 Sue Guest - 'Tangle of Supplejack', from 'Rain Forest' The New Zealand forest is evergreen and characterised by the density of its undergrowth of shrubs, lianes (vines) and ferns. On the forest floor the detritus and its associated mosses and lichens form a soft, thick litter layer. Small creeks and seepages clothed in mosses, lichens and liverworts and filmy ferns impart a softness, a stillness and dampness to our forests that is almost unique. - J. T. Salmon 1997 Exhibition statement I keep revisiting the native forest remaining in Wellington’s western suburbs looking for the scenes that seem to be characteristic of the New Zealand bush and continuing to notice new details. Our bush depends for its lushness on rainfall evenly spread throughout the year. The capital has about 124 rainfall days a year. The rain provides a magical dimension to the scene and these photographs were all taken on wet days. Landscape photography was once considered non-destructive to the environment – “take nothing but photos leave nothing but footprints”. But we have subsequently had the “Instagram effect” of people being keen to prove they have been to these places and in the process causing destruction to scenic spots while trying to capture the iconic photograph. We see images online of people trampling wildflowers or overcrowding the spot that destroys the magic they seek to capture. The question for one who cares about the environment is should I still be taking photos at all? Are we leading to its destruction by photographing it? I try not to. I do want to be able to capture not the great scenic spots of New Zealand but the extraordinary complexity of nature by photographing the ordinary. These are along the bush tracks - the spots you may have walked by taking the dog out for a walk. But they are worthy of a second look. This is the view of a photographer, not a scientist. I hope that by looking in detail at these scenes you may see the need to support and care for wild spaces. - Sue Guest, 2021 Sue Guest has exhibited at Photospace Gallery in group and solo exhibitions since 2015. This exhibition follows the theme of her 2017 exhibition 'Into the Everyday'. 'Rain Forest' is shown in conjunction with an exhibition by Rebecca Macfie - 'Night Shadows - a collection of photograms'.
Both exhibitions open on Thursday 3rd February, 5pm-7pm (a Vaccine Pass is required to attend the opening), and run till Saturday, 26th February, 2022. Gallery hours are Monday-Friday 10am-3pm, Saturdays 11am-2pm, closed on Sundays and public holidays (closed Monday 7th February for Waitangi Day).
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'Night Shadows – a collection of photograms' is an installation of almost 100 darkroom photographic images on silver-gelatin photographic paper. They are photograms, a cameraless photographic process where objects are directly placed onto the surface of a light-sensitive material and then exposed to light, and were made over a period of 12 months at the artist’s home in Featherston, South Wairarapa. The negative images were made in the artist’s backyard in the dark of night and are a recording of shadows. They are split into two themes, the largest being botanical in nature with the remaining other forms found in the backyard at the time including children’s toys, netting, glass and sporting equipment. These images are an exploration of shape and form, and are inspired by the artist’s garden and home life. They reference home, nature and domesticity and the creation of them has offered sanctuary and quiet as the artist navigates the garden at night time to expose the images. They’re celebrating the practice of art making and photography in the home environment while examining the shadows and forms found all around us. - Rebecca Macfie 2021. Gallery sales of work from 'Night Shadows' will be as individual 8"x10" archival pigment prints, limited edition of 10, on Ilford Gold Fibre Gloss 310gsm Baryta Finish. The original silver-gelatin photograms are unique images and are not available for sale. 'Night Shadows' will be shown in conjunction with Sue Guest's exhibition 'Rain Forest', opening Thursday 3rd February, 5pm-7pm. (A Vaccine Pass is required to attend the opening.) Both exhibitions run till Saturday, 26th February, 2022. Gallery hours are Monday-Friday 10am-3pm, Saturdays 11am-2pm, closed on Sundays and public holidays (closed Monday 7th February for Waitangi Day). This is Rebecca Macfie's first exhibition at Photospace Gallery. Here is a list of her previous shows:
2019
 'Tell me without speaking' - Arthur Lin, Allegra Maslen, Jack Warren, Sage Rossie - 22-29 October 2021 Each year at this time, Photospace Gallery hosts a group exhibition by selected graduates of Massey University's photography degree programme. This year, we're proud to present 'Tell me without speaking' - works by Arthur Lin, Allegra Maslen, Jack Warren, and Sage Rossie. I'd like to thank David Cook of Massey University for his work in organising and coordinating this year's exhibition. This is a short-run exhibition. Viewing times: Friday 22 October: 1pm-3pm, Saturday 23 Oct: 11am-2pm, Tuesday 26 to Friday 29 October: 10am-3pm. Artists' statements: Ali Maslen: Nadir Acsending Nadir Ascending is an investigation into how photography acts as a visual and non-verbal language. This project utilises these concepts to convey narrative, evoke emotion and forge connections between the photographer, the photo, and the viewer. The body of work explores this idea through a series of photographs that collectively build a narrative based on the viewer's interpretation and perception of the images. The process of constructing this series resulted in the imagery being forged out of the artist's own self reflexive practice in building visual language. The audience will not just be viewers, they will also be the protagonists of the story. This is achieved through the use of semiotics, as well as by harnessing the visual language that photography encompasses. The three chapters of this series will follow a loose narrative that allows room for the viewer to insert themselves into. Taking inspiration from Joseph Campbell's stages of The Hero's Journey, the plot will have a beginning, a middle, and an ending. Within the context of Nadir Ascending they are titled, Nadir, Subsolar and Zenith. The values Nadir Ascending holds lie within the bounds of having the ability of being a mirror experience. The input and output, while having differing qualities, are linked. While the images will be abstract renditions of personal experiences (input), their nature as visual metaphors will allow the viewer to create their own story and find their own connotations within the work (output). While this project has its roots in being inspired by the artist's own experiences with recovery from trauma it will not explicitly be about this. More so, it will be a tool for expressing their own catharsis through photography in the hopes that a wider audience may resonate with it and see a reflection of their own experiences.
Sage Rossie: It Is My Honour To Love This Garden This exhibition explores the freedom in reconnecting the body with nature. More than an examination of the artist's own experiences of body entangled with gender and sexuality; this body of work extends traditional queer perspectives, abstracting the self in a symbolic connection with creation. Drawing on natural structures to explore connection to life and being through the body, abstracting the form, re-envisioning and reimaging the self. My body is my vehicle, my life is my garden, these are some flowers I've picked for you.
Jack Warren: Everyone's a Winner Everyone's a winner reconstructs real-life stories and situations surrounding problem gambling within NZ. It aims to critique immoral marketing strategies promoting a high likelihood of becoming a winner, when in reality this is not the case. Due these egregious techniques, thousands of unwilling and unsuspecting people fall into gambling's grasp each year, only realising the severity of its effects when it is too late. Problem gambling can be an isolating addiction, and it is often hard to ask for help, but there are systems in place to support individuals who want to stop. Please consider contacting 0800 654 655 if you need help, or would like to learn more.
Arthur Lin - In-Dependent Structures How can photography and its perceived objectivity be deployed to engage audience in discussions about supermarket structures associated with political power by bringing its subjects into scrutiny? In-Dependent Structures is a visual ethnography of the duopolistic supermarket sector of Aotearoa that is dominated by Foodstuffs Group and Woolworths New Zealand Limited. The body of work explores the political ideologies, that influence and limit the choices of consumers in these institutions, through the examination of structures associated with power and the prioritisation of profit. Depicting floors, shelves, branding, currency and shopping bags, these photographs offer conceptual perspectives that emphasise the context of their subjects beyond mere aesthetic values. [Full document below photo.]  Arthur Lin - 'Reusable shopping bags, 2021' - Pigment print 112x91cm |
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