Emily Parr https://emilyparr.co Emily Parr Thu, 01 Aug 2024 05:12:42 +0000 https://emilyparr.co en cosmospheres http://emilyparr.co/cosmospheres Thu, 01 Aug 2024 05:12:42 +0000 Emily Parr 453879  cosmospheres 2024 <img width="3750" height="2500" width_o="3750" height_o="2500" src_o="https://cortex.persona.co/t/original/i/b46ee00183b5f92707614aa2101b701e47064d936f3670c3517b8e079217f616/_T3A7227.jpg" data-mid="1373373" border="0" /><img width="3750" height="2500" width_o="3750" height_o="2500" src_o="https://cortex.persona.co/t/original/i/986bcb658fcc69d46d591e0d602db6e6aa727c0bb3a66004d24ce0a1f322671d/_T3A7243.jpg" data-mid="1373374" border="0" /><img width="3750" height="2500" width_o="3750" height_o="2500" src_o="https://cortex.persona.co/t/original/i/c9fb3b14563d01e134c569cf9bff2287d8eec76b1f7acbd0cb3fe341898f64fb/_T3A7244.jpg" data-mid="1373375" border="0" /><img width="3750" height="2500" width_o="3750" height_o="2500" src_o="https://cortex.persona.co/t/original/i/058ca0e28260ea8416391ea7ebbc1992101fb4128f30cd2c2f66337265fbe976/_T3A7262.jpg" data-mid="1373376" border="0" /><img width="3750" height="2500" width_o="3750" height_o="2500" src_o="https://cortex.persona.co/t/original/i/f635da2449dd0483eec2f37fa94a9a4bea33c94ba452d86ff317072e1c0dce04/_T3A7266.jpg" data-mid="1373378" border="0" /><img width="3750" height="2500" width_o="3750" height_o="2500" src_o="https://cortex.persona.co/t/original/i/7c0a1dd418851ed39864cc5d6040228c133809a52ea21b57d48260bd2fca63ac/_T3A7280.jpg" data-mid="1373379" border="0" />Installation view of Cosmospheres:&nbsp;‘Ie Tōga; ‘Ie Tōga (MULI O AIGA);&nbsp;Tanoa Fai’ava;&nbsp;Toki; Māhē;&nbsp;Hoe Parāoa&nbsp;(2024). Dual-channel projection, four-channel audio, 30 min loop.Between the late 19th and early 20th centuries, the Kronfeld Collection was assembled by Gustav and Louisa Kronfeld, a Jewish merchant and a Samoan matriarch. As European empires expanded throughout Moana Oceania and settler and Indigenous worlds collided, the Collection travelled to the Kronfeld family’s home in Tāmaki Makaurau Auckland. Their house, ‘Oli ‘Ula, was named for a garland of fragrant red flowers from the ‘oli tree, once cultivated in Sāmoa. The taonga, measina, and treasures adorned its walls, encircled by this symbolic garland. The Kronfeld Collection is comprised of treasures from Moana Oceania that Gustav Kronfeld purchased, traded, or was gifted; taonga Māori that he purchased in Aotearoa New Zealand; and gifts to the family that were accessioned by Tāmaki Paenga Hira Auckland War Memorial Museum and the Museum of New Zealand Te Papa Tongarewa between 1916 and 1993. In 1939, Louisa Kronfeld gifted around 270 taonga, measina, and treasures of the Collection to Te Papa, then known as the Dominion Museum. As a descendant of the Kronfeld family, my doctoral research into my great-great-grandparents’ Collection seeks to ‘house’ the taonga and measina and enliven their systems of relation. The artworks, or cosmospheres, digitally render taonga and measina from the Collection as three-dimensional point clouds, and immerse them in kaleidoscopic moving-image lifeworlds. Engaging the reparative notion of ‘tuitui’ (sewing, threading, binding), the project proposes that rendering ancestral treasures using contemporary technologies might offer a restoration of relations. Looking to whakapapa and vā as forms of provenance, the artworks bring these treasures out from the basement and ‘into the light,’ and enact the reciprocity of the gift, generations later. The cosmospheres house two ‘ie tōga (fine mats), gifted to the family by Queen Sālote Tupou III and Ratu Sir Kamisese Mara upon Leo Lea‘ega Kronfeld’s death in 1947; a tanoa fai‘ava (kava bowl) attributed to Tupua Malietoa To‘oa Matā‘afa Iosefo, Paramount Chief of Sāmoa from 1900–1912 and Louisa’s relation; a toki (adze) found at Long Bay in the 1930s and held by Samuel Tonga Kronfeld until after his death in 1977; a māhē (sinker) gifted by Sam in 1928 to the Auckland Institute and Museum. 