This sculpture by Jadyn Flavell (Ngaati Te Ata Waiohua) is inspired by the puuraakau (traditional oral narratives) of Tamapahore and his kite, from which Manurewa received its name. Flavell hand-carved the central figures using Takaanini kauri gifted to him by his late grandfather, the carver George Flavell. Each figure represents a tuupuna (ancestor) - Waiohua Chief Huarangi is at the base of the pou, his first son Tamapahure is in the middle and his second son Tamapahore is at the top.

The ancestors are encased by a Corten steel frame in the shape of a matuku (bittern bird) which lived on Waiohua paa sites Matukutuureia and Matukutuururu. The paa sites are represented on either side. A manuaute (traditional kite) depicting Te Atua Uenuku (rainbow God) is located at the top of the artwork, as if taking flight into the sky.

The face of the manuaute shows Taawhirimatea, the God of weather. The patterns depicted on the underside of its wings represent the communities of Manurewa which are guided and uplifted by ngaa Atua. There are also ten stars: Rehua (Father), and the Matariki stars according to Ngaati Te Ata - Matariki (Mother) and the eight children.

Programmable lighting picks up different elements of the artwork, giving it a depth and unique presence at night.

*Te Manu Ka Rewa* (the bird that is elevated) was named by Te Huia Cowell (Ngaati Te Ata Waiohua). It was inspired by the whakatauki *'Maa te kahukura ka rere te manu' – 'it is through the feathers that the bird takes flight'*. This is a metaphor for how people can work together. Like a bird in flight, every feather works in harmony to create the lift needed to soar. This cannot be achieved by a single feather, but together, feathers carry the bird to greater heights.

Te Manu Ka Rewa

*Hongi* is an outdoor installation by Yonel Watene. The four "A" frame pairs of treated pine beams are set amongst the Japanese cedar trees at Nathan Homestead Pukepuke.



Watene's earliest *Hongi* sculptures were developed in Dunedin in 2017, when he came across a group of wooden beams that were cut at a peculiar angle. As these beams were unable to stand upright on their own, he leaned one against another so that each beam supported the other's weight. In that moment he recalled a powerful image of his childhood - his father performing hongi. His late father, being an interpersonal and outgoing person, would often introduce himself to random people on the street. No matter their ethnicity or age, it was his custom to exchange hongi on introduction. Since many people were unfamiliar with hongi, he would often describe the traditional Māori greeting by instructing them to "rub nose", which would sometimes lead people to rub their own nose, or his father's nose.



The artist reflects on these moments: "I always cherished these memories of my father because it was a happy and meaningful exchange." Therefore, Hongi is a representation of what the artist understands hongi to be, and provides an opportunity for the public to reflect upon their own understanding of hongi, too.

Hongi

Made from carefully selected basalt stone sourced from Auckland's Lunn Avenue quarry, this sculpted column signifies the volcanic foundations of the region.

*Font* is a standing stone or marker intended to recall the ancient stones that show human presence and dominance, marking land boundaries and sacred places.  Here, the font is also a reservoir, a shallow bowl is carved in the top of the standing stone, suggesting bounty and benevolence.

Artist John Edgar won the Friends Acquisition award for his sculpture *Font* in the 2017-2018 Sculpture in the Gardens exhibition.  The catalogue says of the work, "Bowls are one of the most important and ubiquitous human implements. From a lake surrounded by hills to the great bowl of the night, and from a bowl of food to a fire pit, they sustain and nurture us. They are simple and evocative, peaceful and benign."

Says the artist "As a gardener, I am well aware of the physical and symbolic importance of water in a garden. Bowls that hold water have many important roles in the rituals of libation, cleansing and christening – acts that refresh, revitalise and renew body and spirit."

Font

To the left of the Huakaiwaka Visitor Centre entrance, three sculpted nikau palms double as a water feature. Placed high on the rock wall, clear resin fronds sprout from a copper-clad bulb with water falling through the bulb and down the wall, to form the nikau trunk. The forms mirror the three nikau palms growing on the opposite side of the entrance way.

The artist Maui'atalanga 'Ofamo'oni said he wanted to express the majesty seen in the richness of the plant kingdom. The concept of the work was created by 'Ofamo'oni, and was realised by Clevedon-based sculptor James Wright.

This artwork was commissioned for the opening of the Huakaiwaka Visitor Centre and compliments the moat and stylised waka filled with plants that welcome visitors into the building.

Jadyn Flavell

Te Manu Ka Rewa

"Maa te kahukura ka rere te manu – it is through the feathers that the bird takes flight."

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