Conversation. Culture. Colour. Three touchpoints that Naomi Faifai pivots around in her joyful everyday.
Tell us about your childhood and your first memory of being drawn to the art world. Having a mum who was an art student for years, then a practising artist throughout my childhood, means I don’t really remember a time when art wasn’t a big part of my life. There were many nights spent sitting on the lounge floor in front of the fire just making. My sister and I used to make collages for hours. Mum would bring home stacks of magazines or cardboard offcuts from the printers. It was lots of testing out ways to play and to kill time, and how to be involved in what our mum was doing mostly without spending a cent, using what we had. That’s something I love so much about creativity: you don’t need money or anything fancy to create. People have been using and making do with what they have since the beginning. Nature is an amazing provider.
There’s a lovely lightness of being to your art. Do you think art is too worthy these days? What are you trying to express? I create to have some place to get lost in. I just follow my intuition, let the random disconnected thoughts and background noise out for a bit. There’s already so much that’s heavy and serious in the world that it’s okay to have a little happy corner of light where it’s just play and a bit of a mind map that makes you smile or feel connected for a moment. I don’t think everything has to be so profound; it’s great when art feels accessible or approachable. And I’m okay if that sounds a bit cheesy. I remember reading a quote about how what other people think of you is none of your business. I feel that way with my art. I make for me.
You work from a top-floor studio in your hometown of Timaru. Tell us about your decision to move back there. Your priorities really do change as you get older and being close to whānau was a big factor. My parents still live in Timaru and my two kids love spending time with their grandparents. I have a new appreciation for the town too, its old memories and familiarity. When I was younger I never would have imagined I’d choose to be back here. I was always on the lookout for new adventures, places, things to try, but I’m enjoying it. My studio is in the Royal Arcade in the middle of town, which is a beautiful old space and inspiring in itself.
You recently held your first solo exhibition at The Frame Workshop & Gallery in Auckland. What did that explore? The title ‘Inner Workings’ was about taking a look at all the things — people, places, day-to-day stuff — that goes on behind the scenes in the artist’s creative process, and how they often find their way into the art (in my work through symbols and pattern). The title of the show was also summed up by someone as being, in part, about the work I’ve done on self-acceptance, which I quite like.
In what ways does your cultural identity feed into your practice? Because I feel so comfortable creating and art is a really safe space for me, I feel like I can take my time exploring connection to my culture at my own pace, in my own way. I mentioned in my artist statement for ‘Inner Workings’ about often feeling like a visitor in the places I whakapapa to, so I’m really trying to explore things I can do to change that. And then, the more I learn and become familiar with over time, I guess my work will naturally evolve alongside that.
Do you have any formal training? A muse? What or who has been most influential to your approach? I don’t have any formal training in the arts. I had a couple of teachers in high school who were real characters and supportive, and had thought at one point I would head to art school. But I think I was just desperate to see what else was out there instead, to do a bit of living and try out things I knew nothing about. To see if there was anything else I liked to do. Somehow I found myself back here. Becoming more interested in finding connection with my heritage, both Māori and Samoan, has also played a big part in the direction my work has taken. I feel like it has become a lot more personal over the last few years, although I never set out to do that. I’m really quite
a private person.
As a mother and an artist, how do you structure your working day? My two kids will often come along with me to the studio. They can both sit and make for hours, gluing and cutting everything in sight, making a huge mess. I just let them go for it. Walking is also a big part of a feel-good day for me, so we often walk or bike into my studio from home, then all work on our own projects until they’re over it. Sometimes I get a lot done, sometimes hardly anything, but it’s all part of it. Plus I love seeing the freedom in what they create, kids’ art being incredible, with amazing freedom.
You’ve been called an ‘emerging artist’ and ‘one to watch’. What does that mean to you? I’ve always found those sorts of phrases funny. How do you know when you’ve emerged? Who tells you or decides when you’ve arrived? I don’t know. I’m just grateful to be doing what I love — and people are responding to that in a positive way. How lucky am I to get to do something I love?! I’m not too hung up on the labels, just trying
to make work I feel really good about.
frameworkshop.co.nz
Interview Claire McCall
Photography Tegan Clark