Category Archives: Exhibitons Currently Touring

Nga Hau Ngakau
Ki te tangi a te manu e karanga nei
“Tui, tui, tuituia!”
Tuia i runga, tuia i raro, tuia i roto
Tuia i waho, tuia i te here tangata

Luminous paintings, intricately carved taonga puoro and beautiful music are woven together to form the extraordinary exhibition Nga Hau Ngakau (Breath of Mine). A collaborative installation between Robin Slow, Brian Flintoff and Bob Bickerton, this exhibition uses painting, sculpture and sound to explore the ideas of harmony, memory and storytelling. The sounds are arranged and recorded by Bob Bickerton with vocals and other taonga puoro by Ariana Tikao, Holly Weir-Tikao and Solomon Rahui. This collaborative art work is the result of decades of friendship and community service to the communities of Te Tau Ihu o te Waka a Maui (the top of the South Island) and beyond. Their enduring relationship and shared philosophies are central to the concept of the exhibition and encourages viewers to consider their individual and collective identities, and, relationship to the environment.

Nga Hau Ngakau is an exhibition that evokes the form of the whare whakairo. This whare is dedicated to birds and named in honour of their song. This wharenui is principally a teaching space, informed by the artists’ respective, and extensive, careers in education. The exhibition includes images, sculptures and audio-visual representations of bird ancestors—each displaying their individual characters and exploring their respective mythologies. The paintings of Robin Slow are arranged to construct the architecture of the whare whakairo. Brian Flintoff’s taonga puoro represent the carving found in a whare whakairo. The waiata (song) and korero (narrative) that enlivens a whare whakairo occupied by people is provided by the soundscape of Bob Bickerton, incorporating bird song and recorded performances of taonga puoro. In this whare, the stories of nga manu can be told, lessons gained, and, further dialogue on the following subjects may be stimulated:
Whakapapa (geneaology)
Kaitiakitanga (guardianship)
Whanaungatanga (family and community relationships)
Maramatanga (awareness and understanding)
In Maori mythology manu (birds) are messengers that connect the physical and the spiritual realms. They fill the gallery not only through Robin Slow’s gleaming paintings but also in Bob Bickerton’s sound scape and Brian Flintoff’s carvings and taonga puoro (musical instruments). The exhibition acknowledges birds as atua tangata whenua—the original ancestors of these islands—who bear witness to our lives in this country. By honouring the ancient whakapapa (genealogy) of nga manu, this exhibition offers a different perspective to consider contemporary human experience in Aotearoa.
Creating bridges across space and time, the works in Nga Hau Ngakau break down the barriers between past and present through the overlapping of traditional and contemporary tools and techniques to reflect the continuum on which we exist with our world and our history. Stone and bone meet acrylic paint and gold foil to create a space inside and outside of time. Using kowhaiwhai as a base, the spiralling forms echo the cyclical relationship we have with the past.

Robin, Brian and Bob say of the installation
“Our kaupapa has been to work together, using painting… carving… music… to bind narratives that celebrate the forms and histories of the whenua (land). These narratives can be expressed by a spiral, kowhaiwhai, a bird’s song, a carved form, a woven kete – any symbol that may help reflect the saying, ‘Plait the rope that binds the past to the future’ ”.


Education, tours and performances
This exhibition is very appealing to education providers, in particular for LEOTC- all levels (curriculum linked education pack available); tertiary including Te Reo and English language; groups e.g. kapa haka, and for tours- tourists, clubs etc.
The artists are all from educational backgrounds, are effective communicators, and can play the taonga puoro featured in the exhibition.
Various performance options are offered in association with the exhibition ranging from a presentation in the exhibition space to a cinematic concert performance

The Artists
Ko Parapara te maunga
Ko Mohua te taki wa
Ko Te Tai Tapu te moana
Ko Te Waikoropupu te awa
Ko Onetahua te marae
Ko Te Ao Marama te whare
Ko Te Whanau o Mohua

