NICHOLAS, Darcy;

Children of Tāne

Enlarge Image

1984
Oil and acrylic on board
750 x 1010mm

The inclusion of two texts for this work reflects the curatorial approach taken for the exhibition Te Huringa/Turning Points.

 

Peter Shaw

The artist has written that the subject of Children of Tane is “the loss of our native forests and, subsequently, our stories about those special places.”

Darcy Nicholas was born and raised in Waitara, Taranaki. As a child he played in the forest called Te Kotuku. This forest was named after an ancient kahui maunga tohunga. When he died, Te Kotuku’s spirit departed to the south, in the form of a large cloud. The forest had been confiscated in 1877 as part of the post-Parihaka seizure of ancestral Maori land. When it was cleared in the 1960s, the forest of Te Kotuku ceased to exist.

Nicholas is a painter, sculptor, writer and arts administrator. In 1984 he received a Fulbright Scholarship to observe contemporary Native American and African-American art in the United States. He has exhibited in several countries and his work is held in many private and public collections. From 1973 to 1980 he was a full-time painter. Since then he has held many senior management positions. He is currently General Manager for Cultural Services for Porirua City Council and manages the Pataka Museum of Arts and Cultures.

 

Jo Diamond

This painting has the instantly recognisable artistic signature of Darcy Nicholas, with its distinctive palette and ‘washed’ paint effect providing an ethereal quality. The mountain Taranaki, a distinctive feature of Nicholas’s other works, is absent, suggesting that the artist’s concern reaches beyond his own rohe towards a collective identification with wairua (spirit), rather than that of a particular individual iwi or person. The smudged effect of the painting attests to the holistic nature of Maori ways of seeing the world. Equally, the boundaries we set between deities and ancestors are also blurred, in keeping with a Maori convention that venerates both.

The painting provides a rich opportunity for multiple interpretations. The implied presence of a human face in the top right corner not only seems connected to the sky and earth but also to the indistinct figures in the foreground and another ‘half-face’ at the bottom left of the painting. The figures comprise two human and two tree-like forms; each is a ‘child of Tane’ that symbolises a variety of kindred relationships between human beings, land, sky and earth. The half-face mirrors the other face at top right, and appears to share a deified role. Maybe these are Rangi and Papa, long since separated by their recalcitrant son Tane.

This cosmological reference sharply contrasts with another ‘truth’: the exploitative role human beings have aggressively asserted over their land. An ecological concern is overlaid with symbolic reference to the cosmology that preceded Christianity in Aotearoa. It is a concern that by definition places our survival in the hands of the gods and our responsibility for a pro-active stance against environmental destruction squarely at our feet. Maori cosmology provides ample guidance for a sustainable life, now and in the future.

Exhibition History

Te Huringa/Turning Points: Pākehā Colonisation and Māori Empowerment, Sarjeant Gallery Te Whare o Rehua, Whanganui, 8 April to 16 July 2006 (toured)

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