Serene Hodgman
Creativity & Identity
For many Pasefika people, creativity is more than just a practice—it’s the heartbeat of who they are. It flows through daily life, shaping rituals, weaving stories, and nurturing the deep connections that help communities grow and thrive.
For Pasefika artist Serene Hodgman, creativity isn’t something reserved for galleries or stages—it lives in every part of her world. It’s in the love and wisdom passed down through generations, in the quiet lessons from family and community that continue to guide her path.
Serene’s artistry is where tradition and innovation meet. She thoughtfully weaves cultural heritage with bold, contemporary expression, pushing boundaries while staying grounded in the traditions that shape her. Every piece she creates feels like a conversation between the past and the future—a reminder that culture doesn’t stand still; it evolves, breathes, and becomes something new with each generation.
With a natural ease, Serene brings heritage to life in ways that feel fresh yet deeply familiar. Her work is a powerful reflection of where she comes from, who she walks with, and how she boldly carves space for her voice in the world.
Can you tell us about your artistic journey—how did you start, and what inspires your creative process?
I started using this technique of embroidery in 2014 after returning from a student exchange at the University of Hawai’i in Manoa. In one of the classes we had a project to complete 100 self portraits in a week. Even though I failed because I didn’t get to 100 lol, I felt like I lowkey passed because it prompted the idea to make something that reflected how I saw myself in the handmade work of Moana women.
When I returned back home to Auckland for my last year at Elam, I didn’t have a lot of money to spend on art supplies so local asian emporiums became my staple for materials but also inspiration. The notion of playing with the negative stereotype of being a ‘plastic Samoan’ motivated me to use plastic materials in a meaningful way. That’s what drew me to using plastic mats as a canvas to work on and into. They’re not traditional Samoan fala or ‘ie toga but they’re very much a part of many Pasefika domestic fabrics. That nostalgic feeling of home definitely inspires my creative process. When I’m home, I’m grounded, things make sense and ideas seem to grow better.
Recently though motherhood has been my main inspiration. My practice is the creative outlet I need to feel balanced and also keep showing up for myself in a way that my kids can see mums still pursuing her passion.
Your work features strong cultural themes. How do you balance tradition with modern artistic expression?
The materials and processes I use are not traditional but I know my intent is and I think that makes the balance seem both possible and playful. Traditionally, ‘ie toga are made with purpose whether for gifting at a special occasion, documenting or honouring and those are elements I carry close within my practice.
I’m also mindful of how being inspired by traditional ways of making such as tivaevae, ‘ie toga and koloa' should always look different than what was originally made. Expressing this in a way that makes sense to me and my environment today helps keep that respect intact.
How does storytelling play a role in your art?
A story will always begin a piece and carry it through. If it’s a piece for a family or individual, it will start with them sharing about what they want that piece to reflect or who it is for and what they mean to them. Collaborating with the people I make pieces for is an honour for me. There’s a lot of back and forth to make sure that the story of the piece makes sense through pattern, colour and composition and also so they can speak to it themselves once it’s complete.
How has your upbringing and heritage influenced your work as an artist?
I grew up living with my grandparents who heavily influenced my upbringing and confidence as an artist. They gave our family a beautiful anchor in fa’asamoa (the Samoan way) by encouraging us to not be afraid to embrace what it means to grow up Samoan in Auckland. They taught me that how and where we grow up should always be a point of difference to be embraced and not ashamed of.
My nana has always been one of my main hype girls and inspirations as well. Her garden is still a constant mood board for me. Every art piece I’d bring home from primary school, she’d find a place for it on their already overcrowded bedroom walls layered with certificates and photos of the rest of my siblings and cousins. Later on, when I’d be in a group or solo show, she’d be that lady and show up with a foil tray of pai fala or a chocolate cake to share alongside the gallery's wine. That was so empowering for me growing up, to feel seen by my nana and grandpa.
Are there specific traditions, symbols, or stories from your culture that you feel a deep responsibility to represent?
I’ve always felt a deep responsibility to keep pushing myself and pursuing my passion. I know my grandparents and parents didn’t make the sacrifices they did for me to not be great so I try to make the most of every opportunity I have to share and grow my gift.
What are some key values or philosophies from your heritage that guide your creative process?
Growing up my nana always used to tell me, ‘fai lelei’ for everything from school, church, sports and even how I wore my hair to school. She still tells me it now as a mum, ‘fai lelei lou aiga ma lau fanau” (do well by your family and your kids). So I keep that in mind when making too — Did I make this well? Am I content with every detail? And ultimately, was this made with love?
Alongside that, my mum grew up as our family seamstress and was always making puletasi’s, or outfits for her siblings. Her rule when sewing was, if you can’t wear something inside out, it wasn’t made properly. So it’s more like a standard I’ve adopted in my creative process. I try to make what’s not meant to be seen just as tidy as what you do see.
How do you see Pasefika art evolving in today’s global creative scene?
I think that in order for Pasefika art to evolve, there needs to continue to be initiatives and funding that support, educate and empower Pasefika artists to express themselves.
What do you think is the biggest challenge for Pasefika artists today?
I know in Aotearoa, the major funding cuts to the arts has been a challenge to a lot of artists including Pasefika. But in saying that, it also brings the art communities closer and makes them more resilient than they already are. So just showing up speaks volumes. Going to openings of Pasefika artists, buying from them, attending their workshops, donating to their boosted pages, mentioning them at tables they’re not seated at yet can help iron out these challenges so that they can evolve and do their thing.
How important is community in your work, and how do you engage with it?
Since relocating to Brisbane, it’s been a bit challenging finding my art community. Getting my kids settled in and feeling confident has been top of the list. In Auckland, my sense of community was special so staying connected with them via social media has been important. I always try to catch shows featuring my friends from back home (New Zealand) here in Brisbane — It instantly makes me feel like I’m home again too. But I’m at peace knowing things happen in seasons so when the time's right, I’ll find that community here and that’s something I look forward to too.
Photography Julie Miller
Let’s Create
Email us at: hello@susuandmeli.com
Follow us at: susuandmeli