The Creamiest: Reuben Paterson

Reuben Paterson: The Space Between the Stars
Text by Dina Jezdic

The Creamiest serves as an act of consolidation of Reuben Paterson's artistic journey. Once again, he masterfully intertwines the fluidity of expression with visual symbolism, creating an intricate tapestry that fuses the untamed spirit of the wild cat with elaborate kōwhaiwhai patterns. This unique visual language is not a mere passing phase; it's a reservoir of artistic expression that Paterson is bound to revisit. What once might have appeared as binary relationships have seamlessly merged, forming an inseparable part of his identity. At this moment, he embodies both the exoticised wild cat navigating the foreign expanse of New York City and the kōwhaiwhai, forever tethered to the ancestral whenua of Aotearoa. Having moved to the epicentre of US art scene earlier this year, Paterson finds himself in a unique position. With one foot in each world, he is poised to skilfully navigate the duality he knows so well, all while shaping his distinct self-identity.

When we talk about ‘following the light’, we often think about the final journey, the deathbed. But light is the focus and hope for all of us. It is universal. The light is our ancestors, our gut feelings and all the intangible forces that move us through life. Light presents as both warm and icy, reflective, and expansive. Light is the juncture where fate and destiny converge. Light is the gates of the cosmos opening to usher forth an infinite notion of hope and possibility. Sometimes light is about seeing the path that allows each of us to let loose. Other times, it’s like a great orgasm, a much-needed release, a tiny death.

Reuben Paterson never ignores the brightness and illumination. He has become a crusader who repairs our relationship with light, helps us find it, helps us embrace it, and guides us to unapologetically listen to it. Because the light is truth, it grants us autonomy and helps us move in life, with divine intent. In the act of unapologetically claiming space, Paterson wields immense power, boldly presenting his unique worldview. Within the tapestry of his artistry lies agency, advocating for queer indigenous visibility. This is an exhilarating endeavour, enriched by the Māori lens that he employs. It embodies the refusal to settle for anything less than the deepest desires of the soul, unlocking boundless potential. Paterson's narrative not only challenges colonial assumptions about indigeneity, intersecting issues of sexuality, sexual orientation, and knowledge within a culture that grapples with these complexities, but it also orbits around the notion of cosmopolitanism in the bustling heart of NYC, the City of Lights.

Beyond their visual appeal, Paterson's paintings are in a state of constant evolution. They invite the viewer to delve into the intricate world of the kōwhaiwhai motif. As viewers, we are struck by the nesting quality of the image, reminiscent of the layers of a Russian doll. In this multi-dimensional realm, shapes take form, spirits undergo transformation, and spatial dimensions both expand and contract. This amalgamation echoes the profound concept of space-time, akin to the perceptual realm within the double spiral of creation, Te Takarangi. Within these artworks, we encounter a portrayal of temporal and spatial dislocation, a dynamic interplay between difference and familiarity, and the bridge connecting cultural and historical generation gaps often associated with migration. What unfolds before us are the emerging Steel Temples, masterfully constructed by their architect who seamlessly translates these distances and meanings across boundaries.

The titles, such as It is so Full of Sun, The Space Between the Stars, and We are all Walking each other Home, weave a tapestry of hopefulness and a vision of art as a shared human legacy, a tool for cultivating the cosmopolitanism of our era. These unifying themes echo the philosophies put forth by the eminent thinker Kwame Anthony Appiah, embracing the concept of the cosmopolitan subject.[1] This subject is one unburdened by the confines of the nation-state. Instead, they envision themselves as citizens of the world. They are entangled in the intricate web of this cultural sphere that grants access to a multitude of countries and cultures while navigating the world with grace and erudition.

But! Unlike, the figure of the cosmopolitan subject typically imaged with a certain kind of detachment, Paterson blends cosmopolitanism with the emotional resonance of Te Ao Māori, safeguarding a profound essence, that transcends time and place, that connects him regardless of his physical location.

The Creamiest is an offer of agency and authority, a path where each of us can see ourselves, each walking distinct journeys in various realms, disciplines, and voices. Paterson generously extends visibility and confidence to the next generation, inviting them to step into this narrative more profoundly. This act of extending a hand is not only generous but also an uncharted territory that remains deeply rooted in Māori determination. It contributes to the broader landscape, offering visibility to Mātauranga and providing a voice to a Māori indigenous worldview.

As viewers, we can cherish and nurture this vision, because such an open, honest representation is indeed a rare and precious gift. A space between the stars.

Perhaps the current challenge is to breathe light into these ideas.

Glossary

Kōwhaiwhai: Genealogical abstract motifs painted inside the whare tīpuna, meeting house
Mātauranga: knowledge, that broadly includes traditions, values, concepts, philosophies, world views and understandings derived from uniquely Māori cultural points of view