Ngā Hokohoko: Bicultural Transference grounded in Te Ao Māori, strengthening connections to past makers, tīpuna, known and The exhibition Ngā Hokohoko explores the unknown. kaupapa of hokohoko—exchange, trade, barter—within the contemporary jewellery In contrast, Preston and Bern articulate their community in Aotearoa. It proposes hokohoko love of making through natural materials such as a framework for bicultural dynamics and as shell, native seeds, found objects and fibre, features the work of Pauline Bern, Matthew with silver and gold accents, to communicate McIntyre-Wilson (Taranaki, Ngā Māhanga and their cultural location in Aotearoa. Moa and Titahi), Neke Moa (Ngāti Kahungunu, Kāi Tahu, Sheehan both centre on pounamu, however Ngāti Porou, Tūwharetoa), Alan Preston, Joe their practices emerge from divergent Sheehan and Areta Wilkinson (Kāi Tahu, Kāti perspectives. Exhibiting the work of these six Mamoe, Waitaha). As seen through the practice artists together activates a conversation. Ngā of several of the most innovative jewellers Hokohoko presents an essential, nuanced from the past 40 years, Ngā Hokohoko charts understanding of indigenous materials and connections and contrasts in materials and practice, reflected in the work of Māori and pivotal influences such as mātauranga Māori Pākehā makers. and Pasifika adornment. This exhibition distils ideas from a talk Ngā Hokohoko embodies this kaupapa, from Preston and Wilkinson presented in 2016 at Wilkinson’s luxurious gold Hine-Āhua and the Schmuck jewellery symposium in Munich, Huiarei (2013) to Preston’s Pāua Chain (1994), Contemporary Jewellery Aotearoa New and demonstrates how we have shared ideas, Zealand: Māori, Oceanic and International materials and techniques. Māori makers such practices underpinning Fingers development as Wilkinson and McIntyre-Wilson both explore for 40 years. Their lively presentation was a mātauranga Māori through precious metals, tūturu kiwi-iwi PowerPoint, complete with like gold and silver, rather than customary hongi and waiata, exchange of jewellery pieces Māori materials such as pounamu and bone. and quirky slides displaying New Zealand. It These makers communicate their whakapapa also showed the longstanding friendship of by engaging in knowledge and processes the jewellers, interwoven with tikanga Māori. This was a groundbreaking moment for New ‘jewellery marae’. It has remained a focal there were only a few Māori and Pasifika Japan. It featured jewellery of our time that Zealand jewellery, making public this unique point, as a retail store and a gallery to exhibit practitioners working in the contemporary demonstrated “resonant symbols of identity, dynamic and bicultural whakapapa. work, invigorated by both graduates, local, jewellery community, such as Inia Taylor and for a generation who wanted to understand and international jewellers. The contemporary Chris Charteris. themselves as citizens of Aotearoa a bicultural In their talk, Preston and Wilkinson referenced jewellery community in Aotearoa is a tight nation”.3 the wider social and political history of New knit group. Connections and relationships are In the same period, our colonised silence gave Zealand, presenting everything from former made and reinforced over the years— way to turbulent changes. New Zealand was The work from this exhibition has subsequently Prime Minister Rob Muldoon in The Rocky a whakapapa of layered relationships, ideas, bombarded from within and without; we were raised questions around what it means for Horror Picture Show, to the Rainbow Warrior and discussion. Opportunities and mentoring finding ourselves and our identities, cutting the Pākehā makers to use indigenous materials bombing and anti-Springbok tour protests, are provided by generous established makers, apron strings to ‘Mother England’. The 1970s and design forms, yet Bone Stone Shell was showing how contemporary jewellery was facilitated through Fingers. saw Māori assert mana motuhake through the juncture of a burgeoning contemporary shaped by this cultural and political history. The hīkoi and protest. During the 1980s, Pākehā