Trailblazer of Pacific contemporary arts

• Published date: 25 May 2023
• Publication title: Southland Express

The Samoan-born artist migrated to New Zealand as a 21-year old in 1962, and he briefly worked in a plastics factory in Onehunga, Auckland

Before leaving Samoa, his mother had given him a letter to deliver to his aunt in Bluff.

She had not realised the distance between Auckland and Bluff. The loyal son made the life-changing journey south to deliver the letter in Southland that would become his home for the next 61 years. Family members affectionately dubbed it ‘‘the letter of destiny’’.

An interim job at New Zealand Railways bridged the gap before securing a seasonal position at the Ocean Beach Freezing works.

Penisula’s fingerprints are hidden among the province’s foundations. Off-season work was spent developing the Milford Track, building pylons from Manapouri to Tiwai, or helping to build the Tiwai bridge.

In 1968 he married Mavis, who he had met at a party.

A fitter-welder engineering apprenticeship had equipped him with the skills he would later use to pursue his passion — art.

Penisula was described as a competitive and determined man who became proficient and skilful at whatever he put his hand to.

But art was his passion. He was a mainly self-taught painter but completed a correspondence course to develop the skill and became a master carver.

The early 1980s were tough times as he coped with the loss of both parents within months of each other, and turbulent freezing works strikes.

But it was through this time he considered his prime production period.

Penisula was well known outside Murihiku and regarded as a trailblazer of Pacific contemporary arts since the early 1970s.

He valued and respected the place and role of manu whenua, where he was regarded as a taonga himself.

In the early 1980s the humble artist discovered Creative New Zealand was funding artists and completed his first funding application on a serviette saying “Please can I have money for tools”. After a revision, his application was granted.

Frustrated with the lack of support for South Island artists, Penisula later challenged a Creative New Zealand gathering, “The arts don’t finish at Cook Strait.’’

In 2010, the Murihiku Maori and Cultural Trust, was formed to create opportunities for Murihiku young people to take their place in the arts — with Penisula as patron. At the inaugural ceremony he was honoured with a to’oto’o, an orator’s staff — the symbol of matai status, with the trust.

Penisula held many exhibitions around the country. His art features in public and...