Topic: A9: Pukehinahina Kore Ake by Miriam Ruberl

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A9: Pukehinahina Kore Ake by Miriam Ruberl is a wild clay/pigment work painted onto stretched Belgian Linen entered into the adults division of the Battles of Gate Pā/Te Ranga Art Competition (2014). Sale price $500.

A9: Pukehinahina Kore Ake by Miriam Rubel 

Commemoration is generally understood as an action or fact of recalling or honouring a dead person or past event, to serve as a memorial or reminder and an effort to make the public aware.

Commemorations in terms of public awareness are also very much about essences and valued principles that endure. In the case of these particular commemorations, I feel these enduring elements are not so much in the persons of the individuals involved, but in the land, in man-made boundaries and the conflict they invite, and that crucial human requirement, water.

Hence the larger red area signifies the land at Pukehinahina, the comings and goings of peoples over it, and their varied concepts of ownership thereof.

Top right area again indicates the land, the essential components of manmade utensils (the dented nail can in which water was carried to the wounded), and water itself, of paramount importance to the health of the land, and the most mentioned element of the history we are given today.

Bottom right signifies both the fence and the gate from which Gate Pa gets its current name, and the Maori fortifications. It also points to the disparity in weaponry used, and the Hinahina/Mahoe trees from which the hill/battle site got its name, and of which there is no longer any trace in the area.

About the title: The phrase Kore Ake/No More indicates ideas of enough, adequacy, ampleness, abundance, as much... as necessary, the necessary amount, to the required degree or extent, adequate for the want or need; sufficient for the purpose or to satisfy desire. The phrase has a long history of association with protests against injustices, and war. Aotearoa has a history of pacifism as long as it has been peopled, of groups seeking ways other than aggression to resolve conflicts of belief and interest.

“No more” is also used to indicate absence, endings, void, loss, death, as with the modern absence of any Mahoe at Pukehinahina.

About the materials: This work is made of two types of wild clay/pigment personally harvested in the Bay of Plenty, Kokowai (red ochre) and Diatomite, painted on to stretched Belgian Linen.

Miriam Ruberl

16 April 2014

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A9: Pukehinahina Kore Ake by Miriam Ruberl