jewellery whakapapa. Not until the 1990s duo presented a distinctive bicultural approach During the late 1970s and early ‘80s, New nationalism was defined by our anti-nuclear were contemporary Māori jewellers making and context. Completing the tikanga, the kiwis Zealand contemporary jewellery practice stance and anti-Springbok tour protests. an impact, when new jewellery graduates in the audience stood and sang a waiata with had a particular emphasis on materials such These upheavals were in many ways divisive, such as Wilkinson were beginning to present the presenters. Wilkinson reflects: as bone, pāua, pounamu, and stone, and but the disruptions also had a unifying effect, indigenous perspectives. acknowledged the adornment traditions of particularly the 1981 Springbok rugby tour that …the audience were treated to a Māori and Pacific peoples. Aotearoa had an brought Māori and Pākehā together standing Tūrangawaewae (1998), ten years on from non-eurocentric view of adornment aesthetic that manifested an identity, self- against the apartheid regime in South Africa. Bone Stone Shell, was the third jewellery practice presented in a unique way… defined and located here. While emulating the biennale held at The Dowse Art Museum. we demonstrated our tikanga and this criticism of preciousness from contemporary Simultaneously, the exhibitions Bone (1981) Curated by Māori artist Richard Bell, collective identity and that was Māori European jewellery practice, the shift in and Pāua Dreams (1981) were held at Fingers, Tūrangawaewae focussed on the concept 1 and Pākehā together. Aotearoa was to natural materials. As writer important precursors to the later Bone Stone of identity, both personal and national. The and curator Damian Skinner has noted, “They Shell (1988) that was commissioned by the exhibition questioned whether we had a Also, all of the jewellers in Ngā Hokohoko turned to natural materials and the example Ministry of Foreign Affairs and Trade. However, definitive jewellery identity. Bell was earlier have connected at leading contemporary of Māori and Pacific adornment to transform the only Māori maker to be included was inspired seeing Bone Stone Shell in Sydney, New Zealand jewellery gallery Fingers in the international critique of preciousness into Taylor. A defining moment for New Zealand but sought to include a more diverse pool various ways: as exhibiting artists, teachers something unique and distinctive to New contemporary jewellery, this exhibition of makers including Māori and Pasifika and students. Since the co-op beginnings Zealand”.2 Māori and Pasifika practice were and catalogue travelled throughout New practitioners such as Charteris, Wilkinson and in 1974, it has played a central role as the inspiration for Pākehā makers, but at the time Zealand and internationally to Australia and Pacific Sisters. Since this time, the whenua for contemporary jewellery has continued to I was doing my own version of Pacific knowledge through a creative process that dimensional pieces in precious metal. Wilkinson strengthen through more Māori graduates and adornment. The reason that I had made produced a new body of work, Whakapaipai– and Adams also spent time with the taonga, perspectives from makers such as Moa and it was to bring attention to that work Jewellery as Pepeha (2013). This work formed a giving attention by handling and taking them McIntyre-Wilson. that’s in the museums, why aren’t people major part of her PhD in Creative Arts. outside into Te Ao Mārama. Through this making contemporary adornment that process, the artist demonstrates a continuum This journey can be seen in the work of relates to these pieces…5 In 2010 the artist embarked on a fellowship of making and learning from taonga made Preston, whose career spans more than 40 with the Museum of Archaeology and by tīpuna. These concepts and techniques are years. He grew up fascinated by the Pacific Preston’s cultural understanding and respect Anthropology at University of Cambridge, informed and reinterpreted in the present. She jewellery in Auckland Museum; during the for tangata whenua is