PhotoForum 33
Photographer / image details
(Please direct all sales and enquiries to PhotoForum.)
1. Abby Storey
b. 1977
Abby Storey is a contemporary photographic artist and documenter based in Auckland. Her photography examines social and cultural activity.
Four Phases
2006 - 2007
Photographic montage - Epson inkjet prints on acid free rag paper
910 x 910 mm
1/1
$800
2. Alan Knowles
b. 1948
Alan Knowles was born in Queenstown and lives in Wellington. His outrage at social and economic inequity is reflected in work such as Biscuits (2002), made in the Griffins biscuit factory, Who Cares (2005), about aged care workers and Otaki Beach Motor Camp (2006). He was trained by his photographer father, J.D. Knowles, and his camera has accompanied him throughout his career as a print journalist. Since 1995 he has worked primarily as a photographer. In 2000 he was invited to exhibit in Switzerland and in 2003 in Viet Nam. In 2006 he was the Photographer/Poet-in-Residence at Wellington Hospital. He explored his family's Central Otago gold mining heritage in Tailings (2006) exhibited in Wellington and Arrowtown. Alan Knowles' work features in numerous books. His photograph, Sheep (2003) was selected as a Wallace Art Awards finalist. His photos are held in public and private collections, and he is represented by Photospace in Wellington and the McNamara Gallery in Wanganui.
The Water Fools
Water, not the Silver Fern or the Kiwi, should be New Zealand's national emblem. Water has shaped our landscape and infrastructure, starting with the sluicing of gold, followed by agriculture, tourism and hydro electricity generation. But much of our water-use planning has been folly. For example in 1887 William Scoles drove a 46 metre tunnel to divert the Arrow River only to find the bared bed had already been worked over by gold miners. And the Kawarau River at the outlet to Lake Wakatipu was dammed in 1926 in an attempt to recover the 'tons of gold' believed to be in the riverbed. The scheme was inspired by Julius Vogel's prophetic novel Anno Domini 2000 and cost investors £100,000. Their dreams were shattered when the bed was not laid bare because the waters of the Shotover and Arrow Rivers continued to flow into it. Today, in Canterbury, hundreds of farmers have applied for groundwater that doesn't exist. The local authority has declared "red zones" where water has been over-allocated, the rivers are dry and the aquifer is dropping alarmingly.
a. Scholes' Tunnel
(from Tailings)
2005
Silver gelatin print on fibre based paper
220 mm x 220 mm
#2 open edition
$900 Unframed
b. Farmer, Canterbury
2007
Silver gelatin print on fibre based paper
320 x 250 mm
#1 open edition
$900 Unframed
c. Rangitata Diversion Race, Bridge No 3, SH 72, Canterbury
(from Red Zone)
2005
Silver gelatin print on fibre based paper
280 x 280 mm
#2 open edition
$900 Unframed
d. Kawarau Dam
(from Tailings)
2005
Silver gelatin print on fibre based paper
220 x 220 mm
#2 open edition
$900 Unframed
3. Andrew Ivory
b.1965
Andrew Ivory is a father, a company director, an ex-investment banker, and a senior tutor in photography at Massey University in Wellington.
The Traces is a series of unique Polaroid photograms and pinhole images exploring themes of memory, chemical change and altered perception.
The Traces series of Polaroid photograms and pinhole images explores themes of memory, chemical change and altered perception.
a. Traces #1
2004-2007
Polaroid pinhole and photograms on mirror glass
195 x 245 mm
Unique
$385
b. Traces #2
2004-2007
Polaroid pinhole and photograms on mirror glass
195 x 245 mm
Unique
$385
c. Traces #3
2004-2007
Polaroid pinhole and photograms on mirror glass
195 x 245 mm
Unique
$385
d. Traces #4
2004-2007
Polaroid pinhole and photograms on mirror glass
195 x 245 mm
Unique
$385
e. Traces #5
2004-2007
Polaroid pinhole and photograms on mirror glass
195 x 245 mm
Unique
$385
f. Traces #6
(2004-2007)
Polaroid pinhole and photograms on mirror glass
195 x 245 mm
Unique
$385
4. Ann Orman
b. 1965
Ann Orman's work is predominantly focussed on B&W and colour macro photography. Following two Auckland exhibitions in 2004 and 2006 she intends shortly to base herself in Europe and study photography at Spéos (Paris Photographic Institute) in Paris.
