This week's Newsmaker is Rotoiti's Christina Wirihana who led a project to create 50 turapa (completed panels of tukutuku weaving) for the New Zealand wall at the refurbished United Nations headquarters in New York
Tell us about yourself.
I live in Rotoiti and inspired by my mountain Matawhaura and my lake Te Roto Kitea a Ihenga every day. I haven't move away from Rotoiti really. I am surrounded by all the elements of nature that can be contextualised in the artwork I create. My two sons and their families live in Auckland and Christchurch with my mokopuna (grandchildren), whom I visit regularly.
How long have you been a weaver for and why weaving?
I have been weaving for more than 50 years. I watched my mother, Matekino Lawless weave when I was a child and I guess it all started from there. Weaving alongside my mother for this period of time has been the best therapy for me with many more years together yet.
Weaving was a chosen pathway, a pathway decided by my Maori people. I didn't know at the time, but the more mum and I talk about it, it makes sense. We are merely the kaitiaki (guardian), to share the knowledge and teach. We have shared our knowledge and expertise with many people over the years and still do so today.
How did you get involved in the UN Turapa project?
An opportunity to signal an interest crossed my path at the end of 2010. A proposal was submitted on behalf of Jack Lawless Whanau Trust to Te Puni Kokiri, which was successful. This is my family trust, which goes beyond just mum and I being the weavers. In recent years my sisters, Ngaire, Gaylene and Pirihira have taken up weaving, and who understand the weaving relationship mum and I had formed over the years.
With overall whanau support, we knew that we could achieve this major project and particularly with the quiet support of my brother John.
Tell us about what was involved in the project?
I belong to a collective of weavers based in Rotorua, known as Te Roopu Raranga ki Rotorua and a national collective of weavers, which I currently lead as chairwoman, known as Te Roopu Raranga Whatu o Aotearoa under the auspices of Toi Maori Aotearoa.
I approached several weavers from both collectives and invited them to participate in the project. Once they confirmed their availability I was then able to work closely with each of them until each of the panels were completed.
The continuous support of Tuku Ao research team at Toihoukura Maori Visual Arts and Design School, EIT Tairawhiti, helped to confirm abstract designs that depicted unique imagery from Aotearoa New Zealand. Accessing the materials required for the overall project was not difficult. Bulk harvesting of kiekie with the support of Riki Bennett, Park Ranger, Auckland City Council and regular pingao harvesting by a couple of weavers kept the project ahead.
What did you most enjoy about managing the project?
Maintaining frequent dialogue with all the weavers was important. This process ensured that all the weavers were kept informed throughout the duration and particularly from a project co-ordinator's perspective.
What was the most challenging aspect of the project?
In 2012, Toni Sadlier of Toihoukura travelled with me to the United Nations in New York. The purpose of this visit was to meet with the UN designers to discuss and confirm the dimensions of the panels. Finalising the dimensions did take longer than intended. However, this did not delay the overall completion of the 50 panels.
What do you hope people who see the turapa at the UN will get from it?
The installation of the panels is intended to inform the world about unique features of Aotearoa New Zealand through abstract lens. What is your next project?
I will be travelling with my mother in a couple of weeks to take up a short-term artist residency at Evergreen State College, Olympia, State of Washington before we travel to Vancouver to attend the Pacific Art Alliance Symposium where I will present two research papers.
Do you think more needs to be done to promote Maori art and culture?
I will always so yes. Weaving doesn't seem to get as much coverage to that of the carvers, it excites me to think that
the weaving will be on the world stage with this project. Maori art and culture covers a broard spectrum and you would appreciate I have only referenced the position of weaving. The positioning of these panels will provide additional promotion and what better way than directly with world leaders.
What is your next project?
I will be travelling with my mother in a couple of weeks to take up a short-term artist residency at Evergreen State College, Olympia, State of Washington before we travel to Vancouver to attend the Pacific Art Alliance Symposium where I will present two research papers. While in Olympia Mum and I will collaborate with NW First Nation weavers on a mat-making project, incorporating designs of commonality. When we return home, I would like to invest more time completing my kakahu (cloak). My kakahu keeps me grounded so that I can take a break before
embarking on another challenge that's in the waiting.
Tell us three things about yourself that most people wouldn't know.
I like walking and challenging the hills behind mum's home in Rotoiti, once at the height my legs can manage, the east view overlooking Matawhaura is amazing, the very reason I enjoy it so much.
Jam making is one of my relaxing points as well. I'm the designated jam maker in our whanau making bulk supplies of crab-apple jelly, marmalade and plum jam. I have two special friends who enjoy receiving their supply as well.
I occasionally accompany my nephew Rangi Henry fishing on Lake Rotoiti, a time where no one can get in touch with me - and you are guaranteed a fish.