A Journey Through Whakairo: My Final Pou Assignment 2024

Creating my final whakairo assignment has been an experience of deep reflection, learning, and connection. The task was to design and carve a pou, and I originally envisioned it as a self-portrait with a manaia as a kaitiaki. At first, the manaia was meant to represent a period of growth and resilience during my teenage years. However, the sudden and heartbreaking passing of my beloved uncle, our kaumātua Te Ihi Tito, profoundly shifted my whakaaro for this piece.

The manaia on my shoulder now stands as a tribute to my uncle, acknowledging his guidance and wisdom. During my time learning about our local history, mātauranga Māori, and whānau whakapapa, he was a constant source of inspiration and knowledge. This pou became a way to honour his legacy and the impact he has had on my journey.

The tongue of the wheku symbolises my passion as a kaiako of Toi Māori. It reflects my love for teaching and sharing the artistry, stories, and cultural significance of our taonga tuku iho. Teaching is not just my profession but a deep calling, and this piece celebrates that.

One leg of the pou features a carved fish tail, representing my love for the moana. Ocean swimming and racing are not just hobbies for me but a source of adventure and connection to Tangaroa. The fish tail ties my artistic expression to the natural world and my passion for exploration.

The eyes on the wheku have become a signature element in my whakairo. This style stems from advice I once received from Julianna Hoogeveen, a mentor and talented painter, whose guidance continues to influence my work. These distinctive eyes reflect my unique artistic voice while honouring the wisdom passed down to me.

The material for this piece is equally significant. The pou itself is carved from kauri, a beautiful and resilient wood. To give it the presence of a pou you might find in a whare tūpuna, I decided to add a backboard. This, too, is kauri, upcycled from wall boards of our homestead, once home to my great-grandparents, Huirua and Te Ruihana. The base, a solid kauri piece from an old table crafted by my brother-in-law in the 1990s, is a stunning piece with an intense grain that seems to echo the heart of the kauri tree.

The carving process came with challenges, particularly in understanding how to work with the grain. I learned that respecting the wood’s natural flow made my designs easier to create and more harmonious. Patching the iro (borer) holes in the backboard and finishing the piece with Danish oil added the final touches, enhancing the kauri’s natural beauty and giving it a timeless quality.

In conclusion, this journey has been deeply rewarding. It has not only honed my carving skills but also allowed me to honour my whakapapa, express my identity, and celebrate the legacy of those who have guided me. As a final gesture, I have decided to koha the pou to Mangakahia Area School. It will be presented as an end-of-year prize for the top Toi Māori student, ensuring that this piece inspires others to continue the legacy of Toi Māori.

Creating this pou has been more than an assignment; it has been a journey of self-discovery, remembrance, and connection to my roots. It stands as a testament to the transformative power of whakairo and the enduring legacy of Toi Māori.

Creating a Painted Wheku to Set the Scene for Inspirational Performances

 As part of our kura’s annual junior cultural festival, I had the opportunity to develop a concept that would ensure our staging set the scene for truly inspirational performances. Central to this vision was a painted wheku, a powerful symbol of Toi Māori, crafted to represent our connection to the arts and cultural heritage.

The wheku’s design was inspired by the distinctive forms of Papa Te Warahi Hetaraka, particularly those found on Te Rau Aroha, the whare at Whangarei Girls’ High School. Drawing from his legacy, we incorporated our school colours—teal, dark blue, and black—into the design, creating a bold and meaningful piece that resonated with our kura’s identity.

Positioned in front of a beautiful kōwhaiwhai mural painted by our students, the wheku created a striking and cohesive backdrop for the festival. This combination of traditional and student-created art set the perfect tone, transforming the stage into a vibrant and culturally significant space. The visual impact was undeniable, amplifying the mana of the performances and celebrating the talent and creativity of our students.

This project was more than just stage design; it was a way to honour the artistry of Toi Māori while inspiring our performers and visitors alike. Watching our students and visiting kura come together in this beautifully curated space reminded me of the power of collaboration and creativity to uplift and inspire. Ngā mihi nui to everyone involved in bringing this vision to life!

Poupou

Our next project involves us looking at poupou distinctive to Te Tai Tokereau. A body form typical of Ngāpuhi has a serpentine body with a Ngāpuhi style head. I will try and duplicate the wheku in our last project and look at other features such as fingers and feet.

This is the piece I will be working on: It will be a self portrait telling the story of my first encounter with a kaitiaki when my whānau moved back to the birthplace of my Dad, Tangiteroria way back in 1990. The manaia sitting on my shoulder is Tirarau. I'll be trying to recreate the wheku I just finished carving (project 2)


Ko te mea tuatahi - Dropping the levels using a router.

    
I used a router to drop down the levels of the manaia, back arm and also the tail. I learnt that it was best to router back from the outside so you always had a flat surface to keep the router flat. There were a couple of parts where the router dropped slightly and I just used a flat chisel to smooth it out.

Ko te mea tuatoru - Shaping

I started shaping the head in the same fashion as my wheku. I tried to figure out the grain and made a few mistakes on the left side of the waha so I had to take out some of the right side so it looked symmetrical. The gouge chisel became my best friend.

Planning/sketches

 

Tauira Brief: Pou

 

My Wheku: Mātau

 

Wheku - Mātau

 After working on the practise wheku I felt confident to tackle the larger MDF wheku.  I sketched up the final design and went for it:

My first mistake, was not drawing the waha properly.  A regret that I had to work on fixing later on in the process.  A good lesson for future project.  I think because I knew I was going to have to redraw the pencil lines over and over, I assumed it wouldn't really matter not getting the waha perfect... boy was I wrong.

I kept referring back to my notes that I had written for the practise wheku and grateful for them.  It meant I didn't have to hōhā Tom much.  I appreciated his 'pop ins' to see how I was doing and he gave me great tips along the way.  I often referred back to my practise wheku AND sketches throughout this process.

I slowly worked through the whakangao stage and onto the Āomarama stage of the wheku.  It took quite some time and effort during each of the night classes to try and complete the wheku.  I thoroughly enjoyed the challenges and decided 'yep' I def like carving native rākau as opposed to the MDF.  I notices my chisels were getting pretty blunt also.  I have made it a goal to spend some time learning how to sharpen my whao.  I believe it is the make or break difference to your mahi whakairo.

I am happy with the progress on my wheku.  I hope to have it completed by the end of semester 1.