Artist Profile: Eruera Ropiha
Artist Profile: Eruera Ropiha
A few year ago in Christchurch, New Zealand, Emiana and I had the good fortune of meeting and chatting with traditional Maori carver, Eruera Ropiha. The only things more impressive than his carvings were his thougthtful explanations of his work. Once back from our NZ adventure, his art lingered in our minds. Thus, we contacted him and arranged the following interview via email.
TC: When we met you in your studio, you told us that a master carver from your village taught you to carve. Would you tell us a bit about where you grew up. How did you know you wanted to carve? What was your inspiration to start carving? Did you approach your teacher or did he approach you?
Eruera: I was born in a small town called Wairoa, in 1961. I was raised just out of Wairoa in a place called Mahanga. My grandfather was my first teacher and his grandfather was his teacher. My great, great grandfather was a famous seer for our people. He led our people on a spiritual path of enlightenment and unity, he was also known as a healer. He started his own religion based on the bible called kohititanga marama; this religion was about unity between all peoples (“the new moon” is a fast translation). As I grew into childhood, my grandfather recognized my gifts and he trained me in the spiritual arts of Maori - spiritual laws handed down our family, laws we call tikanga. He trained me until I was a young man. My art was a natural gift handed down from my ancestors. My grandfather taught me to allow my art to progress to that of my ancestors, so as a young child my artistic abilities were recognized by my elders and my ability to learn the spiritual nature of man. So my grandfather taught me many things that to this day I acknowledge, and I will always be grateful for his teachings.
My next teacher was a grand uncle who taught me whakapapa (family tree) and all associated history. At the same time I was carving, about 1985. As soon as I was a capable carver, I started working on the marae as a carver. The first marae I worked on was Tumatauenga, a ngati kahungunu marae.[1] This was in 1991. After I finished there I went to my father’s people, as I was raised by my mother’s people. My father’s people held the last unbroken line of Maori carvers, and my ancestor was a master carver who taught my master. So when I went to see my master, he was happy to give me what was given to him. Ngati Tarawhai still hold that line of carving.
TC: What led you to Christchurch? How long have you been at your Arts Centre Studio?
Eruera: I came to Christchurch to set up my own studio after the fourth marae I worked on. The last marae I worked on was Tane-nui-a-rangi. I was made master carver then because I wanted to explore the wider areas of carving and to try different styles apart from tapu (sacred) carvings. The Arts Centre provided the place and opportunities to carve free styles with history. I have been at the Arts Centre for over a year, and I plan to stay as long as I can. I now teach art at Maori school and work at the Arts Centre. That is how I give back to the Maori people.
TC: When we met, you spoke about the differences between your generation and that of your parents and your grandparents. You said that your grandparents’ generation still had the traditional knowledge, but your parents’ generation did not (mentioning that they are a “lost generation.”) Now, your generation is getting the knowledge back and appreciating the traditional ways and learning about their Maori heritage. Would you like to tell us a little bit more? How do these differences affect your art? Do you see the next generation as interested in their heritage as yours?
Eruera: When I talked about our lost generations, the government’s agenda was to keep Maori as a labour force for the country so our parents learned and were taught substandard English in a native school as settlers had there own schools. So my parents where segregated. The effects were horrendous to the point of Maori becoming ignorant of both cultures because they lost knowledge of themselves. They became the lost generation. The effect it has on my work is that the essence of spirit is lost to the ignorance of my elder generation - I have become a link to our past and there for a man standing alone as I am the last to be taught the tradition of tapu (sacred knowledge from heaven). That is not an easy place for me or my people, but it has given me the ability to carve as a free man and not to be stuck on tradition only. So if you like, I have opportunities to explore through the physical and spiritual realms of all peoples.
TC: What are your thoughts about the arts scene in Christchurch and New Zealand? What are your thoughts about the Maori arts scene in Christchurch and New Zealand?
Eruera: My thoughts on NZ and Maori art in NZ are quite reserved, as far as pakeha (New Zealander of European decent) art is concerned. If I was to say anything then it would be the lack of history and cultural meaning, (symbolism not of any history but of personal thought). We have a lack of any real substance, and Maori art is the same where our traditional symbols and meanings are being replaced with individual thoughts and ideas mirroring that of pakeha people. I do not like it because we have so much history in our art and knowledge.
