As we whakanui the reappearance of the constellation of Matariki during Te Tahi o Pipiri we’re bringing together mahi from Hira Anderson-Mita(Ngāti Maniapoto, Ngāti Apakura, Ngāti Rereahu), Star Gossage (Ngāti Wai, Ngāti Ruanui), Turumeke Harrington (Kāi Tahu, Rangitāne), Reuben Paterson (Ngati Rangitihi, Ngāi Tūhoe, Tūhourangi), Lisa Reihana (Ngāpuhi-Ngāti Hine-Ngāi Tū-Te Auru), Ngataiharuru Taepa (Te Arawa, Te Āti Awa), and John Walsh (Te Aitanga-a-Hauiti).
A new suite of paintings from Hiria Anderson-Mita quietly captures and celebrates wāhine amid everyday moments. Star Gossage describes a tender hikitia between māmā and pēpē in a wash of yellow and magenta hues. Turumeke Harrington’s sculptural chair T is for Tūru pays homage to architect John Scott’s Futuna Chapel, while leaning into the discomfort of considering colonial legacies of the church and its relationship with te ao Māori. A constellation glitter painting from Reuben Paterson is flanked by two kōwhaiwhai flags; in conversation with the artist’s concurrent public flag project for Matariki on the waterfront in Te Whanganui-a-Tara. Made from sheep hide, Lisa Reihana’s Te Kore / I used to think sheep were maggots on the land – until dairy farming came along! drapes down the wall and pools across the floor of the gallery, an embodiment of Te Korekore or The Void as the realm of potential being. Working with contemporary techniques and materials, Ngataiharuru Taepa continues his longstanding exploration of customary kōwhaiwhai as a form of tuhituhi or writing. John Walsh’s astonishing 5-metre-long unstretched painting on canvas draws visitors into the gallery to be absorbed into the artist’s own vision of te ao marama in Act 2, Scene 2: There Are Visitors at the Head and They Don’t Look Friendly, Let Your Demon Go, You Can Get Him Later.
