#kokowai

[mybeingthere]

Heidi Gustafson is an artist and ochre specialist based in the rainy, volcanic North Cascades of rural northern Washington. Her highly collaborative and intuitive projects include an ochre sanctuary with over 600 earth pigments from around Earth. Called the “woman archiving the world’s ochers” by the New York Times, and the “ochre whisperer” in American Craft, her work has been featured in several books and publications.

Heidi Gustafson is the founder of Early Futures, an artistic research site with a current focus on ochre, iron oxides, land pigments, and subtle earth activism.

The Ochre Sanctuary is also included under the Early Futures umbrella: "Ochre Sanctuary is an evolving, living place that serves to protect and care for ochre, ie. iron-based earth and pigment wisdom. It’s currently based in tiny cabin in far north Cascade foothills of Nooksack territory, Washington, USA," explains their site.

"Counsel of ochres includes hundreds of rocks and dusts, across the color spectrum, gathered and offered by citizens around the planet, including spiritual and cultural ochres such as kokowai from Aotearoa (New Zealand) and meaningful planetary ochres like GOE (Great Oxidation Event ) 2 billion+ years old goethite or wastewater vivianite from Taiwanese industrial plants.

https://naturalearthpaint.com/.../researching-for-early...

https://www.instagram.com/heidilynnheidilynn

[spirefan]

We're live with group Team Fortress 2 practice. Celebrating Earthbound's 30th Anniversary with the full 3+ hour series playlist by Kokowai Radio:

[grad604-xiangyili]

Artist 3: Ayesha Green

Ayesha Melody Green (born 1987) is a painter and artist from New Zealand. Her works are inspired by her Māori heritage and often use the kokowai pigment.

Green was born in 1987 in Christchurch, New Zealand. She is of Kāi Tahu and Ngāti Kahungunu tribal descent. She originally intended to be a filmmaker and completed a bachelor's degree in media arts at Wintec. After developing an interest in painting, she completed a masters of fine arts at the Elam School of Fine Arts in 2013, followed by a graduate diploma in museums and cultural heritage.

[miyatoriaka]

"There're so many places I want to show you" - Pokeshipping [2022|01|16-22]

I still think about such a scene (or more of them), when thinking about Ash's words he was saying to Misty in Alola, while walking in front of that beautiful sunset.

[kapatotapa]

Working with Kokowai

According to Maori Marsden, the Māori world of symbology is a mode of interpretation that helps us to understand and make sense of the physical world as well as its various esoteric layers that make up the holistic Māori world view. “The Ancient Māori seers like the later modern physicist created sets of symbols to provide them with their maps/models to portray each state in [the] evolutionary process. These representations were the means by which they could apprehend/grasp/reconcile the various worlds; and grasp what they perceived as ultimate reality.” His explanation is a useful way of explaining why using certain materials convey layered meaning beyond their physical attributes. Kokowai, red earth, contains an inherent meaning beyond its physical function as red pigment. In my work kokowai acts as a symbol that encapsulates our creation narrative. This earth and its red colour alludes to the vulva of Papatuanuku, where her sexual procreative power lies. It represents not only our earth mother but our creative bodily fluid. “Symbols are the deliberate creation of the human mind. They are an indirect reference to some other reality, a representation of it. They are the means by which the mind creates maps/models/formulae as a means of representing/grasping/interpreting/reconciling/integrating the different orders of reality” (30).

The deliberate use of this raw material therefore contains many layers. Working with kokowai I have found there a multitudes of ways this material be documented, captured or used in away that allows its essence to be conveyed.

[bestiarium]

The Patupaiarehe [Maori mythology]

Originating from Maori mythology, the Patupaiarehe are a species of enigmatic humanoid creatures. Comparable with the fey folk from British lore, these beings are similar in size to humans but have pale skin and are never seen with tattoos. They are usually described with red hair, and sometimes with yellow or blond hair.

The Patupaiarehe are well-versed in magic, having the ability to summon mist and fog both to conceal themselves and for protection, as contact with sunlight is a mortal danger to them.

These beings supposedly inhabit the deep forests and mountains of the land, where they have great cities built from a magical material that is invisible to humans. According to the Whanganui, the Patupaiarehe were giants.

There are tales of Patupaiarehe using flutes to lure people away from human settlements. If they lured men, the victims would usually be killed. When they lured women however, those would return to the village after some time, either perfectly fine or pregnant. It was believed that albino children were the result of such a union between human and Patupaiarehe. But these creatures weren’t inherently evil: they thought the Maori several things, including string games, how to make nets, magic rituals and how to make atahu (small love charms).

To protect themselves from these beings, Maori people used to smear kokowai on their houses (a product made with shark oil) which would ward off the Patupaiarehe since they hated the smell. They are also afraid of fire.

