19Elisha99
Contextual
“OTABLU meets St Pauls'.
ELISHA OLOAPU
“OTABLU” meets St. Paul’s is my tribute to the neighborhood that nurtured me – Otahuhu, affectionately known as ‘Otablu’ by the locals. In the late 90s and early 2000s, Otahuhu was a temporary home for numerous deportees from the United States, members of infamous gangs such as S.O.S and T.C.G, with the majority of them being of Polynesian heritage. Both of these groups dooned the color blue, hence the amalgamation of ‘Otablu.’ ‘Meets St. Paul’s’ signifies our present connection, through my artistic endeavor, my aim is to chronicle this community to which I have a deep bond. While my community often grapples with stereotypes and negative perceptions, my focus is to cast aside these preconceptions and spotlight the remarkable individuals who shape my community.
My documentary-style photography within my community has encountered its share of challenges this year. For instance, there was an instance where I couldn’t present a video project due to concerns about its potential promotion and glorification of gang violence. However, it raises a thought-provoking question: why do we readily embrace and celebrate war photography, which often features even more graphic imagery?
My work is deeper than glorifying gangs and street life. I am diligently assembling an archival record in anticipation of the impending wave of gentrification, which threatens to erode our cherished recollections of childhood and the enduring bonds we have cultivated throughout the years. Those halcyon days of frolicking in the streets until the onset of dusk hold a special place in our collective memory. Despite the divergent trajectories our lives have taken, this endeavor perseveres as a tribute to the community, crafted by and for its residents. From doctors, dealers, Pastors, to the pitbulls and poodles, dream chasers and clout chasers, The hard workers in blue collars to the gang bangers in colors. This undertaking is a universal tribute to all who have played a role in our shared narrative.
The exhibition commences with a captivating drone shot, offering a breathtaking view of my side of Otablu, specifically focusing on Convoy Lane, the very street I call home. The shot then transitions to my close friend, Sam, who’s affectionately known as ‘Blaxx,’ expertly pulling off a 12 o’clock on a quad bike, proudly representing his neighborhood from the ‘Darkside’. To the left of this remarkable shot, your eyes will be drawn to the iconic horse monument that stands as a symbol of Otablu’s rich history. Just beside it, a wall comes into view, and it’s more than just bricks and mortar; it’s a glimpse into the heart of our community.
Within this snapshot of our community, you’ll spot familiar faces - Samu, Slick, and Nav, who are not just my friends, but the pillars of support and creativity that define our collective journey. Each one of them plays a distinct role in our vibrant community, with one owning a local barber shop and another diligently working that same street from 9 to 5.
There’s a saying that resonates deeply with us, “Struggles are cruel, that’s why we hustle like there are no rules.” It’s a mantra that fuels our determination and underscores the essence of our existence in this vibrant, resilient, and close-knit community.
End of year exhibition. 2023
Contextual
This body of work was inspired through the deep connections that I share with my Samoan heritage. My Art form is through photography and documentation. The intention behind my images is to showcase this beautiful process and practice within the Fa’a Sāmoa culture called ‘Ie Tōga. It’s something that I hold dear to, especially being raised here in Aotearoa, New Zealand, these practices and many others weren't an everyday thing. So when chances do come occasionally I make it a priority to learn and document them.
There are significant meanings to how I staged these photographs. The main focus was having my Tinā show and educate us in this practice before her time comes. The practice of ‘Ie Togā is hugely important to myself, because it is the foundation my beautiful culture is built on. Hence why this body of stills are purely based on what takes part outside and around the ‘Ie Togā.
The process has three main materials, the leaves from the lau’ie tree which after drying and platting makes the main mat, feathers and glue, lots of glue. The ‘ie Togā has the highest cultural value in the Fa’a Samoa tradition. These fine mats are not for sitting but, they are exchanged and presented at weddings, funerals, Matai Chief title bestowals, and at special occasions. This practice is passed from family to family, sometimes for many years and that is the sole reason why the ‘ie Togā is greatly valued within the Fa’a Samoa tradition.
Contextual
Title - ‘Heartless Punks’
Mid-Year review
20th June 2023.
‘Heartless Punks’ is a photography installation of prints, projections and screens. They all each symbolize the subcultures of my upbringing as a brown man within South Auckland. From dealers, to doctors, pitbulls to poodles and patchies to pastors. This is a homage to all ‘heartless punks’ back home.
I've decided to name this body of work ‘heartless punks’, after a slur this lady called my brother and I, while at eastern beach a few years back. I don’t know why, but it stuck, those two words. Like an itch in the back of my head I couldn't scratch for years. I was too young to understand what racism was, and how they’ll stereotype the brown male from South Auckland at the time.
