#Commercial Photographer in Auckland

[dominik-taia]

Evotia Tamua

Photographer Evotia works out of Auckland, New Zealand. She is of Samoan heritage and began her photographic career by capturing the cultures of the Pacific Island people in New Zealand and the South Pacific.

Evotia comes from a career background of photographing weddings, events, portraits and documentary where she has practiced her skill for 20 years to become a successful commercial photographer.

Her 2016 Creative New Zealand/National University of Samoa artist-in-residence award allowed her to spend three months in Samoa, where she worked on a documentary photo essay about her community, Salelesi. November 2016 saw her hold her first solo exhibition in Samoa as a result of her residency. Evotia is presently developing Salelesi: A Village in Samoa, a photography book. Alongside the book launch, there will be a touring exhibition in Samoa, New Zealand, Australia, and Hawaii.

[ardn516thephotographicimage]

Aotearoa Photographers for each day of the Week:

Day 4

Erica Sinclair

I'm Erica - a freelance photographer and many other things. When I'm not busy with my whānau or talking on Taringa podcast, I'm behind the camera capturing the beauty of kaupapa Māori. My specialties include: photographing Iwi, Hapu & Marae based projects or commercial, branding, advertising, archival, and even stock photography. And, as an avid lover of the outdoors and the moana, I'm always excited when my work allows me to meet new people, learn new things and shoot in stunning, fresh scenery. With 10 years of experience as a photographer, and a Bachelor of Media Arts degree under my belt, I'm pleased to say that I run my own business and have a loyal clientele who appreciate my passion for kaupapa Māori.

Taken from the about me page on her website

Ko wai ahau? — Erica Sinclair Photography. (n.d.). Erica Sinclair Photography. Retrieved September 4, 2024, from https://www.ericasinclairphotography.com/ko-wai-ahau

Erica Sinclairs website showcases the categories of people, place and purpose. She captures the human emotion and the Māori beauty. She is a versatile photographer, her portfolio includes portraits, landscapes with themes of connection, time and home.  

Waititi Whanau for Morning Calm Magazine. Erica Sinclair Photography, Māori Photographer.

Tarawera River. Long exposure photography Erica Sinclair Photographer, Māori Photographer

Te Pou o Mangatawhiri, Te Matatini Society Inc. Auckland 2023 Erica Sinclair Photography, Māori Photographer.

[aangussca]

Art Studio 1 Lecture and 24th Biennale Gallery visit (Chau Chak Wing Museum) (22.3.24)

Lecture: Artist-run Spaces (by Alex Gawronski)

Artist-run Spaces (or ARIs - Artist-run Initiatives) are:

Spaces directed and organised by artists (collectives, studios, shows/exhibitions, festivals, workshops, etc.).

Dedicated to showcasing experimental contemporary art.

Usually running on a 'not-for-profit' basis (although art may occasionally be sold).

An international phenomenon (found everywhere)

Below are some examples (Australia):

Firstdraft (Sydney, Australia)

107 Projects (Sydney, Australia)

Airspace Projects (Sydney, Australia)

Gertrude (Melbourne, Australia)

Blindside (Melbourne, Australia)

Outer Space (Brisbane, Australia)

Sawtooth ARI (Launceston, Australia)

FeltSpace (Adelaide, Australia)

Watch This Space Gallery (Alice Springs, Australia)

Below are some examples (international):

Studio 1.1. (London, England) and its other galleries: Studio 1.2. (Haarlem, Netherlands), Studio 1.3. (Poços de Caldas, Brazil) and Studio 1.4. (Susak, Croatia)

PrintSpace (Brooklyn, US)

Transmission Gallery (Glasgow, Scotland)

VideoArt Center Tokyo (Tokyo, Japan)

EST Art Foundation (Leiden, Netherlands)

M1 Singapore Fringe Festival (Singapore)

OpenArt (Örebro, Sweden)

SPAO Photographic Arts Centre (Ottawa, Canada)

Mothermother (Auckland, New Zealand)

Artist-run Spaces run on different models in funding and exhibitions.

Funding:

Government funded (ie. The Australia Council etc. Other State funding bodies).

Self-funding as a co-op (members of the directorship pool their own financial resources to pay for gallery rent and exhibition costs).

Exhibitor funded (gallery is paid for on a not-for-profit basis, by a rental fee paid by exhibiting artists.

Auctions and Fundraisers organized by ARI directors. A combination of the above.

Exhibition models:

Typically Government funded Als must, as a part of their agreement, accept outside proposals. That means the gallery directorship collectively decide which proposals they want to exhibit.

Self-funded co-ops can choose to accept proposals, but the onus will be determined by the co-operative.

Exhibitor-funded ARI models may accept proposals or may curate 'in-house' (ie. The directorship) actively curate the exhibition program without accepting proposals. Some of these are 'spaces for hire. That means they accept outside proposals for the primary purpose of covering the venue rent. They are often expensive and have less credibility within the art world (ALTHOUGH if you can afford it, they can be useful places to experiment if you're starting out).