Some believe the Patupaiarehe were a group of Celts who settled in New Zealand thousands of years ago, even before the Polynesian settlers (about 3000 years before the Polynesians), and who have since gone extinct or remain uncontacted somewhere in the mountains. This theory does not have any evidence whatsoever. If you want to read more about this theory, check out my bottom source:

Sources: https://secretlifeoffairies.wordpress.com/2019/11/21/new-zealands-fairy-folk-the-legendary-patupaiarehe/ https://teara.govt.nz/en/patupaiarehe https://tmrowe.com/2016/10/12/patupaiarehe-the-fairy-folk-of-new-zealand/ http://www.celticnz.co.nz/Bes%20&%20Thor/Bes&Taranis.htm

(image 1: a postal stamp depicting one of these creatures. Image source: secretlifeoffairies.wordpress.com) (image source 2: Takatu on Deviantart)

List of creatures so far

[rvexillology]

Wave Onward: a flag for New Zealand

from /r/vexillology Top comment: In New Zealand's three official colours, a silver fern frond unfurls its koru across a dark sea and red sky ("... at night, sailors'/shepherds' delight..."). Simple enough to be drawn by a child from memory, this is my own original, uncluttered, balanced, and timeless design. The flag's traditional 2:1 proportional ratio pays tribute to New Zealand's heritage as part of British colonial history, while the design layout shares similarities with the Tino rangatiratanga, to serve as a banner of pride, respect, and unity that all New Zealanders can embrace. The flag immediately communicates the Kiwi pride in, and respect for, the beauty and importance of their natural environment, being an image of nature itself. [By itself, the black area can be seen as a wave, moving peacefully, powerfully forward](https://i.imgur.com/HY8verj.png), punctuated by shapes like paddles, canoes, and generations of ships: a symbol of historic migration to New Zealand. [By itself, the red sky is likewise punctuated by generations of trees](https://i.imgur.com/CvXRaVb.png), growing tall side by side: a symbol of New Zealand's families. The land of the long white cloud. Past, present, future. The sea and the sky. The Silver fern and the Koru. the national colours, kokowai, black, and white.

[tinyinkyshark]

Pouakai Crossing: Hiking in the Egmont National Park / Mt Taranaki

© FRASHO / franks-travelboxWith average physical fitness, the way to the summit and back can be covered within one day. This makes Mount Egmont National Park one of the few places on earth where you can combine the ascent of a two and a half thousand metre peak or a ski descent with a visit to the beach within one day. Because from the national park to the coast of New Zealand it is only 30 minutes by car. © patjo / ShutterstockWalks through the national park lead in the lower areas first through lush rainforest, whose growth is favoured by the warm coastal climate and frequent rainfall. Read more about campervan hire New Zealand here. Mount Taranaki can be seen in many places from New Plymouth. In summer and early autumn the summit is often free of snow. Unlike its big Japanese brother, the "Fujijama of New Zealand" is not covered with snow all year round. Save my name, my e-mail address and my website for the next comment in this browser. Google Earth is unfortunately not supported by your browser. From Holly Hut the path leads back to the turnoff. A wooden walkway leads through a beautiful swamp area and crosses the Stony River before the trail climbs up again. The swampland turns into a fairytale mountain cypress forest. We meet this own high demand on our products with a well-rehearsed team of first-class trained natural scientists and IT experts. The fluctuation in temperature is highlighted in colour. A stronger fluctuation indicates more uncertainty in the weather forecast. The thick line shows the most likely course.

Directly behind the Visitor Centre there is a viewing platform that offers really spectacular views around the Egmont National Park.

to get from Taupo to Egmont National Park, including transfers.

>Please enter a destination and start your search.>>He just looks damn impressive.>>

Rawnsley Park - Bunyeroo & Brachina Gorges - A 4WD Flinders Ranges Time Travel!

Rome2rio is a search engine for travel information and door-to-door bookings that helps you get anywhere from anywhere in the world. Two fun-loving globetrotters who are constantly on the move to discover new things, meet inspiring people and experience great places and moments. Driven by an irrepressible curiosity, thirst for adventure and longing, you will find us in the mountains and a bit everywhere in the world. After the turnoff to the Kokowai Track, which you ignore, the path leads downhill to another turnoff. To the right the path continues on the Ahukawakawa Track, to the left it takes a few minutes to Holly Hut. When Taranaki returned, a gigantic battle between the two volcanoes broke out, from which Tongariro emerged as the victor. Defeated and humiliated, Taranaki set off for the west. On his way to the coast, he left a large furrow that filled with his tears. ount Taranaki and its surroundings were our favorite region on the North Island.

