This series of glass sculptures was conceived from the metaphoric nature in which Maori visual arts interpret principles of Maori lore.
In this case the hue (calabash) had many uses as a container, among them the ability to transport water with relative ease. Its function in domestic life was perhaps featureless; however, it still played a vital role in the day-to-day routines of village life. Here, the hue is interpreted as a vessel of knowledge. Knowledge is passed from one generation to another. Out of this knowledge wisdom is conceived, and then empowered by the spiritual connection that lies within the land and surrounds the ethos in which we as humans reside. Ka whakaarahia te toa o te mauri e te whëako roa,
Ka whängaihia te karapütoro e te mätauranga e. Knowledge feeds conscious thought as wisdom awakens spiritual prowess. In this piece, the concept of maatauranga (knowledge) is likened to water and the sculptural aesthetic of the hue form is used to visually convey this message.
The puhoro surface design is used to fully encompass this piece. In relation to the concept of knowledge, ‘pu’ references the source of all things and ‘horo’ in the turmoil in which such things can manifest themselves. It is ancient knowledge that implicates the notion of potential and by doing so becomes a basic principle of teachings in the whare wananga (ancient schools of learning).
It is suggested that what ever the issue or whatever the potential problem might be, it can be rationalised and resolved. This is likened to the spiral as it curls up and implies ‘tension’ and the lengthy exit from the spiral representing a ‘resolution’ or ‘release’ only to be lead into another spiral...the challenges, turmoil and triumphs of life.
The red coloration is representative of the ‘blood of the land’. This originates from the parting of Papatuanuku (earth mother) and Ranginui (sky father) who were torn apart in the time of creation.
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