Uploaded August 2023 | Updated September 2026, 1 week ago
In Waitati, 15 minutes north of Ōtepoti Dunedin, a BMX is lodged in the branches of a cabbage tree.
“A terrible accident,” explains pirate queen, Dunedin City councillor and mayoral hopeful Mandy Mayhem. “ET trying to get home.”
Waitati is not your archetypal coastal settlement. Yes, it is small, with a population of about 400. It is seaside, with views overlooking Blueskin Bay. But it is anything but sleepy.
Below the swankier homes up the hill, the so-called “swamp-dwellers” display a sense of cheerful creativity with community-spiritedness in spades. Taking Frank Film on a tour of the village, Mayhem points out the decorated letterboxes, the teapots, the wooden trebuchet stationed in her own lawn alongside the J1 Bedford school bus that was her home for five years when she was a circus performer.
There’s a giveaway seed library, a community pantry and The Turdis, a public toilet opened with elaborate fanfare in 2019 that also serves as a noticeboard.
“Manaakitanga,” she says. “Our community embodies that and I think that is what wellness and
wellbeing is all about.”
Mayhem was just five when her mother moved them to a 10-hectare property on the hill above the
small township. By that time, the cluster of holiday homes had become affordable cribs for a
younger generation of hippies and alternative lifestylers.
Mayhem attended Otago Girls’ High School, a top student but “a bit of a misfit”. She began a
Bachelor of Arts then took a year off to focus on Taekwondo – she holds a Dan 3 black belt.
She moved to Wellington to complete her degree at Victoria University, majoring in Women’s
Studies while working part time as Slaphappy the clown.
At 25, she and her partner Titch had dreams of starting a circus. This plan ended in tragedy after
Titch was killed when his truck plunged into Lake Taupō. When she heard Ridgway’s Circus was
looking for a clown, “I thought, what else have I got? I’ve lost all my dreams, the most obvious thing I can do is run away to the circus.” She had just started the role when the ringmaster left and
Mayhem – her adopted stage name – took on the role.
“The show used to start out with the crusty old cowboy cracking the whips. He would whip the
cigarette out of my teeth, whip up the newspaper, and then he’d throw knives at me around this target. One time one of the knives glanced out of the board and went straight down and stuck into
the top of my shoe. I squelched around for the rest of the show with blood filling my shoes.”
On leaving the circus, she returned south to Oamaru where she fell in love and became pregnant. She moved back to Waitati in 2003 where she raised her two children – Rose and Max.
“As a teenager I couldn’t wait to get away from here but as soon as I was pregnant, hapū, with my
daughter, I couldn’t think of anywhere else in the world I wanted to be.”
In Waitati, she became involved with Playcentre, the library, the local hall (the key now hangs on a
nail at her house). She is leader of the Waitati Militia, established 50 years ago to protest against the Vietnam War and still conducting mock battles with an arsenal of paper swords, insults and flour bombs.
She has been an egg donor, twice; she is a marriage celebrant; she is the only ringmaster included in University of Otago’s Dunedin Longitudinal Study. Every Saturday, she sets out to do the paper run around the bay and up into surrounding hills.
Seven years ago she married Lee Bullock and had a daughter, Vita. His wife, jokes Bullock, is “the supreme dictator.”
“Benevolent,” he adds, after a prompt from Mayhem.
In 2022, she was successful in her second bid for the Dunedin City Council. Using her own experiences as a solo parent and as circus performer travelling across rural New Zealand, she uses her position to advocate for those in lower socio-economic groups.
“I know what it is to be a solo mother. I know what it is to be forced to take budgeting advice at the
foodbank,” she explains. “I think traditionally the Council is older, white men – business people.
They definitely don't have the same lived experience as me.” When her colleagues tell her they too
make donations to the foodbank, she responds, “But have you ever had to go to the foodbank
yourself?”
Now she has her sights on being the 60th mayor of Dunedin. “We’ve only had one female mayor in
Dunedin so I’d like to restore that gender balance.”
She seems to have the backing of her fellow swamp-dwellers.
“Look what Mandy does for Waitati,” says community newspaper editor Krysha Brzuza. “Imagine
what she can do for Dunedin.”
Credits:
Producer/Director/Cameraman/Interviewer: Gerard Smyth
Editor: Oliver Dawe
Researcher: Gillian Thomas
Writer: Sally Blundell
Production Manager: Jo Ffitch
Sound Design/Mix: Chris Sinclair
In Waitati, 15 minutes north of Ōtepoti Dunedin, a BMX is lodged in the branches of a cabbage tree.
