kura ToiBachelor of Applied Arts (Visual & Digital) with our communities and to exhibit at ourWith majors in either Visual or Digital arts, purpose-built, professional gallery. Students arethe Bachelor of Applied Arts degree gives guided through the skills, work processes andstudents opportunites to explore a wide variety professionalism essential to become creative,of approaches and techniques in the fields of lateral-thinking problem solvers.Illustration, Intermedia, Sculpture, Ceramics, Our award-winning tutors are active in thePrintmaking, Photography, Graphic Design and arts community and these connections are soDigital Arts. important to encourage students to launch theirWhilst exploring art and design theory, and own careers.practice, there are also opportunities to work
Bachelor of Māori Arts – Maunga Kura ToiNorthTec’s Maunga Kura Toi (Bachelor of Māori With Tikanga, Mātauranga Māori and customaryArts) is a unique opportunity to learn Whakairo knowledge being the foundation of the degree,(Carving), Rāranga (Weaving) or Rauangi (Visual ākonga are supported and enabled to beArts), with ākonga (students) gaining a deeper culturally aware, critically analytical, reflectiveunderstanding of Ngā Toi (Māori Arts). and responsive about Toi Māori, its challengesThis degree enables and equips students to and potential.contribute significantly to Toi Māori, Te Ao Māori,communities and industries. ‒ Lindsay MarksOur ākonga are taught by kaiako (tutors) who arepassionate and skilled in their fields of expertise,and willing to impart knowledge to the nextgeneration of artists. Kaiako will assist ākonga increative practice and creative processes.
Reghan Anderson, Untitled, greywacke stone and pāua shell, 2018.
Reghan AndersonKo Ngati Hau rawa ko Ngati Wai nga hapuKo Ngapuhi rawa ko Ngati Porou nga iwiKo Reghan toku ingoaWhakapapa connects us, not only to each other, but to the natural world. As a part of the environmentwe are the youngest children of Rangi and Papa, the sky father and the earth mother. Through workingwith raw natural materials that carry with them the mauri of our elemental forbears, I directlycommunicate and collaborate with my natural surroundings.When working these materials I believe it is of utmost importance to balance the object’s tinana withits already existing wairua. I have been developing my own way of working in direct and constantdialogue with these materials and organic forms, based on a Māori world view.Through my work I acknowledge the mauri that exists within all things, and the whakapapa that ties ustogether.
Heath Bell, Tell Tales (detail), acrylic on recycled sail canvas, 2018.
Heath Bell“The sea is the favorite symbol for the unconscious, the mother of all that lives.”1 - Carl Jung.In this body of work I attempt to capture the intensity of feeling I have for the sea.The sea has always made me feel awe and wonder. It was my playground at the end of the streetwhere I grew up, I spent childhood summers with my extended family on a remote island in the Bay ofIslands, and I have always lived close to the sea – my day is incomplete if I don’t see it and breathe itsbriny air.I apply layers of translucent colour to recycled sails, building an illusion of oceanic depth. Likeassemblage artists whose work combines objects with other media, my finished works retain thesails’ hardware - their visible history and structural features - telling the story of their work and life.With these paintings I am trying to engender an emotional connection in the viewer: to share themeditative quality of dreamlike peacefulness that the sea, our primordial mother, gives me.________________________________________1 http://jungcurrents.com/jung-sea-unconscious, Jung, Carl, Archetypes of the CollectiveUnconscious, The Psychology of the Child Archetype, paragraph 298,[accessed August 2018].
Sophie Bickers, Julienne face concept, digital illustration, 2018.
Sophie BickersThis year my art practice has explored the ‘dream world’ by illustrating dreams with non-linearnarrative as ‘fantasy’ alternate realms. Exploring perception of reality and oneirology, my workincorporates concepts from sleep science. More recent works involved creating characters based ondreams – giving them personality and environments to inhabit.The dreams chosen for influence are particularly memorable. While sleep itself is a time for the bodyto rest, the mind uses this time to process and interpret information.My work blends subjective and objective viewpoints. Like that of a voyeur peering into the scene,the viewer becomes the dreamer themselves, adding to the uncanny feeling experienced often in adream.What determines reality for the dreamer?
Joshua Michael Bradshaw, Utopia Pause Menu, digital game, 2018.
