M O T H in collaboration with Karl Chitham
Ahsin Ahsin + Gaye Jurisich
performative works by
Richard Selinkoff + Martin Fisher = The New Millennium Beatniks & Friends
opening karakia by Afioga Mr Si'u Ieremia
About the Artists
Teuila Fatupaito (New Zealand born Samoan)
Portrait of Leafa
Teuila Fatupaito graduated in 2005 with Bachelor of Media Arts from Wintec School of Media Arts majoring in photography. Her art practice however has never really been solely in photography.
Fatupaito moves freely into any media. These include silversmithing jewellery, abstract and figurative painting and sculpture as well as being an incredibly talented boxer.
All Fatupaito’s work bears is a quiet Pacific underpinning that is not immediately evident. Portraits of loved ones, and black resin abstract sculptural works, are all created with her hands and therefore their intent is based on a true memory or notions which based on her lived experience. Fatupaito enjoys challenging expectations of what it is to be a pacific person who is an artist.
Teuila was included in the largest survey exhibition of young and emergent Pasifika artists, The Cold Islanders, at Waikato Museum in 2017.
M O T H (Aotearoa) in association with Karl Chitham
From the Installation ‘Polite Society’
Cardboard, acrylic, 2015
The Museum of True History has a vast array of collections for your enjoyment. They cover all of the prescriptive relationships of artificia and naturalia associated with the private collections and Wunderkammen of the fourteenth and fifteenth centuries, however MOTH also endeavours to step outside of these often-limiting parameters to present the stuff of everyday life.
The work of MOTH is administered by Karl Chitham, a Director of a public art gallery, independent curator and multi-media artist of note.
MOTH locates true tales, untold art histories and of obscure architects, artists, applied artists and crafters that sit in the diaries and memories of everyday New Zealanders.
In finding these stories involving innovation, imagination and technological experimentation, MOTH commissions Chitham to investigate and to construct related historical miniature structures from corrugated cardboard and hot glue.
Each of these structures are generally constructed from memory or purely from the imagination and the outcomes often (not always) resemble buildings, rooms and spaces familiar to most. MOTH’s structures are related to the practice of the fourteeth and fifteenth centuries of ‘Kunstkabinet’ or Wunderkammer – curiosity cabinets that contained an array of artificialia (made by human hands) and naturalia (from nature). With Chitham’s assistance however, MOTH’s structures extend this notion to an antipodean phenomenon based upon true and obscure local art histories of the everyday person.
Stuart Bridson (Ngaati Paakeha)
Olga’s kitset art viewing station
In the short colonial history of Aotearoa that connects to the longer indigenous Maaori history, the presence of colonial architectural structures and furniture has become the norm in modern – contemporary society. The very beginnings of many such structures came to Aotearoa on board ships destined for the new colonies to broaden the grasp of the British Empire. Entire homes came as kit sets to enable the compact freighting of these foreign abodes. The kit set in every sense is one of the interesting and undeniably useful colonial imported methods of shipping ready-to-assemble objects that we use today. Stuart Bridson’s works are an extension of this practice. Bridson utilises recycled and found objects and transmogrifies into semi-utility kit sets that double as art objects. Each of his objects possesses its own charming do-it-yourself aesthetic.
Bridson has been focusing solely on this concept of the kit set for the last five or so years. In a bid to make use of found and discarded objects, he assembles apparently unrelated objects and therein creates new relationships between each of them as they participate in his works. They act as partial ecological use of waste as well as adding to the art historical narratives of introduced art to Maaori lands. While Bridson is not an apologist, his awareness of humanity’s waste and abuse of Papatuanuku – Mother Earth cannot continue. Each of Bridson’s works are sturdy and built to last and to provide the viewer with visual prompts, familiar objects are like guests on ‘Stars in Your Eyes’ they take on the role of superstar and we see them in a new light. Their previous purposes are moot as they take on roles in one of Bridson’s kit set sculptural works.
This site-specific work, Olga’s kit set art viewing station responds directly to this site, OLGA as site of domesticity, where familiarity and homeliness are implied.
Ahsin Ahsin aka Ushy (New Zealand -born Cook Islander) + Gaye Jurisich (New Zealander)
Where's Wally and His Dog,
Mixed media on board, 2018
hsin Ahsin was born and raised in the Waikato and has been making art for many years both in a gallery setting and as public art.
The work of Ahsin Ahsin spans three decades of memory and media references that have informed his sense of aesthetics. Each signifier or subject comes from his intellectual archive and his relationship to each in certain points in his life. Skater culture has become part of his culture as a 21st century diasporic Pacific persona. Ahsin is a dedicated skateboarder who has an intricate knowledge of the streets of his city of Kirikiriroa Hamilton. He knows where all the public art is on the city’s spare walls, trains, underbellies of bridges and public structures. These visual signs have been part of his art history education, not only that which was taught in the conventional sense at art school. Ahsin has a quiet personality, but the colours he uses are unequivocally loud. His works are outspoken in the sense that they are informed by the kind of colour palette of illegal street art.
Ahsin has been invited to participate in the Boon Street Art Festival in 2017 and is participating again this year. He regularly exhibits with friends such as Te Marunui Hotene at Taneatua Gallery, whose director is artist and activist Tame Iti, and in Tauranga at Zeus Gallery (Director is Elliot Mason). His recent ventures have been collaborations with installation artist, Gaye Jurisich.
