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effects of the influenza epidemics. The final image [Figure 13] was deliberately pulled apart and
flattened like a clay „whariki‟, to hold and carry hapu spiritual losses.
Figure 14: Maxwell. H (2011). Mokomokai-inspired artefacts. 15.24cm x 15.24cm.
My face was used as the mould to define the nose and emphasis nasal markings to reference Kawiti‟s nasal markings lamented about in
his Takuate. The bisque fired white stoneware mould was displayed on dry bracken fern to evoke the loss of the aruhe, a staple food
source. The mould was covered with red flax dye to recall „kokowai‟, delineate and accent full facial markings then displayed on
waewaekaukau, source of taua (head wreaths) worn at tangi.
Figure 15: Maxwell. H (2010). Mokomokai inspired artefacts. 15.63cm x 12.32cm.
This was the first attempt to create a distorted and facial disfigurement with a more bulky mould and deliberate removal of an eye
section. The white stoneware mould was bisque fired and stands to the forefront of a bracken fernery. The red flax dyed mould was
dipped in water to experiment its glossy appearance before being photographed.
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