Ko Robin Slow toku ingoa.
Robin Slow is an artist and educator. Robin was born in Blenheim (Wairau) and has lived and worked throughout Te Wai Pounamu as an art teacher. He undertook a Diploma of Teaching with an art major at Christchurch Teachers’ College going on to work in Christchurch, Twizel and Golden Bay. As the art teacher at Golden  Bay High School in Takaka for thirty-one years, Robin has taught generations of students of this region. Since 1991, Robin and his wife Rose, have worked as part of Te Wh?nau o M?hua to establish Onetahua Marae at Pohara, Mohua/Golden Bay. Robin was tasked with the design and layout of this innovative koru-shaped whare whakairo. In recent years, he has committed to full-time art practice with regular solo exhibition at galleries around Aotearoa. A recent highlight was designing and producing etched wooden k?whaiwhai pou (posts) that run through the foyer of the redeveloped Suter Art Gallery Te Aratoi o Whakatu along with motifs for the marae atea.

Brian Flintoff
Brian Flintoff is a carver and educator. He is a member of Te Haumanu, a group dedicated to the revival of taonga puoro, Maori musical instruments. Support and guidance from the Maori community has been the greatest influence and inspiration for his carving. He considers the most satisfying acknowledgement of this work is to have these accepted by many marae throughout Aotearoa, most prominently, at Onetahua marae in Golden Bay. His contribution to the revival of taonga puoro was recognised with the award of a Queens Service Medal in 2010, with his nomination supported largely by Maori.
In his work he aspires to the standards established by the ancestral artists, who strove for excellence in order to please the spirit world. An absorbing interest in the art of the West Coast Canadian First Nations people led him to research animal forms in Maori Art. This remains a focus through which he can express his love of, and concern for, nature.

Bob Bickerton
Bob Bickerton has a long history in the New Zealand music industry as a performer, educator, sound engineer and manager.
As a performer in schools, he presented education programmes, which included taonga puoro, to over 300,000 students around the country over a 30 year period.
His interest in the traditional instruments and enthusiasm to explore and record their sounds resulted in him working closely with Richard Nunns on a number of projects including Green Fire Islands and North South (also with Glenn Colquhoun), and several film scores for Kathleen Gallagher which also featured Aroha Yates-Smith. Bob was appointed as a Member of the New Zealand Order of Merit in the 2015 New Year’s Honours list for services to music.

Nga Hau Ngakau is the third collaborative exhibition produced by these artists.

Ariana Tikao, Holly Tikao-Weir, and Solomon Rahui
These whanau members add their expertise to Bob Bickerton in voice and with taonga puoro and combine songs they have created with others by Hirini Melbourne and John Poututerangi Stirling.

Ariana Tikao is a composer and performer of waiata in te reo Maori and English, as well as an exponent of taonga puoro. Ariana began writing waiata in the Kai Tahu dialect while studying at Otago University in the early ‘90s and started performing in 1993 with the folk group, ‘Pounamu’. She started her solo music career in the early 2000s and has become well known for her engaging live performances and critically acclaimed recordings. She has released three solo (Whaea, Tuia, and From Dust to Light), two collaborative albums, and several music videos, one of which (for her waiata ‘Tuia’) won an international award at the imagiNATIVE film + media festival in Toronto in 2009.
In 2015 Ariana was a soloist with the APO at the Auckland Arts Festival performing koauau and singing a karakia for Kenneth Young’s ‘In Paradisum’. She co-composed with Philip Brownlee, the first concerto for taonga puoro, ‘Ko te tatai whetu,’ which she also performed with the CSO for its world premiere in June 2015 and again with Stroma in 2017. The concerto was based around a traditional moteatea, which relays a southern version of the story of Hinetitama and Tane. In 2016 Ariana was a featured singer in John Psathas’s epic international collaboration ‘No Man’s Land’.

Holly Tikao-Weir
Ko Rapaki ratou ko Onuku ko Wairewa ko Koukourarata nga marae
No Horomako ia (Banks Peninsula)
Ko Kai Tahu ratou ko Kati Mamoe ko Waitaha, ko Kahungunu nga iwi
Ko Ngati Wheke, ratou ko Irakehu, ko Kai Tarewa nga hapu

Holly has completed a degree in Maori performing arts and has performed with the Kahurangi dance company. She was a professional performer and tour guide at Nga Hau e Wha marae and was a performer for the Tamaki village in Ferrymead in Christchurch. She has Performed with various kapahaka groups that have competed at Te Matatini and as well as kapahaka, she has performed as a vocalist with Ariana Tikao and Richard Nunns. She had recently recorded a whanau CD with Bob Bickerton.

