Te Atu Clamp

Tu Tangata, Issue 12, 1 June 1983, Page 37

Te Atu Clamp

A carver with a skill to offer but a reluctance to be bought and sold in the market place is Te Atu Clamp. Currently working on a pouwhenua for Manawatu Museum, Te Atu spoke to Tu Tangata whilst chipping away on the 27 foot totara log destined to stand outside the Palmerston North museum.

TT What is the intention of this work? Te Atu I plan to put this pouwhenua on public display showing how the Manawatu was formed and the people who live here. I’ve talked to the people about the old stories about this area and there’s this tale about a spirit called Okatia who formed the Manawatu Gorge by lifting up a totara log and carving through the hills right to the sea. That’s why I’ve chosen a totara log which came from Ohakune.

As far as the public display of the work goes, I think Maori art should be in the public eye not just in Maori places, that’s why I’m happy that this carving will be outside the museum, not inside it.

The unveiling of the work of Te Atu Clamp at Manutuke marae. The carver stands to the left of the stone sculpture, his grandmother Mere Tamihana Katipa and niece Tracy Isenhut are in the foreground, with Tuhoe ministers present for the blessing. Photo Ans Westra

TT: Does it worry you that some people may look at the work and not understand what it represents? Te Atu: I think people who want to know more about something will make an effort to do so. I’m not about to put up a sign explaining the significance because people who don’t want to know wouldn’t read it anyway. My carving the pouwhenua and having it in the public eye is political by it just being there and requires a reaction.

TT: How innovative can a carver be, and still retain the tradition? Te Atu: A carver has ‘te matekite’ a sight of what is locked inside the wood, bone or stone and releases it in the best way he knows how. The total person is the carver and depending on the atmosphere in which he or she lives,

shapes the interpretation. Carving is the total expression of spiritual identity in physical form. TT: Is there enough work for a fulltime carver? Te Atu: I’ve chosen not to work for the souvenir trade because it’s important to me that people understand my carvings (amongst others Te Atu has completed a large carving at Rangitikei College and the stone sculpture of his great grandmother at Manautuke marae, Gisborne) I’d like to expand this understanding between races so that people see what they have in common. For example I’m hoping to go on a cultural exchange visit to the United States to learn the carving techniques of the American Indian. I’d like to carve a totem pole using different styles and adapting Indian ones to Maori.”