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Each weaver has utilised a variety of harakeke that they have whakapapa connections to, from collections cared for by Manaaki Whenua.  \n\n*Herbarium* invites audiences to think critically about the plant life they engage with on a daily basis, and the impact that our botanical collection histories, language, and growing environmental awareness has on what we value. ","BodyMaori":null,"Credit":"Photograph by Kelly Shakespeare","MediaCaption":"*Herbarium* (installation view), 2023. ","Title":"Herbarium ","TitleMaori":null,"PlayIconStyle":null,"id":360,"Media":{"localFile":{"publicURL":"/static/befa7afe781bc4719f848cccc3d9ec0d/Te_Ara_Atea_Kelly_Shakspeare_Photography_113_resized_9cb8cffbeb.jpg"},"mime":"image/jpeg"},"VideoPlaceholderImage":null},{"Body":"*Plant Samplers 1, 2, 3, 7, 8, 9*, 2020  \nCora-Allan Lafaiki Twiss  \nTraditional dyes on hiapo   \nOn loan from the Lincoln University Collection  \n \nTāmaki Makaurau Auckland-based artist Cora-Allan Lafaiki Twiss (Ngāpuhi, Ngātitumutumu / Alofi, Liku) is known for her work with hiapo, the Niuean art form of painting on bark cloth. Using the bark of the paper mulberry tree, Lafaiki Twiss beats the hiapo by hand, adorning it with intricate, free-drawn patterns made from traditional dyes. Hiapo patterns are informed by the natural world — plants, seeds, shells, animals — from both land and sea. In this series of works, Lafaiki Twiss has focussed on botanical motifs, simplified to accentuate shape and texture.  \n\nIn a book published in 2020, her drawings are annotated by her nana, Fotia Lafaiki, with descriptions and personal anecdotes about each plant or animal. For example, mei (breadfruit), documented in Plant Sampler 3, is explained by Lafaiki as ‘used to make lots of things, chips, pitako, bake in the oven or the umu’. What is made clear by her descriptions is that the cultural values, practices, and narratives of Niuean people are embedded within these plants, and thus within Lafaiki Twiss’ artworks.  \n","BodyMaori":null,"Credit":"Photograph by Mitchell Bright","MediaCaption":"Cora-Allan Lafaiki Twiss, *Plant Samplers 1, 2, 3, 7, 8, 9* (installation view), 2020. Traditional dyes on hiapo. ","Title":"Cora-Allan Lafaiki Twiss, Plant Samplers series, 2020","TitleMaori":null,"PlayIconStyle":null,"id":365,"Media":{"localFile":{"publicURL":"/static/3d087c33df194fd6f9ed7934abd8fd49/TAA_2023_10_sm_c5093bdf37.jpg"},"mime":"image/jpeg"},"VideoPlaceholderImage":null},{"Body":"*New Days (168/365)*, 2023  \nMelissa Macleod  \nDried gazania new days, European beech wood, Perspex  \nCourtesy of the artist  \n\nWith European settlers to Aotearoa came the introduction of exotic plant species, many of which found their new habitat to be a hospitable one. The gazania new day, a native to South Africa, is one such plant. With bright yellow flowers, the gazania is hardy and frost and drought resistant and grows particularly well in coastal, sandy environments, such as New Brighton and Birdlings Flat. Generally identified as an invasive species outside domestic environments, the gazania can rapidly dominate the habitat of native plants. At the same time, it's known for its earth-binding qualities, reducing erosion and stabilising sand dunes.  \n\nThis paradoxical plant is the subject of this installation by New Brighton artist Melissa Macleod. Using the preservation and display methods of botanists and museums, Macleod has grown, collected, dried and pressed hundreds of gazania plants for display between Perspex sheets. Normally responsive to changes in light and the passing of time, through the preservation process Macleod has captured these flowers in bloom. With the effects of climate change being an immediate threat to numerous coastal communities like New Brighton, Macleod responds with a sense of opportunity, considering how this little-known coastal daisy might have a positive role to play.  \n\n*With thanks to Michael Cawston and the Ilam School of Fine Arts Workshop.*","BodyMaori":null,"Credit":"Photograph by Kelly Shakespeare","MediaCaption":"Melissa Macleod, *New Days (168/365)* (installation view), 2023. Dried gazania new days, European beech, Perspex. ","Title":"Melissa Macleod, New Days (168/365), 2023","TitleMaori":null,"PlayIconStyle":null,"id":361,"Media":{"localFile":{"publicURL":"/static/a8a60434082da7b2d65db1a8b7b29d69/Te_Ara_Atea_Kelly_Shakspeare_Photography_517_resized_5b9c3b6615.jpg"},"mime":"image/jpeg"},"VideoPlaceholderImage":null},{"Body":"*He Taonga Mutunga Kore*, 2023  \nTe Kāhui Hono (Christine Brown, Thomas Parata, Patty Anne Oberst, Tania Nutira, Linda Rangipunga, Ngaio Tuari, Toni Rowe)  \nHarakeke, wire  \nCourtesy of the artists  \n\nTe Kāhui Hono are a group of Selwyn and Ōtautahi weavers, coming together for the creation of this new installation for Te Ara Ātea. Six individual weavers utilised varieties of harakeke that they have whakapapa connections to, each creating their own porowhita and kete. Together, their contributions highlight the ongoing significance of harakeke to the wellbeing of Māori life and culture. \n\nTraditionally, harakeke was critical to life as a source of healing and as a material to make clothing, sandals, baskets, mats, nets, lines and sails, traps and cordage, bedding, and adornment. It is no wonder that the plant was such an important commodity for trade with European settlers. Now, harakeke maintains its significance within te ao Māori, offering endless opportunities for artists. Through this traditional technology, weavers nurture connections to their tīpuna and atua, and across iwi, hapū and whānau. In this installation, the porowhita form represents the endless value harakeke has to past, present, and future generations - he taonga mutunga kore. \n\nThe harakeke used in the making of this work has been sourced from living collections cared for by Manaaki Whenua Landcare Research. Te Kohinga Harakeke (The National Harakeke Collection) was founded by Rene Orchiston in the 1950s and includes examples of traditional weaving varieties of harakeke, while the Provenance Collection includes specimens collected from remote locations around Aotearoa. The kete accompanying each porowhita represent the mātauranga associated with the different cultivars of harakeke. \n\nTe Kāhui Hono worked collaboratively in the making of this work. Each weaver is named below with their iwi affiliations, and the variety of harakeke used in making their porowhita and kete.  \n\n**Thomas Parata** (Te Whānau a Apanui, Ngaitai) \nPorowhita and kete: Paoa (Rene Orchiston Collection)  \n\n**Patty Anne Oberst** (Ngāi Tahu) \nPorowhita: Wakanui (Provenance Collection) \nKete: Waihīrere (Rene Orchiston Collection) \n\n\n**Linda Rangipunga** (Taranaki, Ngāi Tahu) \nPorowhita: Tūtaewheke (Rene Orchiston Collection) \nKete: Taranaki (Provenance Collection) \n\n\n**Ngaio Tuari** (Ngāi Tahu, Kāti Irakehu, Whakatōhea) \nPorowhita: Cass (Provenance Collection) \nKete: Paoa (Rene Orchiston Collection) \n\n\n**Tania Nutira** (Ngāi Tahu)  \nPorowhita: Port Hills (Provenance Collection) \nKete: Tūraka a Mahana (Provenance Collection) \n\n\n**Toni Rowe** (Maniapoto, Taranaki Tūturu) \nPorowhita: Ngutunui (Rene Orchiston Collection) \nKete: Tūtaewheke (Rene Orchiston Collection) \n\n\n**Christine Brown** (Tauiwi, Co-ordinator)  \n\n\n**Glossary of Māori terms**\n\n\nHarakeke - flax \n\n\nPorowhita - circular form \n\n\nKete - basket \n\n\nTe ao Māori - the Māori world \n\n\nMātauranga - knowledge \n\n\nTīpuna - ancestors \n\n\nAtua  - deity \n\n\nIwi, hapū, whānau - tribe, sub tribe, extended family.  \n\n\nHe taonga mutunga kore - an eternal treasure \n\n","BodyMaori":null,"Credit":"Photograph by Kelly Shakespeare","MediaCaption":"Te Kāhui Hono (Christine Brown, Thomas Parata, Patty Anne Oberst, Tania Nutira, Linda Rangipunga, Ngaio Tuari, Toni Rowe), *He Taonga Mutunga Kore* (installation view), 2023. Harakeke, wire.","Title":"Te Kāhui Hono, He Taonga Mutunga Kore, 2023","TitleMaori":null,"PlayIconStyle":null,"id":362,"Media":{"localFile":{"publicURL":"/static/388ed1b790d51451685c22e85d679b3f/Te_Ara_Atea_Kelly_Shakspeare_Photography_541_resized_3cf2f669fe.jpg"},"mime":"image/jpeg"},"VideoPlaceholderImage":null},{"Body":"*Te Korowai a Kahukura*, 2023   \nLouise Pōtiki Bryant  \nDigital video   \nCourtesy of the artist   \n \nThis expansive installation by artist and choreographer Louise Pōtiki Bryant (Waitaha, Kāti Mamoe, Ngāi Tahu) draws on the pūrākau of Kahukura — the atua responsible for clothing Te Waka o Aoraki/the South Island with plant and bird life. According to Ngāi Tahu creation narratives, the wreckage of Aoraki’s waka formed the South Island, and Aoraki and his brothers, sitting atop the upturned waka, formed Aoraki (Mount Cook) and the Southern Alps. Tūterakiwhānoa, Marokura, and Kahukura were sent by Raki, Aoraki’s father, to shape and adorn the land created by the waka and it was Kahukura who created the wetlands, grasses, trees, bush, and plentiful bird life.  \n\nInspired by the journey of these atua to find Aoraki and his brothers, and the strength of their creative powers in adorning the wreckage of Aoraki’s waka, Louise has created an expressive and vibrant video-scape by weaving animation, watercolour paintings, and footage from Te Waihora / Lake Ellesmere (filmed by the artist and Paddy Free). Through her imagery Pōtiki Bryant honours the animal and plant-life, such as raupō, harakeke, ika and manu created by Kahukura to clothe Te Waka o Aoraki. She also acknowledges the important restoration work currently taking place at Te Waihora and the surrounding wetlands. With Te Waihora being a significant taonga for Ngāi Tahu, this artwork could likewise be considered a vision for the future. \n\n**Glossary of Māori terms**\n\nPūrākau - traditional story \n\nAtua - deity \n\nRaupō - bulrush \n\nHarakeke - flax \n\nIka - fish \n\nManu - birds ","BodyMaori":null,"Credit":"Photograph by Mitchell Bright","MediaCaption":"Louise Pōtiki Bryant, *Te Korowai a Kahukura* (installation view), 2023. Single channel custom aspect video. ","Title":"Louise Pōtiki Bryant, Te Korowai a Kahukura, 2023","TitleMaori":null,"PlayIconStyle":null,"id":363,"Media":{"localFile":{"publicURL":"/static/9f3038df9097417f40f991c46e3d7ea2/Te_Korowai_a_Kahukura_resized_b1d3bbc3cc.jpg"},"mime":"image/jpeg"},"VideoPlaceholderImage":null},{"Body":"*River Thames and View Hill*, 2022  \n*Plymouth and Lake Ellesmere*, 2022  \nAyesha Green   \nAcrylic on canvas  \nCourtesy of the artist  \n\nLincoln’s Manaaki Whenua Landcare Research houses the Allan Herbarium where over 800,000 plant specimens are held, two-thirds of which are indigenous to Aotearoa. In these works, Ayesha Green (Ngāi Tahu, Ngāti Kahungunu) has painted two ‘holotypes’ from the Allan Herbarium collection. A holotype is a single example of a specimen used for identifying and comparing other specimens. The first, collected near Te Waihora Lake Ellesmere in 1954, is *senecio matatini* from the daisy family. The second, a māikaika or *thelymitra hatchii*, was collected at View Hill in Oxford by botanist Lucy Moore in 1968 and is most commonly known as a sun orchid. The holotypes are portrayed alongside the first entries from diaries kept by Cook and Banks’ during their first voyage on the HMS Endeavour to the South Pacific.  \n\nThrough these paintings Green considers the subjectivity embedded within histories, and the idea that historical retellings reveal the values, biases, and perspectives of those who wrote them. Banks and Cook’s diaries begin in 1768 at the start of their journey, however the men identify the ‘start’ date differently – Cook recording a month from May 27th spent fitting the ship for travel, and Banks starting with setting sail on the 25th of August in Plymouth. Banks’ date differs again from other histories which record the date of departure as the 26th of August. Unlike the holotype, which cannot be changed even if a more accurate example of a specimen comes along, history can be rewritten and retold time after time.   \n\n \n\n ","BodyMaori":null,"Credit":"Photograph by Mitchell Bright","MediaCaption":"Ayesha Green, *River Thames and View Hill* and *Plymouth and Lake Ellesmere* (installation view), 2023. Acrylic on canvas. ","Title":"Ayesha Green, River Thames and View Hill, 2022","TitleMaori":null,"PlayIconStyle":null,"id":364,"Media":{"localFile":{"publicURL":"/static/69a502064171ca3d3c37f6ff1cf94499/TAA_2023_4_resized_7383baea21.jpg"},"mime":"image/jpeg"},"VideoPlaceholderImage":null},{"Body":"*Convolvulus Diaries*, 2023   \nZina Swanson  \nWatercolour and pressed convolvulus on paper, glass, powder-coated steel temporary fence, painted butter paper and florists wire   \nCourtesy of the artist  \n \n**Case 1**\n\nHooded bindweed, old man’s nightcap, wild morning glory, bride’s gown, wedlock, white witches hat, belle of the ball, devil’s guts, hedge bell: convolvulus goes by many names, some giving a clue as to why the plant is recognised as a weed in Aotearoa. With white or blue trumpet-like flowers, convolvulus is primarily known for its slow strangling of other plants with its curling stems. In this work, Ōtautahi artist Zina Swanson considers the way Western taxonomy categorises and describes plants according to how they either benefit, or harm, human activity. Fascinated by the storage and recording methods used by botanists in the Allan Herbarium at Manaaki Whenua Landcare Research, here Swanson turns these on their head. Using convolvulus collected from the Ōtautahi red zone near her home, Swanson focuses instead on imagined anthropomorphic qualities of her specimens, creating a visual diary of activity.  \n\n**Case 2**\n\nIn this installation, Swanson has hand-painted paper leaves and flowers to create a life-like vine of convolvulus, this time acknowledging the qualities and behaviour of the plant as it is in nature. By making the leaves using paper, Swanson references the work of 18th Century English artist Mary Delaney who became known for her intricate botanical collages. Botanist Joseph Banks was so impressed by Delany’s work that he stated that one could use her collages to ‘describe botanically any plant without the least fear of committing an error'. ","BodyMaori":null,"Credit":"Photograph by Mitchell Bright","MediaCaption":"Zina Swanson, *Convolvulus Diaries* (installation view), 2023. Watercolour and pressed convolvulus on paper, glass, powder-coated steel temporary fence, painted butter paper and florists wire. ","Title":"Zina Swanson, Convolvulus Diaries, 2023","TitleMaori":null,"PlayIconStyle":null,"id":366,"Media":{"localFile":{"publicURL":"/static/2ebb348ad804d3baa8cbcb20c8e8de89/TAA_2023_24_resized_79940cb84e.jpg"},"mime":"image/jpeg"},"VideoPlaceholderImage":null},{"Body":"*As far as the eye can reach*, 2023   \nConor Clarke  \nDigital C-type prints with braille (UV ink, PVC) and audio (via QR code/Soundcloud)   \nCourtesy of the artist  \n\n*As far as the eye can reach* by Ōtautahi Christchurch-artist Conor Clarke (Ngāi Tahu, Kāti Kurī ) is the result of a collaboration between Clarke and three Selwyn residents. The collaborators — Marian Gort, Liam Daly-Hardie, and Petronella Spicer — are all blind. They described for Clarke their experience of a particular plant or garden, to which she has responded with a photographic interpretation.  \n\nClarke’s responses are abstracted and personal. Two are made using a pinhole camera and large format film, documenting what she saw on her daily route to and from the hospital. The tī kōuka tree references the way tī kōuka acted as navigational wayfinders for Clarke’s Ngāi Tahu ancestors, just as the ‘ramp tree’ guides Liam on his way to school. The Auckland Plant shares and celebrates the joy found by Marian in the deep mauve of a flower growing in her garden. In response to Petronella’s description of a scent, Clarke attempts to capture the invisible, using a schlieren imaging system to take a photo of her breath in Lilies.   \n\nOur experiences of nature are so often described and documented according to what we can see. In these works, however, Clarke and her collaborators ask audiences to think more broadly about how we experience our natural environment, according to what might be heard, felt, sensed, or imagined.  \n\nLeft to right: \n\n*Ramp Tree*, described by Liam Daly-Hardie  \n*Lilies*, described by Petronella Spicer  \n*The Auckland Plant,* described by Marian Gort  \n\n-- \n\n***Ramp Tree*, described by Liam Daly-Hardie**\n\n\nFollow the field grass, \nGrass path, grass path, \nThen the hill grass, \nAnd up the ramp. \n\n\nThe tree helps me find my way. \n\n\nThe tree is leafy. \nThe big leaves, not soft or feathery. \nIt feels spikey.\n\n\nI don’t know what kind of tree it is. \n\n\nMaybe we can call it an old tree, \nOr the college tree, \nThe pre-fab tree, \nThe ramp tree. \n\n\n-- \n\n\n***Lilies,* described by Petronella Spicer**\n\n\nThe walk was long and hot, about three and a half hours. \nIt was right at the end of the walk that I noticed the smell. \nWe were tired of course but the sweet fragrant smell wafting in the air refreshed us a bit. \nIt was comforting, peaceful. \n\n\nThe person I was with told me that they were lilies otherwise I wouldn’t have known.  \nOften when I’m out walking I smell all those different smells from plants. \nSome are pleasant, some are revolting. \nSometimes I don't know what they are unless I touch them, and even then I don't always know. \n\n\nI was very tempted to touch the lilies but they were on private property. \nPrivate property is a bit different because you don't know what the reaction might be, \nGoing in and touching someone’s plants. \nSo as we walked past I just absorbed the smell, \nWishing I had some in my own garden. \n\n\nI smell them now. \nI can feel the smell. \nI can picture them, visualise them. \nI can see them. \n\n\n-- \n\n\n***The Auckland Plant*, described by Marian Gort**\n\n\nIt was about late November, \nI was amazed by the colour of the flowers! \nNot blue and not purple but something deeper. \nI’d almost call it deep mauve. \n\n\nThats what attracted me at first, the colour. \nWith my eyesight, the right eye is blind but I can see around the edges of my left eye. \nI was told I would lose colour and only see in black and white, but I haven’t! \nI see blues and oranges and yellows really well. \n\n\nIt’s a special plant. \nI’ve no idea how it got there I didn’t plant it. \nBut I remember thinking what a beautiful creation, \nEven in my garden. \n\n\nThere were so many bees making such a noise. \nIt seemed like hundreds of them swirling around doing their work. \nI thought to myself – how do they know to come? \nIt made me feel good that I have something in the garden that was attractive to me as well as the bees. \n\n","BodyMaori":null,"Credit":"Photograph by Mitchel Bright ","MediaCaption":" Conor Clark,*As far as the eye can reach* (installation view), 2023. Digital C-type prints with braille (UV ink, PVC) and audio (via QR code/Soundcloud).","Title":"Conor Clarke, As far as the eye can reach, 2023","TitleMaori":null,"PlayIconStyle":null,"id":376,"Media":{"localFile":{"publicURL":"/static/9ce225c2d826ebf24f1b039f598b97a2/TAA_2023_15_resized_2d1d5f033a.jpg"},"mime":"image/jpeg"},"VideoPlaceholderImage":null},{"Body":"**Herbarium**  \n1 March - 1 September 2023  \nTe Ara Ātea  \n  \nA series of works from Lincoln University’s collection by Cora-Allan Lafaiki Twiss (Ngāpuhi, Ngātitumutumu / Alofi, Liku) is the starting point for this exhibition. Using hiapo, a traditional Niuean method of painting on bark cloth, Twiss’ *Plant Sampler* series documents simplified patterns, created during the 2020 lockdown. The plants selected by Lafaiki Twiss for these works are celebrated for their cultural significance – plants used for ceremony, everyday cooking and crafts.   \n  \nDown the road from Lincoln University is Manaaki Whenua Landcare Research, which houses the Allan Herbarium. Over 800,000 specimens are held in the collection, two-thirds of which are indigenous plants. The oldest specimens are from Captain James Cook's first voyage to Aotearoa New Zealand, collected by botanists Joseph Banks and Daniel Solander. Manaaki Whenua cares for 91 specimens from this voyage, collected during the ship’s eight landfalls on the North and South Island.    \n  \nThe process of collection was a laborious one. Multiple specimens were collected, sketched by the ship’s artists, dried on the ship’s sails or the sand, and then pressed. They returned to England in 1771 with around 350 species of New Zealand vascular plants, pressed between misprinted pages of Milton’s *Paradise Lost*. The majority of the collection is now held in the British Museum, with duplicates held by Te Papa Tongarewa and Manaaki Whenua.   \n  \nIn this exhibition, artists approach this history from different perspectives. Ngāi Tahu artist Ayesha Green has long been interested in Joseph Banks and systems of classification, particularly the ways in which early botanical research and processes of re-naming contributed to both the amassing of new knowledge, and the loss of traditional and indigenous knowledge. The specimens were renamed by Banks and Solander, often not so subtly for themselves and members of the ship’s crew (i.e astelia banksii, Astelia solandri, Phormium cookianum). With the loss of the indigenous names came a loss of indigenous knowledge.   \n  \nIn her paintings, *River Thames and View Hill*, and *Plymouth and Lake Ellesmere*, Green pairs the first diary entries alongside holotypes. A holotype is a single specimen and used to describe a new species. Once collected, this original holotype fixes and defines their species, with all other specimens compared to it. Undercutting the fixed nature of holotypes, Green presents the slippery realm of diary entries. Though diaries are often used as primary historical documents, the accounts by Banks and Cook contradict each other. While these texts are often used to bolster master narratives, Green’s presentation of them reminds us to examine their reliability.    \n\nThis leads us to the video work *Te Korowai a Kahukura* by Ngāi Tahu filmmaker, Louise Potiki-Bryant. For Louise, the history of plants in Aotearoa doesn't start with Cook's first voyage, nor the arrival of Polynesian settlers. Louise returns to a Ngāi Tahu creation story in which Tūterakiwhānoa, Marokura, and Kahukura shape the wreckage of Te Waka o Aoraki to form Te Waipounamu the South Island. It was Kahukura's role to adorn the land with plants and birds, and in her film Louise responds to this pūrakau by reuniting indigenous names with local native flora.  \n  \nDifferent world-views intersect in these points of departure.  Artworks by indigenous, moana artists consider the plants central to their cultural practices and those of their tīpuna. The Banks/Solander collection has been crucial in understanding the indigenous flora of Aotearoa New Zealand, but particularly in the face of the rapid spread of exotic plant species, many of which have been invasive and detrimental to a fragile indigenous ecosystem. Ayesha Green’s work grapples with this paradox, seeking knowledge about the history of her whenua through the work of early colonial scientists.     \n  \nAs interest in the regeneration of indigenous species around Aotearoa increases, more questions and challenges come forward. After European arrival in New Zealand, exotic species soon outnumbered indigenous ones. Wetlands were drained, bush and tussock land was cleared. But contemporarily, the reality is more complex than native = good; exotic = bad. Many of our introduced flora have provided new habitats for native birds; pine and eucalypt forests are useful for capturing carbon and acting as nursey trees for native seedlings; and much of New Zealand’s agricultural economy is based on exotic flora. The categorisation of plants into ‘invasive’ or ‘weed’ is complicated, a question that is considered by other artists in this exhibition.   \n  \nNew Brighton artist Melissa Mcleod's artwork *New Days (168/365)* focusses on a little-known coastal daisy. The Gazania is a plant familiar to local coastal locations such as New Brighton and Birdlings Flat. It is grown purposefully in gardens and on verges in these coastal communities while at the same time being defined as a noxious weed. As a result it is often victim to large-scale eradication attempts. Upstairs, *Convolvulus Diaries* by Ōtautahi artist Zina Swanson draws attention to another exotic species often described as a difficult to control 'bindweed'. Zina uses the traditional documentation and display methods of botanists to highlight the physical characteristics of the plants and their flowers, elevating their status within this new context.    \n  \nIn *As far as the eye can reach*, Ngāi Tahu photographic artist Conor Clarke considers domestic relationships with plants in her collaborations with members of Selwyn's Blind and low vision community. Descriptions from her collaborators inform a photographic image made by Conor, which are then printed with braille and accompanied with audio versions of their original descriptions.    \n  \nFinally, Te Kāhui Hono, a collective of local weavers who whakapapa to different iwi around Aotearoa, return to Manaaki Whenua, this time engaging with a living collection of harakeke. Manaaki Whenua is kaitiaki of a collection of traditional weaving varieties of harakeke donated by Rene Orchiston of Gisborne in 1987 as well as the Provenance Collection, made up of specimens collected from more remote locations. In *He Taonga Mutunga Kore* individual weavers from this collective have each utilised the varieties of harakeke from the whenua they whakapapa to. Together, their contributions highlight the significance of harakeke to the wellbeing of Māori culture – historically and contemporarily – harakeke being an essential commodity in its role as clothing, sandals, containers, mats, fishing nets, lines and sails, traps and cordage, and adornment.    \n  \n*Herbarium* will invite audiences to think critically about the plant life they engage with on a daily basis, and the impact that our botanical collection histories, language, and growing environmental awareness has on what we value. ","BodyMaori":null,"Credit":"Photograph by Kelly Shakespeare","MediaCaption":"Zina Swanson, *Convolvulus Diaries* (detail), 2023. Watercolour and pressed convolvulus on paper, glass, powder-coated steel temporary fence, painted butter paper and florists wire. ","Title":"Herbarium Essay","TitleMaori":null,"PlayIconStyle":null,"id":402,"Media":{"localFile":{"publicURL":"/static/19130e77adc9caa52c2fa622d67b5318/Te_Ara_Atea_Kelly_Shakspeare_Photography_116_resized_c75a24f013.jpg"},"mime":"image/jpeg"},"VideoPlaceholderImage":null}],"Title":"DL03 Toi Arts 04- Herbarium","id":"Slideshows_91","strapiId":91,"TimeoutOverrideSeconds":null}},"pageContext":{"id":"Slideshows_91","slideshowData":{"Slideshow":[{"Body":"Melissa Macleod, Te Kāhui Hono, Louise Pōtiki Bryant, Ayesha Green, Cora-Allan Lafaiki Twiss, Conor Clarke, Zina Swanson  \n\n1 March 2023 - 1 September 2023   \nTe Ara Ātea\n\n*Herbarium* brings together the work of six artists and a weaving collective, each exploring the history of human relationships with plants in Aotearoa. Reflecting on the way plants have been created, named, collected, controlled, protected, eradicated, or treasured, artists Ayesha Green, Conor Clarke, Louise Potiki-Bryant, Melissa Macleod, and Zina Swanson have made new artworks for display at Te Ara Ātea. Cora-Allan Lafaiki Twiss’ *Plant Sampler* series is on loan from the Lincoln University collection. \n\nTe Kāhui Hono, a collective of weavers from Selwyn and Ōtautahi, have created a large-scale installation for the Community Lounge, drawing attention to the ongoing importance of harakeke within te ao Māori. Each weaver has utilised a variety of harakeke that they have whakapapa connections to, from collections cared for by Manaaki Whenua.  \n\n*Herbarium* invites audiences to think critically about the plant life they engage with on a daily basis, and the impact that our botanical collection histories, language, and growing environmental awareness has on what we value. ","BodyMaori":null,"Credit":"Photograph by Kelly Shakespeare","MediaCaption":"*Herbarium* (installation view), 2023. ","Title":"Herbarium ","TitleMaori":null,"id":360,"PlayIconStyle":null,"Media":{"localFile":{"publicURL":"/static/befa7afe781bc4719f848cccc3d9ec0d/Te_Ara_Atea_Kelly_Shakspeare_Photography_113_resized_9cb8cffbeb.jpg"},"mime":"image/jpeg"}},{"Body":"*Plant Samplers 1, 2, 3, 7, 8, 9*, 2020  \nCora-Allan Lafaiki Twiss  \nTraditional dyes on hiapo   \nOn loan from the Lincoln University Collection  \n \nTāmaki Makaurau Auckland-based artist Cora-Allan Lafaiki Twiss (Ngāpuhi, Ngātitumutumu / Alofi, Liku) is known for her work with hiapo, the Niuean art form of painting on bark cloth. Using the bark of the paper mulberry tree, Lafaiki Twiss beats the hiapo by hand, adorning it with intricate, free-drawn patterns made from traditional dyes. Hiapo patterns are informed by the natural world — plants, seeds, shells, animals — from both land and sea. In this series of works, Lafaiki Twiss has focussed on botanical motifs, simplified to accentuate shape and texture.  \n\nIn a book published in 2020, her drawings are annotated by her nana, Fotia Lafaiki, with descriptions and personal anecdotes about each plant or animal. For example, mei (breadfruit), documented in Plant Sampler 3, is explained by Lafaiki as ‘used to make lots of things, chips, pitako, bake in the oven or the umu’. What is made clear by her descriptions is that the cultural values, practices, and narratives of Niuean people are embedded within these plants, and thus within Lafaiki Twiss’ artworks.  \n","BodyMaori":null,"Credit":"Photograph by Mitchell Bright","MediaCaption":"Cora-Allan Lafaiki Twiss, *Plant Samplers 1, 2, 3, 7, 8, 9* (installation view), 2020. Traditional dyes on hiapo. ","Title":"Cora-Allan Lafaiki Twiss, Plant Samplers series, 2020","TitleMaori":null,"id":365,"PlayIconStyle":null,"Media":{"localFile":{"publicURL":"/static/3d087c33df194fd6f9ed7934abd8fd49/TAA_2023_10_sm_c5093bdf37.jpg"},"mime":"image/jpeg"}},{"Body":"*New Days (168/365)*, 2023  \nMelissa Macleod  \nDried gazania new days, European beech wood, Perspex  \nCourtesy of the artist  \n\nWith European settlers to Aotearoa came the introduction of exotic plant species, many of which found their new habitat to be a hospitable one. The gazania new day, a native to South Africa, is one such plant. With bright yellow flowers, the gazania is hardy and frost and drought resistant and grows particularly well in coastal, sandy environments, such as New Brighton and Birdlings Flat. Generally identified as an invasive species outside domestic environments, the gazania can rapidly dominate the habitat of native plants. At the same time, it's known for its earth-binding qualities, reducing erosion and stabilising sand dunes.  \n\nThis paradoxical plant is the subject of this installation by New Brighton artist Melissa Macleod. Using the preservation and display methods of botanists and museums, Macleod has grown, collected, dried and pressed hundreds of gazania plants for display between Perspex sheets. Normally responsive to changes in light and the passing of time, through the preservation process Macleod has captured these flowers in bloom. With the effects of climate change being an immediate threat to numerous coastal communities like New Brighton, Macleod responds with a sense of opportunity, considering how this little-known coastal daisy might have a positive role to play.  \n\n*With thanks to Michael Cawston and the Ilam School of Fine Arts Workshop.*","BodyMaori":null,"Credit":"Photograph by Kelly Shakespeare","MediaCaption":"Melissa Macleod, *New Days (168/365)* (installation view), 2023. Dried gazania new days, European beech, Perspex. ","Title":"Melissa Macleod, New Days (168/365), 2023","TitleMaori":null,"id":361,"PlayIconStyle":null,"Media":{"localFile":{"publicURL":"/static/a8a60434082da7b2d65db1a8b7b29d69/Te_Ara_Atea_Kelly_Shakspeare_Photography_517_resized_5b9c3b6615.jpg"},"mime":"image/jpeg"}},{"Body":"*He Taonga Mutunga Kore*, 2023  \nTe Kāhui Hono (Christine Brown, Thomas Parata, Patty Anne Oberst, Tania Nutira, Linda Rangipunga, Ngaio Tuari, Toni Rowe)  \nHarakeke, wire  \nCourtesy of the artists  \n\nTe Kāhui Hono are a group of Selwyn and Ōtautahi weavers, coming together for the creation of this new installation for Te Ara Ātea. Six individual weavers utilised varieties of harakeke that they have whakapapa connections to, each creating their own porowhita and kete. Together, their contributions highlight the ongoing significance of harakeke to the wellbeing of Māori life and culture. \n\nTraditionally, harakeke was critical to life as a source of healing and as a material to make clothing, sandals, baskets, mats, nets, lines and sails, traps and cordage, bedding, and adornment. It is no wonder that the plant was such an important commodity for trade with European settlers. Now, harakeke maintains its significance within te ao Māori, offering endless opportunities for artists. Through this traditional technology, weavers nurture connections to their tīpuna and atua, and across iwi, hapū and whānau. In this installation, the porowhita form represents the endless value harakeke has to past, present, and future generations - he taonga mutunga kore. \n\nThe harakeke used in the making of this work has been sourced from living collections cared for by Manaaki Whenua Landcare Research. Te Kohinga Harakeke (The National Harakeke Collection) was founded by Rene Orchiston in the 1950s and includes examples of traditional weaving varieties of harakeke, while the Provenance Collection includes specimens collected from remote locations around Aotearoa. The kete accompanying each porowhita represent the mātauranga associated with the different cultivars of harakeke. \n\nTe Kāhui Hono worked collaboratively in the making of this work. Each weaver is named below with their iwi affiliations, and the variety of harakeke used in making their porowhita and kete.  \n\n**Thomas Parata** (Te Whānau a Apanui, Ngaitai) \nPorowhita and kete: Paoa (Rene Orchiston Collection)  \n\n**Patty Anne Oberst** (Ngāi Tahu) \nPorowhita: Wakanui (Provenance Collection) \nKete: Waihīrere (Rene Orchiston Collection) \n\n\n**Linda Rangipunga** (Taranaki, Ngāi Tahu) \nPorowhita: Tūtaewheke (Rene Orchiston Collection) \nKete: Taranaki (Provenance Collection) \n\n\n**Ngaio Tuari** (Ngāi Tahu, Kāti Irakehu, Whakatōhea) \nPorowhita: Cass (Provenance Collection) \nKete: Paoa (Rene Orchiston Collection) \n\n\n**Tania Nutira** (Ngāi Tahu)  \nPorowhita: Port Hills (Provenance Collection) \nKete: Tūraka a Mahana (Provenance Collection) \n\n\n**Toni Rowe** (Maniapoto, Taranaki Tūturu) \nPorowhita: Ngutunui (Rene Orchiston Collection) \nKete: Tūtaewheke (Rene Orchiston Collection) \n\n\n**Christine Brown** (Tauiwi, Co-ordinator)  \n\n\n**Glossary of Māori terms**\n\n\nHarakeke - flax \n\n\nPorowhita - circular form \n\n\nKete - basket \n\n\nTe ao Māori - the Māori world \n\n\nMātauranga - knowledge \n\n\nTīpuna - ancestors \n\n\nAtua  - deity \n\n\nIwi, hapū, whānau - tribe, sub tribe, extended family.  \n\n\nHe taonga mutunga kore - an eternal treasure \n\n","BodyMaori":null,"Credit":"Photograph by Kelly Shakespeare","MediaCaption":"Te Kāhui Hono (Christine Brown, Thomas Parata, Patty Anne Oberst, Tania Nutira, Linda Rangipunga, Ngaio Tuari, Toni Rowe), *He Taonga Mutunga Kore* (installation view), 2023. Harakeke, wire.","Title":"Te Kāhui Hono, He Taonga Mutunga Kore, 2023","TitleMaori":null,"id":362,"PlayIconStyle":null,"Media":{"localFile":{"publicURL":"/static/388ed1b790d51451685c22e85d679b3f/Te_Ara_Atea_Kelly_Shakspeare_Photography_541_resized_3cf2f669fe.jpg"},"mime":"image/jpeg"}},{"Body":"*Te Korowai a Kahukura*, 2023   \nLouise Pōtiki Bryant  \nDigital video   \nCourtesy of the artist   \n \nThis expansive installation by artist and choreographer Louise Pōtiki Bryant (Waitaha, Kāti Mamoe, Ngāi Tahu) draws on the pūrākau of Kahukura — the atua responsible for clothing Te Waka o Aoraki/the South Island with plant and bird life. According to Ngāi Tahu creation narratives, the wreckage of Aoraki’s waka formed the South Island, and Aoraki and his brothers, sitting atop the upturned waka, formed Aoraki (Mount Cook) and the Southern Alps. Tūterakiwhānoa, Marokura, and Kahukura were sent by Raki, Aoraki’s father, to shape and adorn the land created by the waka and it was Kahukura who created the wetlands, grasses, trees, bush, and plentiful bird life.  \n\nInspired by the journey of these atua to find Aoraki and his brothers, and the strength of their creative powers in adorning the wreckage of Aoraki’s waka, Louise has created an expressive and vibrant video-scape by weaving animation, watercolour paintings, and footage from Te Waihora / Lake Ellesmere (filmed by the artist and Paddy Free). Through her imagery Pōtiki Bryant honours the animal and plant-life, such as raupō, harakeke, ika and manu created by Kahukura to clothe Te Waka o Aoraki. She also acknowledges the important restoration work currently taking place at Te Waihora and the surrounding wetlands. With Te Waihora being a significant taonga for Ngāi Tahu, this artwork could likewise be considered a vision for the future. \n\n**Glossary of Māori terms**\n\nPūrākau - traditional story \n\nAtua - deity \n\nRaupō - bulrush \n\nHarakeke - flax \n\nIka - fish \n\nManu - birds ","BodyMaori":null,"Credit":"Photograph by Mitchell Bright","MediaCaption":"Louise Pōtiki Bryant, *Te Korowai a Kahukura* (installation view), 2023. Single channel custom aspect video. ","Title":"Louise Pōtiki Bryant, Te Korowai a Kahukura, 2023","TitleMaori":null,"id":363,"PlayIconStyle":null,"Media":{"localFile":{"publicURL":"/static/9f3038df9097417f40f991c46e3d7ea2/Te_Korowai_a_Kahukura_resized_b1d3bbc3cc.jpg"},"mime":"image/jpeg"}},{"Body":"*River Thames and View Hill*, 2022  \n*Plymouth and Lake Ellesmere*, 2022  \nAyesha Green   \nAcrylic on canvas  \nCourtesy of the artist  \n\nLincoln’s Manaaki Whenua Landcare Research houses the Allan Herbarium where over 800,000 plant specimens are held, two-thirds of which are indigenous to Aotearoa. In these works, Ayesha Green (Ngāi Tahu, Ngāti Kahungunu) has painted two ‘holotypes’ from the Allan Herbarium collection. A holotype is a single example of a specimen used for identifying and comparing other specimens. The first, collected near Te Waihora Lake Ellesmere in 1954, is *senecio matatini* from the daisy family. The second, a māikaika or *thelymitra hatchii*, was collected at View Hill in Oxford by botanist Lucy Moore in 1968 and is most commonly known as a sun orchid. The holotypes are portrayed alongside the first entries from diaries kept by Cook and Banks’ during their first voyage on the HMS Endeavour to the South Pacific.  \n\nThrough these paintings Green considers the subjectivity embedded within histories, and the idea that historical retellings reveal the values, biases, and perspectives of those who wrote them. Banks and Cook’s diaries begin in 1768 at the start of their journey, however the men identify the ‘start’ date differently – Cook recording a month from May 27th spent fitting the ship for travel, and Banks starting with setting sail on the 25th of August in Plymouth. Banks’ date differs again from other histories which record the date of departure as the 26th of August. Unlike the holotype, which cannot be changed even if a more accurate example of a specimen comes along, history can be rewritten and retold time after time.   \n\n \n\n ","BodyMaori":null,"Credit":"Photograph by Mitchell Bright","MediaCaption":"Ayesha Green, *River Thames and View Hill* and *Plymouth and Lake Ellesmere* (installation view), 2023. Acrylic on canvas. ","Title":"Ayesha Green, River Thames and View Hill, 2022","TitleMaori":null,"id":364,"PlayIconStyle":null,"Media":{"localFile":{"publicURL":"/static/69a502064171ca3d3c37f6ff1cf94499/TAA_2023_4_resized_7383baea21.jpg"},"mime":"image/jpeg"}},{"Body":"*Convolvulus Diaries*, 2023   \nZina Swanson  \nWatercolour and pressed convolvulus on paper, glass, powder-coated steel temporary fence, painted butter paper and florists wire   \nCourtesy of the artist  \n \n**Case 1**\n\nHooded bindweed, old man’s nightcap, wild morning glory, bride’s gown, wedlock, white witches hat, belle of the ball, devil’s guts, hedge bell: convolvulus goes by many names, some giving a clue as to why the plant is recognised as a weed in Aotearoa. With white or blue trumpet-like flowers, convolvulus is primarily known for its slow strangling of other plants with its curling stems. In this work, Ōtautahi artist Zina Swanson considers the way Western taxonomy categorises and describes plants according to how they either benefit, or harm, human activity. Fascinated by the storage and recording methods used by botanists in the Allan Herbarium at Manaaki Whenua Landcare Research, here Swanson turns these on their head. Using convolvulus collected from the Ōtautahi red zone near her home, Swanson focuses instead on imagined anthropomorphic qualities of her specimens, creating a visual diary of activity.  \n\n**Case 2**\n\nIn this installation, Swanson has hand-painted paper leaves and flowers to create a life-like vine of convolvulus, this time acknowledging the qualities and behaviour of the plant as it is in nature. By making the leaves using paper, Swanson references the work of 18th Century English artist Mary Delaney who became known for her intricate botanical collages. Botanist Joseph Banks was so impressed by Delany’s work that he stated that one could use her collages to ‘describe botanically any plant without the least fear of committing an error'. ","BodyMaori":null,"Credit":"Photograph by Mitchell Bright","MediaCaption":"Zina Swanson, *Convolvulus Diaries* (installation view), 2023. Watercolour and pressed convolvulus on paper, glass, powder-coated steel temporary fence, painted butter paper and florists wire. ","Title":"Zina Swanson, Convolvulus Diaries, 2023","TitleMaori":null,"id":366,"PlayIconStyle":null,"Media":{"localFile":{"publicURL":"/static/2ebb348ad804d3baa8cbcb20c8e8de89/TAA_2023_24_resized_79940cb84e.jpg"},"mime":"image/jpeg"}},{"Body":"*As far as the eye can reach*, 2023   \nConor Clarke  \nDigital C-type prints with braille (UV ink, PVC) and audio (via QR code/Soundcloud)   \nCourtesy of the artist  \n\n*As far as the eye can reach* by Ōtautahi Christchurch-artist Conor Clarke (Ngāi Tahu, Kāti Kurī ) is the result of a collaboration between Clarke and three Selwyn residents. The collaborators — Marian Gort, Liam Daly-Hardie, and Petronella Spicer — are all blind. They described for Clarke their experience of a particular plant or garden, to which she has responded with a photographic interpretation.  \n\nClarke’s responses are abstracted and personal. Two are made using a pinhole camera and large format film, documenting what she saw on her daily route to and from the hospital. The tī kōuka tree references the way tī kōuka acted as navigational wayfinders for Clarke’s Ngāi Tahu ancestors, just as the ‘ramp tree’ guides Liam on his way to school. The Auckland Plant shares and celebrates the joy found by Marian in the deep mauve of a flower growing in her garden. In response to Petronella’s description of a scent, Clarke attempts to capture the invisible, using a schlieren imaging system to take a photo of her breath in Lilies.   \n\nOur experiences of nature are so often described and documented according to what we can see. In these works, however, Clarke and her collaborators ask audiences to think more broadly about how we experience our natural environment, according to what might be heard, felt, sensed, or imagined.  \n\nLeft to right: \n\n*Ramp Tree*, described by Liam Daly-Hardie  \n*Lilies*, described by Petronella Spicer  \n*The Auckland Plant,* described by Marian Gort  \n\n-- \n\n***Ramp Tree*, described by Liam Daly-Hardie**\n\n\nFollow the field grass, \nGrass path, grass path, \nThen the hill grass, \nAnd up the ramp. \n\n\nThe tree helps me find my way. \n\n\nThe tree is leafy. \nThe big leaves, not soft or feathery. \nIt feels spikey.\n\n\nI don’t know what kind of tree it is. \n\n\nMaybe we can call it an old tree, \nOr the college tree, \nThe pre-fab tree, \nThe ramp tree. \n\n\n-- \n\n\n***Lilies,* described by Petronella Spicer**\n\n\nThe walk was long and hot, about three and a half hours. \nIt was right at the end of the walk that I noticed the smell. \nWe were tired of course but the sweet fragrant smell wafting in the air refreshed us a bit. \nIt was comforting, peaceful. \n\n\nThe person I was with told me that they were lilies otherwise I wouldn’t have known.  \nOften when I’m out walking I smell all those different smells from plants. \nSome are pleasant, some are revolting. \nSometimes I don't know what they are unless I touch them, and even then I don't always know. \n\n\nI was very tempted to touch the lilies but they were on private property. \nPrivate property is a bit different because you don't know what the reaction might be, \nGoing in and touching someone’s plants. \nSo as we walked past I just absorbed the smell, \nWishing I had some in my own garden. \n\n\nI smell them now. \nI can feel the smell. \nI can picture them, visualise them. \nI can see them. \n\n\n-- \n\n\n***The Auckland Plant*, described by Marian Gort**\n\n\nIt was about late November, \nI was amazed by the colour of the flowers! \nNot blue and not purple but something deeper. \nI’d almost call it deep mauve. \n\n\nThats what attracted me at first, the colour. \nWith my eyesight, the right eye is blind but I can see around the edges of my left eye. \nI was told I would lose colour and only see in black and white, but I haven’t! \nI see blues and oranges and yellows really well. \n\n\nIt’s a special plant. \nI’ve no idea how it got there I didn’t plant it. \nBut I remember thinking what a beautiful creation, \nEven in my garden. \n\n\nThere were so many bees making such a noise. \nIt seemed like hundreds of them swirling around doing their work. \nI thought to myself – how do they know to come? \nIt made me feel good that I have something in the garden that was attractive to me as well as the bees. \n\n","BodyMaori":null,"Credit":"Photograph by Mitchel Bright ","MediaCaption":" Conor Clark,*As far as the eye can reach* (installation view), 2023. Digital C-type prints with braille (UV ink, PVC) and audio (via QR code/Soundcloud).","Title":"Conor Clarke, As far as the eye can reach, 2023","TitleMaori":null,"id":376,"PlayIconStyle":null,"Media":{"localFile":{"publicURL":"/static/9ce225c2d826ebf24f1b039f598b97a2/TAA_2023_15_resized_2d1d5f033a.jpg"},"mime":"image/jpeg"}},{"Body":"**Herbarium**  \n1 March - 1 September 2023  \nTe Ara Ātea  \n  \nA series of works from Lincoln University’s collection by Cora-Allan Lafaiki Twiss (Ngāpuhi, Ngātitumutumu / Alofi, Liku) is the starting point for this exhibition. Using hiapo, a traditional Niuean method of painting on bark cloth, Twiss’ *Plant Sampler* series documents simplified patterns, created during the 2020 lockdown. The plants selected by Lafaiki Twiss for these works are celebrated for their cultural significance – plants used for ceremony, everyday cooking and crafts.   \n  \nDown the road from Lincoln University is Manaaki Whenua Landcare Research, which houses the Allan Herbarium. Over 800,000 specimens are held in the collection, two-thirds of which are indigenous plants. The oldest specimens are from Captain James Cook's first voyage to Aotearoa New Zealand, collected by botanists Joseph Banks and Daniel Solander. Manaaki Whenua cares for 91 specimens from this voyage, collected during the ship’s eight landfalls on the North and South Island.    \n  \nThe process of collection was a laborious one. Multiple specimens were collected, sketched by the ship’s artists, dried on the ship’s sails or the sand, and then pressed. They returned to England in 1771 with around 350 species of New Zealand vascular plants, pressed between misprinted pages of Milton’s *Paradise Lost*. The majority of the collection is now held in the British Museum, with duplicates held by Te Papa Tongarewa and Manaaki Whenua.   \n  \nIn this exhibition, artists approach this history from different perspectives. Ngāi Tahu artist Ayesha Green has long been interested in Joseph Banks and systems of classification, particularly the ways in which early botanical research and processes of re-naming contributed to both the amassing of new knowledge, and the loss of traditional and indigenous knowledge. The specimens were renamed by Banks and Solander, often not so subtly for themselves and members of the ship’s crew (i.e astelia banksii, Astelia solandri, Phormium cookianum). With the loss of the indigenous names came a loss of indigenous knowledge.   \n  \nIn her paintings, *River Thames and View Hill*, and *Plymouth and Lake Ellesmere*, Green pairs the first diary entries alongside holotypes. A holotype is a single specimen and used to describe a new species. Once collected, this original holotype fixes and defines their species, with all other specimens compared to it. Undercutting the fixed nature of holotypes, Green presents the slippery realm of diary entries. Though diaries are often used as primary historical documents, the accounts by Banks and Cook contradict each other. While these texts are often used to bolster master narratives, Green’s presentation of them reminds us to examine their reliability.    \n\nThis leads us to the video work *Te Korowai a Kahukura* by Ngāi Tahu filmmaker, Louise Potiki-Bryant. For Louise, the history of plants in Aotearoa doesn't start with Cook's first voyage, nor the arrival of Polynesian settlers. Louise returns to a Ngāi Tahu creation story in which Tūterakiwhānoa, Marokura, and Kahukura shape the wreckage of Te Waka o Aoraki to form Te Waipounamu the South Island. It was Kahukura's role to adorn the land with plants and birds, and in her film Louise responds to this pūrakau by reuniting indigenous names with local native flora.  \n  \nDifferent world-views intersect in these points of departure.  Artworks by indigenous, moana artists consider the plants central to their cultural practices and those of their tīpuna. The Banks/Solander collection has been crucial in understanding the indigenous flora of Aotearoa New Zealand, but particularly in the face of the rapid spread of exotic plant species, many of which have been invasive and detrimental to a fragile indigenous ecosystem. Ayesha Green’s work grapples with this paradox, seeking knowledge about the history of her whenua through the work of early colonial scientists.     \n  \nAs interest in the regeneration of indigenous species around Aotearoa increases, more questions and challenges come forward. After European arrival in New Zealand, exotic species soon outnumbered indigenous ones. Wetlands were drained, bush and tussock land was cleared. But contemporarily, the reality is more complex than native = good; exotic = bad. Many of our introduced flora have provided new habitats for native birds; pine and eucalypt forests are useful for capturing carbon and acting as nursey trees for native seedlings; and much of New Zealand’s agricultural economy is based on exotic flora. The categorisation of plants into ‘invasive’ or ‘weed’ is complicated, a question that is considered by other artists in this exhibition.   \n  \nNew Brighton artist Melissa Mcleod's artwork *New Days (168/365)* focusses on a little-known coastal daisy. The Gazania is a plant familiar to local coastal locations such as New Brighton and Birdlings Flat. It is grown purposefully in gardens and on verges in these coastal communities while at the same time being defined as a noxious weed. As a result it is often victim to large-scale eradication attempts. Upstairs, *Convolvulus Diaries* by Ōtautahi artist Zina Swanson draws attention to another exotic species often described as a difficult to control 'bindweed'. Zina uses the traditional documentation and display methods of botanists to highlight the physical characteristics of the plants and their flowers, elevating their status within this new context.    \n  \nIn *As far as the eye can reach*, Ngāi Tahu photographic artist Conor Clarke considers domestic relationships with plants in her collaborations with members of Selwyn's Blind and low vision community. Descriptions from her collaborators inform a photographic image made by Conor, which are then printed with braille and accompanied with audio versions of their original descriptions.    \n  \nFinally, Te Kāhui Hono, a collective of local weavers who whakapapa to different iwi around Aotearoa, return to Manaaki Whenua, this time engaging with a living collection of harakeke. Manaaki Whenua is kaitiaki of a collection of traditional weaving varieties of harakeke donated by Rene Orchiston of Gisborne in 1987 as well as the Provenance Collection, made up of specimens collected from more remote locations. In *He Taonga Mutunga Kore* individual weavers from this collective have each utilised the varieties of harakeke from the whenua they whakapapa to. Together, their contributions highlight the significance of harakeke to the wellbeing of Māori culture – historically and contemporarily – harakeke being an essential commodity in its role as clothing, sandals, containers, mats, fishing nets, lines and sails, traps and cordage, and adornment.    \n  \n*Herbarium* will invite audiences to think critically about the plant life they engage with on a daily basis, and the impact that our botanical collection histories, language, and growing environmental awareness has on what we value. 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grayscale(100%);\n}\n\n.touchscreen-menu-items a p {\n  text-transform: uppercase;\n  margin: 0;\n  font-family: \"DIN2014\";\n  width: 600px;\n  padding: 10px;\n  color: #231f20;\n  white-space: nowrap;\n  position: absolute;\n  bottom: 0px;\n  background-color: rgba(208, 210, 211, 0.8);\n  height: 50px;\n  text-align: left;\n  bottom: 3px;\n}\n\n.touchscreen-text {\n  transition: 1s;\n  position: relative;\n  left: 0;\n  z-index: 100;\n}\n\n.touchscreen-text-slide-out {\n  left: -1920px;\n}\n\n.touchscreen-text h1 {\n  font-size: 160px;\n  margin: 0;\n}\n\n.touchscreen-text h3 {\n  font-size: 32px;\n  font-weight: 200;\n  padding-left: 20px;\n}\n\n.menu-page-items {\n  height: 760px;\n  position: relative;\n}\n\n.with-sidebar .menu-page-items {\n  height: 870px !important;\n}\n\n.vertical-align {\n/* Center slide text vertically */\n  <COMMENTFIX>\n\n\n  display: -webkit-box;\n  display: -ms-flexbox;\n  display: -webkit-flex;\n  display: flex;\n  -webkit-box-pack: center;\n  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hidden;\n  top: 20px;\n/* padding-bottom:100%; */\n  <COMMENTFIX>\n}\n\n\n/* default styles so shuffle doesn't have to set them (it will if they're missing) */\n.my-shuffle {\n  position: relative;\n  overflow: hidden;\n}\n\n/* Ensure images take up the same space when they load */\n/* https://vestride.github.io/Shuffle/images */\n.aspect {\n  position: relative;\n  width: 100%;\n  height: 0;\n  padding-bottom: 100%;\n  overflow: hidden;\n}\n\n.aspect__inner {\n  position: absolute;\n  top: 0;\n  right: 0;\n  bottom: 0;\n  left: 0;\n}\n\n\n/* img {\n  display: block;\n  width: 100%;\n  max-width: none;\n  height: 100%;\n  object-fit: cover;\n}  */\n\n/* Small reset */\n\n*,\n::before,\n::after {\n  box-sizing: border-box;\n}\n\nfigure {\n  margin: 0;\n  padding: 0;\n}\n\n.menu-page-items-container {\n  overflow-x: auto;\n}\n\n.fancybox-toolbar {\n  visibility: visible !important;\n  opacity: 1.0 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font-size: 80px;\n    font-weight: 900;\n    color: #00000033;\n}\n\n\n.grid-icon p {\n    text-transform: uppercase;\n    margin: 0;\n    font-family: 'Atlas Grotesk';\n    font-size: 14px;\n    width: 100%;\n    padding: 10px;\n    color: #231f20;\n    white-space: normal;\n    position: absolute;\n    bottom: 0;\n    background-color: rgba(208, 210, 211, 0.9);\n    min-height: 50px;\n    transition: opacity 0.25s ease-in-out;\n    opacity: 1;\n    bottom: 0;\n    position: absolute;\n}\n\n.touchscreen-text h1 {\n    font-size: 72px;\n    display: none;\n    color: #ffffff;\n}\n\n.touchscreen-pageDL01 .touchscreen-text h3 {\n    font-size: 36px;\n    font-weight: 300;\n    color: black;\n    padding-left: 0px;\n}\n\n.touchscreen-pageDL03 .touchscreen-text h3 {\n    font-size: 36px;\n    font-weight: 300;\n    color: black;\n    padding-left: 0px;\n}\n\n\n.menu-page-icon-container h1, .touchscreen-menu-items-container h1 {\n    width: 900px;\n    min-height: 2em;\n    margin-bottom: 60px;\n}\n\n.page-container {\n    margin: 0;\n    padding: 52px 100px 0;\n    position: relative;\n    height: 100%;\n    background: #ebebeb;\n}\n\n\n\n.menu-page-items-container {\n    margin-top: 300px;\n    overflow-x: auto;\n    width: 1300px !important;\n    height: 560px;\n    overflow-y: hidden;\n}\n\nh5 {\n      font-family: 'Atlas Grotesk';\nfont-weight: 350;\n  font-size: 85%;\nmargin-top: 10px;\nmargin-bottom: 10px;\n}\n"}},
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