evident. Working visiting several times until 2017. The museum says, “… there was a consolidation and even 1980s he used natural materials such as pāua alongside jewellery lecturers Wilkinson and collection houses a number of Kāi Tahu a self-motivated strategy to really articulate a and pearl shell, and his jewellery paid homage Bern at Unitec Institute of Technology, he taonga that the artist researched. Wilkinson Māori methodology in terms of my practice that to resplendent Pacific breastplates. For Preston, was always generous with his time, expertise and her partner, photographer Mark Adams, included kōrero from others.”8 a love of pacific adornment was solidified and manaakitanga. Wilkinson states, “As an utilised a cyanotype photogram process through a number of trips: a visit to Fiji in 1979, Adjunct Professor, Alan was like the kaumātua, that records shape and she acknowledges a Moa Hunter Fashions (2017) is a series of work then Papua in 1980 for the Festival of Pacific not only for the jewellery students but the potential transference of the taonga. Wilkinson selected for the 9th Asia Pacific Trienniale of Arts, and lastly with fellow jeweller Warwick Design School also.”6 emphasises that she makes the images in Contemporary Art at Queensland Art Gallery Freeman to Fiji in 1983. He states: collaboration with Adams and the taonga. and Gallery of Modern Art in 2018 and relates For over 27 years Wilkinson’s (b. 1969) jewellery to early Te Waipounamu adornment found I went to Papua in 1980 to the South practice has investigated the intersection of During this process of making cyanotypes, the in New Zealand museum collections. With Pacific Festival and saw the amazing way contemporary jewellery practice and Māori artists found that the sun’s angle changed Whakapapa I and Whakapapa II (2017), the that people ornamented themselves— philosophies. Growing up in the far north, quickly and this distorted the outline, creating jeweller referenced archaic technologies and the bone work that I did for that show and then training at Unitec School of Design, tonal change at the edges. The void or used customary hammer stone tools specifically drew on things that happened there and Wilkinson always retained her Kāi Tahu shadow in the image allowed the jeweller the gathered from Waimakariri and Rakahuri still does.4 connections, developing a practice that is conceptual space to conceive of new work that rivers. The smaller hand held kōhatu kuru are heavily informed by Kāi Tahu whakapapa has a direct kōrero with mahi of tīpuna. She used like a hammer and the larger kōhatu The Fijian government asked the visiting and mātauraka Kāi Tahu. In 2007, Wilkinson says, “The photogram is the shadow, the space become anvils. The artist works the metal, jewellers to teach jewellery making to Fijians returned to Te Waipounamu to her that the taonga occupied, an absence that piercing, annealing (heating), then texturing through workshops as part of a bilateral aid tūrangawaewae, strengthening her whānau registers as a white negative shape sometimes silver and gold metal with hammer stones. She program. In preparation, Preston and Freeman connections. The artist delved deeper into tonally graduated.”7 These images were says, “I was looking at the past artworks and took images of historic Pacific pieces in the her Kāi Tahu whakapapa and centred this the foundation from which to develop three tools and processes by ancestors and having Auckland Museum. Preston says, a conversation across time with those early made with industrial plastic, shanks with started out making mokume gane (Japanese colonial, political and cultural histories. The makers.”9 coloured fishing line, added glints of gold and metal fusing technique) in silver and copper, motifs from familiar coins are reconfigured silver. Bern’s more recent Carapace (2015) draw and later began learning traditional Māori in unexpected ways, to create various hybrid As a young adult Bern (b. 1952) travelled on threads from her previous work. Silver wire weaving techniques from master weaver Rangi figures. “In New Zealand where there is