There are many benefits to founding, directing or being involved in an Artist-run Space - including but not limited to:

Greater creative freedom in both the works you like to exhibit and the artists you'd like to work with

Greater freedom from limitations within institutional/commercial galleries

While another means of income may be needed, you don't have to deal with the pressure of selling your work

Collaboration opportunities, which can help you to form personal and professional connections

Gallery visit: 24th Sydney Biennale (Chau Chak Wing)

Citra Sasmita's Timur Merah Project X: Bedtime Story (2023, acrylic on traditional Kamasan canvas and oak dowels) and Timur Merah Project IV: Tales of Nowhere (2020, acrylic on traditional Kamasan canvas and oak dowels)

Description: "Citra Sasmita began researching patriarchal roots of modern Bali by looking to the literary and artistic canon of Indonesia, which broadly narrates male heroism and depicts women as romantic decorations. Through her Timur Merah Project, Sasmita creates counter-narratives that depict women as powerful and resistant actors who push back against a male gaze informed by colonial ideology. Following the fall of the last Balinese kingdom in 1908, the Dutch administration introduced the policy of Baliseering. A strategy of cultural diplomacy intended to establish an 'authentic' Bali, the policy obliged the Balinese community to carry out their cultural practices under Dutch supervision. Javanese nationalists argued that the policy kept Bali as a living museum' that appealed to colonial aesthetics of the noble and exotic while obliterating any Balinese self-determination. Balinese women, who for centuries were trafficked by the Dutch as particularly beautiful slaves, were often depicted in naturalistic portraits by colonial painters. In Timur Merah Project X: Bedtime Story and Timur Merah Project IV: Tales of Nowhere, Sasmita uses traditional Kamasan painting to reclaim the female figure as an active de-colonial agent challenging the exotic aesthetic heritage of Baliseering."

Cho Ka Fai's Exodus (2024, short film (18 mins 52 secs))

Description: "Gathered around the campfire one hot Javanese night in the 1930s, a contingent of Dutch soldiers drunkenly sang and danced while a group of Indonesian farmers watched from afar, mimicking the men's strange, rhythmic movements. And so, Dolalak was born. Something of a cultural constellation, Dolalak performers cosplay in Dutch military regalia for trance-like performances of traditional Javanese dance, melodic Islamic poems and songs of ancestral spirits. Popular among young Indonesian TikTok influencers who dance Dolalak to the tunes of Indonesian pop music (Dangdut Koplo), the ritual sits within a deeply layered history. The same rich source resulted in an Indonesian band being hailed as the greatest live act in mid-century Europe some 20 years after the development of Dolalak. Following the Dutch failure to re-invade Indonesia after the Second World War, a number of Dutch-speaking Indonesian musicians, primarily from the Maluku Islands, were exiled to the Netherlands. In the same way that Dolalak rose from a colonial clash of cultures, Indo-Rock emerged in the 1950s/1960s when these musicians began to meld Western, Indonesian and Kroncong music, a specific genre in Indonesia played on Portuguese-introduced instruments. This fusion gave rise to leading bands like the Tielman Brothers, who reached stardom as icons of Dutch and West German rock 'n' roll. In Exodus, the Dewi Arum Girls (TikTok stars) dance Dolalak to a remix of the Tielman Brothers, meditating on the colonial resonances that linger. They dance like spirits, in the reverberations of Dolalak, Indo-Rock and contemporary digital culture."

Diane Burns' Alphabet City Serenade (1988, short film (1 min 57 secs))

Description: "Chemehuevi and Anishinaabe poet Diane Burns walks the streets of New York's Lower East Side (Loisaida colloquially) reciting her poem Alphabet City Serenade in this powerful footage. An indictment of the gentrification of Loisaida and the treatment of First Nations Americans, Alphabet City Serenade paints the cracked windows and littered streets of Loisaida with a vivid and loving brush. The serenade also threads Burns into the fabric of the cityscape, with its crumbling tenements and narrow stretches of blue sky. A prolific personality and artist, Burns read her work at Bowery Poetry Club, the Nuyorican Poets Cafe, and the Poetry Project at St. Mark's Church as well as joining the likes of writers Allen Ginsberg, Joy Harjo, and Pedro Pietri in Nicaragua for the Ruben Dario Poetry Festival. Yet by the late 1980s, Loisaida, a counter-culture hub for creative, immigrant, and queer circles, was at risk of losing itself to rising rents, drugs, and the HIV epidemic. Before long, the community which had sustained Burns would dissipate, coming together again in 2006 on the event of her death. Over a career defined by an immutable spirit, Alphabet City Serenade captures the writer's sardonic, yet penetrating, insight..."

Mangala Bai Maravi's Baiga Godna Indian Tribe (2024, ink on paper)

Description: "The women of the Baiga community in central India (primarily in the state of Madhya Pradesh) begin receiving tattoos from as young as age nine, starting with their forehead before covering their back, legs and chest. The designs, known as Godna, are a record of life and culture, and are known to hold healing properties when applied correctly. Among some of the earliest communities in South Asia, in recent times the Baiga people have been displaced by deforestation and government policy. In turn, the tradition of Godna is fading because (unlike jewellery or written records) the history that is encapsulated in these tattoos disappears with those who wear them. Mangala Bai Maravi, one of the few remaining Badnin (women tattoo artists) in her community, has committed her life to preserving and sharing this tradition. Documenting the symbols and stories of her people, across not only bodies but also canvas and paper, Maravi's practice can be understood as an act of cultural preservation and healing."

