Andy Leleisi’uao

I never want to forget my encounter with Andy’s solo show at Auckland’s Aotea Centre in July 1996. His art appeared too raw, too streetwise, for that polished and pristine space. The paintings and drawings offered an exhilarating take on a local realism that was much more terrifying than pleasant. The painter’s furious response to our society astonished me. Andy crammed his brutalised subjects with visceral stories focussed on the daily lives of Samoan immigrants to New Zealand. He saw a disadvantaged community gripped with pain, violence, anger and despair. There was a little humour but it was knowing, acerbic and self-deprecatory, with hardly enough space remaining for elation. The artist regarded the 1990s as one of our culture’s most derisive ages, a period when that put-down phrase ‘Fresh off the boat’ (FOB) was spoken with contempt. Andy felt a keen degradation of Pacific people and utilised it as his narrative’s inspiration.

Andy Leleisi’uao was visually shifting the weight of his family’s diaspora to New Zealand. His Pacific focussed paintings and drawings welled up from pain and laid blood and guts on eyes that did not want to see it, let alone look at it. Some of his sardonic titles screamed accusations – Go Home! You…. deserve to die in Samoa and “Towards the NIU millennium?!” YOU FUCKEN IDIOTS when will you stop referring to us as coconuts! Equally shocking was his painting of the following inscription, written as if it was a statement of public evidence: I am a biological extension of a black bastard, a cleaner, a rapist, a factory worker, an overstayer and a Pacific Islander (who is prone to violence and drinking)!

Distortion and torture, punishment and suffering are persistent subjects in Andy’s paintings of the later 1990s. Arguably, one of the most penetrating is Reasons where board is coated with dryly-scumbled paint, scraped in perfect imitation of the niu’s sennit husk. On this, he dribbled coconut cream toned paint with its sperm-like consistency to make grids out of letters. In Reasons, if you are able to decrypt an acrostic, and you are fluent in Samoan, then you can decipher the 17 notions why some young Samoans choose to suicide themselves. Andy has never skulked back from some of art’s most gruelling subjects. His art has a fearsome honesty.

Before 2000, I felt that Andy’s art operated as if it was a vocal advocate prosecuting our culture’s racism. The irony is that we may all be witnesses guilty of intolerance and living as complicit cohorts in a society of bigots. No one is exempt from injustice. What can rescue the blind? We are shown as living amongst what Andy calls ‘The Brownest Dawn’ and ‘The Patterns of My Lavalava’.

In May 2005, Andy Leleisi’uao presented his Cheeky Darkie show at Whitespace with miniature sculptures utilising corned beef cans as plinths for satirical arrangements of children’s toys that had been purchased from Burger King and local markets. These toys are recast and the resulting figures are made into actors performing staged dramas. The figures are overpainted and employ collage elements organised in hilarious, and frequently problematic, oppositions. Mr Gauguin has a fat Simpson-based character leering at a young Tahitian girl. The Samoan WWF Champions uses the World Wrestling Federation success of Dwayne ‘The Rock’ Johnson to affirm the widely known fact – Samoans are some of the finest sportspeople in the world and these guys are champions. The swapped nature of the costumes adds a fun homemade quality to the wrestler’s appearance.

Andy’s art since the mid 2000s has transitioned from darker subjects towards a deeper complexity that proposes a mix to contemporary Pacific reality. Mapalea Village has elements of Māori, Samoan, Pakeha, Rapanui culture represented as a games-based society. Happy and halcyon in a crowded future world, these sun-filled people have all the characteristics of early computer game figures. Like the ghost-games from some Oceanic Atari.