Joshua Michael BradshawUtopianism is the pursuit of the ideal society.1My game Utopia is based on 20th century political regimes that killed tens of millions in thepursuit of implementing their view of the utopian ideology. As well as the sacrifice of life in Aztec/Mesoamerican religions. Many times in history, those in power were unafraid of using violence toachieve their goals. My game, Utopia, draws attention to this history we may have forgotten by using acontemporary medium such as video game design. A homage to gaming culture in a pixelated 2D retroaesthetic.I believe video games are contemporary interactive art and art offers an opportunity to discusscomplex topics such as utopian ideology. By using a medium such as a video game, I hope toreach an audience that might not necessarily look at art or history. My intent is to teach, throughentertainment and visual story-telling, what has happened and to serve as a possible prevention forthe future.________________________________________1 Encyclopaedia Britannica, Utopia Ideal Community, 2018
Florence Brouwer, Papa Tamakore, woodblock print, 2018.
Florence BrouwerI am a multimedia artist of Cook Island ancestry, working primarily with printmaking techniques. Bornin New Zealand, I spent my early childhood in Rarotonga, later returning to New Zealand.My work, Akatea I te tangata enua – Displaced Islander, explores the theme of displacement – ‘likeyou know you live in New Zealand but you get that sense that you don’t belong.’ I am interested inexploring a sense of cultural identity through the use of colour and space. I have created abstractportraits of family members honouring them through printmaking and by showing how we are shapedby the places and societies that we grow into.A common thread throughout the work is the wearing of the Cook Islands headpiece ‘porapora.’ Theyare created in flamboyant floral colour palettes with heavy scented, organic perfumes of frangipanior tiare maori. It is the crowning head piece that denotes the celebrating of family gatherings, thehonouring of accomplishments, the connection to place.
Guillaume Kimiora Chevolleau, Untitled, oil on canvas, 2018.
Guillaume Kimiora ChevolleauDrawing has always been a part of my philosophy. I started drawing creatures such as dragons andother mythological icons at a young age. I was artistically influenced by a creatively involved family,my grandmother being a professional painter. Having inherited this creative energy, I have beenable to develop and practice my craft and artistic talent naturally over the majority of my life. To me,drawing is more than just doodling on a piece of blank paper, it is a way to develop ideas and constructscenes reflected by the artist’s experiences, knowledge and memories of the real world.This series of paintings, which are part of a larger body of work, are fantastic illustrations done in thestyle of classic fantasy art and literature. After researching the themes and ideas of many differentfantasy artists, I discovered a common pattern, and how their illustrations evoke emotions. They arevisual representations of a story. Each of these stories relates to the times and settings that theartists were living in. In turn, they were reflecting the world in their own unique views. I have taken thisphilosophy and included it in my creative process because to me, developing ideas through drawing isfundamental to exploring and visualizing ideas.
Walter Ching, Isolation 1, film still, 2018.
Walter ChingRacial discrimination, language barriers, homesickness ‒ these are often the reasons whyinternational students feel isolated when they study overseas.Coming from a different cultural background with language differences made me feel too shy tocommunicate with people when I first arrived in New Zealand. Initially I spent about three hours eachday trying to improve my English but felt it was in vain and felt depressed trying to communicate. Ialso experienced racial discrimination, which made me feel unwelcome. In the creation of my shortfilm I want to share my personal experience, and I hope the audience will feel some of the sameemotions as those experienced by international students or foreigners in a different country; inparticular, a sense of isolation.
Uekaha Anthony Dunn, Hore Kau (detail), podacarpus, 2018.
Uekaha Anthony Dunn“Ko te reo te mauri o te mana Māori.Ko te kupu te mauri o te reo Māori.E rua ēnei wehenga kōrero e hāngai tonu ana ki runga i te reo Māori.Ko te reo, nō te Atua mai.The language is the life force of the mana Māori.The word is the life force of the language, these two ideas are absolutely crucial to the Māorilanguage, A language, which is a gift to us from God.”1 - Sir James Henare i Tito.My practice is forever evolving, searching for clarity, striving to understand customary andcontemporary carving.By using the symbolism of pou as a narrative, I am able to convey my narratives highlighting the causeand effect upon Māori language.The intrinsic nature of language communicates whakapapa. It is my aim to address the systemicdegradation of the language.________________________________________1 https://teara.govt.nz/en/video/41077/ko-te-reo-mauri-o-te-mana-Māori
Sandra Guest, The Lambeth Walk, dressmaking patterns, glue and muslin, 2018.