[photovisionnz]

Know the basic concepts and tools for a Professional Videographer in Auckland

The wedding day is very special and the most important in every couple’s life! It is a day packed with fun, pleasure, adoration, and unforgettable memories. To capture all the joyous and precious moments of an engagement or a wedding, a professional wedding photographer or videographer in Auckland can help to preserve those special memories. In this article here are the basic concepts and essential tools for a Professional Videographer in Auckland that can help them to create highly personalised and narrative wedding films. 

The art of photography and videography takes time to know things with constant effort, and the right assets. Professional videographers utilize a mixture of technical skills, creativity, and equipment to capture high-quality photographs and video content. There are some basic concepts and tools that are essential for professional videographers. The equipment includes high-quality cameras such as DSLRs and mirrorless cameras are popular for their flexibility and best image quality. A variety of lenses can be used for different shooting scenarios for portraits, landscapes, aerial, and many more.

Aerial photography has become increasingly popular now these days. To outshine aerial photography, you need a team, technical skills, and creativity, to capture the unique challenges posed. If you want to fly a drone, you need to understand the navigation, ascend, descend, and execute smooth turns. To master the control, learn different flight modes, GPS mode, sport mode, and manual mode.

Able to capture more than just photos and create stunning wedding videos

There’s something about videos that have a special charm and on the other hand wedding photos are a wonderful way to capture your special day. Clicking on happy moments of your big day is great but those only capture a moment in time. In addition, a well-crafted wedding video to see the entire day unfold from beginning to end, from the emotion of vows to the speeches given by loved ones. Even years down the line, couples can see the reactions of guests, the details of the décor, and all the special moments that they can cherish forever and share with future generations.

Final part

By utilizing the right tools and understanding these concepts a professional videographer in Auckland can produce visually stunning videos, and engaging photos including weddings, engagements, birthday celebrations, special events, films, documentaries, commercials, and online platforms. If you are passionate about creating the above content for various purposes then learning the art of videography can be a rewarding and enjoyable journey.

[604designresearchharriet]

Week 2 Lecture

‘A device for voice and storytelling’

-contemporary photographic and design projects with a distinctive voice 

-selection of NZ practitioners that provide a series of strategies

Threaded Magazine 

-NZ published international design publication 

-editorial perspective

-set of principles, ethos 

-POV what is an interview, studios have their own dialogue 

Position the person we profile as the interviewer and the interviewee

Alt Group Threaded Magazine 

-Cover

-Gate fold

-4 dps 

Links in research between ideas and craft 

EMPATHY

-collaborative, connection, awareness 

McCarthy Studio: Arts Month Campaign 

Engage NZer’s in a conversation and give a voice to both artists and the public 

Concept ‘art is:’ to ask the public and the foundation to ask themselves, importance that art has on the lives on NZer’s

Narrative function is empathic and inclusive of the audience 

Co-creative interactive mode 

Interactive tool where public could draw, paint, type their own ideas, analogue and digital 

Tatiana Tavares 2019

Disseminative research based knowledge through the arts 

Highy crafted images using story telling to deal with tough topics 

Health and design collaboration 

Build empathy and connection through the imagery 

Extensive planning and story boarding, uses props and actors with a 2 day photoshoot, staged for reference images 

PSD file with more than 200 layers, draws on a tablet 

HUMANITY 

-climate crisis, sustainability, wellbeing 

Stone Soup vol.7 Aaron Mclean (2019)

Publishing syndicate, indépendant street press

Commercial photography 

Ad free 

Editorial POV: Belief many conversations through the lens of food 

Nutures hope 

Climate change: eating is an agricultural act, to be interested in food but not in food production is absurd. 

STORYTELLING

-narrative, context, sequence

COMMUNITY

-environment, protest, truths + fiction 

IDENITY

-representation, framing views, biography 

Unpacking the method and process, how did they make this? 

Tyrone Ohia Stone Soup Vol. 6 

AKL creative director 

Founder of extended whanua 

Trusted platform for the future 

Stone soup: hungry stranger arrive in a town with nothing but an empty pot, bring community together lens of food to collaborate and share 

