Lisa Reihana creates powerful contemporary expressions of Māori history, culture and identity across film, video, photography and installation. Her early works A Māori Dragon Story 1995 and hyper girls 1998 (created in collaboration with Ani O’Neil) use the moving image to engage audiences in new ways of thinking about Māori culture and tradition.

Reihana’s ongoing ‘Digital Marae’ project has enabled her to construct a vision of her ancestry as encountered in the wharenui (traditional Māori meeting houses). In the wharenui, ancestors are depicted as wood carvings, a rarified Māori artform practised by men. When Reihana began the project, there were no cultural protocols relating to the moving image or digital media; therefore, these contemporary artforms allowed her great freedom in the depiction of her ancestors, and to participate in Māori tradition.

The marae is a highly structured space that functions according to complex protocols. It is a space of sanctuary where Māori families come together to share commonalities and debate difference. The wharenui (meeting house) is situated in the marae. The architecture of the wharenui becomes the ancestor’s body – the central roof beam is the ancestor’s backbone, the rafters are the ribs. The poupou (carved sculptures) lining the walls of the wharenui are embodiments of ancestors that teach fundamental genealogical knowledge to create a profound sense of belonging.

Reihana’s first ‘Digital Marae’ photographs, made in 2001, represent female ancestors, and convey the importance of matriarchy in Māori culture. A second series from 2007 depicts male ancestors and explores diverse forms of masculinity. Each poupou/ancestor has their own story, and together they protect the wharenui and guard the spiritual and physical realms.