November 2017 Issue 23

25 Pages·2017·7.17 MB·English

November 2017 Issue 23
Learn about Arts Foundation Patrons Applause is published by the Arts If you'd like Applause emailed or posted Applause is also available to view
and those interested in the arts, the artists Foundation. Applause is sponsored to you, email [email protected] or at www.thearts.co.nz/applause
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THE ARTS FOUNDATION APPLAUSE MAGAZINE 1
Contents Countless Moments
Page 1 Countless Moments Since 2000, we’ve given 202 financial and honorary awards to artists. Needless
GARTH GALLAWAY
to say, it’s impossible to estimate the number of people who have been impacted
Arts Foundation Chair
by their work. How could we know the number of times an album is played, the
Page 2—4 Exceptional is the New Normal
seasons of plays, pages of novels, the number of frames per second, the concerts,
the number of works hanging on walls or sculptures in public spaces, the dance
Page 5 A Relevant Excellence moves… I could go on. It might be almost impossible to count, but it is a great
thought experiment.

Pages 6—13 2017 Laureate Awards
It is hard to think that there is not a waking moment where the work of one of our
awarded artists is not being experienced by someone, somewhere. You might not
Pages 14—17 2017 New Generation Awards even be aware that the song on the radio or programme on TV has been created
by one of ours. And in this day and age, things get re-mixed. You might experience
something as a loop or a meme in another work and there is no doubt that thousands
Pages 18—19 In Conversation: Nina Tonga talks to Tiffany Singh
of Kiwi artists are influenced by our award recipients.

Pages 20—21 The 2017 Marti Friedlander Photographic Award
We are very proud of the work that our recipients create and the part we have
played in supporting their careers. In most cases, these artists are unable to produce
Pages 22—25 The 2017 Mallinson Rendel Illustrators Award their work alone. There are major companies, small companies, funders, donors,
corporate partners, festivals, tour managers, collaborators and much more. I’d like
to thank and acknowledge the organisations and people across the globe who work
Page 26—29 Goodbye to Dear Friends
hard to present art to the world. Along with our Patrons, partners and funders,
we are all playing a crucial role in presenting New Zealand work.
Page 32 Greetings from Menton — Kate Camp on the
We hit the road earlier this year with New Generation Award recipient,
Katherine Mansfield Menton Fellowship Warren Maxwell. We went to the homes of generous Arts Foundation Patrons in
Queenstown, Christchurch, Wellington and Auckland. Warren played his remarkable
field recordings of seals under the ice in Antarctica. He shared stories from his recent
Page 33 Hera Lindsay Bird’s Write A Book
residency and how important Antarctica is to our environment. Warren has plans
to release the field recordings in a composition challenge for high school students.
Pages 34—35 A Life-Changing Stay in New York
Limited to the sounds of the seals, students will create digital compositions and
will be judged on their musicality and the meaning behind their work. Warren
Page 36—37 In Conversation: Jeremy Hansen wants to motivate young people to look closely at environmental issues inspired
by Antarctica.
Editor-In-Chief at Paperboy
Warren’s music is impacting the lives of thousands and he is just one of the 202
artists who we are proud to call friends. I hope that you get a daily dose of one of
Page 40—41 Two Heads Better than One
our award recipients. I certainly do, as I live with some wonderful works by artists
such as Michael Parekowhai, Andrew McLeod, Anne Nobel, Simon Denny,
Page 42 Songs & Stories from the Ice and André Hemer. You never know — the music playing in your car could be
by a Laureate.
Editor-in-Chief On The Cover More Online
Anna Edgington 2017 New Generation Award Recipient Visit thearts.co.nz to learn more about the
Tiffany Singh’s The Revision of Optics, Arts Foundation, our programmes and award
Contributing Writers Esplanade Theatres, Singapore, 2015 recipients. Each award recipient has their own
Garth Gallaway, Warwick Freeman, profile page. Their pages include video, essays
Simon Bowden, Lynn Freeman, Nina Tonga, and image galleries. Register online to receive
Tiffany Singh, Miriam Smith and Kate Camp. our email updates and to donate.
2 THE ARTS FOUNDATION APPLAUSE MAGAZINE 3
Exceptional is the
What is less talked about is the role the arts play in collaboration exhibit and challenge the curator to inspire them with a story
with science, technology and entrepreneurial venture. There are related to the work. By simply relaying the experience of the work,
many creative people working to a brief to promote a scientific its story and its impact, we will be miles ahead of where we are now.
New Normal
finding or societal issue with the purpose of changing behaviour. People do not turn up at a gallery for a dose of cultural heritage —
We have all seen the ads that try to stop people smoking and drink they go to engage with the work. They want stories, to be inspired,
driving. The birth of new technologies like augmented and virtual educated, to be close to creativity, and to ignite their creative selves.
reality offer a new world of possibilities for storytellers. There is also
an increasing amount of artists who are basing works on scientific In Mandy Hagar’s essay, For the Love of Arts: The Politics of Art
findings. These artists are providing meaning to inspire behavioural and Arts Education, published in North & South, she quotes
change and to spur movements. Jyotsna Kapur’s article Capital Limits on Creativity. Mandy says
Kapur explores how an ideological shift, that “the arts is okay as
We live in a time of extremes. The challenges
There are some artists, with increasing frequency in New Zealand it has economic benefits”, has undermined the true function of
and certainly around the globe, who are in direct collaboration with the arts. Kapur suggests that by turning the arts into a purely
communities and the globe face are complex and
scientists, technologists and entrepreneurs, where the artist’s role in commercial enterprise, neoliberalism has attacked the very core
discovery is as valued as their collaborator. At this level, the creative of artistic expression.
disruptive. The growth curves, change curves
process enables the potential for new and important findings that
and risk curves are all exponential. may not have been possible if the interdisciplinary collaboration “The role of artists within these deepening capitalist relations is
hadn’t occurred. to serve as humble servants — set up studios, cafes and late-night
bars, create art to enliven the walls of corporate offices and banks
With such great work happening and the arts playing such a vital role, — for a class that treats its hometown as a tourist destination and
how do we talk about it so that people will understand and value the life as a series of adventures in shopping… At the same time, work
SIMON BOWDEN
arts like we do? in the creative industries has become increasingly precarious —
Executive Director
that is, temporary, project-based, and competitive, putting artists
THE NORMAL LANGUAGE OF EXCEPTIONALISM and media people in a constant search for work… From being
We find it hard to imagine a community in Greece asking questions considered an imaginative and critical outsider or a participant
We also live in a time of extraordinary opportunity. Global But are arts communities part of the problem? Is it time to take about the role of the arts in society given that the nation was built on in social transformation, the artist is now presented as the model
communications scale the discussion about global issues. We can find a deeper look at how we talk about the arts, the language we use, artistic values. Whereas in New Zealand, we seem to be constantly worker of the new economy.”