This is how the publication works on a donation basis 

At the end of reading this magazine it is compostable, closing the loop 

Stay true to their mission statement 

‘I eat therefore I farm” Aaron Mclean 

Te Oro Typographic Systems 

Youth community 

Name was gifted to the centre by Ngati Nga Oro 

Geographical and cultural to think about ideas 

Typeface for the centre is based on the Maori weaving panel

Tio tu tio Ora brand identity - Auckland Art Gallery beatiful example of type 

HUMANITY

Sea Change compost campaign 

Narrative and idea that would delight and increase change of frequent use 

Start away from typical symbols 

Feature the worm in clever designs 

Iconic simple playful persona 

Humour, obvious, smart 

Bespoke typeface 

Food Nation Seachange

Mission to get people to eat more plants 

Magics to go away from stereotypes 

Powerful narrative function 

Happy patties 

Joyful expression of the food nation community 

Make Act Now

Response to AUS 2020 bushfires 

Climate activism 

Protested through publication 

Key values on inclusiveness, diversity, responsibility

Osborne Shiwan 

Altamira Dance Campaign 

Mt Albert based 

Maori contemporary dance theatre 

Conceptual platform reflecting the many facets of theatre 

Refererenes maori mythology and Micheal Angelo art 

Fragility of humans 

System that operates 

Type, images, words, shapes creates movement reflecting theatre

Always Positioning work on cultural platform

Catherine Grifiths - community 

Typeface designer 

‘Designers speak (up)’

Equity and feminism 

Index of women designers 

Representation of women 40 3

-present tense, show that gave visibility and voice to wahine, and non-binary designers 

Essay published along side this^

[totallyglass]

Splashbacks by Designers: Transform Your Space

If you want to enhance the aesthetic appeal of your kitchen or bathroom, splashbacks in Auckland may drastically alter your space with their incredible design options. In addition to being practical installations, these splashbacks also serve as decorative embellishments that elevate any room's style and refinement. A vast range of materials, colors, designs, and finishes are among the many choices available to those looking for a distinctive statement item. With sleek glass designs in eye-catching geometric shapes and intricate mosaic tiles that evoke timeless beauty, our designer splashbacks cater to every taste and fashion preference. The talented artisans in Auckland combine their skills with state-of-the-art technology to create unique splashbacks that perfectly complement your current décor or serve as the focal point of a whole new design scheme. Whether you decide for traditional luxury or modern simplicity, splashbacks in Auckland provide countless alternatives for transforming your space into a work of art.

Create Your Own Splashbacks in New Zealand to Unleash Your Creativity

Customizable splashbacks in NZ are a game-changer when it comes to giving your kitchen or bathroom a little flair and style. Nowadays, you have the freedom to design a space that genuinely reflects who you are. Gone are the days of uninteresting tiles or plain walls.

The opportunities are infinite when using creative splashbacks. To suit your tastes and enhance your existing decor, you can pick from a variety of colors, patterns, and finishes. There is a splashback option to suit your particular taste, whether you choose sleek and contemporary designs or something more eclectic and daring.

These jewels may be customized, and one of the coolest things about them is how they can change any room. You can give your kitchen or bathroom an instant facelift by making a simple switch from plain tiles to colorful glass panels. For your entire house, it's like pressing the refresh button!

Why then limit yourself to simply colors? You may also include distinctive photographs or works of art that express your own personality when you use custom splashbacks in New Zealand. Your imagination is the only constraint on what you can do, from family photos to motivational messages.

Therefore, why are you still waiting? With designer splashbacks from NZ, you can ditch the boring decor and let your creativity run wild!

Creative Kitchen Splashback Design Ideas

Making the kitchen of your dreams requires consideration of every component. Another aspect that is frequently disregarded but has the ability to have a big impact is its splashback. Tiles that are boring and uninspiring are no longer acceptable; modern kitchens demand amazing, stunning decor.

Imagine a kitchen with an intricate mosaic covering the wall behind your stove. Each color combines well with the others, reflecting light and adding dimension to your space. Another option is to go for a sleek, modern look. Consider installing a glass splashback that features an eye-catching geometric pattern and a contemporary, elegant feel.

For those seeking unique textures, why not try using materials like pressed tin or repurposed wood? These bizarre choices instantly add charm and flair to any kitchen, creating a unique environment that oozes personality.

Do not fear color either! A ceramic tile splashback that has been hand-painted can bring vitality to even the most lifeless of areas. Choose mirrored panels as an option; they will make the area appear larger and reflect light throughout, making them ideal for tiny kitchens.

When it comes to designing an attractive kitchen splashback, the options are essentially endless. Let your imagination go wild as you consider all of these creative ideas since here is just another opportunity to showcase your sense of style and create an environment that truly expresses who you are.

Residential and commercial glass balustrades in New Zealand

The game-changer when it comes to adding a touch of modernity and sophistication to your New Zealand home or place of business is glass balustrades in NZ. Because of their minimalistic layout and transparent construction, these architectural marvels offer an unrivaled sense of openness and elegance.

For homeowners seeking to enhance the aesthetic appeal of their houses, glass balustrades allow perfect integration with any interior or exterior style. Imagine planning events in your living room while taking in breath-blowing views in every direction with no obstructions to your vision. Additionally, these adjustable solutions can be modified to accommodate various locations, such as stairways, balconies, terraces, and pool areas.

The importance of safety must also be taken into account in addition to beauty. While preserving visibility, glass balustrades ensure the security of children and pets. Strong tempered glass panels that have been expertly placed by professionals that strictly adhere to safety requirements may provide you piece of mind knowing that your loved ones are safe at all times.

Glass balustrades are a great addition to any building, and they have several benefits for businesses. Whether you own a fancy office building in Wellington's central business area or a smart café in the center of Auckland, these sophisticated upgrades create an ambiance that exudes knowledge and refinement. As they walk effortlessly through lovely surroundings, your clients will appreciate the attention to detail.