TC: One of the things that impressed us about your work was the use of actual, working flutes in some of your carvings. Could you please tell us about how you came up with this idea? You expressed that it is very difficult to create a functioning flute that is part of a greater piece of sculpture. How long does it take you, generally? Are you inspired by the piece of wood itself?
Eruera: The planning that goes into my art is pure faith and confidence in myself and my relationship to wood. From there I see what’s in the wood. My material gives me all the inspiration I need to create.
The series of figures with working flutes came about when I was working with some of my students, and my brothers and we all started talking about the different styles I have and how it would be cool to incorporate working flutes with figures. So I went into my work shop and brought that idea to life with the first of several pieces. They have all sold now. The fastest was one month, and the longest was three months. Because I did not draw any guidelines, some came easy and some came with lots of thought.
TC: You explained to us that the coloring you use in some of your work is representative of the generations: the dark green represents your grandparents’ generation, the red represents the lost generation of your parents, and the lighter green represents your generation picking up the pieces. Is the use of color a departure from tradition? How do you decide when to use color? Do you use traditional pigments or modern paints?
Eruera: The colours I used are traditional colours but with some modern ideals to traditional history; so I think that I am using a lot more contemporary ideas to talk about modern times.
TC: You mentioned that you ship many of your works. Where do your buyers come from? Are they mostly Maori, New Zealanders of European descent or foreigners on holiday? Do they seek you out or just happen upon your studio like we did?
Eruera: I sell to everyone, but my main buyers are pakeha, followed by tourist of European descent (Americans first). NZers are finding my art refreshing amongst the old styles of carvings. Most if not all who buy from me do not have any other Maori art and several come back for more - and they are telling and bringing customers with them.
Contact Eruera
Eruera Ropiha
2 Worcester Boulevard
Artist Quarters
Studio 4
Art Centre
Christchurch
New Zealand
eropiha@hotmail.com
[1] A marae is a complex of buildings and open space, serving as the focal point of Maori cultural and spiritual life. Often the buildings within the marae are ornately carved.
A few year ago in Christchurch, New Zealand, Emiana and I had the good fortune of meeting and chatting with traditional Maori carver, Eruera Ropiha. The only things more impressive than his carvings were his thougthtful explanations of his work. Once back from our NZ adventure, his art lingered in our minds. Thus, we contacted him and arranged the following interview via email.
TC: When we met you in your studio, you told us that a master carver from your village taught you to carve. Would you tell us a bit about where you grew up. How did you know you wanted to carve? What was your inspiration to start carving? Did you approach your teacher or did he approach you?
Eruera: I was born in a small town called Wairoa, in 1961. I was raised just out of Wairoa in a place called Mahanga. My grandfather was my first teacher and his grandfather was his teacher. My great, great grandfather was a famous seer for our people. He led our people on a spiritual path of enlightenment and unity, he was also known as a healer. He started his own religion based on the bible called kohititanga marama; this religion was about unity between all peoples (“the new moon” is a fast translation). As I grew into childhood, my grandfather recognized my gifts and he trained me in the spiritual arts of Maori - spiritual laws handed down our family, laws we call tikanga. He trained me until I was a young man. My art was a natural gift handed down from my ancestors. My grandfather taught me to allow my art to progress to that of my ancestors, so as a young child my artistic abilities were recognized by my elders and my ability to learn the spiritual nature of man. So my grandfather taught me many things that to this day I acknowledge, and I will always be grateful for his teachings.
My next teacher was a grand uncle who taught me whakapapa (family tree) and all associated history. At the same time I was carving, about 1985. As soon as I was a capable carver, I started working on the marae as a carver. The first marae I worked on was Tumatauenga, a ngati kahungunu marae.[1] This was in 1991. After I finished there I went to my father’s people, as I was raised by my mother’s people. My father’s people held the last unbroken line of Maori carvers, and my ancestor was a master carver who taught my master. So when I went to see my master, he was happy to give me what was given to him. Ngati Tarawhai still hold that line of carving.
TC: What led you to Christchurch? How long have you been at your Arts Centre Studio?
