Category Archives: Photography-based work

Invocations

Melanie Roger Gallery, Auckland, April 2012

Flying Oblique, 2012.
Archival inkjet print, edition of 3

These are part of a series of works exploring issues in self-imaging that of an identity embedded in the flux of migration and its relationship to mass media, this piece captures what seems to be semi-private, fleeting moments in a studio filled with nameless odds and ends.

Disappearance scheduled for Friday and other works.

Disappearance scheduled for Friday and other works.

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Exhibited in Page Blackie Gallery and Melanie Roger Gallery 2011/2012

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Installation at Page Blackie Gallery, 2011.

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Of Positions and half Positions having several Marks at once

Of Positions and half Positions having several Marks at once

Gus Fisher Gallery, Auckland, September 2011

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Installation views.

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Exhibition catalogue with essay by Victoria Wynne-Jones can be downloaded here.

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Exportware

Photographic laser decals depicting a solitary woman in uncertain garb were fired onto found ceramic bowls. Alluding to trade routes of ceramics between Asia and Europe, this work speaks to the eventual migration of bodies from Asia to the rest of the world. Referencing Japanese souvenir ceramics in which an East Asian woman is drawn into a ceramic bowl, this work also recalls ancient incantation bowls on which Lilith, an ambiguous female archetype feared by some but also heralded as a symbol of female empowerment by feminist thinkers, appears.

Exhibited at Page Blackie Gallery, Wellington, November 2010 & in various places.

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Ceramic decal images. 


 

 

Found bowls with ceramic decals fired onto them, and painted over with acrylic.

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Installation views at Page Blackie Gallery

 

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Photographic laser decals depicting a solitary woman in uncertain garb were fired onto found ceramic bowls. Alluding to trade routes of ceramics between Asia and Europe, this work speaks to the eventual migration of bodies from Asia to the rest of the world. Referencing Japanese souvenir ceramics in which an East Asian woman is drawn into a ceramic bowl this work also recalls ancient incantation bowls on which Lilith, an ambiguous female archetype, feared by some but also heralded as a symbol of female empowerment by modern feminist thinkers, appears.

Associated essay by Vera Mey.