people who listen, care and work together to face the great challenges and the leadership role we play? asking if the arts are important to our culture. This cultural cringe
of our time. Exponential growth in technology and socially conscious finds its way into many speeches that seem to think it necessary Questioning if the arts are okay is rife in the media. If they’re not
entrepreneurs offer new hope for impactful change towards a cleaner, We have the great privilege of being close to artists who are happy to to justify the arts. covering the latest Kardashian saga, journalists still consider the
safer, more just and economically vibrant world. share their creative processes and achievements with Arts Foundation cost of an artwork more than the importance of the work. While
Patrons. Through these encounters, we have come to understand that For example, you might hear a speech that tells you the arts the cost might be important to some, it is not as important as the
The grip of social, economic and environmental upheaval rarely the arts are working on many levels in society and are often actively contribute to economic development or tourism. You might hear value of what the work is trying to say, or the impact it can have.
coincide and so present the arts with both a threat and an opportunity. engaged in the big issues of our time. We have attempted to outline a radio broadcast with a commentator saying the arts are important
In what ways are the arts relevant and what can the arts offer? Where some of the roles the arts play in relation to their impact. for our cultural heritage. These kind of propositions are incomplete Fortunately, there are wonderful New Zealand journalists who
and how do the arts belong in this era of rapid change? and inadequate in seeking to justify the arts. continue to champion coverage of the arts, like Lynn Freeman,
WHAT IS HAPPENING? who has kindly contributed a few words to this issue of Applause.
We consider the fundamental role of the arts to enrich people’s lives
The Arts Foundation has been inspired to consider the impact of the Can we develop a new language for the arts that is not apologetic, There’s also a new generation of content creators emerging who
and to bring communities together as the simplest example of the
evolving priorities of our time following a series of experiences and but inspiring? A way of speaking about the arts that assumes are ensuring that the arts get the right kind of coverage. Paperboy,
importance of the arts. For example, whole communities are defined
through the practice of one of its employees. In this article we explore everyone is on board? We need statements that elevate the arts an Auckland based magazine, with which the Arts Foundation has
by cultural celebrations, and an individual can have a transformational
the role of the arts today. We don’t have all the answers, but we have as an exceptional, yet normal experience. We need to talk about been working closely, are ensuring artists play a central role in
moment at a gallery. We also know the arts are essential in education,
some great starting points for conversation. the arts in the context of the leading edge of humanity alongside, their content. The way in which they write about art is accessible,
with possibly the most important outcome being to connect the learner
or woven into, any discipline that is innovative. authentic, engaging and respectful of artists and their practices.
with their own ability to be creative. In the following pages of Applause,
This year the Arts Foundation curated the artistic programme These writers manage to cut through the “art is elite” perspective and
you will have a glimpse into the thinking, process and impact of Tiffany
at the New Frontiers conference for entrepreneurs in Whiteman’s At the Arts Foundation, we find the best way to explore the arts the, “you have to know the jargon to talk about it” myth, by exploring
Singh’s transformational work in education, well-being, open discussion
Valley, Wellington. This conference is an annual event in the Edmund is through the work and the ideas of artists. We would encourage the truth and authenticity inherent in the artist’s work. There is hope
and community integration.
Hillary Fellowship programme that aims to incubate New Zealand anyone preparing a speech for the launch of an exhibition, in this kind of writing as it will demonstrate to what we already know:
and international entrepreneurs driven to create global impact from festival etc. to leave their notes at home and turn up early. people want to engage with the arts in an intelligent way.
In his 1975 collection of essays, The Courage to Create, Rollo May
New Zealand. The Arts Foundation also facilitated a one-day workshop They should ask the curator to take them to their favourite
(1909–1994), an American existential psychologist often associated
at the Otago University Public Health Summer School focused on the
with humanistic psychology, said:
arts in relation to public health. The role of the arts in society is also
a passion of the Arts Foundation’s Profile and Engagement Manager,
“What genuine painters [artists] do is to reveal the underlying
Anna Edgington, who has worked on collaborative projects with
psychological and spiritual conditions of their relationship to their
scientists and data specialists as part of her music practice.
world; thus in the works of a great [artist] we have a reflection of the
emotional and spiritual condition of human beings in that period of
We have gathered a series of thoughts for you to consider below.
history. If you wish to understand the psychological and spiritual temper
We will be exploring these areas through social media, on our website
of any historical period, you can do no better than to look long and
and in our email news, and we welcome your input — be it comments,
searchingly at its art. For in the art the underlying spiritual meaning
responses or advice.
of the period is expressed directly in symbols. They have the power
ARE WE AWARE? to reveal the underlying meaning of any period precisely because the
The arts are working hard in our lives, are vital to humanity, and are essence of art is the powerful and alive encounter between the artist
Anne Noble
engaged at all levels of society. But are people aware of, and is and his or her world”. NO VERTICAL SONG
LEFT THE DEAD BEE PORTRAITS # 2,
society placing the right value on, the role of the arts?
Pigment print on Canson baryta paper
Rollo frequently refers to “the depth of the encounter”. He says 2015
Perceptions of the role of the arts vary in New Zealand. We frequently any individual’s active and absorbed engagement in an activity,
hear complaints about where the arts sit in our culture. You’ve heard or the world, is a creative act and something we can all experience. Joe Sheehan
REMOTE CONTROL
the comments about the value we seem to place on other disciplines Rollo believes artists have been honing the depth of encounter
South Australian black nephrite jade
RIGHT
and how the arts sections are disappearing from mainstream media. for a lifetime. and Tibetan quartz
170 x 65 x 50mm
2007
4 THE ARTS FOUNDATION APPLAUSE MAGAZINE 5
FRONTIERS
Some exceptional people are working at the forefront to ensure and structure of organisms — and “used found specimen slides, her
the value of the arts to all of us is clearly expressed and placed own homemade microscope and electronic scanning microscopes A Relevant Excellence
at the centre of modern thinking. to bring us intensely close-up photographs of bee anatomy…. These
images operate within the exhibition to steer us beyond a rationalist,
For example, 2011 recipients of the Arts Foundation Award for scientific approach to knowledge of something broader.”
Patronage, the Chartwell Trust, believe the arts and creative
thinking are fundamental to human capacity, existence and None of this is new. Artists have been pushing beyond the frontiers of
potential. The Chartwell Trust are Founding Patrons of the human understanding and deep engagement for hundreds of years.
Creative Thinking Project at the University of Auckland, which Leonardo da Vinci was a scientist as well as artist whose drawings of
aims to deepen understanding of the creative process in many the womb are still used in medical text books today. Santiago Ramón
fields, so that everyone can engage in it. Chartwell say: y Cajal, the founder of modern neuroanatomy, was a Spanish artist,
The Trust Deed of the Arts Foundation tells us to focus on the highest standards of
whose deep engagement in drawing individual neurons allowed him
WARWICK FREEMAN
artistic expression, and the word ‘excellence’ appears repeatedly in our award criteria.
