Kā Honoka

Tony Fomison’s luminous, night time view of Haumuri Bluff on the Kaikōura coast is a weighted landscape little-related to scenic appreciation. It carries a sense of time and of Fomison’s connections to this locality and its past.

In 1959, while a twenty-year-old sculpture student at the University of Canterbury, Fomison began working with the Canterbury Museum as an assistant ethnologist and archaeologist. He worked on extensive archaeological explorations of Māori settlements and early whaling sites near Kaikōura and on Banks Peninsula, and surveyed rock art sites throughout Canterbury. Haumuri, a Māori settlement site, was also the setting for a short-lived whaling station from 1844.

Something of Fomison’s motivation in painting is conveyed in his comment: “Given that the practitioner has a knowledge of our history, it can also be an opportunity to project an uncontaminated view of the past into the future.” (Kā Honoka, 18 December 2015 – 28 August 2016)

Peter Robinson’s Cascade becomes an increasingly curious artefact within this selection of largely historical works. At the same time it strangely embodies the collective idea of kā honoka: a multitude of connections, relationships and links.

Robinson is a Ngāi Tahu artist with an enduring interest in the adaptation and lineage of ideas. His sculpturally satisfying polystyrene mass with its tumbling chains and weights sparks multiple imaginative associations. These might be immediately evident in relation to local maritime and whaling stories, but can take many directions. The ideas in the work, like Robinson’s chosen medium, may expand and reshape to find their own purpose. (Kā Honoka, 18 December 2015 – 28 August 2016)

Louis Auguste de Sainson was the official artist aboard Captain Dumont d’Urville’s Astrolabe. He spent three months in New Zealand in 1827 on a maritime mapping survey between Tasman Bay and the Bay of Islands, followed by a month in Tonga. A substantial publication on d’Urville’s 1826–29 voyages through Asia and the Pacific was published in Paris in 1833, profusely illustrated by lithographic prints after de Sainson’s drawings.

D’Urville and his crew had close contact with people they met, including the Totaranui chief Tehinui (or Tehi-Noui) and his travelling companion Kokiore (or Koki-Hore) depicted in print 2, who were sketched by de Sainson after coming aboard at Palliser Bay (near present-day Wellington). Tehinui and Kokiore at first both intended to reach Europe, but instead disembarked at Tolaga Bay, later finding their own way home. In summarising his portrait sketching process, de Sainson later recalled: “What I was doing caused a lot of laughter; every minute they tried to escape me.” (Kā Honoka, 18 December 2015 – 28 August 2016)

Louis Auguste de Sainson was the official artist aboard Captain Dumont d’Urville’s Astrolabe. He spent three months in New Zealand in 1827 on a maritime mapping survey between Tasman Bay and the Bay of Islands, followed by a month in Tonga. A substantial publication on d’Urville’s 1826–29 voyages through Asia and the Pacific was published in Paris in 1833, profusely illustrated by lithographic prints after de Sainson’s drawings.

D’Urville and his crew had close contact with people they met, including the Totaranui chief Tehinui (or Tehi-Noui) and his travelling companion Kokiore (or Koki-Hore) depicted in print 2, who were sketched by de Sainson after coming aboard at Palliser Bay (near present-day Wellington). Tehinui and Kokiore at first both intended to reach Europe, but instead disembarked at Tolaga Bay, later finding their own way home. In summarising his portrait sketching process, de Sainson later recalled: “What I was doing caused a lot of laughter; every minute they tried to escape me.” (Kā Honoka, 18 December 2015 – 28 August 2016)

Louis Auguste de Sainson was the official artist aboard Captain Dumont d’Urville’s Astrolabe. He spent three months in New Zealand in 1827 on a maritime mapping survey between Tasman Bay and the Bay of Islands, followed by a month in Tonga. A substantial publication on d’Urville’s 1826–29 voyages through Asia and the Pacific was published in Paris in 1833, profusely illustrated by lithographic prints after de Sainson’s drawings.

D’Urville and his crew had close contact with people they met, including the Totaranui chief Tehinui (or Tehi-Noui) and his travelling companion Kokiore (or Koki-Hore) depicted in print 2, who were sketched by de Sainson after coming aboard at Palliser Bay (near present-day Wellington). Tehinui and Kokiore at first both intended to reach Europe, but instead disembarked at Tolaga Bay, later finding their own way home. In summarising his portrait sketching process, de Sainson later recalled: “What I was doing caused a lot of laughter; every minute they tried to escape me.” (Kā Honoka, 18 December 2015 – 28 August 2016)

Aged just twenty when he joined Dumont d’Urville’s 1826–29 Pacific survey, François-Edmond Pâris created a comprehensive visual record of ships and boats encountered. In 1827 he recorded vessels he saw at Ūawa Tolaga Bay and Paepae-o-Tū Bream Bay, and Te Tai-o-Aorere Tasman Bay and Tāmaki Strait, Auckland.

(Out of Time, 23 September 2023 – 28 April 2024)