Inserted in this period of these sculptural works are the eight paintings from the 2004 suite entitled The Ballad of Tinou’amea and Pepe. This is an important sequence of narrative paintings that address the racism felt by Samoan immigrants. Painted as a symbolic drama, the works have an enormously moving quality. The paint contrasts dark and light, it is handled roughly so that there is no sense of surface beauty. Everything is taken to a position of constantly jagged nerves and lives fuelled by anguish. Narrative here is emblematic; you cannot understand the story in words. Instead, you have to feel the despair. The final painting in the sequence is Papoli drawing on the temple of Lalomaunga. The artist writes about this work – ‘The Last Supper continues here through the pegs on the washing line. Love is arriving in the form of an airplane from Samoa. The guy is painting his wife’s electrical powerpoint while she stands on the plastic cross.’

Andy’s amusing painting The Ufological Island of Samoa (Triptych) 2008 comes from an on-going series, all of which address an imagined Pacific island’s future. Partly faux-mythology and partly techno sci-fi, these paintings utilise ideas about playgrounds, and the addictive nature of sport as a social recreation in order to outline our society’s major addiction to consumerism. Here malls have become island markets styled to appear like a proto-Disney fantasy. Happy and colour-filled nightmares are fuelled by our fun and games. Just as Andy had created new-fangled Pacific languages in his exhibition Waking Up to My Polynesian Spine (1997) and the equally innovative My Samoan Accent (2001), the Ufological paintings summon up an Oceanic islandscape where past and present are co-mingled by their union of present fictions and future narratives. Everyone is shown as happy and living in harmony and this New World Order becomes the Happy Ufological Island dream. Look closer and you discover many recognisable human incidents borne out of family relationships.

Andy has always been aware that his visual art has a public agenda. His art is about people and how they get on together, as lovers, as families, as insiders and outsiders. As immigrants. News can be good and bad and it must be lived with. Initially he demarcated injustice, while ranging over the continuity and discontinuity within Pacific heritages. He saw Samoans accepting and rejecting fa’a Samoa because of their immigration to New Zealand. He invented language systems that unite spoken Polynesian and English expressions, and showed how such opposing traditions transform one’s personal identity. He shows how some lives are lived way over the line while also attempting to maintain and affirm love. Inconsistencies are included because opposites always co-exist.

If you alphabetically consider all the first lines of Emily Dickinson’s poems, the very last one asks You’ve seen balloons set, haven’t you? I recalled that question at Mangere’s People Centre in Mangere when I previewed Andy Leleisi’uao’s largest public painting. Titled Mangere Aroha, it has to be one of the most extraordinary murals created for a Manukau City site since Ralph Hotere’s own Godwit – Kuaka mural, made for the arrivals lounge of Auckland International Airport (Chartwell collection, Auckland Art Gallery Toi o Tāmaki). Mangere Aroha was recently rejected by its commissioners as being both too expressive and too visually powerful for its planned public location.

Red and white flame-like vapours cover Andy’s Mangere Aroha. Not the clouds we see in John Pule’s recent work or the speech balloons of McCahon’s early paintings but tough gaseous entities exuding ethers created from human relationships. Harpies and devils, angels and erotes (Greek Gods of Love) inhabit this painting’s complex population. Here, there are no images of any one particular Pacific ethnicity but a confluence of such ethnicities. Janus-headed figures appear like silhouetted plant forms ranging across the 18 metres of the mural. The City of Manukau has quantified its own make-up as a mix of ‘165 different ethnic groups’ while also having the largest Māori and Pacific population of any New Zealand city. This is the true migrant reality that Mangere Aroha seeks to affirm. Andy’s prescient talent for seeing who we are, what we are like and what we do is a signature of his art. By revealing the ways that the effects of migration still exist within us, he symbolizes an essential characteristic of our culture.

Ron Brownson
Senior Curator, New Zealand and  Pacific Art, Auckland Art Gallery, Toi O Tamaki.

In May 2009, a suite of Andy’s works from the series Angipani’s of the Abanimal People, was purchased and gifted to the Auckland City Art Gallery following their exhibition at the Kaohsiung Museum of Fine Art. In 2010, Leleisi’uao was awarded the Taipei Village Artist in Residence (Taiwan) as well as the nationally prestigious McCahon Residency (NZ). In 2002 Leleisi’uao gained a Masters Degree – Art & Design (First Class Honours), Auckland University of Technology (AUT). in 2017, Leleisiúao was awarded the Paramount Prize, by the Wallace Arts Trust.

