Out now! The winter issue of Art New Zealand is out, and features a full length interview with Benjamin Work, as well as features on Brent Harris, Nikau Hindin, Reece King, Brenda Nightingale, Isiaha Te Rangatira Barlow, Richard McWhannell’s Night Errant, and much more. Buy your copy today! Available from our booth at the Aotearoa Art Fair.
𝘗Ā𝘗𝘈𝘈𝘒𝘐 at Chau Chak Wing Museum.
Rememory, Biennale of Sydney
14 March - 14 June, 2026
Commissioned for the 25th Biennale of Sydney, curated by Hoor Al Qasimi 🌿 with support from Creative New Zealand and The Chartwell Trust.
Tin, steel, whale bone and digital print on aluminium.
Install images: David James
@hooralq@ccwm_sydney@biennalesydney@chartwellproject@creativenz
It’s been a week since the opening of the 25th Biennale of Sydney, and there’s been much to reflect on. This iteration, curated by artistic director Hoor Al Qasimi (@hooralq ), offers a deeply attentive and resonant curatorial framework, bringing together practitioners, artists, and storytellers from across the globe in response to the theme ‘Rememory.’
A means of revisiting, reconstructing, and reclaiming histories that have been erased or repressed, ‘Rememory’ speaks to the intersection of memory and history - where recollection becomes an act of reassembling fragments of the past, whether personal, familial, or collective.
Fakamālō Hoor, Chau Chak Wing Museum, Sydney Biennale, CNZ & The Chartwell Trust 🙏🏽✨
"I'm really interested in the idea of repatriating our treasures, our images, our knowledge, back to our own people."
Aotearoa New Zealand-based artist, Benjamin Work of Tongan and Orcadian/Shetlander heritage, was selected to participate in this year's Biennale of Sydney.
His artwork, PĀPAAKI draws on a dark history and family ties.
𝘗Ā𝘗𝘈𝘈𝘒𝘐
Commissioned for the 25th Biennale of Sydney, curated by Hoor Al Qasimi. Supported by Creative New Zealand and The Chartwell Trust.
March 14 - June 14
Chau Chak Wing Museum
The University of Sydney
@biennalesydney@hooralq@ccwm_sydney@creativenz@chartwellproject
𝘚𝘪𝘰𝘦𝘭𝘪, 𝘛𝘩𝘦 𝘛𝘰𝘯𝘨𝘢𝘯 𝘓𝘢𝘥
continues at @aucklandmuseum Research Library - Pātaka Mātāpuna, until March 30th.
1. Handwritten book of prayers, belonging to Reverend J.H. Bumby, saved from upturned waka at the time of his drowning, June 26, 1840. Part of the Smales, Gideon. Papers, 1822-1971. Photo/Collection of Tāmaki Paenga Hira Auckland War Memorial Museum. MS-53
2. Install image, Pātaka Mātāpuna.
3. Tāpuaki led by Dr Wanda Ieremia-Allan, conducted by Gabriel Tongaawhikau, Raymond Sagapolutele and Rev Setaita Taumoepeau K Veikune. MNZM
Matafatafa Aho Pacific Artist in Residence.
All images courtesy of Tāmaki Paenga Hira Auckland War Memorial Museum.
Benjamin Work was the 2025 Matafatafa Aho Pacific Artist in Residence. The residency supports an artist to create a new work through research in the Auckland Museum’s documentary heritage collection. His installation Sioeli, the Tongan Lad, focuses on a story of sadness, loss and injustice.
On display now, located in the Research Library, Level 2. Open Tues-Thur from 10am to 3pm
The next two years of the Matafatafa Aho Pacific Artist residency are funded by CreativeNZ.
Installation view of, Gideon Smales - Papers, 1822-1971. Collection of Tāmaki Paenga Hira Auckland War Memorial Museum. MS-530 and Sioeli, the Tongan Lad, Benjamin Work, 2025.
The 2025 Matafatafa Aho Pacific Artist in Residence, Benjamin Work presents 𝘚𝘪𝘰𝘦𝘭𝘪, 𝘛𝘩𝘦 𝘛𝘰𝘯𝘨𝘢𝘯 𝘓𝘢𝘥
During his three-month residency, @benjaminwork examined manuscripts, journals, missionary correspondence, and illustrations from the Museum’s Documentary Heritage collections.
