Mea wera/ea vela

MEA WERA EA VELA

BG photography by Geoffrey Matautia. Courtesy of the artist.

MEA WERA EA VELA?

butwhatdoesitmean??

IT MEANS HOT STUFF.

(ew, not that kind of hot stuff)

Let’s get real...

When we say mea wera (mareweh-rah) and ea vela (ear-vehlah), we’re talking about what’s cooking, what’s fresh - as in fresh out the oven. Hot stuff (in English) is a student-led zine

dedicated to mobilising Maori and Pasifika youth voice through creative pursuits.

“But what does that mean?”

Well, here’s what it looks like…

for contemporary indigenous moana-nui-a-kiwa youths creatives students art- a friendly

in this issue:

Artist and faculty member

Te Ara Minhinnick gives insight into her practise

Maraea analyses and reports back on insights gained

Marie chats with creative

Geoffrey Matautia - then walks the talk

for contemporary indigenous moana-nui-a-kiwa youths creatives students art- a friendly

BFA Student

For this interview, I wanted to interview someone that I can relate to when I’m collecting ideas towards my practice. The artist I have chosen to interview is Te Ara Minnhinnick. Her practice focuses on surroundings in her hometown, Waiuku and the idea of hands-on process when creating / making art.

Artists Te Ara Minhinnick, Ashleigh Taupaki, Maraea Shaw

and Atareta Black at HIWA. Photo / Luke Foley-Martin

Te Ara Minhinnick

How do you typically begin a new artwork? Could you walk me through the steps you take from conception to execution?

Ideas arrive to me at random; they can come when I'm in the shower, when I'm out on walks or while having a cuppa tea with my aunty. I'm aware that an idea of mine might get lost if I don't make an effort to remember it. So, I carry a book and pen around with me to write my ideas down as they come. A new artwork for me begins with an idea or a concept and then builds form as I apply my practice methodologies, processes and intentions. The three often interchange depending on the artwork, my state of mind or the place in which the work will be shown.

Can you describe your typical routine when working on a new project? How do you stay focused and motivated throughout the process?

Recognising the value in every aspect of my practice keeps me motivated and in turn focused. The spectrum of value for me can range from a situation, like sharing a cuppa tea with my aunty which might prompt an idea to the hands-on process of problem solving a studio inquiry. I don't take any instance for granted and try my best to wear rose tinted value glasses not only for a new project but life in general. I think in doing so, this allows me to see the value in what it is that I'm doing which can be easy to forget sometimes.

Artist

How do you select the materials and mediums for each artwork? Are there specific choices you make to best convey your ideas or emotions?

Often the visual language that I speak in centers around the Whenua and its varying politics. This position gives me a basis of materials and mediums to begin with and my inquiry then helps in implementing my own parameters. So, I think the choices between materials and mediums vary project to project, however, my protocols, or 'pou', the posts that keep my practice upright are what aid in my decision making.

Were there any challenges or obstacles you faced while pursuing art, and how did you overcome them?

Upon reflection, I can think of three prominent challenges that I have overcome and some of which l am still overcoming. The first for me was understanding the position in which I am making. What informs my position, what has shaped and continues to shape it? What are my inquiries from this place? So on and so forth. The process needed to deepen this understanding can be a tiring and solitary one. The second for me was building confidence in my projects. I think cultivating the capacity to be confident is

pretty hundy? As an artist, being both my harshest critic and biggest supporter is part of the territory. Balancing selfcriticism with recognizing the meaningful aspects of my work, and discovering genuine joy and satisfaction within it.

Lastly, the ongoing challenge of wearing multiple hats and managing the various demands they bring. How to secure funding for projects, navigate applications, and consistently tackle the never-ending cycle of seeking support and opportunities. It often feels like a constant juggling act—forming networks, articulating my aspirations, pursuing, building, making. All while carving out time outside of this juggle to spend with loved ones, and ensuring I'm present for it all.

Have you ever experienced a sense of vulnerability or exposure when sharing your art with others? How do you navigate those feelings?

When I am sharing my work with others, I take into account the specific individuals or entities I'm collaborating with. Whether it's the gallery, the exhibition, or the curator involved, I make it a point to cultivate relationships with them. By making connections and comprehending the environment my art will inhabit, I find that I can elevate my comfort level. It's a way of aligning my vulnerability with a broader purpose, recognizing the value of connecting my work with the right audience while also acknowledging the significance of the spaces in which it will be showcased.

Can you recount a particularly memorable or heartwarming interaction you had with someone who deeply connected with your artwork? How did it impact you as an artist?

Hmm, my nan loved a particular project of mine. She couldn't stop touching it and wanted to bring her oldie friends in to experience the work too. I love that.

Do you have a dedicated workspace or studio? How does your physical environment impact your creative process?

I am lucky to have a warm studio space setup at my Dad's Kura here in Waiuku and also access to a larger shed that I work in beside the Waikato River. Rather than confining myself to a solitary desk, I enjoy working in a versatile studio space.

