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Out now: Lucire issue 48, with free shipping for UK and US


Deserving your support: My Culture Is Not a Trend; Darryn George heads to Venezia; Surface Too Deep to Sydney


March 26, 2013/9.20

Wellington artists Tai and Kaaterina Kerekere have just opened their latest exhibition, My Culture Is Not a Trend, at Thistle Hall, on the corner of Cuba and Arthur Streets in New Zealand’s capital city.
   The couple’s paintings take pride of place, expressing personal aspects of Māoridom, culture, womanhood, family, and identity, relevant not only to a Māori audience but to any in living in New Zealand.
   Of greater interest to Lucire readers, however, is the launch of their jewellery line. KE Design, as the Kerekeres’ company is called, has launched what it calls The Heritage Collection 2013, which features unique hand-crafted jewellery featuring simple motifs founded on, as the name suggests, their heritage and whakapapa. The designs are clear, eye-catching and modern, and have an internationalist flavour while proudly steeped in New Zealand’s own culture. Prices range from a very reasonable NZ$100 for earrings to NZ$400 for a pendant set in silver and garnet.
   The Kerekeres, no strangers to exhibiting their art internationally, are showing in Hawai‘i in January 2014, and will launch another jewellery collection there. They will also take 33 works of art to the 50th US state.
   My Culture Is Not a Trend runs from March 27 to 31 at Thistle Hall, open 11 a.m. to 3 p.m. KE Design can be found at, with the site developed by Adrian Owen of SweetChilli, and on Facebook at
   Another New Zealand artist showing abroad is Darryn George, of Ngāpuhi descent, who has been invited to the Biennale di Venezia, showing at the Palazzo Bembo. The Christchurch-born artist recently gave a talk at Wellington’s Caffè L’Affarè about his plans to transform room 15 into a Wharenui-like space with highly reflective black surfaces, with the concept based around filing cabinets representing the lives lost in the 2011 Christchurch earthquake.
   The work, consisting of 3,510 mm-high MDF boards painted with high-gloss automotive paints, is being made in New Zealand and will be shipped to Venezia, but George requires help to raise the funds to get to the Biennale. An impression of what the finished work will look like is shown below.

   He has already completed a work at the Connells Bay Sculpture Park at a smaller scale, and has exhibited in Paris, as well as throughout New Zealand.
   The freight will cost some NZ$110,000, and donations of NZ$2,500, NZ$5,000 or any amount are sought. More information can be sought either from John and Jo Gow at Connells Bay Sculpture Park (, or John on 64 21 363-613, or Jo on 64 21 963-613) or Rebecca Hamid, Director, RH Gallery (, 64 21 393-970). Donations to the Connells Bay Sculpture Trust are tax-deductible, with the Trust set up as a registered charity.
   We’ve further good news where readers can help the future of one of our subjects directly. With the success of their début at last year’s New Zealand Fashion Week as part of the Miromoda show, the lovely ladies behind Surface Too Deep (see Lucire issue 29) have been asked to showcase their brand at Mercedes-Benz Australian Fashion Week.
   As with any small start-up, business finances are tight and the need for sponsorship is crucial. It has long been a dream of the brand to showcase their wares on an international platform to reach international media and buyers. With this opportunity, they are hoping to garner more brand recognition as well as gain more stockists.
   Co-designer Sarah-Jane Abraham says that Surface Too Deep has planned a ‘pretty special’ range but needs the help of supporters to make sure that the label can show at Sydney.
   This will be an amazing opportunity for both these young women and you can help them fulfil their dreams by pledging at—Jack Yan, Publisher, and Sopheak Seng, Fashion and Beauty Editor

Above Jewellery from KE Design and artwork by Tai and Kaaterina Kerekere, showing currently at Thistle Hall, Wellington. Below An image from Surface Too Deep, as shown in Lucire issue 29.

Louise Hatton

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