Te ao ō te Māori: a window into the rich lifestyles of contemporary Māori

Photographs and words nā PHIL TUMATARO



Morgan Darlison (Kāi Tahu, Tainui, Ngāti Porou) finds it difficult to answer when asked what she does.

Multi-disciplinary artist is where she lands after recounting a lengthy list of completed projects and others she has in the pipeline. “It’s the best way to describe what I do, but there’s no limit to what I will get involved in,” says the mother to three, who last year married her longtime partner Ethan Darlison (Ngāti Porou).

Morgan set up Kaitiaki Studios in 2012 and has built a thriving business which allows Ethan the privilege of running the household and running after their energetic tamariki Levi (12), Mia (8) and Kauri (3).

Leaving Kaiapoi High School committed to a creative pathway, Morgan enrolled in a fine arts degree at Canterbury University. But she quickly realised it wasn’t the right path for her, and switched her attention to Toihoukura – School of Māori Visual Art and Design, and in the days immediately following the February 2011 earthquakes packed her bags and headed to Gisborne.

“Our first week was a wānanga at Whāngārā, and that was me – I was away.”

On her return to Ōtautahi, under the guidance of Elias Tyro, Morgan took on an apprenticeship as a tattoo artist, and still does tā moko when she has time.

In 2015, she met Ariki Creative founder Hori Mataki and developed a friendship that led to seven years learning to master computer design and building knowledge of the design industry.

“Hori introduced me to the digital world – he handed me a set of tools I’d never used before. He was an amazing mentor and there’s been others along the way, like Fayne Robinson and Riki Manuel.”

Morgan still designs letterheads and business cards for clients, but her resume features notable public works including the city’s central library, Tūranga, the Justice Precinct water feature, Parakiore Recreation and Sports Centre, and soon her work will dominate the new sports stadium, Te Kaha.

She is constantly reminded she moves in a male-dominated world and one that has complex commercial realities, but believes it’s beginning to value the place of authentic cultural narrative in our buildings and landscape.

She often finds herself recalibrating client expectations against the need to remain true to the intention of her designs.

“You’re having to hold people to account that tthis is more than just an artwork; it comes with a responsibility; there’s mana behind it that you have to uphold – the whakapapa that’s behind it and the traditional practices that inform these designs and the narratives. That can be the hardest part.”