[joytotheearth]

more colors!

we wanted to find more colors, specifically the new zealand red clay known as kokowai.

however, a quick web search revealed only areas in NZ that were too far to travel to during lockdown. but i started noticing the various colors of exposed clay during our errand runs to albany. so one day we just drove down the road, not too far from hamish’s parents house at all, and would illegally park on the side of the road whenever we saw a patch of colorful earth.

from this site we harvested two samples: a rust red, and a more pinkish clay that looked like it had some white pigment mixed into it.

PROCESS

we mixed the samples with warm water and poured it through cheesecloth into jars. we waited 1-2 days for the sediment/clay/pigment to settle and siphoned the water off.

poured the samples onto plastic trays in a thin layer. after a couple days, the clay dried and characteristic crackles appeared. it was also neat to see the colors of the cheesecloth that we’d used for the initial filter — gave us the idea to try dyeing with our clays.

as watercolor, the colors were striking. the pinkish sample was a bit chalky and more difficult to blend, and neither were of the same consistency as Sample 2 from the creek. this "filtering" process was more labor intensive than what we did for Sample 2, so i wonder if there was something about the naturally filtered clay we found down by the creek that was worth learning more about.

all in all it was a good reminder that sometimes one doesn’t have to travel far from home to find what one seeks.

[joytotheplants]

more colors!

we wanted to find more colors, specifically the new zealand red clay known as kokowai.

however, a web search only revealed areas in NZ that were too far to travel to during lockdown. but i started noticing the various colors of exposed clay during our errand runs to albany. so one day we just drove down the road, not too far from hamish’s parents house at all, and would illegally park on the side of the road whenever we saw a patch of colorful earth.

from this site we harvested two samples: a rust red, and a more pinkish clay that looked like it had some white pigment mixed into it.

PROCESS

we mixed the samples with warm water and poured it through cheesecloth into jars. we waited 1-2 days for the sediment/clay/pigment to settle and siphoned the water off.

poured the samples onto plastic trays in a thin layer. after a couple days, the clay dried and characteristic crackles appeared. it was also neat to see the colors of the cheesecloth that we’d used for the initial filter — gave us the idea to try dyeing with our clays.

as watercolor, the colors were striking. the pinkish sample was a bit chalky and more difficult to blend, and neither were of the same consistency as Sample 2 from the creek. this "filtering" process was more labor intensive than what we did for Sample 2, so i wonder if there was something about the naturally filtered clay we found down by the creek that was worth learning more about.

all in all it was a good reminder that sometimes one doesn’t have to travel far from home to find what one seeks.

[art-now-germany]

AOTEAROA (New Zealand), Ekkeland Goetze

49 Terragraphics on B.F.K.Rives 39 x 39 cm each AOTEAROA - The Land of the Long Abiding Light This portfolio contains all 49 Terragraphics of the Ekkeland Götze Aotearoa Project. These were printed by the artist in a makeshift printing shop which he set up in the Bay of Islands. At the end of the project the workshop was then dissolved. The portfolio contains the three work sections TE ARA POUNAMU, KOKOWAI and RUAUMOKO, their accompanying texts, soil samples lists along with single pages. The Terragraphics were printed in a edition of 5, size 39 x 39 cm. In case form there are 3 copies available. Number 1/5 was presented to the Maori tribe on the land from which the earth samples were taken, number 5/5 is reserved for exhibitions. Numbers 1/5 and 3/5 are printed on Whatman 270 g, 2/5 on Japanese paper and 4/5 and 5/5 on Rives 300 g. All the Terragraphics are signed with an imprint and have a registered number on the back.

https://www.saatchiart.com/art/Printmaking-AOTEAROA-New-Zealand/21464/842321/view

[fransemester2]

WEEK 8 LECTURE

Sarah Hudson: Ngāti Awa, Ngāi Tūhoe

- Massey Graduate 10 years ago

- Living her best art life ✌🏻

- Someone said to her if you want to make it in the art world you do the same thing over and over again until you get noticed. However, she did not do that, she made heaps of different things

- Other Identities: Portrayals from the Past and What Remains in the Present

- Writing proposals and applying for funiding is a big part of being an artist. There is a big admin side that comes with being an artist

- Considered herself a really average student and it was only at the end of fourth year until she realised what she was interested in: her Cultural Identity

- After art school continued making art, worked at wellington city gallergy at the front desk for a while, was in Wellignton for 10 years then moved back to Whakatane where she is from

- Discusses ideas of survallance and identity in her work

- Another part of her practice in Mataaho Collective (est. 2012)

- Maori have always been artists; Kauae_rano  Kokowai (red ochre pigment) 

- Mataaho Collective have been nominated for the Walters prize next year which is a big deal

I really enjoyed this lecture because I felt like Sarah covered a lot of questions I know a lot of us are having, especially in fourth year and feeling a bit stuck on what to do next. I personally related to the way Sarah felt like she was a pretty average student at art school and it wasn’t until the end where she figured out what she was interested in. I feel like I’ve pretty much always known that I was interested in portraiture and I’ve struggled trying to fit my passion for it into the very contemporary curriculum in Fine Arts at Massey. However, I’ve really persevered over the last 3 years to make it work and finally feel like I’m finding a way to make a place for portraiture in the contemporary art world we live in.

