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New Zealand Crafts Issue 34 Summer 1990

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New Zealand Crafts Issue 34 Summer 1990 Our Stories tn MAU MAHARA Our Stories in Craft im Barr; “We are going to focus ”The Crafts Council of New Zealand “To control that environment so that on the stories craft can tell, this year celebrates 25 years since its they could survive and be able to keep rather than on the story of craf ”. inception and as part of the 1990 living with it and appreciating it at the Mary Barr; "...we were just going to commemoration, this exhibition was same time, it was necessary for them have to take slices. The question then conceived to pay tribute to the to develop certain ideas around these was: How were we going to decide on energies that have shaped New things. Consequently you get this what the slices would be?” Zealand crafts.” whole development of the gods. They MAU MAHARA really weren’t gods for that is co- Jim and Mary Barr were the something that comes from a ordinators for Mau Mahara. From Christian idea, a Christian their concept, the three interpretation. They were more like commissioners, Justine Olsen, John A fascinating forces that were recognised. Some look at the lives and memories ofour Parker and Cliff Whiting chose the were known to a certain degree, others exhibition, objects to make up the were not that well known. people through 150 years oftheir crafts. objects reflecting the past and the present, from all parts of our culture. ”So you get, say, a person like Tane, part of Rangi and Papatuanuka, the A unique the book MAU and extraordinary craft event that will capture In the introduction to sky father and the earth mother. He MAHARA- OUR STORIES IN CRAFT would be the youngest of a family of the hearts and imagination ofevery New Zealander published by Random Century, John about seventy brothers having to live Scott had this to say: in the confined space between their ”This exhibition is about stories — the parents. From this you get the idea of stories our crafts contain and of the the need for light and growth, the people who created those stories. Look need for people to acquire knowledge around you. What are the objects in and then to pass it on so that the our lives that you really value and learning is carried through and would hate to lose? The family retained as well as being added to. In heirlooms, the special gifts, the vases so doing you find that Tane in his first or stools your children made, as being the SMITH position is recognised grandfather’s walking stick and great— power of light and growth and energy. grandmother’s quilt and the photo And as the social structures and the albums with the family history DEBORAH Maori people themselves developed, recorded. Hinaki (Eel catching pot) made by Cliff Whiting his role became greater and greater “Those are the images which maintain in the early 19705 until for the ordinary person it was our emotional and visual links with In the following extracts from the enough to say, well he’s the God of the past. People have many tell the forest. "He mokopuna na "When they work they‘re "You couldn't get boy dolls. book, the three commissioners Taharakau", you might hear lovely. I probably had about So Grandma turned Stephen mechanisms for triggering their stories of pieces from the ”If you go into that place, into the said to someone of that place half a dozen things work last into a boy for me by making associations, remembering good times exhibition that particularly moved forest, there are other stories like the kitted out for bad weather on year - but then I also had all him boy clothes. Those and for protecting values they wish to them. Rata story where things are taken a fine day, "Ah. you must those lovely failures." clothes mean Grandma." maintain. Among the strongest of CLIFF WHITING without permission, without the right descend from Taharakau." these is our craft. Craft, through its kinds of regulatory experience being Ann Robinson bowl Doll Stephen 's clothes indigenous culture doesn’t uniqueness, its ’made by hand’ ”If the brought to mind. Then you find that Flax pakee (rain cape) access to its natural resources it is quality, its aesthetic sensibilities, its have all of these things are also regulatory to die because so much of it is clearly stated functional intentions doomed in terms of how the people then based on its philosophy of its and its social or community meaning regarded their resources - and that’s Touring Nationally: That environment provides us with a multi-level environment. only talking of one - and their uses. means its land base, the sea, the air - Wellington National Art Gallery's Shed 11 17 November 1990 - 27 January 1991 § reference to both historical and So, in terms