a. Present
2005
C-type print from transparency
420 x 920mm
Not for Sale
b. Fins
2003
C-type print from transparency
240 x 160mm
$450
5. Bill Mori
b. 1947
Bill worked and trained in Sydney where he received a Master of Visual Arts from Sydney College of the Arts. His specialist topic was lighting and portraiture. He has been Senior Lecturer in charge of Photography at Auckland University of Technology for eleven years. His previous exhibitions include Impressions of Asia: Part 1 China and Tibet (1998 ASA Gallery), Impressions of Asia: Part 2 North India (1999 ASA Gallery), Impressions of Asia Part 3: South India and Nepal (2001 ASA Gallery), Impressions of New Zealand:Homecoming (2006 Artful Gallery). Influences include Chinese Buddhist scrolls, Tibetan mandalas, Indian Islamic decoration, Hindu art, western pictoralism and NZ painting. He has also illustrated books on communication for secondary and tertiary institutions.
Tutukaka Heads is an image from Homecoming, a visual exploration based on different perceptions of New Zealand after spending twenty five years in Australia. While away, memories of New Zealand may have been idealised and romanticised.
Discovering the realities of an isolated culture may be disillusioning. The sense of not belonging to either country could be disturbing.
This exhibition is part of a cathartic process to resolve some of these conflicts. It takes a positive approach which celebrates the homecoming and focuses on the rediscovered beauty of flora and landscape of the North Island.
Sometimes familiarity means that one has to leave and return to appreciate the real beauty that is part of our everyday environment.
a. Tutukaka Heads, Study 1
2006
Hand printed on Fuji colour crystal archive, type C light sensitive paper
Signed prints, open edition, numbered 406 x 508 mm
Framed 406 x 508 mm $790
Unframed 406 x 508 mm $490
Unframed 203 x 254 mm $160
b. Cook Strait, Study 2
2006
Hand printed on Fuji colour crystal archive, type C light sensitive paper
Signed prints, open edition, numbered 406 x 508 mm
Framed 406 x 508 mm $790
Unframed 406 x 508 mm $490
Unframed 203 x 254 mm $160
c. Tutukaka Heads, Study 2
2006
Hand printed on Fuji colour crystal archive, type C light sensitive paper
Signed prints, open edition, numbered 406 x 508 mm
Framed 406 x 508 mm $790
Unframed 406 x 508 mm $490
Unframed 203 x 254 mm $160
6. Bruce Connew
b. 1949
Bruce Connew is a social/political documentary photographer in the traditional category, but with an undertow of conceptual, to confuse the categorisers.
Muttonbirds #2 is from a series of 30 images that form the exhibition and artist's book
(now out-of-print), Muttonbirds - part of a story.
Muttonbirds #2, New Zealand
2003
Pigment on archival paper
660 x 980 mm
Numbered, Open edition
$4,000
7. Bruce Ross
b. 1942
Physiologist, educator and photographer currently recording the re-foresting of Motuora Island in the Hauraki Gulf as well as aspects of Auckland's Queen Street and CBD.
Destiny
5 March 2005
Inkjet prints on Ilford Smooth Pearl paper 290 gsm
360 x 250mm
$220 matted unframed
8. Darryl Fausett
b. 1963
This image is from a series of photographs that document journeys around the boundaries of public reserves within the Auckland region. Looking from INSIDE (the reserve) OUT, peering from public into private space, Fausett records glimpses of ordinary backyards. Backyards - generally kept out of sight, concealed behind houses and fences - resemble that part of the psyche also kept hidden from the public gaze. Fausett uses low tech and archaic equipment to mediate the documentary process in a way that is unpredictable. In doing so, she shifts the focus from image making to image taking, acting as facilitator, allowing the overlooked and unnoticed to record its like.
