Mandy Cherry Joass
What inspires your art practice?
As a descendant of the first European settlers and also of Ngapuhi Whakapapa I express my biculturalism through my work. The contrasts and tensions created by weaving together disparate materials represents the complex interweaving of cultures. Following in the footsteps of my Kuia Cecily Ruby McManus, I seek to preserve and perpetuate all things m?tauranga M?ori in an inclusive, lighthearted, abstract and ecological way.
What materials do you work in?
I work with recycled, natural and found materials including harakeke and korokoi.
Aluminum venetian blinds serve as an industrial placeholder for harakeke.
Briefly describe your artwork for NZ Sculpture OnShore 2018.
M?oritanga in the mid 20th century was heavily suppressed and I wish to celebrate its consequent revival and thriving. My use of aluminum venetian blinds from that era refers to the loss of community for M?ori which occurred when Europeans arrived with their conventions of privacy. I free the material from its conventional linear use and weave and rivet large and small scale, light weight, airy, curvilinear enigmatic pieces to express entanglement and movement.
Where are the public most likely to see your artworks outside of NZ Sculpture OnShore?
“Art of This World’ Devonport. ‘Pukeko Junction galley and winery’ Liethfield beach Canterbury”
Where did you study?
Ilam University of Canterbury