extensively and returned to New Zealand in posts anchor multiple small shells or metal Kiu (Ngāti Kahungunu ki Wairoa). The jeweller such a turbulent history between the Crown 1981 after 15 years way. The self-taught jeweller slivers on the reverse of larger shells, and both then combined the disciplines of jewellery and and Māori there are numerous stories and contributed to shows such as Pāua Dreams sides can be shown. They resemble a boat raranga (weaving), often responding to taonga perspectives to be told.”13 (1981). She says, “coming back I didn’t feel I or rock encrusted with barnacles, although Māori in museum collections. He talks about had to claim being a New Zealander, it was so these handmade metal and shell clusters are studying a kete of Rangi Kiu in the collection at Taking another approach, McIntyre-Wilson obvious.”10 designed to be worn on dry land. Auckland Museum: “I finally drew the pattern, created an exceptional, contemporary example rather than working off the photograph… I of a pākē, from recycled electrical cabling and From 1988 through the 1990s, Bern taught Over the years, Bern has developed strong suppose it’s in that moment where I realised fine silver wire. The base of the cloak consists jewellery at Unitec and mentored a number of relationships with her students, such as that if I can draw it, I can weave it.”12 of whenu, vertical warps of multi-coloured successful jewellers, including Wilkinson. As a Wilkinson who was a student and then a electrical cabling, with aho of copper to join self-described ‘localist’, Bern collects materials colleague. Bern also acknowledges that McIntyre-Wilson uses thin strips of rolled the alternating bands of red, yellow, blue and from her immediate environment—the kitchen, her practice would not have developed the copper and fine silver to produce intricate green. For the hukahuka on the outer surface the garden and the beach—to make brooches same without teaching and that students objects including tatua, cloaks, armbands, of the cloak, the plastic insulation was stripped and rings of shells, sea glass, seeds and wood “kept pushing me along”. Similarly, Bern cites and kete. He is adept at learning patterns and off the cable to reveal the copper wire. To combined with silver and gold. For the series the Pacific jewellery collection in Auckland creating his own through experimentation make hukahuka the short metal strips are Mend (2001–ongoing), Bern collects shells that Museum as an influence on her work. As a and innovation, continuing to explore raranga folded and the attached to the pākē by whatu she ‘mends’ with domestic materials such as jewellery tutor, she would always take her practice and produce ingenious patterns and aho pātahi. He explains: buttons, brightly coloured wool and cotton. students along: “… I always made the students objects, drawing patterns as part of the process Mend demonstrates a considered reworking look at the combination of natural materials, for designing new ones. That process of stripping it, getting the of forms and materials that reference the the elegant simplicity of joining stuff together, copper out of the cable, rolling the wire domestic environment. that formal aspect definitely has been an Price of Change (2012–ongoing) is a shift of out and then reattaching it back into influence.”11 direction from McIntyre-Wilson’s previous work. the PVC… an interesting parallel of Bern then developed The Ring Project (2006) These brooches feature multiple combinations preparing harakeke, extracting the fibre as a way of reflecting further on her experience Wellington-based McIntyre-Wilson (b. 1973) of figures and text cut out from New Zealand, out of the leaf.14 and surroundings. The work consists of multiple trained as a jeweller at both Whitireia United Kingdom and Cook Islands coins. rings made from found objects. Settings are Polytechnic and Hawke’s Bay Polytechnic. He The works create narratives referring to our Originally pākē were made from gathered to work it and it constantly surprises you, … they (Handshakers) have their own common mass-produced objects such as