99:'I found it brought up other things I wanted to explore. I was really interested in jewellery, researching and exploring, but that led to other things I couldn't do with jewellery. I wanted to make objects without the whole conversation about body adornment. Today there are definitely elements of jewellery and jewellery-making in my work. I don't deny it or repress it. I've always been inclined to making objects about ideas.'
104:
such as the nylon thread used in weedeaters, or the fish-shaped soy sauce bottles that come with take-away sushi packs, which 'carry on the tradition of
Pacific adoption of modern materials like plastic in customary forms as well as commenting on the economic traditions of Pacific Island peoples in urban Aotearoa New Zealand'.
91:
Hastings-McFall's work has been informed by her experience of growing up within Pakeha culture and later learning about her Samoan heritage. Among the issues that inform her work are 'the effects of
Christianity and colonialism in the Pacific, loss of culture, the transplantation of Pacific Islanders
103:
Hastings-McFall's work often references cultural stereotyping of the
Pacific through the use of everyday material objects. She makes frequent use of the flower lei, either buying cheap nylon lei and using the 'petals' to cover furniture and lightboxes, or making lei from non-traditional materials,
229:
at Judith
Anderson Gallery in Auckland, which helped draw attention to a new generation of New Zealand artists of Pacific descent and showed "what contemporary jewellers might offer to contemporary Pacific identity ā notably a sense of playful appropriation of Pacific adornment that is ironic and
353:
a synthetic flower in this artwork, can represent the plastic or inauthentic elements as a symbol of
Pacific culture and consequence of colonization in the region. As well as the orange/pink/white lights representing the attraction one has to the flowers, coincides with the Christian religion
245:.The publication's catalogue featured a photograph of the three artists in a faux-ethnographic style, dressed in traditional manner and mimicking the conventions of photographs taken in Samoa in the 1890s for Western consumption, as a comment on stereotypical presentations of Pacific peoples.
359:
333:
where it is hung in a sheltered area of the
University so that the subtle glow of the cloud is incredibly illuminable. Hastings-McFall's relationship to this piece was expressed through her research of colonization in the Pacific region and the effects
373:
has become a cultural stereotype for the
Pacific region, alongside the idealism of the "dusky maiden" and the islands of the Pacific being a place of "paradise", demands the traditional significance and cultural status of the
70:
descent. She has been described by art historian Karen
Stevenson as one of the core members of a group of artists of Pasifika descent who brought contemporary Pacific art to 'national prominence and international acceptance'.
314:
Being part Samoan and PÄkehÄ Niki
Hastings-McFall has incorporated cultural elements from both sides of her ethnicities through the use of Pacific forms in collaboration with urban/non-Pacific materials.
111:
Hastings-McFall finds much to parody in the contemporary lives of
Pacific Islanders as they encounter the stereotypes of the Western gaze. Hastings-McFall's humour is the basis and inspiration for her
358:
was used only to seduce men, such as Western colonizers and sailors, and not of cultural significance. The colors chosen for the lights reflect also the night/morning sky and for some the saying
878:
345:
The purpose of Sailors Delight can be a form of reclamation for the Pacific region in reference to regaining their identity and the cultural significance of the use of this material - the
143:), traditionally made from mother of pearl and tortoiseshell, but in Hastings-McFall's versions made from materials such a gold and computer disks, or mother of pearl and stainless steel.
398:
261:
as the 'Vahine Collective'. In 2002 the collective researched ancient rock platforms called tia seu lupe (pigeon snaring mounds) in Samoa, resulting in an exhibition titled
83:
with a Bachelor of Visual Arts majoring in Jewellery. Much of her work references her Samoan heritage, which she began learning about when she first met her father in 1992.
365:
Sailors Delight reveals the effects of the Pacific regions post-colonial issues around culture and identity through the use of materials both authentic and synthetic like
362:
in this case substituting "shepherds" for "sailors", associating this relationship of sailors utilizing the sky as a way of navigation while entering the Pacific region.
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to be reclaimed once more for the Pacific. Much of her artwork is centered around the discussion of cultural identity, Pacific histories and colonial legacies.
338:
had on the region also. Colonization in the Pacific region enforced religious beliefs to ban and disregard Pacific culture and tradition such as the use of the
325:
with a set of subtle orange/pink/white led lights in the shape of a cloud to visualize the encounter sailors would have when approaching islands in the
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Samoa Artist in Residence award, with each artist spending a month in Samoa to extend the research and work began a decade earlier.
342:,for females in particular, as it was determined seductive by the Christian faith and too attractive to those of the opposite sex.
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curated by Jim Viviaeare, which toured New Zealand in 1994-1995. Her work has also featured in international exhibitions including
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Although she began making jewellery, Hastings-McFall found within a few years that she needed to extend beyond this:
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Along with artist Sofia Tekela-Smith, Hastings-McFall has also revisited the kapkap (a pendant form found in the
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to large cities and the shaping of traditional culture to fit contemporary urban culture'.
