BAYE RIDDELL

251 PARNELL ROAD HABITAT COURTYARD PARNELL AUCKLAND +64 9 3774832 WWW.PPG.NET.NZ p i e r r e p e e t e r s g a l l e r y

08 May-08 June 2014

SEVEN DAYS

BAYE RIDDELL: SEVEN DAYS

Baye Riddell uses terracotta clay from his family land at Te Puia Springs, and prepares it in ways that reflect his care and respect for this material. Baye has made a range of both glazed and unglazed ware. For large exhibition pieces like ‘Nga Korero a Kawari’, he prefers to leave the clay unglazed so that it can ‘speak for itself.’

In his work Baye explores Christian and Maori themes and the links between them. For Baye, the crucifixion and resurrection of Christ is an expression of Christian belief in Christ’s victory over death. He sees a parallel between this belief and the story in Maori mythology of Maui’s quest for immortality. Gateways are also a central theme in his work, with their symbolic meanings of challenge, decision, and the unknown.

Born 1950, Tokomaru Bay. Baye began his vocation as a ceramicist in 1973. He won a Fullbright scholarship in 1989 and travelled to the USA with colleague Manos Nathon, this visit resulted in ongoing international networks, exchange visits and exhibitions with native American artists and ceramicists. He is co-founder of the group Kai Hanga Uku, Maori Ceramic artists and continues to spread the gospel through his work according to the principles of Christianity and Maoritanga. ”Mine is a simple clay - rugged and spir-itual. My clay I dig from a swamp on ancestral family land and is prepared with care and respect.”

“I dig my clay from family land on the East Coast. Eachpiece is won from the clay and the fire - woodfiring produces subtle nuances in the colour, and is an immediate process also tied to the land. The clay has taken me on a journey over the last 30 years that has been very satisfying and rewarding, taking me to many parts of the world and meeting wonderful people.”

1.

KARANGA-INVITATION (GATEWAY)

1000 x 600 x 400 (depth) mm

2.

TOA I (WARRIOR- BLACK)

600 x 300 x 300 (depth) mm

3.

TOA II (WARRIOR-WHITE)

800 x 300 x 300 (depth) mm

4. SEVEN DAYS 1700 x 2400 x 1100 (depth) mm overall

4. SEVEN DAYS 1700 x 2400 x 1100 (depth) mm overall

5.

PATU (CLUB)

1300 x 450 x 450 (depth) mm

6.

POU (TOTEM)

1400 x 300 x 300 (depth) mm

No 1: KARANGA-INVITATION (GATEWAY)

No 2: TOA IConcepts -Warrior cultureChallenge , defiance, courage, bravery, self sacrificeStrength, honour, integrity

No 3: TOA IIConcepts -Warrior cultureChallenge , defiance, courage, bravery, self sacrificeStrength, honour, integrity

No 5: PATUA weapon …..the striking edge ….innovationWhat are our weapons ….do we use them discriminately? ……offensively or defensively ..or not at all….?Physical, emotional, spiritual weaponry……

No 6: POU A totemic piece signifyingKaitiakitanga - GuardianshipWhanaungatanga – FamilyNoho whenua – occupancy

Also – vulnerability – the figure sitting on the edge

1. KARANGA - INVITATION ( GATEWAY ) $3,500

2. TOA I (WARRIOR- BLACK) $2,250

3. TOA II (WARRIOR – WHITE) $2,750

4. SEVEN DAYS $28,000

5. PATU (CLUB) $4,750

6. POU (TOTEM) $3,500

NO 4 : SEVEN DAYS - TE TIMATANGA (the Beginning) This work refers to the Genesis account of Creation and cross references that perspective with Maori cosmological stories. There are seven pieces depicting the six biblical “days” of creation and the final day of rest. Each piece references corresponding Maori concepts of creation and be-ing. DIMENSIIONS – 1.6 – 1.7 metres high

DAY 1 GENESIS 1:1 – 5This piece cross references the Genesis account of Creation with Maori concepts ofTe Kore (potential) - nothingness, Te Po (the great night) and Te Aomarama ( light, conscious-ness, awareness)

DAY 2 GENESIS 1:6 – 8 The heavens are put in place separate from Earth. As Maori we have the story of Tane separating his parents Rangi and Papa – depicted in the figure upside down pushing Rangi upwards with his feet.

DAY 3 GENESIS 1: 9-13The appearance of dry land from the seas – and vegetation.Maori proverb – People may come and go but the land endures forever - …Toitu te whenua.

DAY 4 GENESIS 1: 14 – 19Creation of the sun, moon and stars.I have referred in this piece to a song composed by one of my tipuna – Tuini Ngawai in which she analogises the constellation Matariki (Pleiades) as the Gospel shedding light on the world and her-alding the season of growth and new life.

DAY 5 GENESIS 1 : 21-23Creation of fish and birdsTwo bird stories on this piece;The first when Maui attempted to gain immortality by turning himself into a lizard and entering into Hine nui te Po ( Goddess of Death ) by way of her vagina to retrieve the mauri ( life force) of man-kind. He had warned the birds to be silent whilst he attempted this feat lest they awakened Hine nui te Po. However Piwaiwaka the fantail could not restrain himself at the spectacle and burst out laugh-ing. Hine nui te Po awoke and crushed Maui to death between her thighs.The second when Jesus is being baptised by John and the Holy Spirit descends on Him in the form of a dove. In short Jesus was sent to pay the sacrificial utu (price) that we might have eternal life. On the reverse side of the piece a Maori proverb relating to warriorship –“Kia mate rite tonu I te ururoa – ehara I te terakihi”Die fighting like the shark – not like the terakihi which gives up easily.Ie we should not give up fighting for those things we believe in.

DAY 6 GENESIS 1:24-31Creation of the animals and mankind In the biblical account the first human - Adam - is created from the dust of the earth and God breathes life into him. In the Maori account Tane creates the first human – Hine ahuone from the clay of the pool Kurawaka and breathes life into her.….he tangata, he tangata ….tihei mauri ora!- The essence being ..I breathe ..I am alive!

Day 7 GENESIS 2 :2-3Day of rest – “ .. it is good”Alpha and Omega – I Am - the beginning and the end.