08 Nov

Oh, say can you see by the dawn’s early light
What so proudly we hailed at the twilight’s last gleaming?
Whose broad stripes and bright stars thru the perilous fight,
O’er the ramparts we watched were so gallantly streaming?
And the rocket’s red glare, the bombs bursting in air,
Gave proof through the night that our flag was still there.
Oh, say does that star-spangled banner yet wave
O’er the land of the free and the home of the brave?

To listen to the best live version of the SSB, that’s found here:


Lyrics: Star Spangled Banner.

Artwork: Burlesque movie poster, Hollywood movie marketing imagery, bus stop, Hollywood Blvd – Hollywood & Highland.

Artwork II: Reuben Patterson, artist – New Zealand. Artwork name: Lightning Strikes, Maybe Once, Maybe Twice, But It All Comes Down To You (2003): glitterdust on canvas (3 panels) total size 1014 x 3042mm.

Made in America and New Zealand. Pop Art.

Song words of SSB extra verse, follow after the leap:

~Posted by Horiwood.Com, Hollywood California USA. 11.7.10~

On the shore, dimly seen through the mists of the deep,

Where the foe’s haughty host in dread silence reposes,

What is that which the breeze, o’er the towering steep,

As it fitfully blows, half conceals, half discloses?

Now it catches the gleam of the morning’s first beam.

Now in full glory reflected now shines in the stream

Tis the star spangled banner! Oh long may it wave.

O’er the land of the free and the home of the brave.

And where is that band who so vauntingly swore

That the havoc of war and the battle’s confusion,

A home and a country should leave us no more!

Their blood has washed out there foul footstep’s pollution.

No refuge could save the hireling and slave

From the terror of flight, or the gloom of the grave

And the star-spangled banner in triumph doth wave

O’er the land of the free and the home of the brave

Oh! this be it ever, when freeman shall stand

Between their loved home and the war’s desolation

Blest with victory and peace, may the heav’n rescued land

Praise the Power that hath made and preserved us a nation

Then conquer we must, when our cause it is just

And this be our motto: “In God is our trust.”

And the star-spangled banner in triumph shall wave

O’er the land of the free and the home of the brave!

–beautiful. ENDS – hand-typed lyrics from USA flag site.


- kowhaiwhai: painted rafter panels (as depicted in Lightning strikes artwork, top image, on the ceiling of the whare nui.
- whare nui: the main house on Maori land. The history Maori lives in the carved, woven and painted panels within the house. The whare nui is seen as a body, where Maori meet, protected.

ARTIST STATEMENTS:  Words by Millford Galleries:

“The glitter paintings of Reuben Paterson are extremely seductive, attracting viewers like magpies to shiny objects of promise. They hint at the ideas of beauty as a magnet for visual attraction. The sparkling glitter enables the artist to explore much more than merely the twinkling light qualities of the material. Its intrinsic character transcends the everyday, the mundane or the worldly, and now implies the celestial, the spiritual and the celebratory. (1)–> A bit of a stretch, but okay!

Patersons’s decorative traditional kowhaiwhai designs in glitter dust suggest “the assured defiance of Maori culture in the face of loss”. But they also “emit an air of melancholy”. (2)–> glitter is temporal.

“A Maori motif is often the centre of reclamation.” In traditional painting or kowhaiwhai these motifs could allude to elements of Nature. “The main visual function was genealogical.” They provided the connections between all parts of the meeting house and, by utilising the images of Nature, reinforced the intimate genealogical and holistic relationship between humankind and the environment. (3)

“Paterson continues the contemporary tradition of resuscitating and updating traditional Maori motifs by the use of non-traditional media that can be seen in the work of artists such as Sandy Adsett, Cliff Whiting and Buck Nin.” –> Today Maori don’t need resuscitating, we’ve always lead. Fair access to our own resources and money though, is where Maori are headed in New Zealand. I don’t know why anyone would think we need resuscitating. Our culture has been rich in New Zealand for centuries (over ten centuries now).

“His work extends the traditional Maori use of design and pattern, of weaving and layering. They may resemble glittering piupiu or fishing net or a swatch of fabric, or a detail from an haute-couture creation. Fashion is a strong influence. He states: “it is an art form that combines aspects of decorative art and industrial design and a definite part of popular culture that permeates our social history. It is a symbolic system, a protective clothing form and a kind of performance art.” (4)

Born in Auckland, New Zealand 1973. Ngati Rangitihi, hapu of Te Arawa and Tuhoe tribes. He has received numerous awards and residencies including the Moet et Chandon Fellowship to Avize, France in 1997, the youngest recipient and the second Maori to receive the award. In 2005 he won the Development Prize in the Wallace Art Awards – the prize a three-month residency with the International Studio & Curatorial Program (ISCP) in New York valued at $15,000.
Reuben Paterson has been exhibiting since 1995 and more recently has had numerous prestigious public exhibitions: including the 8th Festival of Pacific Arts Biennale d’Art Contemporian, Noumea, New Caledonia, Te Papa Tongarewa, Museum of New Zealand, Wellington, the International Biennale of Contemporary Art at the National Gallery in Prague the Asia Pacific Triennial in Queensland and the 17th Biennale of Sydney, Australia.

[This image, for Hawaii and 49 other US states: REUBEN PATERSON, The Paradise Suite – Panel 4 (2004), glitterdust on canvas – part of seven panels, 1252 x 1250mm.

~home of the brave, land of the free, Kiwi art as a of freedom in America~


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