This is an interview between Kahu Scott and Mangaru Brown. 7th February 2007.
M.B. So, Kahu, you’re a white part Maori painting in a kind of hybrid Oriental style?
K.S. (laughs) … “Hori-ental”
M.B. How long did it take you to come up with that?
K.S. Twenty five years.
M.B. Why Kahutography?
K.S. Well, I had to name the show well before the majority of the work was finished, in fact, even conceived.
M.B. So, it has nothing to do with the themes in your work?
K.S. Of course it does. It is the practice of my styles and hence the self titling. It also relates to cartography, the art of map making.
M.B. Okay, a lot of artists use maps and localized references in their work. Why do you think this is?
K.S. It’s an easy hook that artists use to create a bond between potential clients and their works. Sorry, it doesn’t need to be looked at so cynically … but yeah, maps are intriguing.
M.B. One thing that has always interested me about your mahi (work) is that you begin with ink and brush and gradually add texture and colour with enamels, other paint and pen and then distort your surface via the old Apple Mac. Does this affect your purity as an artist?
K.S. Pai toü pátai (well done) … good. I think it does. I mean, jobs that are motivating for me in the arts are constantly changing - it’s that enthusiasm that creates interesting work. So, because of that, I guess, I am part illustrator, architect/artist, and theologist.
M.B. Do you have a preference?
K.S. I can’t afford to. Some things need to be hand worked to achieve their qualities. Likewise some things, to achieve different qualities, need the help of technology not only for aesthetic reasons but also for practicality and costs.
M.B. You mentioned architecture as a feature of your practice. Does the architectural work of your grandfather (John Scott) affect your art?
K.S. Well, I have been lucky in the fact that I have never had to look far for inspiration. Yes, from my bedroom, which was in a house that John and my parents designed and built, I could see his drawing studio, at the Grange, through the trees. As far as growing up in that environment, really I had no perspective other than it being the norm. I’d have to say that my strongest memory of him was him teaching me how to light and maintain multiple fires. It’s a short interview, so better leave it there.
M.B. Nah, that’s interesting.
K.S. Well, a lot of influences, but you know, the work has got to speak for itself.
M.B. All well and true, but you know that your work will be compared to those before you?
K.S. Yep, our past is always ahead of us. He tipuná, He kaiaako (teachings from those who went before us). As I said, I’ve been lucky to have been surrounded by people who value skill. In saying that, I should mention a lot of recent inspiration comes from my “girl”, Rebecca ter Borg, who is a phenomenal illustrator.
M.B. That’s nice.
K.S. Yep.
Mangaru Brown, aka. Kahu Scott.
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