Private View

Yuki Kihara

Te Taenga Mai o Salome


Apple Orchard, Heretaunga
Apple Orchard, Heretaunga (2017)
EFKS Church, Maraenui
EFKS Church, Maraenui (2017)
Whakatū Freezing Works, Heretaunga
Whakatū Freezing Works, Heretaunga (2017)
Takitimu Landing Site, Waimārama
Takitimu Landing Site, Waimārama (2017)
Houngarea Marae, Pakipaki
Houngarea Marae, Pakipaki (2017)

lenticular print simulations

 Yuki Kihara, Apple Orchard, Heretaunga (2017), simulated view of lenticular print
 Yuki Kihara, EFKS Church, Maraenui (2017), simulated view of lenticular print
 Yuki Kihara, Whakatū Freezing Works, Heretaunga (2017), simulated view of lenticular print
 Yuki Kihara, Takitimu Landing Site, Waimārama (2017), simulated view of lenticular print
Yuki Kihara, Houngarea Marae, Pakipaki (2017), simulated view of lenticular print

artist text

In her first artistic engagement with Te Ao Māori, Yuki Kihara: Te Taenga Mai o Salome sees the artist embodying the figure of Salome in the region of Ngāti Kahungunu ki Heretaunga, Hawke’s Bay.

Salome comes to life from an 1886 portrait photograph of a Sāmoan woman wearing a Victorian mourning dress, which the photographer titled Samoan half caste. In a re-assertion of her own agency and identity, this enigmatic figure takes on the name Salome and resumes control of her narrative. No longer a fixed object of the viewer’s gaze, she traverses time and space, directing our attention to scenes of layered significance.

Having previously visited sites across her homeland of Sāmoa, Salome arrives in Heretaunga to continue her contemplation of Paul Gauguin’s fundamental questions: Where do we come from? What are we? Where are we going?

These lead her to explore ancestral and contemporary links between tangata whenua o Aotearoa and tagata o le Moana: from the local knowledge that tells of the sacred waka Takitimu being built in Sāmoa many generations before carrying the ancestors of Ngāti Kahungunu to Aotearoa, to parallel struggles within and against colonisation.