Andy Leleisiúao, b 1969.

SOLO EXHIBITIONS:

2017

  • An Unlovely Sorry, Fresh Gallery, Auckland.
    Homonoia People, PG Gallery 192, Christchurch.
    Ufological Island, 12 Gallery, Auckland.

2016

  • Ubiquitous people of Erodipolis, Milford Gallery, Dunedin.
  • The Blue People, All Goods | Whau Arts Space, Avondale.

2015

  • Ghosts of a Second Samoan, MAC – Nga Tohu o Uenuku, Auckland.
  • Quaint People of Nuanua, PG Gallery 192, Christchurch.
  • Atmosphere People of Moana, Milford Gallery, Dunedin.
  • The Checkmate of Wild Rainbows, Pierre Peeters Gallery, Auckland.

2014

  • Waking up to the Obsolete People, 12 Gallery, Auckland.
  • Waking up to the Obscurity People, Te Uru Gallery, Auckland.
  • Waking up to the Obscurity People, Pierre Peeters Gallery, Auckland.
  • Waking up to the Oculus People, Milford Galleries, Queenstown.
  • The Crucifixion Studies, Chambers241, Christchurch.

2013

  • World of Trylapid, BCA Gallery, Rarotonga, Cook Islands.
  • The Choirs of Lupotea, Milford Galleries, Dunedin.
  • Rubik Sunflowers, Bridge Guard Gallery, Sturovo, Slovakia.
  • Rainbow You, Rainbow Me, Kaleidoszkop, Ezstergom, Hungary.
  • Episades of Pino’nati, Auckland Art Fair, Auckland.
  • Le Tumau, Whitespace, Auckland.

2012

  • Imaginary Park, Snowhite Gallery, Uni-tech, Auckland.
  • The Quixotic Cruxifiction of Iesu, Whitespace, Auckland.
  • Olaga People, Cosset Café, Auckland.
  • Immigrant Mind, TSB Bank Wallace Arts Centre, Auckland.
  • Dandelion People, BCA Gallery, Rarotonga, Cook Islands.
  • Quasimodo Love, Papergraphica, Christchurch.
  • Polyneitus Spring, Milford Galleries, Dunedin.

2011

  • Op City, Whitespace, Auckland.
  • World of Lemeads, ROAR! Gallery, Wellington.
  • World of Erodipolis, Milford Galleries, Dunedin.
  • Arytipidal, Blue Oyster, Dunedin.
  • Ufological City, VOLTA, New York, USA.

2010

  • Cryptid Illuminati, Whitespace, Auckland.
  • Andy Leleisi’uao, McCahon House, Titirangi, Auckland.
  • Wandering Through Pandemonium Quiet, COCA Gallery, Christchurch.
  • Andy Leleisi’uao, Thistle Hall, Wellington.
  • Carousel of Cryptid Abanimals, Whitespace, Auckland.
  • Andy Leleisi’uao, Taipei Artist Village, Taipei, Taiwan.

2009

  • Asefeka of the Unmalosa, Kips Gallery, Chelsea, New York, USA.
  • Areatures of the Arctaur People, BCA, Rarotonga, Cook Islands.
  • Anchored Violetus, Kermadec, Auckland.
  • Le Onoeva – Misunderstood Aitu, Whitespace, Auckland.
  • Mangere Aroha, Whitespace, Auckland.
  • Aroha Mangere, Mangere People’s Centre, Mangere, Manukau.

2008

  • Andy Leleisi’uao, McCarthy Gallery, Auckland.
  • Angipanis of the Abanimal People, Whitespace, Auckland.

2007

  • Lost Kamoans of the Godly and Godless, Whitespace, Auckland.

2006

  • Ballad of a Cheeky Darkie, Te Tuhi – The Mark, Pakuranga, Auckland.
  • Catch a Sparkling Spirit, Salamander Gallery, Christchurch.
  • I Need to See Alien, Whitespace, Auckland.
  • Empowered Wallflower, Whitespace, Auckland.