Untitled
2006
Colour print from negative
500 x 500 mm
Edition of 3
$290 mounted
9. David Langman
b. 1959
David Langman was born in Christchurch. He has degrees in art history, art administration and has taught museology. Since 2000 he has been Director of the New Zealand Centre for Photography and is the Managing Editor of the photographic art and history quarterly New Zealand Journal of Photography. David organised the three-month 2004 Shed 11 PhotoFestival in Wellington for the New Zealand Centre for Photography which aims to gain Shed 11 as the Wellington home of this national body. His work was exhibited in Update - The Active Eye, a web and CDRom curated exhibition of contemporary New Zealand work, organised by PhotoForum in 2000.
"Since returning to New Zealand in 1995 I have become aware of the need to look critically at our past and where we are headed. My practice of photography, work with collections and publications, focuses on the importance of this medium in New Zealand's cultural history."
What happens when you pass from an open public space to an architecturally delineated space? When we cross a threshold, we pass between exterior and interior spaces. These thresholds are not just symbolic and traditional; ennobled in our language but real passages. Daily we move from public space to ceremonial, formal and religious spaces that command other modes of being.
a. Threshold 2002
Lambda photograph
500 x 760 mm
1/open
$1200
b. Threshold 2006
Lambda photograph
500 x 760 mm
1/open
$1200
c. Threshold 2006
Lambda photograph
500 x 760 mm
1/open
$1200
10. Davina
b. year of the tiger
Photographer, printer, documentary film maker. Currently based in Warkworth at Black Barn Studios.
Pou Whenua
Point Wells, Whangateau
2006/2007
Digital archival ultra chrome print
250 x 1400 mm
$800 Framed $400 Unframed
11. Dorina Jotti
b. 1946
Is a lecturer in photography at Unitec, Auckland. Her current work reflects her interest, practice and study in Buddhist teachings and philosophy.
I draw a line
I see a line
I am the line
Photographs of a Meditation
January 2007
Gelatin silver prints
700 x 350 framed triptych
1/5
$ 700
12. Faye Norman
Is a London based photographer, from 1989, who moved across the other side of the world four years ago to experience New Zealand. "Photography helps me make sense of it all."
I began photographing slug trails in England. They would appear every morning. The maker never seen, only evidence of something left behind. This project is ongoing, never failing to produce new patterns, beauty and intrigue.
Silver Trail
2002/2006
Silver Gelatin Print
190 x 240 mm
$475 Unframed
13. Gabrielle McKone
b. 1954
Gabrielle McKone has been making photographs for 30 years. Her current and ongoing project is the making of "Randoms". In this digital series of images she makes a conscious and deliberate effort not to look through the viewfinder whilst taking the photographs. After a long process of deleting and editing the resultant images, she then digitally prints the photographs using archival pigment inks. "Apart from lightening, darkening and the occasional spotting, I use no digital manipulation."
a. Kyoto 1
5/07/06
Digital image, printed with archival pigment inks
210 x 297 mm
1st print
$350
b. Cobham Drive 1
10/02/07
Digital image, printed with archival pigment inks
210 x 297 mm
1st print
$350
c. Ghuznee St 2
24/02/07
Digital image, printed with archival pigment inks
210 x 297 mm
1st print
$350
d. Seatoun 1
7/11/06
Digital image, printed with archival pigment inks
210 x 297 mm
1st print
$350
e. Cuba St 1
24/02/07
Digital image, printed with archival pigment inks
210 x 297 mm
1st print
$350
f. Tokyo 1
5/07/06
Digital image, printed with archival pigment inks
210 x 297 mm
1st print
$350
g. Ghuznee St 1
24/02/07
Digital image, printed with archival pigment inks
210 x 297 mm
1st print
$350
h. Kyoto 2
6/07/06
Digital image, printed with archival pigment inks
210 x 297 mm
1st print
$350
i. Kilbirnie 1
24/03/07
Digital image, printed with archival pigment inks
210 x 297 mm
1st print
$350
14. Gary Blackman
b. 1929
From the early 1950s, while embarking on a career in science, Gary Blackman became active in the visual arts, exhibiting paintings, drawings and prints. He also began to explore the documentary photograph as a creative medium. An interest in architecture led him to collaborate in 1968 with the architect E. J. McCoy in the publication of a book of photographs of Dunedin buildings titled 'Victorian City of New Zealand'. Selection of two of his works for the touring Active Eye exhibition in 1975 was a critical turning point and the advent of PhotoForum encouraged him to pursue an independent and serious commitment to photography in his spare time. He has had solo exhibitions in the main centres and has contributed work to many joint and group shows. Commissioned work has been published, for example in W. H. Oliver's biography of James K. Baxter (1983). The principal public galleries have collected examples of his work. In 2003 he was the subject of a major retrospective exhibition at the Dunedin Public Art Gallery and an accompanying catalogue. Though the two submitted photographs were taken 19 years apart, they reflect a long-standing interest in colour and the camera's potential for capturing strangeness in the visible world.
