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Navigating Kingdoms
In the vast expanse of Oceania, where the kingdoms of moana (sea) and rangi (sky) intertwine in splendour and mystery, artist Reuben Paterson unveils a profound understanding of our intrinsic bond with these elemental forces. They have long guided his ancestors' journeys across the seas. As Epeli Hau'ofa, a Tongan scholar, eloquently expressed, "Oceania is vast, Oceania is expanding, Oceania is hospitable and generous, Oceania is humanity rising from the depths of brine and regions of fire deeper still, Oceania is us. We are the sea, we are the ocean." Hau'ofa's words encapsulate a profound truth – that Oceania is not merely a collection of isolated islands adrift in a vast expanse of ocean but a vibrant tapestry of interconnected cultures, histories, and ecologies.
In his latest show, titled KINGDOMS, Paterson exposes these elemental gestures through the transformative power of glitter—an essential substance in his artistic repertoire. His expressive language transcends the mere interplay of light and shadow, resonating with the essence of time and space. Through KINGDOMS, Paterson not only showcases his artistic mastery but also offers a poignant reflection on the profound interconnectedness that defines the Māori and Pacifica experience. Yet, as Hau'ofa astutely observed, the colonial gaze imposed upon Oceania by "continental men," namely Europeans and Americans, sought to diminish this vastness, reducing it to a series of fragmented dots on a map and imposing arbitrary boundaries that confined ocean peoples to narrow spaces for the first time.
Within this context, the work emerges as a defiant celebration of Māori and Pacific resilience and cultural sovereignty. Through his evocative imagery and thematic motifs, Paterson challenges the colonial narratives that sought to diminish the richness and complexity of Māori and Pacifica life. The paintings delve into the exploration of celestial navigation and serve as a poignant reminder of the ancient voyaging traditions that connected islands across vast expanses and the worlds of Te Moana-nui-a-Kiwa (The Pacific), long before the arrival of European colonisers.
Conceived and crafted amidst the vibrant energy of New York City, this latest body of work invites the audience to immerse themselves in a captivating universe. In Before the Kingdoms 2023/24, a majestic blue tiger adorned with kiri tuhi tattoos on its legs serves as the focal point for exploring profound questions of distance—both physical and temporal—between places and people. The painting reveals itself through kaleidoscopic blends of vibrant colours and rich symbolism by incorporating abstractions of hammerhead and white pointer shark motifs within the kiri tuhi tattoos. This addition breathes life into a visual language that echoes through the artist's storied kōwhaiwhai (painted scroll ornamentation) oeuvre. The lion-themed paintings, The Heavens Opened 2023/24, and You’ve Got an Answer I Can’t Question 2023/24, solely feature facial tā moko designs subtly inspired by the constellation of Leo.
As these works undergo a transformation into dynamic canvases, they intricately intertwine ancestral narratives with navigational star mapping, creating a conduit for Indigenous knowledge and celestial contemplation.
These artworks transcend mere paintings; they are a portal into a realm where storytelling and genealogy of oceans meld seamlessly. The contrast between the vibrant orange tattoo hues, evocative of an aurora or galaxy, and the blue and white tones depicting large cats, impresses upon us the cosmic palette observed when gazing at the stars and planets. Through the wild cat’s gaze, the viewers are prompted to look upward, triggering sensations of awe and creativity.
In KINGDOMS, the artist presents his most extensive exploration of celestial themes, providing a cohesive overview of his recurring motifs throughout the years. The body of work invites reflection on the diverse forms of Indigenous storytelling that resonate with the complexities of our contemporary world. It engages with weighty issues such as the fate of the Earth and the pressing need to redefine our relationship with nature. Seamlessly weaving these thematic threads, Paterson skilfully constructs artworks that materialise as tangible landscapes shaped by tactile elements. Each piece embodies nature's resilience and perpetual renewal, from the shimmering texture of volcanic sand to the inherent essence of pearls evolving from a mere grain, and the cyclic transformation of coral into sand.
Throughout KINGDOMS, the navigational gestures are expressed through star constellations, underwater corral iridescent magic, and pearls of the ocean as star-studded guides of the celestial realms. By entwining the pearls into the very essence of the glitter, Paterson draws us into the sky and water inclinations, engaging them by way of sight, reflections, and movement. The patterns achieved transmit the two-dimensional canvas surfaces into an immersive environment where the interplay of translucency, reflection and light recalls the changing nature of oceans and our atmosphere due to the human effects and climate change. This series of paintings transmit the movements of human migration as well as the movement of time and space, revealing the portal into the perpetual relationality and reciprocity of wind and water.
Paterson's exploration extends beyond the confines of his artwork, as he invites us to see the world through the Indigenous lens, where the sky, night, and day communicate from diverse geographical perspectives. Grounded in his experiences in New York City, his observations echo the navigational journeys of his Māori ancestors, highlighting the fluidity of borders and the interconnectedness of all existence. KINGDOMS serves as a beacon, urging us to lift our eyes skyward, to embrace a porous mindset—to gaze at the stars and flow like water, encompassing multitudes. In this journey, Paterson revives the language of ancestors, fostering a dialogue of collaboration and symbiosis essential for not just surviving, but thriving. The glittering canvas he presents is a testament to the enduring spirit within humanity and the boundless expanses of the cosmos—a reminder of our capacity to transcend limitations and embrace the infinite possibilities that await us.