2005

  • We’re Not Black, Salamander Gallery, Christchurch.
  • Cheeky Darkie, Whitespace, Auckland.

2004

  • The Ballad of Tinou’amea and Pepe, Whitespace, Auckland.
  • Dressed to Kill, Salamander Gallery, Christchurch.

2003

  • Tribute to Western Samoa, Salamander Gallery, Christchurch.
  • The Umu Collection of Titles, Whitespace, Auckland.

2002

  • Minoi, Minoi Mai, Salamander Gallery, Christchurch.

2001

  • My Samoan Accent, Artstation Gallery, Ponsonby, Auckland.
  • The Brown Corner, Salamander Gallery, Christchurch.
  • Seta Blue, Mangere People’s Centre, Mangere, Manukau.
  • Tired of Silence, Dowse Art Museum, Lower Hutt, Wellington.

2000

  • Polynesian Grotesques, Muka Studio, Ponsonby, Auckland.
  • Crashed Presbyterian, Te Taumata Art Gallery, Auckland.

1999

  • Patterns of My Lavalava, Ilam University, Christchurch.

1998

  • Furious (with G. Hookey), Casula Powerhouse, Sydney, Australia.
  • The Brownest Dawn, The Pumphouse, Takapuna, Auckland.

1997

  • Selected Works, Pakuranga Cultural Centre, Pakuranga, Manukau.
  • Waking Up To My Polynesian Spine, Aotea Centre, Auckland.

1996

  • Selected Works, Aotea Centre, Auckland Central, Auckland.

1995

  • Selected Works, Manurewa Nathan Homestead, Manukau.
  • Selected Works, Papatoetoe Library, Manukau.
  • Early Escapades, Mangere Community Arts Centre, Manukau.

AWARDS/GRANTS:

2017

  • Paramount Award, Wallace Arts Trust.

2013

  • Artist in Residence, Bridge Guard, Sturovo, Slovakia.
  • CNZ funding towards exhibition and writing of Le Tumau.

2012

  • Artist in Residence, Uni-tech, Auckland.

2011

  • CNZ funding to towards group exhibition in London, England.
  • Wallace Arts Trust Funding towards solo exhibition, New York, USA.

2010

  • Team McMillan BMW Finalist Art Awards, Newmarket, Auckland.
  • Artist in Residence, McCahon House, Titirangi, Auckland.
  • CNZ funding to travel within Taiwan and to Hong Kong.
  • Artist in Residence, Taipei Artist Village, Taiwan.

2009

  • Artist in Residence, BCA, Rarotonga, Cook Islands.
  • CNZ funding towards solo exhibition, Chelsea, New York, USA.

2008

  • CNZ funding towards Le Onoeva – Misunderstood Aitu catalogue.
  • Research Scholarship, M B Centre, Ilam University, Canterbury.

2006

  • Charles Southwell Award, Association of Rationalists & Humanists.
  • CNZ funding towards solo exhibition at Whitespace, Auckland.

2002

  • MA in Art and Design, First Class Honours, AUT, Auckland.

2001

  • CNZ funding towards solo exhibition, Salamander Gallery, Christchurch.
  • CNZ funding towards solo exhibition, Salamander Gallery, Christchurch.
  • Recipient of the James Wallace Post Graduate Award

2000

  • CNZ funding towards solo exhibition at Dowse Museum, Wellington.
  • First recipient of AUT School of Art and Design Pasifika Scholarship.

1999

  • Artist in Residence, M B Centre, Ilam University, Canterbury.

1998

  • First recipient of Martin Hughes Interior Architects Travel Grant.
  • Artist in Residence, Casula Powerhouse, Liverpool, Sydney Australia.
  • Funding from the Australian Arts Council for a Residency in Sydney.

1997

  • CNZ funding towards solo exhibition at Pumphouse Gallery, Auckland.
  • Certificate of Appreciation, Mayor of Manukau for supporting local arts.

