A saucy rebrand brings te reo Māori to Kiwi fridges and dinner tables
Hi neighbours,
Are you looking for a new pantry staple? A Canterbury restaurateur has launched his own te reo Māori-branded tomato sauce after boycotting another for “bastardising” the language.
Fush owner Anton Matthews has teamed up with Barkers to produce Kīnaki Tomato after removing Watties from his Christchurch restaurant because the company poked fun at Māori place names in an advertising campaign.
Matthews, who has become well-known for championing the country’s indigenous language, is proud to have te reo Māori on sauces displayed on his tables.
When he went in search of a new sauce to accompany his kaimoana (fish) and chips in January, they picked a sauce they loved, and asked the Geraldine-based condiment producer if it could collaborate on a label.
“I’m really stoked that they’ve taken a chance on us.”
To read more about Kīnaki Tomato, click here
Brain Teaser of the Day 🧠✨ Can You Solve It? 🤔💬
Make a hearty dish. Take just half a minute. Add four parts of kestrel. Then just add one. What have you made?
(Trev from Silverdale kindly provided this head-scratcher ... thanks, Trev!)
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Poll: 🤖 What skills do you think give a CV the ultimate edge in a robot-filled workplace?
The Reserve Bank has shared some pretty blunt advice: there’s no such thing as a “safe” job anymore 🛟😑
Robots are stepping into repetitive roles in factories, plants and warehouses. AI is taking care of the admin tasks that once filled many mid-level office jobs.
We want to know: As the world evolves, what skills do you think give a CV the ultimate edge in a robot-filled workplace?
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Boundaries of Adaptation - An exhibition by Nina Bulgakova
Boundaries of Adaptation
An exhibition by Nina Bulgakova
28 February - 18 March
Community Gallery Space - Franklin Arts Centre
Opening Event: Saturday 28 February, 10am
Adaptation is often understood as the ability to adjust to an environment, to accept its conditions and become less visible within it. In this body of work, the focus shifts to a different moment, the point at which adaptation reaches its limit and begins to form a boundary.
This boundary is not a gesture of refusal or isolation. It appears as a need to define how interaction with the outside world takes place. Not to shut it out, but to stay in contact while maintaining a sense of stability. Here, the boundary is not an opposition, but a way of reaching agreement.
The works take the form of wall-mounted sculptural objects, where the boundary becomes material and physically present. Within these objects, it is expressed through weight, density, surface, and tension of form, shifting from an abstract idea into a direct experience.
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