3D scanning of a hoe parāoa (whalebone paddle), purchased by Gustav in Tāmaki Makaurau but originally from Te Tai Tokerau, was not permitted. The rendering of the hoe indicates an echo, an elsewhere presence, an unfinished journey.With thanks to Lauamanu and the Laumua o Tumua o Afega for contributing their weaving to the ‘ie tōga cosmospheres; Rāhana Tito-Taylor (Ngāpuhi-nui-tonu, Ngāti Whātua Kaipara, Waikato Tainui) for his sonic response in the hoe parāoa cosmosphere, and Salvador Brown (Sāmoa, Tuvalu, Gaelic, Norse) for his sonic responses in the ‘ie tōga, tanoa fai‘ava, toki, and māhē cosmospheres. Acknowledgements to Tāmaki Paenga Hira Auckland War Memorial Museum for permission to 3D scan the two ‘ie tōga (1987.700, 52588/52589), toki (1977.88, 26356), and māhē (1928.28, 614812); and the Museum of New Zealand Te Papa Tongarewa for permission to 3D scan the tanoa fai‘ava (FE010512).  cosmospheres 2024 Installation view of Cosmospheres:&nbsp;‘Ie Tōga; ‘Ie Tōga (MULI O AIGA);&nbsp;Tanoa Fai’ava;&nbsp;Toki; Māhē;&nbsp;Hoe... and so we find them all over the universe now http://emilyparr.co/and-so-we-find-them-all-over-the-universe-now Thu, 01 Aug 2024 05:06:36 +0000 Emily Parr 453878  and so we find them all over the universe now 2023 <img width="1915" height="2872" width_o="1915" height_o="2872" src_o="https://cortex.persona.co/t/original/i/75f40a3a4fc54752bf8d88779bc2f0bd3035962a3ab075c7f7abc8e3b8295719/ula-Samantha-Totty--courtesy-Britomart-Association.jpg" data-mid="1373365" border="0" /><img width="2500" height="3750" width_o="2500" height_o="3750" src_o="https://cortex.persona.co/t/original/i/4e3eb7b1e37cf7130d2c08ae4b0d17ced3c8dcb35906c68ffb9fd13ae21047a2/ula-7971_28.jpg" data-mid="1373364" border="0" /><img width="2500" height="3750" width_o="2500" height_o="3750" src_o="https://cortex.persona.co/t/original/i/76bab131edf7ddc2e1f7ea030e538a1f223e53c909b3b9f718e503e436400ba4/ula-7971_27.jpg" data-mid="1373366" border="0" />Emily Parr, and so we find them all over the universe now (2023). Clay, cotton, and stainless steel. Image 1: Samantha Totty, courtesy Britomart Association. Images 2-3: courtesy of the artist.This artwork was commissioned for an external recess of the Hayman Kronfeld Building, the former warehouse of my great-great-grandfather. Gustav and Louisa Kronfeld, a Jewish merchant and Samoan matriarch, migrated to Tāmaki Makaurau in 1890, raising their ten children in nearby Eden Crescent. This ʻula, or necklace, references their family home, which was named ʻOli ʻUla after a sweet-scented red flower. The ʻula is strung with fabric flowers and hand-moulded ceramic beads, which evoke natural forms in Sāmoa, such as shells, seed pods, stones, sand, and coral. There is a flower or bead for every descendant of Gustav and Louisa, and a special bead hangs at the centre for all those yet to come. The artwork takes its name from a reflection by my great-grandfather, Sam, on the familial network extending from Sāmoa to the world. It offers a reminder of the long-embedded stories and presence of Moana peoples in downtown Tāmaki Makaurau.  and so we find them all over the universe now 2023 Emily Parr, and so we find them all over the universe now (2023). Clay, cotton, and stainless steel. Image... exhibitions, publications & responses http://emilyparr.co/exhibitions-publications-responses Thu, 01 Aug 2024 03:42:02 +0000 Emily Parr 453877 recent exhibitions 2025 Tauranga Moana, Tauranga Tangata, Hungahungatoroa Marae)2024 He Kapuka Oneone — A Handful of Soil, Christchurch Art Gallery Te Puna o Waiwhetū The Screening Room (associated with&nbsp;This is the house that jack built), Artspace Aotearoa ‘Oli ‘Ula, Te Wai Ngutu Kākā (PhD exhibition) 2023 Through the time spiral, Nathan Homestead Gallery (solo) Motherland Homeland, Enjoy Contemporary Art Space 2022 At Thresholds, City Gallery Wellington