The installation of three carved Tōtara panels adorning the central pillars of the new St Patrick’s Chapel marks the final touches – ready for the opening weekend from 28 January to 1 February, when thousands of people are expected to attend services.
The artwork, created by designer and Old Boy Jon Chapman-Smith, and Aaron Troy illustrates the story of Dilworth through a striking visual narrative that reflects the school’s Christian foundation, Irish heritage, and identity in Aotearoa.
The artwork, created by designer and Old Boy Jon Chapman-Smith in collaboration with Aaron Troy, illustrates the story of Dilworth through a striking visual narrative that reflects the school’s Christian foundation, Irish heritage, and identity in Aotearoa.
The designs are layered and deeply imbued with meaning and symbolism.
“They represent a visual bridge between the school’s history and its future”, he explains.
Jon is creating a storybook to explain the thought process and inspiration behind his designs—so they can be understood forever. However, we recently sat down to talk to him about his work so that everyone would have some understanding before seeing them in situ.
The foundation of faith is central to the design, according to Jon, with the carved panels based on Te Tūāpapa o te Whakapono (the foundation of faith). The Saint Patrick’s Cross sits at the centre, symbolising the link between Ireland and New Zealand, and encircling the cross are twelve buds, honouring the first twelve students who started their journey at Dilworth in 1906.
The carving weaves together the Three Tikanga—Māori, Pasifika, and European—within an Anglican framework – interlacing the different cultures to represent a unified community. A continuous Trinity Knot runs through the panels, transitioning into harakeke (flax) weaving to symbolise a community bound by faith.
The vertical orientation of the carvings mirrors Te Ara Poutama o te Toa (The Dilworth Hero’s Journey). The designs rise from the whenua (land) toward the sky, symbolising the progression from "The Call" to "The Flourishing” – the growth of each young Dilworth student.
Two identical panels, flank the central piece. They honour the three Tikanga and symbolise the ongoing connection between past, present, and future.
The central piece revolves around the student’s journey, illustrating the development of identity and the transition into manhood, while also examining the physical and spiritual ties to the landscapes of Aotearoa, New Zealand.
One of the most inspiring aspects of the carvings is that the designs have been shaped by input from our Dilworth community. Jon held workshops and surveys with students, staff, whānau, and alumni. Cultural guidance was provided by Bishop Kito and Old Boy John Tipene to ensure the work genuinely reflected the school's diverse heritage.
"The use of the three tikanga immediately pulls our worlds together in one language," says Chapman-Smith.
For Jon, the project was a learning journey that went far beyond art – he felt it deeply as an Old Boy.
The result is incredible and serves as a lasting record of the school’s history, faith, and collective identity, which is hoped will guide us confidently into the future while never forgetting the past and instilling a sense of pride in students.