“Creative thinking is a proven resource for cognitive development, to formulate a (correct) theory about how they work. These are just Arts Foundation Chair of Governors
academic achievement and social and economic innovation. If we are two examples of many.
Excellence is one of those words that has always troubled me when applied to any
to address the array of challenges humanity faces, we need to increase
arts practice — after all, one person’s excellence is another’s …... unlike sport, where
and extend the kind of education that will promote creative thinking. IT’S OUR TIME
the determination is usually very straightforward: the fastest performer or the team
We need to build a nation where the creative talents of all people are It’s not just our responsibility to shape the world we live in for
with the most points wins the gold medal.
used to foster personal, social and economic fulfillment”. now, we also need to ensure that the world is a place where future
generations want to live. The arts have a powerful role to play in
One of the important founders of the Arts Foundation, Sir Ronald Scott, received
Chartwell considers creative thinking is integral to the fostering of the development of multiple endeavours and we must make sure it
a knighthood for chairing the organising committee of the 1974 Commonwealth
innovation. Through the support of a wider creative community, more is not siloed by language or expectations. We all have a responsibility
Games. Ron loved sport and he also loved the arts. Some of the Arts Foundation’s
individuals generate innovative ideas and are encouraged to excel. to invest in the arts as a major contributor to innovation, education,
founding focus on excellence can be traced to its beginnings in Ron’s experience
To activate creative communities, we need to provide access for communities, individual wellbeing and tackling the great problems
with the Sports Foundation. In Ron’s time, the Sports Foundation made an active
everyone to art making and creative thinking in all levels of education. of our time. Let’s ensure the exceptional is the new normal.
decision to give support to a limited group of elite athletes across the many sport
Chartwell advocates that creative thinking in the arts is a dynamic
codes. Ron wanted that same support to go to the ‘gold medallists’ of the arts.
resource for innovation in business, science and technology, and
believes active engagement in the arts will be a powerful contributor
While it is easy to locate excellence across all art forms — with New Zealand
to our future and societal fulfillment. IF YOU WOULD LIKE TO DO SOME FURTHER READING & DISCOVERY,
WE HAVE MADE SOME SUGGESTIONS practitioners increasingly achieving global recognition — the arts struggles with the
‘gold medal’ approach, and I find myself agreeing with a friend who says ’excellence’
But how can we be clear about how the arts fit into the creativity
ONLINE — NZ should never be used in the arts sector; instead, ‘relevance’ is the more appropriate
equation to those who believe innovation in business and science is
possible without the creative thinking that is central to the arts? In the The Creative Thinking Project term when distinguishing any arts practice of consequence.
creativethinkingproject.org
United States, New Hampshire Department of Education has created
°TEMP
a test that moves away from standardised testing as the sole measure tempauckland.org.nz Arts Foundation award recipients are selected by a panel that are independent
Gabby O’Connor and Craig Stevens Collaboration of Trustees and Governors. Along with the Chair of the Trustees, as Chair of the
of a student’s ability, and reimagined assessments that test what kids
theconversation.com/when-artists-get-involved-in-research-science-benefits-82147
Governors, I sit in on the selection process as an observer. This year we observed
can do, not just what they know: Common Ground Hutt Public Art Festival
commongroundfestival.org.nz robust discussion by the panel on how community-based practices can be assessed
The Immortalisation of Billy Apple® using our criteria of ‘excellence’. In this arena, artists create work with audiences and
“Creative thinking crops up in science labs, in the unravelling of mitpressjournals.org/doi/pdf/10.1162 LEON_a_00709
other practitioners working on many levels. For example, 2017 New Generation
calculus equations, and in the nimble hands of computer coders. Sleep Wake
theplaygroundnz.com/sleepwake Award recipient Tiffany Singh was commissioned by festivals in Auckland,
And thus, it’s more important than ever for young brains to have
We Create
Wellington and Christchurch to create a work that included 15,000 prayer
the freedom to expand, and to embrace artistic impulses. Creative wecreate.org.nz
flags created by 8–12 year olds from low decile schools.
problem-solving is really a part of all the work that we do in the 21st
century,” says Marcia McCaffrey. “The arts place higher value on ONLINE — INTERNATIONAL
Where is the assessment of excellence located in such a project — with the artist
it than other content areas, and hey, if our day is due, I’m happy for Art + Science = Magic (or not)
artpractical.com/feature/art-science-magic-or-not leading it or the outcome? Are we moving beyond the simple frame that identifies
that.” — An excerpt from Artsy Editorial, 22nd August 2016 —
CLIMARTE a single artist to a more complex notion of excellence? Should we instead be talking
Molly Gottschalk. artclimatechange.org
about a work’s ‘relevance’? Perhaps then it becomes a more interesting conversation.
Ars Electronica
aec.at
The European Union’s Horizon 2020 is the biggest EU Research
Planet Labs Inc
In many ways our crowdfunding platform Boosted takes us deeper into this territory
and Innovation programme ever with nearly €80 billion of funding planet.com/pulse/an-artful-planet/
available over seven years (2014–2020). One of its initiatives is STARTS Prize of community engagement. While there are many levels of excellence within the
starts-prize.aec.at
projects that are supported, it is the community that decides what is funded.
START, which supports ‘Innovation at the nexus of Science,
Waag Society
Technology, and the Arts’. They say: waag.org/nl The democratic approach to funding leaves any judgement of value to the
Arts At Cern participating donors. Put all of the Boosted projects together and you have a
arts.cern
lot of art makers who have been given the capacity to produce work now, and
“Today, it is recognised that the critical skills needed for innovation to Creative Health: The Arts for Health and Wellbeing
artshealthandwellbeing.org.uk in the future, at all levels.
happen and to be of value for society are — in addition to scientific and
The Wellcome Trust
technological skills — skills such as creativity and capacity to involve all wellcome.ac.uk/what-we-do/our-work/arts
Well-run Boosted campaigns have a parallel similar to community practice. Donors
of society in the process of (open) innovation.” European Space Agency
blogs.esa.int/artscience are invited into the world of the Boosted artist as a way of ensuring a donor feels like
How to improve the school results: not extra maths but music, loads of it
a participant through backstage events and insights from the creative process. In this
In 2004 to 2011, the Smash Palace Fund was set up by Creative theguardian.com/education/2017/oct/03/school-results-music-bradford
manner, the depth of experience and the relationship to the work is heightened.