I am interested in the way installation can impact the room no matter your medium. The installation set-up I had planned out today is to show two main perspectives I want to showcase within this artwork. One being of an outsider's view and their own stereotypical narratives about certain communities within South Auckland. Another is my very own personal perspective on what this place South Auckland is really like. The decision to use screens and projections was to show how the media was telling our own stories, and having the prints a physical photograph, in a way shows the truth.
My practice is heavily influenced by photographers such as Estevan Oriol, Chi Modu and Ernie Paniccioli. All who are well versed in the photography scene, their documentary approach has shaped the way I make and think about my practice as a photographer. It all ties back into my notion which is ‘Manatua’ (remember or in remembrance of).I believe my notion of ‘Manatua’ is a key aspect of this work, its something that i've challenged myself too, how would a proud samoan born kid living in South Auckland be ‘manatua’ as? As just another statistic or someone who challenged the negative views of the minority.
A Buck And A Vison
A buck and a vision, is my attempt at recreating my childhood growing up in Otahuhu South Auckland, Through photographs. A lot comes into mind when I think about this particular area I call home. Home comes with a whole lot of characters and personalities like dealers, doctors, hustlers and dreamers. And although the inevitable impact of gentrification has changed some aspects of this place, I want to document what was left of it and tell its stories through a photograph. Visually I want to take the audience on a tour around my “HOME” truthfully through these photographs. Let them view it from the eyes of someone who's lived there their whole life, And not listen to these media reporters who show up when shit hits the curb.
Book opens up two locations that are notorious to Otahuhu, the monument of Charles Fergusson. AKA “the horse” and the Rec-center AKA “Ota-Hoops”, Names the locals call these spots. These areas played a huge part of my childhood and have shaped the very man that I am today. Especially the Rec-center, a place that I can go to with a few of my mates and shoot hoops late at night without worrying about anything.
Then followed by a dairy on “High street” and the bro “Ravi”, People like these in South Auckland who get to witness the growth of kids into youth are the unsung heroes of any area. Along with every local self-runned business owner in the hood. I'm certain you can ask them and they can point out which kids grew up around locally and who didn't, and that's something special.
The next set of photographs is showcasing Otahuhu in the night. I opted to go for the night to showcase its beauty, The Train Station, Otahuhu Shopping Strip and the Recreational Center. Also there is this real calmness about documenting this busy street while it's sleeping. The Lighting and emptiness of the streets is just so captivating.
Seaside where I currently reside is the bright side of Otahuhu. Quite a nice little neighborhood, I say bright side because it's the east side of my childhood and would always joke around saying that that's where the sun shines first. But with all honesty I believe with my heart that Otahuhu as a whole is the real bright side.
“Struggle and the Hustle” a phase that literally some of the locals live by. Hustle definition via urban dictionary “To strive headstrong and voraciously towards a goal”. Second part of this book series is the hustle lifestyle of my people. I wanted to document this side of my home purely because it's as real as it gets. Many have mixed opinions on what South Auckland is like, In spite of all that, We as a community have always not given a shit about articles and what they call us. And that’s what I want the world to see through these photographs.
Chapter two opens up with a photograph of an old “T-house” tinny house, Metaphor for a piece of Tin foil that contains Marijana that dealers run. Following are photographs of a few very close childhood friends of mine, Who in my own words are the epitome of the term Hustle. Just boys who are looking to earn their cut and to cater for families, And make the most of what life has offered them this far, legally or illegally.
Last two photographs are of the blue night skies of otablu. Father always told my siblings and I, Growing up that “if we look up and see stars in the night skies, then everything ain't as bad as they seem no matter where you are in the world”. Lessons that i'll cherish this whole lifetime,
I guess for me, personally I want my photographs to be an archive of my area's beauty along with the rough, rugged and raw aspects there is to the lifestyle of an ordinary South Aucklander. In terms of portrayal I want to State that in this little part of South Auckland which is called Otahuhu also known as Otablu. Locals all have one objective in mind and that's providing whether it's legal or illegal. Hustle knows no rules and struggle is cruel, It's the world we live in and that's why documenting this certain subject for me is quite an honor, Although this is only an assessment and will have no physical and financial impact on my home, i feel like i’ve done my best at trying to document “the hood”.
Undoubtedly moving forward as a photographer I’ll love to continue this body of work on to more of the other South Auckland suburbs. Also exploring their very own stories and finding their voices through my love and passion for photography. This is my “a buck and a vision”.