From his work place on Waiheke Island, Anton Forde is fast carving out a reputation for creating stoneworks full of mana, thanks to his respect for and connection to the ancient rocks he uses.
From small gallery-sized sculptures to large pieces that dominate the surrounding landscape, his works are full of symbolism and meaning. On the eve of an exciting new exhibition, Kāmaka, to be held at Bentley's Great North Rd showroom, Anton shares with Viva the physical, mental and spiritual might behind his works.
"I had just finished my Master of Māori Visual Arts when Covid confined me to our little home on Waiheke. At the time I had become fascinated with anchor stones as one of the first technological breakthroughs for man.
I loved the forms, the connection and the natural beauty of a simple rock with a hole in it. A moment of focus and inspiration transpired when Dawn Freshwater, vice-chancellor of the University of Auckland - Waipapa Taumata Rau, called for “a return to a more respectful, open-minded, fact-based exchange of views on the relationship between mātauranga Māori and science”.
This body of work was born out of researching the use of kāmaka (stones) by those early kaipūtaiao kōhatu (stone scientists) under the concept of mātauranga Māori. During this period I also met the people at Bentley Auckland who could see connections between my work and the showroom, engineering and craftsmanship of some of their vehicles.
Each work is founded on a form, shape, or symbol that connects with mātauranga Māori. Those early kaipūtaiao (scientists) were incredible, they had no power tools or Google to look up how things were done. Mohio (knowledge) was passed down through learning and selection systems.
As geologists, they could select and shape some of the hardest rocks in the world like pounamu (nephrite/ bowenite/argillite). They would carry these rocks and shape them into tools and weapons. Due to the density and hardness, this would have taken a really long time.
When creating, I visualise and remember the connection and relationship that would have developed in order to honour the workmanship. The taha wairua (spiritual connection) I believe is in the kōhatu (stones) before I start. This aspect is often forgotten about in modern-day science, which I believe contributes to the world’s environmental issues. When I start working the stone it becomes all-encompassing - emotionally, physically and spiritually.
I have connected and reconnected with who I am during the years of working with stone. I have travelled to Gaeltacht, Braemar Castle, Sussex and Taranaki - all places where my ancestors worked with kōhatu. I have learnt that if heart, head and hands connect with kōhatu, time stands still and appears dreamlike. The forms and markings made are often based on rangahau (research) yet are made intuitively, as I have to stop thinking to get into a flow state once I start carving.
As a carver I am honoured to have worked with some inspiring kaumatua - George Kahi, Te Miringa Hohaia, Kura Moeahu and Jerry Norman. From a mahi toi perspective I am in awe of the early stonemasons from the Gaeltacht region, Braemar and early Taranaki marking along the coastlines. Ralph Hotere, Robert Jahnke, Matua Ted Ngataki, Steve Solomon, Ngahina Hohaia, Graham Tipene, Nigel Borell, Israel Tangaroa Birch, Kereama Taepa, Chris Bailey and The Arts Foundation Te Tumu Toi Laureates influence and inspire me. We also have a raft of young carvers coming through who keep us older artists smiling and on our toes.
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Advertise with NZME.In a metaphorical sense, we have some incredible inspirational leaders carving new ways for us to learn and paths for our rangatahi to follow - like Dr Hinemoa Elder, Scotty and Stacey Morrison, Michael Steedman at the University of Auckland Waipapa Taumata Rau.
To source ancient stones I, firstly, mihi to all iwi who have allowed me to create using a resource connected to whenua. Sourcing stone is based on relationships I have developed relationships with whānau who have a deep connection and whakapapa with kōhatu (stones).
As kōhatu are so important to us and all have taha wairua elements, I am always aware of who has collected them for me and where they have come from. The stones selected for Kāmaka have different stories in creation and make-up. The big Ōnewa work comes from Maungakiekie where the old Stonefields quarry was. I whakapapa back to Taranaki, from where I sourced the kōkawa (andesite) from Maunga Taranaki.
My work evolves with me. Marrying, having children, and becoming a full-time artist have played key roles in the evolution of my work. Completing my Master of Māori Visual Arts with Honours under the supervision of Bob Jahnke taught me the building blocks of works is rangahau (research) and the importance of finer finishing details.
Personally and professionally, I have adopted the kaupapa of always trying to build on my previous day or works. Sometimes there are failures and there is learning to be done, and systems allow me to develop techniques and confidence. There are also key evolutions in form that often seem insignificant at the time, but become significant in hindsight.
This was shown in the Sculpture on the Gulf work Te Kōtahitanga o Whakamaru where height and layout allowed people to connect with the work on many levels. For Kāmaka I am using stone columns as plinths which I feel really complete the sculpture. The simplicity of two juxtaposing kāmaka creates a powerful yet beautiful form and connects with the kaupapa.
Pride and achievement aren’t things I think about much… often it is a sense of relief. As my body of work has grown I have become more focused on reconnecting and telling our kōrero in a way that creates an opportunity for dialogue and understanding.
An example of this was the two carvings Rau Aroha for Pipitea Marae and Tu Tika o Nehe for the British High Commission entranceway. I hear stories of people touching the stone each day, and karakia being said around the work as guests are welcomed into the British High Commission. That makes me reflect on the power of mahi toi in reconnecting people and place.
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Advertise with NZME.My works are inspired by those who came before, and by life; people and places I loved in the past and present; the young ones of the future; kōrero; a relationship; people making statements from a place of ignorance; a teardrop; a moment; a lifetime; the shape of a rock … Is that all a bit poetic? As each work is completed I always reflect and respond and change things. Then the dust and chips start flying again.
With commissioned works I do a site visit as it is essential to connect with the work's surroundings. With exhibitions like Kāmaka, there is an element of mystery surrounding with whom and where the works will find a home and what might happen. The three big pieces are too large to be exhibited at Bentley but I had faith they needed to be completed as part of this body of work. I am so honoured they will be shown at the University of Auckland for a period of time.
On Waiheke we are surrounded by taiao (nature). At present I am very open to the elements in my work space, which means I absorb Waiheke each day on a meteorological level, which in turn means a spiritual level. The people of the island are pretty supportive and inspirational, the island has an ability to accept and heal which allows for a creativity that seems to be imbued in our community.
I try to remind myself daily, "I have made a step in the right direction today"… As Kāmaka has developed I have thought about our rangatahi a lot and how the world is changing.
Our young Māori or indigenous scientists give me hope as they adopt some of the old systems to heal and regenerate nature. They have helped me understand that you don’t always have to be stepping forward to be going the right way, that perhaps going backwards is the right direction. And I wish to acknowledge all the rangatahi who are revitalising Mātauranga Māori in its many forms in a modern context that will enable our tamariki to live better lives."
Kāmaka, Bentley showroom, Great North Rd, Grey Lynn, November 11-21.
