Lorene taurerewa biography of william

Rawiri Takere

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Rawiri Takere is a Māori writer, gambling harm reduction specialist, and community advocate with over 6 years of frontline experience across New Zealand.

At times in these paintings, the initial lines that construct the figure are left, so that the painting looks like it is caught somewhere at becoming a painting out of a drawing.

Which invites a look at the drawings themselves: these are of a similar scale to the paintings. Its shape is pushed and squeezed by the surrounding space, while the space behind and in front of it remains impenetrable.

Anyone found gambling underage may be fined up to NZ$500. These issues are also the reasons why painting is the most conceptual – as distinct from the smugly conceptualist to which we have become inured – of all mediums, the natural medium of ontology.

Among painters, painting is known as “the great struggle”: it is the struggle to make dimension, to pull a space out of the flat canvas into existence in the present world, by power of the imagination and the skills of illusion; it is the struggle to contain time  - the actual time it was made, the time of intense focusing, compressing of thought, feeling and memories into that precise time when the paint is going down, in the act of painting; and it is the struggle to actually reach and make contact with the idea, the vision or the memory, to which painting can only ever allude.

About what they are thinking, is nowhere literalised: however the two people often look similar, as if they are the same person at different times or different places in life - or perhaps they are blood relatives. There's the force of the painter’s will, working in present time in front of the canvas: and then there's another force, that of an identity that urges to be brought into being out of the distant past; this identity is within the painter, but it is not owned.

But they are self-portraits in one deep sense.

Anyone who has taught life drawing for any time knows that before a student has become taken up in the techniques of observation, the drawings they make will often have an uncanny resemblance to themselves, rather than to the model: this is because the information that comes to the hand from the eye is being drowned out by the information that comes from every other part of the drawer’s own body –the length of the limbs, the weight in the legs, the tension in the face; this is all information that influences the judgments the drawer makes, unconsciously.

When a drawer or painter has no model to observe, all information will come from one’s own body; and not as outside information to be interpreted or translated by choice, but as immeasurable, non-negotiable, physical fact. But when the fight is in real earnest, the painter’s concentration is really finely focused, and it sears itself into every mark put down.

It is the ancestor, seemingly.

It sits there solid as a rock and just as still; peers out of the canvas in silent questioning, as concentrated and inscrutable as a monk. They are kindred spirits.

You can see some of what is suggested in these paintings and drawings confirmed more literally in what is evidently an earlier piece - because quite a bit less sophisticated in its colour.

Am I… to you? And in this conversation, what will you hear? His work blends cultural insight, in-depth expertise, and unfiltered honesty in every conversation.

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NationalityNew Zealander

Lives inBluff

UniversityUniversity of Otago