New Zealand, which saw many New Zealand artists and scientists
work together, such as Alistair Galbraith, Bill Manhire, Jo Randerson BOOKS
This audience role in making and funding work is impacting how we value art.
and Dylan Horrocks, to name but a few. Artists have also been The Courage to Create
Rollo May Art will only be valued if it is considered relevant, and whether that’s by identifying
working independently in this space. Arts Foundation Laureate
The Fuzzy and the Techie ‘gold medallists’ or involving communities in making and funding it, this is what
Anne Noble has been working in the intersection of science and Scott Hartley
Sir Ron wanted — the arts to be valued by more New Zealanders.
art for almost twenty years. In 2015, Nature Study was the first of Creativity: Flow and the Psychology of Discovery and Invention
Mihaly Csikszentmihalyi
a series of exhibitions and installations about the honeybee. Anne
The Secret Lives of Colour
has explored the decline in honeybee population and challenges our Kassia St Clair
perception of nature. In a press release from Bartley Company+ Art, Are Angels OK? The Parallel Universes of New Zealand Writers and Scientists
Paul Callaghan and Bill Manhire (eds)
they describe how Anne drew on morphology — the study of form
6 THE ARTS FOUNDATION APPLAUSE MAGAZINE 7
2017 01
2017 LAUREATE AWARD RECIPIENTS
Laureate Award NIKI CARO
01
Director/Filmmaker
JEMAINE CLEMENT
02
Actor/Singer/Writer
ROSS McCORMACK
03
Choreographer/Performer
ROB RUHA
04
Musical Artist
Since 2000, the Arts Foundation has donated over $6,000,000 to artists
ROBIN WHITE
and organisations. However, most Arts Foundation Award recipients say that while 02 05
Visual Artist
receiving financial support is critical to grow the arts in New Zealand, it is the honour
of receiving an award that means the most to them.
There are two reasons for this. The first is that recipients are selected by their peers,
independent from the Foundation’s trustees and management team. The second is
that the mana of each award grows as more recipients are awarded. Arts Foundation
awards are kept alive through recipient participation in award ceremonies and
through national touring events, as well as in this newsletter and on our website.
The Arts Foundation is supported by several hundred generous New Zealanders; by
our sponsors, partners and friends, individuals and organisations, who deeply believe
in what we do. Lynn Freeman, a long time friend, ex-selection panellist and treasured
New Zealand journalist, is a huge supporter and has offered a few words to describe
her relationship to the kaupapa of the Arts Foundation. 03
Laureate Statuettes designed and sculpted by Terry Stringer
“I remember taking Bill Manhire out for a coffee years ago, to tell him that he’d been
selected as an Arts Foundation Laureate. We didn’t know each other that well at the
time and I can’t remember how I lured him to the café. But I do recall his surprise and
delight at the news.

This is one of the joys of the Arts Foundation’s process. No lengthy paperwork
by artists and/or their advocates. Of course the selectors have their biases but an
ever-changing panel each year gets around that.

I still dine out on the fact that Ellie Catton was one of my New Generation artist
selections — well before The Luminaries. Giving encouragement and recognition to
these young movers and shakers, and financial help right when they need it, is vital.
04
It’s always interesting finding out how those selected chose to use the money
they receive. Among those artists selected when I was on the panel in 2010,
from memory, were thoughts of using the grant to get knee replacements,
pay off a big tax bill, and build a studio for opera students.

And now New Generation Artists are becoming Laureates and Laureates,
Icons. I hope I’m around long enough for New Gens to become Icons in their
time, due to their contributions to the cultural life of this country of ours.”
05
8 THE ARTS FOUNDATION APPLAUSE MAGAZINE 9
Ross McCormack Jemaine Clement
Ross McCormack is a prolific choreographer, performer, artistic In 2014, Ross co-founded New Zealand dance theatre company
director and an all round creative force of nature. Physical expression Muscle Mouth, where he is artistic director. He directed and
and storytelling through movement came early to Ross; he has always choreographed AGE, the company’s inaugural show, which
been compelled to communicate through the medium of dance. was commissioned and presented by the New Zealand Festival.
Muscle Mouth then premiered Triumphs and Other Alternatives
Ross graduated from the New Zealand School of Dance in 2001 in 2015 to great acclaim, a show directed by Ross and in which
and went on to perform with Douglas Wright Dance Company and he performs the central role. Triumphs and Other Alternatives has
the Royal New Zealand Ballet. On receiving the news of his award, since toured New Zealand, has been presented at the Australian
Ross was immediately taken back to 2000 to the moment he Performing Arts Market, and will next be performed in Seoul as part
“ plucked up the courage” to congratulate one of the most impactful of 2017 Seoul International Dance Festival. Muscle Mouth then
people in his career, Douglas Wright, for being an inaugural recipient premiered The Weight of Force, a solo work featuring Ross, at the
of the Laureate Award. Now, seventeen years on, Ross joins Douglas 2016 Hong Kong Arts Festival, before the work toured to
in the growing list of extraordinary Laureates. the 2016 M1 Contact Contemporary Dance Festival, Singapore.
As a performer, Ross has worked with companies across the globe, In 2017 Muscle Mouth undertook its first international collaboration,
working in Europe from 2004–2015 with Alain Platel at Les Ballets presenting Area2 as part of Borderline, a new double-bill season that
C de la B in Belgium. He performed in VSPRS (2006, directed by premiered in Singapore with T.H.E Dance Company. The company is
Alain Platel), Patchagonia (2007, directed by Lisi Estaras), Out of also developing System, a new experimental work that will premiere in
Context — For Pina (2010, Alain Platel) and Tauberbach, a show 2018. Ross also designs all the sets for his works. Of special note are
that has won multiple international awards since its premiere. his designs for Triumphs and Other Alternatives and performance
installation Tiger; both received much praise.
In 2013 Ross joined fellow Les Ballets C de la B dancers in Korea
to collaborate on an independent creation N(own)ow, and then In 2017 Ross performed with Auckland Theatre Company,
performed Out of Context with the company at the prestigious alongside fellow Laureate, Michael Hurst, in their sell-out season
Festival d’Avignon. Ross returns to work with Les Ballets C de la B of Amadeus. Ross is now based in New Zealand where he undertakes Jemaine Clement became a household name through the success Fringe Festival, where it was nominated for England’s coveted Perrier
in November 2017, to perform Out of Context in Spain. choreographic commissions, is the current choreographer for of the hit musical comedy duo, Flight of the Conchords, which he Award. Consequently, the pair created an award-winning, improvised,
World of Wearable Art, and creates new work with Muscle Mouth. created with an old Wellington flatmate, Bret McKenzie. self-titled series, which aired on BBC radio in 2005. By now, the
Alongside his esteemed performance career, Ross has been forging duo were attracting the attention of American television networks
his distinctive, highly physical choreographic practice. Ross has In a recent interview with the Arts Foundation, Ross quoted Jemaine grew up in Masterton and went on to study theatre and and were invited to perform in LA by executives from cable network
choreographed numerous shows with many New Zealand companies a famous line from Beckett’s Waiting for Godot when describing film at Victoria University. There, he met key collaborators such HBO. HBO asked them to participate in an episode of stand-up
such as Footnote Dance, New Zealand Dance Company and his creative process: “dance first and think afterwards”. Whether as Bret and fellow Laureate Taika Waititi. With Taika, he created comedy show One Night Stand. The show’s success encouraged
Okareka Dance Company. In Australia, Ross choreographed his first reacting to subject matter, a director’s wants and needs, a task, numerous theatre shows throughout the nineties. As a duo, Jemaine HBO to sign the Conchords to make a pilot for a potential series
full-length work Nowhere Fast (2009) for Dancenorth, Townsville, or an environment, Ross’s initial response is always led by dance performed with Taika in the comedy group the Humourbeasts, — one of only four by HBO that year. The resulting series saw the
which toured to the Macau Cultural Centre, China in September and physicality. There is no need for literal or precise meaning. His which won the 1999 Billy T Award. For Taki Rua productions, the pair playing versions of themselves, trying to make it big in New York.