Te Whare Toi Whānau Mārama, Matariki project in Commercial Bay Matariki Ring of Fire, Te Uru Gallery This side or that side, or almost. Standing by., CIRCUIT 2021 ngā rerenga whau, Kū Kahiko The Booth, Gus Fisher Gallery Surfacing, The Physics Room (solo) E Muri Ahiahi, Masterworks Gallery Whānau Mārama, Matariki project in Commercial Bay A Very Different World, Te Tuhi2020 Matariki Master of Visual Art Graduate Show, St Paul St Gallery Speaking Surfaces, St Paul St Gallery Groundwork, the Barrel Store, Corban Estate Arts Centre publications2026 (forthcoming)ANU Press: Vā Moana: Space and Relationality in Pacific Thought and Identity (with A.L. Refiti, A.C. Engels- Schwarzpaul, L. Lopesi, B. Lythberg &amp; A. Walker) Objectspace &amp; Vā Moana: Oceanic Architectural Routes: The Work of Mike Austin (with Albert L. Refiti &amp; Victoria McAdam) 2025Waka Kuaka vol. 134 (2): Mana: Protest in Print (with L.A. Verner-Pula, W. Ieremia-Allan, A. Low &amp; P. Legel) Rangahau Aranga: AUT Graduate Review vol. 3 (1): Stitching, Threading, Binding) 2024Waka Kuaka vol. 133 (1): Reflections on Encountering Aotearoa (with Cora-Allan) 2023Art News Aotearoa Winter Issue: VāPast the Tower, Under the Tree: Twelve Stories of Learning in Community 2021 Art Asia Pacific Issue 122: Toi Tū Toi Ora: Contemporary Māori Art 2020 Lieu Journal: Time Travel, Whatu Aho Rua (with Arielle Walker) Cenotaph Stories, Reflections in the Port: Pandemics &amp; the Moana Cosmopolitan Kei te Pai Press: Te Korekore, Whatuora (with Arielle Walker) selected responses, reviews &amp; interviews Hana Pera Aoake: Between what we see and what we know: Emily Parr’s Through the time spiral: ʻOli ʻUlaBrooke Pou: Not From Fractions, But TidesAlys Longley: This side or that side, or almost. Standing byThomasin Sleigh: A Conversation with Arielle Walker and Emily ParrHuni Mancini: Pushing Up the Skies: A Review of Speaking Surfaces recent exhibitions 2025 Tauranga Moana, Tauranga Tangata, Hungahungatoroa Marae)2024 He Kapuka Oneone — A Handful of Soil, Christchurch Art Gallery Te Puna o... Tāmaki housing works http://emilyparr.co/Tamaki-housing-works Thu, 01 Aug 2024 00:24:14 +0000 Emily Parr 453875  Tāmaki housing works 2016-2017 <img width="1280" height="720" width_o="1280" height_o="720" src_o="https://cortex.persona.co/t/original/i/7df1c1ead08d50a2c7ede757144b169d173e0bc26fe09d2d20974aed14c6d43f/Te-Wai-Mokoia-still.jpg" data-mid="1373356" border="0" />Emily Parr,&nbsp;Te Wai Mokoia (2016). Digital video and sound, 17m 30s. Te Wai Mokoia considers ecology not only in relation to biology, but in relation to a wider understanding of ecology – that of the relationships between people, their whenua, and social and political frameworks. It is centred on a specific ecology, presented through a kōrero between a kuia and her whāngai daughter, both long term residents of Glen Innes. The health of Te Wai Mokoia cannot be separated from its people, a community that is fighting to stay in their homes. Tāmaki is undergoing “regeneration,” a process through which thousands of state housing tenants are being affected. Many residents are refusing to be moved away from their homes – a collective resistance that is taking a huge toll on the community’s hauora. The work considers all that extends from a house – childhood memories, the garden we bury in and grow from, and the environment surrounding it. For residents of Glen Innes, the estuary is a site of resource gathering, of learning and exploration, and a place to foster interconnectedness with nature. Te Wai Mokoia flows through this community as wairua tapu.Te Wai Mokoia was created for and the winner of Uxbridge's 10thEstuary Art Awards. The work showed in the subsequent exhibitions at Malcolm Smith Gallery and Fo Guang Shan Temple (Auckland). It is a unique single edition belonging to the Auckland Council.watch&nbsp;<img