a. Gardener, Reefton, 28 Jan 1986
LED print on Kodak Endura archival paper
303 x 458 mm
Open Edition
$800 Framed
b. Mower, Port Chalmers, 3 Feb 2005
LED print on Kodak Endura archival paper
343 x 458 mm
Open Edition
$800 Framed
15. Haruhiko Sameshima
b. 1958
Haruhiko Sameshima is a photographer, currently living and working in Auckland.
a. War Remnants Museum, Ho Chi Minh City Vietnam 2007
Toned silver print
305 x 404 mm (12 x 16")
b. Military Museum, Citadel, Cairo, Egypt 2006
Toned silver print
406 x 406 mm (16 x 16")
c. Pearl Harbour, O'ahu Island, Hawaii 2003
Toned silver print
406 x 406 mm (16 x 16")
16. James Gilberd
b. 1963
Has been a photographer since 1985, initially inspired by visiting Bill Main's Exposures Gallery in Wellington. He gained a Certificate of Photography from Wellington Polytechnic in 1987 and B.Des (photog) from Welington Polytechnic/Victoria University in 1996. He established Photospace Gallery and Studio in 1998 which has exhibited more than one hundred New Zealand and visiting international photographers. Personal work is still made on film and hand printed.
Street photography is still my favourite thing, whether it involves people or not. People in the man-made environment and the man-altered landscape is my main photographic theme. I visited New York City in 2004 and stayed in Hotel 17, on 17th Street, Manhattan. This is the cheapest hotel on the island, and is equivalent in some ways today to what The Chelsea was a few decades earlier. I could quite happily live the rest of my life there and photograph the streets on a daily basis.
a. Note, Lower Broadway, Manhattan, October 2004
Printed January 2006
Agfa Classic fibre-based silver gelatin photograph
305 x 404 mm (12 x 16")
Unique
$400
b. Metal Box, Lower Broadway, Manhattan, October 2004
Printed January 2006
Agfa Classic fibre-based silver gelatin photograph
305 x 404 mm (12 x 16")
Unique
$400
17. Jenny Tomlin
After graduating from Elam in 1984 Jenny has been working in the photographic industry in New Zealand, Sydney, and London as a colour and black/white printer with occasional tutoring positions. Since 2002, she has provided a specialist black and white fibre printing service from her home in Green Bay.
My interest as a photographer of landscape has been shifting from emotional responses to powerful pristine environments through exploring urban wastelands, chaotic theatres of succession. This recent body of work deals with the human-altered landscape. The process of tweaking our environment, copying, containing, improving. The landscape as a backdrop for what we aspire to.
The 4 metre plastic palm on the curb of an industrial strip. An instant, completely sterile solution to a lack of greenery yet it also has a vibrancy - the promise of an oasis.
Electric Palm
2007
C Type Print from Kodak Portra negative
305 x 305 mm
Open Edition
$620 Framed
18. John B. Turner
b. 1943
John B. Turner is a Senior Lecturer in Photography at the Elam School of Fine Arts, at the University of Auckland. He joined the then Dominion Museum as photographer in the mid-sixties and also began writing about aspects of practical photography, criticism and the history of photography. He has curated landmark exhibitions including Nineteenth Century New Zealand Photography (1970) and Baigent, Collins, Fields: Three New Zealand Photographers (1973). He was editor of PhotoForum magazine from 1974-1984, and later from 1990 to the present, during which period he was editor of PhotoForum's award-winning photography book, Ink & Silver (1995). He with William Main, New Zealand Photography from the 1840s to the Present, and his book Eric Lee Johnson: Artist with a Camera was published in 1999. A sample of his early work was recently represented in Into the Light: A History of New Zealand Photography (2006) by David Eggleton.
