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Shona Rapira Davies

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is mentioned by Rapira Davies as being the defining component of the piece. Her daughter completed the weaving after very little instruction, and which Rapira Davies describes as her journey into adulthood. A naked female child faces a group of women advancing towards her, performing the
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Te Aro Park in central Wellington (between Manners and Dixon streets) marks part of the site of the major pā, Te Aro. The park, designed by ceramics artist Shona Rapira Davies, is in the shape of a canoe, with the prow on the extreme right of the
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portrays the impact of colonisation on Māori culture and Māori women particularly. Yet Rapira Davies' work suggest transcendence too, by revealing a ritual state rarely portrayed, and through it, a Māori definition of beauty, status and worth.
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This doco follows the passionate, stroppy Rapira Davies, as she fights cost overruns, landscape architects and passersby, and for her vision (which involved handcrafting Te Aro park's 20,000+ ceramic tiles).
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Shona Rapira Davies originally made Raising the Taniwha, a series of small, wall-mounted ceramic figures, while on a residency for indigenous artists at the Banff Centre of the Arts in Canada.
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From 1988 to 1992 Shona designed and completed Te Aro Park in Wellington, a major ceramic tile permanent work and considered one of New Zealand's most successful public sculptures.
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culture) and sexism (within the patriarchal structure of Māori tribal organisation). She uses her art work to make statements about perceived injustices against Māori.
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She exhibits widely; both as a sculptor and as a painter. Rapira Davies is interested in the empowerment of Māori women in spite of perceived racism (in a
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Rapira Davies recalls she felt isolated in her identity while studying in Dunedin but the experience taught her the value of patience.
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Walking over the names of Maori ancestors – revealing the disrespect with which they have been historically treated.
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Set in a narrow triangle of public space with adjacent busy roads and much foot traffic it is a very visible work.
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Reflecting the rise of the political Māori voice and the place of feminism in New Zealand art at the time,
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Bieringa, Luit, 1942- Barr, Jim, 1947- Barr, Mary (Mary Milroy) Brierley, Judi. Maiden, Leslie. (1986).
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In 2015, Te Papa opened a focus exhibition on Rapira Davies and fellow senior artist
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pays tribute to the strength and resilience of Māori women. The work depicts the
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Shona Rapira Davies in her Te Whanganui-a-Tara Wellington studio, 2022
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is considered one of New Zealand's most successful public sculptures.
679:. Wellington: Museum of New Zealand Te Papa Tongarewa. p. 355. 173:, along with preparatory drawings. The work was originally made for 234:(a song), while the other female forms carry racial slurs. Curator 169:, the title of which translates to 'the survivors', is held by the 1388:
People associated with the Museum of New Zealand Te Papa Tongarewa
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One of Rapira Davies' major works, the sculptural installation
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Content/context : a survey of recent New Zealand art 1986
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She is well known for her landscape sculpture commission for
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Pū Manawa : a celebration of whatu, rarange, and tāniko
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Treasures from the Museum of New Zealand Te Papa Tongarewa
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New Zealand women artists : a survey of 150 years
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alongside preparatory sketches and more recent works.
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National Art Gallery of New Zealand, Wellington. 1986
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Index

painter
Ngātiwai ki Aotea
Wellington

Auckland College of Education
Dunedin
Otago Polytechnic
Frances Hodgkins Fellowship
Banff Centre of the Arts
Pākehā
Te Aro
Wellington
Nga Morehu (1988)
Museum of New Zealand Te Papa Tongarewa
Wellington City Art Gallery
Megan Tamati-Quennell
Emily Karaka
Govett-Brewster Art Gallery / Len Lye Centre
Women's Gallery
Te Papa
Auckland Art Gallery Toi o Tāmaki






ISBN
1-877385-12-3
"prospect"

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