width="2880" height="1618" width_o="2880" height_o="1618" src_o="https://cortex.persona.co/t/original/i/c0c7f3bb033f42bc9bbeb2b36c35f728a1efbc3bab8f341e286a3c3fc872db38/Te-Aroha-Still-2.png" data-mid="1373357" border="0" /> Emily Parr, Te Aroha (2017). Digital video and sound, 4m 45s.During the occupation of Ioela Niki Rauti’s state house, weekly waiata nights were held to foster whanaungatanga. The collective voices could be heard along Taniwha Street on a Thursday evening, travelling easily because of the empty spaces. The redevelopment is physically dismantling Glen Innes, through the removal of houses by truck or demolition (in this video, 69 Taniwha Street). But in their place stands a different form of community – one that is growing ever stronger. On the day of filming (23/03/17), Niki had again been under a direct threat of eviction. She closed Waiata Club with this:“This has been the hardest day of these last six years. But we’re still here. And we’re still singing.” Glen Innes was undergoing gentrification through the privatisation and sell off of the area’s state housing. Tāmaki Housing Group was formed to resist the evictions of tenants, and the occupation of Niki’s house was part of this resistance. Niki was forced to move out of her home of 30 years in October 2017, and the house was demolished days later. Waiata Club continued. Ngā mihi Tāmaki Housing Group &amp; Waiata Club.watch&nbsp; <img width="2880" height="1621" width_o="2880" height_o="1621" src_o="https://cortex.persona.co/t/original/i/acbf8630114107ca72216cf85c5f578329d4fedc647b649b21be3e8ecc727772/Turangawaewae-still.jpg" data-mid="1373358" border="0" />Yvonne Dainty &amp; Emily Parr,&nbsp;Tūrangawaewae: a Place to Stand (2017). Digital video and sound, 26m.Tūrangawaewae: A Place to Stand&nbsp;begins with a pepeha. The maunga: Maungakiekie, Rangitoto, and Maungarei. The awa: the Tāmaki River. The documentary features Yvonne and her whāngai mother, Rangi, as well as whāea Niki and Rose. They talk about housing in te ao Māori, sharing stories from their past, feelings towards the present, and reflecting on the future.This short documentary was created with Yvonne Dainty for her master's degree.  Tāmaki housing works 2016-2017 Emily Parr,&nbsp;Te Wai Mokoia (2016). Digital video and sound, 17m 30s. Te Wai Mokoia considers ecology not only in relation... Whatu works http://emilyparr.co/Whatu-works Thu, 01 Aug 2024 00:07:36 +0000 Emily Parr 453874  whatu works2019-2021 <img width="1920" height="1080" width_o="1920" height_o="1080" src_o="https://cortex.persona.co/t/original/i/70c87424f8093272f3ba2f918aaf8225be01234a6aac8be08ecdb1b08721c4f4/Still-Arielle-07.jpg" data-mid="1373350" border="0" /><img width="1920" height="1080" width_o="1920" height_o="1080" src_o="https://cortex.persona.co/t/original/i/d3e1362a43b791674fed1edcdfec545b0b875212582821a2851797039725c753/Still-Emily-05.jpg" data-mid="1373351" border="0" />Emily Parr &amp; Arielle Walker, whatuora (2020). Digital video and sound, 12m.Hinekura Smith frames Whatuora as a methodology which “helps us to see ourselves, our past experiences and possible future through decolonising eyes. A Whatuora approach… insists that we actively reclaim and restore, unpick and re-weave, a culturally well and clear vision of our present realities and, importantly, create a vision for the future.”1 There is both tension and wonder in learning about oneself through museums and archives, which hold our ancestors’ taonga but rarely their voices. We must come to know our tūpuna wāhine in other ways.As we both begin the long, slow process of learning to weave, we are in conversation not only with each other, but also with our tūpuna wāhine in te whare pora. In whatuora, we hīkoi to a place our ancestors were simultaneously, Kororāreka. Through kōrerorero, we tease out the threads that brought us together, our connection to whenua as descendants of settler-indigenous relationships, and our belonging to place as women whose ancestors moved