Derek Lardelli . Sealord Logo. 2011.
Above is the current design for New Zealand fishing company Sealord, put into practice approximately 6 years ago. This logo began having a simple blue banner with the name Sealord inside of it. Our identity is essential to creativity so as Maori artist and Ta Moko expert Derek thought it needed to show that is a New Zealand company and relate to our history and culture while also taking account for what the company is about in itself and its values.
The current logo design incorporates traditional Maori patterns and ta moko to create a image that looks as if it could be a fish which relates towards the sea and possibility of being for a fishing industry. It is blue suggesting the relation of water and there is a paua texture on the top half of this fish and a koros beneath. The use of this Maori Design sums up the values and principle of maori culture like manaakitanga and tikanga and still includes the standards of the fishing companys values . Even though Sealord is profoundly disapproved of as their fishing practices have been questionable therefore it has been disagreed that these substandard practices are a bad look badly on the tikanga of the company and they don’t deserve to use these Maori designs within their logo design, as it does not relate to “cultural integrity” (Meads 26). Within Burke it states “cultural identities are endlessly available for appropriation and reinvention” (Burke 19). Futhermore we need to be are made aware of the images in logos and the meaning they prevail. Maori culture is a huge part of New Zealand and is part of our national identity and Maori culture must be acknowledged by all of us. Sofia Minson stated. “for a culture to survive and for its people to flourish, it must constantly re-make itself and become a blend of old and new.” (Minson). By putting traditional art practices and styles with Maori culture as one can been seen as creating new and inclusive cultural identity of New Zealand. Applying Maori designs in the Sealord logo may be seen as culturally suitable and negatively evaluated, for this reason it could be showing that we are aware of working our way towards a society that is not focused on “cultural superiority” (Walker 85) but instead living a society that clinches culture towards it and uses it to create originality within art and design; urging the limits of our knowledge and practice to flourish. It is important we are aware of an artworks meaning when we create it, it needs to encompass every part of its history and values of the company in order to successfully work.
- – Bell, Leonard. “The Representation of the Maori by European Artists in New Zealand, ca.1890-1914.” Art Journal, vol.49, no.2, 1990, pp. 142-149.
- – Burke, Gregory. “Cultural Safety.” Cultural Safety: Contemporary Art from New Zealand,
- – Carberry, John James. Conversations in Creative Cultures lecture, Massey University,
- – 10 August, 2017.
- – Gregory Burke and Peter Weiermair, City Gallery, 1995, pp. 15-31.
- – Meads, Hirini. “Nga Putake o te Tikanga, Underlying Principles and Values.” Tikanga Maori: Living by Maori Values. Huia, 2003, pp. 25-33.
- – Minson, Sofia. “Maori Jesus.” Sofia Minson New Zealand
- – Walker, Ranginui. “Tauiwi.” Ka Whawhai Tonu Matou / Struggle Without End. Penguin Group, 1990, pp. 78-97.