2010. He then created [SIC], also for Dancenorth, and short work narratives can remain abstract and open, whilst the inherent emotion Humourbeasts toured The Untold Tales of Maui to critical acclaim. For four months they alternated five days of filming with weekends
I said HaHa (2011) for Link Dance Company, Perth. In April 2016 in his physical story telling is very direct. Ross says this is perhaps why Jemaine also starred in Waititi’s comedy romance film Eagle Vs Shark. working on scripts and music.
Ross returned to Dancenorth to create a new work If Form Was individuals, whether in an audience of 50 or 1000, can have such a
Shifted as part of a double-bill programme with Australian personal response to dance: we are able to connect with physical Almost twenty years later, Jemaine and Taika co-directed What We Jemaine’s popularity as awkward, understated, Kiwi comic
choreographer, Stephanie Lake, which has since toured Australia. expression without being coerced by language or literal meaning. Do in The Shadows — a “mockumentary” following the daily trials actor has also led to roles in Hollywood movies such as Dinner for
and tribulations of eight-hundred-and-something-year-old vampires Schmucks, in which he stars alongside Steve Carell. According to
in Wellington. The film premiered at Sundance, receiving largely USA Today reviewer Claudia Puig, Jemaine “nearly steals the movie”
positive reviews, and was nominated in eight categories at the as a pretentious artist whose “off-the-wall remarks, bizarre costumes
2014 Rialto Channel New Zealand Film Awards, of which it won and animalistic tendencies are absurdly comical.” Despite Hollywood
four — including New Zealand’s best self-funded film of 2014. In a acting success, Jemaine’s career highlight is playing at the Hollywood
recent conversation with the Arts Foundation, Jemaine said that the Bowl with Flight of the Conchords, as this is where some of his
main benefit of working with good friends like Taika and Bret is the idols have played, including Monty Python, Richard Pryor
speed of communication. If you can short-cut the need to explain and Stevie Wonder.
a direction or humour in a narrative, you are able to maintain the
story’s natural edge. Jemaine has also become recognised as a voice actor, starring in
animated hit Rio, 2010’s Despicable Me (as one of the evil minions),
The runaway success of cult TV show Flight of the Conchords and on The Simpsons, where he sneaks a mention of Wellington’s
can be traced back to 2001, when Jemaine and Bret first took Botanic Gardens into an episode. Clement also plays Boris, the
their full-length show as the comedy band to Calgary International bug-eyed alien assassin who fiddles with time in the third Men in
Festival. In 2003, their follow up show Folk the World took the now Black movie, and in 2016 played the villainous giant crab Tamatoa
well-trodden path from BATS Theatre, Wellington, to the Edinburgh in Disney’s Moana. Jemaine also stars as the voice of one of the sheep
in The Pen, a series of shorts he made with Wellington animator Guy
Capper. Jemaine explained the writing process for The Pen: Guy and
Jemaine generate ideas together, from which Jemaine produces a
script. However, when they sit down to record, they often end up
Jemaine Clement (left) and Bret McKenzie (right)
ABOVE improvising. Jemaine said that improvisation often provides the
Image credit — Matt Grace
best content as the energy present in the moment is carried to
the audience.
TRIUMPHS AND OTHER ALTERNATIVES
Ross McCormack
LEFT
2015
Acknowledgement: Some material republished with the
Image credit — Jason Wright
permission of NZ On Screen.
10 THE ARTS FOUNDATION APPLAUSE MAGAZINE 11
Robin White
Robin White (born in Te Puke, 1946, Ngāti Awa) was told by Colin where the different nature of the physical and social environment
McCahon that she needed to get out and paint instead of trying to introduced some changes in the works that she produced from her
stay at Auckland University’s Elam School of Fine Arts for a better studio beside the Tarawa lagoon.
qualification than her diploma. So she did.
Her love of Pacific culture took a new direction into collaborative
She attributes her confidence, determination and hard-work ethic art-making after a fire in 1996 unexpectedly destroyed her home
to the stern encouragement of her parents — especially her father, and studio. With nothing to work with and nowhere to work, she
Albert Tikitu White, with his very large kumara patch that needed a found ways to merge western art practice with Pasifika ways of
lot of attention. Her first steps on the road to a life of art-making were “ getting the job done”. It also ingrained a lesson she had learnt
encouraged by May Smith, an art teacher at Epsom Girls Grammar earlier in life — ‘Beware of being comfortable’. In whatever she
School, after spending her early years at Raglan District High. does, Robin works with a sense of trust — “there is no wrong just
as long as you respect the process”.
But when you study at Elam on a Ministry of Education studentship,
you had to spend time as a teacher yourself. Teaching art at high The resulting images, produced with a small group of Kiribati
school was an opportunity for Robin to learn screen-printing, women, Fijians, New Zealanders and lately, her vivacious Tongan
a craft not taught at Elam in the 1960s. collaborator Ruha Fifita, expanded her repertoire beyond painting
and printmaking in directions entirely unforeseen in the 1970s:
Robin’s brief career as an art teacher at Mana College soon pandanus-leaf weavings, mixed-media piupiu, tagged fadges and
morphed into full-time work as an artist when she went to live on tapa productions on a generous scale. Still distinctive; unique.
the Otago Peninsula, and by 1972 Robin was becoming known
as one of a group of New Zealand regionalists characterised as the Robin has been living back in New Zealand since 1999.
hard-edged realists. After a ten-year career as a distinctive painter
and screen-print maker in New Zealand, Robin moved to Kiribati,
Niki Caro
Director Niki Caro is one of the most successful filmmakers Actress respectively at the 2005 Academy Awards, Golden Globe
to emerge from New Zealand. Awards, BAFTAs, Satellite Awards and Screen Actors Guild Awards.