Sandra Guest“We can’t rewind, we’ve gone too far” Lyrics from Video Killed the Radio Star.1My love of fashion and my concerns for the environment prompted this body of work. I have createda collection of sculptural forms referencing fashion in their silhouettes but have constructed themfrom unconventional materials. By repurposing technological refuse and obsolete materials I hope todraw attention to the loss of our treasured data while producing iconic fashion styles of bygone eras.The way this work hangs without a body but holding the shape of a figure leaves the trace of whatwas once there. The shell of the person is left behind after the personality has gone, much like the lossof memories when a person gets Alzheimers. The materials are still available but the information onthem has become inaccessible. We can no longer watch the family videos or listen to the cassettetapes because the machines to play them on have become replaced by more modern technology. Wehave lost the skills to make our own clothes because of the availability of fast fashion.These days we tend to rely on our smart phones for all of our technology needs. Have we lostimportant communication skills? Have we gone too far?________________________________________1Video Killed the Radio Star, Epic Label, Geoff Downes, Trevor Horn and Bruce Woolley, Singleperformed by The Buggles, 1979.
Graham Nathan, Wai 861 (detail), totara, 2018.
Graham NathanIn 2008 I began filming and archiving ‘Te Papa o Te Raki’ (The Northern Inquiry). For the next 9 years Iwas involved in recording the untold accounts of Aotearoa’s colonial occupation.My visual narratives conveyed through my work are centered in and around the Waitangi Treatysettlement process and the burden of cost upon the individual in pursuit of redress for the collective.Through the use of customary form and surface design my narratives give new perspective to a 178year conversation.“Kua tawhiti kē to haerenga mai, kia kore e haere tonu.He nui rawa o mahi, kia kore e mahi tonu.”“You have come too far not to go further,you have done too much not to do more”– Na Himi Henare (Sir James Henare), Ngati Hine elder and leader.
Marjory Paewhenua, Where Have the Pipis Gone (detail), canvas and acrylic paint, 2018.
Marjory PaewhenuaMy inspiration reconnects me to my cultural heritage. I am of Māori and Cook Island descent.This body of work acknowledges the Whangateau Harbour emphasising the fragile ecosystemthat has suffered at the hands of urban progression and the impact on the natural environmentcompromising customary practices.Working primarily in paint explores movement and the manifestation of the incoming and outgoingtides.Ngā kai ā Tangaroa Treasures of the sea.Pēnei e ngā Pipi The pipi’s.Kauaka e mahi kino hea Don’t mistreat the treasures of Tangaroa.Ka neke ngā tahuna Pipi The pipi beds will move.Nā te kore e mahi kino hea If we don’t mistreat them there will beNgā pipi ka kai tōnu ngā mokopuna. food for our future for our mokopuna.No reira me tiaki tātau, Therefore we should caree ngā taonga a Tangaroa. for the treasures of Tangaroa. Tiaki hea ngā taonga ā Tangaroa!
Tui Te Paa, Untitled (detail), whāriki , 2018.
Tui Te PaaMy practice as a weaver explores my connection to geneology, which begets knowledge and thecontinuum of wānanga. The characteristics of whāriki (woven mats) making are embodied in therelationships found in the act of reciprocity. It is my obligation, being ahi kaa of Te Rarawa, to upholdthe customary practise of wānanga. Te Ao Māori determines my world view.Kia ū te whakapono, kia aroha tētahi ki tētahi.
Nimmy Santhosh, Evoke 2.0, film still, 2018.
Nimmy SanthoshChromotherapy(krō’mō-thār’ă-pē)n in Ayurveda and other systems, the use of colours to promote harmony and healing based on thebelief that certain colours are infused with healing energies (e.g. red is energizing; blue is calming).Also called colour therapy.1Of Indian descent, one of my favourite childhood memories is from Holi - one of the most colourfulfestivals in the world. The vibrancy of colourful powder thrown around creates a joyful atmosphereacross the whole country, which is intended to generate a positive vibe and free people fromresentment. However, how we experience colour is subjective. Therefore, my work encourages theaudience to reflect on their own subjective experience of colour. It is my intention that the audienceis open to decide on a personal level what colour means to them, according to occurrences from theirown lives.________________________________________1chromotherapy. (n.d.), Mosby’s Medical Dictionary, 8th edition, 2009,https://medical-dictionary.thefreedictionary.com/chromotherapy, [accessed Nov 2018 ]
Carmen Snelgar, Untitled, digital illustration, 2018.