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Place and Adornment: A history of contemporary jewellery in Australia and New Zealand
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Hastings-McFall has exhibited extensively since 1994 and has received support from
67:
731:. Cambridge, UK: University of Cambridge Museum of Archaeology and Anthropology.
360:" Red sky at night, shepherds delight. Red sky in the morning, shepherds warning"
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is a wall artwork that Niki Hastings-McFall has created using synthetic flowers/
131:), Hastings-McFall addresses the lived island and urban realities of New Zealand.
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The frangipani is dead: contemporary Pacific art in New Zealand, 1985ā2000
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with reproductions of the three artists' work and essays by Mark Kirby,
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555:. Nelson, New Zealand: The Suter Art Gallery Te Aratoi o Whakatū.
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4th New Zealand Jewellery Biennale: Grammar: Subjects and Objects
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and its colors. Niki Hastings-McFall's acknowledgment of how the
756:. Auckland NZ: David Bateman in association with Asia Society.
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Hastings-McFall has also worked collaboratively with artists
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471:"Niki Hastings-McFall ā The new Pacific art of welcome"
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The exhibition was accompanied by a publication titled
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to produce work. Major New Zealand exhibitions include
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Karen Stevenson writes of Hastings-McFall's lei works:
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Paradise Now? : Contemporary Art from the Pacific
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In 1999 Hastings-McFall collaborated with jewellers
62:(born 1959) is a New Zealand jeweller and artist of
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38:
30:
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781:"Samoan artist trio awarded artist-in-residence"
583:. Honolulu: University of Hawai'i. p. 190.
281:Hastings-McFall has work in the collections of
702:"Niu Pasifik: Urban Art from the Pacific Rim"
8:
950:: CS1 maint: numeric names: authors list (
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729:Pasifika Styles, Artistis inside the museum
504:. Auckland: David Bateman Ltd. p. 26.
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187:Niu Pasifik: Urban Art from the Pacific Rim
79:In 2000 Hastings-McFall graduated from the
925:|; Read, 2019 | 0 | 6 Min (20 July 2019).
727:Raymond, Rosanna; Salmond, Amiria (2008).
20:
809:. Museum of New Zealand Te Papa Tongarewa
495:
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579:Skinner, Damian; Murray, Kevin (2014).
527:"Pacific art star exhibiting at Pataka"
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283:Museum of New Zealand Te Papa Tongarewa
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397:Deborah Crowe; The Dowse Art Museum,
45:, Bachelor of Visual Arts (Jewellery)
7:
977:New Zealand people of Samoan descent
265:. In 2012 the collective shared the
879:"Shopping (from 'Urban lei series)"
785:Creative New Zealand Toi o Aotearoa
388:Interview with Niki Hastings-McFall
225:and Tekala-Smith on the exhibition
14:
525:Dekker, Diana (28 January 2013).
469:Murray, Kevin (2 February 2011).
354:argument that the wearing of the
329:. It is currently located at the
633:"In Flyte: Niki Hastings-McFall"
295:Queensland Gallery of Modern Art
807:"Artist: Hastings-McFall, Niki"
430:. Wellington: Huia Publishers.
235:1 Noble Savage, 2 Dusky Maidens
227:1 Noble Savage, 2 Dusky Maidens
217:1 Noble Savage, 2 Dusky Maidens
115:. Using McDonald's throwaways (
81:Manukau Institute of Technology
43:Manukau Institute of Technology
16:New Zealand painter (born 1959)
502:Contemporary New Zealand Art 5
173:Oceania: Imagining the Pacific
1:
271:National University of Samoa
127:) and soy sauce containers (
897:"pÄkehÄ - MÄori Dictionary"
605:"Hastings-McFall Artist CV"
500:Caughey, Elizabeth (2008).
456:Tautai Guiding Pacific Arts
230:serious at the same time".
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551:White, Anna-Marie (2008).
392:Radio New Zealand National
927:"Beyond the Dusky Maiden"
426:Stevenson, Karen (2008).
213:Museum, New York (2004).
169:Auckland City Art Gallery
159:, a survey exhibition at
75:Background and education
680:City Gallery Wellington
452:"Niki Hastings Mc-Fall"
203:University of Cambridge
177:City Gallery Wellington
854:"Niki Hastings-McFall"
752:Chiu, Melissa (2004).
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287:Auckland Art Gallery
267:Creative New Zealand
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123:), weedeater nylon (
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25:Niki Hastings-McFall
382:Further information
161:Pataka Art + Museum
53:Jewellery, fine art
191:C.N. Gorman Museum
163:, Porirua (2013),
129:Too Much Sushi Lei
121:Nosy Neighbour Lei
858:Milford Galleries
738:978-1-877372-60-5
706:C.N Gorman Museum
700:Peterson, Giles.
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249:Vahine Collective
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838:7 December
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708:. UC Davis
685:7 December
660:7 December
651:"Home AKL"
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612:Whitespace
406:References
255:Lily Laita
197:, (2010);
931:E-Tangata
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676:"Oceania"
351:lei being
347:lei again
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