1996

  • CNZ funding to travel to the Sixth Festival of Arts in Samoa.

1995

  • Merit Award, Pumphouse Art Awards, Pumphouse Gallery, Auckland.
  • CNZ funding towards solo exhibition at Mangere Arts Centre, Manukau.

1994

  • Artist in Residence, Mangere Community Arts Centre, Mangere.

MISCELLANEOUS PROJECTS:

2015

  • Cover of Blackmail Press 40 with poem, New Zealand Poets Online.

2010

  • McCahon House Trust, Draw the Line, Gus Fisher.

2009

  • Cover of Blackmail Press 26 with poem, NZ Poets Online.
  • Project Iva, Unlimited Paenga Tawhiti and Christchurch City Council.
  • Cover of Landfall 218. Otago University Press.
  • Cover of Blackmail Press 23, New Zealand Poets Online.
  • Mural painting (1.2m x 18m), Mangere Community Centre, Manukau.

2008

  • Macmillan Brown CNZ Residency Advisory Committee.

2007

  • Macmillan Brown CNZ Residency Advisory Committee.

2006

  • Participating Judge for the New Zealand IHC Awards, Christchurch.
  • Macmillan Brown CNZ Residency Advisory Committee.

2005

  • Cover of Courses and Careers Education Magazine, Auckland.
  • Cover of ARTZONE Issue 9, New Zealand Gallery Guide, Wellington.

2004

  • Participating Judge, Whitecliffe Secondary Schools and Design, Auckland.
  • Cover of Tutti Frutti Tales of the South Pacific by G. Lay, Wellington.

2003

  • Paremoremo Prison Art Workshops (with J. Ioane).

2002

  • Artwork in GAGARIN, International Belgium Magazine.

2002

  • Drawings for The Express (Queer expressions in New Zealand).
  • Manukau Painting Symposium, Te Whananga o Te Aotearoa, Manukau.
  • Elected to the Creative Communities Board for Manukau.

2001

  • Participating Judge, Coconut Free Press Art Competition, Auckland.
  • Powhiri opening, Seta Blue, Mangere People’s Centre, Manukau.
  • Mural painting (4m x 21m), Mangere People’s Centre, Manukau.
  • Participating Judge, PI Heartbeat Smokefree Youth Art, Auckland.

1998

  • Charlotte’s Web production, Uxbridge Centre, Howick.
  • Involved with cover for Mar-V-Elle, Spoken To, Manukau.

1997

  • Involved with Manukau Festivals, Art Competition, Manukau.
  • Mural painting (3m x 6m), Brumbies Bakery, Highland Park, Manukau.

1996

  • Participating Judge, PI Language Arts Competition, Manurewa, Manukau.
  • Mangere Family Festival, Manukau.
  • Mural painting (2m x 3m), Auckland Town Hall, Auckland.
  • Design for the first Bilingual School in Manurewa, Maunkau.

1995

  • Participating Judge PI Language Arts Competition, Papatoetoe, Manukau.

PUBLISHED PUBLICATIONS:

2009

  • The Malo Conversations – Blackmail Press, New Zealand Poets Online.
  • Kamoan Mine with K. Higgins, Space Between Journal, Hawai’i.
  • Captain Kirk in the South Pacific – Art News New Zealand, pg 72.
  • Andy Leleisi’uao, Essays by R. Brownson/Dr. P. Zeplin. Whitespace.

2008

  • Submission in FIKA, Pasefika Writers Group, Christchurch.

COLLECTIONS:

  • Auckland Art Gallery, Toi o Tamaki Collection.
  • Auckland University Collection.
  • Casula Powerhouse, Sydney, Australia.
  • Chartwell Trust Collection, Auckland.
  • Museum of Ethnography, Frankfurt, Germany.
  • Ilam University Collection, Canterbury.
  • Sir James Wallace Trust Collection, Auckland.
  • Manukau City Collection, Auckland.
  • Otago University Collection.
  • Pacific Business Trust, Otahuhu, Auckland
  • Pataka Museum of Arts and Cultures, Wellington.
  • Te Papa, Museum of New Zealand, Wellington.

