“The smile goes away the longer they experience the work” - John Vea
Comic Release is a three-part podcast series hosted by artist Joe Jowitt which explores the use of humour in artists' moving image.
In this conversation, Joe meets Tāmaki Makaurau Auckland-born, Ōtautahi-based artist John Vea, whose work uses humour as a device to draw viewers into deeper dialogues around Pasifika identity.
Image: John Vea, Is your name Siliga? No? Oh, you’re Pati? (2025) (detail)
List of Topics:
00:00: Introduction
01:34: What is Talanoa? John - “a holistic way of experiencing information... a learning mechansim”.
03.20: On the video work Is your name Siliga? No? Oh, you’re Pati? (2025)' included in the exhibition Ini Mini Mani Mou (2025) at the Christchurch Art Gallery. John describes the genesis of the work; coming from the real life experience of being mistaken for someone else. In the video, friends “narrate their experiences of these stereotypical events. “It’s funny… it’s not sort of funny”.
05.50: Was the humour in the video intentional? John - “We’re used to laughing at our trauma, which is sad cos we glaze over it... especially when we're kids”.
07:30: John on the nature of Pacific humour generally; and then on integrating it into his work. He discusses the 2019 installation If I pick your fruit, will you put mine back? shown in Sydney. Humour as a 'Trojan horse'.
10:00: On adjusting a work for different social and class contexts "If it has to be subtle... because of the community, then I'll change it up". The difficulty of reinstalling works in a new space, a new context.
12:30: The line between poetic and humorous. How does John "walk that line?" John - “It starts off quite heavy”.
14:30: Joe on the effect on him as an audience member of watching Is your name Siliga? No? Oh, you’re Pati? (2025). John discusses the common Pasifika experience of changing one's name to “fit in”.
16:30: On site specificity; and showing the video Is your name Siliga? No? Oh, you’re Pati? to Christchurch audiences.
17:00: Is the current political climate influencing new work? John - “It's sad that my practice is almost relying on trauma“.
18:00: On John's recent move to Otautahi from Tāmaki Makaurau, being Pasifika in Otautahi.
20:30: John on making Tribute to American Samoa and Tonga (2009); combining sculpture and video, objects as projection surface. The story of the making of the work, and the first installation releasing salt water from the sea into the gallery.
24:00: On conceptualising the work and discarding various sculptural options during this process.
25:30: “Is it a problem if someone comes out of a work and just goes, oh, that was so funny, and then that's it?" John discusses how viewers absorb the work the more time they spend with it.
26:30: Using the body in John’s videos. On the work Finish this week off and that’s it! (2009). John - "I wanted (the audience) to just experience working for two hours... not working in terms of the physical, but... to make them sit there and engage with the work for that amount of time".
28:00: John discusses how the audiences limited attention span for the two hour work is analogous to the lack of interest in acknowledging the cost of labour on Pasifika bodies, and the poor wages for this work.
29:00 On eating below the poverty line for six weeks whilst making Finish this week off and that’s it!
30:00 Comedy as a vehicle for hard conversations. Joe - “...what's interesting is the uncomfortable laughter... is that something you purposefully go for?"
31:00 Joe - "Is it okay for people to laugh at your work?" John - "Humour is welcomed in my practice. But expect the humour to be wiped off your face once you experience the works longer."
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“The smile goes away the longer they experience the work” - John Vea
Comic Release is a three-part podcast series hosted by artist Joe Jowitt which explores the use of humour in artists' moving image.
In this conversation, Joe meets Tāmaki Makaurau Auckland-born, Ōtautahi-based artist John Vea, whose work uses humour as a device to draw viewers into deeper dialogues around Pasifika identity.
Image: John Vea, Is your name Siliga? No? Oh, you’re Pati? (2025) (detail)
List of Topics:
00:00: Introduction
01:34: What is Talanoa? John - “a holistic way of experiencing information... a learning mechansim”.
