Jon Tootill 'Pahuretanga o wa' (2009)

In ‘Pahuretanga o wa’ (Passage of Time) Jon Tootil argues that the moko has direct relevance and increasing importance in today's NZ. He demonstrates that it also reaches back in time and across (perceived) cultural divides. These assured works therefore have a sociological purpose, a political intent, and a contemporary venacular. They openly acknowledge the role of art in the establishment of NZ identity. These works are formal, graphic and assertive. They are also deceptively simple, whilst imbued with symbolism and cross-cultural in reach. This is a vision of future NZ - where everyone is more Maori and Pakeha than before.
    
Tootill’s paintings reveal a history of the representation of Maori and an exploration of traditional culture. From ‘Puhoro’, a portrait based on a woman seen in the late 1700’s to ‘Hare mai, e te rawhiti’, a contemporary figure, connected to her tipuna through modern technologies, the fluidity and evolution of culture is ever-changing and continually re-addressed.

References to painters from New Zealand’s art history are prevalent in works, showing that conversations surrounding appropriation and/or celebration are still being explored. ‘Te Wai Pouanamu’ is based on a Goldie painting, where the subject is dressed in European attire. The imagery of a Gordon Walter’s appears in the background of ‘Nga Tamatoa’ reflecting the time when there were concerns by some about the appropriation of Maori taonga.

The influence of European pattern and attire is prevalent in ‘Puea’ however she still wears a Moko which has a connection to her family history. A single koru seems the only indication of traditional Maori culture in ‘Marching Girl’. This work reflects the adoption of European culture in the late nineteen forties and early fifties.

In this new series of paintings Jon Tootill allows the moko to evolve with each character and new context as does our history and culture. Each graphically bold portrait tells a story through Tootill’s use of rich symbols, recognisable motifs and unique visual language. Tootill overtly questions iconography and representation of Maori people and culture of the past and present.