Solomon Rahui
Ko Arowhenua raua ko Te Huinga o te Kura nga marae
Ko Tuhoe ratou ko Kai Tahu, kati mamoe ko Waitaha nga iwi
Ko Kati Huirapa raua ko Ngai Tama Tuhurae nga hapu

Solomon is a highly experienced performer and teacher of Maori performing arts and as well as featuring at Nga Hau e wha marae, has performed kapahaka at Te Matatini. He has performed with Ariana Tikao and Richard Nunns and has recorded a whanau CD with Bob Bickerton.

Public Programmes – Education

  • Exhibition is highly appealing and relevant for education providers: for LEOTC years1-13; tertiary- including Te Reo; English as a second language
  • Educational materials: LEOTC programmes that ran at The Suter plus extensive artists’ working sketches, stories, notes are available
  • An additional offering is to arrange a performance of the highly acclaimed presentation by  Ariana Tikao, Bob Bickerton, Holly Tikao-Weir and Solomon Rahui. the musicians who created the video in put the booklet together, playing and singing with the video as a backdrop.

Audio visual

This video gives an overview of the exhibition as it was presented at the Suter gallery

This is the video which is played as an integral part of the exhibition.



The exhibition Nga Hau Ngakau has been one of the most successful publicly enjoyed shows held at The Suter Art Gallery in the last decade.  From the opening night where the crowd overflowed the gallery, the show entranced people who returned again and again to receive more from its gifts.
These were not simply displayed art works sitting singularly to be viewed one after another but rather one complete enveloping installation that immersed the visitor in its world of dark glowing paintings, complex carved taonga puoro and beautiful music.
It certainly did not feel as if it had been curated by a single mind but rather its elements had grown together into an inviting room or better still “womb” of energy that evoked timeless forces of nature.
Craig Potton, Photographer, Publisher, Chairperson Suter Art Gallery 

It is nearly fifty years now since I first engaged with the creative genius of Brian Flintoff and I have observed with affection the gentle trajectory over which his art has evolved through those years. A major feature of that evolution has been his capacity to associate  his work with the creative endeavour  of others – in pounamu and other stone, in music both -traditional and contemporary . This gift for collaboration reflects a respect for other creativities and sets aside solitary artistic egotism in favour of a joyous explosion of variant insights fuelled by a surging generosity of spirit.
This exhibition, ‘Nga Hau Ngakau’, reflects the capacity of a group of friends to manifest a creative totality greater than the mere sum of the whole. The music of Ariana and her whanau, Bob’s music and its associated images, are all framed against the uncompromising presence and raw  power of Robin’s paintings. Brian’s smaller treasures adorn the breast – truly, as the title suggests, – a new way of breathing!
Ta Tipene O’Regan.  Vice chancellor (Maori) University of Canterbury, former chairman Ngai Tahu Maori Trust Board

“Bob Bickerton’s music for the Nga Hau Ngakau exhibition reflects the depth of experience he has with taonga puoro. Bickerton has worked closely with Richard Nunns, whose pioneering work alongside Brian Flintoff and the late Hirini Melbourne was in large part responsible for the extraordinary contemporary renaissance in the use of taonga puoro in many genres of music.

In this exhibition three artists in painting, sculpture and music take the viewer on a journey through a magical world of image and sound, reflecting their kaupapa of collaboration and a deep respect for the avian subject matter. The bird calls, through evocative sound and music are beautifully integrated with the paintings and the intricately sculpted instruments by Flintoff, one of Aotearoa’s most respected makers of taonga puoro.”
Elizabeth Kerr. Music writer and broadcaster 