[ppmphotographyaucklandnz]

Exploring the Diverse Realms of Commercial Photography

Photography can be an art, but most people buy a camera not only to take a beautiful picture and get likes but to make money from it. This area of photography is called commercial.

For those who are tired of shooting flowers in a flower bed and want to step up to the professional level, we tell you what genres they go into along the way, as well as what a commercial photographer or Professional photographer in Auckland NZ should be able to do. 

Types of Commercial Photography

Commercial photography is any shooting where the author receives money for the work. Even a photo for documents can formally be classified as a commercial photo.

It is better to divide commercial photography into two large groups, and then break it down into specific genres.

B2C Commercial Photography

A B2C photo shoot (business-to-client) is a shooting for an ordinary person. The customer is neither a business nor an organization. Mother of a child who has a birthday; a girl who wants beautiful portraits for herself; A young man ordering a love story as an anniversary gift.

It's a niche that's easier to get started with. It is more difficult to reach businesses and brands, you need an extensive high-level portfolio to interest the company and go through all the stages of approval. It's easier with private commercial photography.

B2C Commercial Photography Genres

A report from a holiday or event. Birthday, christening, bachelorette party, party. A sought-after and profitable niche. The easiest way to find customers is in this segment.

Wedding photography. A hard, profitable, and responsible niche, where it is difficult to find a photographer who would like and can approach each shoot creatively. An original style requires experience and time, which is often not available at weddings, as well as the request of the newlyweds because many want "like everyone else". On the other hand, those authors who know how to adapt to the wishes of the client and at the same time express their vision have a price tag far above average.

B2B Commercial Photography

B2B (business-to-business) commercial photography is an organized photo shoot, where the customer is a company, organization, business, or legal entity. Commercial photographers in this niche often do not influence the development of the shoot, and sometimes even other people are engaged in post-processing. Here it is crucial to strictly follow the technical specifications. Now be able to understand the client, adapt to him, and also produce a high-quality result.

The bigger and cooler the company or brand, the higher their requirements. Complex collage is often used in advertising shoots, a commercial photographer must be able to retouch in different techniques, solve complex problems, feel, & be able to work with color. Here in this category, you will find Website Photographers, who will help you with website photography.

B2B Commercial Photography Genres

Commercial photography for small businesses. It's a cross between B2B and B2C. Yes, you take promotional photos for your website, social media, or portfolio, but you work and coordinate everything with one person. For example, a master makes designer dishes from clay and wants to take a beautiful photo of the product, or a make-up artist asks to replenish the portfolio with high-quality photos with deep retouching, and not cloudy selfies on the phone.

Fashion photo. A genre where a commercial photographer shoots clothes. As in the subject, the author can shoot a simple catalog on a plain background, as well as image shootings, on which a huge team of make-up artists, stylists, and decorators works.

On commercial shoots for catalogs, a Commercial Photographer in Auckland needs to be hardy, be able to work quickly with huge volumes of things, and strictly comply with customer's requirements. Some brands think everything through in advance, and only after that, at the very end, choose a photographer who does not have any influence on the process. Others can set the direction, but give the author more freedom than just pressing a button.

[darshilpphoto]

Life's special moments should never be forgotten! Capture them in the best way possible with the help of a professional photographer. Darshil specializes in capturing people, places, and special occasions - and his photos bring your memories to life. Don't let these moments slip away - book your session today! Contact us Now!

[selinaardn7162023]

My favorite personal photographs

Street photography: Selina’s view on people

I am a student from Vietnam and have been here since the end of 2018. What I find different between my country and New Zealand is the people. In Vietnam, it is not strange when you see many coffee shops in Vietnam because this is where people openly communicate with others at any time. We almost use motorbikes as the primary type of transport. But in New Zealand, people use cars as their main transport. They go home after work and rarely see people walking outside. The only place I see people and bustle is in Commercial Bay, Auckland. People walking on the street, sounds and sights are the big difference compared to other parts of Auckland. Busy people go to work, students go to school, and people walk around to breathe fresh air. So I decided to do my photography project, “Selina’s view on people”, which I want to capture scenes of people and their surroundings, the most simple photos of human life.

[kornilov-dv]

#EscapeSpaBeautyClinic #commercial #photoshoot #backstage #Takapuna #Auckland #NewZealand #beauty #photoghaphy #makeup #model #fashion #photographer #dmitriphoto #kornilovpro #EscapeSpa #BeautyClinic #PhotographerInAuckland #NZ #commercialphoto (at Escape Spa I Beauty Clinic) https://www.instagram.com/p/B4bENDtHowG/?igshid=17c43ochtao51

[whothef0ckisalice]

Activating Space

Artist Talk Notes:

Richard Maloy

https://www.richardmaloy.net/work

Setting the scene and constructing for the lens

Tree hut

Cardboard installation

RM student archive 1996-2001

All the things I did

Photography and video

Things I have seen

Tree Hut - sue crockford gallery 2004 (left) and Treas Hut - Auckland art Gallery 2013 (right)