His research led him to the 1840 account of Sioeli (Joel), a young Tongan man who drowned alongside Reverend John Bumby between Rangitoto and Tiritiri Matangi. Among the materials he studied was Bumby’s handwritten book of prayers, recovered from the upturned waka and still marked by water damage.
Through video and sound, 𝘚𝘪𝘰𝘦𝘭𝘪, 𝘛𝘩𝘦 𝘛𝘰𝘯𝘨𝘢𝘯 𝘓𝘢𝘥 reconstructs the tragedy using fragments of survivor diaries and historical records, drawing viewers into a reflective space between memory and imagination. The work acknowledges Sioeli’s courage and restores his name and his home, Vava'u to history, and it is on display now in the Museum’s Research Library, located on Level 2.
𝘚𝘪𝘰𝘦𝘭𝘪, 𝘛𝘩𝘦 𝘛𝘰𝘯𝘨𝘢𝘯 𝘓𝘢𝘥 is presented as part of the Matafatafa Aho Pacific Artist Residency, delivered in collaboration with Creative New Zealand.
👋🏼 25th Biennale Artist Profile 👀 Benjamin Work💡 (Aotearoa, New Zealand)
Benjamin Work is an artist based in Tāmaki Makaurau (Auckland), of Tongan and Orcadian/Shetlander lineage. His practice weaves together contemporary and traditional Tongan influences, reflecting the layered complexities of cultural identity across the Moana Oceania diaspora. Deeply informed by the transference of oral histories and archival documentation, his work becomes a vessel where past, present, and future intersect. Work’s MFA (Master of Fine Arts), completed in 2024, explored what he terms tu’u vaha’a – occupying the in-between, – a conceptual and spatial position that informs his investigation into Tongan narratives embedded within his maternal lineage. This stance also underpins his ongoing engagement with museum collections and the politics of cultural restitution.
Learn more about the 25th Biennale of Sydney, Rememory, via the link in bio.
Image credits:
Benjamin Work. Photograph: Auckland Museum, Tāmaki Paenga Hira. Courtesy of the artist.
Benjamin Work, Hala Ōtītori, 2024, Aluminium, 300cm x 200cm. Photograph: Sam Hartnett. Courtesy of the artist and Parehuia, McCahon House Residency.
Benjamin Work, Bodies of Water with Harrison Freeth, 2023, mixed media installation, dimensions variable. Photograph: Canterbury Museum. Courtesy of the artist.
Benjamin Work, Untitled, 2024, Aluminium, 63cm diameter. Photograph: Sam Hartnett. Courtesy of the artist and Parehuia, McCahon House Residency.
At the completion of my time at Parehuia @mccahonhouse Residency 2024, I had the privilege to talanoa with Emily Parr @em.ily.parr and Lucinda Bennett @lucindajbennett about where my attention and affection had settled while in Te Wao Nui a Tiriwa. I’ve always appreciated @fmcwhannell Francis McWhannell’s use of words and curatorial practice, so it was an honour to have him contribute to the video. Emily Parr created a video with care, respect and editing (as I had too many stories).
I’m truly grateful for the opportunity to work with the talented and considered chef Touvai Poloniati @touvaipoloniati . Engaging with the layers of stories in the land and the ideas I was exploring, Touvai crafted a beautiful response through his dishes - we titled the dinner 𝘔𝘢𝘵𝘢 𝘗ā (the eyes or face of a walled enclosure).
The evening was brought to life by Saia Tu’itahi @saia.f.t who narrated each course with story and serenade on his fangufangu (Tongan nose flute). A musical backdrop aligned with the various themes was created by Damian McGregor @_damianfresh_ , while artist @jamie_berry_artist Jamie Berry’s moving image work danced across the ngahere at Parehuia, a truly immersive sensory experience. Fakamālō Simran, Tamara and Jude for making this happen. 🙏🏽
*Link to full video in bio.
MAAMA - Maui Kisikisi, son of Maui Atalanga.
1𝘴𝘵 𝘊𝘰𝘶𝘳𝘴𝘦: 𝘉𝘦𝘦𝘧 𝘵𝘢𝘳𝘵𝘢𝘳 /𝘴𝘱𝘪𝘤𝘦𝘥 𝘤𝘳𝘦𝘢𝘮 / 𝘴𝘰𝘧𝘵 𝘩𝘦𝘳𝘣𝘴 / 𝘱𝘶𝘧𝘧𝘦𝘥 𝘳𝘪𝘤𝘦 / 𝘱𝘪𝘤𝘬𝘭𝘦𝘥 𝘩𝘰𝘱𝘢
MOANA - Hina and her pet shark.