03.20: On the video work Is your name Siliga? No? Oh, you’re Pati? (2025)' included in the exhibition Ini Mini Mani Mou (2025) at the Christchurch Art Gallery. John describes the genesis of the work; coming from the real life experience of being mistaken for someone else. In the video, friends “narrate their experiences of these stereotypical events. “It’s funny… it’s not sort of funny”.
05.50: Was the humour in the video intentional? John - “We’re used to laughing at our trauma, which is sad cos we glaze over it... especially when we're kids”.
07:30: John on the nature of Pacific humour generally; and then on integrating it into his work. He discusses the 2019 installation If I pick your fruit, will you put mine back? shown in Sydney. Humour as a 'Trojan horse'.
10:00: On adjusting a work for different social and class contexts "If it has to be subtle... because of the community, then I'll change it up". The difficulty of reinstalling works in a new space, a new context.
12:30: The line between poetic and humorous. How does John "walk that line?" John - “It starts off quite heavy”.
14:30: Joe on the effect on him as an audience member of watching Is your name Siliga? No? Oh, you’re Pati? (2025). John discusses the common Pasifika experience of changing one's name to “fit in”.
16:30: On site specificity; and showing the video Is your name Siliga? No? Oh, you’re Pati? to Christchurch audiences.
17:00: Is the current political climate influencing new work? John - “It's sad that my practice is almost relying on trauma“.
18:00: On John's recent move to Otautahi from Tāmaki Makaurau, being Pasifika in Otautahi.
20:30: John on making Tribute to American Samoa and Tonga (2009); combining sculpture and video, objects as projection surface. The story of the making of the work, and the first installation releasing salt water from the sea into the gallery.
24:00: On conceptualising the work and discarding various sculptural options during this process.
25:30: “Is it a problem if someone comes out of a work and just goes, oh, that was so funny, and then that's it?" John discusses how viewers absorb the work the more time they spend with it.
26:30: Using the body in John’s videos. On the work Finish this week off and that’s it! (2009). John - "I wanted (the audience) to just experience working for two hours... not working in terms of the physical, but... to make them sit there and engage with the work for that amount of time".
28:00: John discusses how the audiences limited attention span for the two hour work is analogous to the lack of interest in acknowledging the cost of labour on Pasifika bodies, and the poor wages for this work.
29:00 On eating below the poverty line for six weeks whilst making Finish this week off and that’s it!
30:00 Comedy as a vehicle for hard conversations. Joe - “...what's interesting is the uncomfortable laughter... is that something you purposefully go for?"
31:00 Joe - "Is it okay for people to laugh at your work?" John - "Humour is welcomed in my practice. But expect the humour to be wiped off your face once you experience the works longer."
Episode 116: Sites of Connection with Hana Pera Aoake
CIRCUIT CAST
28 minutes 18 seconds
2 years ago
Episode 116: Sites of Connection with Hana Pera Aoake
In part 3 of the series Sites of Connection Dani McIntosh speaks to artist Hana Pera Aoake (Ngāti Hinerangi, Ngāti Mahuta, Ngāti Haua, Tainui/Waikato, Ngāti Waewae, Waitaha, Kai Tahu). Often juxtaposing poetic text with handheld moving images, Hana’s video work addresses the tension between industry and sacred whenua; the presence of deep time and new parenthood.
0:00 Introduction
1:00 Hana discusses her video 'I saw the mountain erupt' (2023); working with an essay by her partner Morgan Godfery; the town of Kawerau as formerly one of NZ’s wealthiest towns and now one of the poorest, and also the town as the site of Māori pūrākau.
5:54
Dani asks; Why entwine the writing with the moving image?
8:09
Dani introduces the video work A eulogy to love (2019); Dani asks why juxtapose shots of Italian actress Monica Vitti with the landscape in Aotearoa? Hana explains the video was shot in many sites including Aotearoa, Portugal and other European locations. She discusses Vitti as an image of an “hysterical woman”, and the ongoing theme in her practice of "the tension of industry versus caring for the whenua (landscape)”.