Practice is more installation/performance then sculptural

(Artists,artwork,audience)

Unpacking the different relationships

Made from found materials for family home

Painted white to almost blend in with the whitewalls of the gallery

Using the artwork as a plinth

Developed idea into series and built from gallery’s left over materials  

Thinking abut the space as well as the object

Push and pull between artist and audience not quite preforming but having a preformance style

Went into space and used the whole space

The work having its own reference

Yellow reflected light making it more glob

Both an archive and an artwork

Utilising old art school items

Seeing the different works made

Presentation

Having individual spaces similar to the studio space with the install being year 1-4 in each space

As you go around you can see how more formal it became as the years progressed

Spent a year working with one material as a prop (blue bag) with various mediums housing the bag as the main focus

Same strategy as bag but with a range of materials

Connecting the dots woth the things you make in art school

Blue dog

Yellow grotto raw material (2008)

Fiona Pardington

Trickery in the photograph as the final image looks real or lifelike

Artists homage walk into studio and make an artwork remembered from memory

Never a final moment it’s process driven

Example of what art school would be like but in a pre digital/end of a era moment

Thing you make disappears from you and yourself as the artist

Showing in commercial spaces

Sarah hues

Things I have seen - youkobo art space (2017)

[604designresearchharriet]

Week 2 design research 

‘A device for voice and storytelling’

-contemporary photographic and design projects with a distinctive voice 

-selection of NZ practitioners that provide a series of strategies

Threaded Magazine 

-NZ published international design publication 

-editorial perspective

-set of principles, ethos 

-POV what is an interview, studios have their own dialogue 

Position the person we profile as the interviewer and the interviewee

Alt Group Threaded Magazine 

-Cover

-Gate fold

-4 dps 

Links in research between ideas and craft 

EMPATHY

-collaborative, connection, awareness 

McCarthy Studio: Arts Month Campaign 

Engage NZer’s in a conversation and give a voice to both artists and the public 

Concept ‘art is:’ to ask the public and the foundation to ask themselves, importance that art has on the lives on NZer’s

Narrative function is empathic and inclusive of the audience 

Co-creative interactive mode 

Interactive tool where public could draw, paint, type their own ideas, analogue and digital 

Tatiana Tavares 2019

Disseminative research based knowledge through the arts 

Highy crafted images using story telling to deal with tough topics 

Health and design collaboration 

Build empathy and connection through the imagery 

Extensive planning and story boarding, uses props and actors with a 2 day photoshoot, staged for reference images 

PSD file with more than 200 layers, draws on a tablet 

HUMANITY 

-climate crisis, sustainability, wellbeing 

Stone Soup vol.7 Aaron Mclean (2019)

Publishing syndicate, indépendant street press

Commercial photography 

Ad free 

Editorial POV: Belief many conversations through the lens of food 

Nutures hope 

Climate change: eating is an agricultural act, to be interested in food but not in food production is absurd. 

STORYTELLING

-narrative, context, sequence

COMMUNITY

-environment, protest, truths + fiction 

IDENITY

-representation, framing views, biography 

Unpacking the method and process, how did they make this? 

Tyrone Ohia Stone Soup Vol. 6 

AKL creative director 

Founder of extended whanua 

Trusted platform for the future 

Stone soup: hungry stranger arrive in a town with nothing but an empty pot, bring community together lens of food to collaborate and share 

This is how the publication works on a donation basis 

At the end of reading this magazine it is compostable, closing the loop 

Stay true to their mission statement 

‘I eat therefore I farm” Aaron Mclean 

Te Oro Typographic Systems 

Youth community 

Name was gifted to the centre by Ngati Nga Oro 

Geographical and cultural to think about ideas 

Typeface for the centre is based on the Maori weaving panel

Tio tu tio Ora brand identity - Auckland Art Gallery beatiful example of type 

HUMANITY

Sea Change compost campaign 

Narrative and idea that would delight and increase change of frequent use 

Start away from typical symbols 

Feature the worm in clever designs 

Iconic simple playful persona 

Humour, obvious, smart 

Bespoke typeface 

Food Nation Seachange

Mission to get people to eat more plants 

Magics to go away from stereotypes 

Powerful narrative function 

Happy patties 

Joyful expression of the food nation community 

Make Act Now

Response to AUS 2020 bushfires 

Climate activism 

Protested through publication 

Key values on inclusiveness, diversity, responsibility

Osborne Shiwan 

Altamira Dance Campaign 

Mt Albert based 

Maori contemporary dance theatre 

Conceptual platform reflecting the many facets of theatre 

Refererenes maori mythology and Micheal Angelo art 

Fragility of humans 

System that operates 

Type, images, words, shapes creates movement reflecting theatre

Always Positioning work on cultural platform

Catherine Grifiths - community 

Typeface designer 

‘Designers speak (up)’

Equity and feminism 

Index of women designers 

Representation of women 40 3

-present tense, show that gave visibility and voice to wahine, and non-binary designers 

Essay published along side this^

[tealin]

Long Trail to McMurdo, Part 3: Christchurch

10 November 2019

The last time I was in New Zealand, I was making what I thought was the trip of a lifetime. It was January 2018, and, assuming a trip to Antarctica was unlikely, this was the last gap I had to fill in my research. New Zealand being the jumping-off and landing point for most of the British expeditions of the Heroic Age, not only are there many Antarctic-related locations, but a great deal of stuff has been deposited here as well, as the collection at the Canterbury Museum attests. My aim was to visit there, see the departure ports of Lyttelton and Port Chalmers and the return port of Oamaru, and get what I could out of the Kinsey correspondence at the National Library in Wellington. The trip turned out to be hugely successful – I got everything I needed and more, as well as an appreciation for the openness and generosity of New Zealanders, which happily hasn't changed from a hundred years ago.