Eruera: I came to Christchurch to set up my own studio after the fourth marae I worked on. The last marae I worked on was Tane-nui-a-rangi. I was made master carver then because I wanted to explore the wider areas of carving and to try different styles apart from tapu (sacred) carvings. The Arts Centre provided the place and opportunities to carve free styles with history. I have been at the Arts Centre for over a year, and I plan to stay as long as I can. I now teach art at Maori school and work at the Arts Centre. That is how I give back to the Maori people.
TC: When we met, you spoke about the differences between your generation and that of your parents and your grandparents. You said that your grandparents’ generation still had the traditional knowledge, but your parents’ generation did not (mentioning that they are a “lost generation.”) Now, your generation is getting the knowledge back and appreciating the traditional ways and learning about their Maori heritage. Would you like to tell us a little bit more? How do these differences affect your art? Do you see the next generation as interested in their heritage as yours?
Eruera: When I talked about our lost generations, the government’s agenda was to keep Maori as a labour force for the country so our parents learned and were taught substandard English in a native school as settlers had there own schools. So my parents where segregated. The effects were horrendous to the point of Maori becoming ignorant of both cultures because they lost knowledge of themselves. They became the lost generation. The effect it has on my work is that the essence of spirit is lost to the ignorance of my elder generation - I have become a link to our past and there for a man standing alone as I am the last to be taught the tradition of tapu (sacred knowledge from heaven). That is not an easy place for me or my people, but it has given me the ability to carve as a free man and not to be stuck on tradition only. So if you like, I have opportunities to explore through the physical and spiritual realms of all peoples.
TC: What are your thoughts about the arts scene in Christchurch and New Zealand? What are your thoughts about the Maori arts scene in Christchurch and New Zealand?
Eruera: My thoughts on NZ and Maori art in NZ are quite reserved, as far as pakeha (New Zealander of European decent) art is concerned. If I was to say anything then it would be the lack of history and cultural meaning, (symbolism not of any history but of personal thought). We have a lack of any real substance, and Maori art is the same where our traditional symbols and meanings are being replaced with individual thoughts and ideas mirroring that of pakeha people. I do not like it because we have so much history in our art and knowledge.
TC: One of the things that impressed us about your work was the use of actual, working flutes in some of your carvings. Could you please tell us about how you came up with this idea? You expressed that it is very difficult to create a functioning flute that is part of a greater piece of sculpture. How long does it take you, generally? Are you inspired by the piece of wood itself?
Eruera: The planning that goes into my art is pure faith and confidence in myself and my relationship to wood. From there I see what’s in the wood. My material gives me all the inspiration I need to create.
The series of figures with working flutes came about when I was working with some of my students, and my brothers and we all started talking about the different styles I have and how it would be cool to incorporate working flutes with figures. So I went into my work shop and brought that idea to life with the first of several pieces. They have all sold now. The fastest was one month, and the longest was three months. Because I did not draw any guidelines, some came easy and some came with lots of thought.
TC: You explained to us that the coloring you use in some of your work is representative of the generations: the dark green represents your grandparents’ generation, the red represents the lost generation of your parents, and the lighter green represents your generation picking up the pieces. Is the use of color a departure from tradition? How do you decide when to use color? Do you use traditional pigments or modern paints?
Eruera: The colours I used are traditional colours but with some modern ideals to traditional history; so I think that I am using a lot more contemporary ideas to talk about modern times.
TC: You mentioned that you ship many of your works. Where do your buyers come from? Are they mostly Maori, New Zealanders of European descent or foreigners on holiday? Do they seek you out or just happen upon your studio like we did?
Eruera: I sell to everyone, but my main buyers are pakeha, followed by tourist of European descent (Americans first). NZers are finding my art refreshing amongst the old styles of carvings. Most if not all who buy from me do not have any other Maori art and several come back for more - and they are telling and bringing customers with them.
Contact Eruera
Eruera Ropiha
2 Worcester Boulevard
Artist Quarters
Studio 4
Art Centre
Christchurch
New Zealand
eropiha@hotmail.com
[1] A marae is a complex of buildings and open space, serving as the focal point of Maori cultural and spiritual life. Often the buildings within the marae are ornately carved.
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