Posts tagged ‘Ema Tavola’

Concealed Ancestors
A solo exhibition by Margaret Aull

Works for Sale

Transferred8243139615_d2dc0a937f_c

Acrylic, ochre, graphite, ink, 24-carat gold leaf on paper

$1900

Framed 700 x 932mm

SOLD

 

 

 

 

 

 

"Urenui" (2012)Urenui

Acrylic, aerosol, ink on paper

$1200

Framed 619 x 824mm

SOLD

 

 

 

 

 

 

8244207524_ddfc45f32b_cRe-configure ethnographic

Acrylic, graphite, ink on paper

$1600

Framed 700 x 932mm

 

 

 

 

 

 

 

8374419681_81d3d2abfaMata Rangatira

Acrylic, ink on paper

$1200

Framed 619 x 824mm

SOLD

 

 

 

 

 

 

 

8244209424_de1a162a30_cI told you it started here!

Ochre, graphite, ink, 24-carat gold leaf on paper

$1900

Framed 700 x 932mm

SOLD

 

 

 

 

 

 

8244206278_23d61212de_zHaere mai, Vanua

Acrylic, ink, ochre on paper

$2500

Framed 905 x 1218mm

SOLD

 

 

 

 

 

 

 

8243140703_4cdc16c1cf_zWhakapapa transfer station

Acrylic, graphite, ink, 24-carat gold leaf on paper

$1900

Framed 700 x 932mm

SOLD

 

 

 

 

 

 

 

Matakau [installation]

2-pac gloss acrylic, Totara

$4500

Dimensions variable

 

 

 

 

 

 

 

 

 

8244208830_79037ec6c4_c

Pacific – niger

Acrylic, ink, ochre on paper

$1600

Framed 700 x 932mm

 

 

 

 

 

 

 

 

"E Moemoea" (2012) by Margaret AullE Moemoea

Acrylic, ochre on paper

$1600

Framed 700 x 932mm

 

 

 

 

 

 

 

 

All works 2012, mounted on acid free mat board, framed using UV-reflective glass.

Prices listed in New Zealand dollars.

Framed dimensions refer to the size of the glass, actual size is approximately 50mm larger.

The exhibition Concealed Ancestors (12 January – 23 February 2013) at Papakura Art Gallery was supported with funding from the Pacific Arts Committee, Creative New Zealand and Toi o Manukau.

Read more about Concealed Ancestors here

Contact Ema Tavola for further information and sales enquiries: Mb (NZ) 027 5779369 / Email Ema.Tavola@clear.net.nz

Oceania is my natural habitat… at times, I am overwhelmed with longing.

I think of the ocean often.

I remember the feeling of belonging, of breathing warm air and feeling my feet touching the ground and feeling secure. Grounded.

Suva rain and softened earth
In between heaven and here
My heart… beats… home


I am the Ocean

Not visiting. Not searching.
She is my rhythm and I am her soul.
I see myself in people and smiles. I feel myself in spaces between

[I am a Fijian in silence]


Fiji Museum

The smell of collecting is intoxicating.
Aged
Dusty
Euro-

Noble. Memories. Frozen.
A History of Colonial Encounter.
Objects boxed, cased, pinned. Mana dissected.

In traces of silvery residue, I see slivers of my past.

Imperfect empowered

Excavating identity
Interrogating memory / loss

Eyes and tattooed mouths
Fingers and hands

She crafts inky dreams

Painting in the gaps of our mixed genealogy


Anchored by new roots

Diaspora distorts colonisation

Generations [re]moved
Tradition and a new transmission
The economic burden and first world sacrifice

Emo- evolution
Facebook family and a digital constitution
Fiji Online

[Optional]

Fijian sasa broom at Margaret Aull's studio, Te Awamutu


Concealed Ancestors

In language and behind eyes
I am your anger

In signs and knotted hair
In blood and sweat

You are my limits and my potential

I am filled with your journey
An agent of future souls

This is an experimental piece of writing by Ema Tavola developed for the exhibition catalogue of Concealed Ancestors – A solo exhibition by Margaret Aull

SOUTH Issue 2 (2013)
For the past six months I’ve worked with my long-time collaborator, Nigel Borell to produce a second issue of the free arts publication, SOUTH.

