Coromind - Issue 34 - October25 - Coromandel's Collaborative Magazine - Flipbook - Page 21
Gates:
pa in Clay
Whānau, Te Toi
describes the creative process as almost transcendent: "When
in my creative zone, it's like channelling. I don't always feel in
control of the outcome, something takes over my being and
speaks through my hands to the clay."
Wood昀椀ring holds special signi昀椀cance in her practice. "My
favourite process is to wood昀椀re," she says, describing the
intensive communal process. "This is using a 昀椀re heated kiln
to vitrify your work. It takes a whole day to load the kiln so
we light the 昀椀re early the following morning." The process
becomes a gathering. "It is a group e昀昀ort, everyone takes
turns stoking the 昀椀re, restocking the woodpile, making kai."
The dramatic transformation occurs at extreme heat. "The
temperature reaches 1305°C; it's hot but exciting." The results
are unpredictable and beautiful. "Sodium carbonate or salt
can be added to ignite an alchemical union between it and the
clay, the ash and the neighbouring pieces, creating the most
beautiful e昀昀ect on the 昀椀nished piece."
In 2024, Fiona's artistic journey reached new heights when
she was accepted into the artist residency programme
at Driving Creek Pottery. "DCP is one of the hubs of NZ
pottery, founded by Barry Brickell in 1974," she explains.
"The residency programme is a part of his legacy, leaving
the Potteries and Trains in trust for future generations." The
residency o昀昀ered precious time and space to create. "I love
being able to create all day and late into the night, precious
hours I don't have available at home with the kids." The
environment fostered both creativity and connection: "I love
the freedom to explore ideas, the company of other residents
and the unique environment, Barry's spirit still very present."
Fiona's work gained wider recognition last summer when
it was included in the two exhibitions: The Art Is Identity
exhibition at Hauraki House Kapanga, supported by Creative
Coromandel – He Mana Toi Moehau; and Coromind’s
own summer exhibition space in Whitianga – Coromind
ArtWorks. These exhibitions showcased her work alongside
other accomplished artists, marking an important milestone
in her artistic journey.
Community remains central to Fiona's practice. She's part of
a local group of Māori and Pasi昀椀ka wāhine brought together
by Isabel Gilbert Palmer. "I've exhibited with this group both
in Kūaotunu and Kapanga," she notes. The collective has
provided vital support: "Being in this group has nurtured
my con昀椀dence and given me the space to grow by practice.
There's medicine in being with other indigenous women."
Despite her growing body of work and recognition, Fiona is
humble about her practice. "To be honest, I still feel wobbly
calling myself an artist, let alone a Māori artist," she admits.
Well, sometimes it takes the outside eye to re昀氀ect back what
the maker cannot yet see – the uku doesn’t lie. It is clear to me
Fiona Gates, Māori artist, is one to watch.
Follow Fiona’s continuing journey with clay at:
@toi_whakaora
Words by
Lana Garland
to see more of
FIONA's work
Sca n He re
Or visit: www.coromind.nz/昀椀ona-gates/