audio leaves and fibre such as harakeke, tī kōuka you get a real feeling for it... I am the styles and ways of doing things and cassettes, television remotes, lightbulbs, and and neinei to make waterproof rain capes. maker or the creator but there is always that’s what sets them apart. … what sets ballpoint pens. The artist questions customary The retted or stripped natural fibres acted like someone else next who is going to be us apart is not following what they are designs and blurs the boundaries between spouts to channel the water away from the wearing it and energising it.15 doing—be inspired by your environment… precious and throwaway. wearer. Inspired by an early pākē passed down just find your own style.16 from his great grandfather, this piece could be While living in Dunedin aged 18, the artist’s … my work provides an opportunity to viewed as a play on the transfer of ‘currency’ mother suggested she do a bone carving Moa has recently been working with Tangata gain leverage in relation to ideas of generated by reclaiming Pākehā materials to course with Chris Charteris. The course at the Pasifika in Tonga, Samoa and Fiji. Over recent place and identity. Good artwork should make a contemporary taonga. Edward Street technical college on Saturday years, the artist has trained shell carvers and operate like a big mirror, so that the mornings developed her carving process. Later, mabe pearl growers to make quality shell viewers can see not only themselves, but Of a similar generation, Moa (b. 1971) has Moa completed a hapū and iwi course at jewellery as a way of creating a sustainable those around and behind.17 developed a strong relationship with pounamu. Te Wānanga o Raukawa, in Otaki, as well as local livelihood. This practice of engaging on As a child growing up in Te Waipounamu and learning weaving with Diane Prince and Pip an international stage, yet drilling down into His work Reserve (2013) transforms visiting greenstone factories in Hokitika, Moa Devonshire. While weaving, the artist says she what it means to be from Aotearoa and part internationally sourced and New Zealand was amazed by pounamu. The artist talks was also learning to be creative and being of Te Moana-Nui-a-Kiwa is a consistent thread nephrite, or pounamu, into pristine replicas of about her lifelong aroha for the stone and sees around some intensely artistic wāhine. Moa of not only Moa’s practice, but all the artists in the standardised ingots. Pounamu has always her journey to become a jeweller as a gradual then went on to study jewellery at Whitireia Ngā Hokohoko. been valued and traded by Māori for its use progression. Moa’s affection for pounamu Polytechnic with Peter Deckers and McIntyre- in tools and adornment. The juxtaposition comes from a physical and spiritual connection, Wilson as her tutors. Sheehan (b. 1976), the final artist included of pounamu as an ingot explores bicultural drawn to it through whakapapa, which in in the exhibition, was a student of Bern and meanings of significance and value imbued turn directly informs her practice. A desire to Moa has participated in many of the Wilkinson’s, graduating from Unitec Jewellery through materials. Reserve speaks to the works give the wearer a sense of belonging and Handshake international jeweller exchanges Design in 1996. Before study, Sheehan trained of gold in the exhibition about the cultural and connection to Aotearoa, Moa envisions that organised by Deckers. The jeweller finds the in the family stone carving business. His own monetary value of materials. owners will interact with works by holding and experience enriching, travelling to Munich to practice is an ambivalent critique of familiar contemplating, or wearing them on a cord. engage in the contemporary jewellery world, forms in pounamu. Sheehan attempts to In bringing together the work of these six but being inspired to be true and authentic to disrupt the typical hei matau, hei tiki and koru artists, Ngā Hokohoko takes us on a journey … the material pounamu is such a loaded her own practice. to present a contemporary Pākehā depiction of jewellery in Aotearoa