Sēmisi Potauaine is one of our Architecture Lecturers, working with students in the area of design, research and fabrication. As a sculptor and a fine artist – his most recent commission, Vaka ‘A Hina, a 16-metre tall steel artwork will tower over central Christchurch by the end of the year.
He is also a published writer in Architecture and related arts, and runs his own practice, collaborating with friends and other practices on projects. Sēmisi’s most recent project is the prefabricated house involving Unitec students and staff, due to be completed in a few weeks. He enjoys his teaching role and says that knowing that he has been able to guide students to think for themselves, and encourage them to positively critique what is given and what they have produced is a primary driver for him.
We sat down with Sēmisi to find out more about his path to teaching and where his motivation and drive comes from.
How long have you been teaching at Unitec and tell us a little about your specialisation in “design and fabrication”?
I’ve been at Unitec for two years, which was initiated by a catch-up with our Head of Architecture, Peter McPherson, at Sculpture on the Gulf 2017, where I had an exhibit. I had done some teaching previously at the University of Auckland, including tutoring and external examination of theses for other architecture schools.
Semisi’s 2017 Sculpture on the Gulf exhibit – Manuesina (White Bird and White Angel)
Design and fabrication is about carrying through the lines from the abstract into real. The students learn to focus on how their work on paper will be impacted by the environment – wind, sun, rain. I’m also teaching alongside a team of highly experienced staff and pratitioners at Year 3 Studio, working to a real brief and scope taken from current and future intiatives.
What ‘steered’ you to architecture as a career and how does your heritage influence your work?
I’m from Tonga and grew up in the islands, in a small village far distant from any outside influence. I was brought up with the ‘old ways’ where you learnt to read the tides to get the optimum fishing window, build a fale when more space was needed and repair something when it was broken. The ‘arts’, weaving a mat, creating cloth, performance, mending and making were part of day-to-day life.
I visited Aotearoa on a number of occasions before I moved here to study, finding my way into architecture through a Diploma programme in Draughting at Unitec in the late 90’s, later completing my Masters in Architecture at the University of Auckland, and I also completed further research abroad.
Over time, my cultural environment, grounded in Tongan tradition, including folklore and mythologies, was coupled with my new environment – living in New Zealand and nearly 20 years working in the UK, including a residency as a recipient of a 2010 Commonwealth Connections International Art Residency. These experiences motivated a passion for ancient knowledge which continues to influence my work.
A visual of Semisi’s sculpture for Christchurch – Vaka ‘A Hina
Tell us about how the sculpture commission came about and the inspiration behind Vaka ‘A Hina
I was approached by a curator for SCAPE Public Art who was specifically looking for an artist with a ‘time and space’ thematic approach. It is very special to have a commission like this and a great way to get exposure. I’m very proud to be working alongside all of the people who were involved in making this happen, including those who have worked on generating the funding which has come through grants, sponsorship and a community campaign.
The design is derived from the Tongan folklore story of the goddess Hina and her journey to the moon in a vaka (vessel) and the shape is an allusion to a lightening strike. Folklore is commonly woven into story telling throughout the Pacific including Aotearoa.
I hope Vaka ‘A Hina will become a new homing beacon for the city – due to its height it will be visible from afar.
What is your motivation to teach, while juggling your work at the institution, in practice and your commitment to art, particularly a large commission?
Knowing that I have been able to guide students to think for themselves. Encouraging students to positively critique what is given and what they have produced is a primary driver for me. Satisfaction comes when you see students’ eyes light up when they have realised it for themselves.