These photographs of people and places in Te Atatu Peninsula are part of an ongoing essay on the area I live in. Te Atatu Peninsula, in West Auckland, where we have lived for the past nine years, is part of the fast growing Waitakere City. Te Atatu means "The dawn." Barely 60 years ago, the whole area (now split into north and south by the Western Motorway), had a population of less than 300. It was known for its poultry farms and orchards, of which none are left. Today, our annual Christmas Parade alone features more than 300 people these days, and its small town unpretentiousness reflects its metamorphoses from a working class to middle class village. New subdivisions have been established to accommodate new Aucklanders. A long-awaited marae has not been built, and the land used by the Te Atatu Pony club is under threat. Small businesses come and go. Sections are subdivided at an alarming rate. Traffic jams on the only road to the motorway are more frequent. Meanwhile, as I get to meet more of its inhabitants while walking our streets with a camera, I'm excited by its old familiarity and new diversity. That's what I'm trying to capture. A larger selection of this work will be shown in a two person exhibition Tim Mackrell and I are having at the Corban Estate Art Centre, Henderson, for the period 25 May to 1 July 2007, as part of the Auckland Festival of Photography.
a. Te Atatu Pony Club, Te Atatu Peninsula, Auckland, Sunday 8 January 2006.
Digital colour print on Epson Premium Luster Photo Paper (250 gsm)
570 x 380 mm
$850 unframed; $995 framed
b. Te Atatu Traders, Te Atatu Road, Te Atatu Peninsula, 12 March 2005.
Digital colour print on Epson Premium Luster Photo Paper (250 gsm)
250 x 380 mm
$700 unframed; $850 framed
c. Youth Group, Te Atatu Road, Te Atatu Peninsula, Auckland, 5 March 2005.
Digital colour print on Epson Premium Luster Photo Paper (250 gsm)
380 x 570 mm
$850 unframed; $995 framed
19. Julian Ward
b. 1948
Julian Ward has been shown in numerous exhibitions over the years and is included in private and public collections. He has three books published: Face Value 1993 (self published), Just a Word... 1996 (Espial) and Wellingtonia 2006 (Espial/PhotoForum issue No. 74). He is represented by PhotoSpace Gallery, Tinakori Gallery and McNamara Gallery.
I feel a sense of place for Makara (on the south west coast of Wellington) and have been making photographs of its rugged beauty for about 30 years. The shaggy dog (Makara, 2006) represents everything I love about
the place, and photography.
Makara, 2006
Pigment Ink on Velvet Fine Art Paper
340 x 230 mm
Print No- 01
$1,200 matted, unframed
20. Kapil Arn
b. 1946
Born in Zurich, Switzerland, Kapil Arn travelled the world before settling in Australia for eight years, followed by emigration to New Zealand in 1978. In Switzerland he apprenticed as one of the last letterpress block-makers at a time when offset lithography was rapidly replacing the traditional process. He has since followed many diverse occupations, from cowboy, nurse and miner to border guard on the Israeli/Jordanian border. His images include those taken at the frontline of violent demonstrations in Papeete, Tahiti, and the international anti-nuclear protests surrounding the French nuclear tests at Mururoa Atoll. As one of the organisers of the anti-Springbok tour protests of 1981, Kapil documented the protests and was a major contributor to the book By Batons and Barbed Wire. Kapil was featured in the Documentary film Visible Evidence (1996), directed by independent film-maker Leon Narbey about the work of eight of New Zealand's top independent documentary photographers. Kapil's curiosity and passion sees him documenting the less obvious and perhaps those on the outside of mainstream kiwi life such as the gay and lesbian festivals and Hero Parade, the fetish scene and the lifestyles of the Goths. An ongoing interest of his since the 1970s is to document and record the social and spiritual change within humanity, the planet and himself.
The Aim of my work is to offer glimpses into the Unseen through my Images. A difficult task, but every so often I feel that an Image comes close to it.
If my work can help transport the Viewer into the inner world, closer to the core of their Hearts, or to help expand their Minds a little to connect to the mystery of Creation, then I consider having done my job well.
My Mission is to polish the Looking Glass through which People can spy glimpses of Heaven.
