Michael Parekōwhai's The Lighthouse, a highly anticipated and sometimes controversial artwork, was unveiled in February.
The opening of the artwork was marked by three separate events: an evening hosted by the donor Barfoot and Thompson and an open day for the artist and his whānau, where influencers and some lucky Auckland Council staff were invited for a sneak peek inside the artwork.
On Saturday 12 February, hundreds of Aucklanders gathered at the artwork’s public unveiling to enjoy a late summer evening with guided tours, a limited edition gift from the artist and performances by New Zealand musicians including Anika Moa, Marlon Williams and Lawrence Arabia, playing inside the house as if in their own living rooms. Supported by Pānuku Development Auckland, locals and visitors alike experienced the artwork up close, as well as taking in the sights and sounds of Queens Wharf.
The Lighthouse also graced the cover of that week’s Paperboy magazine, and featured prominently on social media.
The artists speaks about his intentions
Since its opening, the artwork has been a popular destination for both Aucklanders and tourists. It has stimulated conversation about a range of topics including homelessness, the Auckland housing crisis and the role of colonisation in shaping our collective New Zealand identity.
Michael Parekōwhai says that with any piece of art, “it’s ultimately up to the imagination of the individual who is experiencing the work. Good work always challenges the audience’s perception of what they’re looking at and who they think they are.”
Parekōwhai states that “the whole world is in our house”. Clusters of neon lights that represent the constellations illuminate the space. The interior finish is highly reflective to allow coloured light to bounce throughout the interior. Within these endless stars sits The English Channel, a stainless steel sculpture of Captain James Cook.
“Its presence grounds the work. He’s not the heroic Cook that we often see; he’s more pensive, more thoughtful, considering what his next move might be. Cook’s feet face towards the memory of a fireplace. It’s as if he’s warming his feet, but his gaze and mind are somewhere else.”
“In whichever environment The English Channel sits, he reflects the place he inhabits,” says Parekōwhai.
A project of quality, significance and endurance
The artist says he decides to accept a commission when he thinks he can make a difference and deliver a project of quality, significance and endurance. He spends a great deal of time researching and thinking about the project, its concepts and in this case, the site. Then comes the question – how?
Parekōwhai works with a full time team of creative experts, including builders and engineers with a high level of expertise in materials and fabrication technologies. The carefully resolved and highly finished look of Michael Parekōwhai’s work is a result of this long-trusted team and their extensive knowledge.
How does an artwork of this scale happen in Auckland?
Real Estate agents Barfoot and Thompson gifted $1 million to the city for a public artwork. It is the largest gift towards a single public work in New Zealand’s history. The agency worked with independent arts advisors, who considered a number of possible artists and recommended Michael Parekōwhai. This suggestion was then endorsed by Auckland Council’s Advisory Panel for Art in Public Places.
What is the Advisory Panel for Art in Public Places?
The advisory panel’s role is to review council’s public art plans and projects and provide advice to council officers. The panel includes experts with a vast knowledge of arts, culture architecture and urban design, including Ngā Toi Māori (Māori arts knowledge, wisdom and understanding).
Barfoot and Thompson suggested a significant waterfront site and Queens Wharf was agreed in discussion with previous Mayor Len Brown, the artist himself and Pānuku Development Auckland (then Waterfront Auckland). The artist was approached with a brief, and additional funding was sought through private donors.
A working relationship with the artist
Arts and Culture Manager Kaye Glamuzina was integral to the creation of this iconic artwork by developing a collaborative working relationship with Parekōwhai and his team. Glamuzina said that they “kept an unrelenting hold on the artistic vision and chose to trust the creative process, protecting the artist as much as we could.
“I think the unwavering support, generosity and trust of Barfoot and Thompson and other donors through some difficult periods was inspiring and an excellent lesson in how to support an artistic vision of this significance.
“Working with a team of creative people who are the very best at what they do. Michael’s team, the conservator, photographers, designers, musicians, project managers and all those who welcomed the work on 11 February and delivered on this project, they all deserve recognition.
“Creative practice is a crucial contributor to building a city, particularly one growing as quickly as Auckland. It’s an incredible privilege to have worked on this project.”
The Lighthouse will be completed in the coming months with the Matariki constellation comprised of treaty signatures installed on the floor. These will reflect on the ceiling providing spectacular Southern Hemisphere ‘chandeliers’.