We established SOUTH in 2010 as co-editors and launched the first issue in January 2011 at Fresh Gallery Otara. Despite significant changes in budgets, energy and employment, Nigel persisted with the vision and Issue 2 was born. His hard work has attracted investment and financial support from Manukau Institute of Technology (Faculty of Creative Arts) and the Creative Communities Scheme, all of which has enabled me to return to the shared editorial role in a freelance capacity. We’re excited to be working with a new group of stakeholders and look forward to extending the investment opportunities for Issue 3!

Nigel and I have a close working relationship with Edgar Melitao, SOUTH’s design partner and artistic director. Choosing a front cover image is a highlight of the design and editorial process; it seems to bring everything together and galvanise the conviction of the publication.

I produced an experimental fashion editorial for SOUTH Issue 2 working with local designers Melissa Cole, Genevieve Pini and Tyrone Tautiepa. Shot on location in the South Auckland suburbs of Otara, Middlemore and Papatoetoe, the designers were challenged to research and develop, style and direct their own shoots with photographer, Vinesh Kumaran.

 

The SOUTH Issue 2 cover shot was styled and art directed by Otara-based Samoan artist and designer, Genevieve Pini. Pairing her own design, the Miss Lavalava skirt (featured in the 2012 Cult Couture fashion award show) with a limited edition chopped & screwed YOU LOVE MY FRESH t-shirt by Tanu Gago (a Mangere-based Samoan artist) she wanted her image to be fierce and empowered, and to represent an homage to her hood.

As a cover, this image represents the defiant and robust nature of the South Auckland arts sector: its strength, urbanity, Pacific Island cultural richness and unique vernacular. As a representation of the Pacific Island body, it is empowered, relatively unedited and unapologetically XXL. As the model and producer of this image, I love that it enabled an artist to engineer her own representation.

SOUTH is a free annual arts publication published by Toi o Manukau. It is available at art centres and libraries throughout South Auckland and at selected art spaces in the Auckland region.

Join SOUTH on Facebook to comment, share and engage with the SOUTH community.

I’m currently writing about Fijian-Māori visual artist, Margaret Aull’s new work for her upcoming exhibition, Concealed Ancestors.

I met Margaret in 2008 in Suva, Fiji – we were both part of the Vasu: Pacific Women of Power project at the Oceania Centre for Arts and Culture at the University of the South Pacific. Since then, we’ve worked together on a number of projects and I’ve enjoyed seeing her work shift and change.

Margaret’s work is intentionally and unintentionally a declaration of her cultural position as a Fijian-Māori / Māori-Fijian. She has made work exploring flags, identity and ownership, as in the work Kiwi mate (2011) [above] and explored political similarities and colonial struggle of both Fiji and Aotearoa.

In a review in Eyeline magazine (Issue 73), Tessa Laird describes Margaret’s work, Tino Rangatiratanga and Coups (2010)as, “a broken composition that is part flag, part museum display case, with fragmented artifacts subjected to colonial categorisation and branding”. The work was created for the exhibition Native Coconut at Fresh Gallery Otara featuring three artists who share both Māori and Pacific Island ancestry.

Last year, Margaret trialled collaborating with a graphic designer to develop the work Fiji ki Aotearoa (2011) which was shown in the exhibition diasporadic679 at various venues in Ōtāhuhu in acknowledgment of Fiji Independence Day.

The work in Concealed Ancestors is a further shift in thinking and aesthetic consideration. The exhibition showcases a series of works on paper and a sculptural installation. Produced as part of Margaret’s post-graduate studies, the work is an in-depth visual enquiry into the concept of taputabu or sacredness informed in part by a recent trip to Fiji and time spent at the Fiji Museum.

