Project Summary

Special Guest Contributor - ‘Portrait of Mai’ | The Fitzwilliam Museum | England, UK

This year the Fitzwilliam Museum and the Museum of Archaeology and Anthropology (MAA) collaborated with the National Portrait Gallery for the UK tour of Joshua Reynolds’ ‘Portrait of Mai’ (1776). Depicting Mai of Ra‘iātea — the first Polynesian visitor to Britain who travelled with Captain Cook — the portrait reflects a little-known legacy of Moana histories and encounters with Empire.

The Fitzwilliam Museum invited the SaVĀge K’lub, under the curation of Rosanna Raymond, to reimagine the Octagon Gallery display and outreach programme for the portrait’s penultimate UK showing. Co-designed with Tahitian artists, the project transformed the gallery space with the sights and sounds of Mai’s homeland, activating Pacific presence through contemporary creative practices.

As part of this project, Rosanna invited artist Telly Tuita as a special guest contributor. Tuita presented ‘A Troop of Kuli’ (38 laser-cut MDF dogs), inspired by his travels in Tahiti, alongside ‘Masking Mai: A Tongpop Fiction’, a new performative self-portrait series reimagining Mai through his unique genre of Tongpop. Tautai supported the digital post-production of the work, which enabled the completion of this series. Together, these works brought past and present into dialogue, centring Moana voices in the retelling of shared histories.

An interview with artist Telly Tuita

Telly Tuita reflects on his experience participating in an international programme, noting that although he wasn’t physically present for the exhibition, his work was represented strongly and displayed with care. Much of his contribution occurred during pre-production, which required planning months ahead and ensuring the material provided could be installed without his physical input. He highlighted that photography worked well for this context because it allowed the hosting team - Rosanna Raymond, The SaVĀge K’lub and the Fitzwilliam Museum - to install the work smoothly. 

He discussed the value of being associated with prominent figures and institutions, such as Rosanna Raymond, The SaVĀge K’lub and the Fitzwilliam Museum. This association boosted his visibility, especially in the UK and Europe, where he had not previously exhibited. Social media interactions - even with curators unrelated to the project - showed that the exposure had already expanded his international profile, which had previously been mainly in Australia and Rarotonga. 

Tuita explains that his work, focused on the figure of Mai, aligned well with the exhibition’s central themes. He noted that he would not have shown this series for several more years without the context this installation provided. He also reflected on how the collective’s presence - especially members from Tahiti - created an appropriate cultural and emotional grounding for the show. Tuita believes his absence did not diminish the exhibition; instead, it brought a different balance, emphasising the voices of those culturally closest to Mai. “The end result was stunning because, if you saw the room, no matter where you go, you can still see my work. It’s not lost!”

He described the exhibition as opening new pathways. As a direct result of this experience, he has been invited to participate in the Québec Biennale, where organisers are reviewing his earlier performative photography works, including Diaspora’s Children and Professional Brown Man. He noted that photography, being easier to transport and fabricate internationally, is increasingly practical for his growing career, though his sculptural pieces (like the MDF dogs) may also travel in future.

Tuita expressed appreciation for the support from Tautai and the Artists Across Borders initiative. He acknowledged that without this funding assistance, he would not have completed the work to the level required - “The work wouldn’t have been fully realised the way it was meant to be.” The programme helped him overcome his reluctance to apply directly for Creative New Zealand funding and enabled him to produce works that now have continued life beyond the Cambridge exhibition. 

He emphasised the importance of work that lives on, travelling internationally and reaching new audiences. “I do love work that continues to live, and it’s not just a once-off.” This series is Tuita’s most current Tong Pop series, now ongoing and commercially viable, is expected to become his introduction to the Australian commercial art scene. 

Finally, in offering advice to future artists invited to similar programmes - especially those unable to attend in person - Tuita underscored the importance of careful pre-production, clear communication and ensuring all materials are fully prepared for international installation, particularly for artists unable to attend in person. He highlighted that these opportunities are invaluable for artistic growth, visibility and the continued life of the work. For Tuita, these programmes are not only about a single exhibition outcome, but about creating pathways for artistic growth, increased visibility and work that continues to travel and resonate well beyond its initial presentation.