ARTIST TALK/PRESENTATIONS:

2015

  • Mangere Arts Centre – Nga Tohu o Uenuku, Auckland.
  • Vero Centre, Auckland.

2013

  • Gymnazium, Sturovo, Slovakia.

2011

  • Pacific Department, University of Hawaii Studies, Honolulu.
  • October Gallery, London.

2010

  • McCahon House, Titirangi, Auckland.
  • Performance Room, TAV, Taipei, Taiwan.
  • Barry Room, TAV, Taipei, Taiwan.

2008

  • Pataka, Museum of Arts and Cultures, Wellington.

2002

  • Auckland University, Pacific Department, Auckland.

2001

  • Waitakere College, Auckland.
  • Victoria University, Pacific Department, Wellington.
  • Lower Hutt Community Centre, Wellington.

2000

  • Petone Community Centre, Lower Hutt, Wellington.
  • AUT, Auckland.
  • Manukau Institute of Technology.
  • AUT, Auckland.

1999

  • Whitecliffe College, Auckland.
  • Macmillan Brown Centre, Christchurch.

1998

  • Powerstation, Sydney, Australia.
  • Casula Powerhouse, Sydney Australia.
  • Hillary College, Otara, Manukau.
  • Aotea partment, Centre, Auckland.
  • Arthur Turnball Library, Wellington.

1997

  • Tautai Project, AUT, Auckland.Uxbridge Centre, Howick, Manukau.
  • Aotea Centre, Auckland.

1996

  • Manukau Institute of Technology.

ASSISTANT- CURATOR:

1999

  • Ring of Fire, The Edge, Auckland Central, Auckland.

1998

  • Art and Faith Competition, Parnell, Auckland.
  • Alton Francis, Uxbridge Gallery, Howick, Manukau.
  • Fireworks, Uxbridge Gallery, Howick, Manukau.
  • Top Cats, Uxbridge Gallery, Howick, Manukau.
  • Plumes of Paradise II, Uxbridge Gallery, Howick, Manukau.
  • High Water Mark, Uxbridge Gallery, Howick, Manukau.
  • Testing Traditions, Uxbridge Gallery, Howick, Manukau.
  • Heart of the Niu, Artstation, Ponsonby, Auckland.
  • Te Vaka, Uxbridge Gallery, Howick, Manukau.

1997

  • Coast to Coast, Uxbridge Gallery, Howick, Manukau.
  • Art and Faith Competition, Parnell, Auckland.
  • Romance of the Mask, Uxbridge Gallery, Howick, Manukau.
  • Perspectives, Uxbridge Gallery, Howick, Manukau.
  • By Design, Uxbridge Gallery, Howick, Manukau.
  • Plumes of Paradise, Uxbridge Gallery, Howick, Manukau.
  • Claudia Pond Eyley, Uxbridge Gallery, Howick, Manukau.

1996

  • Pacific Dragons, Uxbridge Gallery Howick, Manukau.

GROUP EXHIBITIONS:

2017

  • Return to Havaiki | UFO Islands (with Benjamin Work)
    October 9 – November 30, 2017

2016

  • The Auckland Art Fair, Bergman Gallery.
  • Divergence, Bergman Gallery Group Show.

2015

  • Wallace Awards, The Pah, Hillsborough, Auckland.
  • Metamorphis, BCA Group Show, Rarotonga, Cook Islands.
  • The Review, Milford Galleries, Queenstown.
  • Royal Easter Show, Milford Galleries, Queenstown.
  • Show and Tell, Milford Galleries, Dunedin.

2014

  • Earl Street Journal, Milford Galleries, Queenstown.
  • Urban Drift, Papakura Art Gallery, Auckland.
  • Into the Mystic, Pierre Peeters Gallery, Auckland.
  • Spring Catalogue, Milford Galleries, Queenstown.
  • Significant Works, Milford Galleries, Dunedin.
  • Puna, Honolulu Art Museum Art School, Honolulu, Hawai’i.
  • Royal Easter Show, Milford Galleries, Queenstown.
  • Impromptu, Pierre Peters Gallery, Auckland.

