In December 1642 the first meeting between Māori and Europeans took place: Ngāti Tūmatakōkiri and Abel Tasman. This encounter is illustrated from a 17th century point of view in the now iconic image of the 'Murderer's Bay'. Project 'View on Golden Bay' wants to rebuild this illustration with the help of views from artists, writers and researchers from both New Zealand and The Netherlands. The project will result in a book and exhibition. (read more).  In december 1642 vond de eerste ontmoeting plaats tussen Māori en Europeanen: Ngāti Tūmatakōkiri en Abel Tasman. Deze ontmoeting wordt vanuit 17e eeuw Europees perspectief weergegeven in de inmiddels iconografische illustratie van de 'Moordenaarsbaai'. Project 'Zicht op Golden Bay' wil dit beeld opnieuw opbouwen met behulp van inzichten van kunstenaars, schrijvers en onderzoekers uit zowel Nieuw-Zeeland als Nederland. Het project zal resulteren in een boek en expositie. (lees meer).

graphic and illustrative design
grafisch en illustratief ontwerp

Visiting Robin Slow  Op bezoek bij Robin Slow

2012/04/22 20:38, 0 comments  22/04/2012 20:38, 0 reacties

We had a wonderful and inspiring afternoon, visiting Robin Slow and his wife Rose. We waren op bezoek bij Robin Slow en zijn vrouw Rose. Het was erg inspirerend en gezellig.

from Robin’s website:
van Robin’s website:

Robin Slow was born in Blenheim (Wairau) and started his formal education there, later moving to Christchurch and completing his high school years at Christchurch West. To keep himself at school he started working as a commercial artist before moving on to complete a Diploma of Teaching with an art major at Christchurch Teachers’ College. After spending some time in Christchurch he and his family of Rose and two children, Sandra and Tracey, moved to Twizel in South Canterbury where he took up a position teaching visual arts and design. For the last 29 years he has been teaching art at Golden Bay High School, Takaka, Mohua/Golden Bay. The teaching of art has been a focus for him but in turn it has provided a learning and development opportunity for his own work and progression.

Since 1991 Robin has worked with the whanau at Onetahua Marae producing murals, traditional instruments, kowhaiwhai and carving, finishing in the completion of the wharenui, Te Ao Marama. He had overall responsibility for the design and layout of the wharenui. Robin spent ten years gathering information and working through the many different aspects required for the wharenui. With the Tangata Whenua of the area supporting and guiding, a framework was provided for the development of processes, procedures and philosophy which provided the context for his art. Through the marae he had the opportunity to work with people from throughout Aotearoa and overseas, artists and students alike, attracted to the heart of Mohua/Golden Bay. A large number of works were completed on a community basis.

‘Nothing is in isolation. All the completed art works are part of a whole, a hikoi or journey in itself. Within the building of the wharenui is the connection to the whenua (land), the people, the histories and the interaction of these features. Histories gathered, stories retold, and connections made to the many special places within the area. Mohua is a place rich in these stories, full of resources, and gifted people.’

After the completion of the Marae many other artistic activities were completed from weaving, through to stone/bone carving to the creation of puoro, or traditional musical instruments. Working with Brian Flintoff, Richard Nunns and the late Hirini Melbourne on the Marae it brought together a process and clarity of understanding.

Painting as an individualistic process, took over mainly as a means of recording visually the learning process, the discoveries that had been explored over these preparatory years. The act of painting and making marks on a variety of surfaces was always a passion or driving force. The materials spoke and as they had a whakapapa they demanded attention. There the paintings would have stayed in piles in the studio corner, being used as koha for the marae, but one of the whanau (family) saw the works and took it upon themselves to organize an exhibition in Wellington. This was Robin’s first solo exhibition for twenty years.

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