After relocating to the United States, Caro directed McFarland for
After completing a Bachelor of Fine Arts and a Postgraduate Disney, starring Kevin Costner, about a group of long distance runners
Diploma in Film, Caro directed several highly acclaimed short films. who emerged out of unbelievable poverty under the guidance of an
Sure to Rise screened in competition in Cannes in 1994, and Footage unlikely coach.
showed at the Venice Film Festival in 1996. Her first feature film,
Memory And Desire, was selected for Critics Week at the Cannes Her latest film is Focus Features’ The Zookeeper’s Wife, starring
Film Festival in 1998. Jessica Chastain, which explores the story of the amazing safe
house provided within the Warsaw Zoo during the Nazi occupation.
Her second and perhaps best known feature film, Whale Rider, The 2-hour feature length pilot for Netflix’ Anne With An ‘E’, a bold
won twenty-seven international awards, including audience awards and inspired new vision of Anne of Green Gables, was also released
at prestigious international film festivals such as Toronto, Sundance, in 2017. Caro’s ability to immerse herself in the sensitivity of specific
Rotterdam, San Francisco, Seattle and Maui. Lead actress Keisha cultures and human conditions — while still providing a universal story
Castle-Hughes won an Academy Award nomination for her work — makes her uniquely qualified to undertake her next project, which is
in the film — then the youngest person ever to be nominated in the set to be announced in the near future — stay tuned.
Best Actress category.
Following the international success of Whale Rider, Caro directed
North Country for Warner Bros. Charlize Theron and Frances
McDormand were nominated for Best Actress and Best Supporting
Robin White
WHEN THE LIGHTS GO OUT IN RAKIRAKI
Barkcloth, earth pigments, natural dye
1000 x 720mm
2017
12 THE ARTS FOUNDATION APPLAUSE MAGAZINE 13
Rob Ruha
Rob Ruha is an iconic composer and solo artist of a new generation of translator for the re-versioning of the Disney smash-hit movie
“...ability of weaving
Māori. Born of a powerful lineage of Māori artists, Rob was nurtured Moana into Te Reo Māori.
in a community of rhythmic dance, pulsing haka, spontaneous song,
dynamic Māori leadership and a legacy of innovation to be the artist Rob is a talented weaver and painter and began learning these arts
he is today. with his grandmothers from the age of seven. Some of his work can together sound & rhythm to
be seen adorning many of the country’s top kapa haka performers
He is a product of powerful kapa haka traditions of song and and his paintings have been sought-after collectors’ items. In 2015,
indigeneity and in 2013, under the guidance and mentorship of he created a woven piece entitled ‘Te Kiko-o-te-rangi’ for the Ko
conjure emotions, that bring
Maisey Rika, began a career as a solo artist. Since then, Rob has Rongowhakaata marae exhibition series. This piupiu is now on
collected a string of New Zealand Music awards and his unique display at Te Papa Museum as a part of the Rongowhakaata visual
style of music — which he has coined ‘Haka-soul’ — has been art collection. These arts, combined with his status as a tribal orator,
performed and embraced all around the world. has seen him be selected twice as a New Zealand arts delegate for to life the lyrics of the song.”
the Festival of Pacific Arts in Pago Pago and Guam. He was also
His achievements have led him to assume official roles as an selected as a Contemporary Māori Musician delegate with Ria Hall
ambassador for APRA AMCOS NZ, the Waiata Māori Music and Tama Waipara for the Tuku Iho Arts Exhibition in Washington
Awards and as a mentor to many young Māori artists including DC and Los Angeles.
Kaaterama Pou, internet sensations the “Rū-cru” and New Zealand’s
hottest male soul artist TEEKS. It is through these roles that Rob An academic, Rob graduated with his Master’s degree in Mātauranga
champions the contributions of the kapa haka world to the New Māori in 2007. His research was a study on Haka and Waiata Māori
Zealand music scene and its might as a ready-made and powerful as the most potent sources of information about a Māori community
audience for Māori Music artists. His success as a full time solo and its unique bodies of knowledge. In 2009, Rob was the recipient
artist to date is testimony to that. of the AUT Vice Chancellor’s award for PhD studies and is the
former Director of the National Institute of Māori and Indigenous
As a songsmith, Rob is acknowledged by his tribal elders as Performing Arts.
possessing; “a genius that lies in the rare ability of weaving together
sound and rhythm to conjure emotions, that bring to life the lyrics of Rob’s music as a solo artist and as a kapa haka exponent has seen
the song. His compositions are well known and his skill in the area him perform in front of many international audiences, collaborate
of sung poetry is without compare amongst people of his age group” with some of New Zealand’s finest musicians and open and support
(Rikirangi Gage, 2013). Rob is known for his ability to create music international artists such as John Legend and Justin Timberlake.
that passes effortlessly through multiple genres: resting for a time in
the grounded bed of soul, RnB and Roots Reggae, and leaving again With a catalogue of over 200 compositions, Rob believes his PREVIOUS LAUREATE AWARD RECIPIENTS
to explore lamenting kōauau, ambient soundscapes, electronica and best work is yet to come. In the summer of 2017, Rob will release his
glorious orchestral walls of sound. The themes of his music are bold highly anticipated second album Survivance — a fresh presentation of
LAURENCE ABERHART Photographer DON MCGLASHAN Musician
statements of protest, positioning and indigenous perspectives on festival soul and RnB tracks that promote the Māori nation as relevant, HARERUIA (RUIA) APERAHAMA Singer/Songwriter/Illustrator HELEN MEDLYN Mezzo Soprano
the social impacts of destructive political behavior on indigenous spirited, capable, connected, prophetic, morally courageous and BARRY BARCLAY Film Director/Writer WETINI MITAI-NGATAI Cultural Entrepreneur/Kapa Haka Expert
DANIEL BELTON Choreographer/Dancer/Film Maker JULIA MORISON Visual Artist
communities. Rob’s music presents remedial social commentary unrelenting in their pursuit of self-determination. In 2018, Rob will
WHIRIMAKO BLACK Musician LEON NARBEY Cinematographer
inspired by prophetic movements, historical narratives, and his life engage in several international collaborations with indigenous artists ALUN BOLLINGER Cinematographer ANNE NOBLE Photographer
JENNY BORNHOLDT Poet RICHARD NUNNS Musician/Researcher
as a father, a husband, a marae boy and follower of the Ringatū faith. and producers and will continue to support new Māori artists to