New Zealand over material for everyone. For me a natural of pounamu. Sheehan cleverly manipulates the past forty years. The turbulent 1980s saw attraction being Ngāi Tahu… then I learnt pounamu into unexpected forms sourced from radical changes in our social and political landscape that stimulated a coming of age: distilled and emulated through Wilkinson and we wanted to signify our place here as a Preston’s presentation at Schmuck, is an aroha bicultural nation, rejecting European traditions for jewellery making and materials, shared and conventions. Jewellers such as Preston through whanaungatanga. and Bern were inspired by the history of making by Māori and Pacific artists, and many contemporary jewellers began recognising the Gina Matchitt value of local natural materials such as shell, Blumhardt Creative NZ Curatorial Intern 2019 bone and stone. Fingers gallery became an established hub for the jewellery community. As tertiary craft-design courses began in the 1980s, Preston and Bern were important jewellery tutors and mentors that taught a new a generation of jewellers. A trading of ideas, transference, whether consciously or subconsciously, ngā hokohoko was beginning between teachers and students. Tuākana and tēina relationships were developing through direct and indirect exchange. During the 1990s, New Zealand jewellers began to be shown internationally at Schmuck in Munich, while in Aotearoa, graduates such as Wilkinson, Moa and McIntyre-Wilson continued to strengthen contemporary jewellery practice and delved deeper into mātauranga Māori. During the 21st century, whanaungatanga was developing across generations via discussions, exhibitions, and collaborations, contributing to the strength of the contemporary jewellery whakapapa. The wairua of this legacy, as List of Works

Pauline Bern Gold Kete, 2018 Rongo, 2015 Joe Sheehan Carapace, 2015 24ct gold pounamu, paint, muka, toroa bone Reserve, 2013 pearl shell, silver, cord Collection of Te Papa Tongarewa, Museum of Courtesy of the artist Canadian, Russian and New Zealand jade Private collection New Zealand, purchased 2017 Collection of Te Papa Tongarewa, Museum of New Alan Preston Zealand, purchased 2013 Carapace, 2015 Tatua, 2007 Breastplate, 1987 tuatua shell, pearl shell, 22ct gold, cord copper, fine silver, waxed cord black lipped oyster shell, vau, ’afa Areta Wilkinson Private collection Collection of Te Papa Tongarewa, Museum of Collection of Te Papa Tongarewa, Museum of New Hine-Āhua and Huiarei, 2013 New Zealand, purchased 2008 Zealand. Gift of the Friends of the Museum of New 24ct Tai Poutini gold, 22ct gold, legal ribbon, muka Carapace, 2015 Zealand Te Papa Tongarewa, 1993. Courtesy of the artist oyster pearl shell, tuatua shell, sterling silver, cord Tatua, 2007 Courtesy of the artist copper, fine silver, waxed cord Breastplate, 1987 Hei Tiki, 2019 Collection of Te Papa Tongarewa, Museum of abalone shell, vau, silver oxidised sterling silver, silver Morning Star, 2014 New Zealand, purchased 2008 Collection of Te Papa Tongarewa, Museum of New Courtesy of the artist and The National Gallery, shell, mother of pearl shell, oxidised sterling silver Zealand. Gift of the Friends of the Museum of New Christchurch cable, 9ct gold, sterling silver Kete, 2010 Zealand Te Papa Tongarewa, 1993. Collection of Te Papa Tongarewa, Museum of New copper, fine silver Hei Tupa, 2013 Zealand, purchased 2014 Collection of Te Papa Tongarewa, Museum of Pāua Chain, 1994 oxidised sterling silver, polyester New Zealand, purchased 2011 pāua shell Collection of Te Papa Tongarewa, Museum of New Mend 2009–2019 Collection of The Dowse Art Museum, purchased 1994 Zealand, purchased 2015 shell, mother of pearl shell, buttons, cotton, thread, Pākē, 2009 wool copper, fine silver, PVC Breastplate and Pendant Set, 2007 Hei Tiki, 2013 Courtesy of the artist Collection of Te Papa Tongarewa, Museum of New gold lipped oyster shell, fine gold, vau silver, enamel Zealand, purchased 2011 Collection of The Dowse Art Museum, purchased 2007 Private collection The Ring Project, 2006 scoria, sandstone, mudstone, ceramic, found Neke Moa Karaka Berry Necklace, 2013 Whakapapa I, 2018 glass, industrial plastic, stainless steel, diamond, Mauri stones, 2017 karaka berries, gold, muka Waimakariri and Rakahuri river stones, tree stumps, pohutukawa wood, nylon thread pounamu, paint Collection of Te Papa Tongarewa, Museum of New kōkōwai Collection of The Dowse Art Museum, purchased 2006 Collection of The Dowse Art Museum, purchased 2017 Zealand, purchased 2014 Courtesy of the artist