Concealed Ancestors runs from 12 January – 23 February 2013 at Papakura Art Gallery, 10 Averill Street, Papakura, South Auckland

I am humbled to be the recipient of the Contemporary Pacific Artist Award of the 2012 Arts Pasifika Awards, administered by the Pacific Arts Committee of Creative New Zealand.

For the past five months, I’ve been transitioning from full-time employment, working in the field of Pacific arts advocacy and curating, to self-employment. Working in a freelance capacity, it is at this time that recognition for my work as a Pacific curator carries significant value.

I had an emotional time at the Awards ceremony, trying to acknowledge everyone. I didn’t mention Jim Vivieaere or Epeli Hau’ofa, who have passed on and whose legacies provide ongoing inspiration for my work. I didn’t acknowledge the investment and support of my parents, Helen and Kaliopate Tavola, and my dear sister, Mereia Carling. I didn’t even acknowledge the artists in my life who are my sounding boards, mentors and collaborators, in particular my South Auckland crew Nigel Borell, Tanu Gago, Rebecca Hobbs, Leilani Kake and the excellent Fresh Gallery Otara brain box, Nicole Lim. But it was lovely to have a small South Auckland contingent in the form of Margaret Aull (honorary South Aucklander!), Donna Tupaea (Chair, Toi o Manukau), my partner Taka and Kolokesa Māhina-Tuai.

I have worked tirelessly for the past seven years and produced 80 odd exhibitions featuring almost 300 artists. I’ve enjoyed so much of the journey and draw such happiness from seeing the artists I’ve worked with go on to do great things. I thanked the Pacific Arts Committee, and Creative New Zealand for acknowledging the art form of curating. I feel it is a historical shift in thinking and represents a win for everyone who works behind the scenes – the producers, publishers, directors and editors – those who enable, empower and encourage our artists to take raw talent, mix it with skills and professionalism and create strong and robust platforms for Pacific expression.

Vinaka vakalevu Creative New Zealand and members of the Pacific Arts Committee!

“E Moemoea” (2012) by Margaret Aull, acrylic, ink, collage on paper.

Concealed Ancestors is the upcoming solo exhibition by Waikato-based visual artist, Margaret Aull, co-curated by Nigel Borell and Ema Tavola for Papakura Art Gallery, South Auckland.

In this new body of work, Aull investigates the concept of tapu / tabu within both Maori and Fijian cultural frameworks. Inspired by research at the Fiji Museum, she explores visual representations of ancestors and deities, spiritual lore, mana and life force.

Utlising ochre used in the making of masi (traditional Fijian bark cloth), Aull incorporates the whenua / vanua within her work. Juxtaposed with imagery from Museum collections, she reclaims and re-activates meaning, creating visual mediations of her blurred genetic code.

Margaret Aull (Te Rarawa, Tuwharetoa, Fiji) has exhibited extensively in New Zealand since 2005 and is currently completing a Master of Fine Arts at Whitecliffe College of Arts & Design.

Check out Concealed Ancestors at Papakura Art Gallery from 12 January – 23 February 2013.

Concealed Ancestors is produced with support from the Pacific Arts Committee, Creative New Zealand and Toi o Manukau.

Click here to read more about Concealed Ancestors

The AMP Peoples Choice Scholarship is won every year by public vote. Over the years I’ve voted for authors and artists, poets and designers – the programme supports extraordinary kiwis doing great things and skilled Pacific creatives have often applied. So this year I’m giving it a go.

Every vote counts and voting is open to anyone with a Facebook account!

I’ve been invited to curate a small-scale exhibition about the South Auckland entertainment company, Kila Kokonut Krew (KKK) at Mangere Arts Centre – Ngā Tohu o Uenuku. The exhibition acknowledges the 10th anniversary of KKK and coincides with the company’s 2012 presentation of Taro King – the first play they produced in 2002.