2013

  • Earl Street Journal, Milford Galleries, Queenstown.
  • Recent Acquisitions, The Pah, Hillsborough, Auckland.
  • Group Exhibition, BCA Gallery, Rarotonga, Cook Islands.
  • Bliss, Chambers 241, Christchurch.
  • Summer Show, Milford Galleries, Dunedin
  • Spring Catalogue, Milford Galleries, Queenstown.
  • Parallel, Milford Galleries, Dunedin.
  • The Review, Milford Galleries, Queenstown.
  • New Works, Milford Galleries, Dunedin.
  • Royal Easter Show, Milford Galleries, Queenstown.
  • Earl Street Journal, Milford Galleries, Queenstown.

2012

  • Summer Show, Milford Galleries, Dunedin.
  • New and Recent Work, Milford Galleries, Dunedin.
  • Tutoatasi 50, The Vanya Taule’alo Gallery, Siusega, Samoa.
  • Spring Catalogue, Milford Galleries, Queenstown.
  • Pacific Collection, BCA Gallery, Rarotonga, Cook Islands.
  • Drawing the Line, Whitespace, Auckland.
  • Home AKL, Auckland Art Gallery Toi o Tamaki, Auckland.
  • The Review, Milford Galleries, Queenstown.
  • Small Works, Milford Galleries, Queenstown.
  • Not for Entertainment, Whitespace, Auckland.
  • Royal Easter Show, Milford Galleries,,Queenstown.
  • NZ Adam Portraiture Award and Exhibition, Wellington.
  • Chosen, Milford Galleries, Queenstown.

2011

  • Tree House McCahon Residency, Titirangi, Auckland.
  • Wonderland, Chambers241, Christchurch.
  • Earl Street Journal, Milford Galleries, Queenstown.
  • Group Exhibition, Whitespace, Auckland.
  • Metamorphis, BCA Gallery, Rarotonga, Cook Islands.
  • New Works, Milford Gallery, Dunedin.
  • Tenei a Wairoa, Uxbridge Centre, Auckland.
  • Drawing Show, Papergraphica, Central Christchurch.
  • New Zealand Art, Whitespace, Auckland.
  • Salon des Refuses, The Pah, Hillsborough, Auckland.
  • Auckland Art Fair, Auckland.
  • Parallel, Milford Galleries, Dunedin.
  • CURRENT, October Gallery, London, England.
  • Royal Easter Show, Milford Galleries, Queenstown.
  • Pacific Currents, Waiheke Community Art Gallery, Auckland.

2010

  • Summer Show, Milford Galleries, Dunedin.
  • Team McMillan BMW Bonnet Finalist Awards, Newmarket, Auckland.
  • Living Doll, Quiqcorp, Central Christchurch.
  • James Wallace Awards, The Pah, Hillsborough, Auckland.
  • Anthony Harper Award for Contemporary Art, COCA, Christchurch.
  • Aids Awareness, Bone and Art Gallery, Central Christchurch.
  • Manuia, Native American Community House, New York, USA.

2009

  • My True Love Gave To Me…, Whitespace, Ponsonby, Auckland.
  • ROAR! Mince Pies, ROAR! Gallery, Wellington.
  • Art Asia/Scope International Contemporary Art, Chelsea, NY, USA.
  • Travelling Exhibition, New Dowse Museum, Lower Hutt, Wellington.
  • James Wallace Awards, BNZ Gallery, Aotea Square, Auckland.
  • Queer Takes, Quiqcorp Gallery, Central Christchurch.
  • Take 40, Fresh Gallery, Otara, Auckland.

