school of fine arts - massey.ac.nz of creative arts/new... · the series scenes in ma-oriland in...

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The School currently has two signifi cant research bases; The Litmus Research Initia-tive, an internationally focused programme devoted to scholarship in contemporary art, and a second Research Cluster who’s res-earch represents the School’s unarguable position as New Zealand’s premier provider of degree level photography. There is a dynamic and innovative culture that per-vades the school.

The School of Fine Arts at Massey University offers degree courses in Photography and Fine Art from undergraduate through to Masters and PhD level, and an undergraduate Diploma in Photography.

SCHOOL OF FINE ARTS

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The staff that teach on the programmes are notable for their research activities and as exhibiting professional artists, academics and writers. The students who emerge from our courses are imbued with a sense of excite-ment and purpose. They have comprehensive skills in working across a range of media, and the critical and analytic tools with which to explore the global dialogues of contemporary practice. Their panache and élan are well

noted by the creative sector nationally and there is a genuine buzz around the creative community of Wellington anticipating the future careers of these new professionals. The staff of the School of Fine Arts would like to wish the graduates success and fulfi lment in their respective futures.

PROFESSOR JEREMY DIGGLE

Head of School,School of Fine Arts

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Our graduates this year will head into a world increasingly reliant on the photo-graphically derived image. At Massey they have learnt to apply photography to a huge range of contexts - from documentary practice through to highly specifi c client driven applications. A comprehensive under-standing of photographic history and the role of the medium in the social realm also informed student work.

We are confi dent that our graduates will use their skills and knowledge to push the boundaries of the medium. In 2008 all of our students were exposed to a regular pro-gramme of visiting photographic artists and arts professionals. We have developed an exciting relationship with the Goethe Institut that has enabled us to host a series of lead-ing German photographers and curatorial experts. This programme – Tiefenscharfe - will continue to develop strong international links between the School of Fine Arts Pho-tography Department and the German photographic scene over the next two years. In addition to supporting student learning this initiative also has signifi cant benefi ts for research within the School.

The Peter Turner Scholarship in Documen-tary Photography was also launched in 2008. The quality of the fi rst applications confi rms that we will see some exciting projects generated by the recipient in the Master of Fine Arts programme. We look forward to graduates taking this opportunity to enable them to return to postgraduate study in the future.

WAYNE BARRAR DIRECTOR OF PHOTOGRAPHY

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KATE BARTLETT

Clean air, or a Muggy Future? Global warmings call for cleaner energy.

[email protected] 635 1969

ROCHELLE DENT


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JULIA FERRIER

Constructed Portraiture.

Personal space as a refl ection of identity and in turn an

extension of the body.


AMANDA ELLIOTT


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TARA HEERAN-HARRIS

Untitled from the series Witnesses is a response to the way in which crime, violence and death are glamorised in the media today.


MEL HENDERSON

Larger than life.


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RUTH HOCKIN


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LEANA KEEN

Neverland – Putaruru series

A journey of memory, magic and adventure.


EMMA KOTSAPAS

[email protected] 334 9799(04) 383 6838

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MURRAY LLOYD

Moutoa Gardens is an image from the series Scenes in Ma-oriland

in which early 20th century New Zealand postcards are placed

within a contemporary context.

[email protected]

(04) 976 6733021 473 999

ANNA LAWRENCE

As Ma-ori bloodlines have become diluted signifi cant aspects of Ma-ori cultural practice have diminished resulting in Ma-ori descendants searching the void of their cultural conditions.


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SAMANTHA LOWNDES


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LUCY JANE BEATTIE-HUGHES

Order out of chaos

Imagery from a contemporary perspective, which explores familiar objects, space and memory to re- evaluate and re-view my family archive.


SARAH MACDONALD

How can photographic methods be employed to explore people’s impulse to control and construct nature, within the domestic garden?


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LUCY MCLEAN

Affl icted Splendour

Notions of the Romantic have merged with the Sublime, creating a sick beauty and aesthetic magnifi cence that implies impending danger and threat.


JESSICA MICHELS

The objects we align ourselves with become a shrine, a homage to the person we aspire to be. This work critiques the ‘building’ of identity through consumerism.

Runner-up Zonta Design Award,

Photography, 2008


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ROCHELLE PEPPER

Blood & Water

[email protected]

MIZUHO NISHIOKA

Far North

This research aims to locate a role for the archive within photography, specifi -cally focusing on where photography intersects with the process of the archi-val and how might the archival mode of photographic practice assign value to a given set of images.