I deliberately do not put titles to my Images so as not to detract the Viewer from putting your own story to it. This is your part of the creative Act. Everybody will see something different and have a different story.
a. Untitled
C-Type print
1/10
300 x 450 mm
$750
b. Untitled
C-Type print
2/10
300 x 450 mm
$800
21. Karen Crisp
b. 1965
Karen Crisp has a BFA majoring in Photography from the London College of Communication. This was completed in 1999 after spending the best part of the nineties in the United Kingdom. Since January 2002 she has held the position of Photographic Technician at the Unitec School of Design, and is currently studying towards her MFA at the Elam School of Fine Arts. This diptych is part of a small suite of photographs taken of the Kaimanawa wild horses during that year's muster.
This diptych is part of a small suite of photographs taken of the Kaimanawa wild horses during that year's muster.
a. Waiouru Military Training Area #1, 2003
C-type print
297 x 420 mm
2/5
$625 Framed
b. Waiouru Military Training Area #2, 2003
C-type print
297 x 420 mm
2/5
$625 Framed
22. Karen Lee
Karen Lee has been using a twin-lens Rolleiflex camera since 2001. These photographs are two of many taken on Terawhiti Station, Wellington over the last seven years.
a. Boss by the stove
1/10/04
Silver gelatin photograph on fibre based paper
1/open
257x218 mm
b. Up Karori Stream
1/10/04
Silver gelatin photograph on fibre based paper
1/open
205x272 mm
23. Louise Sweet
b. 1962
Louise Sweet has been photographing for 20 years, both commercially and for personal expression. She lives in Auckland. "This image is from early work with digital imagery taken in Gisborne, New Zealand 2006. In memory of Lance and Maire Duncan - May they rest in peace together."
In Doves Eyes
April 2006
Lightjet Fuji Crystal Archive Print, Glossy
590 mm x 400 mm. Framed 810 mm x 625mm
1/12
$1000 Framed
Printed by Digital Photo Art
24. Lynn Houghton
b. 1943
"I've always liked to take pictures of objects that reveal a mysterious quality. I'm interested to record a sense of the life-force that pervades all things."
The Madonna and Others
From limited edition portfolio titled 'Women in Search of The Truth'
2001/2007
Inkjet print from original 6x7" transparency on rag paper with pigmented inks.
UV protectant matt spray.
600x840 mm
$1950 Framed
25. Mark Adams
b. 1949
Born in Christchurch, he has been working in the large format medium since 1968 and exhibiting and publishing since 1971.
Winter 1996.
Totara, at the hapua mouth, Papatowai, Murihiku, Te Wai Pounamu.
Gold toned silver bromide prints from 10 x 8 inch Kodak TMX100 film
Each 508 x 610 mm (20 x 24")
NFS
26. Murray Hedwig
b. 1949
Murray Hedwig was born in Christchurch, New Zealand and moved with his parents to Nelson where he was raised. In the late 1960s he studied in the School of Fine Arts at the University of Canterbury. From the time of his graduation he has continuously practised and taught the art of photography. He currently works as a professional photographer and an exhibiting artist. This work comes from a growing series that is really a journey searching for space and meaning in the NZ Landscape.
Gathering Storm, Dusk, Desert Road
2006
Giclée (digital pigment) print
1020mm x 380 mm
1/5
$1800 Framed
27. Neil Finlay
b. 1955
Neil Finlay works as a photographic technician at Unitec and his photography is mainly concerned with the New Zealand landscape.
"This photograph is one taken from a series of pinhole images that I have been working on over the last year."
Lake Taupo
2006
Chromira print
500 mm x 500 mm
$600 Framed
28. Paul Pachter
b. 1959
In this work light plays with form, tree informs light, trapping the light exposed.
Nei te matatu, kei te manu au kei te pae.
"I will stand firm on my perch although I am continually being jostled by others".
For the duration of my pinhole explorations I have still not found a reason to leave my yard.
Sometimes this tree is so frozen that it is hard to imagine it flowering ever again. But when in fruit there is only one Tui that fights for its ownership. In fact this Tui drives others away long before the fruit starts to form. When the light changes, the Song Changes and the big fat Tui that survived the winter claims its place in the garden.