[artbyelana]

Sarah Hudson - Artist Lecture W8

I really really enjoyed Sarah’s talk. I also pleasantly surprised to hear that she is from my home town and currently lives there too. I thought it was super cool that I knew a lot of the places she was talking about, It has definitely encouraged me to get more involved in the art scene back home. 

Below are some notes from her talk:

BFA + MFA Massey Graduate. 

In several collectives that have gone international. 

Self determination and agency. 

Appreciates the emphasis on conceptual grounding that Uni gave her.

CNZ grants and part time jobs to support herself. 

Express important things to audience & Maoritanga

Whakatane and Opotiki (First drone friendly town). 

Drones = need permissions from everyone in the shot - sketchy 

Workshops in surveillance and identity - agency in image - what having your image taken means - historically and modern. 

Mataaho Collective - together for 8 years, Maori customary textile techniques. 

Instagram = documentation of practice, drawing out conceptual threads. 

Meet every 4-6 weeks to work face to face collectively. 

2017 - work picked up internationally - large scale 

Heavily supported by Creative NZ.

Works are made from mostly accessible items - tarps etc

Split money 5 ways, each get something and then 5th in put back into the collective. 

Go into pottery - making for the sake of making - didn’t have to put in lots of conceptualism. 

Proposing shows and working with curators. 

Puna - Whakatane

What materials did my ancestors have at their fingertips?

Kokowai = red ochre

Maori adorning themselves with colour. 

Ochre = personal adornment

Makes paint from earth pigment

Clay or Kauri Gum + honey + water. 

[kapatotapa]

Te Wheiao

I've been dreaming of this moment for five years. • I've been dream of painting on a large piece of kapa since I first started learning. • I've been dreaming of my own exhibition with a series of kapa pieces I've beaten and marked. • Good things take time and commitment to seek out that knowledge and find your teachers. Here it is. Te Wheiao. All pieces have sold/gifted except Te Wheiao II - proceeds went towards my upcoming sail on Haunui from Norfolk back to Aotearoa. 

Works List (all prices are USD)

Te Wheaio I, 2017 Kapa /Aute/Paper Mulberry, Alae/Earth from Kauaʻi, Kokowai/Burnt Earth from New Zealand, $900

Kokowai, 2018. Digital Video, Kapa/Aute/Paper Mulberry NFS

ARORANGI (FOCUS ON THE SKY for finding diretction), 2018. Kapa /Aute/Paper Mulberry, Alae/Earth from Kauai, Kokowai/Burnt Earth from New Zealand, $1,200 Kapa beaten by Verna Takashima and painted by Nikau Hindin

Taparau , 2017. Kapa /Aute/Paper Mulberry, Alae/red Earth from Kauaʻi, Kokowai pango/Burnt Earth from New Zealand, $1,200

Ke Kā O Makaliʻi (The Bailer of  Matariki (Pleidies)), 2018. Kapa /Aute/Paper Mulberry, Alae/Earth from Kauai, Kokowai/Burnt Earth from New Zealand,                $900

Te Wheaio II, 2018. Kapa /Aute/Paper Mulberry, Alae/Earth from Kauai, Kokowai/Burnt Earth from New Zealand, $3,200

[pheye]

TPS Kaiako 2019 from Pheye Creative on Vimeo.

Promo video for Takaka Primary School drive to encourage a Kaiako to come and support bilingual hub in Mohua Golden Bay.

Please email principal@takakaprimary.school.nz with enquiries.

Video Produced by Pheye Creative - Jay Horton pheye.co.nz

With Excerpts from The Spirit of Golden Bay project video 2013

vimeo.com/82251904

Kia Ora for the guidance and support from:

Manawhenua ki Mohua

Karanga - Mairangi Reiher

Karakia - John Ward-Holmes

Toi mahi & Waahanga tohutohu Robin Slow (advisory role) kokowai-artist.co.nz/

Taonga Puoro - Dr Richard Nunns richardnunns.net.nz

[allanjfoto]

Ringakaha from Raysan kubaisi on Vimeo.

Te Warihi Kokowai Hetaraka shares the history of ringakaha. This video is protected by copyright owned by the Department of Conservation and Te Ruapekapeka Trust 10 January 2014. All rights reserved.