One of my favorite experiences from my trip to New Zealand in April was the chance to meet and talk with Maori artist Blaine Te Rito. As we drove to Blaine’s home-based studio in an Auckland suburb, our guide and Potiki Tours co-founder Melissa Crockett told us how she came to meet Blaine and what a great ambassador for New Zealand and traditional Maori art and culture he is . . . as we would soon see for ourselves. She also explained that Blaine has a full facial moko (tattoo) that he would be happy to explain and be photographed. And, just before we arrived at his home, Melissa explained that we would also be greeted with the hongi, a traditional Maori greeting in which two individuals press their noses together, forehead to forehead. She gave us a few pointers: no rubbing noses, just a brief touch which may be accompanied by a handshake. Blaine is one of those people who can immediately put anyone at ease, and although he explained he had injured his back earlier and was in some pain, one wouldn’t have known it by his frequent, booming laughter and his willingness to chat with us on his deck for an hour or so. He started by explaining to us the meaning behind the hongi (it is an exchange and intermingling of the breath of life in each of us) and some of the creation stories of the Maori and Polynesian cultures. Blaine’s primary medium is wood, and he has been carving since he received his first set of tools from his father at Christmas when he was 10. His training in traditional carving began when he was 15, but he said he really has only been supporting himself with his art full time in the past five or six years. He travels the world on behalf of the New Zealand arts board exhibiting, teaching and taking part in indigenous art workshops. He has completed commissioned pieces for private and public collections alike, and the samples of his work which he shared with us (a mask with a full moko and the prow of a war canoe) were wonderfully wrought and intricate in detail. When he creates a piece for an individual, he learns as much as he can about that person’s background and family, because the art will contain symbols and stylized designs which refer to that information. He says, “Every piece begins with a story; I always start with a story.” Blaine shared with us a bit of his own story and how he came to have his moko. The practice had nearly died out (missionaries discouraged the practice, and because originally the designs were actually chiseled into the skin, there were problems with infections and hygiene) until a revival began over the last 20 years. Blaine explained that because the practice had been co-opted by some young men in gangs, there is still some stigma attached to the tattoos, but not just anyone can receive a moko from “the masters” — the traditional artists. Tribal elders must give their permission, and Blaine indicated that he also sought the approval of several of his family members. A proper moko is designed to “fit” the individual’s features, and the pattern is determined by one’s life story and ancestors. The left side represents one’s mother’s ancestry while the right represents the father’s, and patterns flowing from the nostrils (again, the breath of life) represent one’s children. While women may have their chins and occasionally their foreheads tattooed, only men can have the full facial tattoo. All too soon we had to take our leave, and after once again sharing a hongi with each of us, Blaine bid us “Haere ra” (literally, “Go!”). Looking back on that afternoon, I realize that while his moko was at first very striking, my memories of Blaine are more clearly now of his wide smile, infectious laughter and generous nature. As I have found so often true of my travels, while New Zealand and Auckland were beautiful and enchanting, encounters with individuals like Blaine Te Rito will be my most treasured memories. — Patty Vanikiotis, associate editor/copy editor