TIMATA ANO; BEGIN AGAIN
To elevate the originality, quality and finish of my carving of personal adornment work to a consistently high standard in order to emulate and reflect levels of excellence and beauty I admire in the work of our ancestors. Ibelieve that within our modern world we have begun to lose touch with, and respect for the natural world around us. The ancient peoples were intrinsicaly tied to the envioronments they lived within, and therefore had a deep respect and admiration for the natural forms they observed. I have found that the more we return to this way of observing, admiring, and respecting the natural world around us, the more peaceful and contented we are as human beings.
Timata Ano is to begin again, sometimes in order to progress forward, we are best served by looking back and gathering together the best of what was, to carry with us on our journey.
To produce a body of personal adornment and sculptural works for exhibition. Comprising approximatly 30 pieces from materials including bone, wood,stone, glass, cast metals, and urethane resins, utilizing processes and techniques including hand carving, machining, molding, casting and 3D printing.
I propose that the body of 30 works would be split into 3 sections.
1; 10x Bone, horn, or antler pieces, comprising eight
adornment works and two larger scale sculptural works
2; 10x Wood pieces comprising eight adornment works and two
larger scale sculptural works
3; 10x alternative material, or multiple material works comprising
eight adornment works and two larger scale sculptural works.
Effectively this would produce 24 adornment pieces from 3 different ranges of materials and 6 larger scale sculptural works from the same ranges.
To develop a body of personal adornment, producing pieces that bring multiple types of materials together in singular works that reflect the multi-faceted flavor of modern Aotearoa.
Utilizing the shapes, motifs and forms used by indigenous peoples in a new and modern way, whilst being deeply respectful of their history, uses, and meanings, weather they be spiritual or temporal.
To constantly evolve and grow my practice by working with materials and processes that I have not tried working with previously.
To broaden my own theoretical understanding of traditional Maori
methodologies as well as those of my own Gaelic Tipuna, including the hand manufacture of tools,and processes that have long since given way to modern technology for example the use of casting techniques by the ancient Celts, or the natural lashing materials and principles used by the pacific island peoples.
To achieve the above without moving away from the Wairua based Kaupapa that has driven the development of my work in the first place. .I believe very strongly that as a developing artist and craftsperson I need to surround myself with artists and craftspeople whose work I aspire to in order to learn and grow, perfect symmetry in a learning context occurs when I then pass that knowledge on to those who will come after me.
These points are a touchstone of my practice currently and will become even more so as I aim to push my work to consistently higher levels.
My primary aim is to produce beautifully executed, highly individual Taonga that people love, admire, and wear with pride.
Nga Mihi Nui