across oceans and brought – or left behind – their stories and traditions.We have shared a studio and worked alongside each other for the past year. Our practices have been influenced by this relationship: sometimes converging, always buoying. Whatuora is the first of three parts, a beginning point, from which reciprocal practices and shared haerenga will unfold over several months. Together, we reflect on the passing down of knowledge, the repairing of ruptures, and the bridging of time.1 Smith, Hinekura. "Whatuora: Theorizing “New” Indigenous Methodology from “Old” Indigenous Weaving Practice." Art/Research International: A Transdisciplinary Journal 4, no. 1 (2019): 1-27. http://dx.doi.org/10.18432/ari29393. watch&nbsp; <img width="1920" height="1080" width_o="1920" height_o="1080" src_o="https://cortex.persona.co/t/original/i/9c50edaaf0c40b30c3054c494eb30bf158c6246bee1ba298770003096b931a86/Tongaporutu---0437-1m-9s.jpg" data-mid="1373352" border="0" /><img width="1920" height="1080" width_o="1920" height_o="1080" src_o="https://cortex.persona.co/t/original/i/50e0f751289025e1fe16bafe0fbd3891e859358d16ba5ebe8279e3822d674cea/Tauranga-Moana---1230-2m-18s.jpg" data-mid="1373353" border="0" />Emily Parr &amp; Arielle Walker, whatu aho rua (2020). Digital video and sound, 14m 30s. whatu aho rua, the teina of whatuora, is multiple returns. We journey once more to the places tethering our practices and our selves over the last year: Karekare, Taranaki, Tauranga Moana, Karekare again. Whatu aho rua is gratitude to our tūpuna for their guidance. It is nurturing our wairua, it is finding connection across distances and it is honouring our multiplicity, the many worlds we weave through. It is the closing of a circle, so we may begin another. watch&nbsp; <img width="1920" height="1080" width_o="1920" height_o="1080" src_o="https://cortex.persona.co/t/original/i/990f95bd8c9d4fba68138571a42be9ce0b781f5fb7e622f2bbf3e154925d5adc/still-2.jpg" data-mid="1373354" border="0" /> Emily Parr,&nbsp;Whakamārama: dusk/dawn (Tauranga Moana) (2021). Digital video and sound, 1m.Whakamārama: dusk/dawn (Tauranga Moana) was made for Whānau Mārama, a Matariki project led by Jade Townsend in 2021. The work observes the setting and rising of the sun, acknowledging the cyclical rhythms of Matariki and te taiao. The two moving-images layered through tāniko patterns were filmed on the same stretch of beach in Tauranga Moana at both dusk and dawn. The tāniko patterns — waharua kōpito, aronui and whetū — reference my reconnection with whakapapa, my ancestors’ migration across Te Moana-nui-a-Kiwa, and the Matariki cluster. The work honours Hine-te-iwaiwa, atua wahine of both fertility and weaving, and my tūpuna wāhine.watch&nbsp;  whatu works2019-2021 Emily Parr &amp; Arielle Walker, whatuora (2020). Digital video and sound, 12m.Hinekura Smith frames Whatuora as a methodology which... Maramataka works http://emilyparr.co/Maramataka-works Wed, 31 Jul 2024 05:41:08 +0000 Emily Parr 453865  maramataka works2021-2022 <img width="2160" height="1920" width_o="2160" height_o="1920" src_o="https://cortex.persona.co/t/original/i/1f558d08205b0fb238762b46e434fdd7fdb07fd7c11ab2ec59618e40a07423f0/May-12-13.jpg" data-mid="1373316" border="0" />Emily Parr &amp; Arielle Walker, tōu tauira me tōu kaiako hoki, (June 2021). Digital video, 21m 28s. tōu tauira me tōu kaiako hoki was made during the lunar cycle Haratua, leading up to Matariki. Beginning with the new moon, the Emily Parr and Arielle Walker exchanged videos and text on alternating days. This work was made for Whānau Mārama (2021), a Matariki project by Jade Townsend. Jade also gifted the work’s name.watch&nbsp; <img width="2160" height="1920" width_o="2160" height_o="1920" src_o="https://cortex.persona.co/t/original/i/2145de2eb28b25db4e2b666b204ab07df552e10c6b8c64461611a9aae323c8a6/29-30-Sep-text.jpg" data-mid="1373317" border="0" /><img