This mural reveals Clark’s active engagement with Pacific forms and his keen sense of the contemporary moderne architectural moment. My paintings are a synthesis of the bi-cultural situation that we have here in New Zealand.”. I want to re-ignite something inside the viewer that they may have forgotten existed; the ‘Pacific Island way’ of creating the world.” —Ani O’Neill In the 1840s Sydney was a vital centre for Pacific shipping and trade, including New Zealand-based whaling ventures, many Sydney-owned and with Māori in their international crews. Clan Cameron, Takatahara was a noted defender of Ngāi Tahu during the Ngāti Toa chief Te Rauparaha’s South Island raids; he is also one of photographer Fiona Pardington’s own relatives. de Sainson later recalled: “What I was doing caused a lot of laughter; every minute they tried to escape me.” A French whaling captain, Jean Langlois, purchased 30,000 acres from Kāi Tahu on Horomaka / Banks Peninsula in 1838 and returned to France to get government support to establish a French colony at Akaroa. But while the rock is steadfast, the octopus Te Wheke is a shape-shifter, canny and malleable. By highlighting the broken promises and enforced land sales that left his people effectively landless, Piuraki Tikao became a well-known ‘irritant’ to later colonial governments. An immersive exhibition that explores art through our connections with the Pacific will be unveiled at Christchurch Art Gallery Te Puna o Waiwhetū on 30 May. However, as a reviewer for the Lyttelton Times noted, “New Brighton has received a share of attention, and perhaps it is shown at its best during a storm, gusts of wind howling across the Estuary, bending the tussock and grass on the beach.”. Kāi Tahu, The connection between land and sky is important in te ao Māori. That this is storytelling from a Polynesian viewpoint is reinforced by Pule’s incorporation of a sketch by the Raiatean priest and navigator Tupaia, made while on board Captain Cook’s Endeavour in the Pacific in 1770. In this painting Nin’s inspiration is the Mamaku Range lying just West of Rotorua. It depicted the explorations of Captain James Cook in twenty panels. Clan Cameron, Ina te Papatahi lived at the Waipapa Māori hostel in Mechanics Bay, Tāmakimakaurau / Auckland, not far from Charles Goldie’s Hobson Street studio. A mysterious girl inspires a struggling artist. Scottish, Location: Although it seems humorous, the real subject is cultural alienation and the difficulty of communication between people with different cultures and languages. This work was inspired by sacred objects from Oceania that are usually never seen or touched: bundles of fine sticks bound with feathers collected from Hawai'i long ago and now held in the Museum of Archaeology and Anthropology in Cambridge, England. Ships delivering oil and whalebone to Sydney were restocked there with fresh crew and supplies. Pule has recently returned to live in Niue. At the same time, it may be viewed as an image laden with personal symbolism as the confounding facts, fantasies and errors of the past make their perplexing return. The title of this work recalls the old children’s rhyme that lists tinker, tailor, soldier, sailor, rich man, poor man, beggar man, thief. Instead she performs in a quiet way, slowing things down and letting the juxtaposition between the dress, the landscape and architecture fill each image with a complex range of senses, ideas and emotions.