To Live + Die in South Auckland was an exhibition that lived and died at Fresh Gallery Ōtara. It was an eye-opening and sadly, heartbreaking experience, but still a milestone.
- Check out a full archive of exhibition photography by Sam Harnett here and photos from the opening by Sait Akkirman for Arts Diary here.
Making an exhibition for Fresh Gallery Ōtara felt important, like a full-circle moment taking me back to where my curatorial practice began, and inhabiting the space as an artist. My dear friend Nigel Borell filled in some of the curatorial gaps of producing this show, and is credited as ‘Curator Tautoko’, a term we devised to perhaps describe what it is when two artist-curators muddle around wearing different hats!
My favourite times during the exhibition involved talanoa and connection with people looking at and beyond the work on the walls. Those who travelled from far and wide to help open the exhibition blew me away; I was overwhelmed with love and support.
I also loved the opportunity to discuss my practice for the Arts Out East 2024 dialogue series, the Art of Conversation curated by Felixe Laing. Artists are invited to nominate a local eatery to hold an artist talk in, and whilst I have some firm favourite spots here in the South-Eastside, most of them have got small spaces with limited seating. So, I nominated Columbus Cafe at the Botany Mitre10 Mega, which has a massive window looking out at Puke-i-Āki-Rangi, a former Pā site on a magnificent hill covered in native bush in what is known as East Tāmaki Heights.
The public programme events at Fresh Gallery Ōtara during the exhibition were supported by Ōtara Papatoetoe Local Board. In my artist talk held in May, someone who has been familiar with my practice as a gallerist and curator for many years, commented that it was like I was ‘coming out as a Fijian’, which made me giggle. The comment reminded me how little of myself I bought to the act of working in service to other artists.
Cultivating my own voice as an artist has been a bold step towards being known, being seen. In the second public programme event, we set up a drop-in collage making space, building page works and revealing stories of ourselves. I loved it so much, especially reconnecting with local artist and activist, Monica Fa’a’lavaau.
The third public programme event was a Fresh Gallery Ōtara witness seminar, an event format I had learned about from visiting Swedish curator, Maria Lind. At Tensta Konsthall, a Stockholm gallery where she was Director, they held witness seminars to understand and archive more about the social histories of the building and environment the gallery inhabited.
I put together a panel of speakers for the Can I get a witness? event we held at Fresh Gallery Ōtara on 7 June, each chosen to help build a story of social impact, innovation and creativity generation from Fresh Gallery Ōtara’s first chapter from 2006-2012. From artists who made shows at the gallery during that time to perspectives from Manukau School of Visual Arts (later MIT Faculty of Creative Arts) from Grant Thompson, and Nicole Lim, the gallery’s longest serving gallery assistant and later gallery coordinator.
It was a gorgeous night of storytelling, reflection and deep acknowledgement of the time and space we had all shared in what felt like Fresh Gallery Ōtara’s golden age. It was also the last official ‘VV First Fridays’ event, which focused on talanoa and opportunities for Moana Pacific artists to connect. Vinaka vakalevu to Creative New Zealand for supporting that event series.
I’ve really enjoyed building an archive of writing and commentary on Patreon and growing a community of patrons committed to small monthly donations to support my practice. I’ve enjoyed sharing insights into my creative thinking and planning, inspirations and seeing the value system of my practice reveal itself in the process. Returning to my art practice has been the most wonderfully rewarding decision of my life.
On Patreon, I share a mix of content for paid members, content for free members, and content accessible by non-members. This is the lastest post accessible by anyone:
If supporting my work is something you’re interested in doing, this is a great way to make easy donations. There are two membership tiers at present:
Outside of my art practice, I’ve been working on a project with Dr Sereana Naepi and illustrator, Marc Conaco for a year now – this is us on 2 July 2023! Good things take time, patience and dedication. It is such an immense privilege to be working alongside the eye-wateringly talented Marc Conaco and the academic leadership of Dr Sereana Naepi! So much exciting news to share in the coming months!
I’m currently re-thinking the Vunilagi Vou showroom and returning a lot of work I’ve held over Vunilagi Vou’s tumultuous five years as an on-again-off-again gallery space. Like many in the retail / small business space, attracting sales and spending in the nice-to-have market is pretty rough-going in this economic climate.
With a room to play with, that’s separate from the studio, I’ve had the chance to hang and present my own work, playing with context and story.
I made a series of Fijian salusalu (garlands) for the witness seminar at Fresh Gallery Ōtara and really loved the process. Synthetic felt is such a fun, malleable material, and the colour combinations give me such an energy boost! I wrote about the process on Patreon here (paid content, apologies!) and I’m now making these on a commission basis.
Nigel Borell was at the Venice Biennale when we opened To Live + Die in South Auckland in May, so my sister Mereia read his small speech:
I’ve thought a lot about life and death over the last few months, making and presenting this show, but Nigel reminded me about the absolutely intoxicating energy of re-birth, an energy that has fuelled Vunilagi Vou since 2019!
In May, the fifth anniversary of Vunilagi Vou quietly rolled around. The show at Fresh Gallery Ōtara absorbed any energy for celebration. I had spent the previous day making a one-day-painting to exercise support for the national day of activation called by Te Pāti Māori to stand solidly in support of Te Tiriti o Waitangi and our obligations as Tangata Tiriti. And then on 31 May, exactly fives years since Vunilagi Vou first opened in Ōtāhuhu, I watched the sun rise behind Puke-i-Āki-Rangi here in East Tāmaki, where Vunilagi Vou has lived, died and been re-born.
Grateful for patrons, supporters… those who are still moved by art histories and storytelling, and those who have the means to keep supporting art and artists, in recession times.