Artistic and heartfelt experiments with matauranga Maori continue to grow with the work of dedicated artists Brian Flintoff, Bob Bickerton and Robin Slow with support from Ariana Tikao and whanau. An indigenous approach to life has much to offer us – a soulful way of being in the world, deep connections with natural world environments, an holistic engagement with life. I commend the ongoing commitment of these artists to this pathway – particularly Brian Flintoff who has been at the forefront of the renaissance of taonga p?oro for many years. Long may this adventure continue.
… go see ‘Nga Hau Ngakau’, breathe it in, experience it, love it.
Te Ahukaramu Charles Royal. Researcher and consultant on indigenous knowledge

Tena Koutou,
From 2 December 2017 until 20 January 2018 the Aigantighe Art Gallery had the privilege of hosting the exhibition, Nga Hau Ngakau. The exhibition wove together paintings, carvings, and music in an immersive installation. The artists portrayed sounds and markings to celebrate the forms and histories of the whenua and manu  – creating artworks that symbolise aspects of events and people in our histories, while also reflecting on where we are in this moment.
The exhibition was extremely well received by the community and our visitors -during the time of its display, the Gallery received over 2500 visitors during the seven-week period. Many visitors praised the exhibition, some describing it as ‘beautiful’ or ‘breath taking’, and one visitor described the exhibition as a ‘timely reminder of the importance of the natural world we live in and our responsibility to care for it’.
Overall, the exhibition appealed to a wide audience, but also provided a gateway for visitors to consider the importance of whenua, manu, and taonga puoro in Maori and New Zealand Culture.
The exhibition also provided a wonderful opportunity to work with the local tangata whenua. In the lead-up to, and during the course of, the exhibition, the Gallery engaged with Te Runanga o Arowhenua (the principal Maori kainga of South Canterbury) who praised the exhibition and were very supportive of the artists, exhibition and the Gallery.

Throughout the whole exhibition process, the artists, Robin Slow, Brian Flintoff, and Bob Bickerton, were professional, timely and a joy to work with. I fully endorse Nga Hau Ngakau to any cultural institution who is considering hosting the exhibition. 
Hamish Pettengell
Curator, Acting Art Gallery Manager 

Nga Hau Ngakau is a multi-disciplinary collaborative touring exhibition which features paintings by Mohua based artist Robin Slow, taonga puoro made by master carver Brian Flintoff and a soundscape produced by Bob Bickerton. The kaupapa which explores aspects of Te Ao Maori is a hikoi where the artists explore the concept of personified manu (birds) to tell human stories old and new through visual, tactile and sonic elements. The work opened Te Awahou Nieuwe Stroom in Foxton in December 2018 with a moving ceremony that included the creative team and live musicians.
Rose Campbell. Creative NZ

Please direct expressions of interest to:
Mark Roach
Exhibition Services Tours
027 4998952

Artists contacts:
Brian Flintoff:
Bob Bickerton:
Robin Slow:


‘We are each made up of one hundred million million cells, none of which have any idea who we are.’ Marcus Chown

For the past 30 years, sculptor/installation artist Elizabeth Thomson has been drawn to such areas of scientific knowledge as botany, micro-biology, oceanography and mathematics. From there her works take flight, offering a sense of mystery, beauty and the sheer exhilaration of being alive in a universe that is itself living, sentient and ever-responsive.
The works in ‘Cellular Memory’ attest to a career-long commitment to grappling with both natural history and the human condition, fueled by poetic imagination as well as by much research, field-work and long hours in the studio. The result is a body of work which asks some fundamental questions: How does humanity fit within the broader realm of nature? To what extent are we are a part of, or distinct from, our environment?
Spanning three decades, the works in the exhibition have also been shaped by extensive travels in Europe, the Americas, the South Pacific and New Zealand.  Alongside art commissioned for the present project, the exhibition features numerous works created after Thomson’s involvement in the 2011 ‘Kermadec’ art project, which began with a voyage, by Royal New Zealand Navy vessel, from Auckland to Tonga, via Raoul Island. These ‘Kermadec’ works are central to Thomson’s planetary meditation,  just as the ocean itself is the crux of life on Earth.
It is this wider view of life on the planet and beyond that her recent art has continued to explore. To such an end, she often starts with the smallest details—bacteria, blood cells, fish and moth species, or close-up segments of beach or desert. Using sculptural elements as well as photographic processes, Thomson’s work presents fields of visual information in which boundaries between human, flora and fauna are dissolved.
Viewers are exposed to new realms of seeing, feeling, understanding and perhaps even remembering. As human beings, we are familiar with our own patterns of memory, and with motor- or body-memory which allows us to repeat physical movements. The idea of ‘cellular memory’ raises the possibility that memories might be stored in cellular structures. In Elizabeth Thomson’s ongoing conceptual and imaginative engagement with Nature, we begin to recognise the curious intelligence and sensibility of our planet, a many-layered environment of which we are a part.