– Dina Jezdic
notes:
1. Hauofa, E. (2017). Our Sea of Islands. In We Are the Ocean (pp. 27–40). University of Hawaii Press.
Navigating Kingdoms
In the vast expanse of Oceania, where the kingdoms of moana (sea) and rangi (sky) intertwine in splendour and mystery, artist Reuben Paterson unveils a profound understanding of our intrinsic bond with these elemental forces. They have long guided his ancestors' journeys across the seas. As Epeli Hau'ofa, a Tongan scholar, eloquently expressed, "Oceania is vast, Oceania is expanding, Oceania is hospitable and generous, Oceania is humanity rising from the depths of brine and regions of fire deeper still, Oceania is us. We are the sea, we are the ocean." Hau'ofa's words encapsulate a profound truth – that Oceania is not merely a collection of isolated islands adrift in a vast expanse of ocean but a vibrant tapestry of interconnected cultures, histories, and ecologies.
In his latest show, titled KINGDOMS, Paterson exposes these elemental gestures through the transformative power of glitter—an essential substance in his artistic repertoire. His expressive language transcends the mere interplay of light and shadow, resonating with the essence of time and space. Through KINGDOMS, Paterson not only showcases his artistic mastery but also offers a poignant reflection on the profound interconnectedness that defines the Māori and Pacifica experience. Yet, as Hau'ofa astutely observed, the colonial gaze imposed upon Oceania by "continental men," namely Europeans and Americans, sought to diminish this vastness, reducing it to a series of fragmented dots on a map and imposing arbitrary boundaries that confined ocean peoples to narrow spaces for the first time.
Within this context, the work emerges as a defiant celebration of Māori and Pacific resilience and cultural sovereignty. Through his evocative imagery and thematic motifs, Paterson challenges the colonial narratives that sought to diminish the richness and complexity of Māori and Pacifica life. The paintings delve into the exploration of celestial navigation and serve as a poignant reminder of the ancient voyaging traditions that connected islands across vast expanses and the worlds of Te Moana-nui-a-Kiwa (The Pacific), long before the arrival of European colonisers.
Conceived and crafted amidst the vibrant energy of New York City, this latest body of work invites the audience to immerse themselves in a captivating universe. In Before the Kingdoms 2023/24, a majestic blue tiger adorned with kiri tuhi tattoos on its legs serves as the focal point for exploring profound questions of distance—both physical and temporal—between places and people. The painting reveals itself through kaleidoscopic blends of vibrant colours and rich symbolism by incorporating abstractions of hammerhead and white pointer shark motifs within the kiri tuhi tattoos. This addition breathes life into a visual language that echoes through the artist's storied kōwhaiwhai (painted scroll ornamentation) oeuvre. The lion-themed paintings, The Heavens Opened 2023/24, and You’ve Got an Answer I Can’t Question 2023/24, solely feature facial tā moko designs subtly inspired by the constellation of Leo.
As these works undergo a transformation into dynamic canvases, they intricately intertwine ancestral narratives with navigational star mapping, creating a conduit for Indigenous knowledge and celestial contemplation.
These artworks transcend mere paintings; they are a portal into a realm where storytelling and genealogy of oceans meld seamlessly. The contrast between the vibrant orange tattoo hues, evocative of an aurora or galaxy, and the blue and white tones depicting large cats, impresses upon us the cosmic palette observed when gazing at the stars and planets. Through the wild cat’s gaze, the viewers are prompted to look upward, triggering sensations of awe and creativity.
In KINGDOMS, the artist presents his most extensive exploration of celestial themes, providing a cohesive overview of his recurring motifs throughout the years. The body of work invites reflection on the diverse forms of Indigenous storytelling that resonate with the complexities of our contemporary world. It engages with weighty issues such as the fate of the Earth and the pressing need to redefine our relationship with nature. Seamlessly weaving these thematic threads, Paterson skilfully constructs artworks that materialise as tangible landscapes shaped by tactile elements. Each piece embodies nature's resilience and perpetual renewal, from the shimmering texture of volcanic sand to the inherent essence of pearls evolving from a mere grain, and the cyclic transformation of coral into sand.
Throughout KINGDOMS, the navigational gestures are expressed through star constellations, underwater corral iridescent magic, and pearls of the ocean as star-studded guides of the celestial realms. By entwining the pearls into the very essence of the glitter, Paterson draws us into the sky and water inclinations, engaging them by way of sight, reflections, and movement. The patterns achieved transmit the two-dimensional canvas surfaces into an immersive environment where the interplay of translucency, reflection and light recalls the changing nature of oceans and our atmosphere due to the human effects and climate change. This series of paintings transmit the movements of human migration as well as the movement of time and space, revealing the portal into the perpetual relationality and reciprocity of wind and water.
Paterson's exploration extends beyond the confines of his artwork, as he invites us to see the world through the Indigenous lens, where the sky, night, and day communicate from diverse geographical perspectives. Grounded in his experiences in New York City, his observations echo the navigational journeys of his Māori ancestors, highlighting the fluidity of borders and the interconnectedness of all existence. KINGDOMS serves as a beacon, urging us to lift our eyes skyward, to embrace a porous mindset—to gaze at the stars and flow like water, encompassing multitudes. In this journey, Paterson revives the language of ancestors, fostering a dialogue of collaboration and symbiosis essential for not just surviving, but thriving. The glittering canvas he presents is a testament to the enduring spirit within humanity and the boundless expanses of the cosmos—a reminder of our capacity to transcend limitations and embrace the infinite possibilities that await us.
– Dina Jezdic
notes:
1. Hauofa, E. (2017). Our Sea of Islands. In We Are the Ocean (pp. 27–40). University of Hawaii Press.