Marle Women is a series that delves into the lives of inspiring women. Through thoughtful and intimate conversations, we uncover the unique journeys and perspectives that shape their stories.

In this edition, we speak with Dr. Karamia Müller, a Pacific academic whose work explores the intersection of culture, space, and creativity. As a Senior Lecturer at the University of Auckland, Karamia specialises in Indigenous space concepts and contemporary Pacific architecture. In conversation, she reflects on the creative power of play and the ways in which her heritage shapes not only her work but the questions she asks of the world.

 

 

What initially drew you to explore the relationship between culture and space, and how has your perspective evolved?

As a child, I was always fascinated by shapes, colours, and textures. I used to create sculptures from found objects, enjoying the process of placing things together. Now, I still fit things together—whether they are words, ideas, or objects—and focus on how they feel or sit next to each other. Over time, my perspective has evolved to understand that this process reflects how I engage with culture and space, fitting elements together to create something meaningful.

Are there specific traditions or practices from your heritage that you integrate into your daily routine or creative process?

I appreciate this question. While researching siapo (decorated tapa) practices, I came across a phrase from siapo artist Mary Pritchard, who revolutionised the art form with new shapes and motifs. She shared a saying passed down from her mentor: “play with birds, come out with a flower.” In the context of siapo, this refers to experimenting with shapes and motifs to create something unexpected and beautiful. This idea resonates with me. While I may not be creating daily at this stage of my career, I apply this iterative process of playing with ideas before something emerges—creativity, in this sense, is ever-present in life.

 

 

How does creativity find its way into your life beyond your professional projects?

I try to maintain a sense of curiosity and play. Caring about my world and staying open to it is integral to that process. For example, taking the bus instead of driving allows me time to daydream, which feels like a daily practice in creativity. Daydreaming is something I want to be more intentional about—it may sound out of touch during a cost-of-living crisis, but it’s a way I nurture my creative instincts.

Can you share a project or experience that significantly challenged you, and what you took away from it?

Not one single project but there is something common to all projects that I experience. Starting from scratch on every project can be daunting and overwhelming—nothing feels good enough at first. However, getting through that maddening phase is always uplifting. The ability to turn abstract thinking into something material that communicates with others reassures me every time. What I take away is the confidence that you will get to the other side and learn from the experience.

 

 

What’s the most rewarding aspect of incorporating traditional practices into contemporary design?

For me, it’s about knowing that while practices evolve, the underlying values persist. This continuity is what makes incorporating tradition so rewarding.

When faced with creative or professional challenges, what strategies help you stay motivated and inspired?

Admitting to myself that I am stressed or overwhelmed is the first step. I also rely on guided meditation—not self-directed, as I’m not quite zen enough for that yet!—to help me re-centre and stay grounded.

How has your cultural background influenced key decisions or milestones in your career?

I can’t imagine my career without my cultural background. It shapes the questions I ask about the world and guides the projects I choose. Even when I’m not directly working on projects informed by my heritage, I ask myself what contribution I can make from my own position and perspective.

What’s a cherished memory or object that provides you with comfort and inspiration?

Anything with my father or mother’s handwriting on it.

 

 

What’s one book you believe everyone should read?

I can’t quite recommend a book because I am so torn, but I loved Hilary Mantel’s essay about Diana—'Royal Bodies’. One can find it on the London Review of Books website. I will reread this essay till I die.

Do you have a daily ritual that helps you stay grounded?

Walking with my big baby, Tai (a possible Bullmastiff cross), is a daily-ish ritual that keeps me sane-ish.

Is there a piece of art or architecture that has recently moved or inspired you?

Rewi Thompson’s (Ngāti Porou, Ngāti Raukawa) Fish Canopy in Ōtara, South Auckland always inspires me.

 

 

What current trend or practice in design excites you?

I’m excited by the global recognition that Indigenous artists are receiving. It’s an inspiring time to watch this unfold.

Is there a cultural tradition that you particularly cherish?

I cherish siapo and Sāmoan oratory practices. Even though I don’t have the language, knowing that it enshrines a way of seeing the world is something I’m proud of.

Is there an artist or designer whose work you are currently admiring?

I’m always in awe of women who keep creating in their own spheres. My friend Lara Fischel-Chisholm, who choreographs, directs, and does “everything” for the comedic dance company I’m part of, is one such person. She balances so many roles—mother, partner, dancer, costumer, playwright—and still makes space for the joy of creativity. I admire that, and I admire women practitioners who have to be “everythingers” in their work.

 

Karamia wears the Tegan Shirt, Alisa Short, Edie Shirt and Alisa Short Stripe. Photographed by Greta van der Star.