Carmen SnelgarColonisation has had a major impact on our Māori culture, and yet we still move forward, learning andevolving as a culture... ka whawhai tonu mātou.We retain the designs and ideas of our tupuna without the restrictions our ancestors had upon them.We can have fun with colours and different materials previously unavailable to our predecessors.
Emma Snell, It’s Memory, muslin, tea bags and thread, 2018.
Emma SnellThis body of work is an exploration of certain emotions that I experienced after the passing ofmy Poppa and Grandma. The process of bereavement through art allows me to create somethingtangible that would be difficult to convey through verbal communication. Through artistic articulationI offer meaning and evoke empathy to all who have suffered loss ‒ whether it be a loved one, a place,memory or yourself.The process of steeping, drying, tearing, emptying and stitching tea bags is necessary to the grievingprocess and replicates the stages of grief and creates an intimacy between the quilt and myself. Therepetitious actions of the process replicate a meditative state that combines the mind and body tothe cloth, giving the material meaning.
Tod Tao, the sunset 2, acrylic on canvas, 2018.
Tod TaoMy landscape paintings reflect my personal understanding of nature since I have lived in New Zealandas a foreigner. I appreciate the beauty of nature in New Zealand, but I believe that most people heretake it for granted. For example, you usually never hear people comment on how blue the sky is here.People who live in the city seem to be very busy, and maybe don’t take enough time to reflect on thebeauty of the natural environment all around them.In particular, the biggest difference that I want to express in my painting at this time is the differentcolour or feeling of sunrise and sunset between the two countries. Shanghai, which is the biggest cityin China, has a huge population, too many factories, cars that cause polluted air. The sky I can see isgrey and hazed. I can barely see such a blue sky like the sky in New Zealand and I can feel the cloudsare so close to us in New Zealand.
Renée Kathleen Weatherall, Black and White, photograph, 2018.
Renée Kathleen Weatherall“If you want the beautiful moments to shine, you have to contrast that with dark and gruesomemoments. That’s the way life is” – Tony DiTerlizzi an American artist, author and worldbuilder.My work this year has focused on ceramics and photography. I explore ideas about contrast and howwe need balance in our lives. To convey my ideas I have made and glazed ceramic bowls in black andwhite, matte and gloss, then photographed them in contrasting environments.
Artist biographies
Reghan AndersonReghan Chase Anderson is currently studying for his Bachelor’s Degree in Applied Arts(visual) atNorthTec. His art practice is largely based around sculpture, but he has recently begun to exploredifferent aspects of print. Reghan is also very strongly influenced by his ethnicity.Reghan considers himself and his art work to be product of the environment.As a young Māori male growing up in Northland, his approach to art is based around Northland youthculture, street art and tattooing.Over the last five years Reghan has slowly been re-immersing into his culture.Much of his art today is directly influenced by his journey and past experiences growing updisconnected from his Tūrangawaewae, the effects of colonization, and Māori creation narratives.Reghan Anderson lives and works in Whangārei, Northland, New Zealand.He works as a Tattooist and Taa Moko artist out of his home while progressing through his Bachelor’sDegree at North Tec. [email protected]
Heath BellHeath Bell’s artistic practice draws inspiration from her interest in psychology and deep attachmentto the sea. Recent work investigates the ocean, migration voyages, and transitional zones. Bell uses arange of materials and methods in her art, including clay, collage, and textiles. She is currently paintingon recycled yacht sails.Bell lives and works in Northland, New Zealand. She graduated with Diploma of Art (Ceramics) fromthe Australian National University in 2005, and will earn Bachelor of Applied Arts from NorthTec,Whangārei, in 2018. [email protected]
Sophie BickersSophie is a third year student at NorthTec and digital artist/illustrator. Born in Dargaville of NgāPuhi descent, she currently lives in the Whangārei District. Before studying her Bachelor’s Degree inApplied Arts (majoring in Digital Arts) she had studied Business Administration and worked freelance,creating illustrations.Her art has the ability to live in both a digital space as well as print. Currently her art interests lie in thefantasy genre – with projects involving worldbuilding with concepts from oneirology (dream study).She is also interested in working with the human figure via drawing and sculpting. [email protected] www.instagram.com/carocells_art
