Birgit Moffatt

Meet the Artist

How does growing up in East Berlin shape the forms and structures in your work today?

When I began working more three-dimensionally, I started exploring structures and skeleton frames to better understand construction, especially when I worked with harakeke (NZ flax) in a contemporary, sculptural way. I realised that I was drawn to a particular type of construction and architecture deeply rooted in my formative years in East Berlin, where such structures were always present, including the Berlin Wall.

Working with concrete has evoked feelings of familiarity and comfort, recalling my childhood in the vast slab-construction housing estate of Berlin Marzahn.

I remember the boldness, coldness, and simplicity of brutalist forms, the cracked and crumbling plaster on old building facades; and the hundred shades of gray that are characteristic of Eastern European cities. These elements speak to me, telling the story of my city and of myself.

What changed for you—personally and in practice—after relocating to Aotearoa?

From one day to another I wasn’t a citizen of the country I was born in but a migrant. Living permanently outside of my own county, I felt more vulnerable and more aware of my own cultural identity.

At first, suddenly living a rural lifestyle away from the conveniences of a big city was difficult, but over the years, I have developed a much closer bond with the land and understanding of the land and learned skills that I never would have imagined of in central Berlin.

I had not engaged in any art form before coming to New Zealand. Coming from a background in government work, studying art in a country with a very different set of values and beliefs, particularly Māori culture, has been a challenging yet enriching journey. This experience has fostered my personal growth and expanded my own worldview.

What led you to work with foraged, natural, and local materials?

My daily walks through the lush native forests of New Zealand have honed my perception of my surroundings and sparked my curiosity. I began collecting natural materials and exploring their potential by noticing their textures, colors, and forms.

After being introduced to Māori weaving through my husband, I became fascinated by the cultural richness and skill of the art form. I decided to take on the challenge of learning this craft myself.

Māori culture is deeply rooted in its connection to the natural world and has a strong sense of responsibility to protect and preserve it for future generations. This has had a lasting impact on me, teaching me mindfulness and awareness and fostering a deeper respect for the environment.

How have techniques like weaving, eco-dyeing, and sculptural assembly evolved in your practice?

I am grateful for the opportunity to learn from the people of the land here in Aotearoa. Yet, to stay true to myself, I needed to bring my own stories and history into my work, without diminishing the essence of the materials themselves.
In this way, I slowly moved away from working in traditional forms and began taking a more personal and contemporary approach. Through ongoing material exploration, I am able to connect with the materials I work with, and I learn to trust my intuition with greater confidence.

How do your materials carry ideas of identity, belonging, and memory in your work?

The materials I choose to work with always carry a sense of connection; sometimes to a place, sometimes to a memory. At times this connection is only a vague feeling, while at others it is a strong, immediate response. I try to listen to what the materials want to reveal, recognising that each holds its own story and place of origin. Working in this way allows the material itself to guide me, adding weight and depth to the work, while also shaping the way I understand my own history and belonging.

What are you exploring during the GlogauAIR right now, and how has the residency process influenced your work so far?

During the residency, I am exploring ways to bring together elements from the two places that I feel connected with. I am working with window-like forms I am building from plaster that recall memories of my childhood. By combining those plaster frames with natural materials I find in the hoods, I seek to explore the layered nature of my history and the ongoing dialogue between past and present.

Especially the curatorial sessions and critique sessions have helped me to keep focused and reflective.

The curatorial and critique sessions became moments of guidance throughout the residency, helping me refine my focus while opening deeper spaces for reflection.