Nau mai, haere mai

In 2021, I embarked on a project with the Paemanu Charitable Trust, a collective of eleven contemporary Māori artists deeply rooted in Ngāi Tahu heritage. Paemanu envisioned an exhibition that would be more than art; it would be a reflection of Ngāi Tahutanga, guided by principles like auahatanga, manaakitanga and whanaungatanga. These principles became the heart of our collaboration with the Dunedin Public Art Gallery, marking an inspiring intersection of art and heritage.

This transformative experience taught me that even the most complex histories can find common ground, weaving themselves into a tapestry of understanding and shared goals. Today, the Dunedin Public Art Gallery proudly safeguards the Paemanu Contemporary Art Collection—a treasure trove of over 40 newly commissioned artworks. These creations are now part of the public domain, available for lending to institutions, marae, and initiatives championed by iwi and hapū.

My professional journey has been diverse, deeply rooted in Aotearoa's museum and gallery sector. I've donned various hats, from visitor services to collection management, exhibition design, curation, and public programming. This multifaceted experience has given me an intimate understanding of the inner workings of galleries and museums, fueling my unwavering passion for the rich world of art and culture.

My journey has taken me to the breathtaking Whanganui River, where I've had the privilege of being part of a transformative project: Mahi ki te awa Whanganui. This endeavour, enriched by the support and collaboration of institutions like Te Papa Tongarewa, Creative New Zealand, and the Sarjeant Art Gallery, exemplifies the power of partnerships in the realm of art and culture.

As I've matured in my career, my fascination with the intricate dance between museums, art galleries, and the communities they serve has deepened. I've found myself pondering the essential question: for whom do we create these experiences? This exploration has led me to an understanding of advocacy and agency, both for artists and the communities they touch. It's a perspective that extends far beyond the walls of any gallery.

In recent years, I've ventured into artistic architectural interventions, a practice that's now evolving into what we call co-design. This approach emphasizes collaboration and exchange, not only with artists but also with mana whenua, architects, and local councils. It represents a powerful shift in how we conceive and execute projects, ensuring they're not just about art but also about empowering communities and nurturing their creative spirit.