of making, a hinaki all those things. It means that to current values. requires some permissions or some organised by Auckland Auckland Institute 8: Museum 23 February 1991 - 7 April 1991 survive here they used all these The Crafts ”Mau Mahara — Our Stories in Craft is entry into the world of Tane.” Council of / e various resources to either catch or eat New Zealand Christchurch Robert McDougall Art Gallery 4 May 1991 - 23 June 1991 "“Zm’“ a celebration of these values, of the or whatever. If there wasn’t that human condition and of our society as Dunedin Otago Museum 20 July 1991 - 1 September 1991 relationship with their environment portrayed and illustrated by the there was no way they could survive. @ crafted objects in this exhibition. Presented by The Ford Motor Company of New Zealand Limited NZ Crafts 1 JOHN PARKER now been long lost, this unpretentious holder is a superb example of ”Any colonial country by its very appropriate design, isolation has to become an efficient form and function. It is deceptively simple. It and creative recycler. The process of was never intended for viewing by laterally thinking beyond intended those outside the musterer’s living use into the‘unthought-of possible has quarters. It is quiet and gentle, but been cliched as ”kiwi ingenuity”. contains a weight of history and ideas, “Necessity and an intuitive hand have defining what we and this exhibition given us icons like the concrete beer are all about. bottle wall, the tyre swan and the ”I wonder about the feelings and front fence made of planted washing emotions of those who read or wrote machine bowls. But the fundamental Council Magazine 34 Summer 1990 papers or books or love letters by the Crafts raw material which literally has held light its candle gave out.” New Zealand together is number eight fencing wire. Ji-rug-a~wuw— hath-1‘- ~A-u—lml-Diidl A,» “This insignificant wire candlestick, In]. made just for use, has that naive II humble purity of purpose that the enlightened try to find in the Japanese rim-1.1..” SMITH craft culture of the Unknown ”kin”#1:, .e‘lmnmmma515" 115" Craftsman and wrongly apply self- h-MMb'mw J IM- SMITH 1:...4.‘ . DEBORAH consciously to their own twentieth century work. imiillilltlkth‘I-plsmi. Number Eight Fencing Wire Candlestick, made around 1900 “Made on a high country sheep DEBORAH Page 28 station, by a musterer whose name has John Parker. “Our crafts also provide us with COVER STORY Crafts Council of New Zealand (Inc) Mau Mahara material evidence of our history in 22 The Terrace Wellington BOWL MADE BY ANN ROBINSON IN Phone (04) 727-018 l’ax (04) 727-003 this land. The stories associated with 1988. The Bishop's New Clothes these crafts tell us about where we are 101 Putiki Drive, Wanganui “At the moment, with things going so Presidentzjohn Scott, Robin Gardner-Gee from and our growth as individuals, (064) 50-997 W, (064) 56-921 H. Vice-President: badly, I’m beginning to think it is a bit Balmoral Drive, Invercargill. communities and as a nation. Dave Russell, 174 14 Calligraphy masochistic really. You can’t devote (021) 89-685. Executive Committee: Jenny 84— “The presentation casket is your whole life to making broken Barraud, 10 Richardson Street, Nelson. (054) Wendy Laurenson consciously a New Zealand work. 619. Malcolm Harrison, 2/57 Norwood Road, things. It seems too wasteful on the Bayswater, Auckland. (09) 457-243. Wally Hirsch, 17 Glaze and Colour Development- When Bishop Selwyn departed for world’s resources not to have a higher 9 Macl’herson Street, Meadowbank, Auckland 5. England in 1868 after twenty—six success rate. When they work they’re (09) 547-695. RenaJarosewitsch, P.O. Box 1874, Metchosin Summer School years, a gift was made to mark this Christchurch. (03) 662-085. David McLeod, lovely. I probably had about half a Harrington Point Road, 2 R.D., Dunedin. (024) Raewyn Atkinson occasion. It was this casket, made to dozen things work last year but then I 780-635. Owen Mapp, 118 Ruapehu Street, contain lists of signatures to an also had all those lovely failures!” Paraparaumu. (058) 88-392. Mark Piercey, 201 26 Rangimarie Taheka Hetet illuminated address. Made by Anton Bridle Path Road, Heathcote, Christchurch. (03) Ann Robinson, Auckland. Toi Te Rito Maihi Seuffert and carved by Anton 849-567.Judy Wilson, 32 Butley Drive, Pakuranga, Auckland. (09) 566-340. Teutenberg, the inlay technique and 29 Artiture choice of some images reflect their Corporate Members Sue Curnow European cultural traditions. But the Azimuth Systems Ltd; Icam Ltd; Caltex ()il (N.Z.) Limited; Cain 8t Co; Martin,Jarvie, Underwood 8t I representation of New Zealand flora Oil New Zealand Limited; New Zealand and Criticism l: Hall; Mobil 33 Craft History and Maori art is from our own land.
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