2008

  • Anon Drawings No 9, Kunstraum Kreuzberg, Berlin, Germany.
  • Axis, Selected Works from MCC Art Collection, Manukau City.
  • Le Folauga 2, Kaohsiung Museum of Fine Arts, Taiwan.
  • Bite Me!, Our City O-Tautahi, Central Christchurch.
  • Samoa Contemporary, Tauranga Art Gallery, Tauranga.
  • James Wallace Awards, Aotea Square, Auckland.
  • Samoa Contemporary, Sarjeant Gallery, Wanganui.
  • The Works, Gallery De Novo, Dunedin.
  • Anthony Harper Award for Contemporary Art, COCA, Christchurch.
  • Artists for Save our Water, NG Gallery, Christchurch.
  • The Artist Room, Whitespace, Auckland.
  • Samoa Contemporary, Pataka, Museum of Arts and Cultures, Wellington.
  • Dateline Returns, Govett-Brewster Art Gallery, Palmerston North.
  • Political World, Whitespace, Auckland.
  • Los Angeles Art Show with Whitespace, Los Angeles, USA.

2007

  • Date Line, Neuer Berliner Kunstverein, Berlin, Germany.
  • Scriptures from the West, BCA, Rarotonga, Cook Islands.
  • Life According to Art, Waikato Museum, Hamilton.
  • Le Foulaga, The Past Coming Forward, Auckland Museum, Auckland.

2006

  • Relations Indigenous Dialogue, IAIA Museum Santa Fe, New Mexico.
  • Works on Paper, COCA, Christchurch Central, Christchurch.

2005

  • Inaugural Auckland Art Fair¸Britomart Events Pavilion, Auckland.

2004

  • Weird Names for Girls, Platform01, Hamilton.

2003

  • Another Day in Paradise, The Den, Auckland Central, Auckland.
  • Six Pacific Artists, Salamander Gallery, Christchurch.
  • 20/20 Sight Spacific, COCA, Christchurch Central, Christchurch.
  • Pacific Notions, Whitespace, Auckland.

2002

  • Tasina Studios, Group Show, Whenuapai, Auckland.
  • Pacific Notions, Rozelle, Sydney, Australia.
  • Pacific Notions, Columbia, New York, USA.
  • Cross Currents, Lane Gallery, Auckland.
  • South Pacific, Waiheke Island, Auckland.

2001

  • Out of the Blue, Hawkes Bay, Hastings.

2000

  • Sway, MA Group Show, AUT, Auckland.
  • Go Home You Deserve To Die Samoa, AUT, Auckland.
  • Island Crossings, Ipswich, Queensland, Australia.

1999

  • As Is/Where Is, Mangere Arts Centre, Mangere, Auckland.

1998

  • A Sea Change, Olympic Arts Festival, Sydney, Australia.
  • Fireworks, Aotea Centre, Auckland Central, Auckland.
  • Testing Traditions, Aotea Centre, Auckland Central, Auckland.
  • Group Showing, Kamo Cafe, Auckland Central, Auckland.

1997

  • Out of the Blue, Salamander Gallery, Christchurch.
  • Tautai Exhibition, Outreach Centre, Howick, Manukau.
  • Romance of the Mask, Uxbridge Centre, Howick, Manukau.
  • Searching, The Pumphouse, Takapuna, Auckland.
  • From Here to There, Manukau City Chambers, Manukau.
  • Dots on the Blue, Pakuranga Cultural Centre, Auckland.

1996

  • Tokoroa Art Awards, Tokoroa, Waikato.
  • The Seventh Pacific Festival of Arts, Apia, Samoa.
  • Mangere Bridge Art Exhibition, Mangere Bridge, Auckland.
  • The Pumphouse Art Awards, Takapuna, Auckland.
  • Pacific Dragons, Uxbridge Centre, Howick, Manukau.
  • Pasifika with Tautai Trust, Western Springs, Auckland.

1995

  • Beyond the Mask, Chiaroscuro Gallery, Auckland.
  • The Pumphouse Awards, Takapuna, Auckland.

1985

  • Auckland Star Secondary Schools Exhibitions, Auckland.