THE CORNER: CREATIVE SPACE
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​educate. create. collaborate.

Meet JASMINE TE HIRA

17/8/2018

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Kia ora, Kia orana! My name is Jasmine Te Hira. I am a practising artist and currently work at Auckland Art Gallery Toi o Tāmaki as an Art Educator. I was born and bred in Manurewa and have whakapapa connections to Te Rarawa, Ngāphui, Atiu and Devon. My artistic practice considers the way in which heirlooms trace and embody indigenous knowledges while traversing institutional spaces of critique. I work with video as a recording medium and often reference the body as a site of memorial and archive.
​About this piece

​Lost Content was a work that developed from a korero that centred on the tapu status of hair and death within te ao Māori. In connection and contrast, this led to my research into Victorian mourning jewellery. Lost Content highlights three key ideas central to my practice; personal adornment, loss and experience of material knowledge. The mourning bracelet has pearls, fingernails and hair embedded into the ice, it melts over a period of time being worn on the body – a reference to Victorian mourning jewellery. The core of every piece I make is drawn from interpersonal korero. Each artwork acts as a silent statement. It is through conversation we can often find understanding and clarity – my purpose of transforming oral traditions into visual references is to encode korero into visual texts.
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Any particular aspect that really stands out for you in this work?

Ephemeral elements like time and endurance are key considerations. Markers and indications of experience are what stands out for me in this work. The experience of ice to skin, the experience of loss and the experience of processing grief are illustrated through this work for me.

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Does this piece hold any significance to you personally? Does it represent anything to you? How does this influence other works that you do? Do you find hints of it showing up in other pieces you’ve done since?

I’ve continued with this thread of water in my work. I am very interested in the ecology of the arts, the value and the privilege placed on platforming particular narratives within institutional settings. There are inherent clues as to where my personal values lie within my works around this topic, however I am also interested in the intergenerational accumulation of wealth and the value of uncovered narratives within society. I created a work The Beauty of Invisible Grief which binds a lot of these thoughts together. An ice hei-tiki is worn and melts against the warmth of the wears skin – speaking to the invisible narratives that we each carry with us. The water incorporated within this work comes from the awa I whakapapa to – this for me, is the intergenerational accumulation of wealth I am privileged to have embedded in my whakapapa.
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Meet ZOE GROOT...

24/7/2018

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I'm 20, a vet nurse, and I love doing art on the side. I'm an everything artist, I love working in all mediums. Mostly watercolour and gouache, but I do love working with oils too. I've mainly focussed on pet portraits the past few years. This piece, although not a very good photo, was the first pet portrait I did, and is still my favourite portrait.

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Why/how did you get into creating this kind of art?
But anyway. This piece was the first time I was ever paid to do art, it is such an amazing feeling when people are willing to give you money for something you've worked so long and hard for, but never expected anything from. Watercolour is so minimal and so fun to work with, being able to change textures and colours with a lot of ease but still being able to produce beautiful works.


What is it about this piece that makes it different to others you’ve made before?
I'd never really worked with watercolour before starting these pet portraits, I'd only worked with oils and acrylic and its become my favourite medium to work with by far. And this piece made me fall in love with watercolour.


How does this piece influence other works that you do? Do you find hints of it showing up in other pieces you’ve done since?
Uhh, I don't really know what to say for this one, it made me paint more dogs for that sweet cash.

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Meet CANDY SCHACHE

18/7/2018

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Hi, my name is Candy Schache, and I’m 16 years old. I was raised in a homeschooling family with the freedom to do whatever art I felt like.

I really enjoy reading & writing, as well as making and listening to music! Art’s basically been a passion of mine by nature. Always doodling & creating something new and beautiful and delicate.

​My art tends to be a lot of pencil sketches & I often add color with Faber-Castell coloring pencils.
What is it about this piece that captures your fancy? Any particular aspect that really stands out to you?
One of the things I love about this piece is that I managed to draw the head and shoulders with accurate proportions without a referance, which is something I’ve struggled with in the past. I also love how peaceful it is. This one is actually part of a series of drawings. It’s the first out of three. I picked this one because I was the most pleased with it over the others.

Does this piece hold any significance to you personally? Does it represent anything for you?
I had no idea what I was going to draw, & ended up with this! There’s no real meaning behind it, I just enjoy creating new pieces of art!

How does this piece influence other works that you do? Do you find hints of it showing up in other pieces you’ve done since?
Well, I did create two others in the same soft style after this one, and they have a lot in common. I used very light pencil strokes on all of them.
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Meet NEIHANA LOWE...

13/7/2018

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​I am a creative mind that has been raised in the heart of South Auckland, Papakura. I use photography, film-making and design as my creative voice. The artwork I produce comes from experiences I have endured and focuses on creating conversations about social injustices and issues.
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​What is it about this Film-making that captures your fancy? Any particular aspect that really stands out to you?


From a young age, I have told stories, using my imagination to create worlds and share experiences. Film-making is the visual representation of storytelling, and it gives me the ability to share what I see in my mind.


​Does this film hold any significance to you personally? Does it represent anything for you?

Turangawaewae was a response to a situation I experienced in 2016. A young Maori man disregarded me as being Maori based on the colour of my skin. I felt as though I had to explain myself and how I have come to be who I am today, at which point I was fractionalised and told that I wasn't Maori enough. I am of both European and Maori descent. Blood Quantum is a tool implemented in America to qualify or disqualify someone belonging to their tribe which has spread throughout the world. It is dangerous for us as Maori to allow such a tool, to involve itself within our culture and change the way we treat one another. As the minority group in Aotearoa, we should be showing each other manaakitanga and whanaungatanga, not disregarding each other.


What is it about this film that makes it different from others you’ve created before?
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I invested a lot of myself in the creative process of making the short film Turangawaewae. I’ve always put a part of myself into my work, but this short film helped me to realise the importance of doing so, sharing my own experiences and knowledge because of the impact it can and the conversations it can create. I haven’t made a short film since Turangawaewae came out but the experience of creating it will impact my future work.
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