The Streets

Image Gwil Owen


The streets has a nice couch a place to sit and contemplate the exhibition Ani Oneills Etu iti lei hanging like a big smile in the void between the Maudsley Gallery below, as well as a chance to listen to the artist interviews that Sarah Robins produced for us ..they are all on the website as well...so go get a cup of tea and check them out

Image Carine Durand

Ani O’Neill

I think that even though people may not see my work as political – it is. I want to re-ignite something inside the viewer that they may have forgotten existed; the 'Pacific Island way' of creating the world. I want the viewer to feel something subliminally – the flipside to 'paradise'.

’etu iti (2006)
Mixed media: kikau (Coconut midrib), feathers, raffia, shells, seeds, beads, sequins, videotape, re-cycled plastic, wool.

Thank you to the following contributors:


Samiyah Ahmed ,Shasoi Ahmed ,Jade Barnes ,Lucia Bayo,Rumena Bégum,Katrina Black ,Naomi Bloor ,Esther Brassett
Rosie Brazier,Matthew Brazil,Thomas Brierton,Leah C. Pearson,L.D Chris Cadiente,Sophie Cape-CornellClaire Cart
Sienna Cattigan,Tahsin Choudhury,Jake Crown ,Alexandra Day,Robert Day,Jordan Delanay,Carine Durand,Taylor English
Sarah Fuller,Lois Goddard,Lily Graham,Nathan Green,Lewis Harford-Page,Sally Haiselden,Eva Herle-Schaffer,Rohini Kahrs
Nasima Khatun,Sami Kourbaj,Andrew Lamport,Andrew Lawrence,Aran Lomas,Cameron Mackay,Ryan MooreJoseph Perry
William Proud,Cerys Rees,Rosanna Raymond ,Lisa Reihana,Alex Riches,Poppy Richmond ,Mel Rouse,Archie Sweeney
Poppy Tabbran,Millie Tipple,Kit James Turner



Image Gwil Owen

Reuben Paterson

The power and vision our ancestors used to create their pieces inhabits our new worlds of the contemporary, and through our new world, we can still inhabit theirs.

Slaughter something innocent (2006)
glitter on canvas

Everywhere you go, you always take the weather with you (2004-05)
glitter on canvas

Leaving (2006)
glitter on canvas

Me at Home (2006)
glitter on canvas


Image Gwil Owen
Jason Hall

The do-it-yourself repatriation kit (2006)
Club hammer, red oxide, briefcase


Image Bethany Edmunds
Suzanne Tamaki
Maniapoto, Tuhoe, Te Arawa Maori iwi (tribes)

I view wearable arts and costume as a vehicle to convey a story. Traditional inspired body adornment, music, movement and image express the ever evolving culture of Maori. Our links and journeys woven together in the past, the present and into the future.

Aotearoa: Land of the wrong white crowd (2005)
Lambda print, photographed by Greg Semu

Old School Blanket Styles (4 June 1885)
Photographed at Heaerehuka, King Country by Alfred H. Burton
Courtesy of the Museum of New Zealand Te Papa Tongarewa

Bi-cultural Rap Re-mix (2006)
Recycled and restructured New Zealand blankets
Wool blanket stitch trim and pom poms, feather collar, wool hat with feather trim

Image Gwil Owen

Bethany Edmunds

My cultural heritage is my inspiration for my artwork. … My blood is Maori. It’s from this whenua as are the materials that I work with. My histories tell me that I am related to my environment and the materials that I use. The generations that we speak of go back into the beginning of time and that gives me the licence to do with these materials and these ideas and these stories as I would interpret. Our culture is an ever-evolving culture and so we utilise our environment. In this day and age we are living in an urban environment so we utilise the materials and resources that are available to us.

pART mAOri (2006)
denim on hardboard

Image Gwil Owen
Jeanine Clarkin

My inspiration comes from traditional Maori costume like korowai cloaks, maro (which are loin cloths) and also some of the kapahaka (Maori group performance) uniforms, the pare and piupiu which have evolved since colonisation. I've managed to create these garments that are inspired from those images but are worn just down the street with jeans and t-shirts.

Papatuanuku Skirt (2004)
Denim and fabric ink

Rarangarangatahi Jacket (2004)
denim

Apron with Tangata Toa ta moko print by Gordon Hatfield (2006)
Denim and fabric ink


Image Gwil Owen
Kewana Duncan

As part of a tribal people I have strong notions of ownership. Our culture is based on collective ownership and as a collective we fiercely defend our resources and intellectual property.

Fulltime Revolutionary was inspired by the mass movement of people against the confiscation of the seabed and foreshore of Aotearoa (New Zealand). There has come a time when we must defend our resources from corporate plunder and we will do so as kaitiaki (guardians) of our land.

Fulltime Revolutionary (outfit of clothing) (2005)
denim and cotton

Cloaksuit (2005)
denim