width="2160" height="1920" width_o="2160" height_o="1920" src_o="https://cortex.persona.co/t/original/i/873831c1b2d8a6e9db5b92346757c68bdf3329e384f341395ad31b7eba66a781/8-9-Oct-text-2.jpg" data-mid="1373318" border="0" />Emily Parr &amp; Arielle Walker,&nbsp;ngā rerenga whau (mahuru), (December 2021). Digital video, 24m 55s;&nbsp;ngā rerenga whau (whiringa-ā-nuku), (December 2021). Digital video, 19m 26s.The film-works in ngā rerenga whau follow two lunar cycles in the Maramataka: Mahuru and Whiringa-ā-Nuku. Beginning with the new moons on September and October 7th, Emily and Arielle exchange a video ‘letter’ on alternating days. Just as the lunar cycle begins in darkness, the exchanges begin without an illuminated pathway; without an expected outcome. As they pass the threads of conversation back and forth, like weaving tukutuku, patterns of spring growth and cyclical processes begin to emerge. The works observe time passing through these rotating cycles and keep two friends connected during rāhui. The seeds sown for journeys imagined over the rāhui continue to bloom in plants gathered from around the Whau during the exhibition, preparing for future dyeing of muka as the seasonal cycles shift again. This muka, extracted from harakeke over many months, will in time be woven into new forms.Mahuru and Whiringa-ā-Nuku were made for ngā rerenga whau, an exhibition at Kū Kahiko curated by Andrea Low and with the support of Moana Fresh.watch mahuru&nbsp;&nbsp; watch&nbsp;whiringa-ā-nuku&nbsp; <img width="2160" height="1920" width_o="2160" height_o="1920" src_o="https://cortex.persona.co/t/original/i/856abfcaf21d49dd48090d2952295fb426e700465278751f17346e5033ad43e7/15-16-May.jpg" data-mid="1373319" border="0" /> Emily Parr &amp; Arielle Walker, haratua (June 2022). Digital video, 28m 52s.Beginning with the new moon of Haratua, the artists exchanged videos and text on alternating days. This work was made for Whānau Mārama (2022), a Matariki project by Jade Townsend.  maramataka works2021-2022 Emily Parr &amp; Arielle Walker, tōu tauira me tōu kaiako hoki, (June 2021). Digital video, 21m 28s. tōu tauira me tōu kaiako... Moana Calling Me Home http://emilyparr.co/Moana-Calling-Me-Home Wed, 31 Jul 2024 04:36:52 +0000 Emily Parr 453864  moana calling me home 2019-2020 <img width="1920" height="1080" width_o="1920" height_o="1080" src_o="https://cortex.persona.co/t/original/i/0a3b5cd241da292e587c3535178f4d0e9b95148488524c451c92e97489244f10/Sleeping-Tides-still-9.jpg" data-mid="1373355" border="0" />Emily Parr,&nbsp;Sleeping Tides (2020). Digital video and sound, 8m 35s. <img width="1920" height="1080" width_o="1920" height_o="1080" src_o="https://cortex.persona.co/t/original/i/946c841827950674b0894755250ccd155507deb9f927591f138b8689bc09fb89/Oli-Ula-04.jpg" data-mid="1373311" border="0" />Emily Parr, ʻOli ʻUla (2020). Digital video and sound, 12m 28s. <img width="1920" height="1080" width_o="1920" height_o="1080" src_o="https://cortex.persona.co/t/original/i/1f7a576ff58795c8a73bfcee93e42489c29168120f0710c71fdfc5ef8e3edabc/Digging-at-the-Roots-still-10_2_2.jpg" data-mid="1373312" border="0" /> Emily Parr, Digging at the Roots&nbsp;(2020). Digital video and sound, 15m 28s. <img width="1920" height="1080" width_o="1920" height_o="1080" src_o="https://cortex.persona.co/t/original/i/99157780a86fe9a8c7221ea5bb125acdba37cc25cedc9b9918cddb8973e25889/Port-of-Refuge-still-13_2.jpg" data-mid="1373313" border="0" />Emily Parr, Port of Refuge (2020). Digital video and sound, 11m. <img width="1920" height="1080" width_o="1920" height_o="1080" src_o="https://cortex.persona.co/t/original/i/c9c21de83ef1cc60d7ae56b13f85d0130e0cf8e171d0d34d3f53d015953053a5/Turangawaewae-still-9.jpg" data-mid="1373314" border="0" />Emily Parr, Tūrangawaewae (2020). Digital video and sound, 21m 42s. <img width="1920" height="1080" width_o="1920" height_o="1080" src_o="https://cortex.persona.co/t/original/i/9a450f9a7a19b8cbfbd72cba098d6edc17da68e56003883f379502ce365741d2/Whakapaparanga-still-3_1.jpg" data-mid="1373315" border="0" />Emily