Tree Light
14/7/06
c-type print
500 x 500 mm
1/3
$280 Unframed, $650 Framed
29. Reg Feuz
b. 1942
Reg Feuz has photographed constantly for the last 53 years, primarily as a diarist. He has lived in New Zealand since 1972 having left Canada for warmer climes, and he has been a member of PhotoForum since 1975. He lived in Auckland for two and half years, Dunedin for five years while participating as a member of the Dunedin Photographic Society and left behind a folio of photographs for the Hocken Library as part of a group show. He has also exhibited in Christchurch in 1977, then finally he moved to Wellington in 1980. Feuz was the secretary of PhotoForum Wellington Inc in 1980-81, but left "preferring to make photographs, not manage a society". He has published a small portfolio in NZ Journal of Photography in 1995 and participated in the Fringe event in the 1998 Photofest Wellington, as part of the PhotoForum Video; and displayed a set of prints at the St James Theatre.
le Code
Production of this work is May 2007 (although the separate images shown span 30+
years).
Chromographic Inkjet on Ilford Studio paper
600 x 1400 mm
This work can be won by any person who can break the code in its layout to reveal the real title. Code breakers can email their titles to regfeuz@xtra.co.nz
In the event of more than one correct entry the winner will be determined by lot.
30. sada
b. 1978
sada is a visual artist based north of Auckland, working with photography and found objects. Her styles vary, using a range of photographic materials and evoking a sense of connection by her use of collage.
Since completing the Diploma in Contemporary Photography at Unitec (2002) and BA in English and Philosophy, University of Auckland (1999), interspersed with travelling and living overseas, sada has produced diverse bodies of work for exhibitions and publications. sada managed the photography gallery Matakana Pictures (2005-2006).
"These works were made as the summer of the Al Gore movie passed."
a. Turn
2006 - 2007
assemblage c type prints on debris
1220 x 300 mm
Unique
$500 set
b. Turn About
2006 - 2007
assemblage c type prints on debris
560 x 120 mm
Unique
$500 set
31. Stella Daniell
b. 1953
Stella Daniell grew up in the Wairarapa and is now based in Wellington. She has exhibited photographic works in six solo shows and numerous group exhibitions since 1998. Most of her work is abstract and metaphorical. She aims to produce images which are open to different interpretations and emotional responses; images which provoke questions rather than provide answers; which intrigue the viewer and invite longer contemplation of both the visual representations and the ideas behind them.
a. Fertility
2002/2007
200 x 290 mm; framed: 423 x 510 mm
colour print from C-type negative
1/6
$300 framed
$200 matted
$90 print
b. Duality
2001/2007
300 x 230 mm; framed: 480 x 416 mm
colour print from C-type negative
1/6
$300 framed
$200 matted
$90 print
32. Syd Moore
"On being a self-indulgent amateur photographer - as a retired scientist I enjoy, almost perversely, exploring more and more the non-cognitive/subliminal parts of my brain. A preliminary idea for visual presentation almost invariably now evolves constantly well beyond the original concept(s). I derive much joy from this since I do it for myself only. Even though the present exhibited set is straightforward reflecting simply my love of the outdoors and my background as a biologist, I delight when others resonate positively to my more perverse works which exploit multiple images gained at different times and places."
A Face of Pigs' Ear
Triptych
Matt laminated and framed
$160 each
33. Tim Mackrell
b. 1963
Tim Mackrell is a photographer, currently employed in the Anthropology Department of the University of Auckland. Tim is a graduate of Elam School of Fine Arts with photography and sculpture major and has a background in news and art photography.
The Te Oropuriri series relates to a group of artifacts from an archaeological site in Bell Block, New Plymouth where Tim worked as a photographer for 3 seasons of archaeological excavations.
a. Te Oropuriri 1
2006/2007
Inkjet print (Epson UltraChrome K3 inks on Archival Matte Paper)
488mm x 488mm
1/5
$625
b. Te Oropuriri 2
2006/2007
Inkjet print (Epson UltraChrome K3 inks on Archival Matte Paper)
488mm x 488mm
1/5
$625
c. Te Oropuriri 3
2006/2007
Inkjet print (Epson UltraChrome K3 inks on Archival Matte Paper)
488mm x 488mm
1/5
$625
d. Te Oropuriri 4
2006/2007
Inkjet print (Epson UltraChrome K3 inks on Archival Matte Paper)
488mm x 488mm
1/5
$625
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