13.08
Dani asks about the line “I will not be afraid despite the fear tumbling through my body”.
15:50
Hana on how parenthood has affected their work. Se discusses 'deep time', the relationship between the human and non-human and the whakataukī 'Ka Mua, Ka Muri' (walking backwards into the future).
20:00
Hana on David Lynch’s movie Eraserhead (1977).
23:00
Hana discusses and the writing of New Zealand author Keri Hulme (Kāi Tahu, Kāti Māmoe), which was part of her work with Ke te Pai Press (with Morgan Godfery), shown in the group exhibition Matarau
24:41
Working with musician Ruby Solly (Kai Tahu)
27:24
End
CIRCUIT CAST
“The smile goes away the longer they experience the work” - John Vea
Comic Release is a three-part podcast series hosted by artist Joe Jowitt which explores the use of humour in artists' moving image.
In this conversation, Joe meets Tāmaki Makaurau Auckland-born, Ōtautahi-based artist John Vea, whose work uses humour as a device to draw viewers into deeper dialogues around Pasifika identity.
Image: John Vea, Is your name Siliga? No? Oh, you’re Pati? (2025) (detail)
List of Topics:
00:00: Introduction
01:34: What is Talanoa? John - “a holistic way of experiencing information... a learning mechansim”.
03.20: On the video work Is your name Siliga? No? Oh, you’re Pati? (2025)' included in the exhibition Ini Mini Mani Mou (2025) at the Christchurch Art Gallery. John describes the genesis of the work; coming from the real life experience of being mistaken for someone else. In the video, friends “narrate their experiences of these stereotypical events. “It’s funny… it’s not sort of funny”.
05.50: Was the humour in the video intentional? John - “We’re used to laughing at our trauma, which is sad cos we glaze over it... especially when we're kids”.
07:30: John on the nature of Pacific humour generally; and then on integrating it into his work. He discusses the 2019 installation If I pick your fruit, will you put mine back? shown in Sydney. Humour as a 'Trojan horse'.
10:00: On adjusting a work for different social and class contexts "If it has to be subtle... because of the community, then I'll change it up". The difficulty of reinstalling works in a new space, a new context.
12:30: The line between poetic and humorous. How does John "walk that line?" John - “It starts off quite heavy”.
14:30: Joe on the effect on him as an audience member of watching Is your name Siliga? No? Oh, you’re Pati? (2025). John discusses the common Pasifika experience of changing one's name to “fit in”.
16:30: On site specificity; and showing the video Is your name Siliga? No? Oh, you’re Pati? to Christchurch audiences.
17:00: Is the current political climate influencing new work? John - “It's sad that my practice is almost relying on trauma“.
18:00: On John's recent move to Otautahi from Tāmaki Makaurau, being Pasifika in Otautahi.
20:30: John on making Tribute to American Samoa and Tonga (2009); combining sculpture and video, objects as projection surface. The story of the making of the work, and the first installation releasing salt water from the sea into the gallery.
24:00: On conceptualising the work and discarding various sculptural options during this process.
25:30: “Is it a problem if someone comes out of a work and just goes, oh, that was so funny, and then that's it?" John discusses how viewers absorb the work the more time they spend with it.
26:30: Using the body in John’s videos. On the work Finish this week off and that’s it! (2009). John - "I wanted (the audience) to just experience working for two hours... not working in terms of the physical, but... to make them sit there and engage with the work for that amount of time".
28:00: John discusses how the audiences limited attention span for the two hour work is analogous to the lack of interest in acknowledging the cost of labour on Pasifika bodies, and the poor wages for this work.
29:00 On eating below the poverty line for six weeks whilst making Finish this week off and that’s it!
30:00 Comedy as a vehicle for hard conversations. Joe - “...what's interesting is the uncomfortable laughter... is that something you purposefully go for?"
31:00 Joe - "Is it okay for people to laugh at your work?" John - "Humour is welcomed in my practice. But expect the humour to be wiped off your face once you experience the works longer."