Parr, Whakapaparanga (2020). Digital video and sound, 1m 50s.Moana Calling Me Home is a series of six moving-image artworks. Seeking stories in mountains, burial places, archives, museums, and waters, the works journey to three of my ancestral homelands: Tauranga Moana in Aotearoa, Upolu in the Samoan Islands, and Tongatapu and Vavaʻu in the Kingdom of Tonga. Each story links to another, threading loops through space and time, spinning the web of relationships. Whakapapa—the placing in layers—offers a filmic language through which to connect relational fragments, while storying weaves these layers together into living narratives. Video, sound, drawings and voiceover connect seven generations, from Europe to Moana Oceania, honouring the lives of my tīpuna wāhine and strengthening our collective story. This transformational research project is a haerenga—a journey—of reconnection with whakapapa, with ancestral relationships, and with Te Moananui a Kiwa: the ocean and her islands from which these relationships emerged.  moana calling me home 2019-2020 Emily Parr,&nbsp;Sleeping Tides (2020). Digital video and sound, 8m 35s. Emily Parr, ʻOli ʻUla (2020). Digital video and... Through the Time Spiral http://emilyparr.co/Through-the-Time-Spiral Wed, 31 Jul 2024 04:14:22 +0000 Emily Parr 453863  through the time spiral 2021-2022 <img width="1920" height="1080" width_o="1920" height_o="1080" src_o="https://cortex.persona.co/t/original/i/90d8fbbeee7da3b74e812846d9e24f6ab02fd1706cebf3131f88a519dae595a9/still-8.jpg" data-mid="1373301" border="0" /><img width="1920" height="1080" width_o="1920" height_o="1080" src_o="https://cortex.persona.co/t/original/i/41e442f934aecccd1a9cde9d4490ad0cd3e185c0031a8fb5de76007d33917deb/still-6.jpg" data-mid="1373302" border="0" /><img width="1920" height="1080" width_o="1920" height_o="1080" src_o="https://cortex.persona.co/t/original/i/7d94904982db70190e2d79590aaf9a3d421a62f2edcb27deb72f3047eae182b5/still-7.jpg" data-mid="1373303" border="0" />Emily Parr, Through the Time Spiral: ’Oli ‘Ula (2021). Digital video and sound, 12m 30s. Number nine Eden Crescent is beside a brick wall from which the spring Te Wai Ariki emerges. Until 1976, a beautiful two-storey house with twenty-something rooms, wide balconies and stained-glass windows stood here. The house was named ‘Oli ‘Ula, in reference to the fragrant red flower of the Samoan ‘oli tree. Built in the early 1900s by my great-great-grandparents, Gustav Kronfeld, a Jewish merchant, and Louisa Silveira of Lotofaga, the walls were adorned with measina. ʻOli ‘Ula was a vibrant home for Gustav and Louisa’s ten children and Moana peoples travelling to Tāmaki Makaurau. Through the Time Spiral: ʻOli ʻUla reconstructs this home using a su’ifefiloi methodology, reflecting the Samoan tradition of making flower garlands in which a mixture of flowers are sewn together and strung into a necklace, an ‘ula. The walkthrough is guided by a voiceover assembled from recorded memories of Moe (Gustav and Louisa’s eighth child) and his son Tony. Remaining faithful to their words, I bring them into the present tense and link their memories with my own words — stringing the flowers into the ‘ula. During the First World War, Gustav was interned on Te Motu-a-Ihenga under suspicion of aiding the Germans, spending several years separated from his family. Among my family’s archive from this period are messages that travelled between postal censors and military authorities; the family and the government; the island and ‘Oli ‘Ula. The work imagines Te Wai Ariki as a witness to these unfolding histories, and a portal into a time spiral. <img width="1920" height="1080" width_o="1920" height_o="1080" src_o="https://cortex.persona.co/t/original/i/b9103ef1242a3594c15d566d3fc7badb21513bd29305691e1c92e4e9a2aea3ff/Te-Muri-I---still-2.jpg" data-mid="1373305" border="0" /><img