Te Waipounamu the South Island is crisscrossed by hundreds of traditional mahinga kai, or food-gathering, routes. Used by Waitaha, Kāti Mamoe and Kāi Tahu people over centuries, these routes provided access to the best destinations to harvest food, as well as facilitating the transport of pounamu from the Arahura through Nōti Raukura (Browning’s Pass) across Ka Tiritiri o te Moana (the Southern Alps) to Tuahiwi, north of Christchurch.
Shannon Te Ao is an artist of Ngāti Tūwharetoa descent. In 2016 Te Ao won the Walters Prize for his works, two shoots that stretch far out (2013–14) and okea ururoatia (never say die) (2016). Working in video and other performative practices Te Ao investigates the implications of various social and linguistic modes. Assistant curator Nathan Pohio, himself a nominee for the 2016 Walters Prize, discussed working practice with Te Ao in December 2016.
To Māori, the colour black represents Te Korekore – the realm of potential being, energy, the void, and nothingness. The notion of potential and the presence of women are what I see when I peek at Fiona Pardington’s 1997 work Moko. And I say peek deliberately, because I am quite mindful of this work – it is downright spooky. Moko is a photographic rendering of a seeping water stain upon the blackboard in Pardington’s studio, taken while she was the recipient of the Frances Hodgkins Fellowship in Dunedin in 1997.
Having lived in the CBD on and off since I was 18 years old (I spent 2 years in Auckland but otherwise within the four Aves), it breaks my heart to see what has been taken away culturally as architecture.