What has changed in your perspective towards your work?
I’ve changed my focus towards the things I want to say from a more personal level, involving my practice within the Soka Gakkai International and completing work like the Lup Yuk in my new studio environment. I’m embarking on something very different and new that relates to my background as an office professional, which will focus on the voice and use of language and writing. It is by giving the form the respect it deserves, without contemporising it, that we enable people to be able to connect with it.
Is there a particular moment this year that you remember?
When finalising my lup yuk casts and making the wire baskets, my father was constantly a visual in my head. I can still clearly see him doing this at our home in urban Makaraka. The special moments I remember are that of my father making these wire baskets (pretty roughly I might add) and hanging the lup yuk pieces in the basket and hanging the baskets under the eaves of our carport, waiting patiently for the pork to cure. It hasn't been easy for many during this time, but I am so grateful and lucky to be able to still work in my own bubble in my studio (aka shed).
What kind of art have you turned to in this past year?
I’ve been finalising projects I commenced last year as well as taking part in a programme called Wayfind Creative, a programme for artists to give them skills outside the artistic arena. I also started a new collaboration project with Maha Tomo, the Director of Aotearoa Bone and Stone Carving, home of Toi Manawa arts. We have been producing taonga like toki, and small taonga for the marketplace, as well as creating our own designed and carved koauau. The name of our collaboration is Kohatu Marama (meaning stone of light) Collaborative, which you can find on Facebook.