This is the second exhibition I’ve curated about Kila Kokonut Krew; the first one, From The Pacific We Rise, took place at Fresh Gallery Otara in 2008. At the time, the company was multifaceted with the music (Nafanua Records), T-shirts (Phat Islanders), the theatre and KTV – Kila Kokonut Krew Television. Fresh Gallery Otara had no operational budget at this time; the exhibition came together with limited resources but successfully depicted the breadth, depth and energy of KKK.

Both KKK and I have come a long way since that first show. Kila Kokonut Krew is now recognised as New Zealand’s leading professional Pacific theatre company and receives regular support from Creative New Zealand. I went on to produce another 50 or so exhibitions in and around South Auckland. Mangere Arts Centre was opened in 2010 and its beautiful new theatre has become a home for KKK and an ideal space to celebrate this landmark anniversary.

The exhibition I’ve developed this year is based on a Pacific Island lounge. I’ve been inspired by an early photographic series by Māori / Niuean / Samoan visual artist, Janet Lilo called Aunty Tina’s House. I’ve also drawn on the experience of being an associate curator for Home AKL at Auckland Art Gallery, an exhibition that feels so far from my own sense of home.
I wanted to create a domestic environment in the Mangere Arts Centre foyer that would invite audiences to sit and relax… to feel at home. Seeing Kila Kokonut Krew’s humour and South Aucklandisms on mainstream stages in central Auckland has always reinforced my connections to the Southside. I wanted to create an exhibition that felt like KKK’s home – a space of comfort and reflection, Pacific cultural pride and markers of growth and development, people and achievement.

The Kila Kokonut Krew 10th Anniversary season including Taro King and the Celebrating 10 years of Kila Kokonut Krew exhibition take place at Mangere Arts Centre – Ngā Tohu o Uenuku from 15-24 August 2012.

My Pacific & My Auckland

Story by Ema Tavola

Fundamentally, I am opposed to the idea of Auckland being called a Pacific city. I don’t take the word Pacific lightly. It describes my heritage, community and socio-political context, and Auckland reflects little to nothing of who I am.

I am from Suva, Fiji – an actual Pacific city. Fiji’s capital is teeming with Nesian flavour. Void of resorts, Suva is a melting pot of the Pacific with its embassies, regional organisations, tertiary institutions and thriving commercial centres. Pacific people, Fiji people, are the newsmakers, the politicians, the event planners, the strategists, the teachers… the leaders. While plagued with political instability for much of my lifetime, Suva is where the Pacific is truly present.

I live in South Auckland and have studied and worked in Otara for the past decade. The community I call home here in New Zealand is predominantly Polynesian. In Otara, New Zealand’s demographics are turned upside down and the Pacific community defines, creates and is the mainstream. I feel close to the Pacific because I am surrounded by Pacificness – language, laughter, children, brown skin, food and movement. I still get a culture shock when I leave South Auckland and I feel a deep sense of relief when I return.

Because I am embedded in a sense of the Pacific proper and also in the Pacific relocated in Otara, Pacificness for me is where we/I am visible. In Auckland, the Pacific community makes up 14 per cent of the population, less than that of the Asian community and less than a third of that of Pākehā. We are a minority on the margins. As such, Pacific people and issues rarely feature in mainstream media and are rarely seen in advertising. Our representation in the leadership and governance of Auckland is grossly under par. For a Pacific city, Pacific people seem fairly invisible.

Auckland is a settler city now home to a multitude of ethnic groups. Central Auckland hosts the annual Pasifika festival attracting broad audiences to a two-day celebration of Pacific music, food and culture.

But Pasifika is no more important than the other major cultural events like the Lantern Festival celebrating Chinese New Year, and Diwali Festival of Lights. These large-scale culture expos paint a picture of Auckland’s diverse economic potential, giving minority communities the civic limelight for one to two days in the year.