2𝘯𝘥 𝘊𝘰𝘶𝘳𝘴𝘦: 𝘚𝘭𝘰𝘸 𝘤𝘰𝘰𝘬𝘦𝘥 𝘢𝘳𝘳𝘰𝘸𝘩𝘦𝘢𝘥 𝘴𝘲𝘶𝘪𝘥 𝘯𝘰𝘰𝘥𝘭𝘦𝘴 / 𝘤𝘰𝘤𝘰𝘯𝘶𝘵 𝘤𝘶𝘳𝘥 / 𝘴𝘲𝘶𝘪𝘥 𝘪𝘯𝘬 𝘱𝘪𝘭𝘭 𝘱𝘪𝘭𝘭/ 𝘤𝘳𝘢𝘤𝘬𝘭𝘪𝘯𝘨
LANGI - Ma‘afutoka and Ma‘afulele and the giant bird - Toloa
3𝘳𝘥 𝘊𝘰𝘶𝘳𝘴𝘦: 𝘙𝘰𝘢𝘴𝘵𝘦𝘥 𝘥𝘶𝘤𝘬 𝘣𝘳𝘦𝘢𝘴𝘵 / 𝘴𝘮𝘰𝘬𝘦𝘥 𝘧𝘪𝘴𝘩 𝘣𝘳𝘰𝘵𝘩 / 𝘯𝘢𝘴𝘵𝘶𝘳𝘵𝘪𝘶𝘮 /𝘚𝘪𝘥𝘦 𝘰𝘧 𝘓𝘰𝘭𝘰’𝘪 𝘵𝘢𝘳𝘰
WHENUA - Hinemairangi, daughter of Kōiwirki & Tamaireia, son of Pūtere.
4𝘵𝘩 𝘊𝘰𝘶𝘳𝘴𝘦: 𝘋𝘦𝘴𝘴𝘦𝘳𝘵 𝘠𝘰𝘶𝘯𝘨 𝘤𝘰𝘤𝘰𝘯𝘶𝘵 𝘮𝘰𝘶𝘴𝘴𝘦 / 𝘳𝘢𝘴𝘱𝘣𝘦𝘳𝘳𝘺 𝘢𝘤𝘪𝘥𝘪𝘤 𝘴𝘰𝘳𝘣𝘦𝘵 / 𝘤𝘰𝘤𝘰𝘢 𝘢𝘯𝘥 𝘮𝘪𝘭𝘬 𝘤𝘳𝘶𝘮𝘣
Today I carried my family hohoko with me -
My exquisite Sifa-fatafata (breastplate) was created by Terje Koloamatangi @terje_k from Toa (ironwood), with an inlay of Sifa (mother of pearl) inspired by stories from Vava’u. My tupenu (fabric wrap) was made of Shetland wool, honouring the Scottish islands where my ancestor, William Work, was born before departing for Ōtautahi, Christchurch. And my Nusi Heilala (chiefly garland), from the village of Kolonga / Lotopoha, the place of origin for my ancestor Havea-tuanuku. It bears a triangular form that represents the three noble titles of the Ha‘a Lātūhifo clan, also known as ‘Ulutolu.
Alofa atu Raymond Sagapolutele @raymond_sagapolutele mālō ‘aupito fau 🖤📸 (First image by Iaeli).
The Master of Fine Arts programme at Elam, University of Auckland gave me the space and time to advance both my creative practice and research - an experience I have really enjoyed. None of this would have been possible without the unwavering love and support of family, friends, and Ahorangi Tūhono-Peter Robinson.
Tama, kapau te ke tali ‘eku ngaahi lea, ‘O tuku tauhi mo koe ‘eku ngaahi tu’utu’uni; ‘O ke tuku ai ho telinga ke fanongo ki he poto, Mo ofe’i ho loto kia Fakahinohino; Kae’uma’ā, kapau te ke ui ‘a ‘Ilome’a, Pea ha’aki ho le’o kia Fakahinohino; Kapau te ke ha’ao ia hangē ha ha’ao siliva, Pea hakule ki ai hangé ko ho’o fai ki ha koloa fufū: Te ke toki lave’i ‘a e ‘apasia kia Sihova, Pea mau ‘a e ‘ilo’i ‘o e ‘Otua. 🙏🏽