Joshua Michael BradshawJoshua Michael Bradshaw was born in South Africa and has been living in Northland, New Zealand, forthe past 10 years. He is currently completing his Bachelor of Applied Arts at NorthTec in Raumanga,graduating in 2019.Joshua’s foundational art practice is illustration. He then takes this into a multitude of media suchas canvas, digital illustrations, animations and coded design such as video games. His work is oftenbased on references from history, archetypal ideas or symbols which he combines to build newnarratives. His work discusses controversial topics such as radical politics using contemporary mediasuch as game design and pixelated design. Through this Joshua hopes to push the boundaries of theart world to explore ideas he finds important. [email protected]
Florence BrouwerFlorence Brouwer lives and studies in Northland, Whangārei. She is a 3rd year student who has apassion for the arts. Florence is a multimedia artist who works in printmaking, photography, painting,and sculpture. The heart of her work is strongly influenced by her Cook Island ancestry and exploresthe varying relations of family and culture.Florence graduated from the University of Auckland with a Diploma of Teaching and Bachelor ofEducation in 1995 and has always enjoyed working with children and the creative process of theirwellbeing. Her deepest joy comes from motherhood and the environment of the home.
Guillaume Kimiora ChevolleauGuillaume Kimiora Chevolleau, a Māori-French artist currently living in Whangārei, will be graduatingfrom North Tec with a Bachelor of Applied Arts degree in 2018. He is known for his fantasticillustrations and paintings. Guillaume also does 3D clay sculpting, digital illustrations, and conceptdrawings. His work has been exhibited at group shows, gaming events, and cultural exhibitions. Apassion for all things fantastic is evident in Guillaume’s art practice. Future plans for Guillaumeinclude film industry work, concept art, illustrating stories, and 3D modelling.‘’My artwork takes a personal view on storytelling, whilst reimagining myths and legend. Oftenreferenced as fantasy art, my work explores the varying relationships between dreams and reality.Exploring subjects such as psychology of the of the body and the anatomy of the mind, my workreproduces visual illustrations of figures, creatures, and/or settings, arranging them into newconceptually layered reflections of reality. ‘’‘’I work with a variety of materials ranging from oil paint to clay sculpture and digital illustration. WhileI use a variety of materials and processes in each project, the ideas I explore are consistent. I drawinspiration from history, myths, and legends as well as scientific documentaries. ‘’ [email protected] www.instagram.com/guillaumechevolleau
Walter ChingWalter Ching is an award-winning filmmaker who has a strong passion for creating films and creativecontent. Walter has developed professional video production and photography skills during his threeyears of experience making films for a variety of industries. In his video production he focuses onstorytelling and things that are important to society.By using a medium such as film, he hopes people can experience other people’s stories and feelings. www.walterching078.com
Uekaha Anthony DunnKo Oruawharo tāku Turangawaewae,Ko Rangimarie te MaraeKo Tokatoka te MaungaKo Kaipara te MoanaKo te Uri o Hau me Uekaha ōku HapūKo Ngāpuhi nui tonu me Ngāti Maniapoto me Ngāti Whātua ōku iwiKo au te hapū, ko hapū ko auKo Uekaha Anthony Dwain Dunn ahauKei raro I te maru o Pukepoto.Ngā mihi kia koutou kātoa.Anthony D. Dunn was born in Tāmaki Makaurau. In 1992 he was introduced to whakairo (carving) asa student at Rodney College. There he was given the opportunity to help carve the whare which wasopened in 1994. On that day Dunn remembers feeling he wanted to become a carver.In the early 2000s Dunn rekindled his desire to carve, which lead to him enrolling in further training,having completed the Toi Paematua (Diploma in Māori Arts). Dunn was a self-taught carver for 10years, prior to furthering his education in whakairo. Dunn is currently in his final year of Maunga KuraToi (Bachelor of Māori Arts) at NorthTec. His passion and dedication to whakairo has reaffirmed hisobligation to carry this customary practice through to future generations.
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