SARA BRODIE Director/Choreographer GREGORY O’BRIEN Poet/Painter/Essayist/Anthologist/Curator
In recognition of his ability to navigate traditional and contemporary develop and extend the reach of indigenous consciousness JANE CAMPION Film Director/Writer SIMON O’NEIL Opera Singer
Māori music spheres with ease, Rob was a consultant and performer through good music. ELEANOR CATTON Writer DR FIONA PARDINGTON Photographer
GEOFF COCHRANE Poet MICHAEL PAREKOWHAI Visual Artist
on the award-winning soundtrack for the movie Mahana, directed
SHANE COTTON Visual Artist JOHN PARKER Ceramicist/Theatre Designer
by Lee Tamahori (soundtrack by Tama Waipara and Mahuia LYELL CRESSWELL Composer DEAN PARKER Screenwriter/Playwright/Journalist/Political Dommentator
CLIFF CURTIS Actor/Producer MICHAEL PARMENTER Choreographer/Dancer/Teacher
Bridgeman-Cooper). Rob was also the musical director and
PHIL DADSON Intermedia Artist EMILY PERKINS Writer
DELANEY DAVIDSON Musician PETER PERYER Photographer
NEIL DAWSON Sculptor LEMI PONIFASIO Choreographer/Theatre Director
KATE DE GOLDI Writer LEANNE POOLEY Filmmaker
TONY DE LAUTOUR Painter GAYLENE PRESTON Filmmaker
STUART DEVENIE Actor JOHN PSATHAS Composer
NGILA DICKSON Costume Designer JOHN PULE Visual Artist/Poet
GARETH FARR Composer JACOB RAJAN Playwright/Actor
WARWICK FREEMAN Jeweller LISA REIHANA Visual Artist
ALASTAIR GALBRAITH Sound Musician JOHN REYNOLDS Visual Artist
BRIAR GRACE–SMITH Writer TEDDY TAHU RHODES Baritone
LYONEL GRANT Sculptor ANN ROBINSON Glass Sculptor
ROSS HARRIS Composer PETER ROBINSON Visual Artist
GEORGE HENARE Actor FIONA SAMUEL Writer/Director/Actor
DYLAN HORROCKS Graphic Novelist/Cartoonist RONNIE VAN HOUT Visual Artist
RACHEL HOUSE Actor/Stage & Screen Director/Comedian TAIKA WAITITI Director/Actor/Writer/Film Maker
MICHAEL HOUSTOUN Concert Pianist LISA WALKER Jeweller
SARAH–JAYNE HOWARD Dancer IAN WEDDE Poet/Writer
MICHAEL HURST Actor/Director GILLIAN KARAWE WHITEHEAD Composer
NEIL IEREMIA Director/Choreographer DAMIEN WILKINS Writer
WITI IHIMAERA Writer MERILYN WISEMAN Ceramic Artist
HUMPHREY IKIN Furniture Maker MEGAN WRAIGHT Landscape Architect
LLOYD JONES Writer DOUGLAS WRIGHT Choreographer
OSCAR KIGHTLEY Writer/Actor/Director
ELIZABETH KNOX Writer
CHRIS KNOX Musician/Cartoonist/Filmmaker
CHARLES KORONEHO Choreographer/Director/Public Artist/Designer
DEREK LARDELLI Tā moko/Kapa haka
BILL MANHIRE Poet
MOANA MANIAPOTO Musician
COLIN MCCOLL Theatre Director
SHONA MCCULLAGH Choreographer/Dance Filmmaker
14 THE ARTS FOUNDATION APPLAUSE MAGAZINE 15
2017
New Generation Awards Salina Fisher
The Arts Foundation established the New Generation Awards in 2006 to honour Salina Fisher writes for ensembles of all sizes, from string quartets to represent New Zealand at the ISCM World Music Days
and support the achievements and aspirations of New Zealand’s early career artists. to symphonies. The common thread is a deep exploration of in Vancouver, November 2017. Salina is also interested in film
sound. Salina likes to explore what instruments are capable of, scoring, and in 2016 composed the score for Misimpressions,
New Generation artists are the hot shots, the ones to watch, and the ones that to experiment with sounds you would not expect to hear. a short film directed by Sinead Lau and funded by the NZ Film
have an X-factor that sets them apart from their peers. They have assured She frequently asks herself “how do you structure interesting Commission. Salina hopes more interdisciplinary collaborations
potential. Their work is exciting. They are independent, individual and show sounds into a profound and accessible listening experience?” emerge from her New Generation Award.
outstanding promise. They also display a depth of thinking and consistency
that gives their work strength. Jon Bywater, a Senior Lecturer at Elam, was In her latest symphonic work, Rainphase, Salina bowed crotales Salina was the Overall Winner of the NZSO Todd Young
the inaugural New Generation Awards curator, which selected Taika Waititi, (small tuned bronze or brass discs) and dipped them in water Composer Award in both 2013 and 2014, and also received
Joe Sheehan, Warren Maxwell, Eve Armstrong and Tze Ming Mok as inaugural to bend the pitch of the resulting sound, experimented with the Orchestra’s Choice Award for her work Blushing Skies (2014).
recipients. Eleven years on, his hopes for how the New Generation Awards would the pitch of timpani by tightening and loosening the skin of the In 2014–2015 she was Auckland Philharmonia Orchestra’s ‘Rising
impact artists, and “art fans” have already been, and continue to be, realised. drum, and bowed water phones (a stainless steel resonant bowl Star’ Young Composer-in-Residence, and was the winner of the
with a central cylindrical neck and bronze rods of different lengths 2014 New Zealand School of Music Composers Competition
and diameters). It was for this work that Salina received the Sounz for her work Komorebi for violin and vibraphone (published by
Contemporary Award, New Zealand’s premiere compositional Promethean Editions in 2017). In 2015, violist Bryony Gibson-
award. She was the youngest composer to ever have received the Cornish’s performance of her work Reflect for solo viola was
coveted award. Since, the work has been performed internationally, awarded the Best Performance of a New Zealand Work award
“It will have a significant impact on the careers and by the NZSO conducted by Edo de Waart in August 2017. at the Gisborne International Music Competition. In 2008
she attended the Beijing International Congress on Women
it recognises, and will offer rewards for fans of the
To explore unique and interesting sounds and playing techniques, in Music, where she was the youngest featured composer.
Salina finds inspiration through extensive listening, hands-on
arts too, of course, as we will all get to benefit from the
experimenting and working with instrumentalists who are often The New Generation Award falls at a very fortunate time for Salina,
excited to find news sounds and to challenge the status quo. as she heads to New York to complete a Masters in Composition
dedication and risk taking in the recipients’ practices it will
Also, hours of rehearsals in orchestras (she has been a casual with vocalist and composer Susan Botti. The 24-year-old composer
violin player with the NZSO since 2012) lends itself to hours is excited about meeting students from all corners of the world.
enable. As with the Arts Foundation’s other awards, the way
of listening, watching and thinking about what is possible with She’s adamant she will keep closely connected to New Zealand
that eligible artists don’t have to blow their own trumpets to each instrument or orchestral section. whilst in New York, and has a number of performances in the pipeline.
