I have just finished
a new artists book of photographs of Christchurch from the time I
moved here until recently, pre earthquakes, however the images are
primarily from the early days soon after I moved here in 1998. At
that time my photographs were mostly landscapes and abstracts, so
unlike my other work of the time the photographs in this book were
taken without much intent or thought for how, or even if, they would
ever be used, they were simply observations of a new place.
Now of course after several thousand earthquakes they have become
a record of places totally gone or drastically altered.
1998-2011” Hardcover, 310mmx310mm, 88 B&W photographs.
Edition of 50 signed and numbered artist produced books $400
There are just three books left in this edition priced at $1000 which includes an original print from the book
Hardcover, 310mmx310mm, 76 B&W and color photographs. price
Urbanity, a word that does not exist, represents my observations
of the urban landscape where I now live and have made home for the
last 12 years. Altered by man, by time, and myself. Altered by my
camera, in my darkroom, and in my computer, urbanity is what I see
when I look at where I live. A place usually filled with people, but
stripped of them! I’m drawn to observe this environment without
people, to look at the marks we make both intentionally and otherwise.
The small details of the urban environment explain so much about us,
but they also become ambiguous when we are absent, they show us where
we came from and where we are going and what has become important
to us, as well as that which is no longer valued.
The markings that dictate the order we must live by seem pointless
or even decorative when those they are intended to direct are absent.
Street signs and markings direct nobody, Graffiti neither offends
nor pleases, and becomes one with the signs of advertising! Without
people the urban landscape allows me to examine how things became
as they are, to see clearer how urban life has evolved, and I realize
how aesthetics have become increasingly less important as order becomes
increasingly more important. The city is a canvas for Architects,
Taggers, Artists, Urban Designers, Councillors, and Governments, all
believing they have the right and are right, when in reality with
hindsight very few ever actually are. Take away the people and we
are free to alter anything as we wish without effect, as order only
exists for us. So I see, I record, and if I like I alter, this is
my urbanity, it is what I see when I walk in the city.
Hardcover, 310mmx310mm, 65 B&W and color photographs. price
In the years 2005-6-7 I spent a few weeks each year photographing
in Melbourne Australia. The purpose of these trips, apart from simply
experiencing and photographing in a new and unfamiliar environment,
was to discover how and what I would be drawn to photograph. My work
has always been very much informed by distance and the associated
personal and professional isolation that results from living in New
Zealand. I am always interested to see how this isolation transfers
photographically when I’m away from home.
During one Melbourne trip I visited a Bill Henson retrospective exhibition.
I was immediately drawn to his photographs as I felt from them a similar
feeling of detachment, that of someone constructing photographs that
express a sense of their personal place in the world. Seeing Henson’s
photographs had a big influence on my work, and for a short time it
was almost as though I was looking at Henson's Melbourne through his
eyes. While this may sound strange or plagiaristic even, for me it
was about being even more detached than ever, strangely it allowed
me to see more clearly what I wanted to see.
Hardcover, 310mmx310mm, 28 B&W and color photographs. price
Founded by Darius I in 518 B.C., Persepolis was the capital of the
Achaemenid Empire. It was built on an immense half-artificial, half-natural
terrace, where the king of kings created an impressive palace complex
inspired by Mesopotamian models. In the year 2000 when we were there
tourists were few, and restrictions on what one could do or where
one could go, where virtually nonexistent. It was a privileged, and
unusual experience, for us to be able to walk freely among such ruins
without restraint. To have the opportunity to photograph such a place
without restraint was an even greater privilege, and one that I imagine
is becoming rarer by the day. Experiencing Persepolis makes you realize
how young we are in New Zealand, and also how insignificant the majority
of the architecture of our time is.
Saith Darius the King: By the favour of Ahuramazda these are the countries
which I seized outside of Persia; I ruled over them; they bore tribute
to me; what was said to them by me, that they did; my law-that held
them from; Media, Elam, Parthia, Aria, Bactria, Sogdinia Chorasmia,
Drangiana, Arachosia, Sattagydia, Gandara, Sind, Amyrgian, Seythians,
Scythians, with pointed caps, Babylonia, Assyria, Arabia, Egypt, Armenia,
Cappadocia, Sardis, Ionia, Scythians who are across the sea, Skudra,
petasos wearing Ionians, Libyans, Ethiopians, men of Maka, Carians.
STOP 23955” Hardcover, 310mmx310mm, 93 B&W
photographs. price $400