Matthew McIntyre-Wilson Naumai, Welcome to Māori Land, 2012 Seed Necklace, 2019 Whakapapa II, 2018 The Price of Change, 2012 pounamu, paint, copper, cord kowhai seeds, nikau seeds, vau, 24ct gold 24ct Ōtakou gold, 24ct Te Tai Poutini gold, fine silver, metal coins, cupronickel, aluminium-bronze nickel, Courtesy of the artist Courtesy of the artist sterling silver copper plated steel Courtesy of the artist Collection of The Dowse Art Museum, purchased 2019 Glossary Notes

‘afa coconut husk fibre neinei native tree grass 1. Areta Wilkinson in conversation, 11 August 2019. 13. Susan Cummins, ‘Matthew McIntyre-Wilson: Nga aho weft pākē rain cape Mahanga: The Twins’, Art Jewelry Forum, 25 July aroha love, hope pāua abalone 2. Damian Skinner, Pocket Histories, San Francisco 2012, https://artjewelryforum.org/matthew- hapū sub tribe, tribe pounamu nephrite jade and Boston: Velvet Da Vinci, mcintyre-wilson-nga-mahanga-the-twins. harakeke flax raranga weaving The Society of Arts and Crafts, 2010, p. 7. hei matau hook pendant taonga treasure, socially and 14. Matthew McIntyre-Wilson in conversation, 2 hei tiki figure pendant culturally valuable objects 3. Finn McCahon Jones and Damian Skinner, September 2019. hīkoi walk tatua belt Fingers Jewellery for Aotearoa New Zealand, hongi to press noses in greeting Te Ao Māori the Māori world Auckland: David Bateman Publishing, 2014, p. 49. 15. Neke Moa in conversation, 1 November 2019. huia extinct native bird Te Ao Mārama the world of light hukahuka tassle of two strands tēina younger brothers, sisters, or 4. Alan Preston in conversation, 6 August 2019. 16. Ibid. iwi tribe, extended kinship group cousins Kāi Tahu/Ngāi Tahu South Island Māori tribe Te Moana-Nui-a-Kiwa the Pacific Ocean 5. Ibid. 17. Susan Cummins, ‘Joe Sheehan: The Quick and karaka native tree with large orange Te Waipounamu South Island The Dead’, Art Jewelry Forum, 12 August 2015, berries tikanga correct procedure, custom 6. Areta Wilkinson personal correspondence, 28 https://artjewelryforum.org/artists/joe-sheehan-the- kaumātua older person of status tī kōuka cabbage tree January 2020. quick-and-the-dead. kaupapa purpose tīpuna ancestor kete basket tuākana elder brothers, sisters or 7. Nigel Borell, Whakapaipai Jewellery as Pepeha kōhatu stone, rock cousins by Areta Wilkinson, Auckland: Objectspace, 2015, kōkōwai red ochre tupa scallop shell np. kōrero talk, speak tūrangawaewae place to stand koru curled shoot, vau hibiscus fibre 8. Areta Wilkinson in conversation, 11 August 2019. Māori spiral design wāhine women kupu word waiata song 9. Ibid. mahi work wairua spirit, soul, attitude, feeling manaakitanga hospitality, kindness, support whakapapa geneology 10. Pauline Bern in conversation, 4 August 2019. mana motuhake self determination whānau family group, extended family marae courtyard in front of the whanaungatanga relationships 11. Ibid. wharenui whatu aho patahi single pair twinning mātauraka knowledge whenu strand 12. Matthew McIntyre-Wilson in conversation, 2 mātauranga knowledge September 2019. muka inner flax fibre © 2020 The Dowse Art Museum Inside front cover: 45 Laings Road, Lower Hutt, Alan Preston, Pāua Chain, 1994. New Zealand | dowse.org.nz Photo: Jess O’Brien. ISBN 978-0-9951315-1-4 Inside back cover: This publication is copyright. Areta Wilkinson, Hei Tiki, 2019. Text in this publication is published Photo: Gina Matchitt. under a Creative Commons Attribution 4.0 International License, creativecommons.org.nz . Published on the occasion of This publication was made possible with the generous support of the exhibition Ngā Hokohoko The Blumhardt Foundation at The Dowse Art Museum, Lower Hutt, from 21 March to 12 July 2020