The Artist

Elizabeth Thomson (born 1955, Auckland) graduated with an MFA from Elam School of Fine Arts, University of Auckland, in 1989. Since then her work has been exhibited widely throughout New Zealand and abroad. A major survey exhibition, ‘My hi-fi my sci-fi’ opened at City Gallery Wellington in 2006 then toured nationally. Based in Wellington since 1991, she works in a converted factory in the suburb of Newtown.

The Exhibition

Cellular Memory has been curated by Gregory O’Brien. The exhibition was originally comprised of 22 works ranging in a variety of compositions (multiples) and mediums.
There are a number of large installation works that demand substantial wall space and artist participation/oversight. These works are still mostly available for tour, however to make the exhibition more accessible to a wider range of venues it was decided to allow these works to be optional.
It is proposed to have venues collaborate with Greg on the selection of artworks that will be tailored for their gallery space whilst maintaining the integrity of the exhibition concept. Therefore logistics and tour fee issues will vary and be arranged by negotiation.

Public Programmes

Elizabeth Thomson is available to carry out artist talks and other related engagements at the conclusion of the installation. Exhibition curator Gregory O’Brien is essential to this aspect of the exhibition experience and is also available to attend and support particular events.


The exhibition is accompanied by a hard cover 80 page full colour publication with contributions from Gregory O’Brien, Lloyd Jones and Jenny Bornholdt.

Messages of support for tour

‘Working at the forefront of eco-aesthetics in Aotearoa, Elizabeth Thomson’s work is ambitious and understated. For over thirty years her thought-provoking images have zoomed between micro and macro examinations of natural forms. Her great skill lies in her ability to allude to natural realms by deploying innovative materials to create an elegance of form. As an artist, she makes it her business to draw attention to the patterns in nature – from massed moths to watery waves – and its astonishing beauty. Creating environments that are responsive to light, she revels in making art which seduces the viewer into a sensory experience. Recently she has turned her attention to contemplating our near future of intensified global warming, desertification, acidification of the seas with the corollary precipitation of the extinction of species. Now, with atmospheric carbon dioxide levels a third higher than pre-industrial levels and growing unchecked, her work has never been more urgently important’. 
Linda Tyler

‘Thomson is one of Aotearoa New Zealand’s leading contemporary artists with major exhibitions across this nation and internationally. With a long and impressive exhibition history and list of achievements under her belt, she continues to push her practice in new and experimental ways. This constant pushing of media and art practice is something that sets her apart from many of her peers. Thomson never allows her practice to sit in one space for too long, it is constantly evolving and morphing into new forms and areas of practice.
Conceptually, Thomson’s works over the past decade have taken a strong environmental interest and this new series continues this investigation on a molecular scale. This interaction between the micro and the macro, between art and science, is increasingly important in the age of globalisation and climate change. In exploring how small local phenomenon are impacted as a result of larger global phenomenon happening elsewhere in the world, Thomson shows us how artists operating at a high international level can become a voice for Aotearoa and the Pacific on the world stage’.
Reuben Friend

Elizabeth Thomson offers glimpses into the natural world that are at once breath-taking in their accuracy and intriguing in their abstraction. Her command of her craft is remarkable, as is her ability to adapt new image-making technologies to her vision. This exhibition offers an excellent introduction to her recent work, capturing its variety and consistency.
Christina Barton

