“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."
How do moving image artists work with visual effects? In this follow up podcast to CIRCUIT Cast 123: Brett Graham, interviewer Kathryn Graham speaks to Sam Tozer from LOT23. They discuss Sam's work on Whangamārino, a six channel video by Brett included as part of his installation The Wastelands at Auckland Art Gallery Toi o Tāmaki. Sam discusses the process of working with Brett, the digital challenges of adding visual effects to documentary footage and working through ‘impossible lenses’.
List of topics:
0:20 How did you first get to know Brett? Sam discusses making one of Nat Tozer’s works (Erotic Geologies (2024)) and forging a mutual connection with Brett via Gow Langsford gallery, and the inclusion of a Fred Graham sculpture in the video.
2.30: Sam describes the original documentary footage which Whangamārino is based on.
3.25: The unusual size of the six screen video installation - “11 times wider than it is high…immediately really exciting”.
4.00: What was the process of choosing not to use the original footage?
4:30: Sam discusses ‘impossible lenses’, and the difference between showing The Wastelands in Venice in 2024 versus the 2025 Auckland Art Gallery installation which features the video work Whangamārino.
6:00: How LOT23 work with artists - technologically and learning about the artists' kaupapa, looking at previous works, examining narrative and aesthetic threads in existing works - “so we’re part of a continuum”
7 :00: The technical challenges of making a work “12 times wider than it’s high” at a resolution of 11,500 pixels wide
8:25: Brief discussion of unusual screen sizes in projects with Lisa Reihana and Nat Tozer
10:00: More discussion of working at large scale, Kathryn makes anology of working on a mural and the impact of scale on the viewer
12:30 Sam discusses beginning with grass, rock and trees as "touchpoints for a scale reference” Different lens sizes with a virtual camera. The process of creating natural environments. Using NASA Lidar data, using images of the actual sites in Brett’s video.
15:00 Working with Brett - suggesting inclusion of other details, thinking about depth of field “you get to play God with it…to create something larger than life…that is hyper real”.
18:00 “There’s all sorts of Easter eggs of meaning…” Discussion of Brett’s personal references to whenua in the work.
19:30 Ends
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."
