'3 Blokes Show Up' - Photospace Gallery, 21st to 31st August 2026. Dean Zillwood, Chris Coad, Mike Clare

'3 Blokes Show Up' 2026 poster- Mike Clare, Chris Coad, Dean Zillwood. 21-31 Aug.

Photo: Mike Clare from 'Wellington Diptychs'

Wellington Diptychs - Mike Clare

These pairs of photographs, captured around the city, are intended to tell a story in two separate images — a story that is revealed when the photographs are viewed together.

For this series, I chose to work with a Canon Demi half-frame camera from the mid 1960’s. Each frame uses approximately half the area of a standard 35mm negative and, when the camera is held horizontally, produces a portrait-format image.
The half-frame format became an integral part of the project, pushing me to think about photographs in pairs and to make economical use of every frame of film.

40 x 50cm giclée prints, $280 per print, unframed.

Photo: Dean Zillwood, from SOUTHCOAST

SOUTHCOAST - Dean Zillwood
 
This body of work explores the relationship between the natural environment and the human influence upon it. The photographs were made along Wellington's south coast, between Moa Point, Takakena Bay and Breaker Bay. It is a landscape exposed to wind, ocean and weather, but also one that has been used, and at times neglected...

Time. Each of these photographs is a long exposure. During that time the camera records what the eye cannot: the movement of the ocean, the passage of light, and the relentless action of water upon rock and shore. The landscape becomes both still and in motion. For me, time is the force of nature.

Moa Point and the surrounding coastline have been heavily affected by human activity and by decisions made on behalf of Wellington and its residents. Yet nature continues to work upon the landscape. Water moves. Rock erodes. Plants return. Light changes.

Colour is important within these images. It represents something that can be diminished by human action, but also something nature continually attempts to reclaim. Through long exposure, unseen colours are allowed to emerge. The landscape reveals itself.

These photographs are not intended to present the south coast as damaged or ugly. Quite the opposite; they ask us to look again. This coastline is as beautiful as any other. But the way we treat a place influences the way we see it. Neglect becomes part of its identity until eventually we stop noticing either the neglect or the beauty beneath it.

SOUTHCOAST asks what happens when we give the landscape time. Time to recover and be seen again and perhaps, in giving the landscape that time, we might reconsider what we choose to leave behind.

A3 giclée prints, printed upon Hahnemuhle Photo Rag 308gsm
$275 Per print, unframed.

Photo: Chris Coad, 'London, Turbine Hall, Tate Modern, 2005'

Chris Coad

This body of work originated from a commissioned shoot in 2005 for Wellington Guide magazine. The brief was to create a series of images featuring some of Paris and London’s best known attractions while presenting an alternative view of both cities.

Following publication, the images were entered into the 2006 Cathay Pacific Travel Media Awards, where they won the main prize. Since then, the photographs have not been publicly exhibited.

All of the photographs were shot on 35mm film using a very small Ricoh GR point-and-shoot camera.

C-type prints, open edition, $495 per photograph, including frame.