“A terrible accident,” explains pirate queen, Dunedin City councillor and mayoral hopeful Mandy Mayhem. “ET trying to get home.”
Waitati is not your archetypal coastal settlement. Yes, it is small, with a population of about 400. It is seaside, with views overlooking Blueskin Bay. But it is anything but sleepy.
Below the swankier homes up the hill, the so-called “swamp-dwellers” display a sense of cheerful creativity with community-spiritedness in spades. Taking Frank Film on a tour of the village, Mayhem points out the decorated letterboxes, the teapots, the wooden trebuchet stationed in her own lawn alongside the J1 Bedford school bus that was her home for five years when she was a circus performer.
There’s a giveaway seed library, a community pantry and The Turdis, a public toilet opened with elaborate fanfare in 2019 that also serves as a noticeboard.
“Manaakitanga,” she says. “Our community embodies that and I think that is what wellness and
wellbeing is all about.”
Mayhem was just five when her mother moved them to a 10-hectare property on the hill above the
small township. By that time, the cluster of holiday homes had become affordable cribs for a
younger generation of hippies and alternative lifestylers.
Mayhem attended Otago Girls’ High School, a top student but “a bit of a misfit”. She began a
Bachelor of Arts then took a year off to focus on Taekwondo – she holds a Dan 3 black belt.
She moved to Wellington to complete her degree at Victoria University, majoring in Women’s
Studies while working part time as Slaphappy the clown.
At 25, she and her partner Titch had dreams of starting a circus. This plan ended in tragedy after
Titch was killed when his truck plunged into Lake Taupō. When she heard Ridgway’s Circus was
looking for a clown, “I thought, what else have I got? I’ve lost all my dreams, the most obvious thing I can do is run away to the circus.” She had just started the role when the ringmaster left and
Mayhem – her adopted stage name – took on the role.
“The show used to start out with the crusty old cowboy cracking the whips. He would whip the
cigarette out of my teeth, whip up the newspaper, and then he’d throw knives at me around this target. One time one of the knives glanced out of the board and went straight down and stuck into
the top of my shoe. I squelched around for the rest of the show with blood filling my shoes.”
On leaving the circus, she returned south to Oamaru where she fell in love and became pregnant. She moved back to Waitati in 2003 where she raised her two children – Rose and Max.
“As a teenager I couldn’t wait to get away from here but as soon as I was pregnant, hapū, with my
daughter, I couldn’t think of anywhere else in the world I wanted to be.”
In Waitati, she became involved with Playcentre, the library, the local hall (the key now hangs on a
nail at her house). She is leader of the Waitati Militia, established 50 years ago to protest against the Vietnam War and still conducting mock battles with an arsenal of paper swords, insults and flour bombs.
She has been an egg donor, twice; she is a marriage celebrant; she is the only ringmaster included in University of Otago’s Dunedin Longitudinal Study. Every Saturday, she sets out to do the paper run around the bay and up into surrounding hills.
Seven years ago she married Lee Bullock and had a daughter, Vita. His wife, jokes Bullock, is “the supreme dictator.”
“Benevolent,” he adds, after a prompt from Mayhem.
In 2022, she was successful in her second bid for the Dunedin City Council. Using her own experiences as a solo parent and as circus performer travelling across rural New Zealand, she uses her position to advocate for those in lower socio-economic groups.
“I know what it is to be a solo mother. I know what it is to be forced to take budgeting advice at the
foodbank,” she explains. “I think traditionally the Council is older, white men – business people.
They definitely don't have the same lived experience as me.” When her colleagues tell her they too
make donations to the foodbank, she responds, “But have you ever had to go to the foodbank
yourself?”
Now she has her sights on being the 60th mayor of Dunedin. “We’ve only had one female mayor in
Dunedin so I’d like to restore that gender balance.”
She seems to have the backing of her fellow swamp-dwellers.
“Look what Mandy does for Waitati,” says community newspaper editor Krysha Brzuza. “Imagine
what she can do for Dunedin.”
Credits:
Producer/Director/Cameraman/Interviewer: Gerard Smyth
Editor: Oliver Dawe
Researcher: Gillian Thomas
Writer: Sally Blundell
Production Manager: Jo Ffitch
Sound Design/Mix: Chris Sinclair









![Sam and Alison - Artists Lives
Under the branches of an old pittosporum on the grounds of an historic flour mill in Waikari, North Canterbury, a solitary figure sits on a chair. Rugged up in coat and cap, left ankle crossed over the other, he holds a cup of coffee, now speckled with twigs; the book in his other hand opens on to a poem: “Don’t just sit there you complicit / bastard; get up and do something!”