width="1920" height="1080" width_o="1920" height_o="1080" src_o="https://cortex.persona.co/t/original/i/6f024321845f77e50fafec1ee5951796347dff7d45500bc6e8c8611353882815/Te-Muri-I---still-3.jpg" data-mid="1373304" border="0" /><img width="1920" height="1080" width_o="1920" height_o="1080" src_o="https://cortex.persona.co/t/original/i/e935f6fcbf52aa6a46a77005e08d04cade56e223603d47e9841d145e840ac127/Te-Muri-I---still-4.jpg" data-mid="1373306" border="0" />Emily Parr, Through the Time Spiral: Te Muri I&nbsp;(2021). Digital video and sound, 5m. Through the Time Spiral: Te Muri I revisits camping trips my family made to a small bay on the Mahurangi Peninsula during the early 1900s. Te Muri is only accessible by foot across a stream at low tide, and in this work, the tidal stream is imagined as the threshold to a time spiral. Drawing on my family’s archival material, I re-tell stories that were recorded by the campers as they pose for photographs in fields and on the beach. My great-great-grandparents, Gustav and Louisa Kronfeld, made these trips over many summers with their children in tow. They were joined by family visiting from Sāmoa, girls in their care from the Islands, and other families who share similar stories of cultural multiplicity and mobility. These trips manifest their expansive web of relations across the moana, which they continued to nurture after migrating to Aotearoa.watch&nbsp; <img width="1920" height="1080" width_o="1920" height_o="1080" src_o="https://cortex.persona.co/t/original/i/ec12b875d66f5a2b2338ba11734cab9159bbd41dae70305e08d81f2d9d8784c3/Te-Muri-II---still-Emily-2.jpg" data-mid="1373308" border="0" /><img width="1920" height="1080" width_o="1920" height_o="1080" src_o="https://cortex.persona.co/t/original/i/6176fa45b12d906bfd2507d5dc2a7367b8316035ffafc950ff894c6f6066e1dc/Te-Muri-II---still-David.jpg" data-mid="1373307" border="0" /><img width="1920" height="1080" width_o="1920" height_o="1080" src_o="https://cortex.persona.co/t/original/i/4c0bf396075fc5ee52ba443987352672e40d3338f25a73692768eaebbb83481b/Te-Muri-II---still-D-arcy.jpg" data-mid="1373309" border="0" />Emily Parr, Through the Time Spiral: Te Muri II&nbsp;(2022). Digital video and sound, 1m.In Through the Time Spiral: Te Muri II, I sit near my great-great-grandmother, Louisa Kronfeld. My brother, D’arcy, is beside our nana, Tui; our great-grandfather, Sam Kronfeld; and Sam’s brother-in-law, Otto Wolfgramm. My father, David, stands with his great-grandfather, Gustav Kronfeld.  through the time spiral 2021-2022 Emily Parr, Through the Time Spiral: ’Oli ‘Ula (2021). Digital video and sound, 12m 30s. Number nine Eden Crescent is... Home Page http://emilyparr.co/Home-Page Mon, 17 Aug 2015 23:34:03 +0000 Emily Parr 278675 emily parr cosmospheres and so we find them all over the universe now through the time spiral moana calling me home maramataka works whatu works tāmaki housing works exhibitions, publications &amp; responses  Emily Parr (Ngāi Te Rangi, Moana, Pākehā) is an artist/researcher living in Tāmaki Makaurau, Aotearoa (Auckland, New Zealand). Her moving-image practice explores relational ecologies of Te Moananui-a-Kiwa. Emily’s master’s body of work on settler-indigenous relationships traverses oceans and centuries, seeking stories in archives and waters on haerenga to her ancestral homelands of Tauranga Moana, Sāmoa, and Tonga. Her recent doctoral research considers the responsibilities she has inherited through her ancestral legacies and, in particular, to her family’s collection held by museums. Emily is a Postdoctoral Fellow with the AUT Vā Moana Research Centre and a Lecturer in the School of Art + Design. She received a 2024 Arts Foundation Te Tumu Toi Springboard Award and a 2025 Samoa House Library Research Residency. emily parr cosmospheres and so we find them all over the universe now through the time spiral moana calling me home maramataka works whatu works tāmaki...