Latest

the first of an intended series EXT. SCENIC DRIVE — MID AFTERNOON A late-model four-door Landrover (e.g. a Discovery) heads from Karekare North-West along Scenic Drive. INT. LANDROVER — CONTINUOUS A woman in her early to mid forties drives, GENEVIEVE MARTEL. She is dressed casually, pants, a top and low-heeled sandals.

C stands in front of a black and white video still – the face of a woman in close up. C One must first divest oneself of the notion of the unknowable, of the Unknown: silk is over the photo, silk of the process. A procedural coating, like albumen – silver nitrate

the cemetery of principle, part 2 (link to part 1) EXT. FEDERAL ST. ENVIRONS — MORNING Our man, BERNARDO, hurries across Federal Square, radio mic in place!, in front of us: he is aware of the cumbersome nature of our apparatus but keen to show us something. BERNARDO There’s something

presented to Christchurch City Council soon after the earthquake of 22 February, 2011. I have revised the following slightly to present it here. We, the people of New Zealand, make the gift to Christchurch of a glass-fibre infrastructure along with a data-pipeline connecting it to the world. This is the

Who in his right mind would talk about making soap from human remains if he didn’t do it, in a memoir he never expected to be read? The attack on memory always bothers me. You can’t discount memories of people. – Ben Hirsch I think in abstract art perhaps

the work on Semele was preparatory for a project submitted to and denied by CNZ for funding in 2009. It was called Love Project and comprised 4 interwoven stage-works at 4 different venues and in different styles. Go to the LP9 at the bottom of this post if you would

it was cast, rehearsal rooms were booked, a read-through took place. The rain of ash was devised, the reference for the costumes was the cover of Tindersticks's second album and Margiela. It was to be performed at City Art Rooms, Auckland. The misunderstanding arose because "artists fund