With so many accolades under her belt, the future can only look
be considered, nor sing for their supper, so to speak, is Salina has also performed on traditional Japanese instruments bright for this Kiwi prodigy.
koto, taiko, and shamisen, and has recently begun exploring
distinctively respectful, and a great complement to the more taonga pūoro, the traditional Māori instruments of Aotearoa
New Zealand. Her work Tōrino — echoes on pūtōrino
overtly competitive grants and awards that early career
improvisations by Rob Thorne (commissioned in 2016
by Chamber Music New Zealand for performance by
artists already have available to them.”
the New Zealand String Quartet) — has been selected
— JON BYWATER
PREVIOUS NEW GENERATION AWARD RECIPIENTS
PIP ADAM Writer ANNA LEESE Opera Singer
MARK ALBISTON Filmmaker VELA MANUSAUTE Writer/Director/Actor
EVE ARMSTRONG Visual Artist WARREN MAXWELL Musician
DUDLEY BENSON Composer/Producer/Performer CAMERON MCMILLAN Choreographer
KUSHANA BUSH Painter TZE MING MOK Writer
ELEANOR CATTON Writer ALEX MONTEITH New Media Artist
BEN CAUCHI Photographer KATE PARKER Theatre Maker
KIP CHAPMAN Actor MADELEINE PIERARD Opera Singer
SIMON DENNY Visual Artist ANAPELA POLATAIVAO Writer/Director/Actor
SEAN JAMES DONNELLY Musician JO RANDERSON Writer/Actor
PARRIS GOEBEL Choreographer/Dancer ANNA SANDERSON Writer
STAR GOSSAGE Painter JOE SHEEHAN Stone Artist/Jeweller
SAM HAMILTON Musician/Artist ANNA SMAILL Writer
ANDRE HÉMER Visual Artist LOUIS SUTHERLAND Filmmaker
JEFF HENDERSON Music Maker TUSI TAMASESE Filmmaker/Director
NGAAHINA HOHAIA Visual Artist ALEX TAYLOR Composer/Performer
ELI KENT Playwright TAIKA WAITITI Film Maker/Performer/Visual Artist
YUKI KIHARA Visual Artist
16 THE ARTS FOUNDATION APPLAUSE MAGAZINE 17
Tiffany Singh Hera Lindsay Bird
Tiffany describes herself as an interdisciplinary, site-specific, installation-based Hera knows she shouldn’t, but Wellington is cold, her house so small, Magazine, Hue & Cry, Sweet Mammalian, Sport, The Pantograph
artist focused on social practice, an art form that requires engagement through she has no choice but to write her internationally acclaimed poetry Punch, Scum Magazine, The Lifted Brow, Turbine, Shabby Dollhouse,
audience interaction and social discourse. Thus, Tiffany Singh’s work is not in bed. Minarets, Left, Queen Mobs, Pouch Magazine and more.
complete without public participation or collaboration. Nor is her work solely
the output of her creative process. The creative process, which always involves The 30 year old poet’s self-titled book became the fastest selling Hera has performed with acclaimed New Zealand musicians such
others, is also the art. poetry collection in NZ when her poems Monica (after Monica Geller as Nadia Reid and Aldous Harding. She feels the need to apologise
from Friends) and Keats is Dead So Fuck Me From Behind went viral. before performing, as she wonders who is really up for a poetry
For Tiffany, social practice enables her to create environments and therapeutic She graduated from the International Institute of Modern Letters in reading at 10:30 at night. However, audiences are receptive to her
art processes, which prioritise giving a voice to those in society who have been 2011, where she won the Adam Prize for best folio, previous winners performances and there are a few more exciting collaborations in the
marginalised. Through the work, she deeply explores some of society’s biggest of which have included Eleanor Catton and Ashleigh Young. She then pipeline. Hera has also collaborated with artists working in different
issues through a humanitarian lens. Her intention is always to create a space to “threw that folio out”, and spent five years working on her first book mediums, including a commissioned piece about Cindy Sherman for
facilitate a larger conversation, to inform and inspire broader ways of thinking. Hera Lindsay Bird. the City Gallery Wellington exhibition. She has travelled to Mexico,
Tiffany asks what role contemporary art and artists can play to enable alternate Scotland and Edinburgh with her poetry, and Australia so many times
ways of engaging in important conversations. Hera’s voice is as off-hand on the page as it is in conversation. she thinks she might be starting to develop an accent.
This, she says, creates the most exciting poetry — when a poet’s
Tiffany’s work often engages all of the senses. Natural ingredients such as voice is as viscerally real as their spoken word. Though, she explains Hera says the New Generation Award will buy her precious time
spices, wax, honey, feathers, rose petals, rice and salt, sit abreast ribbons, bells, that it can take months to get a poem to appear off-hand on the to write. It will enable her to turn down paid work which does not
wooden chimes, spiritual symbols, and a strikingly bold array of pigments — page. She says she likes to throw as much of life into her poetry, benefit her creativity. She is aiming to get a second collection of
from magenta to green and everything in between. Tiffany arranges these be it nineties sitcoms, mediaeval history or stories about people in poems to Penguin and Victoria University Press to sustain her
materials into inviting lines, grids and painstakingly crafted compositions to her life (with whom she gets sign-off prior to publication). Like most impressive momentum.
entice audiences into the world she has created, at their own pace. Using millennials, her phone serves as an on-the-fly idea depository and
symbols and forms from a number of faiths and mythologies, Singh initiates her creative process includes the use of a text generator.
wonder and awe through her inquiry into the role of the sacred in
contemporary society. In addition to a celebrity fan club, which includes the likes of Lorde,
Kate Sylvester, Karen Walker, John Campbell, Kim Hill and Steve
Since graduating from Elam School of Fine Arts with Honours in 2008, Tiffany Braunias, her work has been featured in celebrated journalism —
has instigated major national and international projects. She has participated in a the Guardian, Vice Magazine, i-D Magazine, The Spinoff, The Sunday
number of residencies across New Zealand, India and the USA. In 2013 Tiffany’s Magazine, The Wireless, Radio New Zealand and Atlanta NPR.
project Fly Me Up To Where You Are received an award from the Human Rights She has written for publications such as The Hairpin, The Toast,
Commission for bringing together diverse communities. The project took her The Poetry Review, The Spinoff, The Listener, Snorkel, Metro
into low decile schools across New Zealand, where she asked children to express
their hopes and dreams for the future. She worked with the children to turn their
ideas into a visual language, and were then transferred onto a huge array of
Tibetan Peace Flags. 5000 of these flags flew in Aotea Square in Auckland,
5000 more flew outside Pataka Museum in Wellington, and another 5000
flew in Christchurch. All 15,000 flags came together at Frank Kitts
Park, Wellington, for the New Zealand Arts Festival.
Tiffany has exhibited in a number of group exhibitions including:
Preserve, Papakura Art Gallery, 2011; Stealing the Senses, Govett Brewster,
New Plymouth, 2011 and Knowing Me, Knowing You, Artspace, Auckland,
2010. She has received significant recognition for her work — in 2012
she participated in a residency at Shanti Studios in India and in 2013 she
held a residency at McCahon House in Titirangi and at the Montalvo
Arts Centre in California.