I'm fortunate to have options that allow me to do so and resonate with my mood and project requirements. Although, my creative processes don't always demand a traditional studio setup. I have moulded sculptures in the boot of my car before, parked up beside the beach. It was a vibe for sure.

How has your artistic journey evolved over the years, and what were some of the pivotal moments that shaped your growth as an artist?

I think once I became deeply aware of my art practice I was able to own it a-lot more. The qualities that I felt were obstacles to conquer overtime ended up being placeholders for me and integral parts in shaping what it is that I do, or don't do. I'm grateful for where I have spent my time and in retrospect can see and feel how everything has compounded. Once new relationships are now my greatest support systems, awkward studio movements are now muscle memory. All experiences so far have collated into a pivotal motion forward that hopefully continues.

GEOFFREY MATAUTIA

PHOTOGRAPHER GRAPHIC DESIGNER BUSINESS OWNER MENTOR

Hey Geoffrey!

yourself:

Hey, I’m Geoffrey. I was born in Samoa (Sinamoga and A’ai o Niue) but moved to Aotearoa when I was four. Now, at 27, I'm a creative living in Manurewa, South Auckland. It's been a wild journey, challenging yet pretty funny. I've kinda winged it, and things have surprisingly worked out…

The internet and technology played a big role in my creative journey. Since I was 12, I've been online – from grabbing tunes on Limewire to chatting with strangers on wrestling forums. That led me to graphic design. Naturally, I started taking my own pics for projects and uni stuff. I ended up shooting friends and doing gigs for small businesses just for fun, which turned into getting paid over time.

How would you describe yourpractise in three words?

“Young Brown Real”

For creative Geoffrey Matautia, his work resonates among Brown youth because of its commitment to showcasing South Auckland as they know and live it - a vibrant, positive, family-driven, cultural hub. I notice the sense of community in his work. “It’s just there”, he admits. Working in a “natural” way, Matautia is drawn to people.

photography skills aside, Geoffrey has several other accolades under his belt - he also advises with Foundation North, an organisation that provided funding of up to $200,000 last month to a panel of Pacific youth. Geoffrey was part of this panel. Of his role, he said it was “great to support” Pasifika talent, especially in the creative industries.

Speaking of; he also confounded Period7, a collective, or rather, a “community created to connect young local creatives across Aotearoa through participation in the creative arts. (They) provide opportunities for young people to engage in things they wouldn’t normally have the access or means to.” Having founded it amidst the peak of Covid with fellow creatives Bryson Naik and Tia Sagapolutele, Period7 links youth to the wider art world and viceversa, providing opportunities and accessibility on both sides. PERIOD 7

PERIOD 7 post: calls for summer programme applications via Instagram.com

Recently they’ve been focusing on intensive programmes where they’re able to instil or develop skill sets on young creatives. “By investing in them, we’re investing into the community… no doubt they’ll give back to their communities, family, school…”

And then, suddenly, Geoffrey challenges urges me to go and do something, anything - share a skill with a group of people. “The feeling and vibe is just…” I wait on him to finish his sentence only to hear, “…Just do it!”

*GULP*

WHAT DO I DO?

Brainstorming session screenshots by Marie Mapa

Having found what I would do made me realise the (importance of) the following:

a) creativity can come from nowhereLiterally in the creation story Te Kore, where nothing exists, is a void of unlimited potential. Then from that omes Te Pō, darkness. And finally, Te Ao, he light and the world. Nothing is needed n order for something to become. The ame applies to my ideas and art.

and

b) I need to explore the “fullness” of something a.k.a., let the process play out a.k.a.,I don’t necesarily have to hop around on ideas…

FOSTERING COMMUNITY AND

CONNECTION: One of arts most powerful impacts lies in its ability to foster connections and community. Like the Southsides strong connection to South Aucklanders, I can connect with a specific audience in similar ways

SENSE OF IDENTITY: Like Geoffrey’s creative endeavours, as a by-product of the workshop, I was able to help the girls understand more about who they are and their cultural backgrounds through visuality like motifs I.e., the manu lea.

A sustainable approach: Southsides (Geoffrey) takes is sustainable both socially and environmentally, treating both aspects as one and the same. In the workshop, materials were shared and spared - causing the girls to work together in a more sociable, coherent way, further enhancing connection and relationships but also creating a calm atmosphere. One in which a person can just be and create, supporting mental health and safe space, and promoting inclusivity while encouraging diversity. Going forward in my practise, I wish to recreate these moments in social-based works or events.

We have hoped to showcase the talents of young established and emerging artists and creatives through Mea wera/ea vela, providing a platform for the sharing of artistic expression with a wider audience. It is also our hope that by featuring diverse forms of art and giving young talents a voice, we contribute to fostering a supportive and inclusive creative community that encourages growth and collabor-action, especially among Māori and Pasifika, many of whom seem to have the same unlimited, untapped potential as Te Kore.

In the words of Southsides creative, Geoffrey Matautia, if something interests you if you want to do something