All about our whakapapa
What is a portrait? It seems easy to define – a painting, photograph or image of a single subject from the shoulders up. But a good portrait, one that stains the mind with its subject’s presence, needs to do so much more than depict a person’s neck and face. It needs to capture a bated breath in the beholder’s chest, inviting a question to the tip of the mind – a question so desperate for an answer that it requires a portrait to elaborate.
The Kiingi Tuuheitia Portraiture Awards is having its second successful showcase, under the auspices of the New Zealand Portrait Gallery. The exhibition is an opportunity for emerging Māori artists across the country to depict their whakapapa through a portrait of their tuupuna, their ancestor.
With almost 100 entrants, there were an incredible 44 finalists included in the showcase. However, the definition of a portrait is magnificently challenged by the submissions this year. The supreme winner, Stevei Haukamau, is an outstanding example – putting the art form of Uku (pottery) front and centre with ‘Kia Whakatōmuri te haere whakamua’.
So, too, does the runner-up – Ming Ranginui’s ‘Swept Under the Rug’. Both pieces defy the definition of a portrait, challenging the shape and form of the tradition to bring us to the truth of our viewing – the stories hidden behind the subject’s life.
To the credit of every artist who submits, and indeed the creators of the showcase, the exploration of this boundary is very ... Māori. We have never confined ourselves to twodimensional storytelling. It’s amazing to see this quality of ngā toi Māori (Māori arts) on display as a national platform.
Of the finalists there are a number of standouts who weren’t awarded commendations. I don’t envy the esteemed judges. Especially when the task includes such delicate topics – the depiction of whakapapa is arguably the most tapu of subjects. What’s more integral to being Māori than whakapapa?
The works of Rik Wilson, Mohi Toko, Lisa Awatere and Ani Ligaliga are particularly striking – each reflecting something so sincere, so touching that the beholder is privileged by not only the skill of their painted, sketched and photographed art forms but the gentle gaze of the tuupuna (ancestors) depicted by each.
A few notable mentions that I can’t leave. Bodie Friend, Emily Calvert and Jodie Tupara each utilised their submissions to depict more than one tupuna, giving multiple ancestors room upon the auspicious walls of the gallery.
There are also those who pushed the boundary beyond the visual. Many writers have been encouraged to submit their works to the awards, however there is some hesitancy to handing our kupu (words) over to visual artists.
Two brave enough to undertake this endeavour are Jessie Witeri and Trinity Thompson-Browne. A spoken word artist and visual poet (respectively), the pair have challenged the criteria of the works to include our often invisible written art forms.
Thompson-Browne has also taken the bold step of including a tupuna for whom they continue to search – a respite of comfort for many of us who have grown up disconnected from much of our whakapapa.
There are a number of these boundary pushers – including Hikurangi Edwards, Makareta TatariIsaacs and Karaitiana Acroyd. Each has created a piece that pushes the boundaries of how our tupuna are not only depicted, but celebrated in their remembrance, through the challenging foray into new and exciting art forms.
The presence of new medium and traditional art forms have long gone hand in hand – however, this event is one of the few places where they are each invited to share space. I t’s endlessly enticing to think of how the exhibition might evolve from here. There are so many potential avenues for an endeavour so newly established.
One might hope to see the criteria expand to include a ‘newly established artist’ section, giving room for artists who straddle the emerging category without having to question the criteria set out. This might also encourage even newer artists to participate, knowing the costs incurred in producing the works often means that years of skills and tools are invested
It’s endlessly enticing to think of how the exhibition might evolve from here. There are so many potential avenues for an endeavour so newly established.
alongside undoubted talent.
I can’t wait to see what art forms are submitted in future – what the organisers will do with the world watching the first indigenous portraiture award.
And what opportunities arise from the evolution of such an amazing chance to celebrate us.
Because ultimately, this is a celebration of us – it’s all about our whakapapa.