The poet Allen Curnow once said that every poem needs a necessary minimum of mystery and magic, and I think the statement is true not just for poetry but for all art forms. This statement immediately came to mind when I began to think about the art of Elizabeth Thomson which I have followed with admiration and interest for many years. Her recent work in particular, as inspired by her own Pacific voyaging (at least in part) often arouses in me a feeling of wonder and intrigue. What am I seeing? Is it painting? Is it sculpture? It seems to be both at once. How on earth was it made? It is impossible without specialized knowledge to answer such questions. But the work is so sheerly beautiful and magical in its effects, so absorbing as sensory experience and intellectual conundrum, that such questions start to seem irrelevant, and one is content simply to immerse oneself in the exquisite visual and textural effects, while feeling that somehow the supreme beauty of the earth and the oceans have magically been captured and translated into objects of great subtlety, charm and wonder. I feel that an exhibition of these recent works of Elizabeth’s (rather like Lisa Rihana’s recent work on Pacific voyages) could reach a much wider audience than sophisticated contemporary art is usually capable of. Her work seems effortlessly, without pandering to easy effects or indulging in ‘dumbing down’, to bridge the gap (which yawns widely with much contemporary art) between maker and audience. This is a rare achievement and worthy of recognition and support. Although I have not seen her recent exhibition at Aratoi, I have seen similar work at exhibitions at Two Rooms in Auckland and I have also seen the superb book/catalogue by Gregory O’Brien and others which documents the Aratoi exhibition, and I would strongly support the proposal of Mark Roach of Exhibition Services to tour the exhibition more widely.
Peter Simpson

I’m in the main gallery of the Aratoi Museum of Art and History. Two or three people are standing in front of one of Elizabeth Thomson’s works. They had been walking past it and suddenly they have stopped. Their attention has been caught by something. They start to move away and…there it is again. The surface of the art work has changed. Or did it? A sort of dance ensues. Backwards and forwards they go, watching patterns of light shift and reassemble in time to their movement. These folks are now leaning forward, searching the work for…what? They move away and examine the work side-on. The surface appears to have undulations. Back they go to stand in front of the work. They lean forward again, examining the surface, noting the tiny glass beads floating above…what is it? Sand perhaps? And where exactly is the surface? They are captivated.
This quality of Elizabeth Thomson’s work – the way it engages the viewer – is something I have witnessed in other, very different, circumstances. In his essay for the book Cellular Memories, Gregory O’Brien recalls the “Kermadec” exhibition held in a school hall in the village of Hanga Roa, on Rapanui (Easter Island). It was an unusual event – something out of the ordinary for the people of Hanga Roa, and a large crowd attended on the day of the opening. Prompted by something that I can only guess at, a young girl very carefully placed an empty bird’s nest on the floor beneath one of Elizabeth Thomson’s works. The nest remained in place for the duration of the exhibition – a tender witness to a shared sense of wonderment.
It’s a mysterious thing, that power of attraction. Where does it come from? How does it manage to communicate across differences in age, place and circumstance? Perhaps there is a clue in the exhibition title, “Cellular Memory”, because every element of Elizabeth Thomson’s work is imbued with qualities that are consistent throughout her art practice – a phenomenal work ethic, an uncompromising standard of excellence, respect for the materials she works with and ideas that are elevated and uplifting.
Dame Robin White

Warwick Hadwen
027 7730971

Gregory O’Brian
027 7373233

Elizabeth Thomson
027 4412862





The seventy-five statues and masks that compose this exhibition challenge our ideas about art, belief, tradition, and culture. The works are from ethnic groups in nine countries ranging from Ivory Coast to the Democratic Republic of the Congo, with the emphasis on minkisi power figures from the lower Congo. These statues, bristling with nails and laden with magical charms, have given the exhibition its name and much of its impact. Anthropomorphic or zoomorphic, sometimes as big as a man, they project authority and power.
Sculptures like these which so influenced Picasso and friends a century ago are still largely misunderstood. Traditional African art has been neglected, misinterpreted and destroyed for decades, burnt by colonial administrators and missionaries, treated as curios by travelers. Only lately has it taken its rightful place in the galleries and museums of the world. Recently an exhibition featuring minkisi figures at the New York Metropolitan Museum of Art, Kongo: Power and Majesty, attracted record attendances.

How should we look at these objects?

