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

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Massey University
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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.
Artists, Maori, New Zealand, Art and history, Time and art, Installations (Art), Art, Modern, 21st century, Hunga mahi toi, Tukanga toi, Whakaaturanga toi ataata, Iti, Ana, Rapira-Davies, Shona, Te Waimapihi, Māori Masters Thesis