“This is the one that gives me the shits every time I walk past,” says sculptor, writer and activist Sam Mahon. “Who the f… is this?”
Of course it is him, Mahon himself, a sculptural representation of the artist by the artist at the artist’s home; a call to arms for environmental or political action that for Mahon is what art is all about.
“I think all art should be political. Every good sculpture should have context, form and story.”
Can’t some be there just for the beauty of the work?
“That’s called wallpaper. Art has a voice and the minute that voice is taken away from us by some corporate who says we should only have decoration and no story, we are in trouble.”
It is 40 years since Mahon bought the mill, then a cheap but derelict place on a 2.8-hectare patch of mainly bare land.
Now it is the home, studio, garden, foundry and horse paddock for Mahon, his partner, artist Alison Erickson, and their 15-year-old daughter Charlie.
When Frank Film visits on a bitter June morning, Erickson, in gloves and duffel coat, is heading outside to start up the furnace to melt the bronze in an age-old process of lost wax casting.
At school, she says, Erickson was the sort of kid “who was always in the art room at lunch time”. While living down the road, she became a frequent visitor to the studio. “Sam would hand me a block of limestone or he taught me how to make stained glass,” she recalls. “I just thought it was wonderful, kind of magical.”
Then, at the age of 18, “I never left.”
Since then, Erickson has built a figurative sculptural practice recognised for its contemplative evocations of environmental change and human intimacy. In Canterbury, these include Looking for something that will last (2019) in Diamond Harbour, The winds of change (2015) outside the Rangiora library and A room of one’s own (2022) at Tai Tapu Sculpture Garden.
“I enjoy the technical sides of casting bronze as well as the actual sculpting and the ideas that initially go into it,” she says. “It’s fun to push the edges a little bit and see how tiny you can get things.”
Where Erickson focuses on sculpture, Mahon’s career has straddled painting, sculpture and writing, including The Year of the Horse, winner of the Best First Book Award in 2003, the much acclaimed The Water Thieves in 2006 and, in 2008, My father’s shadow: a portrait of Justice Peter Mahon, an insight into the man best known as the Royal Commissioner into the Mount Erebus disaster.
His art spans the spidery subtlety of Regret in Christchurch’s Botanic Gardens (1997) to the more than twice-life-size rendition of former environment minster Nick Smith squatting, trouser-less, over a glass of water – a highly public protest against the impact of intensive dairying on Canterbury’s rivers and aquifers.
It was blunt, divisive, indicative of a self-styled voice of protest that drives his work.
In the studio, alongside a small figure of Swedish environmental activist Greta Thunberg, stands the head of Israeli prime minister Benjamin Netanyahu. “I dont like him very much,” says Mahon, brushing a hand over his wrist, “so I carved his face then painted it with my own blood.”
Inside the lofty spaces of the workshop, he points to a small kinetic work combining the intrigue of a mid-century mechanical toy with political dissent. At a push of a button (or the insertion of a coin), small figures swing into Sisyphean action: a woman with a child on her back pushes a lever, a man works a grinding machine, another supports a plinth on which a rotund figure, a “one-percenter” says Mahon, referring to the wealthy elite who make almost twice as much as the bottom 99 percent of the world’s population, lounges back, large hand grasping the slender stem of a wine glass. The miniature movable bits, says Mahon, draw people in, “and then they get the idea – that [US comedian] George Carlin idea that if you want to cut somebody’s throat you put a razor blade in the muffin.”
He points to the moving carousel: “This is the muffin.”
It is uncompromising work built in an uncompromising climate. Canterbury’s winters are cold, the mill is old, the work itself hard.
“It’s spare, but it’s rich,” says Mahon. “Everything we’ve done here, all this, is built on art and art practice.”
By Sally Blundell of Frank Film
Credits:
Producer/Director/Cameraman/Interviewer: Gerard Smyth
Writer/Researcher: Sally Blundell
Editor: Oliver Dawe
Researcher/Second Camera: Ellie Adams
Line Producer: Erina Ellis
Sound Design/Mix: Chris Sinclair
Production Manager: Jo Ffitch
Attributions:
Nick Smith photos courtesy of Andrew Lukey Sam and Alison - Artists Lives](https://i.ytimg.com/vi/xPOXNBVA6R4/mqdefault.jpg)
