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He employs a cast of actors consisting almost entirely of friends and family in his work. These actors sing, dance, and perform, often hamming it up for the camera set against dramatic or surreal landscapes. Previous works see Christopher’s mother dropped off by helicopter atop Aotearoa’s Southern Alps, while another sees an indoor volleyball court turned into a spotlit stage for an imaginary girl group. Many of these works have used landscape as a prop. Christopher upends much of landscape’s imbued cultural value in order to subvert the expectations of his characters’ experiences on screen, in particular playing with the idea of the visitor or the tourist.",[],{"type":18,"text":261,"spans":262,"direction":21},"What’s the worst you could do? was shot between Whakatū, Nelson and Te Whanganui-a-Tara, Wellington, both locations a kind of hometown for the artist. Christopher teases out this duality, using similar tactics as previous works to unearth the potential of discordant storytelling. A series of acts consisting of two adjoining scenes play out side by side, each vignette often at odds with the action next to it. One vignette shows an energetic dancer against a backdrop of rainbow tinsel, while the adjoining screen has three boys eating ice cream in front of a fire. All the while Samoan disco blankets the two scenes. Another pairing consists of a Lynchian lip-sync performance to Grease’s There Are Worse Things I Could Do while a car slowly burns next to it. These two sets of scenes in particular seem to imply an active versus passive dynamic, performer versus audience. However, the relationship between each pairing are merely implications. Each set of scenes are paired according to an internal logic privy only to the artist himself, each offering a different set of suggestions on how to read the whole.",[],{"type":18,"text":264,"spans":265,"direction":21},"I first started speaking to Christopher about this work for a show I curated at Te Tuhi titled The Inner Lives of Islands. The premise of which was to explore storytelling instincts from artists from across the Asia Pacific. It was the anecdotes of intercultural and international sharing of soap operas that propelled the exhibition, in particular hearing stories from friends and family about the popularity of Filipino soap operas in Samoa despite language barriers. What’s the worst you could do? was initially to see Christopher revisit a script he wrote in 2012 while still working in the film and theatre industry, a story about a solo mother seeking to save her family by way of a local talent quest. This was to be a marked change in Christopher’s practice, relying in the past on employing spontaneity and improvisation on set. His script, however, fell by the wayside in the process of shooting. The result instead is a kind of half-return to his former career, more narrative than previous works but without the hallmarks of traditional filmmaking–dialogue, plot, character development. What’s left behind is the construction of the filmed image. Lighting, framing and score heighten the work’s sense of atmosphere, bringing to the fore feeling over logic.",[],{"type":18,"text":267,"spans":268,"direction":21},"While the central characters on screen are his friends and family, Christopher is also acutely aware of where the audience is placed. The fragmented storytelling of What’s the worst you could do? allows audiences their own interpretations, to fill the gaps between scenes. By being selective with the tools of filmmaking he uses, he highlights the mechanisms by which stories are told and understood. What’s the worst you could do? embraces the complexity of incoherence and acknowledges the fallibility of storytelling. What’s revealing is how we make sense of these gaps and what those assumptions say about us.",[],{"type":18,"text":270,"spans":271,"direction":21},"Robbie Handcock, June 2022",[],[273],{"id":136,"uid":139,"url":142,"type":137,"href":274,"tags":275,"first_publication_date":140,"last_publication_date":141,"slugs":276,"linked_documents":277,"lang":13,"alternate_languages":278,"data":279},"https:\u002F\u002Fjhanamillers.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=amwW9hUAAC8ANira&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22af1WGhEAACcAmi-K%22%29+%5D%5D",[118],[139],[],[],{"meta_title":118,"meta_description":280,"meta_image":281,"guest_artist":160,"profile_image":282,"name":285,"iwi":288,"biography":289,"cv_pdf":304,"thumbnail_gallery":312,"slices":349,"curated_works":350,"install_shots":694,"featured_video":764},"Christopher Ulutupu is a contemporary moving-image artist of Samoan, Niuean, and German descent. Represented by Jhana Millers Gallery, his work blends cinematic storytelling with personal narratives to deconstruct colonial stereotypes and explore indigenous diasporic identities",{},{"dimensions":283,"alt":5,"copyright":5,"url":150,"id":151,"edit":284},{"width":149,"height":149},{"x":68,"y":153,"zoom":69,"background":70},[286],{"type":128,"text":118,"spans":287,"direction":21},[],[],[290,292,295,298,301],{"type":18,"text":156,"spans":291,"direction":21},[],{"type":18,"text":293,"spans":294,"direction":21},"Ulutupu uses the conventions of cinematic storytelling to explore the relationship between landscape, identity and representation. Working primarily with video, he employs a cast drawn almost entirely from his friends and family, who sing, dance and perform for the camera. Pop-cultural references abound, from girl-group renditions of Britney Spears songs to reimagined fashion editorials and cinematic tableaux. Within these familiar visual languages, however, Pacific bodies take centre stage. Ulutupu is as interested in challenging inherited modes of representation as he is in celebrating the communities closest to him. In his works, performers are often family members and collaborators: a singer may be his sister, a keyboardist his partner, or a bride his mother.",[],{"type":18,"text":296,"spans":297,"direction":21},"Early in his career, Ulutupu drew inspiration from postcard imagery of Pacific Island nations produced for European audiences in the early twentieth century. Since then, his practice has continued to examine the relationship between people, place and image-making. His films frequently unfold within striking landscapes, while others are set within deliberately constructed environments, complete with theatrical staging and green-screen effects. Drawing on his background in film and theatre, Ulutupu understands the dramatic potential of scenery and its role in shaping narratives. Whether situated high in the Southern Alps or before an artificial waterfall, his works reveal the mechanisms through which images are constructed and identities are framed.",[],{"type":18,"text":299,"spans":300,"direction":21},"Through humour, spectacle and carefully choreographed performances, Ulutupu creates richly imagined worlds that challenge assumptions placed on Pacific peoples and explore new possibilities for contemporary Indigenous identity.",[],{"type":18,"text":302,"spans":303,"direction":21},"Ulutupu has exhibited extensively throughout Aotearoa New Zealand and internationally, including solo exhibitions at The Suter Art Gallery, Te Whare o Rehua Sarjeant Gallery and Dunedin Public Art Gallery. He has received numerous awards, fellowships and residencies, including the Asia Foundation Vietnam Residency (2025), the Macmillan Brown Centre for Pacific Studies Artist Residency (2024), the Tylee Cottage Artist Residency (2023), and the Dunedin Public Art Gallery Creative New Zealand Artist Residency Programme (2022). 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