On the occasion of his exhibition Flaming Star at The Dowse, we spoke with Aotearoa-based artist Christopher Ulutupu on the evolving threads of a practice rooted in collaboration, family, and playful subversion. Known for his moving image works that blend personal narratives with broader cultural critique, Ulutupu offers insight into the fluid nature of identity, the joys of working with loved ones, and the moments, both big and small, that have shaped his creative path.
From early influences in performance design to unexpected detours through pop culture and palm readings, Ulutupu’s reflections reveal an artist unafraid to follow intuition, question assumptions, and create space for multiple realities to coexist.
Image Right:
Photographer: Kane Laing
DOP: Maxim Baronin
Costume and Set Design: Cooki Martin
Performers: Tamahou Te Hei, Zac Bell, Brayden Cresswell, Sugar Rea-Bruce, Justice Kalolo, Emilio Mancilla
Courtesy of Jhana Miller’s Gallery and Toi Whakaari New Zealand Drama School
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What inspired you to pursue a career in art?
My path wasn’t linear. After studying Performance Design, I worked as an art director and set/costume designer for film and theatre—experiences that later shaped my artistic approach. Early inspirations included painters and video artists, along with a pivotal moment in 2007: seeing Bill Viola’s Ocean Without a Shore at the Venice Biennale. I was enamored by the ethereal nature of Viola’s work, which made me contemplate video as a medium for expression rather than just storytelling and characterisation.
But my first real encounter with art came through my cousin Tupe’s painting practice—I was amazed at how she could create something so beautiful out of nothing. She once painted a hand on a piece of paper for me, and I remember being in complete awe.
I’m not sure if it was one defining moment or a series of small ones that attracted me to the arts.
Image:
Photographer: Kane Laing
DOP: Maxim Baronin
Costume and Set Design: Cooki Martin
Performers: Tamahou Te Hei, Zac Bell, Brayden Cresswell, Sugar Rea-Bruce, Justice Kalolo, Emilio Mancilla
Courtesy of Jhana Miller’s Gallery and Toi Whakaari New Zealand Drama School
Why do you collaborate with family in your films?
At first, I cast actors to play characters based on my family. Then I wondered: What if my actual family took on these roles? Nine years later, it’s become our shared language. We travel, meet people, and create together—it’s woven into how we relate. Now my parents joke, “Where are we off to next?” and “Where’s my mark?”—phrases I never imagined they’d say.
As a bonus, working with family gives them the freedom to contribute and shape ideas. I firmly believe that two minds are better than one when solving problems—or really, the more minds, the better. This is especially true since we explore personal experiences tied directly to my family’s stories.
Plus, we get to spend much more time together, which has been amazing—especially after years of living in different cities.
Image:
Photographer: Kane Laing
DOP: Maxim Baronin
Costume and Set Design: Cooki Martin
Performers: Tamahou Te Hei, Zac Bell, Brayden Cresswell, Sugar Rea-Bruce, Justice Kalolo, Emilio Mancilla
Courtesy of Jhana Miller’s Gallery and Toi Whakaari New Zealand Drama School
How do you challenge historical representations of Pacific people in your work?
I’m less interested in “correcting” narratives than in complicating them. Identity and culture are fluid—they shift and slip. Stereotypes are just starting points. I love playfulness, layers of meaning, random pop culture facts, and history. Samoans in the snow? Cowboy ghosts? A helicopter?
I haven’t figured out the role of an artist yet (and might never know), but something tells me it’s about portraying different worlds and realities so audiences question their own assumptions.
Image:
Photographer: Kane Laing
DOP: Maxim Baronin
Costume and Set Design: Cooki Martin
Performers: Tamahou Te Hei, Zac Bell, Brayden Cresswell, Sugar Rea-Bruce, Justice Kalolo, Emilio Mancilla
Courtesy of Jhana Miller’s Gallery and Toi Whakaari New Zealand Drama School
Where do you see your practice in 10 years?
A palm reader once told me I have a short work line but a long creativity line—which could mean two things: either I’ll get rich from my art career and retire early, or I’ll stop making art and pivot to interior design because my partner becomes wealthy. Honestly, both options sound lit.
As for my practice, I’ve always followed my nose. I don’t have a predetermined path—I recently explained it to someone like this:
“I feel like I can see threads, and I just pull at one until it connects to several others. Eventually, it takes me somewhere unexpected.”
That’s how I approach everything in life, so it makes sense it’s my artistic methodology. The person I told this to replied, “That’s how you end up with no jersey and just heaps of wool.” I just said, “Yep, that’s definitely the moral of the story.”
It’s going to annoy me that I can’t remember who I said that to!
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A selection of Ulutupu’s video work from the West series was exhibited at the Aotearoa Art Fair 2025 and the series will be shown in full in September 2025 at Te Whare o Rehua Sarjeant Gallery in Whanganui.
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