But Auckland is home to the majority of New Zealand’s Pacific population. Now generationally entrenched, over 50 per cent of the population is New Zealand born. The Pacific diaspora has become increasingly integrated into the social fabric of New Zealand and as the community grows, identities evolve. For many Pacific people, our perceived identity is not related so much to where we are, but to where we have become visible when previously we were invisible. The number of Pacific Islanders playing elite schoolboy rugby has grown from almost none to domination of many of the teams.

This creates a problematic measure of Pacific identity. It is arguably a model of oppressed thinking from a community still over-represented in statistics around poor educational achievement, poverty and political dislocation. It feels like a strange colonial Stockholm syndrome that stops us expecting and demanding more of a country that has been built in part on the backs of Pacific labour.

If Auckland were truly a Pacific city I would expect a deeper consciousness about Pacific people and ideas, the wider region and our relationship with not only Polynesia, but Melanesia and Micronesia.

Whilst we have visibility in sports and in small windows of programming on mainstream television, we need to have visibility in decision-making at local and central government levels. We need more leadership in our community, in order to have presence and contribute fully to the Auckland dynamic. Potentially, strong and informed Pacific leaders could confront the large-scale political disenfranchisement we saw so clearly in our last national elections.

In a truly Pacific Auckland, engagement with Pacific communities would be meaningful, intergenerational and mutually beneficial. Mainstream institutions would not only foster relationships with Pacific communities, but actively deliver programming which appeals and educates wider audiences on Pacific lives and experiences.

I’d like to think that in an Auckland conscious of its Pacific community, we would stop building environments that enslave and harm our most disadvantaged sectors.

There are too many urban health hazards: there shouldn’t be liquor stores and takeaways on every corner and substandard imported food sold at every dairy in Mangere, Otara and Ōtāhuhu.

SkyCity and everyone else who introduces pokie machines to the community should be considered stakeholders in problem gambling, and held responsible for the damage they cause.

Tighter regulations around targeted and exploitative money lending would stabilise a community already faced with disproportionate financial challenges.

Sports commentators, news readers and leaders would be educated in how to pronounce Pacific names, and they would understand that mispronunciation is offensive and unnecessary.

Right now in New Zealand, emigration has never looked so appealing. Like many of my friends and networks, I look for jobs regularly in Australia.

If I left, the truth is I would miss South Auckland terribly. I would miss this little piece of the Pacific with its abundance of churches, swarms of brown children, multi-coloured everything. Here, Pacific people have made their mark – survived adversity and built strong, proud communities. Much of South Auckland exists in a parallel universe to the wider Auckland region; it was a self-sufficient little world before the Super City.

If an amalgamated Auckland means South Auckland’s Pacificness is now part of a bigger blander civic picture, then perhaps Auckland is a Pacific City. But there is no doubt in my mind that South Auckland is its beating heart.

This article was written for Metro magazine (August 2012)
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HOME AKL FREE BUS

There is a free bus service running from Mangere Arts Centre – Ngā Tohu o Uenuku in South Auckland to Auckland Art Gallery Toi o Tāmaki in Central Auckland each Saturday in August!

See life through the eyes of Auckland’s Pacific artists in the new exhibition, Home AKL – the first major group exhibition of contemporary Pacific art developed by Auckland Art Gallery!

The bus departs at 12pm from Mangere Arts Centre – Ngā Tohu o Uenuku, located in the Mangere Town Centre at the corner of Bader Drive and Orly Avenue. Park in the rear car park at the corner of Orly Avenue and Waddon Place.

The bus goes directly to Auckland Art Gallery Toi o Tāmaki arriving around 1pm, in time to participate in weekly public programme events.

The bus returns at 3pm – the pick-up is from Wellesley Street, by Albert Park.

WHAT DOES IT COST

The bus is free, and entry to Auckland Art Gallery Toi o Tāmaki – however, Home AKL is a special exhibition that has an entry fee. Ticket pricing is as follows:

Single Admission $5
Concessions (Student, Beneficiary, Senior Citizens, Groups over 10) $3
Children 14 and under FREE 

A season pass can also be purchased for $20 – this enables visitors to visit as many times as they like!

Read more about this initiative here