Surrounded by a wall of sacks filled with empty glass bottles. They are stitching up the sea. Wearing brick sandals on their feet and armed with an ‘ike (Tongan mallet) exclusively used to beat mulberry bark into large ceremonial cloth called ngatu or tapa. They smash and crush the glass into the present future. Empty, torn sacks adorn their necks as a lei or sisi, usually a garland of fresh tropical flowers and leaves worn as a body adornment in formal Pacific Island presentations, also used to welcome guests and keep their necks cool. They are stitching up sea at /as the last resort.

Oceania is vast. Oceania is expanding. Oceania is hospitable and generous. Oceania is humanity rising from the depths of brine and regions of fire still, Oceania is us, we are the sea, we are the ocean…

The Last Resort excavates a dystopian image and experience of idyllic island landscapes, mostly considered as holiday destinations to outsiders. Void of Piña Colada cocktails, hypnotic hip-swaying and rugby balls, this performance installation documents a dangerous current of transformation and dispossession due to human-induced climate change.

Surrounded by a wall of sacks filled with empty glass bottles.

Wearing brick sandals on their feet and armed with an ‘ike (Tongan mallet) exclusively used to beat mulberry bark into large ceremonial cloth called ngatu or tapa. They smash and crush the glass into the present future. Empty, torn sacks adorn their necks as a lei or sisi, usually a garland of fresh tropical flowers and leaves worn as a body adornment in formal Pacific Island presentations, also used to welcome guests and keep their necks cool.