Lisa Reihana Weaves with 114,000 Shimmer Discs at NGS
The Aotearoa New Zealand artist's rooftop commission draws on Māori and Southeast Asian textile traditions. Reihana, whose practice includes video works, compared the shimmer discs to pixels on an LED screen.
Artist Lisa Reihana pictured with her artwork GLISTEN at National Gallery Singapore, 2024. Courtesy National Gallery Singapore.
Lisa Reihana's commission for National Gallery Singapore's Ng Teng Fong Roof Garden Gallery will open to the public on 14 June and remain on view through 30 March 2025.
GLISTEN (2024) is a three-sided sculpture covered in shimmer discs, which shift and sparkle in the breeze. The works' patterns are inspired by Malaysian Songket and Māori Tāniko weaving patterns.
What were you hoping to achieve with GLISTEN?
I wanted to deepen my understanding, and through this installation, expand the representation of extraordinary textiles and cultural practices of Māori and Southeast Asian communities. This dazzling and mesmerising large scale outdoor sculpture honours the traditions, labour, and pivotal roles of the women weavers from Southeast Asia and Māori communities as makers, communicators, knowledge bearers, and mediators prior to the Asia Pacific region's first contact with Western culture. I also hope that visitors will be dazzled by its beauty, and to join me in celebrating the enduring legacy of Songket and Tāniko weaving.
In researching the project, what did you discover about the similarities and differences between the two traditions?
Through the dedication of Māori master weavers, our traditions were maintained, and now flourish. I realise that colonisation has impacted our weaving practices, and this project was a way to foreground Malaysian Songket. I worked closely with the Gallery's curator, Qinyi Lim, to research further into Southeast Asian weave patterns, referencing one of Malaysia's early textile artists Grace Selvanayagam's book, Songket: Malaysia's Woven Treasure (1990). I hope that with the inclusion of Songket on GLISTEN, I showcase its special nature.
Another similarity is that textiles and garments featuring Songket and Tāniko are worn on ceremonial occasions, so this work is to honour these incredible practices. In some ways, my 114,000 shimmer discs do not even come near to the incredible beauty and craft of the weavers.
Your pattern is created using shimmer discs, an industrial material I mostly associate with advertising and events. What are shimmer discs like to work with as a material?
As Songket weaving features the addition of gold or silver threads, this project afforded the opportunity to work with shimmer panels. I feel comfortable wrangling a huge number of pixels when producing my large scale video works so, to me, the 114,000 shimmer discs that make GLISTEN are reminiscent of my media practice. I think of them as an LED screen activated by the natural elements—the sun and the wind rather than electricity. And it is the perfect opportunity to shine as this is my solo debut in a Southeast Asia Gallery.
Not only the shimmer discs, but video and photography are also industrial materials that are associated with advertising. This is the genius of it, that it is appealing and big and bold. I support my own campaign of honouring these traditions.
What do you like about their contribution to the finished work?
I like the versatility that shimmer discs offer, the potential for reuse. Beyond their contribution to the finished work, I appreciate that they can be repurposed or adapted for future artworks.
The discs were individually placed by hand, I worked with amazing teams to create a visually impactful artwork. It is mesmerising to watch the play of wind and light across the work. I love that kids and adults are drawn towards the work as it glitters on the Ng Teng Fong Rooftop Garden. Many people wanted to come and admire the work while we were installing!
The Mataaho Collective recently won the Golden Lion in Venice for their work combining industrial materials and Māori weaving traditions. Are we in the midst of a moment for contemporary works revisiting weaving?
In my practice, I have always strived to bridge the gap between traditional Māori art forms and contemporary practices, blending innovation with tradition. A recurring theme in my work is the exploration of colonialism's impact on Māori culture and identity. My goal is to challenge traditional colonial narratives and foster critical discussions about history and representation. Ultimately, through my art, I hope to raise awareness of Māori art and culture on a global stage, while also expanding the understanding of Māori art within the wider art world. —[O]
