Edith Amituanai is a New Zealand-born Sāmoan photographer working from Tāmaki Makaurau (Auckland). From interiors, to driveways, to communities, Amituanai’s practice is concerned with the environments that shape who we are. Domestic interiors as transitional sites of migration feature heavily in the artist’s early work. Her ongoing study of the Sāmoan transnational community and their homes has taken her to Sāmoa, New Zealand, France, Canada, and the United States, each location and subsequent generation revealing new and dynamic ways that culture does and does not travel with people as they move around the globe. In 2008, Amituanai was nominated for the Walters Prize for her series Dejeuner that examined a new Pacific diaspora, expatriate New Zealand Sāmoan rugby players living and working in Montpellier, France and Parma, Italy. Since then, she has literally and politically widened the photographic frame to include the street. Her first photographic foray into a cultural community not her own was the series La Fine Del Mondo (2009–2010). Helping the Lai family, Chin refugees from Myanmar, settle into their new home in Massey, West Auckland, her friendship with the family deepened, she began photographing them in their home, and eventually followed the children of the family out onto the street. Her first solo exhibition, Mrs Amituanai, that records moments on and around her wedding day, was held in 2005 at Anna Miles Gallery. That year she was the youngest artist to feature in the survey publication, Contemporary New Zealand Photographers. Two years later, she was inaugural recipient of the Marti Friedlander Photography Award, and the following year she was the first Walters Prize nominee of Pacific descent. Her first major survey exhibition opened in 2019 at Te Pātaka Toi Adam Art Gallery at Te Herenga Waka Victoria University of Wellington. In the same year she became a member of the New Zealand Order of Merit for services to photography and community. Amituanai has exhibited extensively in galleries and museums across Aotearoa and internationally. In 2022 her work was exhibited in the Busan Biennale, Korea. Her artwork is held in national and international collections including Auckland Art Gallery Toi o Tāmaki, Museum of New Zealand Te Papa Tongarewa, Govett-Brewster Art Gallery and QAGOMA (Queensland Art Gallery).

From the perspective of her Indigenous Fijian and Anglo-Australian heritage, Tawale explores the identity of the individual within collective systems. Examining through self-performance, Tawale draws on personal experiences of race, class, ethnicity and gender formed by growing up in suburban Australia. “My cultural identity is a constant focus in my art work. I explore inherent conflicts of being from a mixed heritage that simultaneously includes and excludes me from the dominant culture - that is, a colonial Australian society. This is a position of constant dislocation, or more accurately a state of translocation. My interest in these critical standpoints is based on an attitude of defiant analysis of colonial structures and narratives that persist in contemporary society.” Tawale completed an undergraduate degree in Media Arts and Masters of Art at RMIT University, Melbourne and a Masters of Fine art and Sydney College of the Arts, University of Sydney. Having exhibited nationally and internationally most notably at the Australian Centre for Contemporary Art; Spring Workshop in Hong Kong for Para Site gallery; the FCACHeartsJogjatour of Jogakata Indonesia. Tawale undertook a Indigenous Visual and Digital residency at the Banff Centre in Alberta Canada and received the Inaugural 2017 Create NSW Visual Arts Midcareer/Established Fellowship. Tawale recently undertook the Australia Council for the Arts six-month residency at Acme, London, focusing on colonial archives; Fijian Objects, imagery and written records. Tawale is currently Associate Lecturer of Screen Arts at Sydney College of the Arts, University of Sydney.

Sione Tuívailala Monū, born in 1993 in Auckland, New Zealand, is an interdisciplinary artist of Tongan descent. They divide their time between Canberra, Australia, and Auckland, New Zealand, working across various mediums including photography, moving-image, fashion and adornment, performance, and drawing. Their work delves into themes of identity, family, and the Pasifika queer experience in the diaspora.  A significant aspect of Monū's practice involves the Tongan fine art of flower design, known as nimamea'a tuikakala. Traditionally, this art form utilises fresh tropical flowers, but due to their scarcity in Aotearoa (New Zealand), Monū adapts by using vibrant plastic flowers sourced from local shops. This approach not only honours cultural traditions but also reflects the adaptability inherent in diasporic life.    Monū's work has been showcased in numerous exhibitions across New Zealand and Australia. Notable solo exhibitions include Stories, City Gallery Wellington Te Whare Toi, 2023; Queer Encounters, Art Gallery of New South Wales, Warrane Sydney, 2023; Kindred: A Leitī Chronicle (w/ Manu Vaeatangitau), Auckland Art Gallery Toi o Tāmaki, 2022;  'Ao Kakala Ōtautahi, SCAPE Public Art Season 2021, Ōtautahi Christchurch, 2021, and Leitī, Perth Institute of Contemporary Arts, 2021.  In recognition of their contributions to the arts, Monū received the 2024 Emerging Pacific Artist Award from Creative New Zealand.