Whether we know it or not, we all have cultural codes that affect our way of looking. When we contemplate an object from a culture foreign to our own, we sometimes have to make a conscious effort to understand the visual language of the artist who made it. To do this we need insight into the artist’s life, society and beliefs. An example of cultural misinterpretation is our sense that nails hammered into a statue represent evil intent, a confusion rooted perhaps in Hollywood notions of voodoo. Despite their fearsome appearance, the role of minkisi is mostly a defensive one. Villagers consulted them to obtain protection from illness and other misfortunes, and to swear oaths and forge pacts.
This exhibition’s aim is to introduce unfamiliar cultures and aesthetic values to antipodean audiences. Minkisi works on several levels; while most of us respond to the immediate visual impact of these exotic and powerful objects, a curious visitor is inevitably sensitive to a deeper spiritual dimension. With this in mind, brief texts are provided for each object, enabling greater insight into its function and meaning, referring when necessary to the complex and sophisticated belief systems condescendingly referred to as Animism.

Where do these objects come from and how did they get here?

In many African societies a mask or statue can outlive its magic. This is especially true for the baKongo and their minkisi. If a statue is considered to have lost its spirit or power, it is abandoned to the weather and termites, or sold. If sold, works that have a religious function are de-consecrated in a ritual performed by a nganga, (priest-diviner-healer). Traces of de-consecration libations are visible on many of the works in this exhibition.
The nucleus of the collection was assembled by Frenchman Paul Le Lay, who from 1946 to 1959 was posted in all of the capitals of French territories in Africa. After Le Lay’s death his collection languished in an attic in Burgundy. Years later it was recovered by his son-in-law, Desmond Bovey, a New Zealander who worked in France as an Art Director and illustrator. During his 30 years in France Bovey’s fascination for these objects grew. In his turn, he made repeated trips to West Africa in a quest to understand the works and the belief systems that produced them. Back in New Zealand, it is Bovey’s wish that these objects, so little understood, and the unknown artists who made them, be accessible to a wider audience.
The result has been a stunning visual experience at the participating NZ venues to date. Minkisi has great pulling power and attracts visitors beyond the usual gallery habitués, including international visitors, who have responded particularly well. Many return for repeat visits. Dramatic and powerful, minkisi provides a new and exciting range of experiences for discerning visitors. In the words of one visitor: “No wonder we talk past each other; the way we make meaning of life is so different.”
Following its success in Whanganui (extended due to popular demand) Timaru and Nelson, Minkisi is now being made available to galleries throughout New Zealand and Australia.


“Minkisi is a global exhibition that examines cultures far from ours. It is challenging. It makes us think twice. And that is the role of galleries and museums. The Minkisi season has been extended significantly due to popular demand. To Desmond Bovey I give my congratulations and thanks. A grand show, a grand theme and a magnificent presentation.” Dr Eric Dorman, Director, Whanganui Regional Museum,

“The exhibition was very well recieved by the public. Comments passed to us by many visitors that it was a priviledge to have such an exhibition in Nelson totally accords with our view. It was a priviledge! International visitors remarked that they wouldn’t be able to find such a comprehensive selection of African material even in major cities in Europe. It was also great to see people sketching in the gallery – which promotes close scrutiny and appreciation.”
Julie Catchpole, Director, Suter Art Gallery, Nelson,

From the visitors’ book, The Suter
“Fantastic! Reminds me of the Menil Collection in Houston.”
“Magical, wonderful, true art.”
“Astounding and immense, impressive collection!”
“Sensational, so lucky to see it.”
“Stunning. Very well displayed.”
“Congratulations over and over!!”
“The best collection of traditional African art in Australasia.”
“Inspiring, very expressive,beautifully creative in many materials. Thank you for sharing them!!”
“Powerful, alien, fascinating!”
“Wow, so privileged to have this exhibiton here – troubling, though.”
“I love this. It has been an amazing experience.”
“They are all amazing!!”
“Very thought-provoking show.”
“This is the most wonderful collection of African statues I have ever seen. The beliefs are expressed in a symbolic harmony with mystic, but real, works of art.”
“A very strong presence.”
“What amazing creativity. Thanks for sharing it.”
“No wonder we talk past each other; the way we make meaning of life is so different.”
“Powerful and intriguing show. Beautiful.”
“My second visit – amazing. Never seen these before, and I lived in W.Africa!”
“Awesome. Wicked!!”
“Fucking badass!!!!”
“Wonderfully informative and enlightening.”
“Excellent exhibition. First class pieces!”
“Brilliant! Thank you so much to Bovey for lending them out.”