I flew from Los Angeles this time rather than Vancouver, on a ticket bought for me by the US Antarctic Program, en route to that destination which, last time I was here, I was sure I would never reach. Landing in Auckland and making the transfer to Christchurch, it certainly did not feel as though it had been nearly two whole years since I was here. This time, instead of having to figure out the buses into town, I was met by a USAP representative at baggage claim and, because she was travelling that way anyway, got a lift to the hostel where I'd be staying, a short walking distance from the USAP's headquarters and within sight of the International Antarctic Centre. And it was only just noon.

My to-do list this time was much more prosaic: Buy some possum gloves and some Antarctic postcards, and get out to Lyttelton to photograph the landscape in spring, because this is right in the middle of when the Terra Nova was in town. I had expected this to be a rush job, but my flight was booked a day earlier than planned, so I ticked off the gloves and a quick visit to the museum in the course of a leisurely stroll on a blazing hot day, stopping for a while near the Scott statue to cool my feet in the Avon, and filling up on what Kiwis call 'meat on chips' but which I've mentally assigned 'Turkish poutine.' It was astonishing how readily I remembered my way around town, and I marvelled at the apparent back-pocket familiarity with a city so far from anywhere I've ever lived. I suppose it made an impression.

Something else that makes an impression is going straight from LA to Christchurch. Most of the cities on the West Coast – but California particularly – always have 'The Big One,' the city-flattening earthquake, hovering at the back of consciousness. Christchurch has had theirs. The Cathedral is a ruin, a lot of historical buildings came down, people died, and the last nine years has been spent rebuilding and establishing a new normal. I never knew the place before, but the loss is still near the surface, and the economy must still be struggling as both the pubs I wanted to visit again have since closed. But, from a West Coast perspective, it is heartening to see that, having gone through The Big One, one comes out the other side, and there is another side. This is it. Christchurch is living it. The city is damaged, but still there. The people are carrying on. I have to wonder if LA would see it through with quite so much grace, rather than descend into anarchy, but it's good to know it's possible.

Saturday I devoted to Lyttelton. Christchurch is a major commercial centre but is built on a flat coastal plain; great for farming but not for shipping. However, it butts onto a peninsula made by a blown-out and flooded volcano, which affords several deep bays, and in one of these is nestled the port of Lyttelton. I really enjoy this quirky harbour town; I think if I lived anywhere in New Zealand I'd be happiest here. It suffered more than Christchurch in the quakes, but even now still feels more like stepping back in time – in fact, more than anywhere except possibly London, it feels like stepping into a book, though in Lyttelton's case, perhaps, that may just be me.

I got the necessary photos shortly after arriving. As the Time Ball has been rebuilt since my last visit, I hiked up there and got some unnecessary photos, and just enjoyed being for a while. Lyttelton is a good place to be happy. I hope I manage to communicate this in the few pages devoted to it in the book.

Sunday morning was taken up with the issuing of kit at the Clothing Distribution Centre, which will get its own post next week. It was my first direct onsite interaction with the USAP, and although it boiled down to trying on second-hand clothes, it was the moment when everything really started to feel it was happening.

We were done before noon, and the rest of the day was ours. Having done my town bit already, feeling a bit overdone, and expecting a belting of rain this afternoon, I retired to the hostel to organise some promised lectures and write this post.

Tomorrow will be mine as well, until the evening when I'm supposed to check in and be updated on the flight. It's supposed to be cold and windy, but I may end up going to Lyttelton again. That's a book I want to spend more time in.

[roswellroamer]

Day 3. February 1, 2020. Christchurch to Mt. Cook Village. 355km.