Gaye Jurisich is a Hamilton based artist with many years of experience and an impressive exhibition history. Her work includes painting and sculpture in a variety of media.
“It has become more and more obvious to me that my works are a dialogue that involves the reality of space and time, visual associations and ambiguity.
My work reveals elements of the journey, the familiar becoming unfamiliar, and the known becoming unknown. Elements of trust, human mortality and feminist ideology are exploration points.
It is important that my work challenges ideals, initiates thought and provokes discussion about connectedness, to our past and future.
There is a sense of motion, redefining the adventure of life’s journey when
walking along a large work or when coming upon it as a series of encounters in time.
It isn’t about making beautiful things, it’s more than that, a deeper purpose, although I can’t always pinpoint or describe it as eloquently as I would like.
Embedding the work in the landscape, integrating the specificity of surroundings, and corresponding to and emphasising direction are important aspects.
Yonel Watene (Ngaati Maru, Greek)
Yonel Watene is not only an artist, but a former gallerist. He ran an independent artist-run gallery in Dunedin called Savoie de Lacy Ravensbourne.
Watene has a very broad lexicon of visual signs from which he picks from to use in his complex autobiographical works.
8 Mile is a work that is constantly being assembled as a work. both physically as an installation that comprises several seemingly disparate pieces of found objects. Each and every object belonging to this work is conceptually tethered to a memory. Each of these memories is related to the place where he found them.
The green ceramic thing was given to him in Wellington by an enemy. The light switch was from his old gallery in Dunedin. The brick was from Aramoana. One skull was from Mexico city and the other was from Ohxaca. The top performer trophy he received as an employee in Auckland. The hook was found in Waititi.
The painted wooden beams where found in Dunedin. The tiny green painted canvas aka grass was from Mexico City. The sign was found in Hamilton, the tree from Dunedin. The self-portrait as a plank of wood was from his studio in Dunedin and lastly the green tape was from Los Angeles.
The work is entitled 8 Mile in reference to Detroit. Yonel has never been to 8 Mile, nor has he ever been to Detroit. Detroit will remain apart of his artistic language because it is a direct reminder of his late father. He was reading a National Geographic article about Detroit city when he heard the news of his father’s passing.
The New Millenium Beatniks
Richard Selinkoff (from everywhere) +
Martin Fisher (from somewhere)
15 Minutes of Beatnik Glory
About Richard Selinkoff (poem written on the occasion of and for Mafutaga #1 and performed during the event.
Martin Fisher is a rare gifted musician who has the ability to play almost any stringed instrument. He has been a long-time musical celebrity in the local alternative folk music scene in Kirikiriroa Hamilton.
Martin regularly collaborates with other musicians around Aotearoa.
Nikolaus Krause (NZ Born Samoan – Tokoroa/Vaimoso/Siumu)
Nikolaus Krause is news media journalist who has was born in Tokoroa and educated around the globe. Nik has written poetry and journalistic stories since the 1980s. A selection of his poems were published in the Brookfield Press poetry anthologies (1984 and 1985) ‘Poems for Our Time’.
His writing is layered with personal references to aiga (family), relationships, beginnings and endings. His a-typical Samoan parents, Sale (Charles) and Etevise Krause were a rich blend of fa’a Samoan traditionalists, Catholic, artists, labourers, intellects and orators. Nik’s non-conformity became evident whilst at high school; while he did have an interest in rugby and drinking culture, he was also very serious about the art of wordsmithing. His leaning towards punk rock, new wave and alternative music influenced his seven siblings, as did his love of writing.
In those years, Nik was a member of the YSP (Young Socialist Party) who would disperse free socialist newspapers. His interest in the Zapatista and Che Guevara was informed by the strongly unionist/ socialist background of his parents. As members Pasifika branch of the Labour party in the greater Waikato, there was much waxing philosophical in the day-to-day bi-lingual conversations.
Today, Nik’s life is much less radical and he can be found tramping and cycling amidst the flora and fauna abundant in the New Zealand landscape.
Nik has worked for numerous media agencies in Jersey, UK, Whangarei, Sydney, South Waikato and Auckland.
Selected works on the harpsichord
Organist and early music specialist, Ephraim Wilson studied piano under Sister Colleen Morey at the Cathedral of the Blessed Virgin Mary, Hamilton. He won a scholarship to study under the prestigious international organist, Douglas Mews Jr in Wellington.
Ephraim has been playing professionally for the last four years during his years in Wellington for various churches and the Bach Choir. He was invited to play with the New Zealand Symphony Orchestra (NZYO) in 2014, and has participated in numerous organ recitals in Wellington and Hamilton.
Fa’afetai le Atua.
Fa’afetai tele to Craig Wilson who created and titled the new space The Lupus Recovery Zone. Your garden and building is inspired.
Yonel, Teuila, Gavin, Georgia-Ray, Gaye, Ushy, Stu, Richard, Martin, Ephraim, Nik, Mark and Nita, Kazza, V, Walt, Cotch, Fa’i and Vise.
Also shout outs to Aunty Ana and Nana Christine. + +
And most of all thanks to you for coming along.
Leafa / Olga