Ngai-Kore-Tua-Mao & Rewa-Taha 〉〉〉〉〉〉〉2024 〉〉〉〉〉〉〉2024
Zalk-Neale notes, "Our tūpuna figured out how to harness the ability of the tī kōuka to adapt and thrive in different climates and soils. By transforming the leaves into pāraerae, the ability is transposed onto the wearer's body. The pāraerae allow the wearer to walk almost anywhere, including rough, sharp, rocky terrain such as reefs and alpine routes."
Experiments with weaving pāraerae are a recent development in Zalk-Neale's practice. They have produced five pairs so far, trying out different processes and techniques in each iteration. Zalk-Neale is often exploring the connection of tī kōuka to the moana, which is visible in the fish-like forms of Rewa-taha (many soils) and Ngai-kore-tua-mao (many climates).
'Pāraerae made from tī kōuka were once a common object in daily life,' Zalk-Neale explains, 'They're made as protection, allowing us to navigate otherwise inaccessible places for travel, collecting kai, and generally expanding the reach of our bodies. They're made as disposable objects — multiple pairs might be required for a single journey. Pāraerae are the ara whakawhiti, the bridge between domestic spaces. Taking them off at the door indicates the journey that has been made.'
[1] This whakapapa was retold by Hohepa Delamere (Te Whānau-ā-Apanui) and published in the pukapuka Dancing Leaves: The story of New Zealand’s cabbage tree, tī kōuka by Philip Simpson (2000, Canterbury University Press).
and Ngai-kore-tua-mao (many climates)
2024
Two pairs of pāraerae (sandals) made from tī kōuka leaves and fibre.
Featured in the exhitibiton How to make a home at Objectspace, Tāmaki Makaurau Auckland, Aotearoa New Zealand.
Link: Artist interview
Photographs by Sam Harnett