After a solid night's rest at our nicely appointed 3 level apartment in the Merivale neighborhood, the task of figuring out the best way to load all the gear/clothes on the bike was the first challenge of the day. With the large rolling duffel left at the bike shop I was pretty confident that everything would fit, but since I would be in a tough spot if it didn't, there was some trepidation as I bought my first pannier liner (borrowed from the Multistrada) down to the bike. The Duc has different sized panniers as one side's volume is cut nearly in half to accommodate and the Italian emphasis on aesthetics. The BMW has frame mounted and equally sized rectangular Givi plastic panniers. Our rental company informed us yesterday that although these bags have a triple clip closures and were supposed to be waterproof, they weren't "New Zealand rain-proof" as the southern and western portions of this island have rainfall measured in feet not inches! 🌧 I brought down the wider bag hoping that it would fit. Murphy once again intervened and it seemed a couple inches too wide. I decided to zip up the expansion section with some side of my body mass the same clothes were smashed a couple inches. Alas, still no go on the bag. So, a retreat to the third floor to rejigger everything. Let's just say I was glad I brought a 70l dry bag for the bike's tail. I needed it once I had to remove some items from my side/pannier. Anyway as I secured my heavier than expected tail bag with my trusty Rok Straps and slipped onto Papanui Road headed for the Southern Alps, I didn't pop a wheelie and felt that logistics weren't now just in need of some tweaking. A system to organize and pack is key to making the daily cycles of unpacking, loading, unloading, repacking an easy and stress-free task. The 70l bag gave me a large margin of error so I did overpack knowing I had this extra room if needed.

Saturday AM brought us little traffic as we rode along the other side of Hagley Park into the Westfield Riccarton area of CHC. A few other bikes were on the road and within 15-20' we started increasing our speed (in accordance with the posted limits, mostly 😉) as we left CHC and development behind. We rode past some of those horse racing tracks and saw a few jockeys wheeling around on their sulkies. For an hour or more we headed west and a bit south enmeshed in a patchwork of farmland. Flat, broken up by Irish style hedges and trees that were manicured and coerced into natural fence lines blocking wind effectively while creating visual barriers. Some small towns and without breakfast (not like me) I was tempted to call for a stop but we were aiming for Fairlie, where a few folks had impressed upon us the need to sample the pie 🥧 in Fairlie. Now when I hear pie, I'm thinking fruit. Usually cherry or apple. But the pies of note on our radar were of the meat variety! I didn't want to ruin my appetite. After a couple hours something changed. We made a turn in the road that wasn't a left or right, but an undulation. Wait, was that a hillside up ahead? All of a sudden we were in the foothills. Gone the flat farms of sheep, cows and agriculture. Now we were winding on increasingly common twisties. As we gained elevation the ambient temp dropped from around 22°C all the way down to 13.5°C (about 56°, still not really cold). We did end up stopping for a light bite in Geraldine at the Running Duck. I had a Coconut Ice (smoothie) and a heated raisin danish. A Ducati monster was parked there and he was stretching out in a chaise type lounger soaking up the sun. Bubba the elephant allowed the local server to locate us outside as most tables were full with travelers. We had taken the inland road which was recommended as more scenic and less traffic. At Geraldine we joined the main commercial road conducting summer crowds up to the Alps and Mt. Cook. A fuel stop there after the danish and off to Fairlie. We chose the Fairlie Bakery and despite the hype, were not disappointed with the buttered chicken and mushroom pie. 😋 We had passed some more interesting farms that included emu, caribou, deer, alpaca along with the more common farm animals. We were now traversing and crossing glacial runoff/moraine. The distinctive turquoise color of the glacial water is visually magnetic. 👀 It is caused by the silt or "rock flour" the water carries and is very distinctive.

Next on the Day 3 hit parade were two stunning glacial lakes. Lake Tekapo and the oft photographed stone Church of the Good Shepherd prompted a photo stop along with a hundred Chinese tourists. It sits near the road overlooking the colorful lake with a view of Mt. Cook aka "Aoraki" in Maori towering to 12,218'. Loads of small RV's everywhere too! #rvlife Riding past Tekapo on to Lake Pukaki which was equally turquoise. Afternoon had brought us a high, thin overcast which kept us from capturing the water's full visual splendor. It is still over 50kms from Pukaki to the end of the road here in Mt. Cook village as you wind up the valley and the glacial run-off becomes a river feeding the lake. There are a number of sizable glaciers here. We are going to tour glaciers by boat later on the ride at Milford Sound so we'll just enjoy the blue glacier ice from the valley floor today. There are a number of well marked trails through the unique alpine environment here as the whole area is a national park. Some trails through woods, others pass over hills to provide panoramic views of the Hooker and Tasman glaciers (the matter is the longest in NZ). Lodging here is limited and we opted to stay at the very nice Hermitage resort. Upon check-in we were informed the room wasn't ready. A bit of persuasion involving the manager whom we requested promptly solved the 1 1/2 hour previously proclaimed delay for a room not yet ready and a corner room with a spectacular view was provided. 😊 We're gonna explore the area for a bit now and hardly think the pics will do today justice but I'll attach 10 to follow. The weather has held off and so far no rain. Tomorrow is supposed to be different but we'll see if the meteorologists are again proven to be inaccurate. We walked through a heavily wooded seemingly tropical path on the way to a dinner which was accompanied by some dense bushes, trees and stairs. A bit of interesting history regarding Aoraki. Sir Edmund Hillary, a Kiwi born in Auckland who is best known for being the first man to climb Everest, cut his teeth on this mountain. 6 years prior to his successful assault on Everest with Tenzing Norgay he was learning the skills needed for the Himalayas right here. https://teara.govt.nz/en/photograph/28327/hillary-and-ayres-on-aorakimt-cook-1947 Mt. Cook has claimed over 80 lives this past century.

[darshilpphoto]

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