As Manager of Asian and Pacific Art at the Queensland Art Gallery | Gallery of Modern Art, I oversaw its flagship event, the Asia Pacific Triennial. It was an opportunity to research contemporary art across Asia, showcase artists from the Pacific in Brisbane and to reach a staggeringly large and diverse audience. It was an extraordinary moment for showcasing the value of contemporary art, exhibition making and developing collections while working with extraordinary people.
And when NPDC's Govett-Brewster director role became available, during the gallery's perfectly-timed showing of epidemic-related work by Los Angeles-based artist Candice Lin, I was immediately reminded of the important role a small gallery sitting at the edge has played, and continues to, in engaging people with contemporary art.
The opportunity cued memories of artists from who have benefited from exhibitions and residencies at the Govett-Brewster and the opportunities to unfold the perspectives that Len Lye's work excites.
On arrival, I have been powerfully struck by the space for partnerships and community connection in New Plymouth. As we rethink and refocus our attention on the stories and potential of our own wonderfully unique corner of the world, we are looking to strengthen how we honour the principles of Te Tiriti o Waitangi.
I've come to an even greater understanding of the role of the gallery underpinning the district's cultural offerings for locals and visitors alike – with multiple galleries, a comfortable 62-seat cinema, our cool store and Monica's cafe, there really is something for us all to enjoy.
Joining the Govett-Brewster team during the monumental exhibition Tai Moana Tai Tangata by Brett Graham, prompted a swift, compelling and moving education into the trauma suffered by Taranaki Māori, and the lasting presence of this chapter of the region's past. Stories told in the exhibition and in the corresponding Taranaki Tribal conversations, kōrero organised by our partner Whiringa Toi, explored aspects of historical and contemporary Māori and Pākehā relations and deliberately added another good challenge to the questions of our purpose and values that we are continually addressing at the gallery.
Home to the multiple histories and rich stories of eight iwi, Taranaki holds a remarkable place in the story of New Zealand and its identity going forward. The Govett-Brewster is positioned to share these stories with the world, as well as those of Pasifika artists and our local Pacific community
My presence here, in Ngāmotu, at the foot of Taranaki, is deeply humbling for reasons of both place and people. The striking and omnipresent form of the mountain, the forces that drive the waves and driftwood on to the black sand coast, the cloud-swept skies and the people I meet and their stories constantly reinforce the local energy. As does the gallery's legacy of more than 50 years of attracting the best and most progressive artists and art to this place.
It is te tangata – the people - that remain the most exciting factor about my being in New Plymouth. The warmth extended to me by the team at the gallery that they also extended to each visitor – new or old – who comes in though our front door. The embrace of welcome from new partners or colleagues connected to the Govett and the personal friendliness in general; there are not many places where strangers consistently offer you a smile or better still stop you for a conversation.
Is this friendliness the spirit of Taranaki or a feature of smaller regions? I don't know the answer to that yet, but I'm sold.
