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    Only fools, said the sparse ribbed rock, are ever lonely : multiplicity of voice and materiality in a contemporary art practice : an exegesis presented in partial fulfilment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington, New Zealand
    (Massey University, 2018) Iti, Ana
    This exegesis explores the trajectory of my artistic practice between 2017-2018. It begins with a primer discussing my previous work in relation to notions of 'history’ and ‘truth’, in order to unpack and interrogate these contexts further. From this foundation, I discuss how my current work engages with histories and texts, in order to open up more subjective experiences and feeling—exploring what form ‘a multiplicity of voice’ might take in a contemporary art practice. Beginning with the text and audio-based works Cast measurement aside 2018 and Does the brick recall Pukeahu 2017, Chapter one explores time and the resonance of material within my recent work. It considers the role of audio and text-based works within a sculptural practice. In chapter two, I locate my artistic practice within a local contemporary conversation about decolonial and indigenous art practices. I discuss this in relation to my online work Time is now measured in damage, 2018, which takes a family taonga as a starting point to weave together different narratives and kinds of knowledge. Chapter three focuses on the development and context of my large-scale sculptural work Only fools are lonely, 2018. This includes an in-depth engagement with Shona Rapira-Davies’ public sculpture Te Waimapihi or what is commonly known as Te Aro Park, 1988-1993. This discussion opens up an expansive field of enquiry within my practice, suggesting further areas of development and exploration.
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    No limit : imagining the boundaries of autonomy in a post-Fordist colonial settler state : thesis submission for a Master of Fine Arts (Fine Arts), Massey University, Wellington, New Zealand
    (Massey University, 2018) Aoake, Hana Pera
    This exegesis will address the context of being a young, Māori artist living in a Post-Fordist colonial settler state. It will centre what these conditions what labour and the production of art looks like in Aotearoa, by analysing the ways in which our labour now fails to distinguish between ‘work’ and ‘occupation’. It will look at the way in which autonomy has been stripped through the tokenisation of a certain kind of indigenous practice that forces Māori artists into both performing indigeneity for Pākehā, as well as existing within individualistic imperial narrative that is toxic, colonising and alienating. I will discuss how this attempts to diminish the collaborative and intuitive approach to making art that is inherent within a larger history of contemporary Māori art by referring to senior wahine toa artists such as Shona Rapira-Davies. This research is explicitly centered around how the building of healthy, meaningful, ongoing working relationships with people I love has helped me redefine who my practice is for in spaces outside of the white cube. It will blend ideas garnered from both Western and indigenous frameworks, citing writing from theorists and artists including Hito Steyerl, Martha Rosler, Paolo Virno, Faith Wilson, Jenny Holzer and Natasha Matila-Smith (Ngāti Kahungunu, Ngāti Hine). It is hoped that in writing this exegesis I can articulate some adequate solutions to the current model for the production of art, which I believe is unsustainable and centered around ties to very colonial ideas of ‘community’ and of collaboration, particularly with the sharing of ideas and space.
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    He Wāhine, He Tapu = The Sanctity of Women : an exhibition report presented in partial fulfilment of the requirements for the degree of Masters in Māori Visual Arts at Massey University, Palmerston North, New Zealand
    (Massey University, 2017) Wilson, Janelle
    This report contextualises the exhibition, He Wāhine, He Tapu. My research into puhi (chief’s daughter) and mana wāhine (women of status), along with the methodology and practice which produced this exhibition is discussed. The literature review covers the status of Puhi and other female leaders in traditional Māori society, in particular, the sacredness of the whare tangata (house of humankind, or womb), linking wāhine (Māori women) to the atua wāhine (goddesses) of Māori creation stories. This body of work explores notions of tapu (sacred or restricted) and noa (normal or free from restriction), identity, the complementary nature of the sexes in traditional society and the impact of colonisation. The underpinning questions are; who is the puhi? What role did she play? What makes her special? And where is she today? The review of artists examines the history of portraiture and early photography, particularly that of Māori, as well as links to contemporary artists working in this genre. I have used Manawa Kāi Tahu, a cultural, social, environmental and economical framework as a tool for the analytical component, grounding this practice in Māori philosophy, values and tikanga (protocol), and locating this work as culturally relevant within Te Ao Māori (the Māori world view). The six values are – Tohutanga (capability and development), Rangatiratanga (self-determination and upholding the integrity of others), Kaitiakitanga (stewardship and enhancing resources), Manaakitanga (hospitality, health and safety and wellbeing of self and others), and Whanaungatanga (kinship and communication). The exhibition is also positioned within He Tātaitanga Kaupapa āhua toi; a Māori art continuum (Jahnke 2006), using the classes of customary, non- customary and trans-customary art. How this body of work aligns with the categories of noncustomary and trans-customary is also discussed.
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    If you sing me a lullaby I will sing you a song about war : exhibition report presented in partial fulfillment for the degree of Master of Maori Visual Art 2013
    (Massey University, 2016) Cocker, Catherine
    I grew up in a crack between cultures that broadened briefly with the acceptance of mixed marriages only to shrink back into a more elaborate and toxic packaging ready for the free market. No apologies, no paradoxes, just blatant contradictions, and perfect copies, a world of simulated realties and parasitic realty’s, just like England’s Dickensian1 past, we wallow in squalor, conflicted, for what exactly are we buying into when we are buying, and who do we become? This exhibition report explores the thinking behind my Masters exhibition “if you sing me a lullaby I will sing you a song about war.” It is specifically about the English colonisation of the Highlands and the Pacific and relates directly to my own family story. It highlights the disconnecting effects of colonisation on the psyche of the individual and the wider ethnic groups.