From the Collection: Siu I Moana

Community, collaboration and connection have always been at the heart of ‘Siu I Moana’ (2011), one of the treasures of the University of Auckland Art Collection. And they were central during a six-month project to rest and conserve the monumental installation before it was rehung in the atrium of the Science Centre in December.

Dame Robin White (Ngāti Awa, Pākehā) and Ruha Fifita’s (Vava'u,Tonga, Palangi/Pākehā) monumental installation lives in the atrium of the Science Centre. Being a Māori and Pacific artwork series of significant scale, meaning and impact, 'Siu I Moana' has an integral role as part of the cultural fabric of Waipapa Taumata Rau.

Each part of the triptych of ngatu fuatanga (marked barkcloth) measures approximately six-by-four metres, making the series among the largest of nearly 2,000 artworks that are on permanent display across campus.

'Siu I Moana' was specifically accessioned in 2017 to hang in a 28m-high concrete atrium alcove in the redesigned Science Centre.

Translating as ‘reaching across the ocean’, 'Siu I Moana' was created collaboratively between the artists and women of Haveluloto, Tonga, with the guidance and blessing of Lady Dowager Tunakaimanu Fielakepa. It represents the threads of connection and exchange between Tonga and Aotearoa New Zealand, tracing the paths of migration of humans and sea creatures across the Pacific.

The series is a key fixture in the curation of artworks throughout the Science Centre, which complement research and learning, while visually establishing the University’s place in the South Pacific region.

Undoubtedly, users of the space noticed the equally monumental blank space left behind when 'Siu I Moana' was removed from display for six months in 2025, to undergo an extensive rest and conservation period.

After seven years hanging with a magnet-based system, 'Siu I Moana' was showing signs of stress. The ngatu had moved over time and portions of the barkcloth were under tension, while areas of the pigments were faded from the prolonged exposure to light.

The project was one of intensive planning for the art collection team, which worked in close collaboration with Robin White and whānau collaborator Ebonie Fifita-Laufilitoga Maka. 'Siu I Moana' presented unique layers due to the complexity involved in the relocation, the time-intensive material work and expertise needed to guide the methodology of the project.

Ngatu are not culturally intended to be exhibited as artworks through a Western art lens. Made from the inner flesh of the Hiapo (paper mulberry plant), ngatu is highly treasured in Tonga and in other forms across the Pacific. A kautaha koka‘anga (Tongan women’s making collective) undertakes the rhythmic soaking, beating, and joining of the fibers into large lengths of barkcloth, traditionally measuring between ten and 100 marked lalanga in length (commonly five to 60 metres).

The barkcloth is marked with kupesi rubbings during construction (design relief templates made to assist in the koka’anga), then is over-painted with natural dyes and pigments. Ngatu ta’uli, such as the central 'Siu I Moana' panel, are distinctive for the predominance of the black tuitui pigment (candlenut soot) in their composition.

Ngatu hold great significance in Tongan culture. They are ever present in various forms during important gatherings and milestones throughout life, from birth to funerals and even afterwards. Traditionally, ngatu are interacted with every day, being folded and kept stored in domestic environments between celebrations and ceremonies.

As a fele practitioner, Ebonie Fifita explains: “Our cloths are brought out and cared for on a regular basis. They are unfolded and aired out in the sun, becoming interactive displays of treasure that come alive and receive many layers of care and responsibility within the rhythms of homes, families and villages. This airing practice is gently known as tauaki and their preparation for use is teu.”

From this perspective, the conservation of 'Siu I Moana' needed to be approached in a collaborative and innovative way. 

Says Ebonie: “Robin has become a dearly loved friend and family member and all her works are like whanau to be cared for. The invitation to rest, repair and reengineer the cloths for their unique role in the University of Auckland space was not something to overthink and measure up, but simply a challenge to accept and trust.”

Ultimately, the project was carried out in three phases over the six months.

The first was the deinstallation of the ngatu from the immense wall and transportation to the Art Collection storage space. This was carried out by a team of experienced abseilers, who carefully guided each panel from the wall, before they were received and folded together to be transported across campus.

Phase two saw an extensive resting period of five months, during which the ngatu and ngatu ta’uli received remedial work on the barkcloth and the pigments.

Largely carried out by Ebonie and Vitolio, this work was time intensive and undertaken upon the panels themselves. Pigments and the tuitui were sourced from family and friends in Tonga and Fiji, while fresh pieces of barkcloth journeyed from across the Pacific to be used in patching, reinforcing and construction.

During phase two, the project also afforded several rare opportunities for teaching and learning with students and staff. Groups from Elam School of Fine Arts, Pacific Studies and Indigenous Philosophies each had sessions with the artists to learn about the making and conservation process and the kaupapa of the series.

Students from each group also had the chance to physically handle 'Siu I Moana' before creating their own small rubbings of kupesi from the series, on masi from mentor Tamari Cabeikanacea using natural ‘umea pigment from older cousin Lola Tukuafu in Vava’u.

Meanwhile, the project involved designing a new hanging system, which would be better suited for long-term display and would enable easier access for abseilers to safely deinstall and reinstall the series in the future. A new pocket was fabricated on the rear of each panel, combining the unique characteristics of Tongan Feta’aki and Fijian Masi (barkcloth), which would support a light metal bar and allow an even weight distribution across the top edge.

The design was realised during phase three, which saw the theatrical rehanging of 'Siu I Moana' in December 2025, accompanied with karakia from Michael Steedman and a speech from Robin White.

“It was really moving that the collections team hosting this tauaki and teu at the University were able to integrate and enable the involvement and energy of visitors and engagement from others that generated fresh energy, conversation, connection and understanding,” says Ebonie.

The Art Collection team thanks the experts who were involved in every stage of the project, including Ebonie and Vitolio Laufilitoga Maka, Robin White, APS, Carolina Izzo and the Studio Izzo team, the Faculty of Science and Campus Environments.

– Madeleine Harvey (art collection adviser)