[email protected]

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TIM SEARLE

[email protected] 027 306 9947

JESSICA SHERLOCK

Eva Strangelove, burlesque dancer.


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AMY SISSON

Portraiture series looking at the absence and presence of the sitter in the photograph.

- Winner Zonta Design Award,

Photography, 2008

- Epson NZIPP Iris Awards

2008, Bronze Medal


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ALICE SKINNER

In-between Places.


NINA VAN DER VOORN


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ALISCIA YOUNG

Illuminations: Illuminating a replication of an ephemeral moment in time, as derived from nature.

[email protected]

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It is with great pleasure that the staff of the School of Fine Arts extend their warmest congratulations to all our graduates of 2008. During their time with us, these stu-dents have benefi ted from an astute, inquiring and supportive culture – one that they have helped create, and also partici-pated in. We know that this model will hold them in good stead as they go on to a vari-ety of active roles in the cultural fabric of New Zealand and the world beyond. We are proud of the fact that graduates from our programmes work thoughtfully, inde-pendently and collaboratively, and are valued for their ability to effectively combine a wide range of media and processes. The School’s focus on interdisciplinary training is intended to enable our graduates to work across conventional boundaries - from new forms of image generation to interface technologies, from material and spatial exploration to planning and urban develop-ment, or indeed any new industry requiring fl exible, creative and lateral thinkers. We look forward to following their progress as they move into new opportunities as artists, consultants, teachers, freelance practitioners, art writers, curators, techni-cians, project managers, in postgraduate study or the many other paths they may decide to follow.

MADDIE LEACHUNDERGRADUATE PROGRAMME DIRECTOR, SCHOOL OF FINE ARTS

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DEBBIE ALLAN

Video still.


CATHERINE CAUDWELL

The Analytical Daughter

“We may say most aptly that the Analytical Engine weaves algebra-ical patterns just as the Jacquard-loom weaves fl owers and leaves.” Ada Lovelace


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GEMMA DUNCAN

Hanging Hill 2008

[email protected]

R. KENDRA EDGE

If these pages were people they’d be undressed. Just undressed. Still marked by the weave of cloth, the ridge of seam, the clutch of strap.


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WAIMATAO FAMILTON

Video stills from performance piece and remnants of performance: Ma-ori brown eyes. A celebration and critique of cultural social standings.


HANNAH EDMUNDS

The role of the Cinematic and Video Art is becoming increasingly blurred. When

aligned with the notion of the audience as participator it

raises the question of Art as entertainment.


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LARA HEWALD

The 3D form is comprised of geometric shapes from

architectural structures. It is a site-specifi c work referencing

the space it occupies.


SARAH PETI SIAN HUDSON

An exploration of ideas around femininity and feminism, self-portraiture

and memory, childhood and sexuality, fetish and the grotesque.

[email protected]

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JOHNATHON TITHERIDGE

Time-Based

I prefer things that move and stand still at the same time.


PHILIPPA MALLINSON

Ambiguous, quiet and restrained.

An amplifi cation of the unconscious quotidian, the quiet contemplative nature of the work gently jolting the

viewer into a self awareness.


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KEILA MARTIN

“Motivated by the status of contemporary painting, I explore themes of death, plasticity, excess and obsolescence

in otherwise traditional still lives”.


MARG ROBINSON

This is a confl ation of iconic painting and mundane materials.


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SHANE MCGRATH

Regressive Action No.1

[email protected]

CHRISTINA OLDFIELD

David MairPhotomedia

Spatial ResidencesContextual Studio

christinamicheleoldfi [email protected]

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REBECCA RAIT

There is a continuous shaping of space that

takes place as we re-order, re-organize and re-arrange

those places we inhabit.


NATALIA KARENKA PARRA-SIERRA

In Between Cities 2008

This print has several plates with vibrant colours and textures of different materials, presenting a vision of Wellington city, intersected with ideas of Bogotá, Colombia.


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KRISTIN VAN DER POEL

A playful exploration of intervention into various domestic and public sites involving altered everyday objects and

the manipulation of function.


SAMANTHA WALLIS

Ideal moth catching conditions…warmth, darkness, humidity, night scented plants, sugaring solution and Robinson light traps.


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ANA WHITLOW

2E0.6 (detail)

[email protected]

JANE WILCOX


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