Niki Hastings-Mcfall

Niki Hastings-McFall (b. 1959) is a prominent multi media artist of Samoan and English descent. A long term resident of west Auckland she expresses her unique identity by combining the influences of her urban upbringing and Samoan heritage. Since the early 1990s Niki has exhibited extensively in New Zealand and internationally including Australia, New Caledonia, Hawaii, London and New York. Major group exhibitions include Pasifika Styles (2006-2008) at the University of Cambridge Museum, UK, Samoa Contemporary (2008) Pataka Museum, Porirua, Le Folauga (2007), Auckland Museum, Latitudes, Hotel de Ville, Paris, France and Paradise Now (2004), Asia Art Society Museum, New York.

'Computer Kapkap' 1997

Niki graduated with a Bachelor of Visual Arts (Jewellery) from Manukau Institute of Technology in 2000. Her early work references the ubiquitous Pacific lei (ula) and Polynesian kapkap (breastplate). In her lei series Too Much Sushi (2003) Niki utilised miniature fish-shaped soy sauce bottles commonly included in takeaway sushi packs. This series refers to the impact that non-biodegradable materials such as plastics have had on small Pacific Island eco-systems. 

 Niki uses urban materials such as synthetic flowers, found objects, plastic bags and reflective signage combined with traditional Polynesian patterns and symbolism. Her Urban Navigator works explore modern navigation systems through the use of powder coated aluminum and reflective vinyl road signage. In Dangerous Curves (2001) Niki interprets urban Polynesian modes of navigation while also referencing patterns found in the traditional Pacific arts of tattoo, weaving and tapa. Since meeting her Samoan family in 1992 Niki has extensively researched Samoan material culture and much of her work communicates this influence.

Parataiso-II

In Seeing the Light (March–April 2008) at Milford Galleries Niki employed synthetic flowers to produce a series of glowing lightboxes. These vibrant floral works reference her research of Samoan history and the discovery that missionaries had banned woman from wearing flowers in their hair because it was seen to make them too attractive to the opposite sex. Extending on her commentary of religious intervention in the Pacific, the series’ highlights the historic relationships between gender, sexuality and religion.

Niki’s recent installations, including The Forest (Vao) (2007) comprise of objects sourced from her local environment. Made of 25 lounge lamps, dressed in synthetic flowers, The Forest specifically references a Samoan oratory tradition and welcoming speech, which acknowledges people meeting from all locations and cultures or ‘all parts of the forest’. This work also references her observation of the prevalent creeper plant that covers the trees and forests of Samoa. 

Niki is represented by Judith Anderson Gallery, Hawkes Bay, Bartley and co, Wellington and Milford Galleries in Dunedin.