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Exhibition

Kapua

Kapua was a video and animated work developed while studying at MIT, Auckland in 2007. The work edited together a selection of videos derived mostly from a Whānau reunion in 1991. Placing these alongside 3D animations.

"Inside the Whare Iri-Te-Kura there’s a perspex box on a central pou that contains a New Zealand Film and Television award that was given to the film “Ngāti” in 1988. It’s an odd coalescence when the virtual is returned to the real in order to acknowledge the role it played in its conception. Filming for “Ngāti” took place in and around Waipiro Bay using significant sites from the area as its base. The films narrative developed to offer a way of tying together the discourse of urban drift and its pressures on communities. I get a sense that the intent was to develop a somewhat idealized space, a purely virtual space at that, which would operate to anchor Maori. By talking of a time when Maori were in the process of contending with the implications of moving away from rural lifestyles and subsistence economies that existed on the peripheries of nation to become more central within the functionality of a capitalist economy."
Kapua

Self-Portrait @ East 2018

Self-portrait, 2018 Digital print.

This confronting self-portrait by artist Rangituhia Hollis is a new work created for EAST 2018 that alludes to how life challenges such as economic precariousness can render us physically and emotionally distressed. Hollis’s work also connects to a larger conversation of creative struggle by drawing on the emotive qualities of artists throughout history, such as the dramatic lighting and high contrasting colours reminiscent of paintings by Michelangelo Merisi do Caravaggio, and the physical and psychological despair depicted in many works by artists such os Francisco Goya or Francis Bacon. The brutal yet surgical incisions could be further likened to the site-specific work of sculptor Gordon Motto-Clark who was known for cutting buildings in half Referencing art history through contemporary media the work also draws into question the technical shift in creative practice from analogue methods to the computer aided tools used by Hollis.

My Father doesn’t ever want to see this work again. It wasn’t until I showed it to him that I realised the wider scope of the work. When I made it, I guess I made it in a bubble. I didn’t think about how it might be perceived by anyone else, rather I made it absorbed inside the frame. I didn’t think further than that.
Self-Portrait @ East 2018