-Desmond Bovey is available for a talk about his voyages to Africa and his quest for understanding of the works in his collection and the belief systems that created them.
-Educator Ester McNaughton of the Suter Art Gallery, Nelson, brought classes to discuss and draw statues and masks. In 5 weeks 730 children visited the exhibition. (Total visitors: 7570.)


A small but informative catalogue was produced for the Whanganui Regional Museum exhibition, 28 pages with 2 cover flaps, colour-coded to the 3 regions around which the exhibition is organised. Created in InDesign, it could easily be adapted for reprint.


For more information: / +64 6 3439519 / +64 21 02442 000
Mark Roach. Exhibition Services. 027 4998952.



Peter Bush

New Zealand’s leading rugby photographer Peter Bush describes capturing an All Black game as ‘a total workout’. His powerful photographs are hard-won: the result of chasing the game up and down the field, while others set up their cameras and wait for the game to come to them.

As a young cadet at the New Zealand Herald in 1949, Peter Bush photographed a game between the All Blacks and the Wallabies in Auckland. Since then he has photographed hundreds of matches at home and overseas. No other photographer has had such privileged access to the great All Black teams, on and off the field. His work has appeared in countless publications world-wide, and he has also published three books, including The Game for all New Zealand: through the lens of Peter Bush (1989).

Peter Bush’s iconic photographs capture the great moments, games and players, and all the drama and emotion of New Zealand’s favourite sport over a 60 year period. The All Black legends are all there, documented in his work: Bob Scott, Sir Wilson Whineray, Ian Kirkpatrick, Colin Meads, Graham Mourie, Jonah Lomu, continuing on to the current crop of New Zealand’s top professionals. Great players from other rugby nations are also well represented.

But there are layers of history and social comment embedded in Peter Bush’s work. His photographs capture the All Blacks in apartheid South Africa, in Belfast during the ‘Troubles’ of the early 1970s, and during the Springbok tour in 1981. Bush’s career spans a period of growing professionalism in rugby and changing technology in the media. Before satellite television, however, his wired images were some of the first images of far-off matches to be seen by local fans.

Bush is an outstanding raconteur with an encyclopaedic knowledge of rugby, who maintains close friendships with many former All Blacks and players from other countries. His story will feature in Hard on the Heels, as well as his personal view of famous moments and personalities.

New Audiences

Hard on the Heels has great potential to attract new audiences to galleries and museums.

Peter Bush is happy to participate in public programmes and corporate events by request. The exhibition could also act as a magnet for past and present All Blacks who might be enticed to share their time and experiences either at corporate functions or in-house public programme events.

The Exhibition

The exhibition will consist of over 100 mounted photographs, as well as a set of mural size works of around 1m x 1.2m. The images will be drawn from Peter Bush’s vast library of photographs, and will include his personal favourites: great moments, the controversial and contentious, and humorous behind-the-scenes shots of teams relaxing after games or while on tour.


The stories behind selected photographs will be captured through an audio visual project to be produced especially for the exhibition. Peter has a natural ability to communicate his many experiences, particularly those of being in the slipstream (or hard on the heels) of the All Blacks. A must see for the die hard fans or anyone wanting an entertaining inside story (not to mention a great laugh!).  We are proposing a 20 min DVD format (continuous loop).


Due out later this year, ‘Bushy’ (as he is affectionately known to his friends and colleagues) will chronicle Peter Bush’s long relationship with New Zealand rugby culture and offers another reference point for many of the images in the exhibition. It will also document the other side to Peter’s remarkable career as a free-lance photographer.


Postcards and signed photographs will be available. TBC

Available from early 2010 up to and beyond the Rugby World Cup 2011/12. Maximum of eight week time slots or by negotiation. Hard on the Heels is being developed and produced by Exhibition Services Tours in association with Peter Bush.